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

George Adams (

Music History/Theory. Interests: Analysis of conceptual music; ethics and aesthetics of modernism; American music; intersections of speech, language, and music.

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.

Shawn Allison (

Composition. Interests: 20th-century music in general, particularly Messiaen and Crumb. Also a saxophonist. Website:

Adrienne Alton-Gust (

Ethnomusicology. Interests: electronic tango, genre in popular music, pop culture, queer entertainment, music in fitness contexts; identity construction, embodiment, gender & sexuality.

Patricia Arzaga [Firca] (

Musicology. Interests: 17th-century music, early modern noble identity, social virtues, comparison between the Austrian Habsburgs and the French Bourbons, and cultural exchange between Italian and Austrian cities (Lucca, Venice, Innsbruck, Vienna). Dissertation title: La virtù fatta canora: Staging Early Modern Values at the Court of Leopold I (1658-1705).

Ieda Bispo (

Ethnomusicology. Interests: Music and Pentecostalism, production and consumption of contemporary Christian music (gospel) in Brazil; musical traditions in Sao Paulo; Brazilian guitar; Brazilian popular music.

Devon Borowski (

Music History with Graduate Certificate in Gender & Sexuality Studies. Interests: music & difference; queer theory; postcolonial theory; the early modern Atlantic world; castrati and their world; the history of capitalism; Nina Simone.

William D. Buckingham (


Chelsea Burns (

Music Theory and History. Dissertation: "Listening for Modern Latin America: Identity and Representation in Concert Music, 1920–1940." Interests: analytical approaches to non-canonical repertories; Latin American modernisms; politics in music theory; music theory pedagogy; bluegrass, old-time, and country musics; canon formation and musical meaning.

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.

Nadia Chana (

Ethnomusicology. Interests: voice (both audible and metaphoric), First Nations studies, music and the environment, gender and sexuality, embodiment, alternative epistemologies/practice-based ways of knowing, ethical listening practices, posthumanism, applied and medical ethnomusicology, experimental ethnography, and American kirtan. Nadia is co-founder of the Bicycle Opera Project, voice teacher, and certified yoga instructor.

Genevieve Dempsey (

Ethnomusicology.  Interests: researching rock nacional and rock chabón in Buenos Aires, exploring the encounters between popular music of Brazil and Portugal—particularly choro from Rio de Janeiro and fado from Lisboa—and studying the interconnectivity of music with political economy, gender, subaltern identities, and transnationalism.

Barbara E. Dietlinger (

Music History and Theory. Interests: Television opera (M.A. Thesis Musicology, 2014 “The NBC Opera Theatre: A Short Story of a Short Success”), opera in the media, opera and libretti (M.A. Thesis Slavic Philology, 2015 “Janáček’s and Čapek’s Věc Makropulos: A Comparative Study”), exile music in the US, early music and vocal polyphony, Orlando di Lasso, female musicians and composers during the 16th and 17th century.

Lauren Eldridge (

Ethnomusicology. Interests: Musics of the African Diaspora, Haiti, performance politics of art music, international aid and intervention, memory.

Will Faber (

Ethnomusicology. Interests: Jazz, improvisation, experimentalism, dub, dancehall, and noise.  Urban soundscapes, critical geography, cultural policy and institutions, race, migration, and technology.

Abigail Fine (

Music History and Theory. Interests: popular reception of composers and their music in the nineteenth century, historiography, canon formation, material studies, museology, tourism, consumer culture.

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 Theory and History. Interests: popular music, texture and timbre, audio recording, minimalism, spectral music, high vs. low art, Kurt Weill

Ted Gordon (

Music History. Interests: experimental practice, modernism, improvisation; critical theory, science & technology studies, sound studies; electronics, instruments, bodies; popular/unpopular music.

Pierce Gradone (

Julianne Grasso (

Music History/Theory. Interests: video games, perception and cognition, time and attention, the internet, popular music, and most everything else.

Tomàs I. Gueglio-Saccone (

Composition. Music at: .

Dana Hall (

Ethnomusicology. Interests: Black music and popular culture, Sub-Saharan Africa and musics of the African Diaspora, improvisation, and cultural criticism. Theoretical interests include issues of sentiment, ethnicity and identity, post-colonialism, protest, and struggle.

Elizabeth Hopkins (

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

Zhuqing (Lester) Hu (

Music History. Interests: Medieval and Renaissance music and music theory; music and postcolonial studies; Orientalism and self-Orientalism; popular musics, ethnic histories, and cultural politics in China; music in classical Chinese literature and scholarship; music and psychoanalysis.

Owen Hubbard (

Music History and Theory. Interests: European (particularly German) modernisms of the mid-20th century; historical ethnography; late capitalism; musical "guilty pleasures"; intellectual history; vernacular modernisms; music and/as the imaginary; compositional and textual authority in (post)modernity; "composer cults"; cultural memory; identity and subcultural formations.

Jack Hughes (


Sarah Iker (

Music History and Theory. Dissertation: "An Experience-Oriented Approach to Analyzing Stravinsky's Neoclassicism." Other research/teaching interests: musical quotation, phenomenology, schemata and topic theory, transformation theory, early twentieth-century French piano music, musical theatre, music and dance, music perception and cognition.

Donald James (

Ethnomusicology. Interests: Music and cultural politics, jazz and popular music in the Francophone world, mediation and ontologies of performance, geography, scenes and subcultures.

Patrick Kaufman (

Rehanna Kheshgi (

Ethnomusicology. Interests: Assam, Northeast India, Hindustani music research and performance, “folk” vs. “classical”, identity politics, neo-Vaishnavism, audio archiving and preservation, intellectual property rights, linguistic anthropology.

Michael LaCroix (

Composition. Interests: Contemporary concert music, multimedia, jazz. Website:

John Y. Lawrence (

Music Theory and History. Interests: timbre, texture, and dynamics in 18th- and 19th-century music; listener-centered hermeneutics; performance analysis; 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 (

Ethnomusicology. Interests: Israel; conflict; racial and ethnic formation; identity; nation-making; sonic studies; urban soundscapes; transcription and analysis; ownership and power in the music industry.

Ailsa Lipscombe (

Music History and Theory. Interests: popular music of the 20th and 21st centuries; film and TV music; filmic encounters with indigeneity; Disney Studies; interpretation and misinterpretation; narrative and narratology; music and blindness; interactions of fans and listeners on social media.

Ching Ching Cecilia Lo (

Music History and Theory. Interests: 16th and 17th century music, temporality and music.

Zachary Loeffler (

Music History and Theory. Interests: Musical magic in modernity; ethics, politics, and aesthetics of smallness; potentiality; performance rituals.

Anabel Maler (

Music Theory and History. Interests: perception of form in post-tonal musical contexts; musical form and formenlehre; music and gesture; disability studies; music and d/Deafness; music perception; history of theory.

Joseph Maurer (

Ethnomusicology. Interests: America, nationalism, immigration and assimilation, race, music education and cultural politics/history, social justice, voice, gender and sexuality, postcolonialism, public policy

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.

Kevin McKenna (

Music Theory and History. Interests: Perception and cognition; aesthetics and philosophy of music; history of theory; origins and development of opera.

Meredith Moretz (

Music History and Theory. Interests: 19th and 20th-century music (especially Schubert, Schumann, and Krenek); opera, film music, analysis, piano performance.

Valerie Nicholson (

Music Theory, jazz pianist. Faculty member, Prairie State College, Chicago Heights.

Ameera Nimjee (

Ethnomusicology. Interests: Indian contemporary dance; Hindustani music; South Asian visual cultures; ethnomusicology and museums

Anna-Lise Pasch Santella (

Ethnomusicology and Musicology. Interests: Music in the United States, women’s orchestras, film music, gender studies, music and politics, cultural policy, Irish traditional music in the U.S., Les Six, choral music.

Evan Pensis (

Ethnomusicology. Interests: Attunement to sound in marginalized communities; music and world-making in queer counterpublics; USAmerican popular music and sound studies; music video studies; queer and/of color critique; public sphere theory; critical race and affect studies.

Maria Perevedentseva (

Music History & Theory. Interests: constructions of taste and taste hierarchies in non-academic electronic music; aesthetics, modernisms, noise, experimental music.

Jessica Peritz (

Music History. Interests: French and Italian opera, especially of the 18th and early 19th centuries; philosophy, from the Renaissance through the Enlightenment; voice studies; literary history and criticism; historical vocal pedagogy and performance practice; music and trauma; gender and sexuality studies.

Katherine Pukinskis (

Area: composition
Interests: the intersection of Latvian cultural and national identity, choral/vocal music, movement/gesture, extensive pre-compositional work, baking, distance running, stacked fifths, and describing my music as "humanist."

Melissa Reilly (

Musicology. Interests: Renaissance, aesthetics, performance studies, transitions.

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.

Dawn De Rycke (

Musicology. Interests: 15th/16th century sacred music, Spain. Ceremony and civic identity, Seville. Motets, hymns; local devotion. Francisco Guerrero. Local identity and cultural commerce.

Tommaso Sabbatini (

Music History. Interests: nineteenth-century to early twentieth-century French, Italian, and British opera; French opera outside France; French opera outside opera (literary and dramatic hypotexts, exchanges with other theatrical genres, adaptations for other media).

Siavash Sabetrohani (

Music History and Theory. Interests: 17th/18th/early 19th century music (Monteverdi, J.S. Bach, C.P.E. Bach, Haydn, Mozart, Beethoven, Schubert in particular), Renaissance polyphony, performance practice, early recordings, history of music theory, partimento, improvisation, compositional practice of composers, modern and baroqe violin playing, music of Brahms and Tchaikovsky, environmentalism.

Igor Santos (


Peter Shultz (

Music Theory. Interests: music in video games, embodied perception, post-tonal theory, mathematics in music theory, musical informatics and computation.

August Sheehy (

Music History and Theory. Interests: history of theory and analysis, criticism, history of science and technology, subjectivity, hermeneutics, noise.

Braxton D. Shelley (

Theory. Interests: Analysis of Popular Music, especially African American Gospel Music; The relationship between African American Preaching and Musical Traditions; Repetition; Music and Rhetoric; Form.

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 ing ay nightlife contexts.

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.

Erin Stapleton-Corcoran (

Ethnomusicology. Interests: Ireland, Europe, American folk and vernacular music, transnationalism, music and diaspora, music and poetry, festivalization, applied ethnomusicology.

Thalea Stokes (

Ethnomusicology. htt://

Takuma Taniwaka (

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

Phil Taylor (

Composition. Current interests include Eastern European music, Russian literature, the poetry and short stories of Raymond Carver, discourse of motives within a piece, and musical structure. Current favorite composers include Bartók, Messiaen, Szymanowski, Janácek, Scriabin, Ligeti, Rautavaara, Lutoslawski and Shostakovich.

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).

Laura Turner (Shearing) (

Ethnomusicology. Interests: Southern Appalachian 'old time' music and questions of authenticity; 1960s popular music culture; All things Beatles.

Michelle Urberg (

Music History. Interests: Medieval music theory, medieval women in music, paleography; film music.

Mari Jo Velasco (

Music History and Theory. Interests: Sacred music history, music and religion, alternative histories of the European Enlightenment, popular devotional practices, 18th and 19th centuries. French regionalism, France's minority vernacular cultures, Basque and Bearnese oral and musical traditions.

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.

wangDan Wang (

Interests: Music of the 19th to 21st century. Aesthetics of film and opera. Music and literature, melodrama, criticism, philosophy.

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: 19th-century instrumental music, Schumann, Liszt, Schenkerian approaches, tonal forms and normativity, madness and insanity, Passagen-übung and 19th-century keyboard practice technique.

Lindsay Wright (

Musicology and Ethnomusicology. Interests: the concepts of musical giftedness, talent, and genius; African-American music history; performance practice and recorded music; string instrument pedagogies; the history of American music education; gender, sexuality, and performativity.

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.