Carlota Aguilar González (she/her/hers/they/them/theirs) is a Ph.D. student in Musicology at Cornell University. They are originally from the Canary Islands, Spain, a place that ties together the borders of an Atlantic identity. They completed their music studies in viola performance in the Conservatory Rafael Orozco in Córdoba, Spain, continuing an itinerary that departed from the western canon to arrive at the most frivolous and eventual musical phenomena. Following this path of questioning the power of music to make sense, Carlota holds a Bachelors’s degree in History and Sciences of Music, and a Master’s in Spanish and Hispano-American Music by the Complutense University in Madrid. Their work is deeply invested in social models that promote diversity, equity and inclusion, focusing on queer theory, race, gender and sexuality, and decolonial criticism to music media, voice, and posthuman bodies that transport sound and meaning from the past to the future.
Clifton Boyd (he/him) is a Ph.D. candidate in music theory at Yale University. Originally from West Bloomfield, MI, he holds an M.M. in music theory from the Jacobs School of Music at Indiana University and a B.M. in viola performance and music theory from the University of Michigan. His dissertation, provisionally titled “The Role of Vernacular Music Theory in the Institution of Barbershop Music,” investigates the role of music theory in the social culture of American vernacular musical communities, with a focus on racial and gender discrimination. This research has been supported by the Margery Lowens Dissertation Research Fellowship from the Society for American Music and the Howard Mayer Brown Fellowship from the American Musicological Society. Other research interests include minimalism, form in nineteenth-century chamber music, musical meter, and Italian popular music.
In addition to his academic pursuits, Clifton is a staunch advocate for diversity in music academia: he is the founder of Project Spectrum, and as chair (2017–19) oversaw the organization our inaugural symposium Diversifying Music Academia: Strengthening the Pipeline (2018). In July 2020, he will deliver a paper as part of Project Spectrum’s keynote address at the Music Theory Society for New York State annual meeting. He has twice been a recipient of the Sphinx Organization’s MPower Artist Grant on Project Spectrum’s behalf. He was also a fellow for Yale’s Office for Graduate Student Development and Diversity (2018–20), and currently serves on the Society for Music Theory’s Committee on Race and Ethnicity. His writing on diversity in academia has been featured in Inside Higher Ed. In his free time, Clifton enjoys listening to comedy podcasts.
Anna B. Gatdula (she/her/hers) is a PhD Candidate in Music History & Theory at the University of Chicago. Her dissertation has the working title, “American Opera in the Nuclear Age; or, How We Aestheticize Fear and Learn to Love the Bomb.” Her research covers American cultural history, opera studies at the intersection of voice and performance studies, affect theory, and aesthetics. Outside of the academy, Anna pursues one too many hobbies including poetry writing, photography, baking, and triathlon.
Laurie Lee (she/her/hers). Laurie comes from Beijing and Seoul/Busan, and received her BA at the University of Chicago. She is broadly interested in the intersections of voice, labor, and technology. Her dissertation focuses on the histories of women’s voices in colonial Korea, particularly as they were heard through the telephone, radio, and phonograph records.
Toru Momii (he/him/his) is a Ph.D. candidate in music theory at Columbia University. A native of Japan, he holds an M.A. in music theory from the Schulich School of Music, McGill University and a B.A. in music and economics from Vassar College (Phi Beta Kappa). Prior to pursuing academic research, he worked in the investment banking industry in Tokyo.
His current research interests include interculturality in twenty-first century music, performance analysis, instrumental gestures in gagaku, contemporary popular music in North America and Japan, and decolonial theory. Toru is a fellow for the Office of Academic Diversity and Inclusion at Columbia and serves on the executive board of the Graduate Students of Color Alliance. In his spare time, he enjoys cooking, baseball, and playing the shō.
Hyeonjin Park (they/them/theirs) is a Ph.D. student in the Department of Musicology at UCLA. They hold an M.A. in Music from the University of Bristol and a B.A. in English Literature and Music from Mount Holyoke College. Their interdisciplinary research uses sociocultural frameworks to explore video game music and sound; particularly focusing on aesthetics, player reception and engagement, and the formation of identity.
Alissandra (Lissa) Reed (she/her/hers) is a PhD student in music theory at the Eastman School of Music, currently living in Salt Lake City. She holds a BM in music theory from Florida State University and a MA in music theory from Ohio State University. A music cognition researcher, Lissa has presented studies at regional and national conferences on cognitive connections between music and language and on perception of emotion in Romantic instrumental music. Her dissertation works toward an antiracist, feminist, decolonial music theory toolbox which employs psychoacoustic and perceptual principles to analyze music of many genres and styles.
Lissa was a co-founder of Eastman’s Diversity, Equity, Inclusion, and Accessibility Student-Faculty Alliance (DEIASFA) in 2018, started an antiracist reading group at Eastman, and moderated a panel on intersectionality at Eastman’s inaugural Gender Equity in Music conference in 2020. She is a proud dog mom and an active instrumentalist, singer, songwriter, and producer, particularly proud of her all-woman, Columbus-based rock band BABS.
Ana Alonso Minutti (she/her/hers) is an Associate Professor of Music, faculty affiliate of the Latin American and Iberian Institute, and research associate of the Southwest Hispanic Research Institute at the University of New Mexico. She was born and raised in Puebla, Mexico, where she graduated summa cum laude from the Universidad de las Américas. She came to the United States to pursue graduate studies at the University of California, Davis, where she obtained M.A. and Ph.D. degrees in musicology. Her work focuses on music traditions from Mexico, the U.S. Southwest, and Latin America, and her current scholarship engages with experimental expressions, Chicana feminisms, critical race theory, and decolonial methodologies.
Ana has presented her research throughout the Americas and Europe and has published widely in Spanish and English. She is coeditor of Experimentalisms in Practice: Music Perspectives from Latin America (Oxford University Press, 2018), and her upcoming book, Mario Lavista and Musical Cosmopolitanism in Mexico, is under contract by Oxford University Press. As an extension of her written scholarship, she directed and produced the video documentary Cubos y permutaciones: plástica, música y poesía de vanguardia en México, which has been exhibited in museums throughout Mexico and the U.S. Apart from her scholarship, Ana has engaged in various compositional projects, particularly for vocal ensembles. Her latest piece, “Voces del desierto,” was a 2019 commission for the multidisciplinary project Migrant Songs directed by Szu-Han Ho. Ana has served in various capacities in academic societies. She was the chair of the 2019 AMS Ibero-American Music Study Group and is currently a member of the AMS council. Moreover, she is a member of the editorial boards of the Journal of the American Musicological Society and the Journal of Music History Pedagogy.
Robin Attas (she/her/hers) is a white settler music theorist currently working in Haudenosaunee and Anishinaabe territory at the Centre for Teaching and Learning at Queen’s University in Kingston, Ontario, Canada. She is also cross-appointed in Queen’s University’s Dan School of Drama and Music. Robin’s ‘day job’ is to support teaching and learning development across campus among faculty, staff, and students; a large part of her work deals with ongoing efforts around decolonizing and indigenizing higher education in the Canadian nation-state. Robin remains active as a music theory researcher, presenting and publishing on topics including popular music analysis, music theory and social justice, decolonizing/indigenizing music theory teaching and research, and music theory pedagogy in journals including Music Theory Online, Music Theory Spectrum, the Canadian Journal of Higher Education, Music Theory Pedagogy, College Music Symposium, and MUSICultures. Prior to her current position, Robin held appointments in music theory and general education at Mount Allison University and Elon University. She is a graduate of the University of British Columbia (M.A. and Ph.D. in music theory), where she was fortunate to learn about interdisciplinary music research, student-centered teaching, and social justice work from amazing teachers on and off campus. Outside of work, Robin plays guitar, gets outdoors, and hangs with her husband and two kids—often all three things in combination.
Nadia Chana (she/her/hers) is Assistant Professor of Ethnomusicology at University of Wisconsin–Madison. She grew up in Edmonton/Amiskwaciwâskahikan singing in choirs (and everywhere else), a context that directly shapes her work, however invisibly. Nadia’s research focuses on climate crisis and relations among Indigenous activists, settlers, and nonhuman actors in Northern Alberta and the California Bay Area. Fuelled by the urgency of climate crisis, she asks: what can healthy relationships between humans and the more-than-human world––plants, animals, water, land––look and feel like? And what role do practices like listening, walking, and even singing play in transforming these relationships?
More generally, Nadia is interested in listening, healing, voice (both audible and metaphoric), embodiment, alternative epistemologies/practice-based ways of knowing, critical race and Indigenous studies, experimental and collaborative ethnography, and Bay Area spirituality.
She received her Ph.D. from the University of Chicago in 2019.
Nalini Ghuman (she/her/hers) is Professor of Music at Mills College in Oakland, CA, where she teaches courses on Indian music, women and gender, opera, and seminars on music and conflict, migration, orientalism, nationalism, and postcolonialism. Professor Ghuman was educated at The Queen’s College, Oxford (BA, first-class hons.) King’s College, London (MMus, distinction), and the University of California at Berkeley (PhD in musicology and ethnomusicology). Her book, Resonances of the Raj: India in the English Musical Imagination (Oxford University Press, 2014), was selected as the BBC Music Magazine’s ‘Book of the Month’. Recent essays include ‘Maud MacCarthy: The Musicking Body’ in The Music Road. Coherence and Diversity in Music from the Mediterranean to India, ed. Reinhard Strohm, (The British Academy Proceedings, Themed Volumes, 2019), and ‘Elgar’s Pageant of Empire, 1924: An imperial leitmotif’, in Exhibiting the Empire: Cultures of display and the British Empire (Manchester University Press, 2015).
Professor Ghuman has served as Chair of the Music Department at Mills College and Chair of the AMS’s Council Nominating Committee. Currently a member of the American Musicological Society’s Otto Kinkeldey Award Committee, she has served on the AMS’s Committee on Cultural Diversity (AMS) and the Committee on Diversity and Social Justice at Mills College where she has helped to organize events relating to prejudice and biases, such as: ‘Islamophobia: Disrupting the Urge to “Other”.
Dr. Ghuman has presented programmes on BBC Radio, given invited lectures at the British Academy in London, at the Asian Art Museum in San Francisco, and at Yale University. An active singer, pianist and violinist, she performed the US premiere of John Foulds’ first Essay in the [South Indian] Modes for solo piano at a book launch event at Mills College in a programme which also presented her historic reconstruction of the 1930s All-India Radio Indo-European Ensemble.
Eduardo Herrera (he, his, him) is Associate Professor of Musicology at Rutgers, The State University of New Jersey. He specializes in contemporary musical practices from Latin America, the Caribbean, and Latinx peoples in the United States from historical and ethnographic perspectives. His research topics include Argentine and Uruguayan avant-garde music, soccer chants as participatory music making, and music and postcoloniality in Latin America. Herrera first book is titled Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-Garde Music (Oxford University Press, forthcoming) explores the history of the Centro Latinoamericano de Altos Estudios Musicales (1962–1971) as a meeting point for local and transnational philanthropy, the framing of pan-regional discourses of Latin Americanism, and the aesthetics and desires of high modernity. Herrera’s co-edited volume Experimentalisms in Practice: Music Perspectives from Latin America (Oxford University Press, 2018) discusses a wide variety of artistic and musical traditions from Latin America, the Caribbean, and Latinos/as in the United States, conceived and/or perceived as experimental. Herrera’s second book project, titled Soccer Chants: The Sonic Potentials of Participatory Sounding- and Moving-in-Synchrony, studies collective chanting in Argentine soccer stadiums. Mixing ethnography and semiotics, Herrera pays attention to the way that moving- and sounding-in-synchrony frames the interpretation of symbolic and physical violence. Drawing on the performative theories of public assemblies, and informed by research on affect and emotion this work argues that chanting brings together sounds and bodies in a public affective practice that, through repetition, contributes to the construction of masculinities that are heteronormative, homophobic, and aggressive, often generating a cognitive dissonance with the individual beliefs of many of the fans.
Ellie M. Hisama is Professor of Music (Music Theory and Historical Musicology) at Columbia University. She is a member of the Institute for Research on Women, Gender, and Sexuality’s Executive Committee and served as its Director of Graduate Studies. She published Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon and co-edited Critical Minded: New Approaches to Hip-Hop Studies. She has published articles on Joan Armatrading, Asiaphilia in popular music, Julius Eastman and a recent reflection on race and ethnicity in the profession. Her article on Britten’s The Rape of Lucretia is forthcoming in the Journal of American Musicological Society, and her essay “Considering Race and Ethnicity in the Music Theory Classroom” was published in the Norton Guide to Music Theory Pedagogy. She co-organized the 2005 meeting of Feminist Theory and Music in New York, the Ruth Crawford Seeger centennial festival, and the international symposium Women, Music, Power in honor of Suzanne Cusick’s work. She is the Founding Editor of the Journal of the Society for American Music and past Editor in Chief of Women and Music: A Journal of Gender and Culture.
She has served on the Society for Music Theory’s Program Committee, Committee on the Status of Women, and Committee on Diversity, and has served on the American Musicological Society’s Program Committee, Publications Committee, and AMS 50 committee. At Columbia, she chaired the Humanities Equity Committee and is Primary Investigator for Working in Sound: For the Daughters of Harlem, a project funded by the Collaborative to Advance Equity Through Research. She was the invited music theorist in the Robert Samels Visiting Scholar Program, Jacobs School of Music, Indiana University, and was the Scholar in Residence for the Judy Tsou ’75 Music Scholars Series at Skidmore College. An alumna of Phillips Exeter Academy, her classroom teaching is strongly based in Exeter’s Harkness Method of collaborative learning.
Pronouns in use: She, her, hers.
Amanda Hsieh (she/her/hers/they/them/theirs) is in the final steps of obtaining her PhD in Musicology from the University of Toronto. Her dissertation, called “Male Hysteria, Degenerate Operas,” examines post-Wagnerian operas in relation to WWI-era politics of masculinity. More broadly, she is interested in historical and present questions of voice, identity, and belonging. For instance, in her most recent article in the Journal of the Royal Musical Association, she questions through Berg’s Wozzeck what it meant to sound like a man, and what might constitute voices of empathy.
She has served as student representatives for the Royal Music Association (UK) and the Graduate Education Council at the University of Toronto. During the anti-austerity movement of the early 2010s, she also organized documentary film screenings for the seminar series “Beyond Consumerism: Ideas of a University in the 21 st C” at the University of Oxford.
Tammy L. Kernodle is Professor of Musicology at Miami University in Oxford, OH. Her scholarship and teaching has stretched across many different aspects of African American music, but places an emphasis on the effects that gender, and sexuality have had on the creation, performance, and reception of those musics. Kernodle earned a B.M. in Music Education (Vocal and piano) from Virginia State University, and M.A. and Ph.D. in Musicology (Music History) from The Ohio State University. She served as the Scholar in Residence for the Women in Jazz Initiative at the American Jazz Museum in Kansas City from 1999 until 2001, and has worked closely with a number of educational programs including the Kennedy Center’s Mary Lou Williams Women in Jazz Festival, Jazz@Lincoln Center, National Public Radio (NPR), and the BBC. From 2012 until 2016 she worked as a scholarly consultant on the inaugural music exhibits for the National Museum of African American History and Culture in Washington, DC. Her work has appeared in American Studies, Musical Quarterly, Black Music Research Journal, The Journal of the Society of American Music, American Music Research Journal, The U.S Catholic Historian, The African American Lectionary Project and numerous anthologies. She is the author of biography Soul on Soul: The Life and Music of Mary Lou Williams (Northeastern University Press) and served as Associate Editor of the three-volume Encyclopedia of African American Music (ABC-CLIO, 2010); the first work to chronicle the complete history of African American Music from 1619 until 2010. She also served as one of the Senior Editors for the revision of the landmark New Grove Dictionary of American Music (2014). She appears in a number of award-winning documentaries including Mary Lou Williams: The Lady Who Swings the Band, Girls in the Band and the recently released Miles Davis: Birth of Cool. She is the President of the Society for American Music.
Catrina Kim (she/her/hers) is Assistant Professor of Music Theory at the University of North Carolina at Greensboro. She earned her PhD in Music Theory from the Eastman School of Music in August 2020; she also holds an M.A. in Music Theory from Eastman and a B.A. in Piano Performance from the University of Houston. She has presented on early Romantic form and aesthetics as well as on issues in diversity, equity, and labor at regional and national music theory meetings; and her paper “Fragments and Frames in the Early Romantic Era” was a recipient of the Society for Music Theory’s inaugural Student Presentation Award (2019).
Catrina’s research gravitates toward the parameters that guide analysts to draw certain musical boundaries, the constitutive impact of these boundaries, and cases in which those lines are breached. This fall (2020), she looks forward to exploring these issues with UNCG students as she teaches a seminar on gender, race, and the musical canon.
Krystal Klingenberg (she/her/hers) is an Assistant Professor of Music History at the Hartt School at the University of Hartford. She received her PhD in May of 2019 from the Music Department of Harvard University, with a secondary field in African and African American Studies. Her dissertation turned book project is on the creation and distribution of Ugandan popular music. It tackles questions of national identity in music, the status of copyright in Uganda today, and the growth of the Ugandan music industry. Krystal’s interests include global Black popular musics, digital media, pedagogy, and social justice. She is a member of the Society for Ethnomusicology and the African Studies Association and holds leadership positions in each. She is passionate about her students, enthusiastic about public ethnomusicology, and deeply invested in accurate portrayals of modern Africa. Service of those three domains energizes her daily.
Matthew Leslie Santana is Assistant Professor of Music at the University of California San Diego. A violinist and ethnomusicologist, he is broadly interested the role of performance within movements toward racial, sexual, and economic justice throughout the Americas. Matthew is currently at work on a book about gender performance in contemporary Cuba that examines how cultural workers on the island are using gender performance as a tool to navigate Cuba’s shifting social, political, and economic terrain since the fall of socialism. In addition to his current book project, he has conducted research on queer performance in his hometown of Miami and written about the reception of queer artists doing hip hop in New York City. Matthew’s public scholarship can be found in Cuba Counterpoints, ReVista: Harvard Review of Latin America, and Sounding Board, and he is a contributor to the forthcoming edited collection Queering the Field: Sounding Out Ethnomusicology. As a violinist, Matthew focuses primarily on new music and community-based performance and education. He was a New Fromm Player at the Tanglewood Music Center in 2013 and has served on the faculty of the Sphinx Performance Academy, a tuition-free summer program for young Black and Latinx string players. Matthew completed a DMA in violin performance at the University of Michigan in 2015, and he will receive his PhD in ethnomusicology from Harvard University in 2019.
Matthew D. Morrison, a native of Charlotte, North Carolina, is an Assistant Professor in the Clive Davis Institute of Recorded Music at New York University’s Tisch School of the Arts. Matthew holds a Ph.D. in Musicology from Columbia University, an. M.A. in Musicology from The Catholic University of America, and B.A. in music from Morehouse College. Matthew is a 2018-2019 fellow at the Hutchins Center for African and African American research at Harvard University. He has been as a research fellow with the Modern Moves research project at King’s College, London, funded by the European Research Council Advanced Grant, and has held fellowships from the American Musicological Society, Mellon Foundation, the Library of Congress, the Center for Popular Music Study/Rock and Roll Hall of Fame, The Catwalk Artists Residency, and the Tanglewood Music Center. He has served as Editor-in-Chief of the peer-reviewed music journal, Current Musicology, and his published work has appeared in the Journal of the American Musicological Society, Women & Performance: A Journal of Feminist Theory, the Grove Dictionary of American Music, and on Oxford University Press’s online music blog. His in-progress book project, Blacksound: Making Race and Popular Music in the U.S. considers the implications of positing sound and music as major components of identity formations, particularly the construction of race.
Joseph Straus (he, his, him) is Distinguished Professor of Music Theory at the CUNY Graduate Center. With a specialization in music since 1900, he has written technical music-theoretical articles, analytical studies of music by a variety of modernist composers, and, most recently, a series of articles and books that engage disability as a cultural practice. He has written textbooks that have become standard references. He was President of the Society of Music Theory from 1997–99.