Project Spectrum Workshop Weekend

Date: February 21–22, 2025
Time: 1 PM EST (both days)
Location: Virtual
Registration is NOW OPEN!

RSVP Here: https://shorturl.at/fbkPg

Join us for Project Spectrum Workshop Weekend, a two-day virtual event designed to support graduate students, post-docs, independent scholars, and early-career academics.

Please consider donating to support the organization of this event.

Workshop Events

Demystifying the Publication Process
Friday, 21 February 2025 1:00-2:00 PM EST

On Friday, February 21, we will host Demystifying the Publication Process, a workshop that explores the ins and outs of academic publishing. Participants will gain practical insights into navigating peer review, selecting appropriate journals, and handling revisions effectively.

Workshop Facilitators

  • University of New Mexico

    Ana Alonso-Minutti is Associate Professor of Musicology at the University of New Mexico, specializing in experimental and avant-garde music traditions from Mexico and the US-Mexico border. She is the author of Mario Lavista: Mirrors of Sounds (Oxford University Press, 2023), which won the 2024 Robert M. Stevenson Award of the American Musicological Society, and coeditor of Experimentalisms in Practice: Music Perspectives from Latin America (Oxford University Press, 2018). Formerly an editorial board member of both the Journal of the American Musicological Society and the Journal of Music History Pedagogy, she is currently the Coeditor-in-Chief of Twentieth-Century Music and 20th/21st Centuries Area Editor for Grove Music Online Women, Gender, and Sexuality project.

  • New York University

    Clifton Boyd (he/him) is Assistant Professor of Music at New York University. His research explores themes of (racial) identity, politics, and social justice in twentieth- and twenty-first-century American popular music. His book project, Racial Dissonance: American Barbershop Harmony in the Age of Jim Crow, explores how barbershop quartet singing functioned as a site for U.S. citizens to negotiate values of freedom, civil rights, and Americanness during a period fraught with racial division. He is also in the early stages of a research project on Black music in Italy after fascism. His publications appear in Music Theory and Analysis, Music Theory Online, Music Theory Spectrum, Theory and Practice, American Music, and Inside Higher Ed, as well as the edited collections The Oxford Handbook of Public Music Theory and Being Black In The Ivory: Truth-Telling About Racism In Higher Education. He currently serves on the editorial boards of the College Music Symposium, Music Theory Online, and Black Music, in Theory.

Entering the Job Market
Friday, 22 February 2025 1:00-2:30 PM EST

On Friday, February 22, we will feature a roundtable discussion on Entering the Job Market. This session will offer valuable insider advice on navigating the academic and alt-ac job market.

Roundtable Participants

Myrta

  • University of California San Diego

    M. Myrta Leslie Santana is an ethnomusicologist and performer whose work examines the social and political significance of trans and queer performance in the Americas. Her book Transformismo: Performing Trans/Queer Cuba, an ethnography of drag performance in contemporary Cuba, will be published by the University of Michigan Press in February 2025. Other writing appears or is forthcoming in Small Axe, Ethnomusicology, the Journal of the Society for American Music, and Queer Nightlife (Michigan). Originally from Miami, Florida, Leslie Santana is currently Assistant Professor of Music at UC San Diego.

  • Durham University

    Amanda Hsieh (she/they) is an Assistant Professor in Musicology at Durham University (UK). Their current book project, tentatively entitled ‘The Japanese Empire’s German Art Music: 1910–1945’, analyzes how a network of interconnected individuals across Germany, Japan, and Taiwan facilitated the integration of Western, specifically German, art music with the state- and empire-building efforts of Japan in the first half of the twentieth century. The 2020 winner of the Royal Musical Association (RMA)’s Jerome Roche Prize and the 2023 winner of the Kurt Weill Foundation for Music’s Kurt Weill Prize, Amanda has published in Music & Letters, Cambridge Opera Journal, and the Journal of the Royal Musical Association (JRMA). She serves a five-year term (2021–25) as Reviews Editor of the JRMA and the RMA Research Chronicle. Before taking up her current post at Durham, Amanda was a Research Assistant Professor in Musicology at the Chinese University of Hong Kong. Before moving to East Asia, they worked as Sessional Lecturer at the University of Toronto, where they also obtained their PhD (2020).

  • Smithsonian Institution

    Dr. Krystal Klingenberg is a curator of music in the division of Culture and the Arts at the Smithsonian’s National Museum of American History. Previously she held professorial positions at Swarthmore College and the University of Hartford. She received her PhD in May 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. Klingenberg’s interests include global Black popular musics, African American music, digital media, and social justice. She is a member of the Society for Ethnomusicology and the African Studies Association and has held leadership positions in each. She is part of the curatorial team for Entertainment Nation and is the host of the museum’s Collected podcast on African American History.

  • University of Wisconsin–Madison

    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.

  • University of North Carolina at Greensboro

    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.