Faculty

Maria Cizmic

Associate Professor

CPR 370
mcizmic@usf.edu

Curriculum Vitae

Maria Cizmic is the author of Performing Pain: Music and Trauma in Eastern Europe (Oxford University Press). In this work, Cizmic looks to trauma studies in order to analyze the ways in which music composition, embodied performance, and film music can be understood to represent trauma. By focusing on late-20th century composers in Eastern Europe, Cizmic argues that this generation of composers participated in a broader late-socialist culture focused on historical memory and cultural trauma. Her areas of research and teaching also include 20th- and 21st-century American experimental and popular music; film music; disability studies; embodied music performance, technology, and mediation. She has published in Twentieth-Century Music, American Music, and Music and the Moving Image. Dr. Cizmic teaches HUM 2250 The Twentieth Century; the Pro-Seminar and Senior Seminar on Arts & Technology; and courses on film music, trauma studies, and disability studies.

Selected Publications

  • Performing Pain: Music and Trauma in Eastern Europe. New York & Oxford: Oxford University Press.
  • Russian translation, Muzyka Boli: Obraz travmy v sovetsko墨 i vostochnoevrope墨sko墨 muzyke kontsa XX veka, Academic Studies Press: .

  • In Progress 鈥溾�橲tory of an Artist鈥�: Complex Embodiment, Psychiatric Disability, & the Music of Daniel Johnston."

  • &苍产蝉辫;鈥�The Sounds of Trauma Films: Alfred Schnittke鈥檚 Concert Music in International Compilation Soundtracks,鈥� In The Global & The Liminal in Music for Cinema, edited by Joan Titus, Oxford University Press, forthcoming.
  • Co-Convener with Jillian C. Rogers, 鈥淐olloquy on Music, Sound, & Trauma,鈥� Journal of the American Musicological Society, 77/2 (Summer 2024): 511-577, .
  • &苍产蝉辫;鈥淭imbre & Vibration in Galina Ustvolskaya鈥檚 Composition No. 1, 鈥楧ona Nobis Pacem.鈥欌�� In Analytical Approaches to Twentieth-Century Russian Music, edited by Inessa Bazayeva & Christopher Segall, 189-202. New York: Routledge, 2021.
  • Co-written with Adriana Helbig, 鈥淭he Piano & the Performing Body in the Music of Arvo P盲rt: Phenomenological Perspectives.鈥� In Arvo P盲rt: Sounding the Sacred, edited by Jeffers Engelhardt & Peter Bouteneff, 177-194. New York: Fordham University Press, 2021.
  • &苍产蝉辫;鈥淓mpathy, Ethics, and Film Music: Alfred Schnittke and Larisa Shepit鈥檏o鈥檚 Voskhozhdenie (1977, The Ascent).鈥� In Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War, edited by Michael Baumgartner & Ewelina Boczkowska, 138-158. New York: Routledge, 2020.
  • 鈥淓mpathy & Tintinnabuli Music in Film.鈥� In Arvo P盲rt鈥檚 White Light: Media, Culture, Politics, edited by Laura Dolp, 20-46. Cambridge & New York: Cambridge University Press, 2017.
  • 鈥淭he Vicissitudes of Listening: Music, Empathy, and Escape in Breaking the Waves,鈥� Music, Sound, and the Moving Image 9/1 (Spring 2015): 1-32.
  • 鈥淓mbodied Experimentalism and Henry Cowell鈥檚 The Banshee.鈥� American Music 28/4 (Winter 2010): 436-458.
  • 鈥淭ranscending the Icon: Spirituality & Postmodernism in Arvo P盲rt鈥檚 Tabula Rasa & Spiegel im Spiegel.鈥�&苍产蝉辫;Twentieth-Century Music 5/1 (2008): 45-78.
  • 鈥淥f Bodies & Narratives: Musical Representations of Pain and Illness in HBO鈥檚 Wit.鈥� In Sounding Off: Theorizing Disability in Music, edited by Neil Lerner & Joseph N. Straus, 23-40. New York: Routledge.
  • &苍产蝉辫;鈥淐omposing the Pacific: Interviews with Lou Harrison.鈥� ECHO: a music-centered journal 1/1 (Fall 1999): .