Graduate students in musicology at the University of North Carolina at Chapel Hill come from a wide variety of undergraduate programs, both domestically and internationally. Most enter the program with a Bachelor’s degree, but about one-fifth already have a Master’s degree when they begin their studies at Carolina. Students in this program hold either a Bachelor’s or Master’s degree in a variety of subjects (e.g. performance, composition, conducting, music education, business, physics). The research interests of our students are correspondingly broad, as reflected in the range of topics of dissertations now in progress or recently completed.


Sophia Maria AndricopulosSophia Maria Andricopulos – popular music after 1945
sophiama@live.unc.edu

Sophia Maria Andricopulos (2nd-year graduate student) is originally from Mokena, IL. She studied Music and English Writing at Millikin University (B.A. 2014) and Musicology at the University of Oregon (2015 – 2018). Her research interests center on the dynamic relationships between technology, mediation, aesthetics, and audience activity in the popular music industry. Her current project accounts for the sociocultural and musical phenomena that inform audience behaviors at 21st-century rock concerts. In 2018, her paper examining ideologies of race in journalistic and critical writing during Carlos Santana’s early recording career was named Best Student Paper by the AMS Pacific Northwest chapter.


Amanda Black – ethnomusicology, Latin American popular music, sound studies
amblack@email.unc.edu

Amanda Black (Ph.D. candidate) holds a Bachelor of Arts in Studio Art and Spanish from UNC-Greensboro, and a Master of Arts in Translation Theory from the Universidad de Málaga (2011). After completing one year of the Bachelor of Music in Flute Performance, Amanda’s studies broadened to include Latin American cultural studies and in-depth Spanish language study. She completed her final year of painting study at the Universidad de Guanajuato, in Guanajuato, Mexico, where she continued to play and teach flute and engage in new musical experiences. As an interpreter and translator, she would travel to Honduras, on return trips to Mexico, as well as to Colombia, Ecuador, Chile, and Spain. Translating and editing within a circle of scholars working towards decolonization, Amanda developed a strong interest in the intersection of music, immigration, the control of sonic space, and place.


Image of Jamie BlakeJamie Blake – American music, Russian music, exile and disapora, jazz and popular music
jtblake@live.unc.edu

Jamie Blake is a Ph.D. Candidate in Musicology at the University of North Carolina at Chapel Hill. Her dissertation, titled, “Architects of Russian America: Transnational Networks of Music and Musicians” focuses on the practical and cultural implications of the surge of Russian music and musicians in the United States in the first thirty years of the twentieth century. Blake is interested in the formation, navigation, and utilization of networks and the ways that personal and professional connections are shaped by shared purposes, perspectives, and resources. Though her current project centers on outcomes in the United States, she views her work as part of a larger transnational and international emigration story around pivotal and turbulent decades in Russian/Soviet history. Blake holds a BM from Boston University, an MM from Brigham Young University, and an MA from the University of North Carolina at Chapel Hill. Blake has a background as a trumpet player and conductor (orchestra and wind band) and enjoys working with large ensembles, coaching chamber groups, and teaching privately.


John Caldwell – comparative musicology, South Asian music
asiaweb@email.unc.edu

John Caldwell (Ph.D. candidate) was born and raised in Ann Arbor, Michigan, and has a M.M. in Performance (Bassoon) from the University of Michigan. After a stint in the corporate world, John returned to academia in 1995. He is fluent in Urdu and Hindi and teaches all levels of these languages at UNC as well as courses in South Asian music and culture. John’s research interests include South Asian music, comparative musicology, Bollywood songs, and poetry and poetics. John has been assistant director of the UNC Summer in India Study Abroad Program since 1999 and has traveled to India and Pakistan many times. He continues to play bassoon in the Raleigh Symphony and Durham Symphony and can often be heard accompanying Indian musicians on the harmonium. John’s dissertation topic is “Songs from the Other Side: the Lives of Pakistani Music in India.” John recently returned from a seven-month Fulbright-Nehru Fellowship in India.


Melissa Camp – 19th- and 20th-century French music, American orchestras, gender and sexuality studies, music in film
mcamp@live.unc.edu

Melissa Camp (1st-Year graduate student) is originally from Arlington, Texas, and received her B.M.E., summa cum laude, and M.M. in Musicology from Texas Christian University. She is primarily interested in fin-de-siècleFrance, American orchestras of the 20thcentury, and representations of women in American media. In Summer of 2017, she studied at the Bibliothèque national de France in Paris for her thesis on Spanish exoticism in Debussy’s music. She has presented at many conferences across North America and the U.K., including Music and the Moving Image. At UNC, she hopes to continue promoting unsung women composers and musicians lost to the pages of history.


Michael CarlsonMichael Carlson – Early music, Opera
carlson@unc.edu

Michael Carlson is a second year Ph.D. student who specializes in the music of the Italian Renaissance. His current research focuses on the subversive potential of the genre of madrigali spirituali in Early Modern Italy as a Humanist spiritual response to post-Tridentine authoritarianism.

Michael earned his B.M. in music history from The Catholic University of America, Washington, DC. He then studied philosophy at Boston College before continuing his graduate education in theology by earning an S.T.B. and S.T.L. from the Pontifical Gregorian University in Rome, Italy. His six years living in Italy formed his great fascination for Italian culture and history. Michael then earned a graduate certificate from Fairfield University (CT) in Spiritual Direction according to the Ignatian method. He completed a M.M. in musicology from The University of Hartford (The Hartt School) with a master’s thesis exploring the Ignatian dimension of Domenico Zipoli’s mission-opera, San Ignacio de Loyola.

Michael’s research interests include opera, the history of theory, historical notation, and queer studies. He also has a scholarly passion for the operatic works of Luigi Dallapiccola, Samuel Barber, and Giancarlo Menotti.


FedorErica Fedor – Cultural Diplomacy, Music & Politics, Public Musicology/Humanities
ecfedor@live.unc.edu

Erica Fedor (Ph.D. candidate), a member of UNC’s Royster Society of Fellows, holds a B.A. in Music with Honors and English with Honors from Wake Forest University and an M.M. in Ethnomusicology from Florida State University. Her dissertation explores U.S. cultural diplomacy programs that focus on the performing arts, particularly the tensions within these programs’ efforts to build global community within structures dedicated to advancing U.S. interests abroad. Prior to joining the musicology department at UNC, Erica spent a year teaching English at a high school in Dobruška, Czech Republic through a Fulbright English Teaching Assistantship.


Justin FrankenyJustin Frankeny – 20th-century music, power in contemporary art music, progressive rock fandom, musical meme culture
frankeny@live.unc.edu

Justin Frankeny (2nd-year graduate student) is originally from Pittsburgh, PA and completed his Bachelor of Music in both composition and music history at Baldwin Wallace University near Cleveland, OH. His experience as a composer and clarinetist is what initially inspired his research interest in contemporary art music and 20th-century art music more broadly. Justin’s primary research interest is in relationships of power surrounding composers, especially in academia. Of special interest is the era of “serial tyranny” in the 1950s-70s, in which the dominance of serialist compositional technique in U.S. academic institutions often limited freedom of compositional expression in young composers. Additional research interests include progressive rock fandom in the 21st century and musical meme culture, especially in relation to Smash Mouth.


Elias Gross – music, intersectionality, and social justice, and the stories of musicians who were ignored by history
eaig@live.unc.edu
Passionate about race and gender equity in classical music, Elias Gross (1st-year graduate student) comes to UNC with a background in arts administration, music education, and viola performance. Gross holds a master’s in viola performance from the University of Delaware and a Bachelor’s in arts administration and art history from the University of Kentucky. In between degrees, Gross worked for six years in non-profit arts leadership, graphic design, and private music teaching. At UNC, Gross looks forward to continuing research begun in his master’s project on New York City Center Symphony (1944–1948), a WPA-inspired civic orchestra that sought to play without discrimination in its personnel, repertoire, and audience base.


Joanna HelmsJoanna Helms – 20th-century Italian music, electroacoustic music, music and media, sound studies
helmsje@live.unc.edu

Originally from Columbia, S.C., Joanna Helms (Ph.D. candidate) holds an M.A. in musicology from the Indiana University Jacobs School of Music and a B.M. in flute performance, summa cum laude and with honors, from the University of South Carolina. Her research interests generally center on music, sound, and technology, with particular interests in the production of and experience of listening to sound for broadcast media in the United States and Italy. Her dissertation, provisionally titled “Electronic Music History Through the Everyday: The RAI Studio di Fonologia (1954–83)” reads Italian state-sponsored electroacoustic music research at Radiotelevisione Italiana (RAI) in Milan through small-scale activities of composers, performers, studio employees, network executives, and listeners negotiating changing postwar cultural priorities. Joanna has also presented research on the development of sound effects on early American radio at the National Broadcasting Company, and on new media and participation in the promotion of contemporary classical music in the US and Europe. Joanna remains active as a flutist, including currently with UNC’s Charanga Carolina, and also plays the electric bass. She is also a co-founder and a current organizer of the Experimental Music Study Group.


A. Kori Hill – 19th and 20th c. black American classical music, critical race theory, intersectional feminism  
koriah@live.unc.edu

A. Kori Hill (Ph.D. candidate) is originally from Cincinnati, Ohio. She holds a M.M. in music history and music performance from West Virginia University and a B.M. in music performance from Miami University. Kori’s research interests include 19th – 20th c. Western classical music, the history of the violin/fiddle in African and African diasporic communities, and classical music education and patronage in black American communities in the United States.

In her spare time, Kori is an avid reader, movie watcher, and bookstagramer.


Aldwyn Hogg

Aldwyn Hogg Jr. – Soviet-Russian music, censorship, music and protest, music of the Black Power Era
ahoggjr@live.unc.edu

Aldwyn is a third-year Ph.D. student from the Bahamas. He previously spent six years in Canada completing his B.A. Hons. in Music at the University of Guelph, and his M.A. in Musicology at Western University. His dissertation research will explore what black music can tell us about the dyad of race and technology during the early to mid-twentieth century in the United States of America. He intends to focus on 2 objects and 2 events: the washing machine, the automobile, the advent of nuclear weaponry during the Second World War, and the Apollo 11 mission to the moon. Aldwyn is also very much interested in nightclubs and clubbing, both as a research interest and as a personal hobby. In fact, his recently completed M.A. thesis explored sound, affect, and community within queer nightclubs. Some of his other scholarly interests include: black spoken word poetry and oral performance in the Black Power era, aesthetic criticism, and Soviet Russian symphonies (once upon a time, he wanted to be a russianist!).


Samantha Horn – Early Baroque, 20th Century
schorn@live.unc.edu

Samantha Horn (Ph.D. candidate) is originally from Niceville, Fla. She attended Macalester College (St. Paul, Minn.) from 2010-2014 and graduated summa cum laude with a Bachelor of Arts in Music. She is interested in the relationship between music and narrative, both in early Baroque opera and twentieth-century dramatic music; her interests also include Nordic-American folk music and issues related to gender and sexuality. Samantha is also a harpist and particularly enjoys playing music by living composers.


Emily Ann HynesEmily Ann Hynes – Russian music, carceral studies, folk music, race theory
emihynes@live.unc.edu

Emily Hynes (2nd-year graduate student) is a member of the Royster Society of Fellows at UNC. Originally from Winnebago, Minnesota, Emily holds a Bachelor of Music degree cum laude from St. Olaf College in Northfield, MN. Her previous research has centered around carceral studies and intersection of identity, race, and gender. She has applied this to her research on music in the gulag and her work on folk music in prisons of the mid-20th century American South. Emily is also highly involved in Digital Humanities (DH) projects that utilize interactive mapping and storytelling to display data, make arguments, and communicate musicological findings to a broader audience. She has enjoyed mapping music in the Gulag, folk songs of the American south, and over 3,000 performances of the Ballets Russes. Examples of her work can be found at https://musicalgeography.org/.


Tara Jordan – musicology, Renaissance studies, identity studies
tljordan@live.unc.edu

Tara Jordan (1st-year graduate student) holds a Bachelor of Music in flute performance from Furman University and a Master of Music in musicology from the University of Tennessee, Knoxville. Her research interests focus on sacred music of the Reformation and Counter-Reformation, specifically its roles in changing European religious and political landscapes, in the formation of European statehood, and in early modern conceptions of the self. Her Masters thesis combined these interests to examine Orlando di Lasso’s sense of divided selfhood as evidenced by his control of print culture, the diverse styles represented within his musical works, and his position in the propaganda campaign of Counter-Reformation Bavaria. Tara’s additional research interests include music of rebellions and music as an agent of political change more broadly. Tara has presented papers at the annual meeting of the American Musicological Society’s South-Central Chapter meeting (March 2018), the University of Cincinnati’s Musicology and Music Theory Society’s Biennial Student Conference (April 2018), and the Newberry Library’s Graduate Student Conference (January 2019). During her time at UNC, Tara plans to examine the role of music in forming national identities within Renaissance Europe as well as the musical cultures of continental European witches.


Grace Kweon – protest songs of the 1960s and 70s, critical race theory, music and grassroots activism, Asian American movement
gk26@live.unc.edu

Grace Kweon (Ph.D. candidate) studies music’s relationship to political organizing and racial consciousness in the context of broad social movements. Her dissertation project explores the grassroots activism of musicians within the Asian American movement from the late 1960s to the early 1970s. She has a secondary interest in the immigrant networks formed through New York City’s popular music spheres, with a focus on Russian emigres and the Korean diaspora. She holds a BA in Music and Biology from Duke University and a MMus in Music from Northwestern University.


Mike Levine – Cuban Protest, Punk, Digital Humanities, Local Music Culture
michae@live.unc.edu

Involving himself in the music scenes of Brooklyn, N.Y. over the past decade, Mike Levine (Ph.D. candidate) has utilized a dual background in academic research and web-based application technologies to support sustainable local music scenes. His research now takes him to Cuba, where he studies artists circulating music in this vibrant and controversial space. Mike looks forward to contributing towards a greater understanding of how artists distribute music via Havana’s USB-based, ‘people-powered’ internet, called el paquete semanal, amidst challenging political and economic circumstances.


Stella Zhizhi LiStella Zhizhi Li – musical modernity, music reception, East Asia
lizhizhi@live.unc.edu

Stella Zhizhi Li (3rd-year graduate student) works on cross-cultural studies of music receptions and musical modernities, with an emphasis on the reception of “Western” musical genres in East Asia in the late nineteenth to the twentieth century. Her current project focuses on the reception of Western classical music in early modern China. Stella holds a B.A. in Music Theory and Composition from St. Olaf College (Northfield, MN), where she worked with Dr. Louis Epstein on the digital mapping project “The Musical Geography of 1920s Paris.” A past recipient of the AMS Eileen Southern Travel Grant (2016) and the Pruett Summer Research Fellowship (2018), she has worked at the Music Division of the Library of Congress where she assisted with processing the archive Billy Strayhorn Music Manuscripts and Estate Papers.


Sarah Lindmark – popular music, beat-making, music technology
lindmark@live.unc.edu
Sarah Lindmark (1st-year graduate student) holds a master’s degree in Musicology from the University of California Irvine, where her research focused primarily on theories of allusion in popular music and the mainstream hip hop music video. She has worked for the Cabrillo Festival for Contemporary Music under conductor Marin Alsop, reported on the Bang on a Can Summer Music Festival for the New York Public Radio show New Sounds, and has presented her work at conferences such as the German Society for Popular Music Conference in Oldenburg, Germany, the Annual Plenary of the Society for Musicology in Ireland, and at the Popular Music, Popular Movements Conference at Case Western Reserve University in Cleveland, Ohio. She has received awards including the Holmes Fellowship, the Leo Freedman Fellowship, the Plantronics Creativity and Innovation Scholarship, and the Barati Cello Scholarship. Her current research interests include timbral studies, beat-making and production techniques, and the history of music technology.


Alexander Marsden – popular music, EDM, reception studies
amarsden@live.unc.edu

Alexander Marsden (Ph.D. candidate) grew up in Lancaster, in the U.K. He holds Bachelor’s and Master’s degrees in music from the University of Cambridge (2010-2014). To date, his primary research has centered around electronic dance music and rap in Britain, focusing on issues of critical reception, the politics of genre definition, and the relationship between concepts of modernism and popular music.


Meg Orita – popular music, social media
hmorita@live.unc.edu

Originally from Princeton, N.J., H. Meg Orita (Ph.D. candidate) holds a Bachelor of Music degree, summa cum laude with program honors, in Voice & Opera Performance with a Minor in Musicology from Northwestern University’s Henry and Leigh Bienen School of Music. She recently completed her Master’s thesis, addressing how music of different genres is arranged for figure skating programs. Her current research focuses on narratives of trauma and recovery in the work of 1990s/2000s singer-songwriters. Meg’s research interests incorporate social media ethnography, body-positivity, and feminist theory.


Erin Pratt – 19th- and 20th-century German art music
ecp@live.unc.edu

Erin Pratt (Ph.D. candidate) holds a B.A. in music and classics from Smith College. She is interested in German art music of the late nineteenth and twentieth centuries, especially that of Gustav Mahler. Erin also engages with literary theory and its applications to music analysis, and is especially interested in music that has textual elements.


Eduardo Tatafumi SatoEduardo Tadafumi Sato – Brazilian music, opera
etsato@live.unc.edu

Eduardo Sato is a second-year graduate student from São Paulo, Brazil. His current research focuses on the musical transnational networks between the United States and Brazil during the 1930s and 1940s. He completed his M.A. in Brazilian Studies at the University of São Paulo, after receiving his B.A. in Social Sciences from the same institution. Eduardo has presented his research at conferences in Brazil, Mexico, Japan, the United States, and the United Kingdom. This past summer he was awarded the 2019 Pre-dissertation Field Research Grant from UNC Institute for the Study of the Americas to conduct field research in archives in Brazil. He also conducted research in the Library of Congress in Washington DC with the support of the Kenan Graduate Activities Fund. He is interested in music and mediation, historical ethnomusicology, postcolonial and social theory, and enjoys spending days in archives. In his free time, he loves to get visit craft breweries and coffee shops. In the 2019-2020 academic year, Eduardo is serving in two student lead committees: the Carolina Symposia in Music and Culture, and in the UNC-King’s College London Joint Conference.


Kelli Dawn SmithKelli Smith – Media technology and gender
kellisb@live.unc.edu

Kelli Smith (2nd-year graduate student) completed her Masters of Arts in Musicology at Michigan State University this past spring. She is interested in integrating her previous work experience in information technology with her current interests in experimental and contemporary music. In her Master’s thesis, she delved into comments sections and internet forums to reveal the ways in which women are excluded from online popular music communities, particularly communities formed around alternative and underground music. She also leveraged these skills in founding the Electronic Music Workshop at MSU – a student-lead electronic music ensemble that collectively composed and performed laptop music in both academic and casual concert settings.


Stephen StacksStephen Stacks – civil rights music and protest, bluegrass
sstacks@live.unc.edu

Stephen Stacks (Ph.D. candidate) is originally from Charlotte, N.C., and earned a Bachelor’s of Music in Church Music from Furman University in Greenville, S.C., and a Master’s of Sacred Music in Choral Conducting from Boston University. He pursues interests in the music of the Black American Freedom Movement (i.e. the Civil Rights Movement) and bluegrass. Stephen is also Director of Music Ministries at Greenwood Forest Baptist Church in Cary, N.C., where he loves to bring his academic study into the context of liturgical music-making.


Sierriana Terry – anime/cartoon music, late 19th- and early 20th-century American music, African American studies, ethnomusicology
srrntrry@live.unc.edu

A native of North Carolina, Sierriana Terry (Ph.D. candidate) received her Bachelor of Arts in music from North Carolina Central University. Her research interests include issues of musical characterization in Anime/Cartoons. Her secondary interests include contemporary African American studies in Broadway, musical theater and popular music, and protest culture within music festivals held by people of color in South America, similar to America’s very own AfroPunk festival.


Sarah TomlinsonSarah Tomlinson – American music, children’s studies, feminism(s), critical race theory
setomlin@live.unc.edu

Originally from Penfield, N.Y., Sarah (Ph.D. candidate) moved to Chapel Hill after graduating from Michigan State University in 2014. She holds a B.M. in Music Education and a B.A. in Music, earning both degrees with high honors. She completed an M.A. in Musicology at UNC-CH in 2016 with a master’s thesis examining the ways that activist, pianist, and singer-songwriter Nina Simone resisted racism and engaged with Black consciousness before she composed her first explicitly political protest song in 1963. Sarah is currently a Ph.D. candidate writing her dissertation on the history and current practice of classical music programming for children’s audiences in the United States. Her dissertation work involves archival research on influential historical programs including Leonard Bernstein’s Young People’s Concerts and Walter Damrosch’s Music Appreciation Hour. She brings her work to the present-day through ethnographic research with the North Carolina Symphony’s education program and participatory research with the Global Scholars Academy, an elementary and middle school in Durham, NC. By looking at canonization and reception in the past, she strategizes how children can engage more critically with classical music in the present-day. Her interdisciplinary and multi-method research is informed by her enrollment in a graduate certificate in Cultural Studies and a graduate certificate in Participatory Research.


Oren Vinogradov – 19th century, music and philosophy, musicals
vino@unc.edu

Oren Vinogradov (Ph.D. candidate) is originally from Israel and received a B.A. in Liberal Arts with a focus in Music from Simon’s Rock College of Bard, completing a thesis on the development of Leitmotiv techniques before Wagner. His research interests include the history of program music as an idea and practice, fashion and gendered performativity in film musicals, as well as ludomusicology more broadly. Oren continues to perform new music as a clarinetist and is involved in early music as a recorder player.


Kendall Hatch WinterKendall Winter – Women in music
khwinter@live.unc.edu

Kendall Winter (2nd-year graduate student) completed her Masters in Arts in Musicology at Tufts University this past spring. Her current area of particular interest is the music of the American woman’s suffrage movement, ca. mid-19th — early-20th century. The topic effortlessly marries her interests in music by and/or about women, the evolving sociopolitical role of women throughout US history, and music and politics. Archival research lends itself well to this topic for a variety of reasons, not least of which is that there is very little scholarship on the music of the American suffrage movement currently in existence. Through the use of primary sources in her research, she can reanimate the voices, ideas, and opinions of people long since gone for a modern audience. She is humbled by archival research because it frequently yields results she never expected, or, no results at all.