Bio Page - Orly Krasner | Keep01-Intersection Music and Arts

Orly was trained as a pianist and singer before being initiated into the mysteries of music history as an undergraduate at the University of Connecticut at Storrs (Go Huskies!). She came to New York after college to pursue graduate studies in musicology at the City University of New York. It was during what she calls the death agonies of her dissertation (a study of the comic operas of Reginald deKoven) that Orly discovered English country dancing. Upon conferral of the doctorate, Orly began her teaching career at Franklin and Marshall College. She worked her way back to New York City by way of appointments at Boston University and Hofstra University before landing at The City College of New York/CUNY where she is still an active faculty member.

Orly’s career also included a stint working in music publishing for Garland Publishers, and she has done freelance proofreading and editing for the New York Philharmonic, Carnegie Hall, and SONY. She has also given pre-concert lectures for several early music groups. What began as a means of exercise and diversion during the sedentary regime of research and writing soon became a passion as Orly settled into the routines of academia. She now dances several times a week in addition to teaching dance across the USA and abroad. She has also taken up choreography and has added the study of traditional Japanese dance and Baroque dance to her list of explorations. She is grateful for the dance habit that has brought her into a special community that dovetails with her academic one in novel ways, including friendships and collaborations with other IMA board members.

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Orly was trained as a pianist and singer before being initiated into the mysteries of music history as an undergraduate at the University of Connecticut at Storrs (Go Huskies!). She came to New York after college to pursue graduate studies in musicology at the City University of New York. It was during what she calls the death agonies of her dissertation (a study of the comic operas of Reginald deKoven) that Orly discovered English country dancing. Upon conferral of the doctorate, Orly began her teaching career at Franklin and Marshall College. She worked her way back to New York City by way of appointments at Boston University and Hofstra University before landing at The City College of New York/CUNY where she is still an active faculty member.

Orly’s career also included a stint working in music publishing for Garland Publishers, and she has done freelance proofreading and editing for the New York Philharmonic, Carnegie Hall, and SONY. She has also given pre-concert lectures for several early music groups. What began as a means of exercise and diversion during the sedentary regime of research and writing soon became a passion as Orly settled into the routines of academia. She now dances several times a week in addition to teaching dance across the USA and abroad. She has also taken up choreography and added the study of traditional Japanese dance and Baroque dance to her list of explorations. She is grateful for the dance habit that has brought her into a special community that dovetails with her academic one in novel ways, including friendships and collaborations with other IMA board members.

Orly was trained as a pianist and singer before being initiated into the mysteries of music history as an undergraduate at the University of Connecticut at Storrs (Go Huskies!). She came to New York after college to pursue graduate studies in musicology at the City University of New York. It was during what she calls the death agonies of her dissertation (a study of the comic operas of Reginald deKoven) that Orly discovered English country dancing. Upon conferral of the doctorate, Orly began her teaching career at Franklin and Marshall College. She worked her way back to New York City by way of appointments at Boston University and Hofstra University before landing at The City College of New York/CUNY where she is still an active faculty member.

Orly’s career also included a stint working in music publishing for Garland Publishers, and she has done freelance proofreading and editing for the New York Philharmonic, Carnegie Hall, and SONY. She has also given pre-concert lectures for several early music groups. What began as a means of exercise and diversion during the sedentary regime of research and writing soon became a passion as Orly settled into the routines of academia. She now dances several times a week in addition to teaching dance across the USA and abroad. She has also taken up choreography and has added the study of traditional Japanese dance and Baroque dance to her list of explorations. She is grateful for the dance habit that has brought her into a special community that dovetails with her academic one in novel ways, including friendships and collaborations with other IMA board members.

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Orly Krasner

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