Hunter College of the City University of New York
This year’s conference aims to reimagine not only what the study of music might entail, but how an inclusive scholarly community might be formed. The roundtable format will allow for discussion and the sharing of practical steps towards dismantling hierarchies and creating alternative models for communities in music studies.
MODERATOR: Danielle Brown
Founder & CEO, My People Tell Stories
Danielle Brown, Ph.D. is an artist, scholar, and entrepreneur. Brown earned a doctorate in Music from New York University with a concentration in ethnomusicology and specialization in the music of Latin America and the Caribbean. Brown is a former Assistant Professor of Music History and Cultures at Syracuse University, and has lectured at various colleges and universities. She has worked with elementary, middle, and high school students, and is certified in the Kodály method. In addition, Brown is an active vocalist, cuatro player, and composer. She is the author of the music-centered ethnographic memoir, East of Flatbush, North of Love: An Ethnography of Home, and the East of Flatbush, North of Love: Teacher Guidebook. Brown is a 2018 NYSCA/NYFA Fellow in Folk/Traditional Arts and is a Visiting Scholar in the Department of Musicology at the University of Miami for the 2019—2020 school year.
Director of Content Strategy, ONE Archives Foundation
Umi Hsu, Ph.D., is a public humanist and strategic designer with research and organizing agendas for equity in arts, technology, and civic life. Prior to joining the ONE Archives Foundation, Umi served as the Digital Strategist of the City of Los Angeles Department of Cultural Affairs, where they directed digital and data programs including a virtual tour and a digital archive of Frank Lloyd Wright’s Hollyhock House, and Promise Zone Arts cultural asset mapping initiative.
With a PhD in Critical and Comparative Studies in Music from the University of Virginia, Umi is a sound ethnographer and artist whose practice is driven by inquiries about sound and migratory communities. Umi is also an adjunct faculty member at ArtCenter College of Design’s Media Design Practices MFA program and University of Southern California Marshall School of Business, and has published extensively on digital media, data, and Internet culture.
Freelance Critic, Reporter, and Essayist
Lindsay Zoladz is a frequent contributor to the New York Times and other publications. She was previously a staff writer at The Ringer and before that the pop music critic at New York magazine, where her work earned her the National Society of Magazine Editors’ ASME Next Award for Journalists Under 30.
Her writing—about music, film, feminism, technology, and generational identities, among other things—has been published by outlets including the New York Times Magazine, NPR, The Cut, Pitchfork, Bookforum, The Believer, Film Comment, Slate, and Bitch. She volunteers with the mentoring non-profit Girls Write Now and has been invited to speak to journalism classes at Columbia University, New York University, and her alma mater, American University.
Executive Director and Co-Founder, The Music of Asian America Research Center (MAARC)
Eric Hung, Ph.D., is a musicologist with extensive experience in non-profit management, and an Adjunct Lecturer in the College of Information Studies at the University of Maryland. His academic research focuses on Asian American music and public musicology. Current projects include a book on trauma and cultural trauma in Asian American music and an edited volume on public musicology. His pedagogical project, “Incorporating Local Musics in the Undergraduate Music History Curriculum,” won the Teaching Award from the American Musicological Society.
Hung is also an active pianist and conductor who has performed in Germany, Austria, Hong Kong, and Australia and throughout North America. Prior to joining the nonprofit world full-time, he was a tenured professor at Westminster Choir College of Rider University. He has also served as executive director and interim president of New York–based Gamelan Dharma Swara and co-director of the Westminster Chinese Music Ensemble.
MACSEM 2021 Conference Schedule
(Please note that all regular panel sessions include a 5- or 10-minute screen break in the middle)
Friday, April 9
7:00 pm Livestreamed concert - Grupo Rebolu, an Afro-Colombian ensemble based in NYC
Saturday, April 10
8:30–9:00 am Coffee (optional! meet your fellow presenters and attendees)
9:00–9:15 am Welcome and opening remarks from Nomi Dave (President, MACSEM) and Barbara Hampton
(Professor of Music, Hunter College of CUNY)
9:15–11:25 am Panel 1: “Adaptation”
Chair: Anne Rasmussen
Presenters in order:
Kendra Salois, “The Stars of Sidi Moumen: Hip Hop as a Civilizing Project Among Casablanca’s Poor
Katherine Yang, “Transcription of Korean Traditional Folk Songs using Western Staff Notation by
Eva Yang, "Dongjing Music as a Cultural Product: Anticipating Tourism in Heijing, Yunnan,
Christopher McGuinness, “Recovering Sample Authorship: The Case of Sohan Lal”
11:25–11:40 am BREAK
11:40–1:15 am Panel 2: “Growing Pains”
Chair: Siv B. Lie
Presenters in order:
Lynne Stillings, “Centering Senegalese Childhood within Global Children’s Rights through Musical
Participation: A Case Study of Sen P’tit Gallé”
Kyle DeCoste, “Lil Chano From 79th: Voicing Black Boy Joy in Chance the Rapper's Music”
Kyra Gaunt, “Music as Violence Against Black Girls Online: The Shadow Pandemic and the Need for a Sound Public Health Policy”
2:00–4:05 pm Panel 3 “Listen Up!”
Chair: Lee Veeraraghavan
Presenters in order:
Daniel Carsello, Black Feminist Resistance in Barbershop: A Discussion of HALO”
Colin Harte, “Lambegs Resonate in Northern Ireland: Tradition, Sociopolitical Unrest, and Brexit”
Marcos Acevedo Arus, “Music in Puerto Rico’s #RickyRenuncia Protests”
Davindar Singh, “Medium Noise and High 'Levels': India’s Urban Noise Restrictions and the
Censorship of Digital Media”
4:05–5:20 pm Mentoring session
Led by Meryl Krieger, University of Pennsylvania
5:30–7:00 pm Roundtable discussion for action: Transforming the Field
Moderated by Danielle Brown; with Umi Hsu, Eric Hung, and Lindsay Zoladz
Sunday, April 11
9:00–9:15 am Coffee (featuring an “SEM Student News” presentation)
9:15–11:00 am. Panel 4: “Conversations Across Boundaries: Inclusivity, Solidarity, and Cultural Initiatives”
Chair: Kathryn Metz
Presenters in order:
Heather Strohschein, Margaret Smith, and Linda Yates, “The Wheelchair Is Invisible: A
Conversation on Inclusivity and Accessibility in the Time of Covid”
Maxwell Yamane, “Follow the Drum: Forging Solidarity and Indigenous Empowerment through
Powwow Music in the #NoDAPL Movement in Washington D.C.”
Jackson Mann, “Join in the Grand Industrial Band: Contextualizing Contemporary IWW Cultural
11:00–11:20 am BREAK
11:20 am–1:00 pm Panel 5: “Sound and Vision”
Chair: Jim Sykes
Presenters in order:
Nathaniel Seelen, “Doina: The Reinvention of Improvisation in Post-Revitalization Klezmer Music”
Noah Raimy, “Cyborg Exotica: Imagining Possible Futures and Synthesizing the Other in Late 20th-
Century Electronic Music”
Jacqueline Georgis, “Humor and Protest Music: The Free Jazz Mod Paludan Project"
1:10 – 1:40 Business Meeting; Closing Remarks
Call for Papers
The program committee cordially invites for the 40th annual chapter meeting of the Mid-Atlantic chapter of the Society for Ethnomusicology (MACSEM), to be hosted virtually by CUNY in New York City.
We will accept Individual Papers, Organized Panels, and Roundtables according to the following. Additionally, presentations outside the realm of the traditional paper format (such as lecture-demonstrations) are encouraged.
Papers will be given 20 minutes, with 10 minutes allotted for questions and discussion afterwards. Paper abstracts (250 word maximum) should demonstrate a clear focus or statement of the problem, a coherent argument, knowledge of previous research, and a statement of the implications for ethnomusicology (broadly conceived).
An organized panel session can last 90 minutes (1.5 hours) or 120 minutes (2 hours). A 90-minute panel consists of three papers, while 120-minute panels consist of either four papers or three papers plus a discussant. Each presentation (a paper or a discussant’s formal response) is 20 minutes long, followed by 10 minutes of questions and general discussion. (Those interested in a more flexible format with more participants may want to consider proposing a roundtable.) A proposal for an organized panel should be submitted by the panel organizer. The submission should include the panel abstract (describing the rationale for the panel as a whole) in addition to abstracts for each of the individual papers.
A roundtable provides an opportunity for participants to discuss a subject with each other and with members of the audience. A roundtable may be 1.5 or 2 hours long (please specify) and may include up to six presenters. We encourage formats that stimulate discussion and audience participation (at least 50% of the roundtable time must be devoted to discussion). The organizer will solicit position statements of up to 10 minutes long from each presenter and will facilitate questions and discussion for the remaining time. The organizer should submit an abstract that outlines the purpose/agenda and organization of the roundtable, as well as the contributions of each participant (unnamed in the abstract).
Proposals should be sent to MACSEM Vice President Benjamin Tausig (Program Committee Chair, with committee members Dr. Kathryn Metz and Dr. Lee Veeraraghavan) at email@example.com by December 31, 2020, with the subject line “MACSEM 2021 Proposal Submission.” Decisions will be announced in mid-January, 2021.
Please include the following in your email:
• Institutional affiliation (if any)
• Status (e.g. independent scholar, graduate student, undergraduate student, public sector, faculty member, etc.)
• Title of proposal
• Email address
• Document file (.doc or .docx), which will include proposal title and abstract (do not include any identifying markers, such as your name)
Any additional questions can be directed to Benjamin Tausig (firstname.lastname@example.org).
Announcements for the Hewitt Pantaleoni Prize and the Lorna D'Acosta McDaniel Prize
MACSEM awards the Hewitt Pantaleoni Prize each year to the best (graduate) student paper delivered at the annual meeting. The Pantaleoni Prize was established in 1990 in memory of ethnomusicologist Hewitt Pantaleoni, and carries an award of $50. Hewitt Pantaleoni (1929-1988) received his Ph.D. in ethnomusicology from Wesleyan University, concentrating particularly on African music, and taught at the State University College of New York at Oneonta. His fieldwork, always collaborative, led to projects with the Ugandan dance ethnographer Moses Serwadda. Prof. Pantaleoni was also one of the first members of MACSEM.
MACSEM awards the Lorna D'Acosta McDaniel Prize each year to the best undergraduate student paper delivered at the annual meeting. The Lorna D'Acosta McDaniel Prize was established in 2017 in memory of the ethnomusicologist, Lorna D'Acosta McDaniel, and carries an award of $50.
To apply for either prize, see instructions at the end of the conference program.