- Emily Abrams Ansari Historical Musicology
studied Music at Durham and Oxford Universities in England. Her dissertation assesses the participation of American composers in their government's Cold War cultural diplomacy campaign. She currently teaches Music History at the University of Western Ontario.
- Trevor Baca Composition
- Ryan Banagale Historical Musicology
holds a BA in music and drama from The Colorado College (2000) and a MA in music history from the University of Washington (2004). Under the guidance of Professor Larry Starr, Ryan wrote a master's thesis that examines Asian-American representation in the music of George Gershwin. At Harvard, he plans to continue this expand this work to examine the role of early twentieth-century popular music in the formation of perceptions of race in the United States. Ryan has presented papers at the National Conference of the Society for American Music, the Popular Music Conference at the Experience Music Project, and the Pacific Northwest Regional Meeting of the American Musicological Society. His article, “You Are My Sunshine: The Recorded Lineage of an American Folk Song,” appeared in the journal Musicological Explorations. Ryan is currently a member on the AMS Committee on Cultural Diversity and the co-founder and editor of amusicology.com.
- Edgar Barroso Composition
comes from Mexico, where he received a BM from Guanajuato University and an MA in Digital Art from Pompeu Fabra University (Catalonya). His main interests are instrumental composition with/out live electronics, free improvisation, acousmatic music, sound diffusion, ethnomusicology and the possible links with any performig art.
- Sofia Becerra-Licha Ethnomusicology
double-majored in music & Spanish at Agnes Scott College in Decatur, GA, where she received her BA in 2004. Her principal interest is Latin American music.
- Andrea Bohlman Historical Musicology
works on socialist and post-socialist music cultures, European popular song and hymns, musical media, and music in politics. These interests intersect in her dissertation on music in Polish politics at the end of the Cold War.
- James Blasina was a composition student at Dalhousie University.
- Corinna Campbell Ethnomusicology
comes to Harvard from Bowling Green State University.
- Davide Ceriani Historical Musicology
earned a Diploma in Saxophone at the Conservatory of Bologna (1999), a Diploma in American Studies at Smith College (2002), and a Laurea in Lettere di secondo livello with major in Music History and History of Opera at the University of Florence (2003). Davide also studied at the University of Saint Denis-Paris VIII and worked for the Music Department of the France National Library in Paris. He is interested in the musical relationship between Italy and the United States in the early 20th centuty, and music in Italy between 1890 and 1940.
- Jean-Francois Charles Composition
is a composer, a clarinetist, and a live electronics designer. Ensemble Accroche Note commissioned his piece "Magma" and premiered it in Dresden in 2003. His work "Aqua" has been premiered in Florence in the French Institute and Consulate in 2004. Charles studied clarinet with Armand Angster at the Strasbourg Conservatory from 1999 to 2005. In 2003, he participated in the world premiere and recording of “Rechter Augenbrauentanz,” under the direction of the composer Karlheinz Stockhausen. He reently gave a five day seminar and workshop on "Spectral sound processing in real-time with Max/MSP/Jitter" at Sibelius Academy in Helsinki.
- William Cheng (Historical Musicology)
received his BA in Music and English from Stanford University. His musicological interests include video games, technoculture, opera, performance, and gender/sexuality. His dissertation will focus on the performance of musical identities in video games and new media.
- Christopher Chowrimootoo (Historical Musicology)
received his Undergraduate (BA in Music) and Master's (MSt. in Musicology) degrees from the University of Oxford. He has been involved in an extensive archival project documenting the modes and mechanics of eighteenth-century Italian opera in London. His principal research interests lie in the reception of twentieth-century opera; most recently, he has focused on the operas of Benjamin Britten.
- Ann Cleare Composition
- Sivan Elias Cohen Composition
- Elizabeth Titrington Craft Historical Musicology
received a BA from the College of William and Mary in music and sociology and an MA from the University of Maryland in music history. Her research interests include American music, musical theatre, and music’s social and political significance.
- Louis Epstein Historical Musicology
Louis Epstein received a BA in Music from Princeton University. His dissertation, provisionally entitled "Music and Money in Interwar France," addresses the influence of different sources funding on music composition through case studies of composers who benefited from salon-centered patronage, government funding, and financial independence. Other interests include film music, Surrealism, The Beatles, and mouvance.
- Ellen Exner Historical Musicology
holds Bachelor's degrees in both Music History and Russian Language and Literature from the University of Massachusetts at Amherst, and an M.A. in Music History from Smith College. Research interests include court music in Dresden and Berlin during the first two-thirds of the eighteenth century, the career activities of students of Johann Sebastian Bach, and the life and works of Hector Berlioz. Her dissertation, currently entitled "Frederick the Great and the Origins of Modern Musical Life in Berlin, 1736 to 1756", is in progress. In her spare time, Exner studies the baroque oboe with Kathleen Staten and freelances in the Boston area. Recently, her edition of chorale preludes by Bach-student Gottfried August Homilius was published by Carus-Verlag (Stuttgart) as part of the Homilius: Ausgewählte Werke series under the general editorship of Uwe Wolf, in conjunction with the Bach-Archiv, Leipzig.
- Andrew Friedman Theory
has a BA from Princeton University. HIs interests include temporality, phenomenology, and aesthetics.
- Ashley Fure Composition
comes to Harvard from Oberlin Conservatory where she studied composition.
- Petra Gelbart Ethnomusicology
has a BA from U.C. Berkeley. Her dissertation is on the content and practice of music education in Czech schools, with a view to interethnic concerns. She is interested in critical theories of pedagogy and race, as well as studying discursive constructions of ethnicity, whiteness and difference.
- Marc Gidal Ethnomusicology
Marc studies Brazilian music, jazz, and Indian music and plays double bass. His dissertation examines the music of Afro-Brazilian religions in southern Brazil (Batuque, Umbanda, and Quimbanda). He received a B.S. in Religious Studies from the University of Oregon, and an M.A. in Music from Tufts University.
- Glenda Goodman Historical Musicology
works on the transatlantic mobility of music and performances of belonging in America in the 17th, 18th, and late 19th-centuries. She studied at Oberlin College and Conservatory and the Juilliard School before coming to Harvard.
- Matthew Hanseler is a student in historical musicology. He graduated from University of Minnesota.
- Sarah Hankins Ethhnomusicology
- Michael Heller Ethnomusicology
Michael has received a MA from Rutgers University-Newark in Jazz Historyand Research and a BA from Columbia University with concentrations in Music, Philosophy and African American studies. His principal research interest is jazz, with a particular focus on the jazz avant garde since 1960.
- Kristian Ireland Composition
- Sheryl Kaskowitz Ethnomusicology
Sheryl Kaskowitz received her B.A. from Oberlin College, where she studied music history and voice. Her dissertation presents a social history and ethnography of the song "God Bless America," from its composition during World War I to its uses after the September 11th attacks.
- Ehjeen Kim Theory
- Ulrich Kreppein studied at the Robert-Schumann-Musikhochschule in Duesseldorf, Germany and at Columbia University in New York. His main interests are opera and music theatre, and the combination of literature and music.
- Hannah Lash Composition
studied composition at Eastman School of Music.
- Katherine In-Young Lee Ethnomusicology
received dual BM degrees in piano performance and musicology from the University of Michigan. After receiving an M.A. in Ethnomusicology from the University of Washington, she studied at Yonsei University in Seoul, Korea as a Blakemore Freeman Foundation Fellow from 2001 to 2003. She is currently in Seoul on a Fulbright research grant, conducting ethnographic and archival research on SamulNori and its reception, and the role of music in protest during South KoreaÕs democratization movement. Her interests include: music and politics, historiography, Asian America, and the complex issues enveloped in ethnography as practice and as genre.
- Frank Lehman Theory
has a BA in Music Theory and Composition and Philosophy from Brown University. His interests range from analysis of 19th- and 20th-century music to film musicology, music cognition, and lagomorph-zoomusicology.
- Hannah Lewis Historical Musicology
Hannah received her BA in Music from Brown University, where she wrote an honors thesis about Erik Satie, John Cage, and Black Mountain College. Her research interests include 20th century avant-garde and experimental music (American and European), electronic music, multimedia performance, and film. She is also a singer and enjoys singing experimental, genre-bending works and free improvisation.
- Thomas Lin Historical Musicology
received a combined BA/MA in Musicology from Queens College, NY, and is transferring from the CUNY Graduate Center. Holds a previous BE in Chemical Engineering from Cooper Union, NY. His interests include the Renaissance madrigal, the development of tonality in Italy, Enlightenment aesthetics, 19th-Century Italian opera, and Gilbert & Sullivan; his dissertation will focus on Francesco Cavalli and musical dramaturgy in 17th-century Venetian opera. He also trains Capoeira Regional, and enjoys cooking and massages that don't tickle.
- Olivia Lucas Theory
- Evan MacCarthy Historical Musicology
received his BA in classics and music from the College of the Holy Cross. His dissertation is entitled "Music and Learning in Renaissance Ferrara: 1430-1470." In the spring of 2007, he was Reader in Renaissance Studies at Villa I Tatti, Harvard University Center for Italian Renaissance Studies. Recently published by ƒditions de L'Oiseau-Lyre is the seventh and final volume of the Magnus Liber Organi edition, edited by Edward H. Roesner, for which Evan edited the plainchants. His research interests also include the theoretical writings of Johannes Tinctoris, codicology/paleography, ceremonial motets, Old Roman and Ambrosian chant, 15th-c. Italian humanism, the songs of Du Fay, and sacred music of 17th-c. north Germany.
- Drew Massey Historical Musicology
completed his undergraduate work in piano and mathematics at Indiana University. He is a recipient of the Mellon Fellowship in the Humanities and the Jacob K. Javits Fellowship. Drew is currently writing a dissertation about the American pianist John Kirkpatrick's career as an editor. His other research interests include nineteenth-century American sheet music, Ambrosian Chant, problems of textuality in music, and uses of technology in education and research. Together with fellow grad student Ryan Bañagale, he runs the blog amusicology.com.
- John McKay Theory
studied at MIT, where he pursued music and chemical engineering; also studied theory at the University of Pennsylvania.
- Peter McMurray studied at Harvard and Brandeis before coming to Harvard as an Ethnomusicology student.
- Lucille Mok studied at University of Toronto. She is a historical musicology student.
- Alexandra Monchick Historical Musicology
received a BMusA in flute performance from the University of Michigan in 2003. She is currently conducting research in Berlin for her dissertation entitled “The Influence of Silent Film on Zeitoper during the Weimar Republic,” under the auspices of the Berlin Program for Advanced German and European Studies.
- Rowland Moseley Theory
was born in Leeds, England in 1983, to professional orchestral musicians. Before entering Harvard's theory program, he studied music for four years at King's College, Cambridge, graduating with the B.A. Hons (double first class) in 2005 and the M.Phil. in musicology in 2006. He is currently in the early stages of working on his Ph.D. dissertation, entitled "Bach Reproductions from Fugue to Gigue: Exploring Polyphony and Dance," and as of Fall 2009 enjoys teaching music theory to both concentrators (in Tonal Counterpoint) and non-concentrators (in Foundations of Tonal Music I).
- Matthew Mugmon Historical Musicology
holds a BA in Classical Studies from the University of Pennsylvania. His research interests include the music of Gustav Mahler and its reception, as well as Ambrosian Chant.
- Josiah Oberholtzer is a composition student who previously studied at Oberlin.
- Karola Obermueller Composition
has a BA from Nurnberg-Augsburg College of Music and an MA from Salzburg University Mozarteum.
- Ian Power Composition
- Adam Roberts Composition
comes from the Eastman School of Music, where he earned a BM.
- Sabrina Schroeder Composition
- Meredith Schweig Ethnomusicology
has a BA in Music and East Asian Studies from Harvard University. She is interested in the popular musics of Taiwan and China, particularly with respect to the subjects of identity formation, the cultural dynamics of the cross-strait relationship, and the contemporary music of Taiwan's indigenous peoples. Other academic preoccupations include translation studies, museology, and design studies.
- Anne Searcy Historical Musicology
- Sasha Siem Composition
has a BA in music and an MPhil in composition from Cambridge University (U.K.)
- David Sullivan Theory
received a BA in music at Dartmouth College and an MM in Music Theory Pedagogy, an MM in Composition and an MM in Computer Music Research from The Peabody Conservatory.
- Wenqui Tang Ethnomusicology
comes to Harvard from Central Academy of Music where she earned a MA in Musicology. Her principal interest is Chinese music.
- David Trippett Historical Musicology
holds two degrees in musicology from King's College, Cambridge, UK, where he also gained a certificate in German language. Under the auspices of the DAAD, he studied piano in Leipzig at the Hochschule fuer Musik und Theater "Felix Mendelssohn Bartholdy" and additionally gained a Fellowship of the Royal Schools of Music (FRSM) in piano performance. His dissertation focuses on discourses of German melodic theory between 1840 and 1860 with particular emphasis on Richard Wagner's position vis-ˆ-vis vocal melody. Additional research interests include the intersection of improvisation and composition in virtuosic piano repertoires, and relations between modernism and media in 1920s, articles on both of which have appeared in Journal of Musicology 24/4 (2007), and 19th-Century Music 32 (2008). In October 2009, he takes up a four-year Junior Research Fellowship at Christ's College, Cambridge University.
- Bert Van Herck Composition
holds graduate degrees in piano, chamber music, music history and composition from the Lemmensinstitute in Belgium.
- Gabriele Vanoni Composition
comes from the Milan Conservatory, where he studied Piano and Composition. He's interested in writing Instrumental and Electronic Music.
- Gavin Williams
studied music at Oxford and King's College, London. His interests include music and film and the history of technology in the late nineteenth and twentieth centuries. .
- Micah Wittmer received a B.A. from The City College of New York, CUNY where she majored in music and discovered her passion for musicology. Prior to that, she majored in violin performance at Juilliard. Her current research interests include the lives and works of African-American classical composers, musical theater, and 20th century American music.
- Sarah Wright graduated from Colby College. She will pursue Ethnomusicology at Harvard.
- Tolga Yayalar Composition
has a BA from Berklee College of Music and an MA from Istanbul Technical University in Turkey.
- Anna Zayaruznaya Historical Musicology
received a BA in music from Wesleyan University. She is interested in notation and text-music relations, especially in the polytextual works of the French Ars Nova. As a performer, Anna is interested in baroque vocal repertoires and 19th-century Russian song.
- Hillary Zipper Composition
comes to Harvard from NEC where she studied violin, and from Brandeis, where she studied composition
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