CV Feb 2015 for website

Transcription

NORIKO MANABE
Dept. of Music, Princeton University
Woolworth Hall
Princeton, NJ 08544
http://www.norikomanabe.com
princeton.academia.edu/NorikoManabe
scholar.princeton.edu/nmanabe
ACADEMIC APPOINTMENTS
Princeton University
Princeton, NJ
Assistant Professor, Department of Music.
• Departmental Representative, Department of Music, 2012–13.
• Executive Committee, Program in American Studies.
• Associated Faculty, Department of East Asian Studies.
• Affiliated Faculty, Program in Latin American Studies.
2009–Present
School of Oriental and African Studies
Research Fellow, Department of Music.
London, UK
2015–Present
Library of Congress
Kluge Fellow, Japanese music.
Washington, DC
2013–2014
Tokyo University of the Arts
Tokyo, Japan
Visiting Scholar, Department of Musical Creativity and the Environment
2012
International Research Center for Japanese Studies Kyoto, Japan
JSPS Research Fellow, Japanese popular music.
2008–2009
John Jay College, City University of New York
Adjunct Lecturer, Art and Music Department.
New York, NY
2005–2009 (6 terms)
Brooklyn College, City University of New York
Adjunct Lecturer, Conservatory of Music.
New York, NY
2006–2008 (3 terms)
Marymount Manhattan College
Adjunct Lecturer in Music, Theater Department.
New York, NY
2005-2006 (2 terms)
EDUCATION
CUNY Graduate Center
New York, NY
2003–2009
Ph.D., Ethnomusicology/Music Theory (two concentrations).
Comprehensive exams passed in music theory (2007), ethnomusicology (2008). MA, 2006.
• Dissertation: “Western Music in Japan: The Evolution of Styles in Children’s Songs, Hip-Hop, and
Other Genres.”
• Advisers: Peter Manuel (Ethnomusicology), Mark Spicer (Theory).
• Committee Members: William Rothstein (Theory), Jane Sugarman (Ethnomusicology).
Stanford University
MBA, Finance.
Stanford, CA
Yale University
New Haven, CT
BA, Mathematics and Music (two majors). Distinction in Music.
Noriko Manabe, February 14, 2015
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PUBLICATIONS
Books
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The Revolution Will Not Be Televised: Music and the Antinuclear Movement in Japan PostFukushima Daiichi. Full manuscript accepted at Oxford University Press. Expected publication,
summer 2015.
•
The Revolution Remixed: A Typology of Intertextuality in Protest Songs. Under contract with Oxford
University Press. Final manuscript to be submitted January 2015.
•
Molding Citizens in War and Peace: Japanese Children’s Songs, 1877–1947. In preparation.
•
Alternative Identities: The Culture and Aesthetics of Japanese Hip-Hop, Reggae, and Electronic
Dance Music. In preparation.
•
Oxford Handbook of Protest Music, co-edited with Eric Drott. Solicited by Oxford University Press.
•
Sonic Contestations of Nuclear Power, co-edited with Jessica Schwartz.
Peer-reviewed journal articles
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“Uprising: Music, Youth, and Protest against the Policies of the Abe Shinzō Government.” The AsiaPacific Journal 12, no. 32/3 (August 11, 2014). http://www.japanfocus.org/-Noriko-MANABE/4163.
•
“Music in Japanese Antinuclear Demonstrations: The Evolution of a Contentious Performance
Model.” The Asia-Pacific Journal, 11/42 (October 21, 2013), http://japanfocus.org/-NorikoMANABE/4015.
⎯ Waterman Prize, Popular Music Section, Society for Ethnomusicology, 2014.
•
“Representing Japan: ‘National’ Style Among Hip-Hop DJs.” Popular Music 32/1 (2013): 35–50.
•
“Straight Outta Ichimiya: The Rise of a Rural Japanese Rapper.” The Asia-Pacific Journal 11/5
(February 4, 2013), http://www.japanfocus.org/-Noriko-MANABE/3889.
•
“The No Nukes 2012 Concert and the Role of Musicians in the Anti-Nuclear Movement.” The AsiaPacific Journal Vol. 10, Issue 29, No. 2, July 16, 2012, http://japanfocus.org/-NorikoMANABE/3799.
•
“Reinterpretations of the son: Guillén’s Motivos de son as interpreted by Grenet, García Caturla, and
Roldán.” Latin American Music Review 30/2 (Fall/Winter 2009): 115–158. Analysis-heavy version of
Spanish-language article below.
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“New Technologies, Industrial Structure, and the Consumption of Music in Japan.” Asian Music 39/1
(2008): 81–107.
•
“Lovers and Rulers, the Real and the Surreal: Harmonic Metaphors in Silvio Rodríguez’s Songs.”
Transcultural Music Review 10 (2006). http://www.sibetrans.com/trans/articulo/154/lovers-and-rulersthe-real-and-the-surreal-harmonic-metaphors-in-silvio-rodriguezs-songs.
•
“Globalization and Japanese Creativity: Adaptation of Japanese Language to Rap.” Ethnomusicology
50/1 (Winter 2006): 1–36.
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Publications (continued):
Chapters in edited volumes
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“Hip-Hop and Reggae in Recent Japanese Social Movements.” In Two Haiku and a Microphone:
Traveling Texts and the Work of Afro-Japanese Cultural Production, ed. William H. Bridges IV and
Nina Cornyetz. Lanham, MD: Lexington Books, 2015, forthcoming. Invited submission; in press.
•
“Japanese Hip-Hop: Alternative Stories.” In Cambridge Companion to Hip-Hop, ed. Justin Williams.
Cambridge: Cambridge University Press, 2015 (forthcoming). Invited submission; in press.
•
“A Tale of Two Countries: Online Radio in the United States and Japan.” In Oxford Handbook of
Mobile Music and Sound Studies, Vol. 1, ed. Sumanth Gopinath and Jason Stanyek, 456–95. New
York: Oxford University Press, 2014.
•
“Songs of Japanese Schoolchildren During World War II.” In Oxford Handbook of Children’s
Musical Cultures, ed. Patricia Campbell and Trevor Wiggins, 96–113. New York: Oxford University
Press, 2012.
•
“Going Mobile: Ringtones, the Mobile Internet, and the Music Market in Japan.” In Internationalizing
Internet Studies: Beyond Anglophone Paradigms, ed. Gerard Goggin and Mark McLelland, 316–32.
New York: Routledge, 2009.
Articles in conference proceedings
•
“Music in the Japanese Antinuclear Protest Movement: Four Spaces, Four Tactics.” Popular Music
and Protest in the 21st Century, ed. Jedediah Sklower, forthcoming. Invited submission/peerreviewed; revising to resubmit.
•
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“How Music and Musicians Communicate the Antinuclear Message” and
“The Revolution Will Not Be Televised: Anti-Nuclear Protest Music in Post-Fukushima Japan.”
3.11 Virtual Conference: Looking Back to Look Forward, STS Forum on Fukushima, March 11–15,
2013, http://fukushimaforum.wordpress.com/online-forum-2/second-3-11-virtual-conference2013/how-music-and-musicians-communicate-the-antinuclear-message-2/.
•
“Ring My Bell: Cell Phones and the Japanese Music Market.” Music in Japan Today, ed. E. Michael
Richards and Kazuko Tanosaki, 257–67. Newcastle upon Tyne, UK: Cambridge Scholars Publishing,
2008.
•
“Reinterpretaciones del son: Versiones de Motivos de son de Guillén por Grenet, García Caturla, y
Roldán.” In El son y la salsa en la identidad del Caribe, ed. Darío Tejeda and Rafael Yunén, 515–32.
Santo Domingo, Dominican Republic: Centro León, Instituto de Estudios Caribeños, Secretaría de
Estado de Cultura, 2008.
•
“Don Giovanni’s Elvira: Analysis of the Evolution of a Mezzo Carattere.” In Interpretare Mozart:
Atti del convegno, ed. Mariateresa Dellaborra, Guido Salvetti, and Claudio Toscani, 127–46. Lucca,
Italy: Libreria Musicale Italiana, 2007.
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Publications (continued):
Book reviews
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Mark Butler’s Playing with Something That Runs: Technology, Improvisation, and Composition in
DJ and Laptop Performance (Oxford University Press). Music Theory Online. Invited submission;
manuscript in progress.
•
Susan Thomas’ Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage (University
of Illinois Press). Latin American Music Review 33/1 (Spring/Summer 2012): 124–30.
Encyclopedia entries
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“Protest Music.” In Sage Encyclopedia of Ethnomusicology, ed. Janet Sturman. 3,000 words.
Thousand Oaks, CA: Sage Reference, forthcoming. Invited submission; in preparation.
•
“Japanese popular music,” “Japanese hip-hop,” “DJ Krush,” “Music in Japanese Protest Movements.”
5,250 words. In Encyclopedia of Pop Culture in Asia and Oceania, ed. Jeremy Murray and Kathy
Nadeau, forthcoming. Santa Barbara, CA: Greenwood Publishing. Invited submission; in preparation.
•
“J-Pop.” In Grove Dictionary of American Music, ed. Charles Garrett. New York: Oxford University
Press, 2013.
•
“Canción romántica,” “Nueva trova,” “Silvio Rodríguez.” In Encyclopedia of Latin American Popular
Music, ed. George Torres, 70–73, 286–88, 285. Santa Barbara, CA: Greenwood Publishing, 2013.
RECORDINGS
Wayside Shrines is a band playing original songs to poet Paul Muldoon’s lyrics. I co-write songs, sing
lead and backup vocals, and play keyboards and clarinet. Audio clips can be heard at
www.waysideshrines.org. The band’s activities are chronicled at www.facebook.com/waysideshrines.
•
Word on the Street, Wayside Shrines, 13-track album, 2013.
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Black Box, Wayside Shrines, 5-track EP, 2012.
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CONFERENCE PRESENTATIONS
Presentations as an invited speaker at conferences are listed under “Invited Conferences.”
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“Atoms for Cuteness: Visualizing the Nuclear Past and Present through Children’s Culture.”
⎯ Association for Asian Studies, Chicago, March 2015.
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“Intertextuality in Protest Music.”
⎯ Intertextuality in Music Since 1900 Conference, Universidade Nova de Lisboa, March 2015.
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“Urban Geography, Soundscape, and the Performance of Japanese Antinuclear Demonstrations.”
⎯ Hearing Landscape Critically Conference, Harvard University, January 2015.
•
“Atoms for Cuteness: Visualizing the Nuclear Past and Protesting the Nuclear Present through
Characters.”
⎯ American Anthropological Association, Washington, DC, December 2014.
•
“Countering spirals of silence: Music and cyberspace in the Japanese antinuclear movement.”
⎯ Society for Ethnomusicology, Pittsburgh, November 2014.
§ Organizer and Chair, “Sound Networks: Socio-Political Identity, Engagement, and
Mobilization through Music in Cyberspace and Independent Media.”
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“Rock Under Censorship: Allegories, metonyms, and obfuscation in antinuclear recordings from postFukushima Japan.”
⎯ American Musicological Society Annual Conference, Milwaukee, WI, Nov 2014.
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“The Evolution of Musical Style in Antinuclear Demonstrations in Post-Fukushima Japan.”
⎯ Asian Studies Conference Japan, Tokyo, June 2014.
⎯ American Anthropological Association Conference, Chicago, IL, November 2013.
⎯ Society for Ethnomusicology Annual Conference, Indianapolis, IN, November 2013.
§ Organizer and Chair, “Raising Voices, Reclaiming Spaces: Antinuclear Soundscapes in
Contemporary Japan and Korea.”
⎯ Society for Social Studies of Science Conference, San Diego, CA, October 2013.
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Roundtable, “Reflections on Mobile Music Studies.”
⎯ Experience Music Pop Music Conference, Seattle, WA, April 2014.
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“The Revolution Will Not Be Televised: Typologies of Protest Music in the Anti-Nuclear Movement
in Post-Fukushima Japan.”
⎯ International Association for the Study of Popular Music (IASPM) Executive Conference, Gijón,
Spain, June 2013.
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“Spaces of Protest: Tailoring Messaging Techniques in Antinuclear Protest Music Since Fukushima.”
⎯ Changing the Tune: Popular Music and Politics in the 21st Century from the Fall of Communism
to the Arab Spring, International Conference, Strasbourg, France, June 2013.
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“Intertextuality in Antinuclear Hip-Hop Tracks in Post-Fukushima Japan.”
⎯ Association of Asian Studies Conference, San Diego, March 2013.
§ Organizer and Chair, “Straight Outta Nippon: Appropriation, Identification, Class
Consciousness, and Political Resistance in Japanese Hip-Hop and Reggae.”
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Conference presentations (continued)
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“Toward a Typology of Intertextuality in Protest Songs: Revolution Remixed in Antinuclear Songs of
Post-Fukushima Japan.”
⎯ American Musicological Society/Society for Ethnomusicology/Society for Music Theory
Conference, New Orleans, November 1–4, 2012.
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“The Revolution Will Not Be Televised: Music, Musicians, and Anti-Nuclear Protest in PostFukushima Japan.”
⎯ Inter-Asia Popular Music Studies Group Conference, Taipei, Taiwan, July 15, 2012.
⎯ Experience Music Project Pop Conference, New York, March 25, 2012.
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“Representing Japan: Japanese Hip-Hop DJs, the Global Stage, and the Concept of a ‘National’
Style.”
⎯ Asian Studies Conference Japan, Tokyo, June 30, 2012.
⎯ Society for Ethnomusicology, Los Angeles, November 11–14, 2010.
§ Organizer and Chair, “Transcultural Soundscapes, Representations of Nation, and
Interracial Performance in Japanese Popular Music.”
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“A Silenced Legacy: Songs Sung by Japanese Children During the Pacific War.”
⎯ Society for Ethnomusicology, Annual Conference, Philadelphia, PA, November 17–19, 2011.
⎯ Association for Asian Studies, Honolulu, March 31–April 3, 2011.
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“Localization and Globalization in Japanese Reggae/Dancehall.”
― IASPM Executive Conference, Grahamstown, South Africa, June 27–July 1, 2011.
― Inter-Asia Popular Music Studies Conference, Hong Kong, June 22–23, 2010.
― Asian Studies Conference Japan, Tokyo, June 17–18, 2010.
― Association for Asian Studies Annual Conference, Philadelphia, March 25–28, 2010.
― Society for Ethnomusicology, Annual Conference, Mexico City, November 19–22, 2009.
§ Organizer and Chair, “The Tropical in East Asia: Appropriation, Location, and
Circulation of Caribbean and Island Musics in East Asia.”
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Respondent, Special Session on Concert Music in Japan.
⎯ Society for Music Theory Annual Conference, Indianapolis, IN, November 4–7, 2010.
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“The Role of the Producer in Hip-Hop: An Ethnographic and Analytical Study of Remixes.”
⎯ Society for Music Theory Annual Conference, Indianapolis, IN, November 4–7, 2010.
§ Chosen as model proposal by SMT Professional Development Committee
⎯ Music Theory Society of New York State Annual Conference, New York, NY, April 10–11, 2010.
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“A Tale of Two Countries: The Impact of Smartphones and Online Radio on Listener Behavior and
Corporate Strategies in the United States and Japan.”
― Experience Music Project Pop Conference, Seattle, April 15–18, 2010.
•
“The Evolution of Japanese Songwriting in Western Genres.”
― Society for Music Theory, Annual Conference, Montreal, Canada, Oct. 29–Nov. 1, 2009.
― Society for Ethnomusicology Annual Conference, Wesleyan University, Middletown, CT,
October 24–28, 2008.
§ Organizer and Chair, “The Shadow of Western Influence: Impact of Western Practice on
Musical Composition, Theory, Education, and Performance in Japan and Korea.”
― Music, Language, and Mind Conference, Tufts University, Boston, MA, July 10–13, 2008.
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“Evoking the Mayan World: Symbolism and Serialism in Alberto Ginastera’s Cantata para América
mágica.”
⎯ Society for American Music Conference, Denver, CO, March 18–22, 2009.
•
“President’s Roundtable 2008: SEM and American Imperialism.” Invited panelist.
⎯ Society for Ethnomusicology Annual Conference, 2008.
•
“For Whom the Bell Rings: Differences in the Use of Ringtones and Mobile Music in Japan and the
United States.”
⎯ Cultural Typhoon, Sendai Mediatèque, Sendai, Japan, June 28–29, 2008.
⎯ Digital Youth in East Asia, Temple University in Japan, Tokyo, Japan, June 21–22, 2008.
Version in pecha-kucha format.
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“A Mulata’s Memory: Musical Mestizaje in the Characterization of Femme Fatales in Cuban
Zarzuelas.” Differing presentations on musicological, analytical, or ethnographic aspects depending on
audience.
⎯ International Musicological Society, Biennial Conference, Zurich, Switzerland, July 10–15, 2007.
⎯ Popular Musics of the Hispanic and Lusophone Worlds, International Conference, Newcastle
upon Tyne, UK, July 14–16, 2006.
⎯ AMS-Greater New York, Princeton, NJ, May 6, 2006.
⎯ Afro-Latino/Conference, CUNY Graduate Center, New York, NY, March 17, 2006.
⎯ National Opera Association, Annual Conference, Ann Arbor, MI, January 5–8, 2006.
⎯ Biennial International Conference on Twentieth-century Music, Sussex, UK, August 26, 2005.
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“Lovers and Rulers, the Real and the Surreal: Harmonic Metaphors in Silvio Rodríguez’s Songs.”
Revised following interview with Rodríguez:
⎯ International Conference on Music Since 1900, Biennial Conference, York, UK, July 5–8, 2007.
Previous version:
⎯ GAMMA-UT Conference, University of Texas at Austin, Austin, TX, March 25, 2006.
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“Ring My Bell: Impact of Cell Phone Technologies on the Japanese Music Market.”
Ongoing project examining the impact of the mobile internet on consumer and producer behavior.
⎯ IASPM International Executive, Biennial Conference, Mexico City, Mexico, June 25–29, 2007.
§ Plenary session, Technology and Industry Stream.
⎯ Music of Japan Today 2007, University of Maryland, Baltimore County, March 30–April 1, 2007.
⎯ Society for Ethnomusicology, Annual meeting, Honolulu, HI, November 16–19, 2006.
§ Organizer and Chair of Panel, “Fast Forward: Impact of Asian Mobile Phone and Game
Technologies on Production, Consumption, and Transnational Expression.”
⎯ IASPM-UK and Ireland, 25th Anniversary Conference, Birmingham, UK, September 1–3, 2006.
⎯ Experience Music Project Pop Conference, Seattle, WA, April 27–30, 2006.
⎯ MACSEM Conference, Hunter College, New York, NY, April 7–8, 2006.
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“Reinterpretaciones del Son: Versiones de Motivos de son de Guillén por Grenet, García Caturla, y
Roldán.”
⎯ II Congreso Internacional Música, Identidad y Cultura en el Caribe, “El son y la salsa en la
identidad del Caribe,” Centro León, Santiago de los Caballeros, Dominican Republic, April 13–
15, 2007.
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“Germont Uproots a Flower: Changing Colors in La Traviata.”
⎯ American Musicological Society, Lyrica session, Annual meeting, Los Angeles, CA, November 2,
2006.
⎯ McGill Symposium, Montreal, Quebec, Canada, March 2005.
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“Globalization and Japanese Creativity: Adaptation of Japanese Language to Rap.”
⎯ Cultural Typhoon 2006, Annual Conference, Tokyo, Japan, July 1, 2006.
⎯ Asian Studies Conference Japan, Annual Conference, Tokyo, Japan, June 24–25, 2006.
⎯ Washington and Southeast Japan Conference, Washington, DC, April 22, 2006.
⎯ Popular Culture Association/American Culture Association, Annual Conference, Atlanta, GA,
April 15, 2006.
⎯ IASPM-US, Murfreesboro, TN, February 16–19, 2006.
⎯ Society for Ethnomusicology, Annual National Conference, Atlanta, GA, November 20, 2005.
⎯ Northeast Popular Culture Association, Fairfield, CT, October 2005.
⎯ IASPM-Nordic, The Local, Regional, and Global: Globalization of Rock Conference,
Copenhagen, Denmark, October 2005.
Earlier versions prior to field work:
⎯ MIDSEM, Bowling Green, OH, March, 2005.
⎯ MACSEM, College Park, MD, March, 2005.
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“Caracterización musical de femme fatales mestizas en las zarzuelas cubanas.”
⎯ VII Congreso IASPM-AL (IASPM Latin America), Havana, Cuba, June 19–24, 2006.
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“Don Giovanni’s Elvira: Analysis of the Evolution of a Mezzo Carattere.”
⎯ Interpretare Mozart: Convegno internaziole di studi, a cura della Società Italiana di Musicologia e
di Fondazione Arcadia, Milan, Italy, May 19–21, 2006.
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INVITED CONFERENCES
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“Nuclear Childhoods: Nuclear Characters and the Antinuclear Movement.”
⎯ Child’s Play: Multisensory History of Children and Childhoods in Japan and Beyond. University
of California at Santa Barbara, Santa Barbara, February 2015.
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“Music in the Japanese Antinuclear Movement: Four Spaces, Four Tactics.”
⎯ Korea/Japan Music Symposium, Columbia University, November 2014.
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“Intertextuality in Antinuclear Hip-Hop Tracks in Post-Fukushima Japan.”
⎯ Between African American and Japanese: Traveling Texts Symposium, New York University,
October 2013.
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“Methods in Researching East Asian Popular Culture.”
⎯ East Asian Undergraduate Popular Culture Conference, Faculty Panel, Princeton University,
April 2013.
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“The Role of the Producer in Hip-Hop: An Ethnographic and Analytical Study of Remixes.”
⎯ Oxford-Princeton Conference in Music Theory, Princeton, NJ, March 18–19, 2011.
INVITED TALKS
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“Music in Antinuclear Demonstrations.”
⎯ Oxford University, Ethnomusicology Seminar, October 2015.
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“Musicians in the Japanese Antinuclear Movement: Motivations, Roles, and Risks.”
⎯ Oberlin College, Asia and the Environment Workshop, February 2015.
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“A Typology of Intertextuality in Protest Songs in Post-Fukushima Japan.”
⎯ Oberlin College Conservatory, February 2015.
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“Art and Activism: A Conversation with Vijay Iyer and Noriko Manabe.”
⎯ Whitman College, Princeton University, February 2015.
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“Musicians in the Japanese Antinuclear Movement Post-Fukushima Daiichi.”
⎯ East Asian Studies Colloquium, Princeton University, October 2014.
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“Antinuclear Protest Music in Post-3.11 Japan: Communication Methods in Cyberspace, Recordings,
Festivals, and Demonstrations.”
⎯ Center for Japanese Studies, University of Michigan, February 2014.
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“‘The Revolution Will Not Be Televised’: Antinuclear Protest Music in Post-Fukushima Japan.”
⎯ East Asian Studies Colloquium, Princeton University, October 17, 2012.
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“Toward a Typology of Intertextuality in Protest Songs: Revolution Remixed in Antinuclear Songs of
Post-Fukushima Japan.”
⎯ Special session, Japan Association for the Study of Popular Music, Tokyo University of the Arts,
Tokyo, May 25, 2012.
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“Music of Antinuclear Protest in Post-Fukushima Japan.”
⎯ Lecture, Tokyo University of the Arts, Tokyo, May 8, 2012.
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Invited talks (continued)
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“Jポップのグローバル化と国際放送の役割.”
⎯ Symposium, J-Pop and globalization. Tokyo University of the Arts, Tokyo, February 18, 2012.
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“Representing Japan: Japanese Hip-Hop DJs, the Global Stage, and Defining a ‘National’ Style.”
⎯ Workshop in American Studies, Princeton University, Princeton, NJ, April 19, 2011.
⎯ East Asian Humanities II (East Asian Studies 234/Humanities 234), April 21, 2011.
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“Locating the Japanese and the Jamaican in Japanese Reggae/Dancehall”
⎯ University of the West Indies at Mona, Department of Literatures in English, July 20, 2010.
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“The Evolution of Sonic Style in Japanese Hip-Hop.”
⎯ Association of Princeton Graduate Alumni, Princeton University, May 29, 2010.
⎯ Black Popular Music Culture (African-American Studies 348/English 348), April 29, 2010.
― East Asian Humanities II (East Asian Studies 234/Humanities 234/Comparative Literature 234),
April 27, 2010.
― East Asian Studies Colloquium, Princeton University, December 2, 2009.
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“洋楽ジャンルの適応と変遷：童謡、ヒップホップとレゲエの事例研究.”
⎯ Nichibunken Forum, Kyoto, Japan, December 10, 2008.
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“The Adaptation of Western Genres in Japanese Popular Music: From Children’s Songs to Hip-Hop.”
⎯ Nichibunken Evening Seminar, Kyoto, Japan, December 4, 2008.
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“The Influence of Italian Opera on the Cuban Bolero and Canción.”
⎯ Latin American and Caribbean Center, Florida International University, Miami, FL, June 2007.
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“Globalization and Japanese Creativity: Adaptation of Japanese Language to Rap.”
⎯ Asian American Research Institute, New York, NY, February 3, 2006.
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“Musical Interpretations of Don Quixote: Reflections of Time, Place, and Meaning.”
⎯ Brooklyn Conservatory, Brooklyn, NY, May 2005.
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FELLOWSHIPS AND AWARDS
Fellowships
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National Endowment for the Humanities, Fellowship for Advanced Social Science Research in Japan,
2014.
Kluge Fellowship, Library of Congress, 2013–14.
Japan Foundation Research Fellowship, 2011–2012.
Social Science Research Council/Japan Society for the Promotion of Science (SSRC/JSPS) Long-term
Fellowship, 2011–2012 (offered and declined).
Woodrow Wilson Career Enhancement Fellowship for Junior Faculty (alternate), 2011.
Institute of Advanced Studies, School of Historical Studies, Membership (alternate), 2011.
Social Science Research Council/Japan Society for the Promotion of Science (SSRC/JSPS)
Fellowship, 2007–2008.
Fulbright IIE Fellowship, Mexico (finalist), 2007.
Awards
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Waterman Prize, Society for Ethnomusicology, Popular Music Section, for “Music in Antinuclear
Demonstrations,” Asia-Pacific Journal, 2014.
Book Subvention Award, Society for Ethnomusicology, Diversity Action Committee, for The
Revolution Will Not Be Televised (Oxford University Press), 2013.
Hewitt Panteleoni Award, MACSEM (Middle Atlantic Chapter of Society for Ethnomusicology), Best
Student Paper, for “Adaptation of Japanese Language to Rap,” Ethnomusicology, 2006.
External grants
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Society for Music Theory Diversity Travel Grant, 2008.
Social Science Research Council, Japan Studies Dissertation Workshop, 2007.
Harvard-Yenching Travel Grant, 2007, Japanese popular music.
Díaz-Ayala Grant, Cuban Research Institute, Florida International University, 2007, Cuban music.
Grants from Princeton, CUNY
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Barr-Feree Foundation Publication Fund, 2015.
Princeton University, University Council for Research in Humanities and Social Sciences, 2014.
Princeton University, Class of ‘59 Junior Faculty Fund, 2014.
Princeton University, Class of ‘59 Junior Faculty Fund, 2013–14.
Princeton University, Tuck Fund, 2013.
Princeton University, Program in Latin American Studies Faculty Course Grant, 2011.
Princeton University, David A. Gardner ‘69 Magic Fund, Council of the Humanities, 2010.
Princeton University, Program in Latin American Studies Faculty Research Grant, 2010.
CUNY Professional Staff Congress, Professional Development Grant, 2007.
CUNY Tuition Fellowship, Spring 2006–Fall 2007.
CUNY Graduate Research Grant, 2006, 2008, Japanese popular music.
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COURSES TAUGHT
Princeton, undergraduate
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Musical Cultures of the World (MUS 250/ANTH 250, Fall 2009)
Popular Music in Japan (MUS 254/EAS 254, Spring 2010, Spring 2013, Spring 2015)
Taiko Drumming Workshop: Japanese and North American Perspectives, with Kaoru Watanabe
(MUS 255/EAS 255, Fall 2010, Fall 2012, Fall 2014)
History of Popular Music: Rock, R&B, and Hip-Hop (MUS 265, Fall 2010)
Music in the Caribbean (MUS 259/LAS 259, Spring 2011)
Junior Seminar for Music Majors (Fall 2012)
Analyzing Popular Music (MUS 322, Spring 2015)
Princeton, graduate
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Analysis of Popular Music (MUS 509a, Spring 2010, Spring 2013)
Issues in Global Popular Music (MUS 509b, Spring 2011)
Analysis of Protest Music (MUS 509c, Fall 2014)
Other institutions, undergraduate
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Music in World Culture, Instructor of Record (MUS 104, John Jay College/CUNY, 2005–09)
Introduction to World Music, Instructor of Record (MUS 110, Marymount Manhattan College, 2005–
06)
Other institutions, master’s level
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Popular Music in North America and Britain, 1950-2005: History and Analysis, Instructor of Record
(MUS 93/760.6, Brooklyn College and Conservatory of Music/CUNY, Fall 2007)
Musical Syncretism in Spain, Latin America, and Asia, Instructor of Record (MUS 44/785, Brooklyn
College and Conservatory of Music, Spring 2007)
Analysis of World Music, Instructor of Record (MUS 44/785), Spring 2006
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ADVISEMENT
Doctoral dissertations
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Christopher Gupta, Ph.D. candidate, “Getting Out of a Jam: A Generalized Theory of Improvisatory
Processes in Popular Music” (adviser).
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Daniel O’Meara, Ph.D. candidate, “Categorization and Stylistic Identification in Jazz Listening” (first
reader).
Senior theses
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Julianne Grasso ‘10, “ Links to Fantasy: The Music of The Legend of Zelda, Final Fantasy, and the
Construction of the Video Game Experience,” 2010.
― Selected for inclusion in The Thesis: Quintessentially Princeton,
http://www.princeton.edu/pub/qp/reflections/grasso/
― Currently a Ph.D. student in music theory, University of Chicago
Junior papers
Music majors at Princeton write independent research papers in each term of their junior year. The second
paper, written in the spring term, is an academic paper of 30–50 pages or an original composition.
Second junior papers
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Amanda Lawrence ‘14, “Calypsoica,” arrangement of Beethoven’s Eroica Symphony for steel pan,
Spring 2013 (co-adviser).
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Sean Murphy ‘11, “The Expansion of the Artist-Led Format: A Survey of Alternative Digital
Distribution Strategies for Independent Musicians,” 2010.
First junior papers
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Music Majors of the Class of 2014 (12 majors), Fall 2012.
Outside independent study
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Keisuke Yamada (Ph.D. student, University of Pennsylvania), iemoto systems in contemporary Japan.
Papers written in my classes or under my advisement have been accepted to the following conferences:
New England Conference of Music Theorists, 2014
McGill Graduate Student Conference, 2014
East Asian Popular Music Student Conference, Princeton, 2012
Perspectives on Musical Improvisation, Oxford, 2012, 2014
Asian Popular Music Conference, Princeton, 2011
IASPM International, 2011
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ORGANIZATIONAL SERVICE
Princeton
Department of Music
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Departmental Representative, 2012–2013.
― Instructor of Record, Junior Seminar, Fall 2012.
― Author, Guide to Independent Research in Music, 2013.
― Adviser to first JP, twelve juniors, Fall 2012.
― Freshmen Orientation Meeting, September 10, 2012.
― Freshmen Open House, September 11, 2012.
― Organizer, Major Choices Event for Freshmen and Sophomores, November 28, 2012.
― Sophomore Open House, April 6, 2013.
Search Committee, Assistant Professor of Musicology, 2010–11.
General examinations for Ph.D. candidates, 2009–Present.
Admissions, Music Ph.D. program, 2009–Present.
Music theory examinations for Ph.D. candidates, 2010–Present.
Dissertation proposal defenses, 2009–2010.
Examination of dissertation defenses for:
⎯ Patrick Wood (theory), 2011
⎯ Johanna Frymoyer (theory), 2012
⎯ John Rego (musicology), 2012
Colloquia organization, Department of Music:
• Organizer, Colloquia Series on Nonwestern Music, Princeton Department of Music, with Christopher
Matthay, Jeff Levenberg, Ireri Chávez Barcenas, Spring 2010–Present.
• Organizer, Colloquia Series on Popular Music, Princeton Department of Music, with Christopher
Shannon, Spring 2010–Present.
• Organizer, “Conversations in Hip-Hop,” DJ Shiftee and Schoolly D, November 29 and December 1,
2010.
Conference organization:
• Organizer, conference, “In the Mix: Asian Popular Music in Global Contexts,” with Prof. Richard
Okada and Cameron Moore (East Asian Studies), March 25–26, 2011.
http://www.princeton.edu/asianpop/index.xml
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Co-organizer, conference, “Intellectual Property and the Making and Marketing of Music in the
Digital Age,” with CACPS, April 23–24, 2010.
Concert organization:
• Organizer, concert and workshop, “Crossfire Steel Pan Orchestra with Kendall Williams and Joshua
Quillen,” April 6, 2015.
• Organizer, concert, “Kenny Endo and Kaoru Watanabe duo in collaboration with So Percussion,”
October 14, 2014.
• Organizer, concert, Kaoru Watanabe Ensemble, November 27, 2012.
• Organizer, artist’s talk and concert, DJ Krush, March 25, 2011.
• Organizer, “Kenny Endo and Kaoru Watanabe: Conversations in Japanese Taiko,” November 15,
2010.
• Organizer, “Katachi: The Shape of Sounds in Silence,” performance of Japanese taiko drums and flute
with Kaoru Watanabe and Barbara Merjan, February 9, 2010.
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Organizational service (continued)
Other departments and programs
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Program in American Studies, Executive Committee, 2010–Present.
⎯ Participant in discussions regarding the establishment of Program in Asian-American Studies.
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Program in Latin American Studies, Affiliated Faculty, 2009–Present.
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Department of East Asian Studies, Associated Faculty, 2011–Present.
― Assessments of applicants, East Asian Studies Ph.D. program, 2009, 2010.
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McGraw Center for Teaching and Learning, Speaker, orientation program for new assistant professors,
September 2012.
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Society of Fellows Postdoctoral Fellowships
― Assessments of candidates, Music (2009, 2010, 2012), Race and Ethnicity (2012).
― Interviews with candidates, Music (2010), East Asian Studies (2010, 2013).
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Trustee Ad Hoc Committee on Diversity
― Participant in focus group, 2013.
― Participant in discussion group on Asian-American community, 2013.
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Panel chair, conference, “Too Cute: American Style and the New Asian Cool,” organized by Prof.
Anne Cheng (English/American Studies), March 3–4, 2010.
Student activities
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Faculty adviser, Princeton Tora Taiko (Japanese drumming ensemble), 2011–Present.
Academic societies and organizations
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Chair, Investment Committee, Society for Ethnomusicology, 2009–Present (appointed); Member,
2003–Present
Council Member, Society for Ethnomusicology, 2010–2013 (elected)
Member, Investment Committee, Society for Music Theory, 2012–Present (appointed)
Executive Committee, Music Department, CUNY Graduate Center, 2006–2008 (elected)
Secretary, Middle Atlantic Chapter, Society for Ethnomusicology, 2006–2007 (elected)
Board Director, Endowment Chair, Dessoff Choir, 2005–2006 (elected)
EDITORIAL BOARDS
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Editorial Board, Twentieth-Century Music, 2013–Present (appointed)
Contributing Editor, Asia-Pacific Journal, 2014–Present (appointed)
PEER REVIEW
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Reader reports for articles submitted to Ethnomusicology, Latin American Music Review, Music
Analysis, Yearbook for Traditional Music, Twentieth-Century Music, Popular Music.
Peer Review Panel, Mid-Atlantic Arts Foundation, 2013–Present.
Assessment for Junior Research Fellowship, Christ’s College, Cambridge University, 2012.
Assessments for Princeton Society of Fellows, 2009–Present.
15
PROFESSIONAL AFFILIATIONS
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Society for Ethnomusicology
Society for Music Theory
Japan Association for the Study of Popular Music
Association for Asian Studies
International Association for the Study of Popular Music
American Anthropological Association
EXPERT OPINIONS
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Copyright cases involving Paramore, Nickelback
INTERVIEWS
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Sound American, “Music in Antinuclear Demonstrations,” Nathan Wooley, January 26, 2015.
Tagesspiegel, “Protest Music Against Nuclear Power Post-Fukushima,” Felix Lill, December 17,
2014.
Faculty Profiles, Undergraduate Admissions, Princeton University, by Gerald Cohen, October 2014.
Princeton Magazine, “Group Chemistry: Where There’s a Will, There’s a Wayside Shrine,” by Stuart
Mitchner, May 2013.
Museum of Modern Art Podcast, “Antinuclear Protest Music in Japan,” by David Novak, April 26,
2013.
HOT FM 102, Kingston, Jamaica, “Reggae Music in Japan,” by Richard Burgess, March 22, 2012,
4:30–5:00pm.
Princeton University Bulletin, article (“From Cash Flow to Rhyme Flow”), published May 3, 2010.
http://www.princeton.edu/main/news/archive/S27/61/27C43/index.xml?sectio
PERFORMING EXPERIENCE
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Wayside Shrines, rock band with original songs featuring Paul Muldoon’s lyrics, (2010–present)—
keyboards, vocals, songwriter
Japanese Traditional Theater Training (2008)—kotsuzumi player
Dharmaswara Balinese Gamelan (2003–6)—gangsa player
Dessoff Choir (2003–6)—singer
Tokyo International Players (2001)—musical director, arranger, accompanist
Pianist, keyboardist. Ensemble experience with clarinet, violin, viola, guitar, kotsuzumi, tingklik.
LANGUAGES
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Native in English, Japanese; fluent Spanish; competent French; knowledge of German, Mandarin,
Portuguese.
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OVERSEAS FIELD WORK AND ARCHIVAL WORK
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Japan: 2005, 2006, 2008–09 (resident), 2010, 2011, 2012 (resident), 2013, 2014
Trinidad: 2011
Jamaica: 2010
Mexico: 2005, 2007
Cuba: 2003, 2004, 2006
China: 2005
Spain: 2004
Bali: 2003
Cambodia: 2002–3
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CV Feb 2015 for website

Transcription

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