Kimberly Parke is a musicologist whose scholarly interests include mechanical topoi in music, performance practices, and opera—especially as these topics intersect with the early-modern era and the early 20^th century.

She received her B.Mus from Oberlin Conservatory and her M.A. and Ph.D. degrees in music history and literature from the University of California, Berkeley for a dissertation entitled Engineering Music: Giambattista Aleotti’s “De la musica.”  Her examination fields included the 16^th and 17^th centuries, Monteverdi’s Madrigali guerrieri et amorosi, and the music of Igor Stravinsky.

She has presented numerous musicological and interdisciplinary conferences, most recently including: “The Battle Mass, the Limits of Referentiality and the Persistence of Signification,” “‘Bodies with soules... substances without sense’: Automatic Birds in the Early Modern Pleasure Garden,” and “The Clockwork of Mount Parnassus: Towards a Redefinition of Time in the Early Seventeenth Century.” She lectured on a wide range of musicological topics at the University of Tennessee and the New Zealand School of Music before coming to Mahidol University in Thailand. Her research has been supported by a number of organizations including the American Musicological Society and the American Association of University Women. She is currently working on articles entitled “The Music of the Early Modern Pleasure Garden” and “The Organ as a Metaphysical Apparatus.”