Farzaneh Hemmasi (Ph.D., Columbia University ) is Associate Professor of Ethnomusicology at University of Toronto. Her monograph Tehrangeles Dreaming: Intimacy and Imagination in Southern California’s Iranian Pop Music (Duke University Press 2020) is an ethnographic exploration of the Los Angeles-based postrevolutionary Iranian expatriate culture industries and shows how culture, media and diaspora have combined to create practices and identifications that respond to, but are not circumscribed by, the nation-state and its political transformations. Prof. Hemmasi’s other publications consider the transnational circulation of political music and poetry between diaspora and homeland; a post-revolutionary political metaphorization of the Iranian female singing voice; and Iranian twentieth century “New Poetry” and popular music; these have appeared in the Journal of Middle East Women’s Studies (2017), Popular Communication(2017), Popular Music (2017), Ethnomusicology (2013), and Mahoor Music Quarterly (2008). She has also contributed to two edited volumes, Vamping the Stage: Female Voices of Asian Modernities (University of Hawaii Press, 2017) and Muslim Rap, Halal Soaps, and Revolutionary Theater: Artistic Developments in the Muslim World (University of Texas Press, 2011). An Insight Development Grant from the Social Science and Humanities Research Council funds her current collaborative ethnographic research project on music, sound, space, and cultural policy in the City of Toronto, with a focus on the Kensington Market neighbourhood. For more information, see Prof. Hemmasi’s personal website.
Jeff Packman is an Associate Professor of Ethnomusicology, and Associate Dean of Graduate Education. He developed his interest in Brazilian music while a free-lance drummer in Los Angeles performing and recording with various rock, jazz, blues, and “Latin” fusion artists. It was also during this period that he first heard the term “ethnomusicology” — a discovery that inspired him to pursue his MA (2001) with Deborah Wong and René Lysloff at the University of California, Riverside, and the PhD (2007) at the University of California, Berkeley, where he studied with Bonnie Wade, Ben Brinner, and Jocelyne Guilbault. His research on professional musicians and cultural politics in Salvador da Bahia, Brazil, has appeared in several journals including Black Music Research Journal, Ethnomusicology, and Latin American Music Review. He is currently completing a monograph on the topic that will be published by Wesleyan University Press. He has also published several articles and book chapters on different manifestations of samba de roda, an Afro-diasporic music and dance complex from Bahia, Brazil. The fieldwork for the samba de roda project, which was supported by a multi-year grant from SSHRC, was done in collaboration with two dance researchers and a Brazilian ethnomusicologist. SSHRC is also supporting his most recent project in Bahia, a historical and ethnographic mapping of a month-long series of celebrations known as the festas juninas.
Joshua D. Pilzer is Associate Professor of Ethnomusicology. Born in Vancouver, he grew up in Nashville, Tennessee as an (un)popular musician. He earned his bachelor’s degree at the Evergreen State College in interdisciplinary studies, and graduate degrees in ethnomusicology from the University of Hawai’i (MA) and the University of Chicago (PhD). His research focuses on the anthropology of music in modern Korea and Japan, and the relationships between music, everyday life, survival, memory, traumatic experience, marginalization, socialization, gendered violence, public culture, mass media, social practice and identity. He is particularly interested in the ethnography of the “everyday,” in theoretical and analytical approaches to the thresholds which link music to other forms of social expression, and in the vistas of ethnomusicology beyond music. His first book, Hearts of Pine, about singing in the lives of Korean survivors of the Japanese “comfort women” system, was published in 2012 by Oxford University Press. Since 2011, he has been doing summer and research-leave fieldwork for an ethnography of music and song among Korean survivors of the atomic bombing of Japan, which he is currently finishing as a second book project. After that, he plans an ethnography of sound, music, and everyday life in contemporary Japan, which deals with the deep embeddedness of music in everyday life — the musical construction of gendered and ethnic voices, of notions of propriety, of children’s senses of self, and the role of music in mundane activities such as shopping and speaking. He has published articles in Ethnomusicology, Dongyang Umak Yeonggu, and The Courtesan’s Arts: Cross-Cultural Perspectives (New York: Oxford University Press, 2006). At the U of T he teaches graduate seminars on music and everyday life; the social poetics of music; music, culture, and health; the music anthropology of the imagination, and others.
Lyndsey Hoh Copeland is Assistant Professor of Ethnomusicology. Her research areas include African popular music, racialized listening and aesthetics, music streaming services, music and climate change, sound and disability, and sound studies. She is completing a book manuscript on amateur brass band performance in the Republic of Benin, and her articles on that topic are published in the journals Ethnomusicology Forum and Africa. She earned her doctorate from the University of Oxford. She has received grants and fellowships from the Fulbright Program, the Wenner-Gren Foundation for Anthropological Research, the Andrew W. Mellon Foundation, and Oxford’s Clarendon Fund, among others. Prior to coming to the University of Toronto, she was a postdoctoral fellow at the Stanford Humanities Center and lecturer in Stanford University’s Department of Music. In addition to her research and teaching, she is a trained tubist and enjoys performing in orchestral and popular ensembles.
James Kippen is Professor Emeritus of Ethnomusicology. He taught ethnomusicology at the University of Toronto from 1990 to 2019, and was largely responsible for the growth of the discipline at the University of Toronto’s Faculty of Music. Born and raised in London, England, he studied under the pianist and conductor David Parry. He developed an interest in Hindustani music and Javanese gamelan at the University of York (UK) under Neil Sorrell, and pursued a doctorate in social anthropology and ethnomusicology at the Queen’s University of Belfast under John Baily and John Blacking. He is the author of The Tabla of Lucknow (CUP 1988). He held three major SSHRC research grants to explore issues related to rhythm and metre in Hindustani music: he has translated and analysed several indigenous works from the 18th to early 20th centuries, projects that led to several articles as well as the book Gurudev’s Drumming Legacy: Music, Theory and Nationalism in the Mrdang aur Tabla Vadanpaddhati of Gurudev Patwardhan (Ashgate 2006). He has contributed key articles to the Garland Encyclopedia of World Music as well as a chapter in the popular textbook on ethnographic method,Shadows in the Field (OUP 2008). He is the co-editor of Music, Dance and the Art of Seduction (Eburon 2013). He continues to play both tabla and pakhavaj drums, and is an enthusiastic Balinese gendèr player with the ensemble Seka Rat Nadi.