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Graduate Student Committee Members
Clifton Boyd (he/him/his) 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 research interests include barbershop music (and formation of American amateur musical communities more broadly), minimalism, musical meter, and form in nineteenth-century chamber music. In addition to his academic pursuits, Clifton is a staunch advocate for diversity in music academia: he is currently a fellow for Yale’s Office for Graduate Student Development and Diversity, serves on the Society for Music Theory’s Committee on Race and Ethnicity, and is a co-recipient of the Sphinx Organization’s MPower Artist Grant to support Diversifying Music Academia. In his free time, Clifton enjoys listening to comedy podcasts.
Anna Beatrice Gatdula (she/her/hers) is a Ph.D. student in music history and theory at the University of Chicago. Originally from Manila, Philippines, and growing up in the Chicago suburbs, she is happy to return “home”—at least for the next few years of graduate work! Her research interests include American cultural history, voice studies, and opera. A previous winner of the American Musicological Society’s Eileen Southern Travel Fund, she is dedicated to the work on diversity, equity, inclusivity, and accessibility in music academia and music scholarship. Outside of the academy, Anna is an amateur baker, triathlete, and knitter (in no particular order of proficiency).
Catrina Kim (she/her/hers) is a Ph.D. candidate in music theory at the Eastman School of Music and currently teaches at the Oberlin Conservatory. She earned an M.A. in Music Theory at the Eastman School of Music and also holds a B.M. in Piano Performance from the University of Houston. Catrina has presented numerous papers on formal and aesthetic issues raised in works by Beethoven and Mendelssohn at the annual meetings of the Society for Music Theory, the Music Theory Society of New York State, the New England Conference of Music Theorists, and the Texas Society for Music Theory. She has previously taught music theory and aural skills at Eastman and the Cleveland Institute of Music, and she recently served as co-editor of the music theory journal Intégral (Volume 32).
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.
Alissandra (Lissa) Reed (she/her/hers) is a PhD student in music theory at the Eastman School of Music. She holds a BM in music theory from Florida State University and a MA in music theory from Ohio State University. Her academic research focuses on music perception and its relationships with music analysis as well as American political expression through music. She has presented her research at the Society for Music Perception and Cognition.
In 2017, Lissa spoke on the SMT Committee on Diversity panel, sharing her experiences as a half-black woman dedicated to a very white-, male-dominated academic field. Her hope is that 20 years from now, young music academics of color won’t share in many of those experiences, but will instead find themselves among diverse, supportive, and proactive communities dedicated to enriching the world through the exploration and dissemination of wonderful music of all kinds.
Faculty Committee Members
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.
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.
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.