Ph.D., Harvard University – Music (Historical Musicology)
A.M., Harvard University – Music (Historical Musicology)
B.A., Stanford University (Honors and Distinction) – Music (Piano Performance) and English
Associate Professor of Music, Dartmouth College
2014 – 18
Assistant Professor of Music, Dartmouth College
2012 – 16
Junior Fellow, Harvard Society of Fellows
SELECT AWARDS & FELLOWSHIPS
Karen Wetterhahn Memorial Award for Distinguished Creative or Scholarly Achievement (Dartmouth)
Leslie Humanities Center Lab Grant (funding for MUS 45.04—Music and Social Justice Fall ’18)
Enhanced Junior Faculty Fellowship – Dartmouth College (for completion of Loving Music Till It Hurts)
Philip Brett Award – American Musicological Society (for Just Vibrations)
Dartmouth Open-Access Publishing Equity Fund (for Just Vibrations)
Public Voices Fellow, OpEd Project – Dartmouth College
William F. Milton Fund – Harvard University (for Loving Music Till It Hurts)
American Musicological Society 75 PAYS Subvention (for Sound Play)
Richard F. French Prize – Harvard Music Department (for dissertation research)
Philip Brett Award – American Musicological Society (for chapter in Sound Play)
Oscar S. Schafer Fellowship – Harvard Music Department (for excellence in teaching)
Mark Tucker Award – Society for American Music (for conference paper)
Howard Mayer Brown Fellowship – American Musicological Society (for dissertation research)
Derek Bok Center Certificate for Distinction in Teaching – Harvard University
John Knowles Paine Fellowship – Harvard Music Department (for summer research and travel)
Dinkelspiel Award for Distinctive Contributions to Undergraduate Education – Stanford University
Deans’ Award – Stanford University
Eileen Southern Travel Fund – American Musicological Society (for travel to AMS 2006)
First-Place Award & Performance – Stanford Concerto Competition (Rachmaninoff, Piano Concerto No. 3)
Touching Pitch: Dirt, Debt, Color (under contract, University of Michigan Press, forthcoming).
Loving Music Till It Hurts (forthcoming from Oxford University Press, forthcoming).
Just Vibrations: The Purpose of Sounding Good (University of Michigan Press, 2016); foreword by Susan McClary.
Reviewed in Journal of Musicological Research, Sound Studies, Pop Matters, Music & Letters, Journal of Disability and Religion, Intersections: Canadian Journal of Music, Journal of the Society for American Music, Women & Music.
Sound Play: Video Games and the Musical Imagination (Oxford University Press, 2014); foreword by Richard Leppert.
Reviewed in MLA Notes, The Soundtrack, MAKE Literary Magazine, College Music Symposium, ECHO: A Music-Centered Journal, Journal of Popular Music Studies, American Journal of Play.
A Cultural History of Music in the Modern Age (under contract, Bloomsbury Academic, coedited with Danielle Fosler-Lussier, f. 2021); series editors Alexander Rehding and David Irving.
Queering the Field: Sounding Out Ethnomusicology (under contract, Oxford University Press, coedited with Gregory Barz, f. 2020); foreword by Kay Kaufman Shelemay.
PEER-REVIEWED JOURNAL ARTICLES
“Black Noise, White Ears,” Current Musicology 102 (f. 2018): pages forthcoming.
“So You’ve Been Musically Shamed,” Journal of Popular Music Studies 30 (2018): 1–30.
“Staging Overcoming: Narratives of Disability and Meritocracy in Reality Singing Competitions,” Journal of the Society for American Music 11:2 (2017): 184–214.
“Taking Back the Laugh: Comedic Alibis, Funny Fails,” Critical Inquiry 43 (Winter 2017): 528–49.
“Pleasure’s Discontents,” Journal of the American Musicological Society 66:3 (2013): 840–44 (colloquy on Music & Sexuality, ed. Suzanne Cusick and Judith Peraino).
“Role-Playing toward a Virtual Musical Democracy in The Lord of the Rings Online,” Ethnomusicology 56:1 (2012): 31–62.
“Opera en abyme: The Prodigious Ritual of Korngold’s Die tote Stadt,” Cambridge Opera Journal 22:2 (2011): 115–46.
“Hearts for Sale: The French Romance and the Sexual Traffic of Musical Mimicry,” 19th-Century Music 35:1 (2011): 34–71.
ESSAYS IN EDITED VOLUMES
“Locker Room Talk: Violence, Voice, and the Queer-Crip Ethics of Online Game Fieldwork,” in Queering the Field: Sounding Out Ethnomusicology, ed. Gregory Barz and William Cheng (Oxford University Press, f. 2020).
“Afterword: Toadofsky’s Music Lessons,” in Music Video Games: Performance, Politics, and Play, ed. Michael Austin (Bloomsbury Academic, 2016), 297–303.
“Acoustemologies of the Closet,” in The Oxford Handbook of Virtuality, ed. Mark Grimshaw (Oxford University Press, 2014), 337–48.
“Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear,” in The Oxford Handbook of Sound and Image in Digital Media, ed. Carol Vernallis, John Richardson, & Amy Herzog (Oxford University Press,
“Forty-nine fewer / Cuarenta y nueve menos” (poem, with Spanish translation by Elías Krell), Ethnomusicology Review 20 (2016): http://ethnomusicologyreview.ucla.edu/content/forty-nine-fewer.
Review of Jonathan Sterne, ed., The Sound Studies Reader (Abingdon, UK, and New York: Routledge, 2012), and Trevor Pinch and Karin Bijsterveld, eds., The Oxford Handbook of Sound Studies (Oxford and New York: Oxford University Press, 2012), in Journal of the American Musicological Society 67:1 (2014): 257–66.
PEER-REVIEWED ARTICLES IN COLLEGE PERIODICALS
“Aesthetics of Evil in Liszt’s Music: Perverting the Trajectory of Redemption in Mephisto Waltz No. 1,” Glosses: The Stanford Journal of Undergraduate Literary Criticism 9 (2007): 15–32.
“Silent Journeys: Semiotics of Caesurae and Temporal Suspension in Schubert’s Instrumental Music,” Stanford Undergraduate Research Journal 6 (2007): 19–26.
“Hermeneutics of Autobiography and Program in Tchaikovsky’s Romeo and Juliet Overture-Fantasy,” Anthology of the Hoefer Prizes for Excellence in Undergraduate Writing (2007), 1–44.
ENCYCLOPEDIA AND DICTIONARY ENTRIES
2011 Entries for Grove Music Online: “Bonis, Mélanie (Hélène)” / “Duchambge, Pauline” / “Grandval, Marie, Vicomtesse de” / “Puget, Loïsa” / “Vieu, Jane” (updated versions; initial entries by Judy Tsou).
NEWS ARTICLES, OP-EDS, FEATURES
“The Radical Compassion of Frederick Douglass,” Pacific Standard (14 Feb. 2018)
“Music & Social Justice” (w/ Andrew Dell’Antonio), Musicology Now (10 Oct. 2017)
“Nicht diese Töne” (w/ Naomi André), Musicology Now (5 Dec. 2016)
“Care-Oriented Musicology,” Musicology Now (26 Aug. 2016)
“Sound Cannons versus Black Lives,” Huffington Post (22 Aug. 2016)
“The Long, Sexist History of ‘Shrill’ Women,” TIME (23 Mar. 2016)
“Musicology, Freedom, and the Uses of Anger,” Musicology Now (21 Feb. 2016)
“I’m a Musician Who Can’t Play Music Anymore,” Washington Post (20 Jan. 2016)
“Don’t Be a Donald (A New Year’s Resolution),” Huffington Post (30 Dec. 2015)
“This Is Still The Voice,” Pacific Standard (25 Sept. 2015)
“Rogue Nation’s Impossible Missing Kiss,” Hippo Reads (7 Sept. 2015)
“Dodging Torture (Again),” Huffington Post (20 Aug. 2015)
“Mariah Carey in Vegas: Going for the High,” RYOT (30 July 2015)
“Gamergate’s Cold War,” Huffington Post (26 June 2015)
“My Students Never Use the First Person Voice,” Slate (11 June 2015)
“Meritocracy’s Darker Notes,” Huffington Post (22 May 2015)
“‘His Music Was Not a Weapon: Black Noise, Breakable Skin, and the Plundered Voice of Jordan Russell Davis,” Rethinking Sound (international conference, Hanyang University, Seoul, Mar. 3)
“His Music Was Not a Weapon,” McGill Music Graduate Students Symposium (Mar. 24)
“Music and the Measures of Life,” Humanities Lecture Series (UNC Asheville, Apr. 25)
“Locker Room Talk: Pussies, Guns, and Video Gaymers,” Susan B. Anthony Institute, Annual Rainbow Lecture (University of Rochester, Apr. 13)
“Locker Room Talk,” cosponsored by Butler School of Music, Gender-Sexuality Center, the Center for Women’s and Gender Studies, and Voices Against Violence (UT Austin, Mar. 28)
“I, Spy: Violence, Voice, and Queer Ethics in Online Game Fieldwork,” Annual Meeting of the New England Chapter of the Society for Ethnomusicology (Middlebury College, Mar. 18)
“Twelve Pro Tricks Musicians Don’t Want You to Know. You Won’t Believe Number 8!” 20th Annual Graduate Students in Music Conference (CUNY Graduate Center, Mar. 10)
“Hearing Good,” Midwest Graduate Music Consortium (Northwestern University, Apr. 17)
“Fake-Bit Fantasies,” Annual UK Ludomusicology Conference (University of Chichester, Apr. 11)
“The Colordeaf Crucible: Symphony Orchestras, Blind Auditions, and the Case of the ‘Grotesque’ Japanese Musician Whose Face Wasn’t Viennese Enough,” Musicology Colloquium (Yale University, Apr. 27)
“His Music Was Not a Weapon,” Hopkins Center lecture (Dartmouth College, Apr. 23)
“His Music Was Not a Weapon,” Anatomy Department and Interdisciplinary Studies Program in Communications colloquium (Howard University, Apr. 18)
“The Colordeaf Crucible,” Musicology Colloquium (University of Illinois at Urbana-Champaign, Apr. 16)
“His Music Was Not a Weapon,” Music Department Colloquium (University of Chicago, Apr. 13)
“The Colordeaf Crucible,” Musicology Colloquium (Carleton University, Apr. 12)
“His Music Was Not a Weapon,” Music Department Colloquium/Inaugural Southern-Pian Lecture (Harvard University, Apr. 10)
“His Music Was Not a Weapon,” Musicology Colloquium (National Taiwan University, Mar. 28)
“So You’ve Been Musically Shamed!” Musicology Colloquium (Case Western Reserve University, Nov. 3)
“A Physician and a Musicologist Walk into a Bar,” Geisel School of Medicine (Dartmouth College, Oct. 30)
“Interrogating the Nation / Repositioning U.S. Music in the 21st Century,” Radcliffe Institute for Advanced Study, with Charles Hiroshi Garrett and Carol J. Oja (Harvard University, May 11–12)
“I, Spy: Violence, Voice, and Queer Ethics in Online Game Fieldwork,” Music Colloquium (UNC Asheville, Apr. 25)
“The Prince and the Pauper: The Purpose of Sounding Great,” Music Department Colloquium (UNC Chapel Hill, Apr. 21)
“All the Beautiful Musicians,” Music Department Colloquium (Florida State University, Apr. 19)
“Aesthetics as Eugenics,” Music Department Colloquium (University of Georgia, Apr. 18)
“Music and the Measures of Life,” Colloquium, cosponsored by Women’s/Gender/Sexuality Program and Germanic Languages & Literatures (University of Michigan, Apr. 12)
“The Curious Incident 0f the Millionaire Busker in the Day-Time,” Music Department Colloquium (Tufts University, Apr. 10)
“Serious Games: Sound, Torture, and Acoustemologies of Violence,” Sonic Cinema: Sounding Resistance (Princeton University, April 4)
“Listening with Bended Ears,” Engaging the Senses (Geisel School of Medicine, Feb. 8)
“Academia, Responsibility, and the Movement for Black Lives” (Faculty Roundtable), “Blacks Lives Matter: Music, Race, and Justice,” Harvard Graduate Music Forum (Harvard University, Feb. 3)
“Aching for Repair: Piano, Prose, Impasse,” Music Department Colloquium (Cornell University, Apr. 14)
“Care-Oriented Musicology,” Music Symposium (Eastman School of Music / University of Rochester, Apr. 7)
“When Music Isn’t Enough,” Music & Disability Panel (Clark University, April 6)
“What If Music Isn’t Sex?” Music Department Colloquium Series (New York University, Mar. 31)
“Earsplitting,” Steven Larson Distinguished Lecture Series (University of Oregon, Mar. 20)
“Groovy Choreographies,” Ethnomusicology Colloquium (Brown University, Nov. 19)
“Staging Overcoming,” Symposium: Music & Disability (CUNY Graduate Center, May 21)
“Sex, Lies, and Musical Alibis,” Harvard Society of Fellows Lecture (Harvard University, Dec. 4)
“A Song at the End of the World,” Harvard Musicology Forum (Harvard University, Oct. 21)
“Music and Culture in The Lord of the Rings Online” (seminar at Stanford University, May 27)
“19th-Century Keyboard Improvisations,” Classical Improvisation (seminar at Brown University, Dec. 2)
“Improvisation Duel and Roundtable,” Symposium on Early Recordings (Stanford University, Jan. 16)
“Indignation, Indifference (or whatever): A Slacktivist’s Guide to the Diva’s Leaky Voice,” American Musicological Society (Rochester, NY, Nov. 11)
“Response: Critical Race Theory and Music (with Cheryl Harris),” American Musicological Society (Rochester, NY, Nov. 10)
“Response: Music, Disability, and Intersectionality,” American Musicological Society (Rochester, NY, Nov. 9)
“Alien Musicology: Britney Spears, Cyberleaks, and Our Obsession with Public Shaming,” Society for American Music (Montréal, QC, Mar. 25)
“Inspiration Porn: A Classroom Quandary,” American Musicological Society, Music & Disability Study Group (Vancouver, BC, Nov. 3)
“Taking Back the Laugh,” Music & the Moving Image (NYU, May 28)
“Sound Cannons versus Black Lives,” Society for American Music (Boston, Mar. 11)
“Sounding Good: Musicology, Rhetoric, Repair,” American Musicological Society (Louisville, Nov. 12)
“Blind Judgments: Music, Merit, Myth,” Society for American Music (Sacramento, Mar. 5)
“Staging Overcoming: Disability, Meritocracy, and the Envoicing of Dreams,” Society for Ethnomusicology (Pittsburgh, Nov. 13)
“Staging Overcoming,” American Musicological Society (Milwaukee: Nov. 7)
“Theory, Born This Way,” American Musicological Society (Milwaukee, Nov. 7)
“Kefka’s Laugh, Celes’s Cry,” Society for Ethnomusicology (Indianapolis, Nov. 16)
“Gaming Opera,” Verdi’s Third Century: Italian Opera in the New Millennium (NYU, Oct. 11)
“Opera, Video Games, and Aesthetic Distillation,” Music on Small Screens (Carleton University, Jul. 12)
“Acoustemologies of the Closet,” Modern Language Association (Boston, Jan. 4)
“Minima Opera: Silent Bullets, Digital Divas, and the Case of Inge Wagner,” American Musicological Society (New Orleans, Nov. 2).
“Atrocity, Amplified: Radio, Violence, and Fallout 3,” Music & the Moving Image (NYU, Jun. 2)
“A Song at the End of the World,” Society for American Music (Charlotte, NC, Mar. 16)
“Queering Disability/Disabling Queerness: The Carnivalesque Politics of R. Kelly’s Global Closet,” Feminist Theory & Music (ASU, Sept. 25); earlier version presented at Society for American Music (Cincinnati, Mar. 11)
“Online Gamespaces and Prosthetic Choreographies of Queer Expression,” Society for Ethnomusicology (Philadelphia: 19 November 2011); earlier version presented at Music and the Moving Image (NYU, May 22)
“Hearts for Sale: The French Romance and the Sexual Traffic of Musical Mimicry,” American Musicological Society (Indianapolis, Nov. 6)
“No Woman’s Land,” American Musicological Society (Indianapolis, Nov. 5)
“Voices in the Abyss: Mise-en-Abyme, Reflexive Hermeneutics, and Korngold’s Die tote Stadt,” AMS New England Chapter Meeting (Amherst College, Oct. 2)
“Static Trauma in Silent Hill: Echoes of a Ludological Nightmare,” Music & the Moving Image (NYU, May 22)
“A Question of Co-Hobbitation: Role-Playing toward a Virtual Musical Democracy in The Lord of the Rings Online,” Society for American Music (Carleton University, Mar. 21)
“Dead Cities, Live Lessons,” Stanford Opera Forum (Stanford University, Feb. 27)
“When Hobbits Collide,” Music & the Moving Image (NYU, May 30)
“The French Romance and the Fetish of Female Amateurism,” Feminist Theory & Music (Greensboro, NC, May 29)
“Hermeneutics of Autobiography and Program in Tchaikovsky’s Romeo and Juliet Overture-Fantasy,” Stanford Graduate Music Colloquium (Stanford University, Nov. 13)
“Aesthetics of Evil in Liszt’s Music: Perverting the Trajectory of Redemption in Mephisto Waltz No. 1,” AMS Northern California & Pacific Southwest Chapter Meeting (UC Berkeley, May 6)
Series Coeditor, Music & Social Justice (University of Michigan Press)
Editorial Board – Sound Studies: An Interdisciplinary Journal
2017 – 20
Council Member (Member-at-Large) – American Musicological Society
2017 – 20
Editorial Board – Journal of the Society for American Music
2017 – 19
Editorial Board – Women & Music: A Journal of Gender and Culture
Editorial Board – Journal of Videogame Sound and Music
Advisory Board – Society for the Study of Sound and Music in Games (SSSMG)
2016 – 19
Advisory Board – Leslie Center for the Humanities & Mellon Fellowship (Dartmouth College)
2016 – 18
Committee Member – Mark Tucker Award (Society for American Music)
2015 – 17
Founder and Co-Chair – Ludomusicology Study Group of the American Musicological Society
Program Committee – Ludomusicology Study Group of AMS (Founding Committee Chair, 2015 – 16)
Committee Member – Dartmouth Music Department, Foreign Studies Program ad hoc taskforce
Editorial Board – Music & the Moving Image
2014 – 18
Committee Member (Chair, 2017 – 18) – AMS Howard Mayer Brown Fellowship
Advisory Board – Ethnomusicology Review
Member of Review Board for Sensate: A Journal for Experiments in Critical Media Practice
2013 – 16
Committee Member – Sight & Sound Subvention (Society for American Music)
2012 – 14
Member-at-Large – AMS LGBTQ Study Group
Reviews of book proposals and full book manuscripts for Oxford University Press, University of California Press, University of Michigan Press, and Springer. Blind and double-blind reviews of articles for journals such as American Quarterly, Journal of the American Musicological Society, Journal of the Society for American Music, Ethnomusicology Forum, Journal of Interdisciplinary Music Studies, Soundtrack, Music & the Moving Image, Yearbook for Traditional Music, Eras, Journal of Homosexuality, Journal of Lesbian Studies, Sound Studies: An Interdisciplinary Journal, Women & Music: A Journal of Gender and Culture, and Mosaic: An Interdisciplinary Critical Journal.
SELECT PERFORMANCES AND LECTURE-RECITALS
For the Love of Music (lecture-recital), Family Fellows Weekend at Dartmouth College (Feb. 25)
Music of the French Salon, University Hall at Harvard (May 3)
Lecture-recital: Liszt’s Improvisational Tactics, Paine Hall at Harvard (Apr. 14)
Celebrating Chopin’s 200th (all-Chopin program), University Hall at Harvard (Dec. 9)
Happy Isles: Improvisations on Themes from the Audience, University Hall at Harvard (Feb. 11) – Dean’s Noontime Concert Series
Unsettling Memories: Improvisations on Themes from the Audience, University Hall at Harvard (Nov. 20) – Dean’s Noontime Concert Series
Improvisations on Themes from the Audience, University Hall at Harvard University (Apr. 17)
Musical Imaginations, Campbell Hall at Stanford (Jun. 2) – Senior recital (with honors)
Soloist – Rachmaninoff’s Piano Concerto No. 3 in D minor (with Stanford Symphony Orchestra), Dinkelspiel Hall at Stanford University (May 20)
Participant in Banff International Keyboard Festival
Participant in St. Lawrence String Quartet Chamber Music Seminar
Pianist for Stanford Symphony Orchestra’s summer tour of New Zealand and Australia
2004 – 6
Pianist for Music for All – Non-profit performance group for disability awareness, outreach, fundraising
German (reading ability)
Italian (reading ability)