The following is a partial list of graduate students in the Department of Music, including their specific programs and academic interests.

Michael Allemana (

Ethnomusicology. Interests: Jazz, social relations in music communities, audience/musician connections, music and performance in the African diaspora, political economy, language. Jazz guitarist.

Adrienne Alton-Gust (

Ethnomusicology. Interests: popular music, pop culture, queer entertainment; identity construction; embodiment; gender and sexuality.
Dissertation: Music, Identity, and Empowerment in Drag Performance.

Devon Borowski (

Music History with Graduate Certificate in Gender & Sexuality Studies. Interests: music & difference; eighteenth-century singing culture; the early modern Atlantic world; the history of capitalism; Nina Simone.

William D. Buckingham (


Jon Bullock (

Ethnomusicology. Interests: Constructions of time and place in contemporary Kurdish music, with a focus on the interstices of music and nationalism, modernity, and global migration/diaspora. Music and religion, including music censorship within the Christian church, and various sonic phenomena within Islamic performative and theological traditions.

Rodrigo Bussad (

Music Composition. Interests: Far Eastern Philosophy; Chinese Numerology; Japanese Gagaku; Chinese Sizhu Music and from the Ethnic Minorities in China; Concepts of Space, Silence, and Time that manifest in many forms of Art, Architecture, and Religious traditions.

Alican Camci (


Rachel Chery (

Music History. Interests: 18th Century British music, particularly the concept of Englishness; cultural theory; nationalism and historical ethnography.

Anjelica Corbett (

Ethnomusicology.  Interests: popular and traditional music of the Caribbean; youth culture; cultural and youth policy; carnival in the Caribbean; globalization of reggae and soca; music education; K-Pop and K-Pop fandoms; soundtracks of international dramas.

Barbara E. Dietlinger (

Music History and Theory. Dissertation: “Music and Commemoration in Early Modern Northern Europe – Visual and Sonic Intersections of Remembrance”
Interests: Early Music, esp. music in war and peace, music iconography, funeral music, female musicians and composers during the 16th and 17th century, Orlando di Lasso, Heinrich Schütz; opera, esp. television and televised opera, opera in the media, Slavic opera; film music.

Catrin Dowd (

Music History and Theory/TAPS. Interests: performance practice, urban planning, Cold War studies, boundaries

Natalie Farrell (

Music History/Theory. Interests: applications of poststructuralist critical theory to analysis of compositions since 1990, trauma theory, American post minimalism, sound studies, genre theory, narrative theory, late capitalism/hip consumerism, intertextuality, music in literature (particularly James Joyce), puns.

Patrick Fitzgibbon (

Music History and Theory. Interests: history of theory, especially in early modern France and Germany; aesthetics, hermeneutics, semiotics; discourse analysis; sociology of culture.

Rebecca Flore (

Music History and Theory. Interests: Human speech as a compositional object. Recording technology’s influence on composition. Texture. Timbre. Postmodernism. Analysis of post-war art music. Popular music. Sound studies. Voice studies.

Jonah Francese (

Ethnomusicology. Interests: Hip hop, neo soul, gospel, jazz, music education, culture divide in the US through music, race, cultural appropriation, social platforms on which music has risen, protest music.

Anna B. Gatdula (

Music History and Theory. Interests: music as voice/practice/ordinary/beside; historically-speaking, nuclear-age American music and culture. Professionally-speaking, diversity, equity, and inclusivity in music studies. Personally-speaking, knitting, cooking, and binge-watching.

Aimee E. Gonzalez (

Music History and Theory. Interests: late 15th- and early 16th-century sacred music; motets in the French royal court; lay devotion with a particular focus on the saints; Jean Mouton; women in Medieval and Renaissance music; Parisian Romantic ballet; music and nature; music in the Cuban diaspora.

Elizabeth Hopkins (

Music history and theory. Interests: History of science, audiovisual media and mass culture, SciFi, cybernetics, the digital humanities

Owen Hubbard (

Music History and Theory. Interests: Music in 1950s–1970s Europe, particularly Germany; late capitalism; musical "guilty pleasures"; intellectual history; questions of subjectivity, agency, technology, and mediation; compositional and textual authority in (post)modernity; countercultures; modernist dis- and re-enchantment; historical and geographical imaginaries; narrative, cohesion, and indeterminacy; ritual; hauntology.

Jack Hughes (


Alison Yun-Fei Jiang (

Music composition.

Maria Kaoutzani (

Composition. Interests: Color, texture, song.

Joshua Klopfenstein (

Music History and Theory. Interests: History of music theory; music up to 1600.

Erol Koymen (

Ethnomusicology. Interests: music and Turkish nationalism; early Turkish Republican modernism and European exchange; urban space and soundscapes; music and political subjectivity; music and ritual; historical ethnography; intellectual history.

John Y. Lawrence (

Music Theory and History. Interests: timbre, texture, and dynamics in 18th- and 19th-century music; performance analysis; listener-centered hermeneutics; philosophy of mind; Formenlehre; Broadway musicals; "popular" music of the late 19th and early 20th centuries.

Jae-Goo Lee (

Composition. Interests: Klangfarbenkomposition, Neo-romanticismic composition, Composition based on Korean traditional materials, Analysis on the 20th-century music, Social meaning of music, History of music theory.

Joungbum Lee (

Composition (with a minor field in Theory and Computer Music). Interests: The concept of time and its influence in compositional process and listeners through the post-relativity/post-quantum era of Physics and Eastern philosophical knowledge (zen buddhism, taoism); 21st Century modernisms; Korean shamanic music; phenomenological music; analysis and score study

Woo Chan (Chaz) Lee (

History and Theory. Interests: Soundtracks and easy listening; classical music as mass culture, 1800-present; neoliberalism and the Romantic aesthetic; K-pop and modernity; globalization, cultural exchange, and biopower; historical materialist approaches to Western Art Music.

Mili Leitner Cohen (

Ethnomusicology. Interests: Jewish liturgy in Israeli public spaces, including canonization and creation of liturgy and paraliturgy; nusach; gender; halachah and minhagim; intersections of Jewish and Israeli music.

Ailsa Lipscombe (

Music History and Theory. Interests: sound studies and hospital acoustemologies; popular music of the 20th and 21st centuries; film and TV music; music, blindness, and disability studies; interactions of fans and listeners on social media.

Joseph Maurer (

Ethnomusicology. Dissertation: "American Folk: Transmitting Musical Heritage in Immigrant Chicago”.
Interests: nationalism, education, immigration and assimilation, panethnicity, cultural policy, the nonprofit education and cultural sector, American Studies, protest music, sea chanteys.

David "Clay" Mettens (

Composition. Interests: Late 20th century and 21st century British music (especially Thomas Adès and George Benjamin); analysis and score study; opera; poetry and text setting; music for large ensembles.

Ted Moore (


Gabriel Novak (

Composition. Interests: Jazz, blues and improvisation. Film scoring and sound design.

Evan Pensis (

Ethnomusicology. Interests: Queer nightlife cultural formations; music consumption, racialization, and identity formation; aesthetics and affect; popular music and music videos; feminist music studies; public sphere, critical race/decolonial and queer theory.

Andrei Pohorelsky (

Music History and Theory. Interests: 20th-century music; Modernism; Ragtime; Solid things, melting things, airy things.

Hannah Rogers (

Ethnomusicology. Interests: music and tourism in the circum-Caribbean. Music, taste, and values. Archives, museology, and other matters pertaining to material residues of the nonmaterial and representations of intangible cultural heritage.

Tommaso Sabbatini (

Music History. Interests: French, Italian, and British opera, circa 1830–1930; Parisian theatre; French opera outside France.

Siavash Sabetrohani (

Music Theory and History. Interests: History of Music Theory, Music before 1945, Performance Practice, Partimenti and Improvisation, Early Recordings, Environmentalism

Jacob Secor (

Ethnomusicology. Interests: (intersections of) jazz and hip hop in Chicago, popular music, liberation, amplification, interfaces of high and low, semiotics of sound, critical race theory, countercultures of modernity, performance studies, jazz saxophone

Maxwell Silva (

Music Theory. Interests: late 20th and early 21st century modernisms (especially Boulez, Ligeti, spectralism, and concrète instrumentale); pitch quality in post tonal music; transformational theory; phenomenology and analytic philosophy of mind; ethical and ideological dimensions of modernist aesthetics; gesture and embodiment; temporality and form. Future projects: modernist aesthetics and kink; constitution of identities through music and dance in gay nightlife contexts.

James E. Skretta (

Music Theory and History. Interests: rhythm and meter; minimalism and process music; phenomenology, listener-centered analysis, and Zen and Buddhist philosophy; music cognition and embodiment; capitalism and psychoanalysis.

Bradley Spiers (

Music History and Theory. Interests: Intersections of music and its technological reproduction from the 18th- to 21st-centuries; mass media studies; sound and the aesthetics of cinema; music and artificial intelligence; music and human belonging, especially pertaining to the politics of creativity, subjectivity, and identity; cross-cultural intersections; 19th- and 20th-century intellectual histories; jazz histories. Bradley is a past coordinator of the Music History and Theory Workshop and the current co-coordinator of the Sound and Society Workshop.

Thalea Stokes (

Ethnomusicology. htt://

Rina Sugawara (

Music Theory and History. Interests: fantasy/fantasia, 20th century music, psychoanalysis, literary and musical forms/genres/modes, orchestral performance.

Takuma Taniwaka (

Composition. Interests: Theory, Elliott Carter’s compositional process, computer music, guitar. Website:

Miriam Tripaldi  (

Music History and Theory. Interests: 18th- and 19th-century Italian and French opera; compositional process, sketch studies, musical analysis; the reception of Italian music in Russia; Russian music and culture; the relationship between composers and publishers (in particular, Verdi and Giulio Ricordi).

Florian Walch (

Music Theory and History. Interests: History of music theory, in particular the dissemination of Schenkerian and North American music theory; aesthetics of musical analysis; music and cognition; Sonata Theory, genre, and the Classical style; music historiography, in particular of popular music (MA Thesis 2016: "What Never Was": Listening to the Genesis of Norwegian Black Metal); history of ideas and the mind (Geistesgeschichte), in particular French Enlightenment, German Idealism and Marxism.

Maria Welch (

Ethnomusicology. Interests: interstices of religion and culture in Afro-Brazilian Candomble, as well as indigenous shamanic traditions in the Andean highlands.

Andrew Malilay White (

Music History and Theory. Interests: Emerging concepts of textual authority and interpretation in 19th-century music. Technique and pedagogy of 19th-century keyboard improvisation, focusing on Liszt, Czerny, and Wieck. Loose and improvisatory performances of text in the 19th century and beyond. Anthropology of skill. Thoroughbass pedagogy. Canon and the "classical". The role of memory in analysis and performance. Schema and Topic theories.

Melanie Zeck (

Music History and Theory. Interests: American art music prior to WWI; black music historiography; speech surrogacy; the life and music of J.N. Hummel.