Melinda Boyd holds PhD and MA degrees in Musicology from the University of British Columbia (Vancouver, Canada), and a Bachelor’s degree in Music History from the University of Manitoba. As visiting faculty at the University of Cincinnati’s College-Conservatory of Music, Boyd taught a wide range of courses for graduate and undergraduate students, including historical survey classes, research and writing, topics classes (program music, the music of Robert and Clara Schumann, Wagner), genre classes (opera history, German Romantic Opera), and music in culture topics (popular music, music and politics). Her research focuses on women composers and performers of the nineteenth and twentieth centuries, issues of gender and feminist theory, cultural studies, aesthetics, and popular music. She has presented her research at a number of national and international conferences, including the Society for American Music, the Society for Music Theory, the International Association for the Study of Popular Music, and the Canadian University Music Society. With Dr. Karin Pendle (Emeritus Faculty, University of Cincinnati), Dr. Boyd is co-author of Women in Music: A Research and Information Guide (2nd edition, Routledge, 2010). In addition, Boyd has published articles in 19th-Century Music, Music Research Forum, and in an interdisciplinary collection of essays entitled A Vision of the Orient: Texts, Intertexts, and Contexts of Madam Butterfly (University of Toronto Press, 2006). Her article, “Have You Met Miss Jones? The Politics of Color in Oscar Hammerstein’s Carmen Jones,” will appear in a collection of essays called Moors, Militants, and Minstrels: Representing Blackness in Opera (University of Illinois Press, forthcoming). Work-in-progress includes a monograph on women opera composers (Pauline Viardot, Ingeborg von Bronsart, Ethel Smyth, Thea Musgrave) forthcoming from Indiana University Press.