Andrea F. Bohlman
Andrea F. Bohlman (Associate Professor, Director of Graduate Admissons) studies the political stakes of music making and sound in the twentieth and twenty-first centuries. In her work on the cultural history of music, migration and war, sound and media studies, and social movements she is interested in the methodological challenges posed by the study of the recent past and committed to weaving together archival work and ethnomusicological methods. She is deeply invested in exploring the diverse musics that permeate musical cultures past and present, whether these are popular, sacred, art, or experimental.
Much of Bohlman’s work builds on her expertise on music in East Central Europe. Her monograph, Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland (Oxford University Press, forthcoming November 2019) grows out of a decade of research on work of sound and music for the opposition to state socialism in Poland. A 2016 article on sound, historiography, and protest (“Song, Solidarity, and the Sound Document,” Journal of Musicology) was distinguished with the Alfred Einstein Award of the American Musicological Society for the best article by a scholar in the early stages of their career. Bohlman has also published extensively on migration, song, and musical nationalism, in articles on the composers Hanns Eisler and Witold Lutosławski, the Eurovision Song Contest, and the Crimean War.
She has an additional focus on the history of sound recording, politics, and the everyday. She has written on mixtapes, soundwalks, and flash mobs. In 2017, she co-edited a special issue of Twentieth-Century Music with Peter McMurray on tape and tape recording. Her current book research is on the transnational history of field recording in the context of sound art, academic research, and environmental activism—encompassing tape recording during and for war and tape recording to make social and political change. Another project in development is a study of the flexidisc in Eastern Europe, where it provides a window on amateur media fluencies, alternative economies, and on the politics of sound media circulation and storage.
Bohlman holds a B.A. from Stanford University, and an MMus from Royal Holloway, University of London. She earned her doctorate at Harvard University in 2012 after which she spent a year as an Andrew W. Mellon Postdoctoral Teaching Fellow at the University of Pennsylvania. Her research has been supported by the American Council of Learned Societies, the National Endowment for the Humanities, the American Musicological Society (AMS50), and a Fulbright-Hays fellowship.
During the academic year 2016–17 she was EURIAS Junior Fellow at the Institute of Advanced Study in Berlin (Wissenschaftskolleg zu Berlin); in spring 2019 she was a Visiting Postdoctoral Fellow at the Max Planck Institute for the History of Science.
Bohlman is affiliated faculty at the Center for Slavic, East European, and Eurasian Studies.
- Office: 211 Hill Hall
- Email: email@example.com
Fragile Sound, Quiet History: Recording Eastern Europe (in preparation).
Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland New York: Oxford University Press, forthcoming November 2019.
Co-editor, with Peter McMurray, of Twentieth-Century Music 14, no. 1. Special Issue on Tape and Tape Recording (2017).
Hanns Eisler (1898–1962): “In der Musik ist es anders,” with Philip V. Bohlman. Jüdische Miniaturen, Stiftung Neue Synagoge, Centrum Judaicum Berlin. Berlin: Hentrich & Hentrich, 2012.
“Orienting the Martial: Mobility and the Nineteenth-Century Legion Song.” In Sound and the Crimean War, edited by Gavin Williams, 105–28. New York: Oxford University Press, 2018.
“Das Radio als Wunder—Das Radio im Alltag.” In Radiophonic Culture, edited by Ute Holl, 279–85. Heidelberg: Kehrer Verlag, 2018.
“Lutosławski’s Political Refrains.” In Lutosławski’s Worlds, edited by Lisa Jakelski and Nicholas Reyland, 273–300. Woodbridge, UK: Boydell and Brewer, 2018.
“Making Tapes in Poland: The Compact Cassette at Home.” Twentieth-Century Music 14, No. 1 (2017), 119–34.
“Tape: Or, Rewinding the Phonographic Regime,” with Peter McMurray. Twentieth-Century Music 14, No. 1 (2017), 3–24.
“Solidarity, Song, and the Sound Document.” Journal of Musicology 33, No. 2 (2016), 232–69.
“Eisler on the Move: Situating Mobility in the Reisesonate,” with Florian Scheding. Music & Letters 96, No. 1 (2015), 77–98.
“‘Where I Cannot Roam, My Song Will Take Wing’: Polish Cultural Promotion in Belarus, 1988.” In Music and International History, edited by Jessica C.E. Gienow-Hecht, 226–55. New York and Oxford: Berghahn Books, 2015.
“Doing the European Two-Step,” with Alexander Rehding. In Singing Europe: Spectacle and Politics in the Eurovision Song Contest, edited by Dafni Tragaki, 281–97. Lanham, Md.: Scarecrow Press, 2013.
“‘Eurovision Everywhere’: A Kaleidoscopic Vision of the Grand Prix,” with Ioannis Polychronakis. In Singing Europe: Spectacle and Politics in the Eurovision Song Contest, edited by Dafni Tragaki, 57–77. Lanham, Md.: Scarecrow Press, 2013.
Articles Forthcoming or under Review
“How Does A Boycott Sound?” In The Oxford Handbook of Music and Protest, edited by Eric Drott and Noriko Manabe. New York: Oxford University Press.
“Overwriting Sound: Polish Commemoration in Concert.” In Performing Commemoration: Musical Reenactment and the Politics of Trauma, edited by Annegret Fauser and Michael A. Figueroa.
Reviews and Encyclopedia Entries
“Poland: Contemporary Performance Practice,” The SAGE Encyclopedia of Ethnomusicology, ed. Janet Sturman (Thousand Oaks, CA: SAGE, forthcoming).
“Penderecki, Krzysztof.” In Oxford Bibliographies in Music. Ed. Bruce Gustafson. New York: Oxford University Press, 25 Feb. 2016, http://www.oxfordbibliographies.com/view/document/obo-9780199757824/obo-9780199757824-0176.xml.
Review of Johannes C. Gall, ed. Hanns Eisler: Alternative Filmmusik zu einem Ausschnitt aus The Grapes of Wrath; Filmmusik zu Hangmen Also Die. Notes Vol. 72, No. 2 (December 2015), 422–25.
Review of Horst Weber, “I am not a hero, I am a composer”: Hanns Eisler in Hollywood. Notes Vol. 70, No. 3 (March 2014), 473-75.
“Acocella, Joan;” “Ardoin, John;” “Eichler, Jeremy;” “Kerner, Leighton;” and “Ross, Alexander.” The Grove Dictionary of American Music, 2nd edition. New York: Oxford University Press, 2013.
I teach a variety of undergraduate courses that invite non-majors and majors alike to engage intensely with listening as a way of learning and knowing. In my lecture courses as well as in smaller classes, I cultivate a lot of in-class discussion and collaborative activities. Across my courses, I invite students to create: I frequently collaborate with Carolina Performing Arts and colleagues in music to bring performers into the classroom and the classroom to performance.
2019–20: Fall and Spring: Music and Politics (MUSC 291); Spring: Sound and Gender (MUSC 355)
Recent courses: Music History Since 1750 (MUSC 255), Music and Politics (MUSC 291), Music and Migration (MUSC 258), Magnetic Tape: History, Culture, Practice (MUSC 355)
Around the graduate seminar table, my courses build upon collective reading projects—either in a special topic or theoretical debate—toward substantial original research as well as opportunities for professional development (e.g. in the digital humanities and/or undergraduate pedagogy).
2019–20: The Work and Power of Tape
Recent topics: Resources and Methods of Musicology (MUSC 750); Cold War Music?: Political Action and Musical Life in East Central Europe; Sound Studies’ Music History; Music, Sound, Territory