Ellie M. Hisama, Professor of Music, came to Columbia in 2006, having previously served as 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. She is Chair of Columbia's Academic Review Committee, Area Chair for Music Theory, and Chair of the Humanities Equity Committee of the Policy and Planning Committee, which will release in Fall 2018 a report on equity issues affecting the Humanities Division 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. She is Founding Director of For the Daughters of Harlem: Working in Sound, a multi-year project for New York public school students to engage with music as performers, sound artists, and thinkers and which is now in its second year. Her current research focuses on Marian Anderson, Ruth Crawford, Asian Improv aRts, and a production of Drum of the Waves of Horikawa by the Theater of the Two-Head Calf.
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 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 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). Her essay "Power and Equity in the Academy: Change from Within" will appear in Sounding the Break: Music Studies and the Political, a special issue of Current Musicology, ed. Tom Wetmore, and she is author of the forward to “Decolonizing Sound,” in Hearing the Political: Queer and Feminist Interventions in Popular Music Performance, ed. Susan Fast and Craig Jennex (Routledge, in press).
She was named the 2019 Kenneth Peacock Lecturer at the University of Toronto, the 2017 Robert Samels Visiting Scholar at Indiana University, and the 2016 speaker in the Judy Tsou ’75 Music Scholars Series at Skidmore College. She was an invited participant in the Feminist Research Seminar "Writing Blackness into Music Historiography" at University of Michigan’s Institute for Research on Women & Gender and an invited presenter at the workshop “Interrogating the Nation/Repositioning U.S. Music in the 21st Century” at the Radcliffe Institute for Advanced Study at Harvard. 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 and has held a Tsunoda Senior Fellowship at Waseda University (Tokyo). An alumna of Phillips Exeter Academy, her classroom teaching is strongly based in Exeter’s Harkness Method of collaborative learning.
In 2018-19, she chairs the Society of Music Theory's SMT-40 Dissertation Fellowship Committee. 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 has edited three peer-reviewed journals: Journal of the Society for American Music (JSAM) as 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 co-organized (with Ana Paulina Lee) a residency by choreographer/dancer Lenora Lee and filmmaker/musician Tatsu Aoki which included the New York premiere of their film LIGHT and a talkback with David Henry Hwang and Karen Shimakawa.
She has taught at Brooklyn College, Connecticut College, City University of New York's Graduate Center, Harvard University, Ohio State, 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 NEH, ACLS, Fulbright Foundation, and the Alvin H. Johnson AMS 50, and has 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 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: History/Theory/Criticism
Music G8370: Ruth Crawford Seeger
Music G8374: New Currents in Hip-Hop Studies
Women's Studies G8001: Feminist Pedagogy