エリーナ ハミルトンは長野県戸隠村の山のふもとで育った。日本の文化を習うため親の要求により保育教育から日本の教育を受けました。８歳からピアノを習い始め、中学時代からは憧れの音楽家を目指し始めた。２００３年にアメリカに移住し、ポートランド州立大学の音楽部ピアノ専攻に入学。バッハやベートーヴェンを弾きながら気になったのは西洋音楽の音符の歴史。ピアノ科よりも音楽歴史に興味をもち２００８年ウェールズのバンガー大学に音楽学を勉強するため大学院生になる。２００９年には博士研究の奨学金を受け, 大英国で５年間１４世紀のイギリス音楽の勉強を熟す。研究結果はオクスフォード大学を始めセントアンドリュース大学、プラハのチャールズ大学、アメリカではプリンストン大学、マサチューセッツ工科大学、イエール大学各地で発表する。
I am currently Assistant Professor at The Boston Conservatory at Berklee where I teach courses on music history and the history of music theory. In Spring 2018, I was a guest at M.I.T. where I taught 21M.220 Medieval and Renaissance Music and have been invited back to teach this course in Spring 2020.
In my main area of research, I investigate music treatises written in England around the turn of the fourteenth century. I investigate the textual content along with the placement of books within medieval libraries to better understand how musicians would have engaged with writings about music.
My current book project, Music of the Intellectuals: Music Theory in England, 1280 to 1360, investigates how theorists in England relied on newly introduced methods of thinking and reasoning when discussing music as they heard and understood it. Music in the practical space was changing rapidly at the turn of the fourteenth century: new forms of notations were being established and complex genres with multiple voices were beginning to emerge in written form. Simultaneously, there was a need to streamline traditional practice into the modern era without compromising tradition. Among all of this, it is not hard to detect an excitement among theorists who, using intellectual trends of their day, figured out how to talk about the special techniques with precision. Yet, it is not difficult to sense nostalgia for the past, especially among the writers who wrote to contribute to a long-standing tradition on writing about music. The project aims to obtain a better understanding of who wrote and read music theory treatises within their monastic contexts.
I also write about those who have been marginalized in the Western music cannon to help bring to light long-forgotten histories and untold stories. My writing has mostly focused on women in the nineteenth and early twentieth centuries as well as the origins of Western music and its establishment in Japan. In November 2019, I will present some preliminary findings of musical connections between Boston and Japan at the American Musicological Society Annual Meeting.
In 2009 Hamilton was the recipient of the 125th Anniversary Ph.D. Research Scholarship at Bangor University (Wales, UK). Hamilton was awarded The Drapers’ Company Medal for Outstanding Postgraduate Contribution from the London-based guild in 2012 for her research on medieval music theory in England. In 2015 she received her doctorate from Bangor University after completing a dissertation titled “Walter of Evesham Abbey and the Intellectual Milieu of Fourteenth-century English Music Theory.” Hamilton holds an MA with Distinction from the same institution. She received a BM in Piano Performance magna cum laude from Portland State University in 2007 where she studied with Harold Gray, former director of Portland Piano International.
While at Bangor University Hamilton organized several conferences including an international conference on understanding unconventional music notation, “Off the Staves” (2010). Stemming from this conference, she helped to organize several concerts of Cornelius Cardew's graphic score, Treatise, with the London-based vocal ensemble, Vocal Constructivists (London Art Gallery and Morley College). Hamilton also managed the Bangor New Music Festival with composer and artistic director Guto Puw.
Where I am From
Hamilton was born and raised in the mountains of Nagano, Japan and speaks Japanese fluently. As a child, she studied piano privately with Kumiko Nishi and Junko Hara and attended Japanese school.
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