Dr. Slocum became interested in Baroque Performance Practice while she was pursuing a Professional Studies Certificate at the Mannes College of Music.  She received a Fellowship to the ARTEK Institute, studying continuo playing with Jay Elfenbein and Myron Lutske. This began a thirst for knowledge about historical performance practice.  While still at Mannes, Dr. Slocum studied string playing with Nancy Wilson, gamba with Martha McGaughey, explored the history of the violone with Patricia Neely and studied Baroque Performance practice with Arthur Haas. After participating in the Amherst Music Festival, she decided to pursue Doctoral studies in order to enhance her knowledge in this area.  As part of her work for the D.M.A., she researched the origin of the Eccles Sonata, locating the original work written for violin, tracing the history of the editions which led to it becoming a vehicle for bassists, also providing an ornamented version as a guide for those wishing to deepen their approach to the Baroque style.  Her lecture recital was devoted to the performance and discussion of Mozart's "Per Questa Bella Mano", performed in Viennese tuning. In addition she wrote a paper on Monteverdi utilizing the madrigal "Lamento della Ninfa", which exemplified modality as well as the emergence of tonality. Dr. Slocum can be heard on recordings with Concert Royal and the American Classical Orchestra or Fairfield Symphony.  She has also performed with ARTEK as well as numerous other Baroque ensembles.