Current Students

SGabriel Alfieri is a doctoral candidate in musicology, as well as a singer and teacher. He holds Master’s degrees with academic honors in Musicology and Vocal Pedagogy, and a Bachelor’s degree summa cum laude in Vocal Performance. He has presented his work at several academic conferences including the Society for American Music and the Renaissance Society of America. His dissertation is a study of music for American spoken drama (theater, radio, and television) in the late Modernist period.
Chelsey BChelsey Belt is a second-year M.M. student in historical musicology. Originally from Woodstock, IL, she graduated from Illinois Wesleyan University with a Bachelor of Music Education in 2013. Chelsey has worked on topics ranging from the Cantigas de Santa Maria to  rural American string bands at the beginning of Jazz. Current research interests include the violin family in late 16th-century Italy and instrumental music at the Protestant courts of far Northern Europe. Chelsey is active in the early music community, performing on early violin, viol, and medieval strings throughout the Northeast and Midwest. As a frequent guest of the Cavalier Consort and co-founder of the early 17th-century ensemble Andromeda, she specializes in 16th- and early 17th-century violin technique.
PhD candidate Amanda Daly Berman was the first person to graduate from Wheaton College (MA) with a degree in Ethnomusicology (2003). She received her MA from Brandeis in 2007 in Coexistence and Conflict. Her research interests include Cape Breton music and its diaspora; music and conflict; music of Boston/New England; music therapy; medical ethnomusicology; music education; music and sports, particularly music and baseball; and music and neuroscience. She is an active vocal soloist, having performed four times at Fenway Park for the Boston Red Sox. She has also been a member of the New England Conservatory Youth Chorale, Tanglewood Festival Chorus, Boston Pops Holiday Chorus and Boston Pops Gospel Chorus. She plays Cape Breton and Irish fiddle, classical violin, and piano.
Rose Bridges is a native of Detroit, MI. She holds a BM in Composition from the Peabody Conservatory of The Johns Hopkins University in Baltimore, MD, and is in her second year studying for an MM in Historical Musicology at BU. Some of Rose’s many research interests include the intersections of music and politics (including its use as political propaganda), music in film and television, and ’60s rock music, especially The Beatles. She also writes about news, politics and entertainment for Autostraddle, the most popular independently-owned website for lesbian, bisexual and queer-identified women. Rose can play the cello, double bass and bass guitar and in her free time, enjoys composing, reading and trivia games.
Ian CossIan Coss is a first year doctoral student in Ethnomusicology with an interest in Balinese gamelan and music technology. In 2011, Ian received a Darmasiswa Scholarship from the Indonesian government and spent a year in Bali studying gender wayang, music for shadow-puppet plays. Since then, he has worked at an educational start-up in Tokyo and taught Middle School here in Boston, before beginning his studies at BU. While always keeping his ear to the ground for intriguing sounds, Ian has also maintained an active performance career for the past decade, and recently released his second solo record. Follow all his various projects at iancoss.com.
Robert CroweRobert Crowe is pursuing a PhD in historical musicology. His research focuses on the last operatic castrati during the Napoleonic Age. He has presented papers or lecture recitals at the AMS national convention, the SSCM national convention, the Society for Nineteenth-Century Music in Britain (Cardiff) and the International Conference on Baroque Music (Salzburg). He has worked over twenty years as a male soprano, was a 1995 National Winner of the Metropolitan Opera Competition and has sung over 70 main roles in the United States, Europe and India, including leading roles in all three Händelfestspiele, the Bayerische Staatsoper, Staatsoper unter den Linden and Het Concertgebouw. He has released two solo recordings with Hänssler Profile and Bavarian Radio of seventeenth-century sacred motets.
Andrea pictureAndrea Lieberherr Douglass is a PhD candidate in Ethnomusicology at Boston University. She holds degrees from Northeastern University (BA in Music Literature and Performance, BA in Chemistry in 2001) and from the California Institute of the Arts (MFA in Flute and Violin Performance in 2004). She has performed in Switzerland, Italy, Brazil, and Mexico. She has recorded at Skywalker Ranch and for Capital Records. Her research interests include Streichmusik from Switzerland and Brazilian choro. Her dissertation focuses on how the rebranding of Streichmusik (a genre particular to the Appenzeller and Toggenburger regions of Switzerland) is used to project an imaginary heritage and Swissness. She has two children that have many vivid memories of their fieldwork trips in northeast Switzerland.
0705131842 (1)Kristen Edwards is a second-year doctoral candidate in the Historical Musicology program at Boston University. She holds a M.M. in Musicology from the University of Massachusetts , Amherst and a B.A. in Music History from the University of New Hampshire. Her interests include research in music of the fin-de-siècle, late style theory, and late German Romanticism. When not in the library, Kristen enjoys reading for pleasure, knitting, and playing the oboe.
pamela_12Pamela Feo is a PhD student in Historical Musicology, with a B.A. and M.A. from Tufts University. Before commencing doctoral studies at BU she worked in Outreach and Publications for the Boston Philharmonic Orchestra, and completed a Publications Fellowship at Tanglewood. Her research interests include music of the early twentieth century, the intersection of music and literature, and sound studies, with a particular focus on listening practices. She also freelances as a program note annotator.
John Forrestal is a first-year M.M. student in Musicology. He completed his undergraduate work at the Berklee College of Music, from which he graduated magna cum laude with 2 baccalaureate degrees in Composition and Contemporary Writing & Production. He is an accomplished multi-instrumentalist, with experience performing the guitar, piano, drumset, and several non-Western instruments, such as the koto and the instruments of the gamelan gong kebyar ensemble. He performs in MIT’s world-renowned “Gamelan Galak-Tika”, and performed with the Harvard University “Viewpoint Composers’ Gamelan”. His (ethno-)musicological interests are in the relationships between music with religion, ritual, and transformative performance space (sacred and secular). He is currently researching the music of Arvo Pärt; the relationships between music, ritual, and dance in muay thai (Thai boxing); and the trajectory of musical traditions associated with, as well as the role of music in ritual, in the Process Church of Final Judgment (a 1960′s psychoanalysis cult). John currently resides in East Boston, and is a teacher at Chelsea Community Schools, an active Muay Thai boxer, and works with the German Shepherd Rescue of New England.
Dr. Brad Fugate, falsettist and baritone, hails from Dorchester, MA. Raised in the mountains of NC, Brad began his academic musical studies at Furman University in Greenville, SC, (BM in Music Education) and continued his education by obtaining a Masters in Conducting at Cincinnati College-Conservatory of Music. He then made the decision to study voice full-time. After graduate work at Florida State in the Voice Performance department, Brad moved to Greensboro, NC, in 2002, in order to work toward a Doctorate in Vocal Performance at the University of North Carolina at Greensboro. He studied voice with Dr. Carla LeFevre and graduated in 2006. Currently, he teaches voice at Brown University and is working toward a PhD with a double concentration in Historical Musicology and Ethnomusicology. Brad’s research focuses mainly on gender, sexuality, and cultural constructs of the singing voice, most particularly in regards to the falsettist.
karl-haasKarl Haas is a PhD candidate in Ethnomusicology and a Foreign Language and Area Studies Fellow in the African Studies Center working on traditional music and masculinity in urban West Africa. Since 2006, Karl has been researching music and oral history with Dagbamba warriors in Tamale, Ghana. His dissertation project examines the linkages between local ideals of manhood and the spatial, temporal, and material aspects of traditional culture, focusing on the intersections of the geo-political fragmentation of pre- and post-independence Ghana, evolving gender roles, and anxieties over “culture loss” in Ghana’s historically marginalized North.
ShaoyingShao Ying Ho is a native of Kuala Lumpur, Malaysia. She holds MM degree in Music History and Literature from Texas State University-San Marcos. Her research interests include Johannes Brahms, musical historicism, and the impact of philosophy and literary criticism on musicology. She loves piano playing as well, and is an active accompanist and chamber musician.
Howe_photo 1Emily Howe is a doctoral student in Ethnomusicology. Her passion for community music-making has taken her into schools, prisons, and places of worship in Boston and around the world. A graduate of BU’s choral conducting program, Emily is the Music Director of the university’s non-auditioned Choral Society, and she conducts several ensembles of the award-winning Boston Children’s Chorus, which strives to inspire social change through music. Since 2012, Emily has co-developed and co-taught an interactive music course called “Empowering Song” in two Massachusetts prisons. This work has led to ethnomusicological interests in music and incarceration, music and well-being, and music pedagogy in non-traditional settings. Other research interests include global children’s music and world choral music cultures.
photo (1)Jeannette DiBernardo Jones is a doctoral candidate in historical musicology with a B.A. in history and music and a M.Mus. in musicology. Her dissertation focuses on the environment of polyphony in mid-fifteenth century French-speaking Europe. She also has research interests in disability studies (especially Deaf culture) and sustainability studies. Her essay, “Imagined Hearing: Music-Making in Deaf Culture,” appears in the Oxford Handbook of Music and Disability Studies (2014). Her essay, “A Theological Interpretation of Viriditas in Hildegard of Bingen and Gregory the Great,” can be found here. She has presented papers at the annual meetings of the American Musicological Society, the Society for Disability Studies, the Society for American Music, the International Medieval Congress at Kalamazoo, and the Medieval and Renaissance Music conference. She lives in the country outside of Boston and enjoys tromps in the woods with her husband and two young sons.
David Kjar, natural trumpet player and scholar, is the artistic co-director of the Boston-based ensemble Cambridge Concentus, which recently toured to Japan with Joshua Rifkin as director. As a natural trumpeter, David has performed and recorded with early-music ensembles throughout Europe and North and South America while working with specialists such as Joshua Rifkin, Sigiswald Kuijken, Rene Jacobs, Reinhard Goebel, and Richard Egarr. David is the natural trumpet professor in Juiz de Fora at Festival Pro-Musica and has taught and presented at the Semana Musica Antiga held at the Universidade Federal de Minas Gerais in Belo Horizonte. He holds a bachelor’s degree from the University of Northern Iowa and a Masters in Historical Performance from the Royal Conservatory of the Hague (The Netherlands). David is currently pursuing a PhD in Musicology at Boston University, where he designed and currently teaches a course on musicology and performance. His research focuses on 18th-century performance practice and notions of performance in the 20th Century, with special attention given to Wanda Landowska and her influence on the performance style of the early music movement. His article “The Plague, a Metal Monster, and the Wonder of Wanda: In Pursuit of the Performance Style” will appear in the forthcoming issue of the journal Per Musi.
Jason McCoolJason McCool comes from a long line of Irishmen who have been asked “is that your real last name?” Having returned to his birth city after teaching, acting, and lecturing hipsters about Mahler in DC, Jason is a second-year PhD candidate in Historical Musicology researching Irish song, sound studies and modern jazz. He holds a performance degree from the Eastman School of Music (jazz trumpet) and a Master’s in Musicology from the University of Maryland (thesis on Keith Jarrett), has toured with the Tommy Dorsey Orchestra, and has worked as a pre-concert lecturer for the Baltimore Symphony. He is Artistic Director of Solas Nua in Boston, a theatre company focused on contemporary Irish drama, and is a member of Actors’ Equity.
Nate MeneerNathanael Meneer is a proud American who was born and raised in Canada. He avoided studying music for as long as possible in hopes that he would develop a passion for some lucrative profession in business, law, or medicine. After failing to achieve the latter, he opted to follow his heart and obtained a Bachelor of Music degree from Carleton University in 2008. At Boston University, his research is focused on the classical, folk, popular, and native musics of the United States. His specific interests include the music of Horatio Parker, Native American peyote songs, and psychedelic music from the late 1960s. Nate is currently a PhD student in Historical Musicology.
Julia O’Toole is a long-time Bostonian. She is the founder and artistic director of Calliope, a collaborative choral/orchestral ensemble in Boston. She began her musical career with a degree in vocal performance from BU, and later found her true niche as a conductor and musicologist. She also teaches voice at several Boston-area institutions. As a PhD candidate in Historical Musicology, she has particular interest in the relationship between voices and instruments in choral/orchestral works, most specifically Mozart’s Le Nozze di Figaro, Dvořák’s opera Šelma Sedlák, and Menotti’s tragic operas.