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Gabriel Solis Head

Department of Theater

Professor of Music, Anthropology, African American Studies, and American Indian Studies

University of Illinois, Urbana-Champaign

709 W. Iowa St Urbana, Ill. 61801

(217) 649-7396 gpsolis@illinois.edu

Education

• Washington University in St. Louis. Ph. D. in Ethnomusicology and Historical Musicology, May 2001.

Dissertation: “Monk’s Music and the Making of a Legacy.” Advisor: Ingrid Monson Committee: Robert Snarrenberg (Music), Dolores Pesce (Music), Hugh MacDonald (Music), Gerald Early (English and African American Studies), Richard G. Fox (Anthropology)

• University of Wisconsin, Madison. B.A. in Music, emphasis in musicology and early music, May 1993.

Advisor: Jeanne Swack

Academic Appointments

• Professor of Music, Anthropology, African American Studies, and American Indian Studies, University of Illinois, Urbana-Champaign, Fall 2015-current. Affiliations with Center for Latin American and Caribbean Studies, Center for African Studies, Center for East Asian and Pacific Studies, and the Unit for Criticism and Interpretive Theory

• Associate Professor of Music, African American Studies, and Anthropology, University of Illinois, Urbana-Champaign, Fall 2009-2015. Affiliations with Center for Latin American and Caribbean Studies, Center for African Studies, Center for East Asian and Pacific Studies, and the Unit for Criticism and Interpretive Theory

• Assistant Professor of Music, African American Studies, and Anthropology, University of Illinois, Urbana-Champaign, Fall 2002-Spring 2009. Affiliations with Affiliations with Center for Latin American and Caribbean Studies, Center for African Studies, Center for East Asian and Pacific Studies and the Unit for Criticism and Interpretive Theory

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Courses Taught in jazz history, pop music studies and ethnomusicology,

• Lecturer, University of Pennsylvania Department of Music, Fall 2000-Spring 2002. Courses Taught in jazz history and world music.

• Graduate Teaching Assistant, Washington University Department of Music, 1996-2000. Courses Taught in music theory Assisted with courses in popular music, western classical music history, and music theory

Administrative Appointments

• Head, Department of Theatre. University of Illinois, Urbana-Champaign, 2019-current. Supervisory responsibility for department of 38 faculty, 200 students (144 BFA, 66 MFA). Primary responsibility for $2.3 million budget. Reporting line within College of Fine and Applied Arts.

• Co-convener, Interdisciplinary Graduate Programs in the Arts and Humanities Mellon Program, Illinois Program for Research in the Humanities. University of Illinois, Urbana-Champaign, 2018-19.

Co-Responsible for implementation of $150,000 Mellon Grant to plan for interdisciplinary graduate programs at UIUC. Successfully generated “Interseminars” model and secured $2 million funding for implementation beginning winter, 2020.

• Dean’s Fellow, College of Fine and Applied Arts. University of Illinois, Urbana-Champaign, 2017-2019.

Responsible for implementation of strategic plan elements relating to research. Coordinating with Office of the Vice Chancellor for Research and Dean’s office, College of Fine and Applied Arts.

• Chair, Musicology. University of Illinois, Urbana-Champaign, 2010-2014, 2016-2018. Two terms in rotating chairship. Supervisory responsibility for program of 45 students (10 BA and BMus, 35 MA and PhD). Responsible for coordinating course offerings, assigning faculty and graduate student teaching assignments, forming and charging area committees, hiring temporary and tenure-system faculty, chairing promotion and tenure process. Reporting line within the School of Music, which sits within the College of Fine and Applied Arts.

Residencies

• Scholar in Residence, University of Goroka, Eastern Highland Province, Papua New Guinea, February-March 2012

• Visiting Lecturer, University of Melbourne, Melbourne, Australia, July-August 2011 Taught course “Improvisation Pedagogy in World Cultures”

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• Scholar in Residence, University of Goroka, Eastern Highlands Province, Papua New Guinea, May-June 2010

Workshops taught, including: Local music in school music programs Ethnomusicological field recording and oral history Developing hybrid forms of local music for university heritage music

ensemble

Grants and Awards

Scholarship:

• UIUC President’s Initiative, Celebrating Arts and Humanities at Illinois, award for “Hearing the Ocean, Seeing the Rain,” a year-long program on water and expressive culture, with Mike Silvers (music) and Mary Pat McGuire (Landscape Architecture) ($75,000), 2020-21.

• Training in Digital Methods for Humanitists fellowship, Illinois Program for Research in the Humanities (Declined), 2019-2020.

• Mellon Implementation Grant for “Interseminars: Graduate Training in Interdisciplinary Humanities and Arts at UIUC” ($2 million), 2019-2025, administered by Illinois Program for Research in the Humanities (Antoinette Burton, PI).

• Co-convener of Mellon Planning Grant for “Interseminars: Graduate Training in Interdisciplinary Humanities and Arts at UIUC” ($150,000), 2018-19, with Siobhan Summerville (GWS and English) and Antoinette Burton (History), administered by Illinois Program for Research in the Humanities.

• Trans-Atlantic Partnership Digging Into Data Fellowship ($800,000 total; of which my portion is $199,890), 2017-2020, to support Dig that Lick: Analysing Large-Scale Data for Melodic Patterns in Jazz Performance

• National Endowment for the Humanities Fellowship ($50,400), 2016-17, to support The Black Pacific.

• University of Illinois, College of Fine and Applied Arts, Faculty Award for Excellence in Research, 2015-16.

• Unit for Criticism and Interpretive Theory Senior Fellowship ($8,000), 2014-2016.

• J-DISC Task Force, Mellon-funded research group in digital jazz studies, University, 2014-16.

• Jaap Kunst Prize, best article in ethnomusicology, honorable mention for “Artisanship, Innovation, and Indigenous Modernity in the Eastern Highlands of Papua New Guinea: Ataizo Mutahe’s Vessel Flutes,” 2013.

• Funding Initiative on Multiracial Democracy ($29,000), University of Illinois Research Board, 2013

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• Public Engagement grant ($9,000), UIUC office of public engagement, to support DoCha chamber music festival, 2012

• Winner, Illinois Informatics Institute Scalable Research Challenge, for “Computer-Assisted Analysis of Timbre in Recorded Music,” 2012.

• First Runner Up, Illinois Program for Research in the Humanities, Award for Excellence in Humanities Research, for “’I Did it My Way’: Rock and the Logic of Covers,” 2011.

• Creative Research Award ($6,000), to support “Heartland Jazz Worlds,” from the University of Illinois College of Fine and Applied Arts, 2009

• Illinois Program for Research in the Humanities Fellowship, to support Sounding America: Tom Waits and Rock at the End of the American Century, academic year 2008-09.

• Association for Recorded Sound Collections Award for Excellence in Historical Studies in Recorded Jazz, honorable mention for Monk’s Music, 2009

• Sabbatical, to support America Sounding: Tom Waits and Rock at the End of the Century Fall 2008.

• Madden Fellowship ($15,000) to support Dreaming in Public, from the Madden Initiative in Technology, Arts, and Culture, 2006-07.

• Arnold O. Beckman Distinguished Research award and $25,000 grant to support Dreaming in Public, from the University of Illinois Research Board, 2005.

• Richard C. Hunt Postdoctoral grant ($15,000) to support Monk’s Music, from the Wenner-Gren Foundation for Anthropological Research, 2003.

• Research grants from the University of Illinois Research Board, various projects, 2002-03, 2007, 2008-09, 11-12.

• Dissertation Fellowship, Graduate School of Arts and Sciences, Washington University, academic year 2000-01.

• Dean’s Scholarship for Summer Research, Graduate School of Arts and Sciences, Washington University, 2000.

• Nussbaum Fellowship for dissertation research, 1999.

• Dean’s Scholarship for Summer Research, Graduate School of Arts and Sciences, Washington University, 1999.

Teaching:

• “Sustaining Excellence Grant,” University of Illinois Graduate College grant in recognition of work as chair of musicology ($3000 to be used for graduate educational programming), 2013-14.

• University of Illinois, College of Fine and Applied Arts Award for Excellence in Teaching, 2006-07.

• Regular inclusion in University of Illinois “Incomplete List of Teachers Ranked as Excellent,” a student publication based on evaluation scores, 2003-current

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Publications

Books

• The Black Pacific: Music, Race, and Indigeneity. In Progress

• Thelonious Monk Quartet with John Coltrane at Carnegie Hall. New York: Oxford University Press, 2013. o Reviewed in ARSC Journal, 20th C. Music, New Books in Jazz, Jazz Perspectives

• Monk’s Music: Thelonious Monk and Jazz History in the Making. Berkeley, Cal.: University of California Press, 2008. o Reviewed in ARSC Journal, Ethnomusicology, Journal of the Society for American

Music, Jazz Perspectives, Down Beat, Jazziz, Jazzwise, Jazz Hothouse, Choice, E-Jazz News, and Solidarity Magazine

Edited Volume and Special Issue

• Musical Improvisation: Art, Society, Education, ed. with Bruno Nettl. Urbana, Ill.: University of Illinois Press, 2009.

o Reviewed in Critical Studies in Improvisation, Ethnomusicology, Journal of Folklore Research, Revista Transcultural de Música, and Musicology Australia

• Settler Sounds, a special issue of the Journal of the Society for American Music on music, Indigeneity and Settler Colonialism in the Americas, ed. with Jessica Bisset Perea. Forthcoming.

Articles

• “Colloquy on Familiar Stranger, by Stuart Hall,” with Antoinette Burton, Madhavi Kale, Minka Makalani, Saree Makdisi, Marc Matera, and Kenetta Hammond Perry. History of the Present, forthcoming.

• “Hip Nostalgia: Jazz and the Politics of Representation in Three Dramedies.” For special issue of Jazz Research Journal, on the topic of “Jazz on Televisioin,” ed. Nicholas Pillai, forthcoming.

• “Soul, Afrofuturisms, and the Timeliness of Contemporary Jazz Fusions.” Daedalus 148/2 (Spring 2019, “Why Jazz Still Matters”): 23-35

• “The ‘Black Pacific’ and Decolonization in Melanesia: Négritude and Indigénitude,” with Michael Webb and Camellia Webb-Gannon. Journal of Pacific Studies 127/2 (June 2018): 177-206.

• “Timbral Virtuosity: Pharoah Sanders and the Significance of Extended Saxophone Technique in the 1960s and 70s Jazz Avant Garde.” Jazz Perspectives 9/1 (2015): 47-63.

• “The Black Pacific: Music and the Historical Trajectory of Race in Australia and Papua New Guinea.” Critical Sociology, 41/2 (2014): 297-312.

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• “Blurred Genres: Reflections on The Ethnomusicology of Jazz Today.” College Music Symposium v. 54 (2014). Special issue, “Ethnomusicology Scholarship and Teaching: Then, Now, and into the Future,” ed. Victor Fung.

• “New Research in the Music of the South Pacific: A Review Essay.” Ethnomusicology 57/3 (Fall 2013): 518-524.

• “Artisanship, Innovation, and Indigenous Modernity in the Eastern Highlands of Papua New Guinea: Ataizo Mutahe’s Vessel Flutes.” Musicultures 39/1 (Winter 2012): 83-110.

• “Thoughts on an Interdiscipline: Music Theory, Analysis and Social Theory in Ethnomusicology.” Ethnomusicology 56/3 (Fall 2012): 530-54.

o Reprinted in Following the Elephant: Ethnomusicologists Contemplate their Discipline, ed. Bruno Nettl (Urbana: University of Illinois Press, 2016).

o Published in Persian translation by Leila Rasuli in Mahoor Music Quarterly 18/71 (Spring 2016): 117-148.

• “‘I Did It My Way’: Rock and the Logic of Covers.” Popular Music and Society 33/3 (July 2010): 297-318.

• “‘Workin’ Hard, Hardly Workin’/Hey Man, You Know Me’: Tom Waits and the Theatrics of Masculinity.” The Journal of Popular Music Studies, 19/1 (April 2007): 26-58.

• “Avant Gardism, the ‘Long’ 1960s, and Jazz Historiography.” Royal Musical Association Journal, 131/2 (2006): 331-349.

• “‘A Unique Chunk of Jazz Reality’: Authorship, Musical Work Concepts, and Thelonious Monk’s Live Recordings from the Five Spot, 1958.” Ethnomusicology 48/3 (Fall 2004): 315-347.

• “Hearing Monk: History, Memory, and the Making of a ‘Jazz Giant’.” The Musical Quarterly 86/1 (Spring 2002): 82-116.

Book Chapters

• “Punk Politics, Blackness, and Indigenous Protest: The Clash’s Australian Tour, 1982,” in The Clash Takes the World: Transnational Approaches to “The Only Band that Matters,” ed. James Peacock and Sam Cohen. London: Bloomsbury, 2017.

• “Further Perspectives on Music Technology in Ethnomusicology,” in The Oxford Handbook of Technology and Music Education, ed. S. Alex Ruthmann and Roger Mantie. New York: Oxford University Press, 2017.

• “Ellington in the Age of the LP,” in New Perspectives on Duke Ellington, ed. John Howland. Cambridge, U.K.: Cambridge University Press, 2017.

• “Stevie Wonder: Musical Prodigy in the Recording Studio,” in Musical Prodigies: Interpretations from Psychology, Music Education, Musicology, and Ethnomusicology, ed. Gary McPherson. Oxford, UK: Oxford University Press, 2016

• “From Jazz Pedagogy to Improvisation Pedagogy: Solving the Problem of Genre in Beginning Improvisation Training,” in Improvisation and Music Education: Beyond the Classroom, ed. Ajay Heble and Mark Laver. London: Routledge Press, 2016.

• “Transpacific Excursions: Multi-Sited Ethnomusicology, The Black Pacific, and Nettl’s Comparative (Method),” in This Thing Called Music: Essays in Honor of Bruno Nettl, ed.

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Philip Bohlman and Victoria Levine. Lanham, MD: Rowman and Littlefield Publishers, 2015.

• “Genius, Improvisation and the Narratives of Jazz History,” in Musical Improvisation: Art, Society, Education, ed. Gabriel Solis and Bruno Nettl. University of Illinois Press, 2009.

Reviews

• Steady, Steady: The Life and Music of Seaman Dan, Henry ‘Seaman’ Dan and Karl Neuenfeldt. Yearbook for Traditional Music, v. 48 (2016).

• Stori Tumbuna, Produced and Directed by Paul Wolffram [film review]. Yearbook for Traditional Music, v. 45 (2013): 289-290.

• The Song Is Not the Same: Jews and American Popular Music, ed. Josh Kun. Musica Judaica Online (August 2011).

• Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties, by Scott Saul. Belles Lettres. 5/3 (March/May 2005): 3-4.

• Representing African Music, by Kofi Agawu, in Notes 61/1 (Sept. 2004): 106-108. • So What: The Life of Miles Davis, by John Szwed. Belles Lettres, 3/2 (March/April

2003): 14-15. • Jazz Cultures, by David Ake. Ethnomusicology, 47/3 (Fall 2003): 392-4.

Other

• Contribution to roundtable, “Pedagogies of Music, Politics, and Race,” with Regina Bradley, Loren Kajikawa, Oneka Labennett, and Daniel Martinez Hosang. Journal Of Popular Music Studies, 30/3 (2018): 17-44.

• Contribution to Editor’s Forum, “What Is a Question.” ASAP/Journal 2/1 (Winter 2017): 44-46.

• “Adoption and Adaptation: The Flexibility of Ancestral Sounds and Foodways in Highland Papua New Guinea,” in The Ethnomusicologist’s Cookbook, vol. 2, ed. Sean Williams. New York: Routledge, 2016.

Solicited Blogposts

• “The Future of Academic Freedom,” on the Illinois Program for Research in the Humanities blog, published 9/11/2014. http://iprh.wordpress.com/2014/09/11/the-future-of-academic-freedom/

• “The Eighties in Theory and Practice Opening Remarks,” on the Unit for Criticism and Interpretive Theory blog, Kritik, published 05/08/2013. http://unitcrit.blogspot.com/2013/05/the-eighties-in-theory-and-practice.html

• “The First Time I Ever Heard Tom Waits,” on the International Association for the Study of Popular Music website, published 09/09/2012. http://iaspm-us.net/the-first-time-i-ever-heard-gabriel-solis-first-time-i-ever-heard-tom-waits/

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• “A Kind of Usefulness,” on the Illinois Program for Research in the Humanities blog, published 02/04/2011. http://iprh.wordpress.com/2011/02/04/the-place-of-the-humanities-6/

Encyclopedia Entries

• “Ingrid Monson,” “Thelonious Monk,” “Pannonica de Koeningswarter,” “Tom Waits,” and “Hall and Oates” in Grove Dictionary of American Music, 2012.

• “Thelonious Sphere Monk.” In African American National Biography. New York: Oxford University Press, forthcoming.

Conferences Organized

• Methodologies in Arts, Design, and Planning Research, hosted by UIUC College of Fine and Applied Arts, April 26-27, 2019.

• Co-organizer with Lauren Goodlad (English), Jennifer Greenhill (A&D), Justine Murison (English), and Terri Weissman (A&D) of the conference The 1980s in Theory and Practice, hosted by the Unit for Criticism and Interpretive Theory, May 2-3, 2013

• Co-organizer of the conference Canons in Musical Scholarship and Performance, April 18-20, 2008.

• Co-organizer with Bruno Nettl and William Kinderman of the conference New Directions in the Study of Improvisation, April 1-4, 2004.

Invited Presentations and Keynotes

• “Jazz Voices in the Black Pacific: A Meditation on Global Music History,” Kings College, London Musicology Colloquium, January 23, 2019.

• “Seductive? Menace? Revisiting the Role of Recordings in Jazz History.” Keynote for Documenting Jazz Conference, Dublin Technical University Conservatorium, January 17-20, 2019.

• “Decolonizing Ethnomusicology in the Black Pacific.” Sydney University, June 18, 2018.

• “The Remarkable Resurgence of Nina Simone: Black Lives Matter, Me Too, and the Continued Relevance of the Jazz Voice.” Keynote for Jazz Voices Conference, University of Graz, May 17-20, 2018.

• “Following a Song Across the Pacific: One Australian Aboriginal Community and the Global Journey of an African American Spiritual.” Ithaca College, April 19, 2018.

• Closing roundtable panelist with Walter Mignolo for the conference “Race and Empire in Global Music History, 1500-1700.” University of Pittsburgh, March 30-31, 2018.

• “It’s always in Flux, Always Fleeting: Hip-Jazz, Afrofuturism, and the Challenge of Understanding Popular Music Beyond the Bounds of Genre,” for University of Chicago ethnomusicology colloquium series, “EthNoize!,” November 17, 2016

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• “Thelonious Monk at 100: Enduring Questions,” for Columbia University Center for Jazz Studies, New York, October 13, 2016.

• “It’s always in Flux, Always Fleeting: Hip-Jazz, Afrofuturism, and the Challenge of Understanding Popular Music Beyond the Bounds of Genre,” for Michigan State University College of Music colloquium series, E. Lansing, Michigan, September 30, 2016.

• “Jazz Technotopias: Ethnomusicological Reflections on Jazz Studies and the Digital Humanities,” for the School of Oriental and African Studies, London, April 19, 2016.

• “The Black Pacific: Music, Race, and Indigeneity in Australia and Papua New Guinea,” for the University of New Mexico Music Colloquium Series, February 17, 2016.

• “Jazz Discography, Digital Humanities, and Music Information Retrieval: An Ethnomusicologist’s Reflections,” for the conference “Jazzing the Data: Jazz Discographies in the Digital Age,” McGill University, Montreal, January 29, 2016.

• “I Put a Spell on You: Black Music, Black Magic, and the Past Futures of the Future Past,” for the symposium “Astro-Blackness 2,” sponsored by the Department of African American Studies, Loyola Marymount University, Los Angeles, California, March 12-13, 2015.

• ““The Real Sapphires: Stage, Screen, and the Meaning of an All-Indigenous ‘Girl Group’,” presented at UC Riverside Music Colloquium Series, March 11, 2015

• “Thoughts on Music as a Creative Process: Revisiting Nettl’s Continuum,” Indiana University Musicology Department and Graduate Music Association Colloquium series, Bloomington Indiana, February 27, 2014

• “Outerspaceways Incorporated: Sun Ra, Earth Wind and Fire, Black Experimentalism, and Amiri Baraka’s ‘Changing Same’,” for the symposium “Astro-Blackness,” sponsored by the Department of African American Studies, Loyola Marymount University, Los Angeles, California, February 12-13, 2014

• “The Real Sapphires: Stage, Screen, and the Meaning of an All-Indigenous ‘Girl Group’,” presented at the conference “Performance and Globalization,” hosted by the Illinois Program for Research in the Humanities, April 2013.

• Keynote: “Improvisation Pedagogy and the Problem of Genre,” presented at the conference “New Directions in the Study of Improvisation Pedagogy,” sponsored by the University of Guelph study group Improvisation, Community, and Social Practice, and the SSHRCC, May 2013.

• “Indigeneity, Modernity and ‘Indigenous Modernities’ in the Southwestern Pacific: Music, Arts Institutions and the Nation,” University of Chicago ethnomusicology colloquium series, January 2013.

• Panelist for the International Music Institutions Leaders Forum, on the theme “Music and Cultural Exchange: Facilitating Collaboration Between Higher Education Music Institutions,” hosted by the China Conservatory, October 2012.

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• Keynote: “Training the Interactive Musical Mind: Current Research in Musical Improvisation,” presented in the annual meeting of the Japanese Association for the Study of Musical Improvisation, Kobe, September 2012.

• “Is the Medium the Message?: Music, Media, and Social Change,” presented to the University of Goroka Research Center for Social and Cultural Media, March 6, 2012.

• Invited speaker, 1st annual Illinois Program for Research in the Humanities “Research Slam,” February 8, 2012.

• “New Research in Music and Informatics,” presented to the Illinois Informatics Institute, December 15, 2011.

• “Selling Fidelity, Buying Music: Disjunctures Between Producers and Consumers in the Post-War Music Industry,” presented to the Social and Consumer Psychology Conference, Unviersity of Illinois, May 9, 2011.

• “I Remember Clifford: Recordings as Sites, Tokens and Objects of Memory in Modern Jazz,” presented at the conference “Memory and the Visual,” University of Illinois, April 1, 2011.

• “Moving Beyond Preservation: Traditional Music, Arts Institutions and Modernity in Contemporary Papua New Guinea,” presented to the Unit for Criticism and Interpretive Theory, University of Illinois, Nov. 29, 2010

• “’Don’t Put That Thing on Me’: The Myth of the Bluesman Reconsidered,” presented at The Ohio State University, Oct. 4, 2010

• “Beyond Preservation: Traditional Music and Technology in Cross-Cultural Perspective,” presented at the University of Goroka, Eastern Highlands Province, Papua New Guinea, June 2, 2010

• “Heartland Jazz Worlds: An Oral History Project for Jazz In Midwestern Cities,” presented to Historymakers program, Chicago, Ill., June 30, 2008

• “Aboriginal Music and Dance Performance at Three Festivals: Thoughts on the Performance of Indigeneity in Contemporary Australia.” Invited presentation for the “EthNoise” workshop, University of Chicago, April 24, 2008

• “Ousider Status and Applied Ethnomusicology in Contemporary Australia.” Invited presentation for the music colloquium series, St. Mary’s College, South Bend, Indiana. March 31, 2008.

• “Ethnomusicology and Sound Recordings.” Invited presentation for the ethnomusicology colloquium series, Duke University. February 22, 2008.

• “Jazz, Race, and Masculinity In the 1960s,” Summer Institute for Teaching Jazz as American Culture, sponsored by Washington University Center for the Humanities, July 27, 2005.

• “Conversing with Monk: Jazz Musicians’ Negotiations of Authorial Voice in the Performance of Thelonious Monk’s Music.” University of Pennsylvania Department of Music colloquium, invited presentation, October 24, 2000.

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Selected Academic Conference Papers

• “Familiar Stranger,” a panel on Stuart Hall. American Historical Association, January 4-7, 2018.

• “When is Jazz?” ASAP/10, October 17-21, 2018.

• Discussant for the panel “Global Histories of Early Modern Music.” American Historical Association, December 4-7, 2017.

• Participant in roundtable “Pedagogies of Music, Politics, and Race.” American Studies Association annual meeting, November 9-12, 2017.

• “Atlantic, Pacific, Indian: Oceans, Shores, and Ethnographically Resistant Cartographic Ontologies,” for the panel “Ethnomusicologies of Water.” Society for Ethnomusicology annual meeting, October 25-29, 2017.

• “On the Margins of the Margins: Indigenous Australians, Nat “King” Cole, and the History of Jazz Singing.” Rhythm Changes Conference, Amsterdam, August 31-September 3, 2017.

• “The Pacific in a World History of Music,” for roundtable “Toward a Critical World History of Music: Developing Theory for an Emergent Field.” Co-Chaired with Olivia Bloechl. American Musicological Society annual meeting, November 3-6, 2016.

• “Marlene Cummins’s Koori Woman Blues: Race, Biography, and Historical Ethnomusicology in the Black Pacific.” For panel “Cartographies of Transmission: Historical Ethnomusicology, Transnationalism, and Musical Labor in the Pacific.” Society for Ethnomusicology annual meeting, December 3-6, 2015.

• “Anti-Jazz, Doesn’t Rock, Ain’t Country: How Genre Provides the Language of Critique in Popular Music, for Better or Worse.” Association for the Study of the Arts of the Present annual meeting, September 24-27, 2015.

• “Bad as Me: Narrative Age, Chronological Age, and Tom Waits as Reluctant Boomer.” International Association for the Study of Popular Music Biennial international conference, June 26-July 1, 2015.

• “Virtuality and International Collaboration in Ethnomusicology Education and Scholarship.” International Music Institutions Leaders Forum, September 19-23, 2014.

• “Thoughts on Music as a Creative Process: Revisiting Nettl’s Continuum of Improvised Music.” British Forum for Ethnomusicology joint meeting with Analytical Approaches to World Music, July 2-4, 2014.

• “The Real Sapphires: Stage, Screen, and the Meaning of an All-Indigenous ‘Girl Group’.” Society for Ethnomusicology annual meeting, November 14-17, 2013.

• “The Black Pacific: Black Music, Politics, and African Diasporic Connections in Australia and Melanesia.” Association for the Study of the Worldwide African Diaspora biennial meeting, October 29-November 1, 2013.

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• “Don’t Take Your Love to Town: Urban, Rural, and Remote Australia, Contemporary Indigenous Musical Films, and the ‘Stolen Generation’.” Association for the Study of the Arts of the Present annual meeting, October 3-6, 2013.

• “Ataizo Mutahe’s Flutes: Modernity, Innovation, and Artisanship in the Eastern Highlands, Papua New Guinea.” Native American and Indigenous Studies Association annual meeting, June 13-15, 2013.

• “Timbral Virtuosity and the Work of Pharoah Sanders.” Society for American Music annual conference, March 6-10, 2013.

• “Music and the Black Pacific,” presented at the conference The Problem of the Twenty-first Century: Race and Racism Beyond the United States, University of Illinois, September 2012.

• “Two Views of Bandung: Music and the Politics of the Global South in the U.S. and Papua New Guinea,” presented in the conference “World History from Below,” University of Illinois, April 2012.

• “Past Futures of Nostalgia: Nostalgia in Tom Waits’s 1980s Recordings,” presented at the National Meeting of the American Musicological Society, November 10-13, 2011.

• “From the Soil of the Mississippi Delta?: Early Blues and the Bluesman Reconsidered.” Presented at the National Meeting of the Society for Ethnomusicology, November 11-14, 2010.

• “Compositions, Copyright Law, and Creative Commons: Between Creativity and Economic Benefits of Music.” Presented at the national meeting of the Society for Ethnomusicology, October 25-28, 2008.

• “Teaching Beyond the Canon: Critical Jazz Historiography and American Jazz Education.” Invited presentation for the Canons in Musical Scholarship and Performance conference, sponsored by the University of Illinois School of Music and Center for World Music, Urbana, Illinois, April 18-20, 2008.

• “Bluesology: Gil Scott-Heron and the Semiotics of the Voice.” Presented at the national meeting of the American Musicological Society, November 1-4, 2007.

• “Our Law: Aboriginal Knowledge, Technology, and the Problem of the ‘Traditional’ in Contemporary Australia.” Presented for the Madden Lecture Series, UIUC college of Liberal Arts and Sciences and Fine and Applied Arts, October 10, 2007.

• “Dreaming in Public: Music, Dance, and the Representation of Aboriginal Culture in Contemporary Australia.” Presented at the national meeting of the Society for Ethnomusicology, November 16-19, 2006.

• “’Workin’ Hard, Hardly Workin’/Hey Man, You know Me’: Tom Waits, Sound, and the Theatrics of Masculinity.” Presented at the EMP conference April 15-18, 2005, the national conference of the Society For Ethnomusicology, November 16-20, 2005, and the national conference of the Society for American Music, March 15-19, 2006.

• “Brazil, Africa, and African America: the Transnational Meaning of Capoeira.” Presented at Circuits of Style: Africa in the Americas, Urbana, Illinois, April 17, 2004.

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• “Genius and the Narratives of Jazz Historiography.” Presented at New Directions in the Study of Improvisation, Urbana, Illinois, April 2, 2004.

• “Playing with the Past: Thelonious Monk and the Contemporary Jazz Scene.” Presented at the national meeting of the Society for Ethnomusicology, Miami, Florida, October 3, 2003 and at the Symposium of the International Musicological Society, Melbourne, Australia July 12, 2004.

• “Sidney Bechet, Jazz, and the Historiography of Race.” Presented at the Midwest regional meeting of the American Musicological Society, St. Louis, Missouri, March 23, 2003.

• “Historical Treasures and Testaments Betrayed: The Publication of Thelonious Monk’s Live Recordings at the Five Spot, 1958.” Presented at the national meeting of the American Musicological Society, Columbus, Ohio, October 31, 2002.

• “Historical Treasures and Testaments Betrayed: The Publication of Thelonious Monk’s Live Recordings at the Five Spot, 1958.” University of Illinois African American Studies and Research Program brown bag colloquium series, invited presentation, October 11, 2002.

• “Local Authenticities, Global Imagination: Rueda de Sol and Capoeira in St. Louis.” Presented at the national meeting of the Society for Ethnomusicology, Bloomington, Ind., October 22, 1998.

• “Thelonious Monk’s Album Covers: The Making of a Mythic Image.” Presented at the Midwest regional chapter meeting of the Society for Ethnomusicology, Macomb, Ill., April 4, 1997.

Master Classes

• Workshop via Skype with MA students in jazz studies at North Carolina Central College, 10/30/14. Students had read both of my books on Thelonious Monk with the idea of understanding how one scholar might approach a single subject in two different ways.

• Workshop via Skype with MA students in jazz studies at Rutgers University, Newark, 12/5/2014. Students had read my first book on Thelonious Monk and I led a discussion about Monk’s music and ethnographic methods of studying jazz history.

Field Work

• Research conducted in Australia, Fall 2015

• Research conducted in Australia, August and December 2013.

• Research conducted in Eastern Highlands Province, Papua New Guinea, Spring 2012.

• Research conducted in Eastern Highlands Province, Papua New Guinea, Summer 2010.

• Research conducted in Cape York Northern Peninsular Area, Summer 2006.

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• Research conducted with NAISDA Aboriginal and Torres Strait Islander Dance College, Sydney, Australia, and with the Cape York Language Group, Injinoo, Australia, June-November, 2005.

• Research conducted with capoeiristas in Philadelphia, Penna., December 2001-July 2002.

• Research conducted with jazz musicians in St. Louis, Mo. And New York, N. Y., December 1998-October 1999.

• Research conducted with capoeiristas in St. Louis, Mo., January-August 1998.

Oral History Project

• “Heartland Jazz Worlds,” an oral history project for jazz in Chicago, St. Louis, and Indianapolis. 2008-2010.

Performance

• Big Grove Zydeco and Cajun, percussion, 2003-2005

• Salsa Mea Culpa, tenor sax and band leader, 2008-2010

• Super Mazumzum, Afropop and African Jazz, tenor sax, 2013-2015

• Timbalú, Timba, Salsa, and Bugalú, tenor sax and band leader, 2017-current

Arts Management

• Co-Artistic Director and manager, DoCha, Downtown Champaign Chamber Music Festival. With Masumi Rostad, Pacifica Quartet, 2010-2013; with Stefan Milenkovich, 2014-2015.

Outreach Presentations

• “Rhythm of the Times: Memory and Music in America,” presented to the Global Institute for Secondary Educators, July 15, 2013.

• “Music in the Harlem Renaissance,” presented at USD 116 workshop for public school teachers, “Teaching the Harlem Renaissance,” February 2013.

• “Jazz and the Nonaligned Nations in the 1960s,” presented at the “World Histories From Below Teachers Training Workshop,” UIUC, April 7th 2012

• “Jazz Concertos” and “Reflections on Maynard Ferguson,” presented as part of the University of Illinois Summer Jazz festival, Summer 2008.

• “Blues and African American Studies,” presented to the East Asia and Pacific Studies Freeman Fellows, Fall 2008.

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• “Music in Memphis,” presented to the East Asia and Pacific Studies Freeman Fellows, Fall 2007.

• “Afro-Cuban Music,” a lecture-demonstration with Tiempo Libre, presented to KCPA, Fall 2006

• “Aboriginal Culture,” presented to the Illinois Agricultural Leadership Organization, Spring 2006

• “Capoeira,” presented to KCPA, Fall 2005

• “Music in Chicago,” presented to Marketing course, Fall 2005

• “Music and the Black Liberation Movement in the 1960s,” presented to Introduction to African American Studies course, Spring 2004

• “Afro-Brazilian Music,” a lecture demonstration presented to KCPA, Fall 2003

Advising and Graduate Student Committees

Advisees: Ph.D.:

• I Putu Hiranmayena, Ethnomusicology, in coursework

• Lucas Henry, Ethnomusicology, in coursework

• Jamil Jorge, Ethnomusicology, A.B.D..

• Emmanuel Stokes, Ethnomusicology, A.B.D.

• Jonathon Smith, Ethnomusicology, A.B.D.

• Alex Woller, Ethnomusicology, A.B.D.

• Jessica Hajek, Ethnomusicology (2017), “Capital of Carnival: Alibabá Music in the Dominican Republic.” Currently lecturer at Cincinnati Conservatory of Music/University of Cincinnati.

• Heejin Kim, Ethnomusicology (2012), “Military Bands, Popular Entertainment, and the Korean War, 1945-1960.” Currently Research Professor, Korea National University of the Arts, Seoul, South Korea. (Winner, Temperley Dissertation Prize 2013-15 round).

D.M.A.:

• Ai Yamaguchi, Flute, taking exams.

• Marcello Kuyumjian, Jazz, A.B.D. Currently Lemann Institute Graduate Fellow.

• Derick Cordoba, DMA Jazz (2017), “Sacred Jazz Concerts.” Currently teaching in Allen Hall, UIUC.

• Christian Schnorr, D.M.A. Jazz (2014), “Joe Chambers: Musical Style and Concept, 1964-1973.”

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• Arkady Ovrutskiy, DMA Jazz (2014), “Let My Children Hear Music: The Culmination of Charles Mingus’s Orchestral Work.”

• Jung Hee Kim, Viola, (2014), “The Viola Music of Takemitsu, a Performance Guide”

• Luyan Gao, DMA Violin (2013), “Performance Practice for Chinese Violin Music Composed Between 1949 and 1989.”

• Chris Reyman, D.M.A. Jazz (2011), “An Analysis Of Selected Improvisations By Andrew Hill And The Development Of Progressive Jazz Piano, 1959-2005”. Currently Assistant Professor at University of Texas, El-Paso.

• Henning Schroeder, DMA Saxophone (2011), “Global Reflections of the Saxophone: Image, Adaptation, and Power of a New Instrument in South Indian and Other Non-Western Musics,” now Assistant Professor at Ohio Northern University.

• Trent Jacobs, D.M.A., Bassoon (2010), “Elements of Jazz in Bassoon Solo Repertoire.” Currently working as a bassoonist in Minneapolis-St. Paul.

• Brian Felix, D.M.A., Jazz (2009), “Rock Becomes Jazz: Jazz Interpretations of Popular Music by Improvising Artists in the 1960s.” Currently Assistant Professor, Jazz Studies, University of North Carolina-Asheville.

• Michael Bovenzi, DMA Saxophone (2008), “A Performer’s Analysis of Selected Works for Saxophone Quartet,” now Associate Professor at University of North Florida University.

• Anne Guist, D.M.A. Bassoon (2007), “Contemporary Works for Bassoon and Guitar.” Currently working as a bassoonist, Brownsville, TX.

• Paul Musser, D.M.A. Jazz (2004), “Me, Myself, and Mingus.” Currently Assistant Professor, music, DePauw College.

• David Diamond, D.M.A. Jazz (2006), “Expanding the Boundaries: The 1961 Hard Bop Compositions of Booker Little,” currently performing in the U.S. Army Band.

M.Mus.:

• Ryan McNulty, Music History (2014), “Imaginings of Africa in the Music of Miles Davis.”

• Phil Clark, Ethnomusicology (2010), “Rrpangu Yirdaki: Negotiating Identities in a Northeast Arnhem Land Tourism Business.”

• Anne Kogan, Ethnomusicology (2005), “Musical Bodies: Swing Dance and Musicality,” currently working for the folklife center in Washington, D.C., as program coordinator for folklife festivals.

Undergraduate:

• Sarah Mowitz, B.Mus. Music History, “Afro-German Identities and Hip Hop in Germany.”

• Kendra Salois, B.Mus. Music History, “A Musical and Cultural History of ‘Black Coffee’,” (Ph.D., U.C. Berkeley, 2013; currently Visiting Assistant Professor, University of Maryland).

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Exam and Dissertation Committee Member (not advisor): Ph.D.:

• Liliana Carrizo, Ethnomusicology, A.B.D.

• Rick Deja, Ethnomusicology, A.B.D.

• Renee Holley, Ethnomusicology, A.B.D.

• Ryan Haynes, Ethnomusicology, A.B.D.

• Holly Holmes, Ethnomusicology, A.B.D.

• Ioannis Tsekouris, Ethnomusicology, A.B.D.

• Tom Faux, Ph.D. Ethnomusicology, A.B.D.

• Luis Eduardo Hererra, Ethnomusicology, (2013), “The CLAEM and the Construction of Elite Art Worlds: Philanthropy, Latinamericanism, and Avant-Garde Music.”

• Nicholas Gaffney, Ph.D. History, “Jazz and the Long Civil Rights Movement,” (2012). Currently Lecturer at Northern Virginia Community College.

• Margarethe Adams. Ph.D. Ethnomusicology (2011). “Music and Entertainment in Post-Soviet Kazakhstan: Ideology and Legacy.” Currently Visiting Assistant Professor of Music, Stony Brook University.

• Sylvia Bruinders, Ph.D. Ethnomusicology, “Coon Carnival Music in Cape Town,” (2011), currently Assistant Professor of music, University of Cape Town, South Africa.

• Natasha Kipp, Ph.D. Ethnomusicology, (2011). Currently independent scholar.

• Theresa Allison, Ph.D. Ethnomusicology (2010). “Transcending the Limitations of Institutionalization Through Music: Ethnomusicology in a Nursing Home.” Currently Assistant Clinical Professor, Division of Geriatrics and Community Medicine, UCSF.

• Sarah Heimbecker, Ph.D. Musicology (2010). “John Cage’s HPSCHD.” Currently Assistant Professor, Ithaca College.

• Tanya Lee, Ph.D. Ethnomusicology, “The Old Town School of Folk Music,” (2011). Currently independent scholar.

• Anthony Perman, Ph.D. Ethnomusicology, “Music and Emotion Among Ndau Speakers in Zimbabwe” (2008), currently Assistant Professor of Music, Grinell College.

• Stefan Fiol, Ph.D. Ethnomusicology, “Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in the Popular Music of Uttarakhand, North India” (2008), currently Assistant Professor of music, Cincinnati Conservatory.

• David McDonald, Ph.D. Ethnomusicology, Music and Politics in Palestine (2006) (exam 2003), currently Assistant Professor of ethnomusicology, Indiana University.

• Rebecca Bryant, Ph.D. Musicology, “Shaking Big Shoulders: Music and Dance in Chicago 1910-1925” (2003), currently Assistant Dean, Graduate College, University of Illinois.

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D.M.A.:

• Euan Edmonds, DMA Jazz, A.B.D..

• Ju Yung Park, DMA Violin.

• Duck Yong Kim, DMA Voice.

• Jackline Madegwa, DMA Voice, A.B.D.

• Deovides Reyes III, DMA Composition, A.B.D.

• Hsin Yi Lin, D.M.A. Vocal Performance, A.B.D.

• George Turner, D.M.A. Jazz, A.B.D.

• Jonathan Ustin, D.M.A. Jazz, A.B.D.

• Scotty Stepp, D.M.A. Saxophone, A.B.D.

• Sean Harold, DMA Composition (2014), “Just Intonation in Non-Tonal Contexts: A Survey of Approaches”

• Candace Thomas, DMA French Horn (2014), “Jazz Improvisation Pedagogy and Classical Repertoire.”

• Seo-Hee Byun, DMA Violin (2014), “A Productive and Practical Guide to Violin Technique: Ivan Galamian’s Pedagogy in Perspective.”

• Yi-Wen Chen, D.M.A. Clarinet (2014), “New Works for Clarinet and Electronics.”

• Christopher Beyt, D.M.A. Jazz, (2014), “Compositional Structure and Characteristic Ideas in the Improvisations of Jim Hall.”

• Matthew Dixon, D.M.A. Trombone, (2014), “Design for a New Trombone Lead Pipe.” Currently independent musician.

• Michael Fenoglio, DMA Jazz (2013), “Uniquely Desmond: The Artistry of Paul Desmond Through His Role in the 1962 Gerry Mulligan Quartet.”

• Han-Jui Chen, DMA Bass (2013), “Compositional and Performance Strategies in Double Bass Solo and Chamber Music of Yao Chen, Zhou Long, Chen Yi, Bright Sheng, Chia-Yu Hsu, and Yuan-Chen Li.”

• Jonathan Beckett, D.M.A. Jazz (2013), “Steve Grossman and the Legacy of John Coltrane and Sonny Rollins.” Currently independent musician.

• Karim Yengsep, D.M.A. Jazz (2012). “Analysis of the Solo Vocabulary of Bassist Doug Watkins.” Currently instructor, Kazakh National Conservatory.

• Bora Lee, D.M.A. Piano Performance (2012), “Nikolai Kapustin: A Stylistic and Pedagogical Approach to Selected Piano Works.”

• Chin-I Chen, D.M.A. Violin Performance (2012). “New Taiwanese Composition: Tradition and Innovation.” Currently independent musician.

• Casey McGrath, D.M.A. Violin Performance (2012). “Approaches to Treating Performance Anxiety: a Meta-Study.” Currently independent musician.

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• John Ritz, DMA Composition (2011), “From Interactive Composition to Composing Interactions: Agostino di Scipio’s Audible Ecosystems.”

• Shawn Purcell, D.M.A. Jazz (2011). “An Analysis of Traditional and Modern Devices in the Improvised Solos of Peter Bernstein.” Currently jazz guitar chair, U.S. Army Bands.

• Joel Faires, D.M.A. Jazz (2010). “Solo Vocabulary of the Bebop Bassist: the Recordings of Paul Chambers1956-59.” Currently independent musician.

• Marcus Wolfe. D.M.A. Jazz (2010). “Stan Getz: Forgotten Bebop Tenor Saxophonist.” Currently Director of Jazz, Valley Christian Conservatory of the Arts.

• Mark O’Connor, D.M.A. Jazz, (2010). Currently independent musician.

• Carlos Vega, Jazz, D.M.A. Jazz (2010). Currently independent musician.

• Nathan Mandel, D.M.A. Saxophone, (2009). “Milton Babbit: American Music and his Works for Saxophone.” Currently Instructor, McKendree University.

• Toby Curtright, D.M.A. Jazz. (2005) “Making the Jazz Bassist,”, currently Instructor (Jazz Bass) at Moorhead State University.

• Kyong Mee Choi, D.M.A. Composition (2005). “Spatial Relationships in Electro-Acoustic Music And Painting”, currently Assistant Professor of Composition at Roosevelt University (Chicago).

• Vern Sielert, D.M.A. Trumpet (2005). “An Analysis of Selected Compositions by Jazz Trumpeter Tom Harrell”, currently Assistant Professor of Jazz Studies at the University of Washington.

• Darin Kamstra, D.M.A. Percussion (2004). “Notation for Multi-Percussion”, currently Assistant Professor of Jazz Studies and Percussion, Mesa State College (Colorado).

• William Campbell, D.M.A. Saxophone (2004). Currently Assistant Professor of Saxophone, currently Assistant Professor of Saxophone at University of North Carolina—Charlottesville.

Service

International:

• Program committee, “Miles Davis and John Coltrane at 90: Retrospect and Prospect” conference, hosted by Surrey University, Fall 2016.

• Program committee, Analytical Approaches to World Music conference, 2016.

• Journal of the Royal Musical Association, International Advisory Panel Member, 2014-current.

• Advisory board member, J-DISC task force, Mellon-funded international research team for digital jazz studies, 2015-16.

• Adjudicator for the Tai-Chi Traditional Music award, presented by the China Conservatory ($100,000), 2014.

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• Editorial board member for Thai International Journal of the Arts, 2012-current.

• Consultant for the Cape York Language Group, 2005-2009.

• Consultant for the Australian National Recording Project for Indigenous Music, 2005-2008.

National:

• Advisory board member, Local Music Preservation Initiative, 2014-current.

• Member-at-large, Prizes, Society for Ethnomusicology, 2014-16

• President, Midwest Chapter, Society for Ethnomusicology, 2015

• Editorial board member for ASAP/Journal, the journal of the Association for the Study of the Arts of the Present. 2014-current

• Member, Society for Ethnomusicology Council, 2008-10.

• Book review editor for Jazz Perspectives, 2008-2011.

• Media review editor for Jazz Perspectives, 2006-2008.

• Chair, ad hoc committee to create Waterman Prize, Society for Ethnomusicology Popular Music Section.

• Founding editorial board member for Jazz Perspectives, published by Routledge. 2005-Current.

• Grants adjudicator for the National Endowment for the Humanities, 2004. University of Illinois, Urbana-Champaign, selected committees:

• Campus Level o External Grants Faculty Advising Team, 2016-current o Student Learning Outcomes Committee, 2014-15 o Humanities Taskforce Implementation Committee, 2015 o General Policy Committee, 2014-16 o Chair, research board subcommittee for funding initiative on multiracial

democracy, 2010-2013 (2-year term). o Faculty Advisory Committee, 2010-2012, 2013-2015 (two terms) o Faculty Senate, senator, 2009-11, 2013-2015 (two nonconsecutive 2-year terms) o Member, research board subcommittee to establish funding initiative on

multiracial democracy, 2009-2010. o Excellence in teaching program, board member, 2009-10 o Illinois Humanities Summit, Panelist. Sponsored by the Illinois Program for

Research in the Humanities, Fall 2009 o Co-Organizer, Sawyer seminar on “The Global Sixties,” 2008, funded at $25,000

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o Consultant for Joint Area Studies Conference, 2007

• College of Fine and Applied Arts: o Head, Department of Theater, 2019-current o Dean’s Fellow for Strategic Plan Implementation, 2017-2019 o Strategic Plan Working Group for Research, chair, 2016-17 o Creative Research Award review committee, 2011-2014 (2-year term) o Krannert Center for the Performing Arts Engagement Advisory Committee, 2012-

2013 o Library Committee, 2007-08

• Graduate College o Block Grant Area IV committee, 2013 o Committee to establish INTERSECT program, 2011.

• University Libraries o Music and Performing Arts Librarian Search Committee, 2016-17

• School of Music

o First-level Promotion Review Committees, Musicology and Ethnomusicology, 2016

o Musicology Search Committee, 2016 o Graduate Funding Committee, Chair 2014-15 o Executive Committee, 2011-2013, 2015-2017 o Graduate Committee, Chair 2010-11 o Ethnomusicology search committee, Chair, 2009-10 o Fairness in grading committee, Chair, 20009-10 o Awards committee, 2009-10 o Library Committee, 2005-08 (Chair, 2007-08) o Search Committees, Jazz Piano, Jazz Bass o Undergraduate Curriculum Committee, 2004-05 o Committee to develop a Jazz program, 2003-05

• Musicology Division

o Chair, 2010-14; 2016-18 o Admissions Committee, Chair, 2009-10, 2014-15 o Admissions Committee, 2004-05

• Department of African American Studies

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o Faculty affiliate advisory board, 2003-06 University of Pennsylvania:

• Website design and maintenance for world music classes, Fall, 2001. Washington University:

• Acting Chair, Department of Music Lecture Committee, Spring 1998.

• Student Representative, Department of Music Lecture Committee, 1997-98

• Graduate Student Liaison to the Department of Music, 1996-97

• Student Representative to the Washington University Graduate Council, 1996-97

Affiliations

• Society for Ethnomusicology

• American Musicological Society

• Society for American Music

• International Association for the Study of Popular Music

• Association for the Study of the Arts of the Present

• Native American and Indigenous Studies Association

• Association for the Study of the Worldwide African Diaspora