Graduate Faculty - Department of Music

Naomi André – opera; issues surrounding gender, voice, and race
nandre@unc.edu

Dr. Naomi André (David G. Frey Distinguished Professor) received her B.A. in music from Barnard College and M.A. and Ph.D. in musicology from Harvard University. She was previously a professor at the University of Michigan in the Departments of Afroamerican and African Studies, Women’s and Gender Studies, and the Residential College. Dr. André’s research focuses on opera and issues surrounding gender, voice, and race. Her publications include topics on Italian opera, Schoenberg, women composers, and teaching opera in prisons.

Andrea F. Bohlman – 20th and 21st centuries; song cultures in Europe; music and socialism
abohlman@email.unc.edu

Andrea F. Bohlman (Associate Professor) is a historical musicologist who studies the recent past with a commitment to archival engagement, ethnomusicological methods, and music analysis, as well as oral history and sound studies. Her research asserts a place for music and sound in the cultural history of East Central Europe through the present. Her interdisciplinary approach to music and politics addresses diverse musical genres together in work on soundscapes of political protest, musico-socialist idealism, and the musical media of oppositional cultures. Her monograph in preparation is a study of the interaction between political action and music in Poland in the late twentieth century.

Michael Figueroa – ethnomusicology; music of the Middle East and Mediterranean
mfigueroa@unc.edu

Michael A. Figueroa (Associate Professor) earned a B.A. in musicology from Northwestern University (2006) and a Ph.D. in ethnomusicology from the University of Chicago (2014). His research focuses on music in the SWANA region and its diasporas, with an emphasis on the intersection of music, politics, and religion.

David Garcia – Latin American and Latino popular music; race and transnationalism
daga@email.unc.edu

David F. García (Professor) holds degrees in music from the California State University, Long Beach (B.M. in composition, 1995), University of California, Santa Barbara (M.A. in ethnomusicology, 1997), and The City University of New York, The Graduate Center (Ph.D. in ethnomusicology, 2003). His research focuses on the music of Latin America and the United States with an emphasis on black music of the Americas.

Anna B. Gatdula – aesthetic theory and cultural history, and her research centers 20^th-century US and Cold War history, opera studies, critical theory, and sound studies
gatdula@unc.edu

Anna B. Gatdula (Assistant Professor) received her B.M. in voice performance with a minor in english literature from DePauw University; M.A. in musicology with an outside area focus in ethnomusicology from Indiana University, Jacobs School of Music; and Ph.D. in music history and theory from the University of Chicago. Her scholarly interests lie at the intersection of aesthetic theory and cultural history, and her research centers 20^th-century US and Cold War history, opera studies, critical theory, and sound studies.

Aaron Harcus – theory
aharcus@email.unc.edu

Aaron Harcus (Assistant Professor) received a B.M. in music from St. Olaf College (2011) and his Ph.D in Music Theory from CUNY Graduate Center (2017). Before joining the faculty at the University of North Carolina at Chapel Hill, he taught at Hunter College, CUNY, and the University of Massachusetts at Amherst. His research interests include musical hermeneutics and phenomenology, rhythm and meter in cross-cultural perspective, the analysis of rap music, and post-tonal music. He has presented his research at national conferences of the Society for Music Theory, MTSMA, and the Puerto Rico Conservatory of Music.

Mark Katz – music and technology; hip-hop; performance practice
mkatz@email.unc.edu

Mark Katz (John B. Parker Distinguished Professor) holds degrees from the College of William and Mary (B.A. in philosophy) and the University of Michigan (M.A., Ph.D. in musicology). Before joining the faculty at UNC, he taught at the Peabody Conservatory of Johns Hopkins University (1999-2006). His scholarship focuses on music and technology, contemporary popular music, and the violin. He has written three books, Capturing Sound: How Technology has Changed Music (2004, rev. ed. 2010), The Violin: A Research and Information Guide (2006), and Groove Music: The Art and Culture of the Hip Hop DJ. He co-edited (with Timothy Taylor and Anthony Grajeda) the collection Music, Sound, and Technology in America.

Stefan Litwin – composition, contemporary music; theory of interpretation and philosophy of music
slitwin@email.unc.edu

Stefan Litwin (George Kennedy Distinguished Professor), was born 1960 in Mexico City. He has studied piano, interpretation, and composition in the United States and Switzerland. Among his teachers were Jürg Wyttenbach, Walter Levin and Charles Rosen. Important input also from Herbert Brün.

Anne MacNeil – 16th and 17th centuries; music and spectacle; commedia dell’arte; performance practices; historiography; digital humanities
macneil@email.unc.edu

Anne MacNeil (Associate Professor). BMus, Ithaca College (1981); MA in Music History, Eastman School of Music (1985); PhD in the History and Theory of Music, University of Chicago (1994). Before joining the faculty at the University of North Carolina, Chapel Hill, Professor MacNeil taught at Northwestern University and the University of Texas at Austin. Her areas of specialization include music of the sixteenth and seventeenth centuries, music and spectacle, commedia dell’arte, opera, performance studies and historiography. Her current research encompasses early-modern laments, operatic settings of tales of the Trojan Wars, and the intersections of music, ceremony, and biography in the lives of Margherita Farnese and Eleonora de’ Medici.

Jocelyn Neal – theory; analysis; American popular music; country music
jneal@email.unc.edu

Jocelyn Neal (Professor and Adjunct Professor of American Studies) received a BA in music from Rice University in 1993, an MA from the Eastman School of Music in 1995, and a PhD in music theory from the Eastman School of Music in 2002. Her primary areas of research are commercial country music and American popular music, following on her dissertation (titled “Song Structure Determinants: Poetic Narrative, Phrase Structure, and Hypermeter in the Music of Jimmie Rodgers”).