Dr. Dallman (Laura Dallman Rorick) is a musicologist who focuses on orchestral music and performance in the 20th and 21st centuries. Her research addresses issues of accessibility and representation, particularly as they relate to symphonic sound and attitudes of access within symphonic institutions. She examines works by Aaron Copland, Michael Daugherty, and Jennifer Higdon, composers who are often labeled "accessible" by critics and listeners.
Dr. Dallman received a Bachelor of Music in piano from Ball State University (2007) and both a Master of Arts and a Doctor of Philosophy in musicology from Indiana University (2009, 2017). She has presented her research at conferences in the United States, Ireland, England, and Wales.
At the University of Florida (UF), Dr. Dallman teaches the entire undergraduate music history sequence, from antiquity through the twentieth century. She teaches elective graduate courses, focusing on topics such as audience and timbre, as well as a Quest 1 undergraduate course on music and the environment. Dr. Dallman also serves as the Colloquium Coordinator for the UF Musicology Area and the Abstracts Editor for the Southern Chapter of the American Musicological Society.
Aside from musicology, Dr. Dallman enjoys hiking, gardening, traveling, and running – both on pavement and after her young son, who is quickly outpacing her.
"Representation and Value in Daugherty’s Las Vegas Works," book chapter in Las Vegas project (Final Title TBD), edited by Jake Johnson, University of Illinois Press, 2023
"Considering Autonomy and Collaboration in Three Concerti by Jennifer Higdon," in The Routledge Handbook of Women’s Work in Music, edited by Rhiannon Mathias, Routledge, 2021.
"There and Then, Here and Now: Higdon’s Civil Words," in Twentieth- and Twenty-First-Century Song Cycles, edited by Gordon Sly and Michael R. Callahan, Routledge, 2020.
"Aaron Copland and the Composers’ Forum-Laboratory," American Musicological Society, Southern Chapter, February 2021
"Problematizing Michael Daugherty’s MotorCity Triptych (2000)," Society for Musicology in Ireland, Annual Plenary, Maynooth University (Ireland), June 2019
"Beyond the Score: Jennifer Higdon’s Piano Reduction of Concerto 4-3," Research on Contemporary Composition Conference, University of North Georgia, November 2018
“There and Then, Here and Now: Higdon’s Civil Words,” 20th- and 21st-Century Song Cycles for Voice and Piano Conference, Michigan State University, April 2018
“The Symphony as a Multisensory Experience,” Loewe Symposium, University of Redlands (CA), April 2018
“The Collaborative Compositional Processes of Michael Daugherty and Jennifer Higdon,” Tracking the Creative Process in Music (TCPM) Conference, University of Huddersfield (England), September 2017
“Paraphrase, Allusion, and Meaning in Daugherty’s MotorCity Triptych,” International Conference on Music Since 1900 and Surrey Music Analysis Conference (ICMSN), University of Surrey (England), September 2017
“Jennifer Higdon as an Advocate for Autonomy,” First International Conference on Women’s Work in Music, Bangor University (Wales), September 2017
“Seeing the Modern Symphony,” Music and Visual Cultures International Conference, Maynooth University (Ireland), July 2016
“The Surface and Beyond: Quotation and Allusion in Daugherty’s Orchestral Works,” Allegheny Chapter of the American Musicological Society, Spring Meeting, April 2016
“Redefining Orchestral Performance Space: Younger Audiences and Ritual in the Concert Hall,” City University of New York Graduate Students in Music Symposium, April 2012 and Indiana University Musicology Department Colloquium Series, March 2012