The Center for Ethnomusicology warmly congratulates 2013 PhD program alumnus Dr. Timothy Mangin,
who has just been appointed as a tenure track Assistant Professor of Music at Boston College.
Timothy Mangin is an ethnomusicologist and musician researching the intersection of popular music, race, ethnicity, religion, and cosmopolitanism in West Africa and the African Diaspora. He received his doctorate from Columbia University in 2013 and received fellowships from the Columbia University’s Center for Comparative Literature and Society, St. Lawrence University’s Department of Music, Mellon Foundation, the Foreign Language Areas Studies Program and a Fulbright-Hays Doctoral Research Abroad Program. He taught at Columbia University, New York University, St. Lawrence University, and the City University of New York. An improvisational flutist, Tim founded St. Lawrence University’s Jazz and Improv Ensemble and also studies mbira and is a member of Capoeira Brasil. His writings have appeared in the edited volumes Begegnungen: The World Meets Jazz and Uptown Conversations: The New Jazz Studies as well as reviews in The Yearbook for Traditional Music and Ethnomusicology On-Line. Tim is working on a book examining indigenous cosmopolitanism through the intersection of the Senegalese urban dance music called mbalax and the practice of black, Wolof (the dominant ethnic group), gendered, and Muslim identities. He is also exploring blackness in Senegalese hip hop and the dynamics of improvisation in New York City’s underground hip hop and jazz scene. The Digital Humanities is a key part of Tim’s pedagogy and research that began when he worked at Columbia’s Institute for Research in African American Studies on the Malcolm X Project, under the direction Manning Marable, and further developed with students at The City College of New York.
Dr. Mangin's Columbia PhD dissertation, on Senegalese mbalax, was advised by Prof. George Lewis.
The Center for Ethnomusicology warmly congratulates PhD alumna Dr. Lauren Flood, who has been appointed as a Mellon Postdoctoral Fellow in the Humanities at the Massachusetts Institute of Technology.
Lauren Flood earned the Ph.D. in Ethnomusicology from Columbia in 2015. She researches sound technologies and experimental instrument building practices in the contexts of the do-it-yourself ethos, maker culture, and popular and experimental music scenes. She held a Whiting Fellowship for her dissertation, “Building and Becoming: DIY Music Technology in New York and Berlin,” with fieldwork supported by the Berlin Program for Advanced German and European Studies and the National Science Foundation. Lauren’s work is situated at the nexus of music, anthropology, sound studies, and science and technology studies. She engages with dialogs on critical organology, creativity and knowledge production, histories and aesthetics of sound and recording practices, vernacular technologies and everydayness, ethics and labor in the music industry, alternative methods in science and technology education, and the contemporary sense of self as mediated through the arts.
At Columbia, she has been a teaching fellow in Music Humanities and Asian Music Humanities, the graduate assistant for the Center for Ethnomusicology, an editorial board member and reviews editor for Current Musicology, and on the organizing committee of the Columbia Music Scholarship Conference. She has presented her work at annual meetings of the Society for Ethnomusicology, the American Anthropological Association, the Society for the Social Studies of Science, and the EMP Pop Conference.
Prior to her graduate studies, Lauren completed her undergraduate degree at Drexel University, with a major in music industry and a minor in anthropology. While living in Philadelphia, she studied and performed as a guitarist, worked in copyrights and licensing, and assisted with research at the University of Pennsylvania Museum of Archaeology and Anthropology. She also completed field schools in Latin American ethnomusicology and archaeology, maintaining a long-standing interest in Mesoamerica and the modern Mayan region.
Dr. Flood's Columbia PhD dissertation was advised by Prof. Ana Maria Ochoa.
The Department of Music and the Center for Ethnomusicology warmly congratulate our Class of 2015 Graduates! We wish you all every success on the road ahead!
Yeana Lee (Departmental Honors)
Mitchell Veith (Departmental Honors)
SCHOOL OF GENERAL STUDIES (Music Majors)
Audrey Amsellem (Departmental Honors)
BARNARD COLLEGE (Music Majors)
Courtney Craig (Ethnomusicology)
Sophie Lewis (Ethnomusicology)
Cecile Urmenyhazi (Ethnomusicology)
GRADUATE STUDENTS (GSAS)
Shannon Garland (Ethnomusicology)
Melissa Gonzalez (Ethnomusicology)
Jonathan “Toby” King (Ethnomusicology)
Martha Newland (Ethnomusicology)
DMA in Composition
Sophia “Zosha” di Castri
The Center for Ethnomusicology warmly congratulates our alumnus Dr. Nicholas (Niko) Higgins, (PhD, Ethnomusicology, 2013), who has been appointed to a (renewable) Guest Faculty position at Sarah Lawrence College.
Dr. Higgins' PhD dissertation is entitled "Confusion in the Karnatic Capital: Fusion in Chennai, India." It was advised by Prof. Christopher Washburne. Dr. Higgins has previously taught at Columbia University and at The New School.
The Center for Ethnomusicology congratulates 2009 Columbia Ethnomusicology PhD alumnus Dr. Andrew Eisenberg,
who has been appointed Assistant Professor of Music at New York University's Abu Dhabi campus!
Andrew J. Eisenberg is Assistant Professor of Music at NYU Abu Dhabi. He was Visiting Assistant Professor of Music and
Anthropology at Bard College in 2013-14, and at NYUAD in 2014-15. Between 2011 and 2013, he served as
Postdoctoral Research Associate in charge of the Kenya portion of the
ERC Music and Digitisation Programme, while also holding a junior
research fellowship at St. Catherine's College, Oxford. He earned a PhD
in ethnomusicology from Columbia University in 2009, with a dissertation
on vocal expression, emplacement and citizenship among marginalized
Muslims of Kenya's 'Swahili coast'. A book based on his dissertation is
slated for completion in 2014. Its working title is Sound and
Citizenship: Voice, Place, and Belonging on Kenya's 'Swahili Coast'.
has published articles and chapters in the journal Africa, The New
Encyclopedia of Africa (Scribner), Anthropology News, and the volume
Music, Sound and Space: Transformations of Public and Private Experience
(ed. Georgina Born, Cambridge University Press). He is currently
writing three articles for the Music and Digitisation Project. Based on a
year of fieldwork in Nairobi, they examine how Kenya's music recording
industry has been, and continues to be, transformed by the digital
revolution, the liberalisation of mass media and telecommunications, and
intellectual property rights reform.
Andrew has previously held visiting posts
at Northwestern University and Stony Brook University, where he has
taught courses in African and African American music, and
ethnomusicological theory and method
Monday, March 23, 2015 - 12:00pm
701C Dodge Hall (Center for Ethnomusicology)
The Center for Ethnomusicology Graduate Colloquium Series Presents:
Prof. David Novak
(University of California at Santa Barbara, & Columbia Ethnomusicology PhD Alumnus)
"Music, protest,and the politics of festival in Japan's nuclear village"
Monday March 23, 2015
701C Dodge Hall (Center for Ethnousicology)
Free and Open to the Public
David Novak is Associate Professor of Music and Co-Director of the Center for the Interdisciplinary Study of Music at the University of California, Santa Barbara. He is the author of Japanoise: Music at the Edge of Ciruclation (Duke Univ. Press, 2013). He holds the PhD in Ethnomusicology from Columbia University. His work explores cultural and political formations through the ethnography of popular music, and examines how the circulation of global media becomes central to processes of social and epistemological transformation. His interests include globalization of popular music, remediation, protest culture, and social practices of listening. His current project focuses on the politics of sound in urban Japan, particularly in the impact of noise regulations on homeless and migrant labor communities in South Osaka, and on the role of music, sound, and noise in the antinuclear movement in post-3.11 Japan.
Prof. Adriana Helbig
The Center for Ethnomusicology congratulates Adriana N. Helbig, Associate Professor of Music at The University of Pittsburgh, and a 2005 alumna of the Columbia Ethnomusicology PhD program, on the publication of her book Hip Hop Ukraine: Music, Race, and African Migration (2014, Indiana University Press).
In Hip Hop Ukraine,
Prof. Helbig enters a world of urban music and dance competitions, hip hop parties, and recording studio culture to explore unique sites of interracial encounters among African students, African immigrants, and local populations in eastern Ukraine. Adriana N. Helbig combines ethnographic research with music, media, and policy analysis to examine how localized forms of hip hop create social and political spaces where an interracial youth culture can speak to issues of human rights and racial equality. She maps the complex trajectories of musical influence—African, Soviet, American—to show how hip hop has become a site of social protest in post-socialist society and a vehicle for social change."
Biography: Prof. Adriana Helbig is Associate Professor of Music and an affiliated faculty member in Cultural Studies, Women's Studies, Global Studies, and the Center for Russian and East European Studies at the University of Pittsburgh. She teaches courses on global hip-hop, world music, music, gender, and sexuality, music and technology, and cultural policy. She is also founder and director of the Carpathian Music Ensemble, a student performance group that specializes in the music of Eastern Europe, including Jewish klezmer and Gypsy music. Her research has been funded through grants and research fellowships from the National Endowment for the Humanities, American Councils for International Education, IREX, and Fulbright. She has held a research fellowship at the Kennan Institute for Advanced Russian Studies at the Woodrow Wilson International Center for Scholars in Washington DC and was an inaugural research fellow at the Humanities Center at the University of Pittsburgh. Her articles on Romani (Gypsy) music, postsocialist cultural policy, music and piracy, music, race, and migration, and global hip-hop have appeared in edited collections and journals such as The Yearbook for Traditional Music, Current Musicology, and Popular Music. She is the coauthor, with Oksana Buranbaeva and Vanja Mladineo, of The Culture and Customs of Ukraine (Greenwood Press, 2009).
Prof. Helbig completed her Columbia PhD in Ethnomusicology in 2005, with a dissertation entitled "Play for Me, Old Gypsy”: Music as Political Resource in the Romani Rights Movement in Ukraine, advised by Prof. Ana Maria Ochoa.
Prof. Helbig's Personal Website
Prof. Helbig's Faculty Page at the University of Pittsburgh.
Order Hip Hop Ukraine on Amazon.com
Other ordering options available through The University of Indiana Press.
The Center warmly congratulates Dr. Marti Newland, who successfull defended her dissertation, entitled Sounding “Black”: An Ethnography of Racialized Vocality at Fisk University, on June 23, 2014. Her dissertation was sponsoredby Prof. Fox.
Dr. Newland has accepted a postdoctoral position as Core Lecturer (Music Humanities) at Columbia University for 2014-16.
The Center for Ethnomusicology warmly congratulates Dr. Nili Belkind,
who defended her dissertation on May 8, 2014. Dr. Belkind's dissertation is entitled Music in conflict: Palestine, Israel, and the politics of aesthetic production
. It was sponsored (advised) by Prof. Christopher Washburne.
Dr. Belkind's dissertation is an ethnographic study of the fraught and complicated cultural politics of music making in Israel-Palestine in the context of the post-Oslo era, a time of highly polarized sentiments and general retreat from the expressive modes of relationality that accompanied the 1990s peace process. In it, she examines the politics of sound and the ways in which music making and attached discourses reflect and constitute identities, and also, contextualize political action. Ethical and aesthetic positions that shape contemporary artistic production in Israel-Palestine are informed by profound imbalances of power between the State (Israel), the stateless (Palestinians of the oPt), the complex positioning of Israel’s Palestinian minority, and contingent exposure to ongoing political violence.
The Center for Ethnomusicology warmly congratulates the following graduating seniors who have majored in ethnomusicology or worked closely with the ethnomusicology area faculty on senior projects. 2014 was a banner year for undergraduate ethnomusicologists at Columbia!
(Independent Major in Ethnomusicology, and Biology, Columbia College) completed a senior thesis entitled "Carnatic Music in Diaspora: Tamil American Carnatic Musicians," advised by Prof. Aaron Fox. The thesis examines the bicultural musical lives of young Tamil Americans.
Kevin Woojin Lee
(Music, and Economics, Columbia College) completed a senior thesis entitled "Crisis in the Operatic Tradition: Innovation as Violation," which examines the economic failure of the New York City Opera.
(Ethnomusicology, Barnard College) completed a senior thesis entitled "The Jazz Mass: Experiencing Religion and Spirituality Through Non-Traditional Music," advised by Prof. Ana Maria Ochoa. Kate has also worked extensively for the Center for Ethnomusicology in numerous capacities, as well as for the Music and Arts Library.
(Music, Columbia College) has been awarded Departmental Honors for her essay (advised by Prof. Aaron Fox) "A Space for Musical Therapy: On Nationalism, Modernity, Music, and Medicine in the Transition from Ottoman Empire to Turkish Republic." The essay looks at the use of music for medicinal or therapeutic purposes across broad historical span of Turkish history.
(Ethnomusicology, Barnard College) completed a senior thesis entitled "A Case Study of the NYU Steinhardt Nordoff-Robbins Center for Music Therapy: The Reception of Music Therapy as Explored through Analysis of its Research," advised by Prof. Christopher Washburne.
(Ethnmusicology, Barnard College) completed a senior thesis entitled "Making Miley 2.0: The Mechanisms Behind the Rebranding of Miley Cyrus," advised by Prof. Kevin Fellezs.