Academic Appointments

1995–2006
Assistant Professor, Associate Professor. College of Musical Arts, Bowling Green State University.

2006–12          
Professor, College of Music; Core faculty member, Center for Latin American and Caribbean Studies. Michigan State University.

2012– Professor, Department of Music, University of California Davis

2022 Distinguished Professor, Department of Music, University of California Davis

Visiting Appointments

1998                Fulbright Lecturer. Autonomous University, Barcelona.

2005                Fulbright Lecturer. University of Buenos Aires.

2007                Visiting Professor. Catholic University of Buenos Aires.

2019                Visiting Lecturer. University Alberto Hurtado, Santiago de Chile.

Awards and Fellowships (Selected)

1997                National Endowment for the Humanities (Summer Stipend)

1998                Society for American Music’s Irving Lowens Article Award (see below, “Articles”).

1998                Fulbright Lectureship, Spain (Autonomous University, Barcelona)

2001                Program for Cultural Cooperation Between Spain’s Ministry of Culture and United States’ Universities

2002                ASCAP-Deems Taylor Award (see below, “Books”)

2003                Finalist, Royal Philharmonic Award (see below, “Books”)

2003                Special Mention, Robert Motherwell Book Award (see below, “Books”)

2004                Robert M. Stevenson Award for Outstanding Scholarship in Iberian Music (see below, “Books”)

2005                Fulbright Lectureship, Argentina (University of Buenos Aires)

2011                New York Public Library (Short-Term Fellowship)

2014                National Endowment for the Humanities (Summer Stipend)

2015                Mentoring at Critical Transitions Fellowship (UC Davis)

2015                MSGA Service Award
                        (Music Graduate Student Association, UC Davis)

2015                Robert M. Stevenson Award for Outstanding Scholarship in Iberian Music (see below, “Books”)

2018                New Research Initiatives and Interdisciplinary Research (Committee on Research, UC Davis)

2019    AMS Teaching Award

2021−22          Faculty Research Fellowship (UC Davis Humanities Institute)

Publications

Books

Enrique Granados: A Bio-Bibliography (Westport, CT: Greenwood Press, 1991)

Manuel de Falla and Modernism in Spain, 1898–1936 (Chicago: University of Chicago Press, 2001).

Awards: Publication subvention from the American Musicological Society; ASCAP-Deems Taylor Award, 2002 (Symphonic Books Award); Royal Philharmonic Society Award, 2003 (finalist); Robert Motherwell Book Award 2003 (one of four “Special Mentions” for books on modernism in the arts); Robert M. Stevenson Award for Outstanding Scholarship in Iberian Music, 2004 (American Musicological Society).

Sacred Passions: The Life and Music of Manuel de Falla (New York: Oxford University Press, 2005; reissued in paperback, 2008; electronic edition, 2010).

Representing the Good Neighbor: Music, Difference, and the Pan American Dream (New York: Oxford University Press, 2013).  

Awards: Publication subventions from the American Musicological Society and the Society for American Music.

Experiencing Latin American Music
(Oakland: University of California Press, 2018).

Aaron Copland in Latin America: Music and Cultural Politics
(Urbana, Chicago, and Springfield: University of Illinois Press, 2023)

Manuel de Falla’s El amor brujo. Keynote series. Oxford University Press. A study of Manuel de Falla’s flamenco-based ballet past and present.

Articles (Selected)

“Manuel de Falla’s The Three-Cornered Hat and the Spanish Right-Wing Press in Pre-Civil War Spain.” Journal of Musicological Research 15, nos. 1-2 (1995): 55-84. 

Juan Manuel Bonet and Jorge de Persia. Manuel de Falla y Manuel Ángeles Ortiz:  El Retablo de Maese Pedro, Bocetos y figurines. Madrid: Pabellón Transatlántico, Residencia de Estudiantes, 1996. Review essay in Anales de la Literatura Española Contemporánea 23, no. 3 (1997): 569-77.

“Silvestre Revueltas in Republican Spain: Music as Political Utterance.”  Latin American Music Review 18, no. 2 (1997): 278-96; rprt., trans. as “Revueltas en la España republicana: la música como pronunciamiento político.” Trans. Roberto Kolb and José K. Wolffer.  In Silvestre Revueltas: Sonidos en rebelión. Ed. Roberto Kolb and José K. Wolffer. Mexico City: Universidad Nacional Autónoma de México, Escuela Nacional de Música, Dirección General de Apoyo al Personal Académico, 2007, pp. 225-45.

“John Philip Sousa’s El Capitan: Political Appropriation and the Spanish-American War.”  American Music 16, no. 1 (1998): 1-24. Winner, Society for American Music’s Irving Lowens Article Award (best article on American music published in 1998).

“‘Als wahres volles Menschenbild:’ Brahms’s Rinaldo and Autobiographical Allusion.”  Brahms Studies, vol. 2.  Edited by David Brodbeck.  Lincoln and London: University of Nebraska Press (1998): 63–89.

“Falla and the Barcelona Press: Modernismo, Universalismo,and the Path to Neoclassicism.” In Multicultural Iberia: Language, Literature, and Music. Ed. Dru Dougherty and Milton Azevedo. Berkeley, California: Research Series no. 103, International and Area Studies Press, 1999, 212–25.

“El populismo musical de los años treinta: Copland, Chávez y Revueltas.” Cuadernos de Veruela 1, no. 3 (1999): 97–115.

“Brahms’s Rinaldo, op. 50.”  Rosaleen Moldenhauer Memorial: Music History from Primary Sources.  A Guide to the Archives.  Edited by Jon Newsom and Alfred Mann. Washington, D. C.: Library of Congress, 2000, 156-60.

“‘Un alarde de modernismo y dislocación:’ Los Ballets Russes en España, 1916-21.” In España y los Ballets Russes. Edited by Yvan Nommick. Madrid: Instituto Nacional de las Artes  Escénicas y la Música, 2001, 213–25.

“Score and Word: Writing about Music.” In Teaching Music History. Edited by Mary Natvig. London: Ashgate, 2002, 193–204.

“Enric Grandos y el contexto pedrelliano.” Recerca Musicològica XIV–XV (2004–05): 47–56.

“La ‘Danza ritual del fuego’ de Manuel de Falla y la comercialización de la música ‘latina’ en los Estados Unidos.” Ed. Mechthild Albert. Vanguardia española e intermedialidad: Artes escénicas, cine y radio. Series title: La Casa de la Riqueza. Estudios de Cultura de España. Vol. 7 Madrid and Frankfurt: Iberoamericana /Vervuert 2005, 217–30.

“Ginastera’s Bomarzo in the United States and the Impotence of the Pan American Dream.” Opera Quarterly 22, no. 3 (2006): 459–76.

“La presencia de Cervantes en la música estadounidense del siglo XX: recepción y significado.” In Cervantes y El Quijote en la música. Edited by Begoña Lolo. Madrid: Ministerio de Educación y Ciencia, Centro de Estudios Cervantinos, 2007, pp. 241–52.

“Competing Utopias?  Musical Ideologies in the 1930s and Two Spanish Civil War Films.” Journal of the Society for American Music 2, no. 3 (2008): 319–54.

“Leopold Stokowski, ‘Latin’ Music, and Pan Americanism.” Inter-American Music Review 23, nos. 1–2 (2008): 395–402.

“From Buster Keaton to the King of Harlem: Musical Ideologies in Lorca’s Poeta en Nueva York.” Anales de la Literatura Española Contemporánea 33, no. 2 (2008): 111–28.

“Jean Berger: A “Good Neighbor” in the United States.” American Music Research Center Journal 18 (2010): 39–52.

“Don Quijote y la imaginación teatral en los Estados Unidos.” In Visiones del Quijote en la Música del Siglo XX. Edited by Begoña Lolo. Madrid: Ministerio de Ciencia e Innovación, Centro de Estudios Científicos, 2010, pp. 535–45.

“Falla, the Spanish Civil War, and America.” “Encuentros/Encounters.” “Music and Dictatorship in Franco’s Spain, 1936–1975.” International conference sponsored by the Center for Iberian and Latin American Music, UC Riverside, 18 February 2011. Text posted in vol. VII (2011), “Music and Dictatorship in Franco’s Spain, 1936–1975,” at <http://cilam.ucr.edu/diagonal/index.html>

“Miguel Ángel Estrella: (Classical) Music for the People, Dictatorship, and Memory” in The Oxford Handbook of Music Censorship. Edited by Patricia Hall. New York: Oxford University Press, forthcoming.

“Saint-Saëns and Latin America.” In Saint-Saëns and His World. Edited by Jann Pasler. Princeton, NJ: Princeton University Press (2012), 201–09.

“Baroja as Music Critic: Action and Ataraxia in El árbol de la ciencia.” Studi Ispanici 37 (2012): 181–92.

“Anti-Fascism By Another Name: Gustavo Durán, the Good Neighbor Policy, and franquismo in the United States.” In Música, ideología y política en la cultura artística durante el franquísmo (1938–75). Edited by Gemma Pérez-Zalduondo. Madrid: Ministerio de España y Fundación Brepols, forthcoming, 2014, 367–82.

“De aspecto inglés pero de alma española”: Gilbert Chase, Spain, and Musicology in the United States.” Revista de Musicología (Spain), 25, No. 2 (2012): 264–96 (appeared October 2013).

“Copland in Argentina: Pan Americanist Politics, Folklore, and the Crisis of Modern Music.” Journal of the American Musicological Society, 66, No. 1, (2013), 191–250.

“Aaron Copland y la diplomacia cultural en América Latina durante la Guerra Fría: El rechazo de Europa y la política efímera del Buen Vecino.” Entre Espacios: La historia latinoamericana en el context global. Actas del XVII Congreso Internacional de AHILA, Berlín, 3-13 de septiembre de 2014. Stefan Rinke, ed.  Berlin: Freie Universität: 2016, 913-26.  http://edocs.fu-berlin.de/docs/receive/FUDOCS_document_000000024129?lang=en

“Latin American Art Music in the Music History Curriculum: Taking Stock in the United States.” Musica Docta: Rivista Digitale di Pedagogia e Didattica della Musica (2016) https://musicadocta.unibo.it/article/view/6570/6367, pp. 77-82.

“Walt Disney’s Saludos Amigos: Hollywood and the Propaganda of Authenticity.” In The Tide Was Always High: The Music of Latin America in Los Angeles. Ed. Josh Kun. Oakland: University of California Press, 2017, pp. 105-23.

“A ‘Puzzling Borderline Case?’: Manuel de Falla y la cultura de la posguerra en los E.E.UU.” Actas: “El amor brujo”: metáfora de la modernidad (1915-2015). Madrid: Autonomous University of Madrid (2017): 17-44.

“‘Avant-garde Music Sounds Very Much the Same’: Spain at the Fourth Inter-American Music Festival in Washington, D.C., 1968.” Ibero-Online. Berlin: Ibero-Amerikanisches Institut, 2018.

“From ‘Greater America’ to America’s Music: Gilbert Chase and the Historiography of Borders.” Diagonal: An Ibero-American Music Review, 4, no. 2 (2019): 31−47; https://escholarship.org/uc/item/23g476nv

“‘Old Man River’ at the Front? Paul Robeson, Music, and Blackness in Republican Spain.” Special issue, “Spain in Our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War (1936−39).” Journal of War and Culture 14, no. 4 (2021). https://www.tandfonline.com/toc/ywac20/current 

“El papel de la prensa musical en la recepción crítica de El sombrero de tres picos.” En el centenario (1919−2019) de El sombrero de tres picos. Repensar El sombrero de tres picos cien años después. Granada: University of Granada, 2021, 349−62.

 

Conference Papers, Invited Lectures, Keynotes, Panels (Selected)

“Music Criticism and the Black Legend on the Eve of the Spanish Civil War.” Annual Meeting of the American Musicological Society, Minneapolis, 1994.

“Falla and the Barcelona Press: Modernismo, Universalismo,and the Path to Neoclassicism.” An Iberian Dialogue.” International conference, Gaspar de Portolà Catalonian Studies Program, UC Berkeley, April 1997.

“En el centenario de George Gershwin.” Instituto Internacional (Madrid), February 1998.

“La música de Manuel de Falla de los años veinte en el contexto del neoclasicismo europeo.”  Six lectures. Reial Acadèmia de Belles Arts de Sant Jordi (Barcelona), February–March 1998.

“Enrique Granados: consideraciones sobre el concepto de nacionalismo en música.” Autonomous University, Barcelona, May 1998.

“Granados y el contexto pedrelliano.” International conference, “La Música Catalana entre 1875-1936: A l’entorn de les commemoracions de Joan i Ricard Lamote de Grignon.” Autonomous University, Barcelona, December 1999.

“Mexican Music at Home and Abroad: Representations of Self and Other during the 1930s.” Musicology Colloquium, University of Alabama, Tuscaloosa, February 2000.

“The Death of ‘Guilty Sensuality’: Falla’s Harpsichord Concerto, Spanish Mysticism, and the Rhetoric of Neoclassicism.” Annual Meeting of the American Musicological Society, Toronto, 2000; long version read at Musicology Colloquium, Indiana University, April 2002.

“Quijotismo and the National Memory: A Musical Realization of Cervantes’s Don Quijote in Pre-Civil War Spain.” National Conference, “Cultural Memory and Sites of Tradition,” Center for Humanities and the Arts, University of Colorado at Boulder, March 2002.

“Manuel de Falla’s ‘Ritual Fire Dance’ and the Marketing of ‘Latin’ Music in the United States.” Annual Meeting of the American Musicological Society, Columbus, 2002.

“La ‘Danza ritual del fuego’ de Manuel de Falla y la comercialización de la música ‘latina’ en los Estados Unidos.” International conference, “Vanguardia española e intermedialidad: Artes escénicas, cine y radio.” University of Saarbrücken, Saarland, June 2003.

“Manuel de Falla y el modernismo en España: una introducción.” University of Granada (Spain). 23 October 2002.

“Rethinking Latin American Music: A View from the United States.” “Criss-Cross: Conversations about America’s Music. A Symposium in Honor of Richard Crawford,” University of Michigan, Ann Arbor, April 2003.

“‘The Good Fight:’ Blitzstein, Thomson, and Musical Incongruity in The Spanish Earth.” Annual meeting of the Society for American Music, Cleveland, 2004.

“La muerte de la ‘sensualidad culpable’: El Concierto para Clava de Manuel de Falla, el misticismo español y la retórica del neoclasicismo.” Instituto Carlos Vega de Musicología (Catholic University). Buenos Aires, Argentina; National University of Córboda (Argentina), June 2004.

“Spanish Identity and Manuel de Falla’s Reading of Don Quixote.” Session, International Hispanic Music Study Group. Annual meeting of the American Musicological Society, Seattle, November 2004.

“The Spanish Earth: Blitzstein, Thomson, and the Music of ‘Indifference.’” Sound and Vision Symposium. University of Michigan, Ann Arbor, April 2005.

“La presencia de Cervantes en la música estadounidense: recepción y significado.” International conference “Cervantes y la música.” Autonomous University, Madrid, October 2005.

“Biography On the Periphery: Writing about Manuel de Falla.” Biography Study Group. City University of New York, Graduate Center, January 2006.

“‘American’ Identity and the Discourse of Primitivism in the United States.” Graduate Colloquia Series (Faculty of Music), Oxford University, March 2006.

“‘The Brazilian Oklahoma!’: Heitor Villa-Lobos’s Magdalena and the Legacy of Tropicalization.” Annual Meeting of the Society for American Music, Chicago, March 2006.

“Alberto Ginastera’s Bomarzo in the United States.” International conference, “American Opera–Opera in the Americas.” University of Michigan, Ann Arbor, March 2006.

“‘Find Me a Primitive Man’: Masculinist Discourse, Primitivism, and the Music of Carlos Chávez in the United States.” Annual Meeting of the American Musicological Society, Los Angeles, November 2006.

“The Pan-American Dream: Universalist Utopia or a “Hegemony of Music”? Annual Meeting of the Society for American Music, San Antonio, February 2008.

“Memory, Music, and the Latin American Cold War: Frederic Rzewksi’s Variations on ‘The People United Will Never Be Defeated!” Musicology Colloquium, University of Colorado, Boulder, March 2009.

“Aaron Copland in Buenos Aires: Cultural Diplomacy During the Good Neighbor Period.” North Texas State University, August 2009.

“Don Quijote y la imaginación teatral en los Estados Unidos.” International conference, El Quijote y la Música del Siglo XX: Tradición y vanguardia, Autonomous University, Madrid, November 2009.

“Memory, Music, and the Latin American Cold War: Frederic Rzewksi and Nueva canción chilena.” Annual Meeting of the Society for Ethnomusicology, Mexico City, November 2009.

“Villa-Lobos and the 1939 World’s Fair: Brasilidade, Modernism, and the Path to Universalism.” Musicology Colloquium, Catholic University, January 2010.

“Detroit Industry Meets Ballet: Carlos Chávez’s Horsepower and Pan Americanism.” Musicology Colloquium, Central Michigan University, April 2010.

“Composers Drop Nationalism”: Nueva canción, Communism, and the Music of Frederic Rzewski.” International conference, “Red Strains: Music and Communism Outside the Communist Bloc After 1945.” British Institute (London), January 2011.

“Revisiting Rosenfeld: Carlos Chávez and the Boundaries of American Music.” Annual Meeting of the American Musicological Society, San Francisco, November 2011.

“American Music and Historiography.” Musicology Colloquium, University of California at Santa Cruz, November 2011.

“Alberto Ginastera and the Cold War: A ‘Musical MacNamara’ in the United States.” ¡Viva Ginastera! Festival. University of Michigan, Ann Arbor, December 2011.

“Music and Pan Americanism: New Directions in Historiography?” Keynote address for international conference, “Cultural Counterpoints: Examining the Musical Interactions Between the U.S. and Latin America.” 50^th Anniversary Celebration of the Latin American Music Center. Indiana University, Bloomington, Indiana, October 2011.

 “Cross-Border Encounters in the Global South: A New Look at Cold War Cultural Diplomacy.” Respondent, paper session. Annual Meeting of the American Musicological Society, Pittsburgh, November 2013.

 “Classicizing the Primitive: Paul Rosenfeld and Mexican Music in the United States.” Ron Alexander Lecture. Stanford Humanities Center. Stanford University, 18 November 2013.

 “Music and the Pan Americanist Politics.” Hemispheric Institute of the Americas. University of California, Davis. 15 January 2014.

 “Aaron Copland en América Latina durante la Guerra Fría: Diplomacia cultural, modernidad y la política efímera del Buen Vecino.” Seventeenth International Congress of AHILA ( Berlin, Freie Universität), 10 September 2014.

 “Music and the Good Neighbor.” Oberlin College. Richard Murphy Musicology Colloquium, 27 September 2014.

 “Copland as Good Neighbor: Cultural Diplomacy in Latin America During World War II.”

Lecture, American Musicological Society Series. Library of Congress. 7 October 2014.

 “Aaron Copland in Latin America During the Cold War:  Cultural Diplomacy and the Memory of the Good Neighbor.” Catholic University of America. 8 October 2014.

 “Classical America: Paul Rosenfeld and the Historiography of Musical Pan Americanism.” Lyceum Series, Baylor University. 3 February 2015.

 “Integrating Latin American Music into the Music History Classroom.” IAML (International Association of Music Librarires). New York City, 22 June 2015.

 “El amor brujo y el estátus de Manuel de Falla en los Estados Unidos.” International Conference, “El amor brujo: metáfora de la modernidad (1915-2015). Granada (Spain), 9 July 2015.

“Pan Americanism and Music Scholarship.” Music Library Association (First Pan-American MLA Meeting). 23 February 2017, Orlando.

“Lincoln Portrait in Caracas: U.S. Cultural Diplomacy and the ‘Sin of Suggestibility.’” Annual Meeting of the Society for American Music. 25 March 2017, Montreal.

“‘Avant-garde Music Sounds Very Much the Same’: Spain in the Americas at the Fourth Inter-American Music Festival in Washington, D.C. (1968).” International Conference: Trayectoria/Flugbahnen: Music zwischen Lateinamerika und Europa nach 1945,” sponsored by Ibero-Amerikanisches Institut-Universität der Kunste. 5 April 2017, Berlin.

“Pan Americanism and the Beginnings of Musical Modernism in the United States.” International conference, “Latin Is America.” 23 April 2018, Michigan State University.

“‘Against the New Slavery’: Paul Robeson and the Spanish Civil War.” International conference, “Music and Politics in the 1930s.” University of Melbourne, Australia. 7 December 2019.

“Memoria y Diplomacia Cultural: Aaron Copland y América Latina.” Conservatorio de Música, Universidad Nacional de Colombia (Bogotá, Colombia). 16 September 2019.

“Memoria y diplomacia cultural: Aaron Copland durante la guerra fría.” Universidad Torcuato di Tella (Buenos Aires, Argentina). 10 September 2019.

“Diplomacia cultural y memoria: El Retrato de Lincoln, de Aaron Copland, en América Latina.” Universidad Alberto Hurtado (Santiago, Chile). 8 August 2019.

“El papel de la prensa de circulación masiva en la recepción crítica de El sombrero de tres picos de Manuel de Falla.” University of Granada (Granada, Spain). 4 July 2019.

“‘Old Man River’ At the Front? Paul Robeson and the Performance of Race in the Spanish Civil War.” Annual Meeting of the Society for American Music. 18 July, 2020, Minneapolis.

“Flamenco, Blackness, and Spike Lee’s She Hate Me.” Eighth Biennial New Perspectives in Flamenco History and Research Symposium. The National Institute of Flamenco and the University of New Mexico. 17 July 2021.

Professional Outreach and Other Writing (Selected)

Listening to Latin America: Ricardo Lorenz and the Concerto (and More). Naxos Musicology. 5 January 2021. https://www.naxosmusicology.com/opinion/listening-to-latin-america-ricardo-lorenz-a-latin-american-composer-and-the-concerto-and-more/

“El Manisero.” National Registry of Recordings, Library of Congress. December, 2019. https://www.loc.gov/static/programs/national-recording-preservation-board/documents/ElManisero.pdf

“The Significance of Latin American Music Today.” Georgetown Festival of the Arts, Georgetown, Texas, 25 May 2018; panel discussion on Latin American music, Georgetown, Texas, 25 May 2018.

“Alberto Ginastera in the United States: Nationalist or Musical Cold Warrior?” Georgetown Festival of the Arts, Georgetown, Texas, 24 May 2018.

El compositor habla: Entrevista a la musicóloga Carol A. Hess por Ruth Prieto; y ensayo, “El humor inesperado de Manuel de Falla,” 2 October 2017 http://www.elcompositorhabla.com/es/noticias.zhtm?corp=elcompositorhabla&arg_id=812&arg_pagina=0

 “Isaac Albéniz, Enrique Granados, Manuel de Falla, and the Many Faces of Spanish Nationalism.” Georgetown Festival of the Arts, Georgetown, Texas, 30 May 2014.

“1914: The Christmas Truce.” Musicology Now (blog, American Musicological Society). 23 December 2014. https://musicologynow.org/1914-the-christmas-truce/

“Public Musicology . . . 1939.” Musicology Now (blog, American Musicological Society). 15 November 2013. https://musicologynow.org/public-musicology-1939/

 “Copland and Mexico.” Lecture, panel discussion with Joe Horowitz and Roberto Kolb. University of Louisville, 28 March 2013.

Sacred Passions: The Life and Music of Manuel de Falla. Book presentation and signing. Instituto Cervantes and Foundation for Iberian Music. New York City, February 2005.

Radio interviews: with British Broadcasting Company (BBC): “Deep Song,” July 2001; “In the Works: Exploring 20th-Century Masterpieces,” May 2003; “Nights in a Divided Spain,” January 2011. With Radio Nacional (Buenos Aires): “Carol Hess habla de la música de Manuel de Falla,” June 2004; “Carol Hess habla del vanguardismo musical en las Américas,” July 2005.

Film: interview and consulting: Manuel de Falla: A Musical and Spiritual Journey (forthcoming). Steven Halpern, director.

“Carmen in Spain.” Program booklet, San Francisco Opera, 2002.

“‘The Truth Without Authenticity’: Manuel de Falla and Claude Debussy.” Program booklet, Carnegie Hall, 2003.

Enrique Granados: A Bio-Bibliography (Westport, Connecticut: Greenwood Press, 1991).

Professional Service (Selected)

Founding member, Ibero-American Music Study Group (formerly International Hispanic Music Study Group)

Chair, Committee for Career-Related Issues (American Musicological Society), 2002–04.

Chair, Site Selection Committee (Society for American Music) 2006–08.

Chair, Einstein Committee (American Musicological Society), 2007–08.

Editorial board, Diagonal (The Journal of the California Institute for Luso-Hispanic Musical Research), September 2003–present.

Editorial board, “Cervantes y la música.” Autonomous University, Madrid, October 2005–10.

Board of Trustees (Secretary), Society for American Music. February 2008–10

Editorial board, Journal of Music History Pedagogy, 2009–present.

Editorial board, Journal of the Society for American Music, 2010–present.

Chair, Teaching Award Committee (American Musicological Society), 2012–13.

Board of Directors (Council Secretary), American Musicological Society. November 2011–15.

Communications Committee, Committee for Membership and Professional Development, Obituaries Committee (American Musicological Society), 2011–15.

Program Committee, Society for American Music, 2014.

Local Arrangements Committee, Society for American Music, 2014.

Editorial board, Journal of the American Musicological Society, 2015–present

Program Committee, member, 2017; Chair, 2018

University of California, Davis, Service

Graduate Committee, 2012

Graduate Adviser for Musicology, 2013–present

Graduate Council’s Student Support Subcommittee, 2012–13

Acting Interim Chair, June–July 2013

Student Judicial Affairs, 2013–present

Representative for Music to Representative Assembly, 2013–present

Public Service Committee, 2013–17

HArCS Steering Committee

Letters and Science Reorganization Work Group

Academic Freedom and Responsibility Committee

Department Chair (2016–17)

Transforming Graduate Education Committee (Mellon-funded taskforce on diversity in graduate education, 2016–17)

 

 

Community Service

Advisory board, Getty Foundation’s 2017 Series, Pacific Standard Time LA/LA

Consultant, Global Midwest, Latin American Music Working Group, Notre Dame University