@article{bombola_turner_2022, title={Respectability, Prestige, and the Whiteness of Opera in American Popular Entertainment from 1890 to 1937}, volume={6}, ISSN={["1741-8399"]}, DOI={10.1093/musqtl/gdac004}, abstractNote={On 30 August 1902, The Capital, a Los Angeles magazine, informed its readers about the appearance of the Grand Opera Trio on the vaudeville bill at the Orpheum Theater. The author singled out one act: In presenting to Orpheum patrons this week the Prison Scene from “Faust,” the management of this popular playhouse has gone far beyond the top-notch mark of vaudeville and afforded Los Angeles an opportunity to hear one of the finest soprano voices on the coast today. Edith Decker is absolutely an ideal Marguerite, combining the facial and physical requirements of the character with a voice superbly rich and fresh, and her singing of the prison scene is something to remember. This is not superlative praise, but a well-deserved tribute to a singer of rare attainments. Abramoff is no longer the fine Mephisto of former years, but he shines with a reflected glory in having been the teacher of Edith Decker. Victor Claudio sings the tenor part.1}, journal={MUSICAL QUARTERLY}, author={Bombola, Gina and Turner, Kristen M.}, year={2022}, month={Jun} }
 @inbook{turner_2020, place={Cambridge, UK}, title={A New Performance for the New World: Carmen in America}, booktitle={Carmen Abroad}, publisher={University of Cambridge Press}, author={Turner, Kristen M.}, editor={Rowland, Clair and Smith, Richard LanghamEditors}, year={2020}, pages={113–39} }
 @book{carmen abroad: bizet's opera on the global stage_2020, ISBN={["978-1-108-48161-8"]}, DOI={10.1017/9781108674515}, abstractNote={From the ‘old world’ to the ‘new’ and back again, this transnational history of the performance and reception of Bizet’s Carmen – whose subject has become a modern myth and its heroine a symbol – provides new understanding of the opera’s enduring yet ever-evolving and resituated presence and popularity. This book examines three stages of cultural transfer: the opera’s establishment in the repertoire; its performance, translation, adaptation and appropriation in Europe, the Americas and Australia; and its cultural ‘work’ in Soviet Russia, in Japan in the era of Westernisation, in southern, regionalist France and in Carmen’s ‘homeland’, Spain. As the volume reveals the ways in which Bizet’s opera swiftly travelled the globe from its Parisian premiere, readers will understand how the story, the music, the staging and the singers appealed to audiences in diverse geographical, artistic and political contexts.}, journal={CARMEN ABROAD: BIZET'S OPERA ON THE GLOBAL STAGE}, year={2020}, pages={1–363} }
 @article{turner_2020, title={Faust and the Power of Operatic Performance by African Americans}, volume={73}, number={3}, journal={Journal of the American Musicological Society}, author={Turner, Kristen M.}, year={2020}, pages={741–48} }
 @article{special issue on the arts in the black press during the age of jim crow_2020, journal={American Studies}, year={2020} }
 @book{blue monday and new york theatrical aesthetics_2019, year={2019} }
 @inbook{turner_2019, place={Cambridge, UK}, title={Gershwin and the Past: Blue Monday and New York Theatrical Aesthetics}, booktitle={The Cambridge Companion to Gershwin}, publisher={University of Cambridge Press}, author={Turner, Kristen M.}, editor={Celenza, AnnaEditor}, year={2019}, pages={59–79} }
 @article{turner_2019, title={Harry T. Burleigh: From the Spiritual to the Harlem Renaissance.}, volume={13}, ISSN={["1752-1971"]}, DOI={10.1017/S1752196318000603}, abstractNote={An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.}, number={1}, journal={JOURNAL OF THE SOCIETY FOR AMERICAN MUSIC}, author={Turner, Kristen M.}, year={2019}, month={Feb}, pages={128–131} }
 @article{turner_2017, title={Historic American Sheet Music}, volume={70}, ISSN={["1547-3848"]}, DOI={10.1525/jams.2017.70.2.565}, abstractNote={Historic American Sheet Music . Molly Bragg, Digital Collections Program Manager, Duke University Libraries. URL: http://library.duke.edu/digitalcollections/hasm/

From medieval manuscripts to parlor songs, musical scores are a popular item for digitization in the United States and Europe. In the United States even libraries with relatively small special collections often hold sheet music from the nineteenth and early twentieth centuries, and many institutions have invested in digitizing this music and posting it online, as few of these documents are under copyright. The larger digital repositories for sheet music include African American Sheet Music hosted by Brown University and the Historic Sheet Music Collection on the Library of Congress's website, as well as the Lester S. Levy Sheet Music Collection at Johns Hopkins/ Peabody and the Digital Collections Archive of Popular American Music at the University of California, Los Angeles.1 Duke University's Historic American Sheet Music Digital Collection (hereafter HASM) is an archive of 3,042 digitized pieces of sheet music (both popular and classical genres) published in the United States between 1850 and 1920.2 The university holds about 20,000 pieces of American sheet music in total, so librarians chose to digitize a representative sample rather than the entire collection. The music was digitized and the database constructed in 1997 and 1998, a lifetime ago in the fast-moving world of the digital humanities.3 While some aspects of the website are showing its age, the database is intuitive to use and contains a wide range of music that makes it a valuable resource for …}, number={2}, journal={JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY}, author={Turner, Kristen M.}, year={2017}, pages={565–575} }
 @inbook{turner_2017, place={New York}, title={Justifiable Homicide: The Life and Death of Carmen in Late Nineteenth-Century America}, booktitle={Gender and the Representation of Evil}, publisher={Routledge}, author={Turner, Kristen M.}, editor={Fallwell, Lynne and Williams, KeiraEditors}, year={2017}, pages={143–55} }
 @article{opera in english: class and culture in america, 1878-1910_2016, year={2016} }
 @article{turner_2015, title={Class, Race, and Uplift in the Opera House: The Theodore Drury Grand Opera Company Crosses the Color Line}, volume={34}, number={4}, journal={Journal of Musicological Research}, author={Turner, Kristen}, year={2015}, month={Nov}, pages={320–51} }
 @article{turner_2015, title={Class, Race, and Uplift in the Opera House: Theodore Drury and His Company Cross the Color Line}, volume={34}, ISSN={["1547-7304"]}, DOI={10.1080/01411896.2015.1082380}, abstractNote={Between 1900 and 1907, Theodore Drury (1867–c.1943) managed the first long-running black opera troupe in America. For white authors, Drury’s company was intriguing but threatening to their stereotypes about blacks and art music. Drury and the black press positioned his productions as racially and musically uplifting experiences that confirmed their elite audience’s worthiness to participate fully in white society. The company’s reception also demonstrates that the concept of racial uplift and the methods to achieve it were hotly contested within the African American community. Thus the opera house became a site of tension between competing ideas about class, race, and uplift.}, number={4}, journal={JOURNAL OF MUSICOLOGICAL RESEARCH}, author={Turner, Kristen M.}, year={2015}, month={Oct}, pages={320–351} }
 @phdthesis{opera in english: class and culture in america, 1878-1910_2015, year={2015} }
 @article{a joyous star-spangled-bannerism: emma juch, opera in english translation, and the american cultural landscape in the gilded age_2014, volume={8}, number={2}, journal={Journal of the Society for American Music}, year={2014}, month={May}, pages={219–52} }