Roseen Giles

Roseen Giles

Assistant Professor of Music

External Address: 
060 Biddle Music Building, Durham, NC 27708
Internal Office Address: 
Box 90665, Durham, NC 27708
(919) 660-3311

Roseen Giles is a musicologist with a specialty in early modern musical culture; she is also the curator of DUMIC (Duke University Musical Instrument Collections). In her research she examines the aesthetic, professional, and personal relationships between poets and musicians of the Italian Baroque. Her monograph (in progress)— The Sound of the Marvellous: Monteverdi's Modes of Representation—contributes to the intertwined histories of music and literature by arguing that the controversial experiments of seventeenth-century poets had a profound influence on techniques in musical composition, most notably in the works of Claudio Monteverdi (1567–1643). She has published essays on music and philosophy in the Renaissance, memory and orality in the notation of medieval music, and the relationship between music and devotional practice in the seventeenth century. She is currently preparing an edition of Alessandro Grandi's Madrigali Concertati (1615 and 1622) for the composer's Opera Omnia published by the American Institute of Musicology. An active baroque flautist, she also performs regularly in both orchestral and chamber settings.


  • Ph.D., University of Toronto (Canada) 2016
  • B.Mus., University of Toronto (Canada) 2010

Giles, R. “Review: Jonathan E. Glixon, Mirrors of Heaven of Woldly Theaters? Venetian Nunneries and Their Music.” Renaissance and Reformation, vol. 41, no. 2, University of Toronto, Victoria University, Centre for Reformation and Renaissance Studies, pp. 184–87.

Giles, R. “Review: David Schroeder, Experiencing Mozart: A Listener's Companion.” Intersections, vol. 34, no. 1, pp. 212–16.

Giles, R. “The Adiastematic Sources Preserving the Liturgical Office of Saint Thomas Becket.” The Becket Offices Paradigms for Liturgical Research, edited by Andrew Hughes, 2014, pp. 29–39.

Giles, R. “Melismas in the Office for Thomas Becket of Canterbury.” Les Traditions Du Plain-Chant Occidental Actes Du Colloque de L’Institut Grégorien Du Canada : Université McMaster (Hamilton), 13-16 Août 2009, 2010, pp. 139–56.

Giles, R. “Physicality and Devotion in Heinrich Ignaz Franz Biber’s Rosary Sonatas.” Yale Journal of Music and Religion, vol. 4, no. 2, Yale Institute of Sacred Music, 2018, pp. 68–104.

Giles, Roseen. “Monteverdi, Marino and the aesthetic of meraviglia.” Early Music, vol. 45, no. 3, Oxford University Press (OUP), Dec. 2017, pp. 415–27. Crossref, doi:10.1093/em/cax045. Full Text

Giles, Roseen. “A Natural Voice?Cambridge Opera Journal, vol. 29, no. 2, Cambridge University Press (CUP), July 2017, pp. 240–51. Crossref, doi:10.1017/s0954586717000143. Full Text

Giles, R. “The Inaudible Music of the Renaissance: From Marsilio Ficino to Robert Fludd.” Renaissance and Reformation, vol. 39, no. 2, University of Toronto, Victoria University, Centre for Reformation and Renaissance Studies, 2016, pp. 129–66. Open Access Copy

Giles, R. “Overcoming Death: Saint Mark Resurrected?Toronto Bach Festival.