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James Kippen (on leave Winter 2017) has taught ethnomusicology at the University of Toronto since 1990. Born and raised in London, England, he studied under the pianist and conductor David 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 (on leave Fall 2016) 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 interdisciplinary 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 Brazilian 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 (on leave, Winter 2017) is an Assistant Professor of Ethnomusicology, researching Iranian popular music, migration, media, and politics. She graduated from Columbia University in 2010 and has held fellowships with the University of Pennsylvania’s Penn Humanities Forum, Columbia University’s Middle East Institute as well as its Institute of Social and Economic Policy and Research. Her publications have appeared in Ethnomusicology (January 2013), the edited volume Muslim Rap, Halal Soaps, and Revolutionary Theater (U Texas 2011), and Mahoor Musical Quarterly (2008), and she has presented at a number of North American and international conferences. She has taught ethnomusicology at the University of Pennsylvania, Columbia University, and Hunter College in the City University of New York. Farzaneh is currently writing a book that examines the intersection of popular music, affect, technological mediation, and politics in Iran and its diasporas from the 1960s to the present. In the fall of 2011, she began a new project documenting sound and musical practices associated with New York City’s Occupy Wall Street movement. She also enjoys performing Middle Eastern and Western classical and popular musics and is a founder and co-director of the Columbia University Middle Eastern Music Ensemble.
Annette Sanger's interests lie in Balinese and Javanese gamelan and related 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 society. 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 extensively 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).
Suzanne Meyers Sawa (on leave Fall 2016) is the Acting Head Librarian at the Faculty of Music Library, and her scholarly interests lie in women in Arabic music from medieval to modern times. She is an accomplished percussionist, and plays with her husband George Dimitri Sawa in the Traditional Arabic Music Ensemble.