Caryl L. Clark

B. Mus. (University of Western Ontario), M. A. (McGill University; Cornell University), Ph. D. (Cornell University)


Caryl Clark is Professor of Music History and Culture at the University of Toronto. She studied music history at the University of Western Ontario, McGill University, and Cornell University, and holds diplomas in piano performance and pedagogy from the Guildhall School of Music and Drama, and the Royal College of Music (London). Her research and teaching interests include enlightenment aesthetics, gender and ethnicity in opera, the politics of musical reception, Haydn studies, the social history of keyboard instruments, and approaches to musicology.

Author of Haydn's Jews: Representation and Reception on the Operatic Stage (Cambridge University Press, 2009) and commissioning editor for the Cambridge Companion to Haydn (Cambridge University Press, 2005), she is currently writing a book on Haydn, Orpheus and the French Revolution, and coediting the Cambridge Haydn Encyclopedia.

Since arriving at the University of Toronto in 1991, Caryl Clark has held four SSHRC (Social Sciences and Humanities Research Council of Canada) grants for projects on eighteenth-century musical topics, and a Halbert Foundation grant with The Hebrew university of Jerusalem investigating the Jewish diaspora in music, theatre, and culture. She is also a DAAD (Deutsche Akademische Austausch Dienst) alumna. Her current SSHRC Insight Grant explores Joseph Haydn's interactions with musical, theatrical, political, and visual culture in 1790s London in relation to British anxieties about the revolution in France.

An active member of the American Musicological Society (AMS), she has served on the AMS Council, the Einstein Prize Committee, and the Program Committee (Chair, SF 2011). She is currently a member of the Publication Committee, and will chair the committee between 2016-2018. As co-chair of The Opera Exchange, a partnership between the Canadian Opera Company and The Munk School of Global Affairs at the University of Toronto, she has co-organized over forty educational symposia probing opera from multidisciplinary perspectives. (For further information on the Opera Exchange, click here)

She is a fellow of Trinity College, and holds cross-appointments with the Graduate Centre for Drama, Theatre, and Performance Studies, the Centre for Comparative Literature, the Department of Germanic Languages, and the Centre for Jewish Studies.