MemberEliot Bates

…Society for Ethnomusicology

Society for Asian Music

Society for the Social Studies of Science

British Forum for Ethnomusicology…
…Assistant Professor Of Ethnomusicology…
…2008    Ph.D. in Music (Ethnomusicology), University of California, Berkeley. Committee: Ben Brinner (supervisor/chair), Jocelyne Guilbault, Charles Hirschkind, Paul Théberge (external).
1997    M.A. in Music (Ethnomusicology and Interactive Computer Media), Wesleyan University.
1994    B.M. in Music Composition, University of California, Santa Barbara….
…do Pensante.
2019     “Actor Network Theory and Organology.” Journal of the American Musical Instrument Society  44.
2013    “Popular Music Studies and the Problems of Sound, Society and Method.” IASPM@Journal 3(1): 15-32.
2012    “The Social Life of Musical Instruments.” Ethnomusicology 56(3): 363-395.
2012    “What Studios Do.” Journal on the Art of Record Production 7(1). 12,008 words.
2010    “Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey.” Ethnomusicology 54(1):81-105.
2009    “Ron’…

Eliot Bates is an ethnomusicologist and recording engineer with a special interest in the social studies of technology. His research examines recording production and the social lives of musical instruments and studio recording technologies. A graduate of UC Berkeley (2008) and ACLS New Faculty Fellow (2010), he is currently an Assistant Professor of Ethnomusicology at the Graduate Center at the City University of New York. He has also taught at the University of Birmingham (UK), Cornell University, and the University of Maryland, College Park. He is currently the Vice-President of the Society for Asian Music, and formerly served on the Board of the Society for Ethnomusicology. He has written two books: Digital Tradition: Arrangement and Labor in Istanbul’s Recording Studio Culture (Oxford University Press, 2016), and Music in Turkey: Experiencing Music, Expressing Culture (Oxford University Press, 2011)—and, with Samantha Bennett, co-edited Critical Approaches to the Production of Music and Sound (Bloomsbury Academic, 2018). He is also a performer and recording artist of the 11-stringed oud.

MemberHeather Sparling

…Associate Professor, Ethnomusicology…

I am an ethnomusicologist who is researching Gaelic songs of Nova Scotia, vernacular dance of Cape Breton, and disaster songs of Atlantic Canada. I am interested in the intersections between language and music, and in issues of memory and memorialization. I am the general editor of MUSICultures, Canada’s ethnomusicology and popular music journal. I am a fluent Gaelic learner, a classical flutist, and a beginner fiddler.

MemberDavid VanderHamm

David VanderHamm is a lecturer at the University of North Carolina at Greensboro. He earned his Ph.D. in musicology from the University of North Carolina at Chapel Hill in 2017, where he completed his dissertation, “The Social Construction of Virtuosity: Musical Labor and the Valuation of Skill in the Age of Electronic Media.” His research focuses on media and displays of musical labor across multiple genres of music in the U.S. from the twentieth century to today. David has presented widely at international, national, and regional conferences, including the Society for Ethnomusicology, the American Musicological Society, and the Society for American Music. His publications include “Simple Shaker Folk: Appropriate, American Identity and Appalachian Spring (American Music, forthcoming),  “Preserving Heritage, Fostering Change: Accidental Archives in Country Music and Hip-Hop,” co-authored with Mark Katz (Public Historian 37, no. 4), and planned contributions to the Oxford Handbook of Phenomenological Ethnomusicology and the Oxford Handbook of Music and Advertising. In addition to his scholarly work, David remains active as a guitarist in classical and popular styles.

MemberAntonio Baldassarre

Antonio Baldassarre holds a PhD from the University of Zurich and was Research Fellow at the Research Center for Music Iconography (The Graduate Center of The City University of New York) and Director of the youth music school “Pfannenstil”. His professional teaching positions have included Lecturer and Guest Professor for musicology, ethnomusicology and music theory at the universities of Basel and Zurich, the Department of Musicology, Faculty of Music, University of Arts in Belgrade, the Escuela Nacional de Música of the Universidad Nacional Autónoma de México and the University of Music and Performing Arts Vienna. Since 2011 he has been Director of Research and Development of Lucerne University of Applied Sciences and Arts, Department of Music.

MemberAndrew J. Eisenberg

…PhD Columbia University, Ethnomusicology, 2009

BMus New York University, Jazz Performance (Minor in Cultural Anthropology)…

I am an ethnomusicologist and sound culture researcher specializing in urban Kenya. I received my PhD in ethnomusicology from Columbia University in 2009, with a dissertation on voice, place, and identity on Kenya’s Swahili coast. From 2011 to 2013, I carried out research on the recording industry in Nairobi as a postdoctoral research associate with Georgina Born’s ERC-funded project on music and digital technology at Oxford. Currently I am working on an ethnographic monograph on music, spatial relations, and cultural citizenship in urban Kenya, while also continuing my research on the recording industry in Nairobi.

MemberDimitris Papageorgiou

Dimitris Papageorgiou is a violinist, improviser and composer from Athens currently based in Edinburgh. He is a visiting researcher and a tutor in composition at The University of Edinburgh, and an associate member of the Lab for Electroacoustic Music Research and Applications, Ionian University, Corfu. During 2018, Dimitris was a postdoctoral fellow at the Centre for Artistic Research, UniArts, Helsinki. His work as a teacher, researcher and performer/composer is focused on the relationship between (free) improvisation and composition. His artistic research theorises and translates ‘comprovisation’ as ‘sún-schediasmos’ (GR: συν-σχεδιασμός) both through eco-philosophical and ethnomusicological reflections, and through collaborative practice-based enquiries that involve the development of multimodal notational environments and the use of bespoke real-time digital signal processing software.

MemberAlejandro L. Madrid

…American Musicological Society

Society for Ethnomusicology

International Association for the Study of Popular Music

Latin American Studies Association…
…Professor of musicology and ethnomusicology…
…o Acosta, in Latin American Music Review, Vol. 28, No. 2 (2007). [With Liliana González Moreno].
Musical Ritual in Mexico City. From the Aztec to NAFTA, by Mark Pedelty, in Hispanic American Historical Review, Vol. 87, No. 2 (2007).
Timba. The Sound of the Cuban Crisis, by Vincenzo Perna, in Ethnomusicology, Vol. 51, No. 2 (2007). [With Liliana González Moreno].
Pachangas: Borderlands Music, U.S. Politics, and Transnational Marketing, by Margaret E. Dorsey, in Latino Studies, Vol. 5, No. 1 (2007).
El mar de los deseos. El caribe hispano musical: historia y contrapunto, by Antonio…

Alejandro L. Madrid is author or editor of books and edited volumes about the intersection of modernity, tradition, globalization, and ethnic identity in popular and art music, dance, and expressive culture of Mexico, the US-Mexico border, and the circum-Caribbean. Working at the intersection of musicology, ethnomusicology, and performance studies, Madrid’s work interrogates neoliberalism, globalization, and postmodernism while exploring questions of transnationalism, diaspora, and migration; homophobia and constructions of masculinity; embodied culture; and historiography, narrative, biography theory, and alternative ways of knowledge production in music and sound practices from the long twentieth century. In 2017, he was awarded the Dent Medal for “outstanding contributions to musicology” by the Royal Musical Association and the International Musicological Society. He is the only Ibero-American to have received this award since its inception in 1961. He is also the recipient of top prizes from the Latin American Studies Association, the American Musicological Society, the ASCAP Foundation Deems Taylor/Virgil Thomson Awards, the International Association for the Study of Popular Music-US Branch, and Casa de las Américas, among others, as well as fellowships and grants from the American Council of Learned Societies, the Ford Foundation, and the Fulbright Program. Madrid is currently professor of musicology and ethnomusicology at Cornell University’s Department of Music. He is the editor of the series Currents in Iberian and Latin American Music for Oxford University Press, and is regularly invited as guest professor at universities in Argentina, Chile, Cuba, Mexico, and Uruguay. Most recently, he served as music advisor to acclaimed director Peter Greenaway, whose latest film, Eisenstein in Guanajuato, is set in 1930s Mexico.