Larissa A. Irizarry is earning a PhD in Musicology. Aside from her work on queer vocality in the musical film, which is published in Women & Music (“Queer Intimacy: Vocality in Jesus Christ Superstar.” Women & Music 24, : 162-177), her work engages with 21st-century avant garde opera and popular music. She explores such themes as the feminization of sonic grief, operatic discourse on gender-based violence in the era of #Metoo, and Black feminist theory in visual albums. She is a two-time awardee of the Andrew W. Mellon Predoctoral Fellowship, which is funding the completion of her dissertation. Her current project theorizes how Black women in the music industry (e.g., Beyoncé, Janelle Monáe, Nicki Minaj) become critical interpreters of the politicized affects surrounding contemporary electoral politics when performing through their alter egos.
Her work on Janelle Monáe was awarded the Randy Martin Prize by the Cultural Studies Association and the West Virginia Press Award by the Allegheny Chapter of the American Musicological Society. Her work on rape-related pregnancy in the opera Adriana Mater (Saariaho 2005) was awarded the Don O. Franklin Prize in Musicology by the University of Pittsburgh.
Some of the conferences Larissa has presented her work at include the American Musicological Society (2018, 2019, 2020, 2021), the International Association for the Study of Popular Music (2021), Music and the Moving Image (2020, 2021), and the Cultural Studies Association (2020, 2021) national conferences.
To hear Larissa talk about her work, visit Music at Pitt Podcast.