Kimberly Francis is Associate Professor of Music at the University of Guelph, Canada, where she specializes in music of the twentieth- and twenty-first centuries and feminist musicology. Dr. Francis received her PhD in musicology from the University of North Carolina at Chapel Hill in 2010, work for which she received the prestigious Glen Haydon Award. Dr. Francis’s research has been supported by numerous grants, including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (2011-2013). She has served as an International Fellow with the American Association of University Women and has three times been recognized by the American Musicological Society, winning the society’s Teaching Fund Award (2012); the Paul A. Pisk Prize (2008); and the Eugene K. Wolf Travel Grant (2007). 

Dr. Francis is the author of Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon (Oxford University Press, 2015) and her work has appeared in various journals, including The Musical Quarterly, Women and Music, the Revue de Musicologie, the Journal of the Society for American Music, and the Journal of Music History Pedagogy. She will also be a contributing author to Patricia Hall’s forthcoming Oxford Handbook of Music Censorship and to Christopher Moore and Barbara Kelly’s Authority, Advocacy, Legacy: Music Criticism in France During the Interwar Period. She  currently serves as Editor-in-Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. She is currently co-editing with Jeanice Brooks an edition of Nadia Boulanger’s published and unpublished writings as well as developing a monograph on modernist composer-performer-conductor Marcelle de Manziarly that explores the links between white, French womanhood, mystical religious beliefs, and musical exoticism during the interwar period.