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Our Faculty

James Kippen (on leave spring 2018) has taught ethnomusicology at the University of Toronto since 1990. Born and raised in London, England, he studied under the pianist and conductor jim2David Parry. He developed an interest in Hindustani music and Javanese gamelan at the University of York (UK) under Neil Sorrell, and pursued a doctorate in social anthropology and ethnomusicology at the Queen’s University of Belfast under John Baily and John Blacking. He is the author of The Tabla of Lucknow (CUP 1988). He held three major SSHRC research grants to explore issues related to rhythm and metre in Hindustani music: he has translated and analyzed several indigenous works from the 18th to early 20th centuries, projects that led to several articles as well as the book Gurudev’s Drumming Legacy: Music, Theory and Nationalism in the Mrdang aur Tabla Vadanpaddhati of Gurudev Patwardhan (Ashgate 2006). He has contributed key articles to the Garland Encyclopedia of World Music as well as a chapter in the popular textbook on ethnographic method, Shadows in the Field (Barz & Cooley, 2nd ed. OUP 2008). He is the co-editor of Music, Dance and the Art of Seduction (Eburon 2013). He continues to play both tabla and pakhavaj drums, and is an enthusiastic Balinese gendèr player with the ensemble Seka Rat Nadi. (Download list of publications.)

Joshua D. Pilzer is Associate Professor of Ethnomusicology in the Faculty of Music at the University of Toronto. Born in Vancouver, he grew up in Nashville, Tennessee as a popular musician. He earned his bachelor's degree at the Evergreen State College in josh02interdisciplinary studies, and degrees in ethnomusicology  from the University of Hawai'i (MA) and the University of Chicago (PhD). His research focuses on the anthropology of music in modern Korea and Japan, and the relationships between music, survival, memory, traumatic experience, marginalization, socialization, gendered violence, public culture, mass media, social practice and identity. He is particularly interested in the ethnography of the “everyday,” and in both theoretical and analytical approaches to the thresholds which link music to other forms of social expression. His first book, Hearts of Pine, about singing in the lives of Korean survivors of the Japanese “comfort women” system, was published in 2012 by Oxford University Press. Since 2011, he has been doing summer and research-leave fieldwork for an ethnography of music and song among Korean survivors of the atomic bombing of Japan, which will be his second book project. He has published articles in Ethnomusicology, Dongyang Umak Yeonggu, and The Courtesan's Arts: Cross-Cultural Perspectives (New York: Oxford University Press, 2006). At the U of T he teaches graduate seminars on music and everyday life; the social poetics of music; music, culture, and health; the music anthropology of the imagination, and others.

Jeff Packman is an Assistant Professor of Ethnomusicology, and began teaching at the University of Toronto in 2007. He developed his interest in jeffpackmanBrazilian music while a free-lance drummer in Los Angeles performing and recording with various rock, jazz, blues, and “Latin” fusion artists. It was also during this period that he first heard the term “ethnomusicology” — a discovery that inspired him to pursue his MA (2001) with Deborah Wong and René Lysloff at the University of California, Riverside, and the PhD (2007) at the University of California, Berkeley, where he studied with Bonnie Wade, Ben Brinner, and Jocelyne Guilbault. His research on professional musicians and cultural politics in Salvador da Bahia, Brazil, has appeared in several journals including Black Music Research Journal, Ethnomusicology, and Latin American Music Review. His most recent article was published in Ethnomusicology Forum and is the first of several that examine various manifestations of samba de roda, an Afro-diasporic music and dance complex from Bahia, Brazil. The fieldwork for the samba de roda project, which was supported by a multi-year grant from SSHRC, was done in collaboration with two dance researchers and a Brazilian ethnomusicologist. In addition to studying Brazilian percussion while in Bahia, Jeff became an avid student of various string instruments including 6 and 7 string guitars and cavaquinho.

Farzaneh Hemmasi is Assistant Professor of Ethnomusicology at University of Toronto. Her interests concern popular music, celebrity, transnational media publics, and farzithe politics of popular culture. Her general research area is Iranian popular music, transnationality, media, and politics, and her publications cover topics including the postrevolutionary political metaphorization of the Iranian female singing voice; Iranian twentieth century "New Poetry" and popular music; and the Iranian expatriate cultural industries in Southern California.  Prof. Hemmasi received her doctorate, with distinction, from Columbia University in 2010. She has held fellowships with the University of Pennsylvania’s Penn Humanities Forum and Columbia University’s Middle East Institute as well as its Institute of Social and Economic Policy and Research. Her publications have appeared in Popular Communication (2017), Popular Music (2017), Ethnomusicology (2013), Mahoor Music Quarterly (2008). She has also contributed to two edited volumes, Vamping the Stage: Female Voices of Asian Modernities (University of Hawaii Press, 2017) and Muslim Rap, Halal Soaps, and Revolutionary Theater: Artistic Developments in the Muslim World (University of Texas Press, 2011). She is completing a book manuscript on Iranian popular music in Los Angeles. In the summer of 2017, she began a collaborative ethnographic research project with colleagues and students in anthropology and ethnomusicology on music, sound, space, and economics in the city of Toronto, with a focus on the Kensington Market neighborhood. Farzaneh Hemmasi at

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Associated / Adjunct Faculty

Annette Sanger's interests lie in Balinese and Javanese gamelan and annette3related performing arts, music and tourism, ritual, and in music and healing. She also directs our Balinese gamelan Semar Pegulingan ensemble. She performs gendèr wayang with the ensemble Seka Rat Nadi. Her publications include “Gamelan Manikasanti: One Ensemble, Many Musics,” with I Wayan Sinti (Asian Music 2006).

Ken McLeod has researched and written extensively on popular music culture and societykenmcleod. His recent book We Are The Champions: The Politics of Popular Music and Sports (Ashgate, 2011) examines the role of sports and popular music in constructing racial, gender, ethnic, socio-economic and national identities. He also researches issues surrounding technology and identity politics in Japanese popular music.

Robin Elliott is Jean A. Chalmers Chair in Canadian Music. He has published robinelliottextensively on Canadian music, including articles on The Guess Who and Shania Twain. His work is noted for its ethnomusicological orientation, and his co-edited volumes include Music Traditions, Cultures, and Contexts (Wilfrid Laurier University Press 2010) and Centre and Periphery, Roots and Exile (WLUP 2011).