Ellie M. Hisama

Professor Emerita of Music; Executive Committee, Institute for Research on Women, Gender, and Sexuality
Professor Emerita of Music
Dean, Faculty of Music, University of Toronto

Ellie M. Hisama, Professor Emerita of Music, taught at Columbia University from 2006 to 2021 in the Theory and Historical Musicology areas. In 2021, she became Dean of the Faculty of Music and Professor of Music at the University of Toronto. Her research and teaching have addressed issues of race, ethnicity, gender, sexuality, and the social and political dimensions of music, with a focus on public engagement and university access for high school students. Hisama is Founding Director of For the Daughters of Harlem: Working in Sound, a multi-year initiative with seed funding from the Collaborative to Advance Equity Through Research, which brings students from local public schools to Columbia to create, record, and reflect upon their work in sound. At Toronto, she is Founding Director of Future Sound 6ix, a program for racialized female-identifying and gender non-conforming youth to work at the U of T's Electronic Music Studio, with support from the Nick Nurse Foundation. In her first year as Dean, she helped to secure a $7-million gift to the Faculty of Music in support of a new named recital hall, the Jay Telfer Forum. This gift was the largest ever received by the Faculty of Music, and one of the most significant in support of music in Canada. 

She served as Director of Graduate Studies and a member of the Executive Committee of Columbia's Institute for Research on Women, Gender, and Sexuality, where she taught undergraduate and graduate courses in Women's Studies. Become coming to Columbia, she was Director of the Institute for Studies in American Music [now the Hitchcock Institute] at Brooklyn College. Sher has taught at Brooklyn College, the City University of New York's Graduate Center, Connecticut College, Harvard University, Ohio State University and Queens College, CUNY. She was nominated twice by Columbia College's Academic Awards Committee for the Mark Van Doren Award for Teaching. An alumna of Phillips Exeter Academy, Hisama bases her classroom teaching in Exeter’s Harkness Method of collaborative learning. Her research on hip-hop and a class she designed at Columbia titled Listening to Hip-Hop were featured in an article on the history of hip hop at Columbia

She is the author of Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon, which was named a Choice Outstanding Academic Title, and is co-editor of the volumes Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-century American Music and Critical Minded: New Approaches to Hip Hop Studies. In 2022-23, Hisama was the keynote speaker at Voz Dormida: A Celebration of the Life and Work of Alida Vázquez Ayala, University of California, San Diego and she delivered the American Musicological Society's Committee on Women and Gender Endowed Lecture in New Orleans. She chaired the closing keynote conversation with Farah Jasmine Griffin and Robin D.G. Kelley at Flowin’: Breakthroughs in Black Feminist Jazz & Literary Studies, Yale University, and gave talks in the Poetker Thinking About Music Lecture Series, Cincinnati College-Conservatory of Music and the Friday Forum, School of the Arts, Media, Performance & Design, York University. 

Deeply committed to mentoring undergraduate students, graduate students, and junior faculty, Hisama is an inaugural recipient of Columbia's Faculty Mentoring Award established by the Office of the Provost. She received a Career Enhancement Fellowship from the Woodrow Wilson National Fellowship Foundation funded by the Andrew W. Mellon Foundation; a Tsunoda Ryusaku Senior Fellowship, Waseda University (Tokyo); and a Faculty Fellowship from the Ethyle R. Wolfe Institute for the Humanities. She received two Faculty Seed Grants to engage with issues of structural racism from the Office of the Provost (part of the initiative Addressing Racism: A Call to Action for Higher Education); a grant from the A&S Equity and Diversity events program; and two Public Outreach Grants from the Center for Science and Society. 

She served on the Governing Board of the Society of Fellows/Heyman Center for the Humanities and as a member of the Columbia Working Group of AFRE (Atlantic Fellows for Racial Equity), an organization whose mission is "to build an enduring transnational network of leaders...to challenge anti-Black racism and build the institutions, policies and narratives for a more equitable future." She chaired the Humanities Equity Committee of the Policy and Planning Committee and was the primary author of the Humanities section of its Equity report. In recognition of the work of Professor Marcellus Blount, a staunch advocate for equity at Columbia, she directed Agents of Change: A Symposium in Honor of Marcellus Blount, which featured a solo performance by Lloyd Knight, Principal Dancer of the Martha Graham Dance Company. She is a member of Columbia's Public Humanities Workshop, a forum founded in 2021 for imagining new ways for researchers, practitioners, and community partners to address urgent social problems together. With Zosha Di Castri, she co-directed the symposium Unsung Stories: Women at Columbia’s Computer Music Center and co-produced its podcast series. With Michael Heller, she co-directed the symposium Feed the Fire: A Symposium in Honor of Geri AllenShe organized the panel We Have to Reimagine: A Conversation on Anti-Asian Racism and Violence and the event Isaac Julien’s Looking for Langston at 30: A Screening and Roundtable in Celebration of Queer Harlem. She directed the international symposium Women, Music, Power.

Outside the academy, she has served as an advisor for the Smithsonian Institution, The Annie Tinker Association for Women, established to support women in retirement; the Estate Project for Artists with AIDS; and twice as a respondent at the Center for Jewish History's Jewish Music Forum. Her intersectional anti-racist scholarly writing has been cited in  international publications including El País (Spain), Slate, the Washington Post, the Philadelphia Inquirer, the Pittsburgh Post-Gazette, NDTV (India), New Statesman (UK), Stone Music (Italy), and the Economic Times (India). Her projects amplifying the work of female, BIPOC, and LGBTQ+ musicians have been highlighted by the Columbia NewsJournal of Blacks in Higher EducationBroadway WorldCanadian Broadcasting CorporationNational Observer, and U of T News Now

Degrees from Other Institutions: 
with honors
English language and literature
University of Chicago
Violin performance
Aaron Copland School of Music, Queens College, City University of New York
Music theory
Aaron Copland School of Music, Queens College, City University of New York
Awarded the Barry S. Brook Dissertation Award in Music for the best dissertation of the year
Music theory
Graduate Center, City University of New York
Professional Positions: 
Dean, Faculty of Music
University of Toronto



Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Cambridge: Cambridge University Press, 2001. Selected as a Choice Outstanding Academic Title.

Critical Minded: New Approaches to Hip Hop Studies, co-edited with Evan Rapport. Brooklyn, N.Y.: Institute for Studies in American Music, 2005. 

Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-century American Music, co-edited with Ray Allen. Rochester: University of Rochester Press, 2007.



Guest Editor (with Rachel Lumsden), special issue focusing on issues of diversity, equity, inclusion, and accessibility in music theory, Theory and Practice, vol. 45 (2021)

Editor in Chief, Women and Music: A Journal of Gender and Culture

Founding Editor, Journal of the Society for American Music

Editor, American Music



In press/forthcoming

"Whose Voices? Acts of Inclusion in Music." In Hidden Heartache: 100 Minuten Klaviermusik aus den letzten 100 Jahren im Kontext gesellschaftlicher Ungleichheits- und Machtverhältnisse. Book (bilingual, German/English] and double CD by pianist Simone Keller featuring music of Lil Hardin Armstrong, Jessie Cox, Ruth Crawford Seeger, Olga Diener, Julius Eastman, Julie Herndon, Irene Higginbotham, Christina Janett, Jessie Marino, and Julia Perry. St. Gallen, Switzerland: Intakt Records/Jungle Books (in press, 2024). https://www.intaktrec.ch/

“New Analytic Approaches for Price Scholarship” (co-authored with Jane Forner). In The Cambridge Companion to Florence Price, ed. Samantha Ege and A. Kori Hill (Cambridge University Press, forthcoming).

"Reflections on Listening from the Archive." Response to Dylan Robinson's Hungry Listening to be published in "Theories and Practices of Insurgent Listening," a special issue of Resonance: The Journal of Sound and Culture, co-edited by Carter Mathes and Dylan Robinson (forthcoming). 


"Popular Culture: Music Performance as Cultural Activism." In A Cultural History of Western Music in the Modern Age, vol. 6, ed. William Cheng and Danielle Fosler-Lussier. Bloomsbury, 2023. https://www.bloomsbury.com/us/cultural-history-of-western-music-97813500...

"Listening to Listening: A Response to Nina Eidsheim's The Race of Sound." Kalfou: A Journal of Comparative and Relational Ethnic Studies 9, no. 2 (Fall 2022). https://tupjournals.temple.edu/index.php/kalfou/article/view/615

“'Not yet accepted as singing': Ruth Crawford’s 'To An Angel' from Chants for Women’s Chorus (1930).” In Analytical Essays on Music by Women Composers: Concert Music, 1900-1960, ed. Laurel Parsons and Brenda Ravenscroft (Oxford University Press, 2022). 

“For the Daughters of Harlem: Bridging Campus and Community Through Sound” (co-authored with Lucie Vágnerová). In Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century, ed. Carol J. Oja and Charles Hiroshi Garrett (University of Michigan Press, 2021. https://www.jstor.org/stable/10.3998/mpub.11374592.10                         

"Getting to Count." Music Theory Spectrum 43, no. 2 (2021). https://doi.org/10.1093/mts/mtaa033 

"Geri Allen and 'The Whole Feeling of the Connection'." Jazz & Culture 3, no. 2 (Fall 2020), https://scholarlypublishingcollective.org/uip/jac/article-abstract/3/2/6...

“On seeing and hearing anew: On the Theatre of a Two-Headed Calf's Drum of the Waves of Horikawa,” ASAP/Journal [The Association for the Study of the Arts of the Present 4/1 (2019). https://muse.jhu.edu/article/723938

Forward to section “Decolonizing Sound” [essays by Alexa Woloshyn, Elliott Powell, and Liz Przybylski]. In Popular Music and the Politics of Hope: Queer and Feminist Interventions, ed. Susan Fast and Craig Jennex. New York: Routledge, 2019. https://www.taylorfrancis.com/books/e/9781315165677

“Power and Equity in the Academy: Change from Within.” Current Musicology, special issue Sounding the Break: Music Studies and the Political 102, special issue edited by Tom Wetmore (Spring 2018). https://journals.library.columbia.edu/index.php/currentmusicology/issue/view/569

"A Feminist Staging of Britten's The Rape of Lucretia.Journal of the American Musicological Society 71/1 (April 2018), 237-43. http://jams.ucpress.edu/content/71/1/213.article-info

“‘Blackness in a white void’: Dissonance and Ambiguity in Isaac Julien’s Multi-Screen Film Installations.” In Rethinking Difference in Gender, Sexuality, and Popular Music: Theory and Politics of Ambiguity, ed. Gavin Lee, 168-183. New York: Routledge, 2018. 

“Considering Race and Ethnicity in the Music Theory Classroom.” In Norton Guide to Teaching Music Theory ed. Rachel Lumsden and Jeff Swinkin, 252-66.  New York: W. W. Norton, 2018. http://diversity.societymusictheory.org/wp-content/uploads/2020/06/2020-Hisama_Considering-race-and-ethnicity.pdf

“Improvisation in Freestyle Rap.” Oxford Handbook of Critical Improvisation Studies, vol. 2, ed. Benjamin Piekut and George E. Lewis, 250-57. New York: Oxford University Press, 2016. Also published online in Oxford Research Reviews. http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199892921.001.0001/oxfordhb-9780199892921-e-24?print=pdf

“‘Diving into the Earth’: Julius Eastman’s Musical Worlds.” In Rethinking Difference in Music Scholarship, ed. Olivia Bloechl, Jeffrey Kallberg, and Melanie Lowe, 260-86. Cambridge: Cambridge University Press, 2015. https://www.cambridge.org/core/books/rethinking-difference-in-music-scholarship/diving-into-the-earth-the-musical-worlds-of-julius-eastman/F5565C1BA2E30863484126EBAFAB163C/core-reader

“DJ Kuttin Kandi: Performing Feminism.” American Music Review XLIII, no. 2 (Spring 2014), https://hisam.commons.gc.cuny.edu/wp-content/blogs.dir/28472/files/2023/...

“The Ruth Crawford Seeger Sessions." Daedalus: the Journal of the American Academy of Arts & Sciences 142/4 (Fall 2013), 51-63. https://www.mitpressjournals.org/doi/10.1162/DAED_a_00236

“Comment on AVANT’s interview with John Zorn.” AVANT: pismo awangardy filozoficzno-naukowej [AVANT: The Journal of the Philosophical-Interdisciplinary Avant-Garde, Torún, Poland] III, T/2012 (January-June, 2012). Translated into Polish. https://avant.edu.pl/wp-content/uploads/T2012_Ellie_Hisama.pdf

“From L’Étranger to ‘Killing an Arab’: Representing the Other in a Cure Song.” In Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays, ed. Walter Everett, 59-74. New York: Garland Press, 2000; 2nd edition published by Routledge, 2007.

Introduction (co-authored with Ray Allen) to Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-century American Music, edited by Ray Allen and Ellie M. Hisama, 1-10. Rochester: University of Rochester Press, 2007.

“In Pursuit of a Proletarian Music: Ruth Crawford’s ‘Sacco, Vanzetti’.” In Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-century American Music, edited by Ray Allen and Ellie M. Hisama, 73-93. Rochester: University of Rochester Press, 2007.

“‘We’re All Asian Really’: Hip Hop’s Afro-Asian Crossings.” In Critical Minded: New Approaches to Hip Hop Studies, edited by Ellie M. Hisama and Evan Rapport, 1-21. Brooklyn, N.Y.: Institute for Studies in American Music, 2005.

“John Zorn and the Postmodern Condition.” In Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick Lau, 72-84. Middletown: Wesleyan University Press, 2004. http://bcrw.barnard.edu/wp-content/uploads/2021/03/Hisama_Zorn-and-the-Postmodern-Condition-2.pdf

“Feminist Music Theory Into the Millennium: A Personal History.” In Feminisms at a Millennium, ed. Carolyn Allen and Judith A. Howard, 276-80. Chicago: University of Chicago Press, 2001. Reprinted from special millennial issue of Signs: Journal of Women in Culture and Society 25/4 (Summer 2000). https://www.journals.uchicago.edu/doi/10.1086/495562

“Life Outside the Canon? A Walk on the Wild Side.” Music Theory Online 6.3 (2000), http://www.mtosmt.org/issues/mto.00.6.3/mto.00.6.3.hisama.html

“Voice, Race, and Sexuality in the Music of Joan Armatrading." In Audible Traces: Gender, Identity, and Music, ed. Elaine Barkin and Lydia Hamessley, 115-32. Zürich: Carciofoli Verlagshaus, 1999.

“The Question of Climax in Ruth Crawford’s String Quartet, Mvt. 3.” In Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, ed. Elizabeth West Marvin and Richard Hermann. Rochester: University of Rochester Press, 1995, 285-312.

“Postcolonialism on the Make: The Music of John Mellencamp, David Bowie, and John Zorn.” In Reading Pop: Approaches to Textual Analysis in Popular Music, ed. Richard Middleton. Oxford: Oxford University Press, 2000, 329-46. Reprinted from Popular Music 12/2 (May 1993). https://www.jstor.org/stable/931292?seq=1#metadata_info_tab_contents 


Review of Marc Blitzstein: His Life, His Work, His World by Howard Pollack (Oxford University Press, 2012). In Journal of the American Musicological Society, vol. 69, no. 3 (Fall 2016), 833-40. https://doi.org/10.1525/jams.2016.69.3.835

Review of Understanding Charles Seeger, Pioneer in American Musicology, ed. Bell Yung and Helen Rees (University of Illinois Press, 1999. In Music Theory Spectrum 24, no. 1 (Spring 2002), 142-149. https://doi.org/10.1093/mts/24.1.142

Review of Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. Ruth A. Solie (University of California Press, 1993) and Marcia J. Citron, Gender and the Musical Canon (Cambridge University Press, 1993). In Journal of Musicology XII, no. 2 (Spring 1994), 221-234. https://www.jstor.org/stable/763989 


Agents of Change: A Symposium in Honor of Marcellus Blount. Editor of program booklet including twenty-six tributes by faculty, staff, and students about Marcellus Blount, Associate Professor of English and Comparative Literature, Columbia University; event organized with the Committee on Equity and Diversity, Arts & Sciences, Columbia University, Low Library Rotunda and Faculty Room, March 2019. 

Remembrance: Randy Weston (1926-2018), The Bulletin of the Society for American Music XLV/1 (Winter 2019). https://www.american-music.org/page/BulletinWinter2019

Primary author of Division of Humanities section in the Policy and Planning Committee's Equity Reports for the Arts & Sciences at Columbia University (October 2018): https://resources.fas.columbia.edu/sites/default/files/content/Document%20Library/Columbia-ArtsandSciences-PPC-Equity-Reports-2018.pdf

Remembering Geri Allen, 1957-2017. Editor of booklet of twenty-four tributes presented at memorial celebration of pianist/composer/improviser/teacher Geri Allen at international conference Feminist Theory and Music 14, San Francisco State University, San Francisco, July 2017.  https://projects.iq.harvard.edu/files/geri-allen-symposium/files/geri_allen_tributes_booklet_ftm_july_2017.pdf

“Race/ethnicity in the profession.” Invited colloquy on Race, Ethnicity and the Profession, Musicology Now (official blog of the American Musicological Society), 1 December 2016. http://musicologynow.ams-net.org/2016/12/colloquy-race-ethnicity-and-profession.html

“Ruth (Porter) Crawford (Seeger).” In The Grove Dictionary of American Music and Musicians, 2nd edition, vol. 2, 470-474. New York: Oxford University Press, 2013.

“Feminist Scholarship as a Social Act: Remembering Adrienne Fried Block.” American Music Review XXXIX/1 (Fall 2009). http://www.brooklyn.cuny.edu/web/aca_centers_hitchcock/NewsF09.pdf

Liner notes for compact disc of Jason Kao Hwang, The Floating Box: A Story in Chinatown, New World Records 80626-2, 2005.

“Miriam Gideon.” Notable American Women: A Biographical Dictionary, Vol. 5, 1976-2000, ed. Susan Ware, 231-233. Cambridge, Mass.: Harvard University Press, 2005.

Ruth Crawford Seeger: Tradition, Modernity, and the Making of American Music (conference booklet co-edited with Ray Allen). Brooklyn, N.Y.: Institute for Studies in American Music, 2001.

Liner notes for compact disc of music by Marion Bauer with pianist Virginia Eskin (Troy 465), 2001.

“Musicology: Feminist.” Reader’s Guide to Music: History, Theory, Criticism, ed. Murray Steib, 479-80. Chicago: Fitzroy Dearborn, 1999. 

Liner notes for compact disc Miriam Gideon: Music for Voice and Ensemble (CRI 782), 1998.




Faculty Reflections (Interview/Profile), Office of the Provost, Columbia University, June 2021

AAPI Month Profile, City University of New York, Graduate Center, May 2021

Alumna profile, City University of New York, Graduate Center, March 2021


Sound Expertise: Conversations with Scholars about Music podcast with Will Robin, April 2021

The Ethics of Song podcast, Centre for Ethics, University of Toronto, April 2021

Symposia, Film Screenings, and Panels Organized

We Have to Reimagine: A Conversation about Anti-Asian Racism and Violence, Office of the Provost, April 2021 

Unsung Stories - Panel on For the Daughters of Harlem: Working in Sound, April 2021 (additional Unsung Stories videos are available at the SoF/Heyman Center website)

Isaac Julien’s Looking for Langston at 30: A Screening and Roundtable in Celebration of Queer Harlem, December 2020

Feed the Fire: A Cyber Symposium in Honor of Geri Allen, November 2020 (additional Feed the Fire panel videos are available at the SoF/Heyman Center website)

Women, Music, Power: A Celebration of Suzanne Cusick's Work, December 2015


Morgan Sharp, "Future Sound 6ix offers musical insight to often sidelined Toronto youth," National Observer (January 2023)

Mariam Matti, "'Anything is Possible: Future Sound 6ix workshops draw youth from across Toronto," U of T News (December 2022)

Jason D'Souza, CBC One's Fresh Air (November 2022)

Mariam Matti, "Future Sound 6ix: Faculty of Music teams up with YWCA, Nick Nurse Foundation to run music workshops for youth," U of T News (November 2022)

Nigel Telman, ​​The Hip-Hop Project: A historical exploration into the relationship between Columbia University and the rap revolution​ -- Part 2: "The Birth of the New School: 2000s - 2010s: CUSH, Academics, and the Future of Hip Hop," Columbia Spectator (February 2021)

Timothy Diovanni, "Bringing West to the Western Canon," Columbia Spectator (February 2016)

Tributes from students, former students, and colleagues

Department of Music, April 2021


Doctoral Advising

Sponsor [Advisor]

Toru Momii, "Music Analysis and the Politics of Knowledge Production: Interculturality in the Music of Honjoh Hidejirō, Miyata Mayumi, and Mitski." PhD, 2021. Recipient, Outstanding Publication Award, Society for Music Theory, 2021; Assistant Professor of Music, Harvard University (tenure-track), Fall 2022 -. (Music theory)

Velia Ivanova, “The Musical Heritage of Incarceration: The Dissemination and Management of the Lomax Collection Prison Songs (1933-2017).” PhD, 2021. Postdoctoral Fellow in the Faculty of Music at the University of Toronto, January-June 2022. Core Lecturer, Music Department, Columbia University, Fall 2022 -.  (Historical musicology)

Elliott S. Cairns, “The Berliner Phonogramm-Archiv and the Emergence of Comparative Musicology.” PhD, 2020. Designer, Columbia University Press. (Historical musicology)

Marc Hannaford, “One Line, Many Views: Muhal Richard Abrams, Music Improvisation, and Affordances.” PhD, 2019. Assistant Professor of Music Theory (tenure-track), University of Michigan, Fall 2020 - .  (Music theory)

Paula Harper, “Unmute This: Circulation, Sociality, and Sound in Viral Media.” PhD, 2019. Assistant Professor in Music and The College (tenure-track), University of Chicago, Fall 2022 - . (Historical musicology)

William Mason, “Technological Embodiment and Affective Cognition in the Electroacoustic Music of Gérard Grisey and Tristan Murail.” PhD, 2019. Associate Professor of Music (tenured), Wheaton College (Mass.), Fall 2018 - . (Music theory)

Lucie Vágnerová, “Sirens/Cyborgs: Sound Technologies and the Musical Body.” PhD, 2016. Visiting Assistant Professor at New York University and Adjunct Assistant Professor at Columbia University, Spring 2020. (Historical musicology)

Kate Heidemann, “Hearing Women’s Voices in Popular Song: Analyzing Sound and Identity in Country and Soul.” PhD, 2014. Director of AP Music Theory Curriculum, Instruction, and Assessment. (Music theory) 

Beau Bothwell, “Song, State, Sawa: Music and Political Radio Between the United States and Syria.” PhD, 2013. Awarded Whiting Fellowship. Associate Professor of Music (tenured), Kalamazoo College. (Historical musicology)

Louise Chernosky, “Voices of New Music on National Public Radio: Radio NetRadioVisions, and Maritime Rites.” PhD, 2012. Music Director, Unitarian Universalist Congregation of Monmouth County. (Historical musicology)

Daniel Sonenberg, "'Who in the world she might be': A Contextual and Stylistic Approach to the Early Music of Joni Mitchell." DMA in composition, City University of New York, Graduate Center, 2003. Professor of Music (tenured) and Resident Composer, University of Southern Maine. (Composition)

Sponsor [in progress]

Gabrielle E. Ferrari, “Gendering the Undead Voice: Singing and Séances in the Early Twentieth Century.” Recipient, 2020-2021 Core Preceptor Award for Excellence in Teaching Music Humanities; Recipient, Eugene K. Wolf Fund, American Musicological Society Research/Travel Grants, 2021; IRWGS Graduate Fellow, 2021-22; Lead Teaching Fellow, Center for Teaching and Learning, 2021-22. (Historical musicology)


Undergraduate Courses

Humanities W1123: Music Humanities

Women's Studies 2340: Women, Power, and Popular Music 

Music UN3030: Asian American Music

Music UN3310: Techniques of Twentieth-Century Music

Music UN3321: Music Theory III

Music UN3322: Music Theory IV

Music UN3385: Analysis of Popular Music

Music UN3395: Listening to Hip-Hop

Women's Studies UN3800: Feminist Listening (awarded an inaugural IRWGS Curriculum Development Grant funded by the Heyman Center for the Humanities and the Mellon Foundation)


Graduate Courses

Music G6333: Proseminar in Music Theory

Music G6385: Analysis of Popular Music

Music G8111: New Currents in American Music Studies [20th-century seminar] 

Music G8111: Diving into the Earth: Julius Eastman Studies [20th-century seminar] 

Music G8360: Gender/Sexuality/Music: History/Theory/Criticism

Music G8370: Ruth Crawford Seeger: Modernism and Tradition in 20th-century American Music

Music G8374: New Currents in Hip-Hop Studies 

Women's Studies G8001: Feminist Pedagogy