Jeff Taylor, Director, (Ph.D., Michigan)
has been a member of the Conservatory faculty since 1993. He specializes in
jazz and other areas of music in the United States, though he also teaches
general courses in Western music history and musicology and has regularly led
sections of the Conservatory's introductory Core course (he is also a
co-author of that course's textbook). He is also on the faculty of the CUNY Graduate
Center, where he teaches
doctoral seminars in American music and jazz history and historiography. His
scholarly work has focused primarily on pre-1940s jazz, though his interests
include many aspects of current trends in jazz and popular music scholarship
and performance, particularly those related to race, gender, class, sexuality
and spirituality. He is on the editorial boards of Black Music Research
Journal and The Journal of the Society for American Music. His
writing has appeared in Musical Quarterly, Black Music Research Journal,
American Music, American Music Review, and other publications.
As a performer Prof. Taylor has focused primarily on the work of early jazz
pianists such as Jelly Roll Morton, Fats Waller, and James P. Johnson, and in
1998 appeared with fellow pianist Artis Wodehouse at several events related
to ISAM's The Gershwins at 100 festival. His volume in the MUSA (Music
of the United States)
series, Earl “Fatha” Hines: Collected Piano Solos, 1928-41,
won the Claude Palisca Award from the American Musicological Society in 2007.
He is currently at work on a book for University
of California Press titled Earl
Hines and Chicago
Email Professor Taylor: email@example.com
is Associate Professor of Music and the Director of
the American Studies program at Brooklyn
College. Trained in
folklore and ethnomusicology, his research has centered on New York City's diverse ethnic music
cultures. He is author of Singing in the Spirit: African-American Sacred
Quartets in New York City (University of Pennsylvania
Press) and co-editor of Island Sounds in the Global City:
Caribbean Popular Music in New York City
(ISAM/University of Illinois
Press). His current research focuses on West Indian Carnival music in Brooklyn.
Professor Allen has been affiliated with
ISAM since 1993, and served as Acting Director from 1997 to 1999. He has
co-produced a number of the Institute's festivals, including the centenary
celebrations in honor of Henry Cowell (1997) and George Gershwin (1998). As a
Hitchcock Institute Associate he currently co-edits the American Music
Review with Jeffrey Taylor.
Professor Allen teaches survey courses in
the music of the United States
and New York City.
In addition he directs Brooklyn
Studies program, an interdisciplinary program that specializes in American
music and cultural studies.
Email Professor Allen: firstname.lastname@example.org
Stephanie Jensen-Moulton recently
defended her dissertation, "'Sparring with Fate': Miriam Gideon's 1958
Opera Fortunato" at the CUNY
and graduated with a Ph.D. in Musicology and a Women's Studies Certificate in
February 2008. Her work has been published in Critical Minded: New Approaches
to Hip Hop Studies, edited by Ellie M. Hisama and Evan Rapport, and most
recently, in Sounding Off: Theorizing Music and Disability, edited by Neil
Lerner and Joseph N. Straus. Stephanie's scholarly work focuses on three operas
written by women in 1950s New York
City, including works by Miriam Gideon, Julia Perry,
and Louise Talma. As a performer, Stephanie specializes in contemporary
repertory, and has been hailed by The New York Times as a soprano who sings
"brilliantly and confidently." Her research interests include
American music, women in music, and disability studies.
A specialist in American music after
1900, Jensen-Moulton places particular importance in her work on music as a
product of culture. Her current research focuses on music by women composers,
feminist ways of engaging musical texts, popular music studies, and the body
as a musical technology.
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Rachael Brungard, fellow, is a doctoral student in historical musicology at
the City University of New York. She earned her B.A. and graduated with
honors in musicology from Oberlin Conservatory of Music in 2005, and received
her M.A. in musicology from Queens
College in 2008. At
Oberlin, she was awarded the James H. Hall Prize in Music History.
Rachael’s primary research interests encompass current popular music
remixes, rap versions, and mash-ups, as well as several U.S. popular music
genres, including rock and roll, rap, techno, funk, and pop. She also enjoys
studying the Romantic symphony, the symphonic poem, and 20th-century Western
art music, particularly music influenced by cubism and minimalism. Rachael
was recently elected a Student Representative for the Greater New York
chapter of the American Musicological Society.
As an assistant editor at
Répertoire International de Littérature Musicale (RILM),
Rachael accesses in English and German, creates starter abstracts as needed,
and provides basic indexing.
Email Rachael Brungard: firstname.lastname@example.org
Salim Washington, Assistant Professor of Music and
Hitchcock Institute Senior Associate, received his Ph.D. from Harvard University with a dissertation on John
Coltrane. A Harlem-based tenor saxophonist, he also plays the flute and the
oboe, and is an avid
on a commission for works celebrating the life and music Dexter Gordon he
established a new group, the Harlem Arts Ensemble, which continues the legacy
of his Boston-based band, the Roxbury Blues Aesthetic. In addition to his own
groups, Salim plays regularly with a number of ensembles including the Donald
Smith Quintet, Antonio Dangerfield’s Ensemble Uniqua, Frank
Lacy’s Vibe Tribe, and the Frank Lacy Octet, James Jabbo Ware’s
Me, We, and Them Orchestra, the Brooklyn Repertory Ensemble, Ahmed
Abdullah’s Diaspora, and the Carl Grubbs group. He has travelled extensively, playing music festivals throughout
the US and Canada, Latin America, and Europe. He has also led music workshops for the Northern Ireland Arts
Council in Belfast, the Bill Evans
conservatory in Paris, Harvard
University, the Vermont Jazz
Center, Plymouth State
College, the Guelph Music Festival, and elsewhere. He is a member of the Jazz
Study Group at Columbia
University and has
participated on various committees and panels in service of jazz, including
those convened by the Ford Foundation, the Boston Pheonix, the New
England Foundation for the Arts. He is co-author with Farah Jasmine Griffin
of Clawing at the Limits of Cool: the collaboration between Miles Davis
and John Coltrane, 1955-1961, forthcoming from St.
His recordings include:
Grubbs Quartet, featuring Ronnie Burrage and Steve Neil, forthcoming (prod.
the Spaceways. Ahmed
Abdullah’s Dispersions of the Spirit of Ra, Planet Arts, 100324,
at the Archipel, Katy
Roberts Septet, 2004.
Vibe, Katy Roberts Septet, 2002.
Bill Barron Project,
Bill Lowe/Carl Atkins Big Band, Green Line Records, 1999
-Live at Detroit Montreaux Jazz
Festival, Henry Cook
Band, featuring Bobby Ward, Accurate
Records, AC-5036, 1999.
RAW Field Recordings, Paradigm
Shift, Tautology 010, 1999.
in Exile, Salim Washington and RBA,
featuring Joe Bonner, on Accurate Records 1997.
Again, Billy Skinner
DJQ, on Kitty Kat Records, 1992.
Rufu, Billy Skinner DJQ, Accurate Records, 1990. (Best Jazz CD,
Pepsi Music Awards,
one of the Ten Best CD's of the decade, Los Angeles
Email Professor Washington at email@example.com.