Current Students

Alexandre Abdoulaev is a PhD candidate in the Historical Musicology program, with a research concentration in French music during the World War I period and partnered jazz dance in Harlem, New York during the interbellum period. Alex works in the performing arts as a music director, researcher, and pianist, specializing in classical performance, musical theatre and cabaret, and jazz studies. Previously, he held faculty postings at such institutions as the Holton-Arms School, Walnut Hill School for the Arts, and Washington National Opera. 

As a performer, Alexandre specializes in post-Third Republic French music, and has performed extensively as a soloist and chamber musician in the Boston and Washington, DC areas. Alexandre was recently heard at the Lily Pad (Cambridge, MA), the Corcoran Museum (Washington, DC), the Taylor House, the Church of St. John the Evangelist, and the Hampshire House (Boston, MA), as well as a number of other high-profile venues. Currently, Alexandre is the artistic director of “Ghosts of Weimar,” a cabaret jazz ensemble specializing in performances of works of William Bolcom, Tom Lehrer, and George and Ira Gershwin.


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Gabriel Alfieri
is a doctoral candidate in historical musicology, as well as a performer and teacher. He holds Master of Music degrees with academic honors in Musicology and Vocal Pedagogy from the New England Conservatory, and a Bachelor of Music degree summa cum laude in Vocal Performance from Rhode Island College.  He has taught courses, both graduate and undergraduate, on 19th-century Italian opera, the analysis of musical style, English music in the age of Shakespeare, and music appreciation; in 2014, he’ll teach a new course at New England Conservatory on the history of the American musical theatre.  He has presented conference papers to the Society for American Music, the Renaissance Society of America, and the North American British Music Studies Association.  In addition to his work as a musicologist, Gabe pays the bills singing and teaching singing.
 

Chelsey Belt

Chelsey Belt is a first-year Historical Musicology MM student from Woodstock, IL. She graduated from Illinois Wesleyan University with a Bachelor of Music Education, magna cum laude, with a research honors thesis on 20th century trends in the rhythmic interpretation of the Cantigas de Santa Maria. In addition to Iberian monophony, her research interests include transitional Venetian and Ferrarese repertoires, the transfer of dance music performance practice between the British Isles and America, and early bowed strings. Chelsey enjoys playing Renaissance violin, medieval strings, and Irish and old-time fiddle.

 

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 music and conflict on both ends of the spectrum, from war to peace. Specifically, she is interested in examining the topic of music torture – how music is used as a weapon and its socio-political, neuroscientific, physiological and psychological meanings and effects. She also studies Cape Breton music and its diaspora, 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 thrice 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 violin, both classical and Cape Breton fiddle and piano and speak French, Spanish and German – and will be adding more instruments and languages (particularly Gaelic and Arabic) to her repertoire! 

 

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. 

 

 

Daniel John Carroll is a graduate student and teaching assistant at Boston University, pursuing an MA in Historical Musicology. He has presented scholarly papers at academic conferences on philosophy and music (including the College Music Society and American Musicological Society) throughout the United States and Canada. His academic work has been published in The New Grove Dictionary of American Music and several conference proceedings. Non-academic writings include articles for Pulse; the arts, entertainment, and culture section of the Moscow-Pullman Daily News in Moscow, Idaho. 

 

 

sarah-claytonSarah Clayton is a second year MM student in Historical Musicology. She was born in Chicago, IL, but spent most of her childhood in Sioux Falls, SD. She has played the piano for 18 years, and has also studied voice, trumpet, and tuba. Sarah holds a BM in Music Theory from the University of Missouri – Kansas City’s Conservatory of Music and Dance (2011). 

 

 

 

 

 

Robert Crowe, a male soprano/countertenor, has returned to Boston University after a nearly-twenty year opera and concert career, mostly in western Europe. After becoming the first male soprano (and second countertenor–the first term is subsumed within the second) to become a national winner of the Metropolitan Opera Competition, he moved to Germany. He has sung approximately 65 roles from the operatic and dramatic oratorio repertoire, concentrating mostly, though certainly not exclusively, on the late Baroque. High points have been engagements at all three Handel festivals in Germany in leading and/or title roles, as well as major roles at the Staatsoper unter den Linden, Spoleto Festival, Teatro Massimo, Utrecht Oude Muziek Festival, Concertgebouw Amsterdam, Warsaw Mozart Festival and the Bayersiche Staatsoper. In more recent years, Robert’s interest in historical musicology has grown, leading him to research, edit, perform and co-produce two solo CDs of the sacred motets of Carissimi, Grandi and Monteverdi, with the Bayerischer Rundfunk. He hopes, in addition to singing as much as he possibly can, to become a proper musicologist and historically-oriented voice teacher. 

 

Andrea Douglass is in her fourth year as a doctoral student in Ethnomusicology at Boston University. She is originally from the Boston area and graduated from Northeastern University in 2001 (BA in Music Literature and Performance, BA in Chemistry) and from the California Institute of the Arts in 2004 (MFA in Flute and Violin Performance). Andrea’s research interests include Appenzeller Streichmusik from Switzerland and Brazilian choro. Andrea currently teaches violin and viola at the Waldorf School in Lexington. 

 

 

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Kristen Edwards is a first-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.

Andres-headshotAndres Espinoza has been playing percussion since he was 8 years old. A native of Chile, he studied Afro-Cuban percussion at the Instituto Superior de Arte in Havana, Cuba, and graduated summa cum laude from Berklee College of Music, receiving a BM in Jazz Composition. He holds an MM from the University of York (England) and is currently a doctoral student in Ethnomusicology. His research interests include the application of ethnomusicology to jazz performance and composition, Afro-Latino diaspora music, and salsa music in Latino identity. He is also the composer, musical director, and percussionist of the Andres Espinoza World Jazz Ensemble, the Andres Espinoza Octet, and the Latin fusion sextet Los Songos Jalapenos. Andres has performed and taught in many countries around the world, including Argentina, Bolivia, Brazil, Canada, Chile, Cuba, England, Italy, Mexico, Peru, and the United States, and is currently an adjunct faculty member at the University of Maine-Augusta. 

 

Pamela Feo

Pamela Feo is a PhD student in Historical Musicology. After receiving her Master’s in Musicology from Tufts University, she worked for several years in arts administration at the Boston Philharmonic Orchestra, focusing mainly on Outreach and Publications. Her academic interests include French art song, music and nationalism, and the relationship between music and words. Pamela 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. 

 

Maria Georgakarakou is a PhD candidate in Historical Musicology. A native of Athens, Greece, she received her BA in Greek Literature and Linguistics from the University of Athens in 1991. In 1997, she came to the United States as a Fulbright Scholar, and received an MM in Early Music Vocal Performance from the Longy School of Music in 2001. 

 

karl-haasKarl Haas is a third year PhD student in Ethnomusicology and a Foreign Language and Area Studies Fellow in the African Studies Center. This January through September he will be conducting dissertation fieldwork in Ghana as a Fulbright-Hays DDRA fellow. His dissertation research will examine music, development, and youth organizations in Ghana’s historically marginalized North by focusing on local discourses of development, the geo-political fragmentation of pre- and post-colonial Ghana, and the spatial and material aspects of traditional performance. He is also interested in African music history, oral history, and cultural production in West African stranger communities. His master’s thesis examined the warrior drumming tradition of the Dagomba people in Ghana, and he has conducted research and presented on the Cambridge-based jazz collective Club d’Elf.

Karl leads the African Music and Dance Ensemble at Boston University and has taught at Champlain College, Johnson State College, and the Community College of Vermont. He has presented research at conferences for the New England Chapter of the Society for Ethnomusicology and the International Association for the Study of Popular Music, and has published articles in Percussive Notes and the Pacific Review of Ethnomusicology. As a performing musician, he has performed on three continents, playing styles ranging from jazz to pop to world music, in venues as diverse as concert halls, dive bars, and traditional African funerals.
 

Shaoying

Shao 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.

 

Genithia HoggesGenithia Hogges is a native of Miami, Florida. She attended public schools in Miami, eventually graduating from the New World School of the Arts High School with a major in vocal music. This experience instilled in her the belief that music education is a necessity for all students, and was an important influence in her becoming a teacher. 

She holds a BA in both Spanish and English Literature (2001/2002) from Harvard University and a Master of Education (in Arts in Education) degree from Harvard’s Graduate School of Education (2002). In college, Genithia mixed opera and choral singing with explorations of the connections between music and literature as means of cultural expression. She has taught Music and English, conducted school and church choirs, and performed as a soloist with community choruses in the area. For the past few years, she has focused on designing educational programs – most recently the Roland Hayes Project. This project brings musical, historical, and cultural education to under-served students and communities, and includes in-school workshops and public recitals. Genithia is a second year MA student in Historical Musicology.


Jeannette JonesJeannette Jones has lived in many places, including the Midwest and the South, but most recently Philadelphia, PA. She holds a BA in History and in Music (2001) from Covenant College in Lookout Mountan, Georgia, and an MM in Musicology (2007) from Louisiana State University. Her research interests include theology in the chants and writings of Hildegard von Bingen, patronage in late-medieval Francophone courts, and manuscript studies. She also works in disability studies in music, particularly music in Deaf culture. She has two little boys that follow her along many artful and outdoor adventures. Jeannette is a second year PhD student in Historical Musicology. 


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 McCool

Jason McCool comes from a lengthy patrilineage who have been asked “is your last name real?” Returning to his birth city with his terrier Fenway after teaching and acting in DC, Jason is a PhD candidate in Musicology. Alongside degrees from Eastman (jazz trumpet) and U-Maryland (thesis on Keith Jarrett), touring with the Tommy Dorsey Orchestra and lecturing for the Baltimore Symphony, he loves to lecture hipsters irreverently about Mahler.

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. 

 

 

Anne Parlato is entering her second year of the MM program in Historical Musicology. Her research interests include digitization and music and theories of oral transmission in Western plainchant. She has a B.A. in music from Washington and Lee University. 

 

 

 

 

Ulrike PrägerUlrike Präger, a native of Munich, Germany, holds a diploma in voice from the Universität Mozarteum Salzburg (Austria) and a Masters in Music and Dance Education form the Mozarteum’s Carl Orff Institute. She was a faculty member of the University of Münster (Germany) and is currently a Teaching Fellow at Boston University, teaching the course “Music and Culture.” She gives frequent workshops on music and movement. Ulrike’s research interests include 17th- and 18th-century vocal pedagogy, and music and displacement in Eastern Europe. Her research on music and expulsion was presented at the International Doctoral Workshop “Ethonmusicological Research Today” in Hanover, Germany, and was awarded the James Koetting prize for the best graduate student paper presented at the Annual Meeting of the Northeast Chapter of the Society for Ethnomusicology. 

Ulrike is currently a PhD candidate in Ethnomusicology at Boston University. In the coming months, she will present papers at the European University Institute’s conference “Music and Imagined Communities” in Florence, Italy, and at the conference “German-Czech Musical Relations between the two World Wars” in Prague, Czech Republic. She is also an active performer and appears as a soprano soloist and chorister with ensembles throughout Europe and the United States, including Cappella Amsterdam, Nederlandse Bachvereniging, and Cambridge Concentus.

 

 

 

singer_pic2Daniel Singer is entering his second year of the MA program in Ethnomusicology. His research interests include the music of China, particularly in the relationship between the music of the Uyghur minority and the Han majority, transnational movement, and the role of conversational narrative in shaping musical experience. Dan is an avid student of pipa, the Chinese lute, and clawhammer-style banjo. Dan holds a BA in Anthropology from James Madison University in Harrisonburg, Virginia, graduating magna cum laude with minors in Music and Asian Studies.

 

Kate Stringer, the descendant of a long line of military nomads, hails from nowhere in particular but has grown up in various locations in Europe and across the United States. She completed her undergraduate degrees at Oklahoma City University in ’08 and ’09, and is currently pursuing an MM in Historical Musicology at BU. Her primary field of study centers on the relationships between music and socio-political movements in pre-World War II Germany, however her research interests extend to opera and music theatre, Russo-Slavic music of the 19th- and 20th- centuries, and bizarrely enough, music of the Middle Ages. When not hunting Nazis from the comfort of her desk chair or attempting to pick up yet another foreign language, the inveterate stage performer-director can be found singing jazz, music theatre and cabaret tunes for fun and/or profit, speaking speeches trippingly on the tongue, or pronouncing speeches to the actors who will be speaking them. 

 

Elizabeth Williamson is pursuing an MM in Historical Musicology at Boston University. She holds a BM in Vocal Performance from the University of Mississippi, where she was a Sally McDonnell Barksdale Honors Scholar; her interest in musicology was inspired by the research conducted for her undergraduate honors thesis. While engaged with her thesis, she spent a year and a half studying the vocal works of Kurt Weill, learning from Weill scholars in both Germany and France, and presented her research a lecture-recital format mixing her passions for performance and historical research. She has also spent several years studying German, and has an active interest in Russian language and music. As a vocalist, Elizabeth’s interests are concentrated in art song and folk song, but she can be found performing anything from opera to musical theatre to jazz. 

 

 

 

Corwyn WyattCorwyn Wyatt is a second year MM student in Historical Musicology. A native of Fort Thomas, Kentucky, he attended Center College (Danville, KY), receiving a BA in Music and Religion, and also studied at Queen’s University Belfast (UK). His diverse artistic background includes musicology, composition, period winds, and traditional Irish music. He plays the simple system Irish flute, Irish whistles, recorders, and Boehm flute; as a composer, he typically writes for solo flute and small ensembles.