Ellie M. Hisama, Professor of Music, came to Columbia in 2006, having previously taught at Brooklyn College, City University of New York, where she was Director of the Institute for Studies in American Music [now the H. Wiley Hitchcock Institute for Studies in American Music]. She is a member of the Theory and Historical Musicology areas and has served as Vice Chair of the Department of Music and Area Chair for Music Theory. In 2018-19 she will chair Columbia's Academic Review Committee and will complete a three-year term on the Policy and Planning Committee (PPC), the body elected to represent the Faculty of Arts and Sciences to the Arts and Sciences and university leadership. She serves as Chair of the Humanities Equity Committee of the PPC, which has prepared a report on equity issues affecting the thirteen Humanities Departments at Columbia. She has served as Director of Graduate Studies of the Institute for Research on Women, Gender, and Sexuality (IRWGS) at Columbia and and is a member of its Executive Committee. With Associate Director Lucie Vágnerová, she organized and directed a workshop titled For the Daughters of Harlem: Working in Sound with funding from the Collaborative to Advance Equity Through Research, the Society of Fellows/Heyman Center for the Humanities, and IRWGS. It offered opportunities at Columbia for young women of color from New York public schools to engage with music technology--as composers, improvisers, sound artists, and thinkers--under the guidance of workshop leaders Zosha Di Castri, Miya Masaoka, Courtney Bryan, and David Adamcyk.
Author of Gendering Musical Modernism and co-editor of Critical Minded: New Approaches to Hip Hop Studies and Ruth Crawford Seeger’s Worlds, she specializes in twentieth- and twenty-first-century music, post-tonal theory, American music, popular music, gender and feminist studies, critical studies of music and race, and the social and political roles of music. Her essay "A Feminist Staging of Britten's The Rape of Lucretia" appears in the Journal of the American Musicological Society (2018) in a colloquy on sexual violence in opera. Her article "Considering Race and Ethnicity in the Music Theory Classroom" was published in the Norton Guide to Teaching Music Theory, ed. Rachel Lumsden and Jeff Swinkin (Norton, 2018). Her paper "On Race/Ethnicity in the Profession" appears in Musicology Now, the blog of the American Musicological Society. Her essay "'Blackness in a White Void': Dissonance and Ambiguity in Isaac Julian's Multi-Screen Film Installations" will appear in Rethinking Difference in Gender, Sexuality, and Popular Music: Theory and Politics of Ambiguity, ed. Gavin Lee (Routledge, in press). Her essay on Ruth Crawford's Chants for Women's Chorus will appear in Analytical Essays on Music by Women Composers series, ed. Laurel Parsons and Brenda Ravenscroft (Oxford University Press, under contract). She will contribute an essay to Sounding the Break: Music Studies and the Political, a special issue of Current Musicology edited by Tom Wetmore, and the forward to the section “Decolonizing Sound and Scholarship,” in Hearing the Political: Queer and Feminist Interventions in Popular Music Performance, ed. Susan Fast and Craig Jennex (Routledge, under contract).
She was named the 2019 Kenneth Peacock Lecturer at the University of Toronto, the 2017 Robert Samels Visiting Scholar at the Jacobs School of Music, Indiana University, and the 2016 speaker in the Judy Tsou ’75 Music Scholars Series at Skidmore College. In 2017, she participated in the workshop “Interrogating the Nation/Repositioning U.S. Music in the 21st Century,” held at the Radcliffe Institute for Advanced Study at Harvard, where she presented her work on the social and cultural activism of Asian Improv aRts. She has received major research fellowships from the Woodrow Wilson National Fellowship Foundation/Andrew Mellon Foundation and the Ethyle R. Wolfe Institute for the Humanities. She held a Tsunoda Senior Fellowship at Waseda University (Tokyo). She developed a new seminar titled "Feminist Listening: Critical and Intersectional Approaches to Popular Music," with support from a curriculum development grant from IRWGS and the Heyman Center for the Humanities.
She will chair the Society of Music Theory's SMT-40 Dissertation Fellowship Committee, and served as chair of the 2018 Program Committee of the Music Theory Society of New York State. She serves on the advisory boards of the new series Music and Social Justice, the new series Ashgate Studies of Music Theory and Analysis After 1900, and the book series Tracking Pop. She is a member of the Advisory Board of the H. Wiley Hitchcock Institute for Studies in American Music which she directed from 1999 to 2005. She has edited three peer-reviewed journals: Journal of the Society for American Music (JSAM) for which she was Founding Editor; American Music; and Women and Music: A Journal of Gender and Culture. She has directed or co-directed many major conferences, including Women, Music, Power; Ruth Crawford Seeger: Modernity, Tradition, and the Making of American Music; Local Music/Global Connections: New York City at the Millennium; and Feminist Theory and Music 8; and a residency by choreographer/dancer Lenora Lee and filmmaker/musician Tatsu Aoki which included the New York premiere of their 2017 film LIGHT and a talkback with David Henry Hwang and Karen Shimakawa.
She has taught at Harvard University, City University of New York's Graduate Center, Connecticut College, Ohio State University, the University of Massachusetts at Amherst, Queens College/CUNY, and the University of Virginia. She has served on the Governing Board of Columbia's Society of Fellows in the Humanities, evaluated fellowship applications for the National Endowment for the Humanities, American Council of Learned Societies, Fulbright Foundation, and American Musicological Society (the Alvin H. Johnson AMS 50), and served as a nominator for the Herb Alpert Awards and the Inamori Foundation. Outside the academy, she has served as a consultant for the Joyce Foundation (Chicago), Smithsonian Institution, The Estate Project for Artists with AIDS, and The Annie Tinker Association for Women.
Undergraduate Courses Taught:
Humanities W1123: Music Humanities
Music V3321: Music Theory III
Music V3322: Music Theory IV
Music V3310: Techniques of Twentieth-Century Music
Music V3385: Analysis of Popular Music
Music V3395: Listening to Hip-Hop
Music V3030: Asian American Music
Women's Studies UN3800: Feminist Listening
Graduate Courses Taught:
Music G6333: Proseminar in Music Theory
Music G6385: Analysis of Popular Music
Music G8111: Seminar in Historical Musicology: 20th Century [New Currents in American Music Studies]
Music G8360: Gender/Sexuality/Music
Music G8370: Ruth Crawford Seeger
Music G8374: New Currents in Hip-Hop Studies
Women's Studies G8001: Feminist Pedagogy