Kate Galloway 274 Court St. Apt. 104, Middletown, CT 06457 Mobile: (959) 888-2803; E-Mail: [email protected] Wesleyan University, Department of Music Website: https://wesleyan.academia.edu/KateGalloway

EMPLOYMENT

Visiting Assistant Professor 2016-2019 Wesleyan University, Department of Music, Middletown, CT

Postdoctoral Research Fellow and Adjunct Assistant Professor 2012-2016 Memorial University of Newfoundland, St. John’s, NL School of Music and the Research Centre for the Study of Music, Media and Place (MMaP) Funded by the Social Sciences and Humanities Research Council of Canada (SSHRC) Postdoctoral Fellowship and Insight Development Grant, 2012 SSHRC Postdoctoral Prize awarded to the most outstanding SSHRC Postdoctoral award recipient

Sessional Assistant Professor University of Western Ontario, Faculty of Music, London, ON 2012

Sessional Assistant Professor University of Guelph, School of Fine Art & Music, Guelph, ON 2010-2012

Sessional Assistant Professor Wilfrid Laurier University, Faculty of Music, Waterloo, ON 2011

Graduate Teaching Assistant and Instructor of Record University of Toronto, Faculty of Music and University of Toronto Scarborough Campus, Department of Visual and Performing Arts & Department of the Humanities, Toronto, ON 2003-2010

EDUCATION

Doctor of Philosophy, Musicology/Ethnomusicology University of Toronto, Faculty of Music, Toronto, ON 2010 “Sounding Nature, Sounding Place”: Alternative Performance Spaces, Participatory Experience, and Ritual Performance in R. Murray Schafer’s Patria Cycle”

Master of Arts, Musicology/Ethnomusicology University of Toronto, Faculty of Music, Toronto, ON 2005

Bachelor of Music Queen’s University, School of Music, Kingston, ON 2003

GRADUATE CERTIFICATE Digital Humanities Graduate Certificate Department of English, University of Victoria, Victoria, BC & Digital Humanities Summer Institute 2016

COLLEGE FELLOWSHIP Junior Fellow Massey College in the University of Toronto, Toronto, ON 2005-2010

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AWARDS AND GRANTS

Mellon Seminar on Race and Pedagogy, Wesleyan University ($1500 USD) 2018 College of the Environment Research Grant, Bird Song Heroes and WhaleSynths: Listening to Nonhuman Musicality and Aural Culture with Mobile Media, Wesleyan University ($7000) 2018 Allbritton Center for the Study of Public Life Collaborative Research Network Seed Grant, Wesleyan Sound Studies Network, Wesleyan University ($1500) 2018 AMS Keitel-Palisca/MPD Travel Grant ($350 USD) 2018 Faculty-Student Intern GISOS Research Award, Wesleyan University ($4,040 USD) 2018 Allbritton Center Service Learning Initiative Grant, Wesleyan University ($4,000 USD) 2018 Faculty Fellow in Universal Design Learning (CPI), Wesleyan University ($1,000 USD) 2018 Faculty Fellow in the Sustainability Across the Curriculum Initiative, Wesleyan University ($500 USD) 2018 Davis Foundation Grant, Project-Based Learning Initiative, Wesleyan University ($2,000 USD) 2017 Christian A. Johnson Endeavor Foundation Writing Pedagogy Seminar, Wesleyan University ($750 USD) 2017 AMS Keitel-Palisca/MPD Travel Grant ($450 USD) 2017 AMS Keitel-Palisca/MPD Travel Grant ($425 USD) 2016 Cambridge University Press Award, Society for American Music ($500/books) 2016 • Awarded for the paper “Soundscaping the Radio: Experimental Soundwork and Hildegard Westerkamp’s Community Soundwalking on Vancouver Co-op Radio” Digital Humanities Training Scholarship, University of Victoria ($1,200 CAD) 2016 AMS Keitel-Palisca/MPD Travel Grant ($680 USD) 2015 Memorial University Professional Development Fund ($1,000 CAD) 2015 Judith Tick Fellowship, Society for American Music ($1,000 USD) 2015 • Project Title: “Soundscaping the Radio: Hildegard Westerkamp's Community Engagement on Vancouver’s Co-op Radio” SSHRC Insight Development Grant 2014-2017 Awarded by the Social Sciences and Research Council of Canada ($74,910 CAD) • Project Title: “Sounding Environments: Ecomusicological Thought and Practice in Experimental Music” • Received score of 15.88/18, 196 awards granted across the Humanities and Social Sciences with 762 applications in the Emerging Scholars category, 285 awards granted from 1128 applications combining the Emerging and Established Scholars categories Digital Humanities Training Scholarship, University of Victoria ($1,200 CAD) 2015 Adrienne Fried Block Fellowship, Society for American Music ($1,500 USD) 2014 • Project Title: “Cityscapes to Landscapes: Collaborations and Collisions between Natural and Built Environments in Hildegard Westerkamp’s Soundscape Compositions” Digital Humanities Training Scholarship, University of Victoria ($950 CAD) 2014 Cambridge University Press Award, Society for American Music ($500/books) 2013 • Awarded for the paper “Sounding and Composing the Harbour: Recontextualizing and Repurposing the Soundscape and Sense of Place in the Harbour Symphony” SSHRC Postdoctoral Prize 2012 Awarded by the Social Sciences and Research Council of Canada ($10,000 CAD) • Awarded each year to the most outstanding SSHRC Postdoctoral award recipient SSHRC Postdoctoral Research Fellowship, Social Sciences and Humanities Research Council of Canada 2012-2014 Memorial University of Newfoundland, St. John’s, NL School of Music and the Research Centre for the Study of Music, Media and Place ($83,000 CAD) • Supervised by Dr. Beverley Diamond and Dr. Ellen Waterman • Received top percentile score of 29/30, 145 awards granted across the Humanities and Social Sciences with 986 applications SSHRC Doctoral Fellowship, Social Sciences and Humanities Research Council of Canada ($40,000 CAD) 2007-2009 Ontario Graduate Student (OGS) Scholarship 2007 • Declined for SSHRC ($10,000 CAD) University of Toronto Doctoral Fellowship ($20,000 CAD) 2006 Frederic Hudd Travel Fellowship, University of Toronto ($6,000 CAD) 2005-2010 University of Toronto Travel Fellowship, University of Toronto ($4,000 CAD) 2005-2010 Ontario Graduate Student (OGS) Scholarship ($20,000 CAD) 2005-2006 Gordon Cressy Student Leadership Award, University of Toronto 2005 Finalist, George Proctor Student Paper Prize, Canadian University Music Society 2005

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• For the paper “Revitalizing Ritual: The Role of Ritual Performance in R. Murray Schafer’s Patria Cycle” Lau Scholarship for Graduate Studies, University of Toronto ($1,500 CAD) 2004-2005 Ontario Graduate Student (OGS) Scholarship ($10,000 CAD) 2004-2005 Graduated Dean’s Honors List, First Class Honors, Queen’s University 2003

PUBLICATIONS

Monographs Remix, Reuse, Recycle: Music, Media Technology, and Remediating the Environment • Under Contract with Oxford University Press (Music/Media Series). Manuscript delivery January 2020

Indigenous Soundings and Decolonizing Sound Art • Proposal in development for submission Summer/Fall 2020

Bird Song Heroes and WhaleSynths: Listening to Nonhuman Musicality and Aural Culture with Mobile Media • Proposal in development for submission Summer/Fall 2020

Peer-Reviewed Articles Published “Listening to and Composing with the Soundscapes of Climate Change.” Special Issue: Climate Realism: The Aesthetics of Weather, Climate, and Atmosphere, edited by Jeff Diamanti, Lynn Badia, and Marija Cetinić. Resilience: A Journal of the Environmental Humanities 7, no. 1 (Winter 2019). [In Production].

“Curating the Aural Cultures of the Battery: Soundwalking, Auditory Tourism, and Interactive Locative Media Sound Art.” Tourist Studies 18, no. 4 (2018): 442–466. https://doi.org/10.1177/1468797617723764

“Making and Learning with Environmental Sound: Maker Culture, Ecomusicology, and the Digital Humanities in Music History Pedagogy.” Special Issue: Teaching Ecomusicology: Listening to Nature, Listening to Difference, edited by Rachel Mundy. Journal of Music History Pedagogy 8, no. 1 (2017): 45–71. http://www.ams- net.org/ojs/index.php/jmhp/article/view/216

“Materiality and Aural Memory in the Harbour Symphony (St. John’s, Newfoundland).” Sound Studies: An Interdisciplinary Journal 1, no. 1 (2015): 119–144. http://dx.doi.org/10.1080/20551940.2015.1079079

“Ecotopian Spaces: Soundscapes of Environmental Advocacy and Awareness.” Social Alternatives 33, no. 3 (2014): 71– 78.

“Roughing it in the Woods: Community Experience and the Cultural Practice of Patria.” MUSICultures 39, no. 2 (2012): 30–60.

“Pathways and Pilgrimages: The In-Between Spaces in the Patria Cycle.” Intersections: Canadian Journal of Music 28, no. 1 (2007): 134–145.

Forthcoming “The Ecology and Spirituality of Environmental Music.” Guest Editor Introduction. Special Issue: Music, Sound, and the Aurality of the Environment in the Anthropocene: Spiritual and Religious Perspectives, edited by Kate Galloway. YJMR: Yale Journal of Music and Religion (Forthcoming 2019).

“The Aurality of Pipeline Politics and Listening for Nacreous Clouds: Voicing Traditional Ecological Knowledge in Tanya Tagaq’s Animism and Retribution.” Special Issue: Popular Music and the Anthropocene, edited by Paul Harkins and François Ribac. Popular Music 37, no. 2 (Forthcoming 2020).

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In Review “Participatory Performance and the Ecology of Site-Specific Opera in R. Murray Schafer’s Patria 9: The Enchanted Forest.” [Under Review with Ethnomusicology].

“Soundscape and Spatiality in R. Murray Schafer’s The Princess of the Stars” [Revisions Submitted, Journal of the Society for American Music].

“Playing (with) the Sonic Environment: Digital Storytelling with Game Audio, Indigenous Modernity, and the Spatiality of Never Alone” [Under Review with Music and the Moving Image].

In Preparation “The Matter, Bodies, and Things of Site-Specific Environmental Performance.” Special Issue: Musical Nonhumans, edited by Kyle Devine and Patrick Valiquet. Musical Quarterly (Forthcoming 2020)

“‘What’s in my Keds box’: Musicking and Circulating the Materiality and Aurality of Taylor Swift’s Web 2.0 Fandom.” Special Issue: Listeners 2.0: Musical Streams, Authors, and Remixes, edited by Kate Galloway, Kariann Goldschmitt, and Paula Harper. American Music (Forthcoming 2020)

“Listening Back to our Places: Ethnographic Field Recording as Citizen Science” [aimed at Sound Studies]

“Pat the Bunny! Polar Bear, Polar Bear What Do You Hear?: Kinesthetic Listening to the Nonhuman and the Aurality of Children’s Sound Books”

“‘Sound doesn’t always have to be heard’: Sonic Blackness, Soundsuits, and the Aurality of Nick Cave’s The Let Go”

Pedagogy Articles in Preparation “Sensory Knowledge, Kinesthetic Learning, and the Materiality of Music History Pedagogy” [To be submitted to Journal of Music History Pedagogy]

Co-Authored with Katrice Kemble and Douglas Kiman, “Middletown Soundwalks and Community Engagement in the World Music Classroom”

Peer-Reviewed Book Chapters Published “Remixing the Environment: Climate Change, Rhythm Science, and DJ Spooky’s Digging in the Landscapes.” In The Oxford Handbook of Hip Hop Studies, edited by Justin Burton and Jason Lee Oakes. Oxford: Oxford University Press, 2018.

“Experimental and Improvised Norths: The Sonic Geographies of Tanya Tagaq’s Collaborations with Derek Charke and the Kronos Quartet.” In Playing for Keeps: Improvisation in the Aftermath of Crisis, edited by Daniel Fischlin and Eric Porter. Durham: Duke University Press. [In Production, Forthcoming 2019].

“Beyond the Ghetto: k-os’ Interweaving and Re-plantation of Traditional and Non-Traditional Hip-Hop Signifiers.” In Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present, edited by Anna Hoefnagles and Gordon E. Smith, 163–170. Newcastle upon Tyne: Cambridge Scholars Press, 2008.

Forthcoming “‘Everything is Not Awesome’: Playful Adaptation and the Aurality of Ecoconscious Media in Greenpeace’s ‘Save the Arctic’ Advertisement Campaign.” In The Oxford Handbook of Music and Advertising, edited by James Deaville, Ron Rodman, and Siu-Lan Tan. Oxford: Oxford University Press [Under Contract, Forthcoming 2019].

“Soundwalking and the Aurality of Stardew Valley: An Ethnography of Listening to and Interacting with Environmental Game Audio.” In Music in the Role-Playing Game: Heroes and Harmonies, edited by William Gibbons and Steven Reale. Routledge Music and Screen Media Series. New York: Routledge [Under Contract, Forthcoming 2020].

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“Nuclear Audiovisuality: The Sonic Tactics in Documentary Film of Nuclear Activity by the National Film Board (NFB).” In Nuclear Music: Sonic Responses to War, Disaster, and Power, edited by Noriko Manabe and Jessica Schwartz. Oxford: Oxford University Press [Under Contract, Forthcoming 2020].

Chapters in Preparation “The Idea of Melting North: Performing Feminist Traditional Ecological Knowledge, Tanya Tagaq, and Reorienting the North.” In Matter of North: On Glenn Gould’s Idea of North, edited by Anthony Cushing and Brent Wetters. [In Consideration with Indiana University Press, Forthcoming 2020].

“Listening with Care to Nonhuman Musicality and Musicking Multinaturalism.” In Sound Pedagogy: Radical Care and Social Justice for Students in Music, edited by John Spilker, Colleen Renihan, and Trudi Wright. [In Consideration with University of Michigan Press, Music and Social Justice Series, Forthcoming 2020].

“Live Long and Prosper, From Spock with Love: Fan Audio, Participatory Interactive Media, and Circulating the Materiality of Star Trek Fan Culture.” In Future Im/Perfect: Sonic Renderings of Utopia and Dystopia in Star Trek, edited by Jessica Getman, Brooke McCorkle and Evan Ware. Routledge Music and Screen Media Series. New York: Routledge [Under Contract, Forthcoming 2020].

“Listening to and Sounding Discard: Music and the Soundscapes of the Energy Industries.” In The Oxford Handbook of Ecomusicology, edited by Sabine Feisst. Oxford: Oxford University Press, [TBD].

Review Essay “A Digital Humanities Toolkit for American Music Studies.” Journal of the Society for American Music. Invited Review Essay. [4,500 words] [Forthcoming 2019].

Media Reviews Sound Studies Special Interest Group First Annual Sounding Board Digital Sonic Media Exhibit. Ethnomusicology 60, no. 3 (2016): 540–543. Invited Review.

Novak, David “Osaka Inside Out” Recorded and mixed by David Novak, Podcast, annotated by David Novak, 2013. http://www.sensorystudies.org/sound-gallery/osaka-inside-out-recording-the-keynote-sounds-of-the-city/ and “The Sounds of Japan’s Antinuclear Movement” Recorded and annotated by David Novak, 2013. http://post.at.moma.org/content_items/251-the-performance-of-protest-the-sounds-of-japan-s-anti-nuclear- movement-in-fukushima-tokyo-and-osaka. Yearbook for Traditional Music (2015): 217–218. Invited Review.

Invited Encyclopedia Entries “Acoustic Ecology” and “Soundscapes” The SAGE Encyclopedia of Music and Culture (2018).

“R. Murray Schafer” B.R.A.H.M.S. IRCAM Database (2015).

Book Reviews Pettman, Dominic. Sonic Intimacy: Voices, Species, Technics. Stanford: Stanford University Press, 2017. Society & Animals. Invited Review (Forthcoming Winter 2019).

Schippers, Huib and Catherine Grant. Ed. Sustainable Futures for Music Cultures: An Ecological Perspective. Oxford: Oxford University Press, 2016 and Allen, Aaron S. and Kevin Dawe. Ed. Current Directions in Ecomusicology: Music, Culture, Nature. New York: Routledge, 2016. MUSICultures. 44, no. 2 (2017): 136–141.

Von Glahn, Denise. Music and the Skillful Listener: American Women Compose the Natural World. Bloomington: Indiana University Press, 2013. ISLE: Interdisciplinary Studies in Literature and Environment. 21, no. 1 (2014): 223–225. Invited Review.

Augoyard, Jean-Francois and Henry Torgue. sonic experience: A Guide to Everyday Sounds. Montreal and Kingston: McGill- Queen’s University Press, 2005. University of Toronto Quarterly 76, no. 1 (2007): 316–317. Invited Review.

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Inglis, Ian. Performance and Popular Music: History, Place and Time. Aldershot: Ashgate Publishing Ltd., 2006. Twentieth Century Music 3, no. 1 (2007): 165–167. Invited Review.

Bennett, Andy, Barry Shank and Jason Toynbee. eds. The Popular Music Studies Reader. New York: Routledge, 2006. Journal of Popular Music Studies 19, no. 1 (2007): 124–126. Invited Review.

Clark, Caryl, ed. The Cambridge Companion to Haydn. Cambridge: Cambridge University Press, 2005. Intersections: Canadian Journal of Music. 27, no. 1 (2006): 100–103. Invited Review.

Conference Proceedings “The Impact of Compilation and Record Collection on Characterization and Identification in High Fidelity” Proceedings of the International Association for the Study of Popular Music (IASPM), Making Music, Making Meaning, Rome, Italy, 25–30 July 2005. Published Online Summer 2009.

CONFERENCE PRESENTATIONS “Ethnographic Sound Mapping: Ways of Listening to and Archiving Communities of Sound,” Organized Panel: Repairing Archives, National Council on Public History, Hartford, CT, 27–30 March 2019.

“Listening Back to our Places: Ethnographic Field Recording and Archiving Localized Sonic Identities as Citizen Science,” Society for American Music, New Orleans, LA, 20–24 March 2019.

“Decolonizing Game Audio and Approaching Sound in Digital Storytelling,” Contested Frequencies: Sonic Representation in the Digital Age, University of Richmond, Richmond, VA, 22–24 February 2019.

“Stop to Smell the Pixels: A Digital Field Guide to Nonhuman Musicality in Proteus,” Society for Ethnomusicology, Albuquerque, NM, 15–18 November 2018.

“Remixing, Replaying, and Mapping the Upper East Side: Spatial Listening through Mobile Media in John Luther Adams’ Soundwalk 9:09,” American Musicological Society, San Antonio, TX, 1–4 November 2018.

“Sampling and Remixing Marginalized Environments: Dissident and Activist Sound in Hip-Hop Environmentalism,” Diversity and Discipline in Hip-Hop Studies Roundtable, American Musicological Society, San Antonio, TX, 1–4 November 2018.

“Expanding the Map: Listening Across Approaches to Geospatial Analysis,” Organized Roundtable with Graduate Students Katrice Kemble, Douglas Kiman, Gene Lai, and Marvin McNeill, AMS-NE Chapter, Willimantic, CT, 29 September 2018.

“Sensory Knowledge and the Materiality of Music History Pedagogy,” Teaching Music History Conference, AMS Pedagogy Study Group, Indiana State University, Terre Haute, IN, 8–9 May 2018.

“Stop to Smell the Pixels: Playing and Performing Digital Naturalism in Proteus,” Music and the Moving Image, New York, NY, 24–27 May 2018.

“‘What’s in my Keds box’: Musicking and Circulating the Materiality and Aurality of Taylor Swift’s Web 2.0 Fandom,” Organized Panel: Listeners 2.0: Musical Streams, Authors, and Remixes, The Society for Cinema and Media Studies, Toronto, ON, 14–18 March 2018.

“A Field Guide to Digital Naturalism: The Ludic Video Game Soundscape and Playing the Spatiality of Proteus,” IASPM-US, Vanderbilt University, Nashville, TN, 8–11 March 2018.

“Playing (with) the Sonic Environment: Digital Storytelling with Game Audio and the Spatiality of Never Alone,” Society for American Music, Kansas City, MO, 28 February–4 March 2018.

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“Sensing Thoreau’s Maps, Tracks, and Trails: Spatial Listening and Game Audio in Walden: The Game,” North American Video Game Music Conference, University of Michigan, Ann Arbor, MI, 13–14 January 2018.

“Playing and Performing Digital Naturalism: The Ludic Video Game Soundscape and Composing Spatial Identity in Proteus and Flower,” American Musicological Society, Ludomusicology Special Interest Group, Rochester, NY, 9–12 November 2017.

“Archiving Spatiality and Remediating Site-Specific Performance: Documentary Recording, Web 2.0, and R. Murray Schafer’s Music for Wilderness Lake,” Music and the Moving Image, New York, NY, 26–28 May 2017.

“Digital Storytelling and the Spatiality and Sonic Cartography of Never Alone’s Indigenous Modernity,” North American Video Game Music Conference, University of Texas, Austin, TX, 14–15 January 2017.

“Listening to and Sounding Discard: Locating the Music and Sonic Traces of Discard Studies in Science and Technology Studies,” Anthropology of Sound Special Session, Society for Ethnomusicology, Washington, DC, 10–13 November 2016 and Timescales, Penn Program in Environmental Humanities, University of Pennsylvania, Philadelphia, PA, 20–22 October 2016.

“The New Media and Spatiality of Crowdsourced Composition in John Luther Adams’ Soundwalk 9:09,” SMT Film Music Interest Group/proposed AMS Music and Media Interest Group, American Musicological Society/Society for Music Theory, Vancouver, BC, 3–6 November 2016.

“Soundscaping the Radio: Sonic Witnessing and the Resonances of Experimental Radio Soundwork through Electroacoustic Soundscape Composition,” American Musicological Society/Society for Music Theory, Vancouver, BC, 3–6 November 2016.

“Hearing Vancouver, Analyzing Place: The Material and Social Life of Urban Environment Soundscape Compositions,” SMT Post-1945 Music Analysis Interest Group, American Musicological Society/Society for Music Theory, Vancouver, BC, 3–6 November 2016.

“Curating Past Soundscapes and Sonic Memories through Radio: Field Recording, Exploratory Soundwork, and the Historical Evidence of Hearing Cultures,” Periods and Waves: A Conference on Sound and History, Stony Brook University, Stony Brook, NY, 29–30 April 2016.

“Soundscaping the Radio: Experimental Soundwork and Hildegard Westerkamp’s Community Soundwalking on Vancouver Co-op Radio,” Society for American Music, Boston, MA, 9–13 2016.

“Radio Fields of Soundscape Programming: The Sonic Materiality and Environmental Politics of Hildegard Westerkamp’s Radio Soundwork,” Organized Panel: Sound Ecologies And Hearing Cultures Of Global Environment Change (Panel Organizer), Society for Ethnomusicology, Austin, TX, 3–6 December 2015.

“The Soundscapes and Technologies of Energy Industries,” Panel: Ecomusicology and the History of Science, American Musicological Society, Louisville, KY, 12–15 November 2015.

“Nuclear Audiovisuality: The Sonic Tactics in Documentary Film of Nuclear Activity by the National Film Board (NFB),” Sonic Contestations of Nuclear Power, Princeton University, Princeton, NJ, 22–24 October 2015.

“The Radio as a Sonic Socio-Geopolitical Tool: Community Engagement and Soundscape Radio Soundwork,” Sound Studies: Art, Experience, Politics, University of Cambridge, Cambridge, UK, 8–10 July 2015.

“Derek Charke’s Musicalizing of Slow Disasters, Toxicants, and Energy Production,” Balance-Unbalance: International Conference: Water, Climate, Place: Reimagining Environments, Arizona State University, Tempe, AZ, 27–29 March 2015.

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“Soundscapes and Civic Engagement: Public Ecomusicology through Soundwalking and Locative Soundscape Media,” The Past, Present and Future of Public Musicology, Westminster Choir College of Rider University, Princeton, NJ, 30 January– 1 February 2015.

“‘Landscape is not just what your eyes see’: Battery Radio, the Technological Soundscape, and Sonically Knowing the Battery,” Organized Panel: Affective Environments and the Bioregional Soundscape (Panel Organizer and Chair), Society for Ethnomusicology, Pittsburgh, PA, 13–16 November 2014 and Ecomusicologies, University of North Carolina at Asheville, Asheville, NC, 5–7 October 2014.

“Mediated Ecomusicological Flows: The Nexus of Sonic Materiality and Ecotourism in the National Parks Project,” IASPM-US, University of North Carolina, Chapel Hill, NC, 13–16 March 2014.

“Parks as Musical Playgrounds: Co-Performance, Ecotourism, and the Sonic Geographies of National Parks Arts Initiatives,” Society for Ethnomusicology, Indianapolis, IN, 14–17 November 2013.

“Sensing and Composing Acoustic Environments: Sensory History and Emplaced Memory in Derek Charke’s Tundra Songs and Nanook of the North,” Panel: From Landscapes to Cityscapes: Shaping the Image of Place (Panel Organizer and Speaker), American Musicological Society, Pittsburgh, PA, 7–10 November 2013.

“Voicing and Listening to Place, Environment, and Cultural Folklore in Kati Agócs’s Elysium and Shenanigan,” The Third Frederick Loewe Symposium on American Music, Seminar Theme: Women and the American Musical Landscape, University of Redlands, Redlands, CA, 24–25 October 2013.

“Sounding, Experiencing, and Interpreting the Environmental Past and Present of British Columbia’s Northwest Coast,” Canadian University Music Society, University of Victoria, BC, June 2013.

“Sounding the Environmental Past and Present: Repurposing and Representing Soundscape in Contemporary Canadian Compositions,” Association for the Study of Literature and the Environment, University of Kansas, May 2013 and Ecomusicologies 2012, Tulane University, New Orleans, LA, 29–30 October 2012.

“Ecotopian Spaces: Soundscapes of Environmentalism, Charity, and Protest,” Soundscapes of Public Spaces (Panel Organizer, Chair, and Speaker), Music and Labor Conference, McMaster University, Hamilton, ON, May 2013.

“Sounding and Composing the Harbour: Recontextualizing and Repurposing the Soundscape and Sense of Place in the Harbour Symphony,” Society for American Music, Little Rock, AR, 6–10 March 2013.

“Sounding and Composing the Harbour: Performing Landscape and Re-contextualizing the Soundscape of Place in the Harbour Symphony (St. John’s, Newfoundland),” AMS/SEM/SMT, New Orleans, LA, 1–4 November 2012.

“Sonically Shaping, Representing, and Memorializing Wilderness: Canadian Nationhood, Environmentalism, and the Sonic Landscapes of the National Parks Project,” IASPM-Canada, Sounding the Nation? Diaspora, Indigeneity, and Multiculturalism, Acadia University, Wolfville, NS, 14–17 June 2012.

“Voices of a Place and Environmentally Conscious Composition: Ecological Social Justice and Sonic-Ethnography in the Soundscape Compositions of Hildegard Westerkamp,” Sound Changes: An International Symposium on Music and Social Justice, Ottawa, ON, 24–25 February 2012.

“Ecological Auditory Culture: The Relationship Between Ethnographic Soundscape Composition and How We Listen to the Environment,” Society for Ethnomusicology, Philadelphia, PA, 17–20 November 2011.

“Gently Penetrating Beneath the Sounding Surfaces of Another Place”: Applications of Acoustic Ecology and Environmentalism in the Soundscape Composition of Hildegard Westerkamp,” Music Since 1900/Lancaster Music Analysis Conference, Lancaster, UK, 28–31 July 2011.

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“Sounding Environmental Change: Applications of Acoustic Ecology and Environmentalism in Contemporary Experimental Music Practices,” International Council for Traditional Music (ICTM), Memorial University, St. John’s, NL, 13–19 July 2011.

“Playlist for the Planet: “Eco-Anthems” and the Promotion and Construction of Environmental Activism in Canadian Popular Music,” IASPM Canada, Music and Environment: Place, Context, Conjuncture, Montreal, QC, 13–16 June 2011.

“Ecological Listening,” Listening in/to Canada: Interdisciplinary Perspectives on Music in Canada (IPMC), Mount Allison University, Sackville, NB, 5–6 June 2011.

“Everything’s Gone Green”: The Nexus of Environmentalism, Sounding Nature, and Ritual Performance in Contemporary Experimental Theatre,” Society for Ethnomusicology, Los Angeles, CA, 11–14 November 2010.

“A Changing Climate: Ecomusicology and the Crisis of Global Warming,” Primary Discussant, AMS Ecocriticism Study Group, American Musicological Society, Indianapolis, IN, 4–7 November 2010.

“Performative Pathways Through the Labyrinth in R. Murray Schafer’s Patria 7: Asterion,” Psi: International Society for Performance Studies #16 Performing Publics, Toronto, ON, 9–13 June 2010.

“Repurposing and Performing Urban Space: R. Murray Schafer’s Found Urban Spaces in his Site-Related Music Theatre Works,” Canadian University Music Society, University of Regina, Regina, SK, 3–6 June 2010.

“Resistance through Sound: Chad VanGaalen and Final Fantasy’s Reinvention of Tradition Through Experimental Sonic Explorations,” Spaces of Violence, Sites of Resistance: Music, Media and Performance, University of Regina, Regina, SK, 3–6 June 2010.

“‘Never that which is shall die’: Ecocriticism and Environmentalism in R. Murray Schafer’s Patria 9: The Enchanted Forest,” Society for American Music, Ottawa, ON, 17–21 March 2010.

“Tribute, Temporal Mediation and Cultural Memory in Rufus Wainwright’s Recreation of Judy Garland’s 1961 Carnegie Hall Performance,” International Association for the Study of Popular Music, Institute of Popular Music, Liverpool, UK, 13–17 July 2009.

“‘It’s Not in the Notes’: Graphic Notation, Environmental Performance Space and Performer Interpretation in R. Murray Schafer’s The Princess of the Stars,” International Musicological Society, Amsterdam, The Netherlands, 5–10 July 2009.

“Sepia Soundscapes and Sonic Snapshots: Hymnody and Historical Patriotic Borrowings in the Music of John Beckwith,” Society for American Music, Denver, CO, 19–22 March 2009.

“Roughing it in the Woods: Community Experience and Performance at Patria Production Sites,” Society for Ethnomusicology Niagara Chapter, York University, Toronto, ON, 28–30 March 2008.

“Spatiality and Soundscape in R. Murray Schafer’s Patria Cycle,” Society for Ethnomusicology, Columbus, OH, 25–28 October 2007.

“Music in the Cold: Performance Space and Canadian Identity in R. Murray Schafer’s Patria Cycle,” International Musicological Society, Zürich, Switzerland, 10–15 July 2007.

“Witches, and Divas, and Rufus, Oh My!: Camping High Art in the Music of Rufus Wainwright,” Society for Ethnomusicology, Honolulu, HI, 16–19 November 2006.

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“Beyond the Ghetto: k-os’ Interweaving and Re-plantation of Traditional and Non-Traditional Hip-Hop Signifiers,” Canadian Society for Traditional Music, Ottawa, ON, 3–5 November 2006.

“‘A living environment’: The Relationship between Performance Space and Place in R. Murray Schafer’s Patria Cycle,” Music and Place, Manchester Metropolitan University, Manchester, UK, 9–10 June 2006.

“Musical Intertextuality and Cover Versions in Tori Amos’ Strange Little Girls,” IASPM-Australia-New Zealand Chapter, Contemporary Popular Music, The University of Victoria, Wellington, NZ, 3–6 December 2005.

“Revitalizing Ritual: The Role of Ritual Performance in R. Murray Schafer’s Patria Cycle,” Cultural Studies Association of Australasia, Culture Fix, University of Technology, Sydney, Australia, 25–28 November 2005.

INVITED SPEAKER Columbia University, Center for Ethnomusicology, Topic and Date TBD April 2019.

“Stop to Smell the Pixels: A Digital Field Guide to Nonhuman Musicality in Proteus,” The University of Hartford, The Hartt School 27 March 2018.

“Career Bootcamp: Roundtable on Career Trajectory – Teaching, Research, Service, and Mentorship,” Hosted by the Committee for Career-Related Issues, American Musicological Society, Rochester, NY, 11 November 2017.

“The Digital Humanities in Public Musicology” Westminster Choir College of Rider University, 17 February 2017.

“Circulating Soundscapes and Sonic Memories on the Radio: Field Recording, Exploratory Soundwork, and Listening Environments” Wesleyan University Colloquium Series, 22 September 2016.

“To Postdoc or not to Postdoc” Graduate Student Professional Development Workshop, Canadian University Music Society, 6–10 June 2013.

ORGANIZED SYMPOSIA & ROUNDTABLES “Music, Sound, and Listening Across the Disciplines—Pedagogical Perspectives” with Michael Slowik (Film Studies/College of Film and the Moving Image), Scott Aalgaard (College of East Asian Studies), Rachel (Ren) Ellis Neyra (Department of English), and Ron Kuivila

Expanding Ecomusicology: Exploring Sonic Culture and Environmental Change. Keynote Speaker and Soundwalk Facilitator: Andra McCartney (Concordia University), Memorial University, St. John’s, NL, 28 September 2013.

PROFESSIONAL DEVELOPMENT SYMPOSIA American Musicological Society–Popular Music Study Group Junior Faculty Symposium. 2018 Case Western Reserve University, Cleveland, OH, 5–7 June 2018, 2016 Case Western Reserve University, Cleveland, OH, 14–16 June 2016 and 2014 University of Richmond, Richmond, VA, 18–20 June 2014.

TEACHING EXPERIENCE

Instructor of Record and Course Designer Undergraduate, Wesleyan University Music and the Moving Image: Music Video to Film to Digital Media (First Year Writing Seminar) 2019 The Sound Document: Performing Objects, Things, Material Culture, and Technologies (Senior Majors Seminar) 2018 Sample, Remix, Reuse, and Replay: Approaches to Musical Adaptation in Audiovisual Culture (First Year Writing Seminar, Cross-listed American Studies) 2018 Playing with Sound: Ludic Performance, Games, and Music as Play (Seminar) 2018 Performing the Posthuman: Music and Auditory Culture in the Age of Animanities (Seminar, Cross-listed College of the Environment, American Studies, and Animal Studies Course Cluster)** 2017 World Music: Cross-Cultural Soundscapes (Lecture with Discussion)** 2016, 2017, 2018

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Music, Sound, and the Environment in the Anthropocene (Seminar, Cross-listed College of the Environment)** 2017 The Material Culture and Technologies of Music (Senior Majors Seminar) 2016 ** Courses in consideration for the Sustainability Course Cluster

Graduate, Wesleyan University Curating Sound: Topics in Applied Ethnomusicology (Seminar) 2019 Mapping Music as/in Motion: The Cartographies and Circulation of Aural Culture (Seminar) 2018 Practicing Ethnomusicology: Fieldwork, Sound Writing, and Ethnographic Experimentation (Seminar) 2017 Topics in Applied Ethnomusicology/Public Musicology (Seminar) 2017 Proseminar in World Music Studies (Seminar) 2016

Memorial University of Newfoundland Introduction to Communications Theory (Seminar) 2016 Critical Approaches to Popular Culture (Lecture) 2016 (2 sections) North American Popular Music (Large Lecture Format, Online Distance Education) 2015 (2 sections), 2014 Music in the Modern World: Music Since 1945 (Capstone Seminar) 2014 Understanding Classical Music through Listening (Lecture) 2014

University of Western Ontario/Western University Post-WWII Popular Music (Large Lecture Format, 300+ students) 2012 Topics in Popular Music: Genre Studies (Seminar) 2012

University of Guelph Canadian Music: Sounding the Nation through Cross-cultural and Interdisciplinary Approaches (Seminar) 2011 The Musical Avant-Garde (Seminar) 2010

Wilfrid Laurier University Music Since 1945 (Capstone Seminar) 2011

STUDENT SUPERVISION Graduate PhD Douglas Kiman, PhD Dissertation (Ethnomusicology), Primary Advisor, Topic: Festival Culture and the Klezmer Revival in Europe (1995-present), Wesleyan University (2017-2019) Gene Lai, PhD Dissertation (Ethnomusicology), Committee Member, Tamil Folk Music Dispersion: Idiosyncrasies of urumi mēlam in Tamil Nadu, Malaysia, and Singapore, Wesleyan University (2017-2019) Andrew (Ender) Terwilliger, PhD Dissertation (Ethnomusicology), Committee Member, Re-tuning Taipei’s Soundscape: the Politics of Chinese Orchestra Instruments Entering New Genres, Wesleyan University (2017-2019) Sean Sonderegger, PhD Dissertation (Ethnomusicology), Committee Member, New World, New Music: Creative Music Communities in New Haven and Woodstock in the 1970s and Their Legacies, Wesleyan University (2018)

MA Bianca Iannitti, MA Thesis (Ethnomusicology), Primary Advisor, Topic: The Queer Communities and Musicking Social Media Networks of South Indian Vocal Performance, Wesleyan University (2017-2019) Katrice Kemble, MA Thesis (Ethnomusicology), Primary Advisor, Topic: The Gendered Performance of Spectacle in Metal Music, Wesleyan University (2017-2019) Marvin McNeill, MA Thesis (Ethnomusicology), Committee Member, Get It How You Live: Locating Affect, Intertextuality, Social Bonding, and Resiliency in the Music of the TBC Brass Band of New Orleans, Louisiana, Wesleyan University (2017-2019) Emily Boyer, MA Thesis (Ethnomusicology), Primary Advisor, The Sound of Hyrule: The Relationships among Sonic Environments and Gameplay in The Legend of Zelda: Breath of the Wild, Wesleyan University (2016-2018) Simbarashe Kamuriwo, MA Thesis (Ethnomusicology), Committee Member, Performing the Zimbabwean Marimba: The Current Cultural Exchanges from Zimbabwe to South Africa, the United States, and Argentina, Wesleyan University (2017-2018)

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Poorya Pakshir, MA Thesis (Ethnomusicology), Committee Member, The Social and Material Lives of the Tombak and Tombak Players in Iran, Wesleyan University (2017-2018) Suhail Yusef, MA Thesis (Ethnomusicology), Committee Member, The Impact of Globalization on Sarangi Players in 21st Century India, Wesleyan University (2017-2018) Tomaz Arnold, MA Thesis (Composition), Committee Member, Against Context: Hybridity as a Means of Reducing its Impact, Wesleyan University (2016-2017) Bridgid Bergen, MA Thesis (Ethnomusicology), Committee Member (Defense Chair), Indian Fusion Music in New York City: Navigating Space, Place, and Identity, Wesleyan University (2016-2017) Warren Enström, MA Thesis (Composition), Committee Member, Place in Exhaustion, Wesleyan University (2016-2017) Wan Yeung, MA Thesis (Ethnomusicology), Committee Member, Improvisation and the Locality of the Pipa in Cantonese Opera in Hong Kong, Wesleyan University (2016-2017)

ICPP MA Gillian Fallon, MA Thesis (ICPP), Committee Member. Topic: Movement and Perception in Janet Cardiff’s Audiowalks, Feminist Curatorial Practice, and Her Long Black Hair, Wesleyan University (2019)

Undergraduate Becket Cerny, Honors Thesis, Wesleyan University (2018-2019) Gabriel Drozdov, Honors Thesis (Theater), Co-Advisor No Replica (2018-2019) Harrison Nir, Senior Project (Spring 2019) Kela Sachs, Analytic Approaches to Popular Music and Musical Theater, Directed Readings Tutorial (Fall 2018) Alexander Donald, Undergraduate Student Summer Research Intern (GISOS Research Award) Archiving and Listening Back to our Places: Ethnographic Field Recording as Citizen Science and Sound Mapping Middletown (2018) AJ Girard, Senior Project and Directed Readings Study, Primary Advisor, Topic: The Relationship between Video Game Music and Hip Hop Production, Wesleyan University (2017-2018) Jackson Anthony, Senior Project, Primary Advisor, Ethnographic Film, Media Archeology, Remediation, and Memory, Wesleyan University (2016-2017) Anthony Dean, Honors Thesis, Second Reader, Who Is Listening? Everyday Performance of Music on Hold, Wesleyan University (2016-2017) Miles McLeod, Honors Thesis [High Honors recipient], Second Reader, Dissident Sound: Power, Containment, and Beyoncé’s Lemonade, Wesleyan University (2016-2017) Adam Rochelle, Honors Thesis, Second Reader, I Knew You Were Trouble: Digital Production in Pop Music and Its Implications for Performance, Wesleyan University (2016-2017)

SAMPLE STUDENT PROJECTS Posthuman Musicalities Podcast Series-Performing the Posthuman: Music and Auditory Culture in the Age of Animanities https://soundcloud.com/user-354179486/tracks Music, Sound, and the Environment in the Anthropocene https://middletownsoundscapes.wordpress.com/ and https://wesleyansoundwalkcollective.wordpress.com/ The Material Culture and Technologies of Music: Podcasts https://soundcloud.com/user-436044110/sets/mus300-fall-2016-podcasts Proseminar in World Music Studies: Audio Postcard Assignment https://soundcloud.com/user-782772151-143793334/sets/fall-2016-audio-postcards World Music: Critical Karaoke Assignment https://soundcloud.com/user-612589961

TEACHING AS GRADUATE TEACHING ASSISTANT AND INSTRUCTOR University of Toronto, Faculty of Music Historical Survey II: Classical to Present 2004-2009 Music, Media, and Technology 2009 Introduction to Music History and Culture (University of Toronto) 2007, 2004 Music for Orchestra 2006, 2004 Music and Society 2005 Popular Music in North America 2005

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University of Toronto, Scarborough Campus Exploring Key Concepts in the Humanities [Head TA and Co-Course Designer] 2009-2010 Listening to Music 2008-2010 Introduction Women’s and Gender Studies [Head TA and Co-Course Designer] 2009 Gender, Media, and Culture (University of Toronto Scarborough) 2009 Collaborations in the Visual and Performing Arts (University of Toronto Scarborough) 2007-2009 Music of the World’s Peoples (University of Toronto Scarborough) 2004-2008 Introduction to Music: Medieval to Baroque (University of Toronto Scarborough) 2007 Music in Religion and Ritual (University of Toronto Scarborough) 2006, 2007 Music for Theatre (University of Toronto Scarborough Campus) 2005, 2006 Popular Music in a Cross-Cultural Context (University of Toronto Scarborough) 2004

TEACHING AND RESEARCH INTERESTS 20th/21st Century Music Critical Popular Music Studies Sound Studies and Listening Cultures Gender, Sexuality, and Music Ecomusicology/Music and Place Opera and Music Theatre Ethnographic Methodologies Music, Audiovisuality, and Screen Media Adaptation Digital Musicologies in/and the Digital Humanities Indigenous Modernities Music in/and Everyday Life Music, Sound, and Intercultural Representation Experimental Music in Theory and Practice Public Musicology/Applied Ethnomusicology Children’s Sound Cultures, Listening, and Performance Geospatial Perspectives Music, Politics, and Social Protest Exhibiting & Curating Sound Urban Ethnomusicology Electroacoustic Music Disability, Health, and Music Music, Sound, Science, and Technology Music and Embodiment

PEDAGOGY EXPERIENCE AND SKILLS • Diverse student body: music and non-music majors; interdisciplinary humanities and social science students; undergraduate students: all levels; graduate students; varied socioeconomic backgrounds; classroom communities featuring accessibility accommodations • Course design: course outline and syllabus, learning goals and objectives, assessments, and lesson plans and activities • Applies innovative teaching methods, such as integrating multi-media, designing multi-media and integrative media assignment options for students, implementing collaborative group work and classroom engagement techniques, utilizing social media in meaningful ways, and incorporating online discussion boards • Provides detailed and constructive feedback to written work • Supervises graduate assistants: provides detailed and clear instructions for written feedback on assignments; incorporates professionalization into assignments and mentorship • Fosters active listening skills, critical writing and reading skills, the ability to communicate research materials across various media platforms, high impact presentation skills, the development of community outreach and service projects, and self-access learning

PEDAGOGY TRAINING Wesleyan University • Seminar on the Teaching of Writing • Sustainability Across the Curriculum • Universal Design Language and Strategies • Project Based Learning Course Design Fellowship Cohort Workshops • Working Group on Teaching with Moving Images • Reading, Analyzing, and Annotating Audiovisual Material • Introducing StoryMap GS/StoryMaps into the Undergraduate Classroom • WesGIS Workshop: Integrating surveys and mobile mapping with Survey123 • Feminist Activist Ethnography Now Workshop

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Memorial University of Newfoundland Teaching Skills Enhancement Program (TSEP) • Innovative Teaching Summer Institute • Increasing Engagement in Large Classes: Innovative ways to use online discussions • Introduction to Learner-Centered Course Design • Problem Based Learning • Experiential Learning • Running Effective Seminars • English as a Second Language: What Do They Hear?

University of Toronto Teaching Assistants Training Program (TATP); Centre for Teaching Support and Innovation (CTSI); Test and Exam Services and Centre for Accessibility • THE 500 – “Teaching in Higher Education” (12-week course) • TATP Advanced University Teaching Preparation Program: sessions required workshops, microteaching sessions, teaching dossier development, in-class observation, and extensive written and oral reflection on teaching development and outcomes. • Accessibility technologies training (Audacity, Kurzweil 2000/3000, ZoomText) and techniques (scribing and reading for the humanities, social sciences, sciences, applied sciences, and visual and performing arts), accessibility inside and outside the classroom, evaluating differently-abled students, introduction to disability and accessibility studies in higher education, fostering a positive classroom culture

Pedagogy, Community Outreach, and Service Learning Initiatives • Student and faculty facilitated community soundwalks and soundmap development • Research interviews on local CBC Radio (November 2012 feature on my postdoctoral research) • Student research presented on campus radio programming in the form of interviews and audio essays • Integrating undergraduate and graduate professionalization into my research program, courses, workshops, and symposia • Final research projects presented in public free-of-charge symposia located on and off-campus • Giving regular public talks on facets of my research program in free-of-charge off-campus locations (e.g. January 2014, Memorial University Department of Philosophy Public Lecture Series, The Ship Pub, “Introduction to Ecomusicology”)

SPECIALIZED TRAINING Digital Humanities 2012-Present Knowledge Mobilization and Social Media; Digital Documentation and Imaging for Humanists; Digitization Fundamentals and their Application; Digital Humanities Pedagogy; Digital Editions; Desktop Fabrication; Feminist Digital Humanities: Theoretical, Social, and Material Engagements; Geographical Information Systems in the Digital Humanities; Sound in the Digital Humanities; Cultural Codes and Protocols for Indigenous Digital Heritage Management; Field Recording Techniques.

INSTITUTIONAL SERVICE Wesleyan Sound Studies Network, Founder and Coordinator 2018-Present Honors Committee, Wesleyan University 2017-2018 Evaluation Committee Member for the Wesleyan University Symphony Orchestra Concerto Competition 2017 Advisory Member of the Wesleyan University Graduate Admissions Committee (Ethnomusicology) 2017 Newfound Music Festival Symposia and the Memorial University Research Day, Organizing Team 2013 Invigilator for the Accessibility Services Test and Exam Office, University of Toronto 2007-2012 University of Guelph, Research Assistant for Jerrard Smith for R. Murray Schafer’s Asterion 2007 Tutor, Massey College Tutoring and Mentorship Program 2005-2007 Faculty Council Graduate Student Representative, University of Toronto Faculty of Music 2003-2004 Creative Department Research Intern, McMichael Canadian Art Collection 2003-2004 Queen’s University Research Assistant for Dr. Kip Pegley 2003-2004

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• preparing research and music video analysis for Coming to You Wherever You Are: MuchMusic, MTV and Youth Identities (Wesleyan University Press) Massey College Lionel Massey Fund Committee & Co-Chair for Graduate Student Life 2005-2010 Production and Research Assistant, University of Guelph, for R. Murray Schafer Patria Productions 2005-2007 Musicology and Theory Colloquia Committee, University of Toronto 2004-2007 Chair, Music Graduate Students Association Graduate Conference 2004-2005 President, Music Graduate Students Association 2004-2005 University of Toronto, Research Assistant for Dr. Caryl Clark 2004-2006 • preparing research for The Cambridge Companion to Haydn (Cambridge University Press) University of Toronto, Research Assistant for John Beckwith 2004-2006 • preparing research and archival materials for In Search of Alberto Guerrero (Wilfrid Laurier Press)

SERVICE TO THE DISCIPLINE American Musicological Society Council Nominating Committee 2018-2019 Woody Guthrie Book Award, IASPM-US 2018-Present Society for American Music Public Relations Committee 2018-Present AMS-New England Chapter, Program Committee 2018-Present Co-chair, Music and Media Study Group, American Musicological Society 2017-2020 Reviewer for Ethnomusicology 2017-Present Reviewer for Indiana University Press, Music, Nature, Place Series 2017-Present Reviewer for Journal of the American Musicological Society 2017-Present Society for American Music Committee on Logo Re-design and Representation 2017-2018 American Musicological Society, Council Member 2016-2019 Society for Ethnomusicology, Council Member 2016-2019 Adrienne Fried Block Fellowship Committee, Society for American Music 2016-2019 Forum for Early Career Professionals Co-Chair, Society for American Music 2016-2019 Reviewer for Oxford University Press Academic Music Division 2016-Present Sanjek Graduate Student Paper Prize Committee, Chair (2017-2018), IASPM-US 2016-2019 Conference Organizer & Member of the Program Committee “Locations & Dislocations” (Westminster 2015-2016 Choir College/Rider University) Reviewer for Oxford University Press Oxford Bibliographies Online 2015-Present Member of the Nominations Committee, IASPM-US Chapter 2015 Member of the Program Committee, Canadian University Music Society 2014-2015 George Proctor Prize Selection Committee, Canadian University Music Society 2014 Co-Chair, Ecocriticism Study Group, American Musicological Society 2013-2017 Chair, Ecomusicology Special Interest Group, Society for Ethnomusicology 2013-2017 Editorial Board, Ecomusicology Newsletter 2013-2016 Member of the Program Committee, Ecomusicologies 2013-2015 • 2013 “Ecosystems and Ecocriticism” (Queensland Conservatorium, Griffith University), 2014 (UNC Asheville) Member of the Program Committee, IASPM-Canada Chapter 2012-2014, 2016-2017 • 2013 “Music and Labour” McMaster University, Hamilton, ON, 2014 Laval University, Laval, QC, 2017 “‘Canada at 150: Music and Belonging” University of Toronto, Toronto, ON Member of the Ecocriticism Study Group Program Committee, American Musicological Society 2011-2013 Board of Directors, Canadian Society for Traditional Music 2010-2017 • Finance Committee and Social Media & Communications Committee

ORGANIZED GRADUATE & UNDERGRADUATE WORKSHOPS Grant and Abstract Writing Workshops From 2012-present I have engaged in mentorship activities developing grant proposals and supplementary research materials for government grant agencies and travel grants for ethnographic fieldwork conducted for the MA and PhD. In 2018 Wesleyan had a 100% success rate and in 2017 a 75% success rate in accepted papers for the annual meeting of the Society for Ethnomusicology using abstracts composed and peer-reviewed during this instructional session. In 2014 and 2015 Memorial University had a 90% success rate in accepted papers for the annual meeting of the Society for Ethnomusicology using abstracts composed and peer-reviewed during this instructional session.

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Digital Musicologies This workshop introduces students to a selection of digital humanities tools and methods useful in musicologies and music media studies research, knowledge mobilization, archival and preservation work, and pedagogy. Tools and methods include: network visualization, mapping strategies, game design (e.g. Twine), narrative and topic analysis (e.g. Voyant), social media, listening and sound in an age of digital media, archiving and metadata, online/digital scholarly production, and social knowledge formation.

The Field Recorder as a Research Tool Undergraduate session aimed at upper-year students conducting ethnographic research and composing audio/radio essays for the first time. In addition to experimenting with the capabilities of Zoom audio and video recorders, and different kinds of microphones and recording positions, students worked with the program Audacity learning how to upload and edit content, and how to compose and engaging and informative audio document.

CREATIVE PROFESSIONAL EXPERIENCE Improvisation Collaborator, Leader, and Facilitator 2001-Present Soundwalk Collaborator, Leader, and Facilitator 2004-Present Production Assistant, Workshop Facilitator, Performer 2005-2007 • R. Murray Schafer’s The Princess of the Stars, Palace of the Cinnabar Phoenix, Asterion, and The Enchanted Forest production assistant, performer (vocalist/flute), technical and creative assistant, assistant in the workshops to develop Schafer’s Asterion Editorial Assistant, Musicworks Magazine 2004-2006 • Contemporary music magazine. Copy-editing, article development, subscriptions, review material & marketing Performer, Collaborator, and Participant 2003-2008 • Member of R. Murray Schafer’s Patria the Epilogue: And Wolf Shall Inherit the Moon (Flute & Voice)

ACADEMIC WORKSHOP PARTICIPATION Wesleyan Sound Studies Network (WesSounds) (2018-present) Founder and Coordinator (Wesleyan University) Wesleyan Soundwalk Collective (2017-present) Founder and Coordinator (Wesleyan University) Yale University Whitney Humanities Center Sound Studies Working Group (2016-present) Coordinated by Dr. Brian Kane (Yale University) Radial Cosmopolitan Study Group (2016-2017) Sponsored by the Allbritton Center for the Study of Public Life, Wesleyan University Social Studies of Science and Technology Reading Group (2016) Memorial University of Newfoundland Interdisciplinary Perspectives on Music in Canada Working Group (2009-2013) Coordinated by Dr. Mary Ingraham (University of Alberta) and Dr. Dylan Robinson (Queen’s University) Performance Studies Reading Group (2011-2012) Coordinated by Dr. Laura Levin (York University, Massey College York Fellow 2011-2012) Ethnomusicology Round Table and Discussion Group (2009-2011) University of Toronto, Coordinated by Dr. Josh Pilzer (University of Toronto)

PROFESSIONAL SOCIETY MEMBERSHIP American Musicological Society (AMS) [Study Groups: Ecocriticism, Ludomusicology, Media Studies, Popular Music, Pedagogy] American Anthropological Association (AAA) [Music and Sound Special Interest Group] Association for the Study of Literature and Environment (ASLE) International Association for the Study of Popular Music (IASPM) [Canada and US Chapters] Society for American Music (SAM) Society for Ethnomusicology (SEM) [Sections: Popular Music, Historical Ethnomusicology, SIGs: Ecomusicology, Sound Studies]

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REFERENCES

Wesleyan University Dr. Paula Matthusen, Associate Professor, Department Chair – [email protected] Wesleyan University, Department of Music Middletown, CT 06459 (718) 715-2055

Prof. Ron Kuivila, Professor – [email protected] Wesleyan University, Department of Music Middletown, CT 06459 (860) 685-2626

Dr. Roger Mathew Grant – [email protected] Wesleyan University, Department of Music Middletown, CT 06457 (631) 804-4484

Dr. Eric Charry, Professor – [email protected] Wesleyan University, Department of Music Middletown, CT 06459 (860) 685-2579

Outside References Dr. Travis Stimeling, Associate Professor – [email protected] West Virginia University, School of Music College of Creative Arts Morgantown, WV 26506-6111 (304) 293-4968

Dr. Gillian Rodger, Professor – [email protected] University of Wisconsin-Milwaukee, Peck School of the Arts Milwaukee, WI 53211 (414) 403-3520

Dr. Luis-Manuel Garcia, Lecturer – [email protected] University of Birmingham, Department of Music Edgbaston, Birmingham B15 2TT United Kingdom +44 (0)121 414 6041

Dr. Justin Burton, Assistant Professor II – [email protected] Rider University, Department of Fine Arts Lawrenceville, NJ 08648 (609) 895-5692

Dr. Eric Hung, Executive Director – [email protected] Music of Asian America Research Center (609) 668-9073

Dr. Rachel Mundy, Assistant Professor – [email protected] Rutgers, the State University of New Jersey, Department of Arts, Culture & Media Newark, NJ 07102 (646) 352-1929

Dr. Nancy Guy, Professor – [email protected] University of California San Diego, Department of Music, Conrad Prebys Music Center La Jolla, CA 92093-0099 (858) 534-8875

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