Faculty Committee Members
Eduardo Herrera (he, his, him) is Assistant Professor in Ethnomusicology and Music History at Rutgers, The State University of New Jersey. He specializes in contemporary musical practices from Spanish- and Portuguese-speaking Latin America. He has done historical and ethnographic research in topics including Argentinean and Uruguayan avant-garde music, soccer chants as participatory music making, and music and postcoloniality in Latin America. Herrera is currently working on a book titled Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-Garde Music exploring 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 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. Herrera’s work shows how the participatory nature of stadium chanting 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. Herrera serves as board member of the Society for American Music and council member of the American Musicological Society.
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” will appear in the Norton Guide to Music Theory Pedagogy. She co-organized the 2005 meeting of Feminist Theory and Music, 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 chairs 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. 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 and Girls in the Band. Recently she was elected the President of the Society for American Music, she is only the second African American woman to serve in this position.
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.
Graduate Student Committee Members
Clifton Boyd (he/him/his) is a Ph.D. student 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 the formation of American amateur musical institutions more broadly), minimalism, 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 Diversity, 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! She holds a B.M. in Voice Performance from DePauw University and a M.A. in musicology from the Jacobs School of Music at Indiana University. Her research interests include late-twentieth/twenty-first century performance art and experimentalist music, with questions regarding voice, identity, and practice. 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. In her free time, Anna likes to knit socks.
Catrina Kim (she/her/hers) is a Ph.D. candidate in music theory at the Eastman School of Music and currently teaches at the Cleveland Institute of Music. 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 with a minor in Phronesis: A Program in Politics and Ethics (summa cum laude and with University Honors). Catrina has presented 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 is currently co-editor of Intégral (Vol. 32).
Laurie Lee (she/her/hers). I am a PhD candidate in historical musicology and ethnomusicology at Harvard University. My interests include the place of acoustics in histories of medicine in East Asia. In my dissertation research on acoustic epistemologies in 20th-century Korea, I interrogate the role of breath, muscularity, invasion, vitality, and effort across medical and music-theoretical discourses in East Asia, with special attention to how these discourses have animated colonialist and nationalist projects. Before beginning my studies in the United States, I spent most of my life in Beijing, China, and Seoul, South Korea.
Matthew Leslie Santana is a violinist and ethnomusicologist from Miami, Florida. He is broadly interested in the racial and sexual politics of performance in the Americas, and his dissertation focuses on gender performance in contemporary Cuba. Matthew’s written work has appeared in Revista: The Harvard Latin American Review, Cuba Counterpoints, and Ethnomusicology Review/Sounding Board; and he is a contributor to the forthcoming edited collection Queering the Field: Sounding Out Ethnomusicology. He received the Sphinx Organization’s MPower Artist Grant to support Diversifying Music Academia. Matthew completed a Bachelor of Music, Doctor of Musical Arts, and Graduate Certificate in Women’s Studies at the University of Michigan and a Master of Music at the Cleveland Institute of Music. As a violinist, he spent three summers as a fellow at the Tanglewood Music Center. Matthew is currently pursuing a PhD in ethnomusicology at Harvard University.
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.