Alumni

Rob Simms, playing the Kurdish tanbur, Walter Hall 2019

Our program has produced many distinguished ethnomusicologists over the years. Among them…

    • Beverley Diamond, Professor Emerita at Memorial University of Newfoundland, formerly President of the Society for Ethnomusicology
    • Gordon Smith, Professor of Musicology & Ethnomusicology at Queen’s University, Kingston, and Vice-Dean of the Faculty of Arts & Science   
    • George Dimitri Sawa, master of the Eqyptian Qanun, and author of Theories of Rhythms in Arabic Writings, 750-950 AD 
    • Louise Wrazen, Associate Professor and Chair of the Department of Music, York University
    • Rob Simms, Associate Professor, World Music Performance, York University
    • Jeff Hennessey, formerly Dean of Arts and Professor of Theory and Musicology at the School of Music, Acadia University, Nova Scotia, and now Provost and Vice-President Academic and Research at Mount Allison University
    • Margaret Walker, Professor of Ethnomusicology, former Director of the School of Music, Queen’s University, Kingston
    • Lowell Lybarger, Music/Multimedia Librarian, Arkansas Tech University
    • Mark Laver, Associate Professor of Music, Jazz Studies & Ethnomusicology, Grinnell College, Iowa
    • Carolyn Ramzy, Associate Professor of Ethnomusicology, Carleton University, Ottawa
    • Meghan Forsyth, Assistant Professor of Ethnomusicology, Memorial University, Newfoundland
    • Kate Galloway, Lecturer, Rensselaer Polytechnic Institute
    • Yun Emily Wang, Assistant Professor of Ethnomusicology, Duke University

Below we list our doctoral graduates since 1996, and provide links to some very fine dissertations and associated publications.

PhD Dissertations in Ethnomusicology

Alia O’Brien, 2020: “Faithful Listening: On Sound, Survival, and Becoming in Muslim Toronto.” (T-space link) … (Alia’s website)

Yun Emily Wang, 2018: “Sonic Poetics of Home and the Art of Making Do in Sinophone Toronto.” (T-space link)

Vanessa Thacker, 2017: “Adapting Voices: The Musical Lifeworld of Sean-nós Singing in Carna, Ireland.” (T-space link)

Polina Dessiatnitchenko, 2017: “Musical and Ontological Possibilities of Mugham Creativity in pre-Soviet, Soviet, and post-Soviet Azerbaijan.” (T-space link) … (Polina’s website)

Gabriela Jiménez, 2017: “Versioning Mexico City: Musical Performances, Gender, Sexuality, and the Musical Production of Place.” (T-space link)

Chris Wilson, 2015: “Commerce, Culture and Creativity: Songwriter Practice and Tactics in Nashville, Tennessee.” (T-space link)

Carolyn Ramzy, 2014: “The Politics of (Dis)Engagement: Coptic Christian Revival and the Performative Politics of Song.” (T-space link)

Catherine Gauthier-Mercier, 2013: “Interpreting Brazilianness: Reception and Representation in the Brazilian Music Scenes of Toronto and Montreal.” (T-space link)

Parmela Attariwala, 2013: “Eh 440: Tuning into the Effects of Multiculturalism on Publicly Funded Canadian Music.” (T-space link) … (Parmela’s website)

Andy Hillhouse, 2013: “Touring As Social Practice: Transnational Festivals, Personalized Networks, And New Folk Music Sensibilities.” (T-space link) … (Andy’s website)

Sean Bellaviti, 2012: “Negotiating Musical Style in Panama: Nationalism, Professionalism and the Invention of Música Típica Popular.” (T-space link) This research subsequently appeared as Musica Tipica: Cumbia and the Rise of Musical Nationalism in Panama (OUP 2020). … (Sean’s website)

Stephanie Conn, 2011: “Carn Mor de Chlachan Beaga, A Large Cairn from Small Stones: Memory and Multivocality in Cape Breton Gaelic Singing.” (T-space link)

Meghan Forsyth, 2011: “’De par chez nous:’ Fiddling Traditions and Acadian Identity on Prince Edward Island.” (T-space link)

Mark Laver, 2011: “Jazzvertising: Music, Marketing, and Meaning.” (T-space link) This research subsequently appeared as Jazz Sells: Music, Marketing, & Meaning (Routledge 2015).

Kate Galloway, 2011: “’Sounding Nature, Sounding Place’: Alternative Performance Spaces, Participatory Experience, and Ritual Performance in R. Murray Schafer’s Patria Cycle.” (T-space link)

Jeff Hennessy, 2008: “Fiddle Grooves: Identity, Representation, and the Sound of Cape Breton Fiddle Music in Popular Culture.” (T-space link)

Graham Freeman, 2008: “Percy Grainger: Sketch of a New Aesthetic of Folk Music.” (T-space link)

Leanne Fetterley, 2007: “Give me real, don’t give me fake : Authenticity, Value, and Popular Music.”

Margaret Walker, 2004: “Kathak Dance: A Critical History.” This research was subsequently developed further, and has been published as India’s Kathak Dance in Historical Perspective (Ashgate Publishing, 2014).

Michelle Bozynski, 2003: “Considering Canadian Filmmusic: The Toronto Filmmaker, and Music as a Site For Negotiating Meaning Within Canadian Feature Films.”

Lowell Lybarger, 2003: “The Tabla Solo Repertoire of Pakistani Panjab: an Ethnomusicological Perspective.”

David Montgomery, 2002: “The Concept Album: Context and Analysis.”

Norma Vascotto, 2000: “A Musical Family: Song, Transmission, and Oral History in a Netsilik Family.”

Rob Simms, 1996: “Avaz in the Recordings of Mohammed Reza Shajarian.” This research formed the basis of The Art of Avaz and Mohammad Reza Shajarian: Foundations and Contexts, and Mohammad Reza Shajarian’s Avaz in Iran and Beyond, 1979-2010 (Lexington Books, 2012).