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Conservatory of Music
A native of St. Petersburg, Russia, Dr. Dina Lentsner joined the faculty of Conservatory of Music in 2004. As a musicologist, Dr. Lentsner is interested in the intersection of music and literature, primarily focusing on contemporary music. She has been active on the American and international musicological scene as a presenter at the numerous international, national, and regional conferences. Her other professional engagements include a three-month research grant at Paul Sacher Foundation -international center for studying 20th century music - and teaching seminars on musico-poetic analysis at the University of Basel (2006) and Estonian Academy of Music (2015). Lentsner’s articles, focusing on music of contemporary composers, including Hungarian György Kurtág, American George Crumb, and Estonian Lepo Sumera have been published in musicological journals in France, Hungary, Switzerland, Canada and Georgia (forthcoming). She has contributed a chapter on György Kurtág and George Crumb in Centre and periphery, roots and exile: Interpreting István Anhalt and György Kurtág (Wilfrid Laurier University Press, Canada, 2011), and one of her articles on Kurtág’s use of paratext has recently been published in SEEJ - Slavic and Eastern European Journal 62.1, 2018.As a pedagogue, Dr. Lentsner is interested in transforming and improving traditional method of teaching music classes using Dee Fink's philosophy of "significant learning" through active student engagement. She is a strong supporter and promoter of interdisciplinary projects and undergraduate students scholarship. Under her supervision, music students have been presenting annually at the Undergraduate Scholarship Symposium as well as at the National Conference of Undergraduate Research. In 2007 National Organization for Women-Capital University recognized Dina Lentsner with the Inspiring Female Teacher Award.
Group Lessons: Composition
Private Lessons: Composition
Music History I & II
Form and Analysis
Research in Music and Education
Composers Literary Indulgences? Epigraphs in György Kurtág’s Russian Works. Slavic & East European Journal (SEEJ), 62.1, Spring 2018.
It May Sound Scary: Gothic Underpinnings in George Crumb’s Madrigals. With Stephanie Saunders-Pandolfi de Rinaldis. GESJ: Musicology and Cultural Science 2017, No. 2 (16). Tbilisi, Georgia.
Interpreting folk humor and wisdom, Estonian style: Lepo Sumera's vocal cycle as a window to the language and tradition. Symposium on Singing and Song 2015 Proceedings. Memorial University of Newfoundland, Canada
Interpreting Kurtág and Crumb: through the looking glass. In Centre and periphery, roots and exile: Interpreting István Anhalt and György Kurtág, 2011, Waterloo, ON, Canada: Wilfrid Laurier University Press.Stravinsky’s Pulcinella: A Facsimile of the Sources and Sketches. Edited by Maureen A. Carr, 2010; translation and transliteration by Dina Lentsner. Middleton, Wisconsin: A-R Editions, Inc.Kurtág’s unknown Russian works, playfully. In Gestes, fragments, timbers: la musique de György Kurtág, 2008, Paris, France: L’Hartmann, 185-195.The Russian Kurtág or How to adopt a language. 2007. In Mitteilungen der Paul Sacher Stiftung, No. 20, 38-42.