Prof. Adriana Helbig
The Center for Ethnomusicology congratulates Adriana N. Helbig, Associate Professor of Music at The University of Pittsburgh, and a 2005 alumna of the Columbia Ethnomusicology PhD program, on the publication of her book Hip Hop Ukraine: Music, Race, and African Migration (2014, Indiana University Press).
In Hip Hop Ukraine,
Prof. Helbig enters a world of urban music and dance competitions, hip hop parties, and recording studio culture to explore unique sites of interracial encounters among African students, African immigrants, and local populations in eastern Ukraine. Adriana N. Helbig combines ethnographic research with music, media, and policy analysis to examine how localized forms of hip hop create social and political spaces where an interracial youth culture can speak to issues of human rights and racial equality. She maps the complex trajectories of musical influence—African, Soviet, American—to show how hip hop has become a site of social protest in post-socialist society and a vehicle for social change."
Biography: Prof. Adriana Helbig is Associate Professor of Music and an affiliated faculty member in Cultural Studies, Women's Studies, Global Studies, and the Center for Russian and East European Studies at the University of Pittsburgh. She teaches courses on global hip-hop, world music, music, gender, and sexuality, music and technology, and cultural policy. She is also founder and director of the Carpathian Music Ensemble, a student performance group that specializes in the music of Eastern Europe, including Jewish klezmer and Gypsy music. Her research has been funded through grants and research fellowships from the National Endowment for the Humanities, American Councils for International Education, IREX, and Fulbright. She has held a research fellowship at the Kennan Institute for Advanced Russian Studies at the Woodrow Wilson International Center for Scholars in Washington DC and was an inaugural research fellow at the Humanities Center at the University of Pittsburgh. Her articles on Romani (Gypsy) music, postsocialist cultural policy, music and piracy, music, race, and migration, and global hip-hop have appeared in edited collections and journals such as The Yearbook for Traditional Music, Current Musicology, and Popular Music. She is the coauthor, with Oksana Buranbaeva and Vanja Mladineo, of The Culture and Customs of Ukraine (Greenwood Press, 2009).
Prof. Helbig completed her Columbia PhD in Ethnomusicology in 2005, with a dissertation entitled "Play for Me, Old Gypsy”: Music as Political Resource in the Romani Rights Movement in Ukraine, advised by Prof. Ana Maria Ochoa.
Prof. Helbig's Personal Website
Prof. Helbig's Faculty Page at the University of Pittsburgh.
Order Hip Hop Ukraine on Amazon.com
Other ordering options available through The University of Indiana Press.
MACSEM 2015 will be hosted by the Music Department at New York University on Saturday March 28th & Sunday March 29th, 2015. Follow MACSEM on Facebook for latest updates!
Use the PayPal link below to register for the conference.
Call for Papers, MACSEM 2015
DEADLINE FOR PROPOSAL SUBMISSION JAN. 30, 2015
The Mid-Atlantic Chapter of the Society for Ethnomusicology will hold its annual meeting between March 28-29, 2015 at New York University.
This year’s Keynote Speech will be presented by Dr. Georgina Born, Professor of Music and Anthropology, University of Oxford.
The Program Committee invites proposals from ethnomusicologists as well as music scholars working in related fields, including historical musicology, anthropology, media studies, folklore, performance studies, and cultural studies. MACSEM awards the Hewitt Pantaleoni Prize each year to the best student paper delivered at the annual meeting.
Options for presentations include scholarly papers (20-minute presentation,10-minute discussion), organized panels of three or four papers, poster sessions, lecture-demonstrations, film/video screenings, and workshops.
Paper proposals should include an abstract of no more than 250 words. Those proposing panels should submit one 200-word abstract for the entire panel as well as individual abstracts for each presenter. Please include with your proposal: the name(s) of the presenter(s), institutional affiliation(s), title of presentation, format of presentation (paper, panel, poster, workshop, etc.), A/V equipment requirements, e-mail address, and phone number.
Please send abstracts by e-mail to:
Kendra Salois (Program Committee Chair) at:
with the subject line: MACSEM 2015 Proposal Submission.
*Deadline:* January 30, 2015
Early submissions are strongly encouraged! Notifications will be made by February 28th, 2015.
MACSEM 2015 Local Arrangements Chair
New York University
Wednesday, December 10, 2014 - 1:00pm - 3:00pm
The Center for Ethnomusicology Presents:
701C Dodge Hall, Center for Ethnomusicology, Columbia Morningside Campus
Native American Scholar/Activists Trevor Reed and Robin R. R. Gray Discuss Their Repatriations of Columbia's Laura Boulton Collection to Hopi and Tsimshian Communities
Wednesday, December 10, 1-3PM 701C Dodge Hall (The Center for Ethnomusicology)
This colloquium will feature Trevor Reed (Hopi, current Columbia Ethnomusicology PhD and Columbia Law JD student, reporting on his work repatriating Laura Boulton's 1933 and 1940 Hopi music collections, and Robin R. R. Gray, (Tsimshian, Lax'Kwalaams, Ginaxangiik Tribe, and Mikisew Cree First Nation, Anthropology PhD candidate at U Mass/Amherst), who is working to repatriate Boulton's 1933 Tsimshian (Northwest Coast) recordings, made (like the Hopi 1933 recordings) at the Chicago Century of Progress Exposition.
Reed and Gray are working to redevelop these recordings as assets for contemporary communities (and as the long-alienated cultural property of these communities) descended from the performers on the recordings, at the intersection of ethnomusicology, anthropology, cultural rights activism, archiving, and law. Their work embraces and helps define current critical practice for scholarly and legal activism in accounting for and remediating the exploitation and hoarding of Native American cultural patrimony by collectors, ethnomusicologists, anthropologists, commercial interests, and scholarly and curatorial institutions throughout the 20th century.
To learn more about Trevor Reed's work, visit the Hopi Music Repatriation Project blog here:
Listen to Trevor Reed discuss the project with Hopi Cultural Preservation Office (HCPO)repatriation coordinator, Lee Wayne Lomayestewa:
To learn more about Robin R. R. Gray's work, visit her website here:
Or see a video interview with Robin R. R. Gray here:
IPinCH Conversations / Robin R.R. Gray on Reconciliation and Repatriation
General information on the Center's extensive repatriation efforts can be found here:
Or on video here:
Tuesday, November 25, 2014 - 7:00pm
Book Culture, 536 W 112th St, New York, NY
You are invited to Book Culture
Tuesday, November 25th, at 7pm for the launch of Prof. Ana María Ochoa Gautier's
new book, Aurality: Listening and Knowledge in Nineteenth-Century Colombia,
published by Duke University Press
Tuesday, Nov. 25th, 7:00pmLocation: Book Culture (event link here)
536 W 112th St, New York, NY 10025
Ana Maria Ochoa Gautier explores how listening has been central to the production of notions of language, music, voice, and sound that determine the politics of life. Drawing primarily from nineteenth-century Colombian sources, Ochoa Gautier locates sounds produced by different living entities at the juncture of the human and nonhuman. Her "acoustically tuned" analysis of a wide array of texts reveals multiple debates on the nature of the aural. These discussions were central to a politics of the voice harnessed in the service of the production of different notions of personhood and belonging. In Ochoa Gautier's groundbreaking work, Latin America and the Caribbean emerge as a historical site where the politics of life and the politics of expression inextricably entangle the musical and the linguistic, knowledge and the sensorial.Ana María Ochoa Gautier
is Associate Professor of Music and Director of the Center for Ethnomusicology at Columbia University. She is the author of several books and many articles.
Availability: Coming Soon - Available for Pre-Order Now
Published: Duke University Press - November 21st, 2014
Wednesday, November 19, 2014 - 4:37pm
701C Dodge Hall (Center for Ethnomusicology), Columbia U. Morningside Campus, Broadway @ 116th St.
The Center for Ethnomusicology Presents:
"How To Be A Latin American Vanguard Artist and Not Die Trying."
Wed. Nov. 19, 4pm-6pm
Center for Ethnomusicology
701C Dodge Hall
Columbia University Morningside Campus
116th and Broadway
Free and open to the public!
click image for full-sized poster!
Rolando Peña is an internationally known multimedia artist who has
been involved in theatre, dance, and fine arts since 1958. A student of
architecture and design at Universidad Central de Venezuela, he joined
the theater faculty of that university in 1963. In 1965 he staged the
pioneering multimedia shows Testimonio and Homenaje a Henry Miller with
the writer José Ignacio Cabrujas, which featured dance, theater, films,
slide projections, and other elements, the first such performances in
Supported by a grant from the Venezuelan government, he then moved to
New York City to study dance with Martha Graham, Alwin Nicolais, and
Merce Cunningham. He was quickly accepted by some of the iconic figures
of the day. In 1966 Allen Ginsburg and Timothy Leary joined him for the
psychedelic show The Illumination of the Buddha, and the following year
he founded and directed the Latin American vanguard group The Foundation
for the Totality, which presented exhibitions, happenings, films,
publications, and other projects. Soon he became involved with Andy
Warhol and his famous Factory: Warhol filmed many of The Foundation for
the Totality’s happenings, and Mr. Pena acted in some of Warhol’s films.
Rolando Peña’s own film Diálogo con Ché, which he scripted
and acted in and José Soltero directed and shot in New York, was invited
to the 1969 Cannes Film Festival, the Berlin Film Festival, and the
Cinémathèque Palais Chaillot in Paris. Moving back to multimedia, in
1975 he exhibited Santería at the Bogarin Workshop Gallery in New York,
and this same multimedia installation was the opening exhibit at the
Annex at the Contemporary Art Museum in Caracas.
But beginning in 1980 he found the theme that became the predominant
focus of his subsequent work: crude oil. Mr. Peña uses oil as an
expression both of Venezuela and of how Venezuela is perceived
internationally. By means of sculpture, graphics, film, and video, and
sometimes live performance, he examines the ideas of power, money, and
religion through the vehicle of oil and the machinery associated with
His initial exhibition on this theme was entitled The Oil Tower,
which was mounted in 1980 at the Alternative Museum. He was supported in
part during these early years by Fellowships from the Venezuelan
National Endowment for the Arts (CONAC) and CAPS in New York, and a
grant from the National Art Foundation in Venezuela (FUNDARTE). In 1997
he was chosen to represent Venezuela at the 47th Venice Biennial. His
project El Modelo Estándar de la Materia: Tributo al Siglo XX, an
interactive multimedia installation, was mounted in 1999 at the Sofía
Imber Contemporary Art Museum in Caracas. He presented many video
installations with oil as metaphor in the ensuing years, including The
Oil Spill, at the 2000 London Biennial; El Modelo Estándar de la
Materia, at ExpoHannover in 2000; Spontaneous Symmetry Breaking: God’s
Barrel, at Espacio de Arte Contemporáneo El Gallo in Salamanca in 2002,
which then travelled to the Instituto Italo Latino-Americano in Rome and
the Museo Pinacoteca Amedeo Modigliani in Follonica, Italy, and was
revived as a mural for the Andres Bello Catholic University in Caracas
Increasingly recognized as an important figure in the art world,
several tributes to his work were organized, such as at “Interarte 99”
in Valencia, Spain, in 1999; at Feria Internacional de Arte
Contemporáneo, at Mercado de Fuencarral in Madrid, organized by the
European Association of Young Artists, in 2000; and the lecture series
“Arte Ciencia y Tecnología, en la obra de Rolando Peña” presented at the
Andrés Bello Catholic University. In addition he served as a Professor
of Multimedia at the Ateneo de Caracas in 1972-73; as an invited
conferee at a conference on contemporary art at the University of St.
Denis in Paris in 1985; as a guest artist at the Instituto Venezolano de
Investigaciones from 1998 to 2001; as a guest lecturer at Andrés Bello
Catholic University from 1999 to 2007; and as the organizer of special
events for the Organización Nelson Garrido (ONG) in Caracas since 2001.
His knowledge of contemporary art has led to his curating several
international shows: Les Droits de l’Art at Chapelle de la Salpêtrière,
Paris (1989); Pierre Restany Le Coer et la Raison, at Morleix, France
(1991); V Muestra Internacional de Video, in Seville, Spain (1991); AU
DELA, Observatori 2001, at Segundo Festival Internacional de Arte, in
Valencia; and Performance Art (Dialogues-Performance) at ONG in 2007.
During his Guggenheim Fellowship term, Mr. Peña will be working on a
new interactive multimedia exhibition entitled Make Oil Green, which
adds the topic of global warming to his persistent interest in and
exploration of the theme of oil.
Thursday, October 23, 2014 - 4:00pm
701C Dodge Hall (Center for Ethnomusicology)
The Center for Ethnomusicology is pleased to present:
Prof. Jocelyne Guilbalt (University of California, Berkeley)
Roy Cape's Labor of Love: Theorizing Work Ethics through Musical Biography
Thursday Oct. 23, 2014
4:00 - 6:00 pm
Center for Ethnomusicology
701C Dodge Hall (Columbia Morningside Campus)
Jocelyne Guilbault is
Professor of Ethnomusicology at the Music Department of the University
of California, Berkeley. Since 1980, she has done extensive fieldwork in
the French Creole- and English-speaking islands of the Caribbean on
both traditional and popular music. Informed by a postcolonial
perspective, she published several articles on issues of representation,
aesthetics, the cultural politics of West Indian music industries,
multiculturalism, and world music. She is the author of Zouk: World
Music in the West Indies (1993), a study that maps the complex musical
network among the French-Creole speaking islands, and the vexed
relations that are articulated through music between the West Indian
French Departments and the Metropole, France. Co-editor of Border
Crossings: New Directions in Music Studies (1999-2000), she has since
then been on several Editorial boards, including The Black Music
Research Journal, the Society for Ethnomusicology Journal,
and MUSICultures (Canada). In 2007, she published Governing Sound: the
Cultural Politics of Trinidad's Carnival Musics (2007), a study that
explores the ways the calypso music scene became audibly entangled with
projects of governing, audience demands, and market incentives. Her new
book about and with Roy Cape, titled Roy Cape: A Life on the Calypso and
Soca Banstand (2014) is both a study about reputation, circulation, and
work ethics, and a dialogic experiment in story.
Click image for full-sized poster.
The Center for Ethnomusicology warmly congratulates Dr. Melissa Gonzalez,
who successfully defended her PhD dissertation on September 17, 2014. Dr. Gonzalez is also an alumna of the Barnard College music major. Her dissertation, advised by Prof. Christopher Washburne,
is entitled: "Cien por Ciento Nacional!" Panamanian Musica Tipica and the Quest for National and Territorial Sovereignty."
Dissertation Abstract: "In this dissertation, I investigate the socio-cultural and musical transfigurations of a rural-identified musical genre known as musica tipica as it engages with the dynamics of Panama's rural/urban divide and the country's nascent engagement with the global political economy. Though regarded as emblematic of Panama's national folklore, musica tipica is also the basis for the country's principal and most commercially successful popular music style known by the same name. The primary concern of this project is to examine how and why this particular genre continues to undergo simultaneous processes of folklorization and commercialization. As an unresolved genre of music, I argue that musica tipica can offer rich insight into the politics of working out individual and national Panamanian identities.
Based on fourteen months of ethnographic fieldwork conducted in Panama City and several rural communities in the country's interior, I examine the social struggles that subtend the emergence of musica tipica's genre variations within local, national, and transnational contexts. Through close ethnographic analysis of particular case studies, this work explores how musicians, fans, and the country's political and economic structures constitute divisions in regards to generic labeling and how differing fields of musical circulation and meaning are imagined."
Congratulations to Dr. Gonzalez!
The Center for Ethnomusicology warmly congratulates Dr. Shannon Garland, who successfully defended her doctoral dissertation on September 5, 2014. Dr. Garland's dissertation, advised by Prof. Ana Maria Ochoa, is entitled: "Music, Affect, Value, and Labor: Late Capitalism and the (Mis)Productions of Indie Music in Chile and Brazil."
Dissertation Abstract: This dissertation traces the tensions surrounding indie music production in Santiago, Chile and Sao Paulo, Brazil. I conducted several years of ethnographic research on locally situated, yet transnationally interpolated, musical production, circulation and listening practices in Santiago and Sao Paulo. I open by detailing the expansion of the indie touring market from the global north into both cities, theorizing the enlistment of affect as a neoliberal technique for producing monetary value. The next chapter considers spaces for musical association as forms of infrastructure that both emerge from and themselves help constitute musical-social networks in Santiago. I follow by showing how the history of Brazilian individuals' engagement with particular sets of indie sounds from the global north bear upon the contemporary formation of infrastructures of social relations, musical aesthetics, and places for musical and social association. Finally, I detail how the tensions between the construction of audience, value, aesthetics and circulation arising from new production structures manifest in the politics of a new type of Brazilian institution called Fora do Eixo. Here, I inspect the logics of aesthetic valuation in building structures for music production within a complex state-private nexus of cultural funding in Brazil. As a whole, this dissertation explores the political struggles emerging as actors seek to establish new structures for participating in live shows and for playing music as both a creative practice and as an economic activity within emerging forms of communication made possible by digital media. Each struggle is simultaneously interpolated by the messy articulation of transnationally-produced notions of aesthetics, authentic modes of engagement with music, and moral-ethical ways of organizing music production, circulation and remuneration as a social practice. The dissertation thus highlights the way new media and economic logics build upon and clash with historical practices of production, evaluation of aesthetics, and regimes for mediating the artistic, the economic, and the social.
The Department of Music at Columbia University seeks to hire a tenure-track assistant professor with a specialization in ethnomusicology. The responsibilities of the position include research and publication, graduate and undergraduate teaching, contributing to the programming and development of the Center for Ethnomusicology, and participating in departmental service. Additionally, the successful candidate will be expected to teach in Columbia's Core Curriculum. We seek a colleague whose work will complement our current strengths.
For further information and instructions on applying, please see Columbia's online Recruitment System for Academic Personnel (RAPS) website:
Application review begins Oct. 20, 2014. The position is open until filled.
Columbia University is an Equal Opportunity/Affirmative Action employer.
click image for full sized poster!
Center for Ethnomusicology 2014 Sound & Vision Series
Friday, September 26, 2014 - 9:00am - Saturday, September 27, 2014 - 11:00pm
701C Dodge Hall/Black Box Theater, Barnard College Diana Center
The Center for Ethnomusicology presents a conference and concert: La Voz – VoiceIn Spanish, Portuguese and English
Co-organized with ILAS, LAIC and Barnard Forum for Migration
PLEASE NOTE THAT THERE ARE NO MORE TICKETS AVAILABLE FOR THE SEPT. 27 CONCERT EVENT.
Sept. 26 and September 27, 2014
Center for Ethnomusicology (701C Dodge Hall)
Black Box Theater at Barnard College Diana CenterParticipants:
Juan Carlos Asensio Palacios, Ticio Escobar, Licia Fiol-Matta, Enrique Ignacio Gavilán Domínguez, Anne Levitsky, Cacá Machado, Laura Jordán, Silvia Martínez, Marti Newland, Ana M. Ochoa, Deisi Oliveira Montardo, María Pagán-Mattos, Jesús Rodríguez Velasco, Osvaldo Salerno, Aurélie Vialette, Leonardo Waisman.There will also be a concert related to the conference: Sept. 26, 7.30 pm Blackbox Theater, Barnard,
original compositions by Mexican composer Marcela Rodríguez (Rasgando el Silencio) performed by Lucía Pulido and Jeffrey Zeigler, and Brazilian composer and musicologist, Cacá Machado (Ritmo y Silencio, canciones), Performed by Lucía Pulido and Cacá Machado.
See attached conference program for more information.
Click image for full sized program poster!
Thursday, September 18, 2014 - 12:00pm - 2:00pm
701C Dodge Hall, Center for Ethnomusicology, Columbia University Morningside Campus, 116th St. and Broadway
The Center for Ethnomusicology presents a colloquium on:Indigeneity and Music
featured speakers:Amanda Minks
(University of Oklahoma):"Constructing Culture and Indigeneity on the Caribbean Coast of Nicaragua"Deise Lucy Montardo
(Universidade Federal do Amazonas, Brazil; President. Brazilian Ethnomusicology Association [ABET]):Music and Cosmology in Lowland South America: Guarani and Baniwa cases
Thursday, Sept. 18, 2014
12 noon - 2pm
701C Dodge Hall (The Center for Ethnomusicology)
Columbia University Morningside Campus (B'way and 116th St.)
Free and Open to the Public
Amanda Minks is Associate Professor in the Honors College and is
affiliated with the Department of Anthropology and with the programs in
Native American Studies and Women’s and Gender Studies at OU. She
earned a Ph.D. in Ethnomusicology at Columbia University in 2006, with
research specializations in music-language relations and language
socialization. Her courses focus on music, language, and cultural
politics in the Americas. She also teaches a course with a global focus
on intellectual property and cultural heritage.
Dr. Minks has conducted ethnographic research on the Atlantic coast
of Nicaragua for over ten years. She has examined the aesthetics and
politics of play among Miskitu children living on Corn Island in her
monograph Voices of Play: Miskitu Children's Speech and Song on the Atlantic Coast of Nicaragua (University
of Arizona Press, 2013). She has also written about Miskitu music and
community media in Bilwi, in the northern autonomous region of the
Atlantic coast. Most recently, she has been studying inter-American
cultural policies of the mid-20th century and their impact on
discourses of development in the U.S. and in Latin America.
Dr. Minks has received grants and fellowships from the Mellon
Foundation, the Wenner-Gren Foundation, the Social Science Research
Council, and the Fulbright Institute of International Education, among
others. Her past publications include articles in the journals Pragmatics, Language and Communication, Ethnomusicology, Yearbook for Traditional Music, and Wani, as well as chapters in several edited volumes.
read more »
Monday, September 8, 2014 - 4:10pm
The Center for Ethnomusicology Presents:George Yúdice
(Director, Miami Observatory on Communication and Creative Industries, University of Miami)Vulgar musics and the challenge to the recognition of cultural heritage
Monday, Sept. 8, 2014
4.10 – 6.30pm
701C Dodge Hall (Center for Ethnomusicology)http://works.bepress.com/george_yudice/
George Yúdice received his B.A. (Chemistry) from Hunter College, CUNY; his M.A.
(Spanish) from the University of Illinois, Champaign-Urbana; and his Ph.D. (Romance
Languages) from Princeton University (1977). His teaching includes critical theory,
literary and cultural studies; his courses range from contemporary aesthetics and
politics to urban imaginaries, to film recreations of literary works, Mapping Miami, and
cultural policy in Latin America. He also teaches in the Program in Latin American
Studies and he is director of the Miami Observatory on Communication and Creative
), which tracks work in music, theater, audiovisual, culture-based urban revitalization, cultural networks throughout the Americas, and community-based projects in South Florida
The Center warmly congratulates Dr. Marti Newland, who successfull defended her dissertation, entitled Sounding “Black”: An Ethnography of Racialized Vocality at Fisk University, on June 23, 2014. Her dissertation was sponsoredby Prof. Fox.
Dr. Newland has accepted a postdoctoral position as Core Lecturer (Music Humanities) at Columbia University for 2014-16.
The Center for Ethnomusicology warmly congratulates Dr. Nili Belkind,
who defended her dissertation on May 8, 2014. Dr. Belkind's dissertation is entitled Music in conflict: Palestine, Israel, and the politics of aesthetic production
. It was sponsored (advised) by Prof. Christopher Washburne.
Dr. Belkind's dissertation is an ethnographic study of the fraught and complicated cultural politics of music making in Israel-Palestine in the context of the post-Oslo era, a time of highly polarized sentiments and general retreat from the expressive modes of relationality that accompanied the 1990s peace process. In it, she examines the politics of sound and the ways in which music making and attached discourses reflect and constitute identities, and also, contextualize political action. Ethical and aesthetic positions that shape contemporary artistic production in Israel-Palestine are informed by profound imbalances of power between the State (Israel), the stateless (Palestinians of the oPt), the complex positioning of Israel’s Palestinian minority, and contingent exposure to ongoing political violence.
The Center for Ethnomusicology warmly congratulates the following graduating seniors who have majored in ethnomusicology or worked closely with the ethnomusicology area faculty on senior projects. 2014 was a banner year for undergraduate ethnomusicologists at Columbia!
(Independent Major in Ethnomusicology, and Biology, Columbia College) completed a senior thesis entitled "Carnatic Music in Diaspora: Tamil American Carnatic Musicians," advised by Prof. Aaron Fox. The thesis examines the bicultural musical lives of young Tamil Americans.
Kevin Woojin Lee
(Music, and Economics, Columbia College) completed a senior thesis entitled "Crisis in the Operatic Tradition: Innovation as Violation," which examines the economic failure of the New York City Opera.
(Ethnomusicology, Barnard College) completed a senior thesis entitled "The Jazz Mass: Experiencing Religion and Spirituality Through Non-Traditional Music," advised by Prof. Ana Maria Ochoa. Kate has also worked extensively for the Center for Ethnomusicology in numerous capacities, as well as for the Music and Arts Library.
(Music, Columbia College) has been awarded Departmental Honors for her essay (advised by Prof. Aaron Fox) "A Space for Musical Therapy: On Nationalism, Modernity, Music, and Medicine in the Transition from Ottoman Empire to Turkish Republic." The essay looks at the use of music for medicinal or therapeutic purposes across broad historical span of Turkish history.
(Ethnomusicology, Barnard College) completed a senior thesis entitled "A Case Study of the NYU Steinhardt Nordoff-Robbins Center for Music Therapy: The Reception of Music Therapy as Explored through Analysis of its Research," advised by Prof. Christopher Washburne.
(Ethnmusicology, Barnard College) completed a senior thesis entitled "Making Miley 2.0: The Mechanisms Behind the Rebranding of Miley Cyrus," advised by Prof. Kevin Fellezs.
The Center for Ethnomusicology warmly congratulates Dr. Jessica Schwartz, currently completing her two year term as a Mellon Postdoctoral Teaching Fellow in the Department, who has been appointed Assistant Professor of Musicology at The University of California, Los Angeles!
Dr. Schwartz holds the PhD in Ethnomusicology from New York University, where she completed a dissertation entitled: "Resonances of the Atomic Age: Hearing the Nuclear Legacy in the United States and the Marshall Islands, 1945-2010," advised by Prof. Jairo Moreno. She has published articles in, among other places, Transactions of the Royal Historical Society,Women and Music, and Music&Politics. Dr. Schwartz is also the founder of the Marshallese Educational Initiative, Inc., a not-for-profit organization dedicated to expanding educational opportunities for Marshallese and raising awareness of Marshallese issues.
Lauren Flood (Ethnomusicology) has been awarded a dissertation completion fellowship for 2014-15 from the Mrs. Giles Whiting Foundation. The title of her dissertation is "Building and Becoming: DIY Music Technology in New York and Berlin," and it is sponsored by Prof. Ana Maria Ochoa.
The Center for Ethnomusicology warmly congratulates Dr. Jonathan "Toby" King (PhD, Ethnomusicology, 2014), who has been appointed Assistant Professor of Music at The University of North Carolina at Asheville! Dr. King's dissertation is entitled "Implications of Contemporary Bluegrass Music Performance at and around a New York City Jam Session," and it is sponsored by Prof. Aaron Fox. Dr. King defended his dissertation on June 2, 2014. We congratulate him for that as well!
Professor Kevin Fellezs will be giving the 2014 Woody Guthrie Distinguished Lecture at the International Association for the Study of Popular Music, US Branch (IASPM-US) annual conference on Saturday, March 15, 2014, at the University of North Carolina, Chapel Hill.
Fellezs's talk is titled "What Is This 'Black' In Japanese Popular Music? (Re)Imagining Race in a Transnational Polycultural Context," which focuses on his research of Black American musicians enjoying success in Japan in enka and J-Pop, two genres strongly associated with Japanese-ness, complicating conventional ideas linking identity, nationality, race, and genre.