Christopher MOORE


Christopher MOORE
Director of Graduate Studies and Associate Professor, Director of Undergraduate Studies

PhD, McGill University
D.E.A. Musicology (Diplôme d'études approfondies), Université de Paris IV – La Sorbonne
Maîtrise Music, Université de Paris IV – La Sorbonne
BMus, University of Ottawa

Pérez 312

Office: 613-562-5800 ext. 3568

Work E-mail:

Christopher Moore



Courses and seminars taught
  • Gender and sexuality in twentieth-century music
  • Dancing Musical Modernism
  • Proseminar in Musicology
  • Francis Poulenc: texts and contexts
  • Nineteenth-century piano music/Twentieth-century pianists
Selected publications

Christopher Moore, Moore, C. “Darius Milhaud à la fin des années 1930: entre conviction politique et recherches esthétiques.” In Milhaud: Compositeur et expérimentateur. Edited by Jacinthe Harbec and Marie-Noëlle Lavoie, 167-188. Paris: Vrin, 2015.

Moore, C. “Frictions in the Bullring: Lyric Theatre in Béziers at the fin de siècle,” 19th-Century Music 37/3 (Spring 2014), 211-241.

Moore, C. “Charles Koechlin’s America,” In Crosscurrents: American and European Music in Interaction, 1900-2000. Edited by Felix Meyer, Carol J. Oja, Wolfgang Rathert, and Anne C. Shreffler, 89-101. Woodbridge, Suffolk: The Boydell Press, 2014.

Christopher Moore, “A Perfect Accord: Music and Gesture in Francis Poulenc’s Les Biches,” Les Cahiers de la Société québécoise de recherche en musique 13/1-2 (2012): 97-104.

Christopher Moore, “Camp in Francis Poulenc’s Early Ballets,” The Musical Quarterly 95/2-3 (Summer-Fall 2012): 299-342. Winner of the 2012 Philip Brett Award, sponsored by the LGBTQ Study Group of the American Musicological Society.

Christopher Moore, "Socialist Realism and the Music of the French Popular Front," Journal of Musicology 25/4 (2009), 469-498.

Awards and achievements
  • 2012 Philip Brett Award Winner
  • Médaille d’or; prix de perfectionnement (piano) – Conservatoire national de Versailles

Fields of Interest

  • 19th and 20th-century French music
  • Music, sexuality and gender
  • Music criticism, theories of reception
  • Musical transatlanticism
Back to top