SOUND_DESIGN
ACADEMIC EMPLOYMENT
2024-
Associate Professor of Music & Computer Science, Albright College
2020-
Music Department Chair, Albright College
2018-2024
Assistant Professor of Music & Computer Science, Albright College
2018-
Director of Music Technology & Composition, Albright College
2018
Lecturer in Music, Pomona College
2016-2018
Visiting Assistant Professor of Media Studies, Pitzer College
2016-2018
Lecturer in Music Industry, UCLA
EDUCATION
2016
Ph.D, Musicology. UCLA
Dissertation: “Interface Aesthetics: Sound, Software, and the Ecology of Digital Audio Production.” Committee: Nina Eidsheim, Robert Fink, Timothy D. Taylor
Graduate Certificate: UCLA Digital Humanities (Advisor: Peter Lunenfeld)
2011
M.A., Music (musicology). Tufts University
Thesis: Behind the Beat: Technical and Practical Aspects of Instrumental Hip-Hop
2009
B.M., Music Education. UNH
Minor: Philosophy
AWARDS
Albright Creative Research Experience (2020-23)
Class of '49 Annadora Vesper Shirk Award for Faculty Scholarship (2022)
Reading Musical Foundation, Special Projects Grant (2021)
Albright Summer Faculty Scholarship (2021)
Dissertation Year Fellowship (UCLA, 2015-16)
Lise Waxer Student Paper Prize (Society for Ethnomusicology, 2015)
Andrew W. Mellon Fellowship of Distinction (UCLA, 2011-14)
Pauley Fellowship (UCLA, 2011-14)
Friends of Musicology Award for Best Seminar Paper (UCLA, 2012)
PUBLICATIONS
Books
Push: Software Design and the Cultural Politics of Music Production. Oxford University Press, 2022.
Peer-Reviewed Articles
"Plugin Cultures: The Digital Audio Workstation as Maximal Interface." Journal of Popular Music Studies 33, no. 4 (December 2021).
“Worlds of Sound.” Music, Sound, and the Moving Image 9, no. 2 (January 2016).
“Electronic Dance Music in the Dubstep Era.” In Oxford Handbooks Online. New York: Oxford University Press, 2015.
“Going Hard: Bassweight, Sonic Warfare, and the ‘Brostep’ Aesthetic.” Sounding Out! January 23, 2014, http://soundstudiesblog.com/2014/01/23/going-hard-bassweight-sonic-warfare-the-brostep-aesthetic/
“How to Reformat the Planet: Technostalgia and the ‘Live’ Performance of Chipmusic.” Journal on the Art of Record Production 6 (2012).
Book Chapters
"Spatial Audio and the Imaginary Soundscapes of Grand Theft Auto 5." In Imaginary Cities: Underground Music Cultures and Music-Making in Los Angeles, edited by Sébastien Darchen, Damien Charrieras, and John Willsteed. Palgrave Macmillan, forthcoming.
"Strength in Numbers: How Young Artists Navigate Racial Stereotypes in the Rap Industry." In The Handbook of Critical Music Industry Studies, edited by David Arditi and Ryan Nolan. In progress.
"The Biopolitics of Synthesizers." In The Oxford Handbook of Electronic Dance Music, edited by Robin James and Luis-Manuel Garcia. New York: Oxford University Press, 2021.
"Compression Aesthetics: Transducing Segregation in the Los Angeles Beat Scene." In Electronic Cities: Music Policies and Space in the 21st Century, edited by Sébastien Darchen, Damien Charrieras, and John Willsteed. Palgrave Macmillan, 2021.
“'Diggin' in the Carts': Technologies of Play in Hip-Hop Production and Performance.” In Critical Approaches to the Production of Music and Sound, edited by Samantha Bennett and Eliot Bates. London: Bloomsbury, 2018.
“Off the Grid: Instrumental Hip-Hop and Experimentalism After the Golden Age.” In The Cambridge Companion to Hip-Hop, edited by Justin Williams. New York: Cambridge, 2015.
“Bassweight: Dubstep and the Transnational Space of Hip-Hop.” In Hopeless Youth! Tallinn, Estonia: Estonian National Museum, 2015.
Reviews
Review of The Music of Nobuo Uematsu in the Final Fantasy Series, edited by Richard Anatone. Music, Sound, and the Moving Image. In progress.
Review of The Oxford Handbook of Mobile Music Studies, edited by Sumanth Gopinath and Jason Stanyek. Transfers 5 no. 2 (2015).
Review of Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording, by David Grubbs. Popular Music and Society 38, no. 3 (2015).
Review of Jay-Z: Essays on Hip-Hop’s Philosopher King, edited by Julius Bailey. Association for Recorded Sound Collections Journal 44 (2013).
Review of Groove Music: The Art and Culture of the Hip-Hop DJ, by Mark Katz. Association for Recorded Sound Collections Journal 44 (2013).
Review of Playing Along: Digital Games, YouTube, and Virtual Performance, by Kiri Miller. Ethnomusicology Review 17 (2012).
Encyclopedia Entries
“Electronic Music,” in The SAGE Encyclopedia of Ethnomusicology, edited by Janet Sturman and Geoffrey J. Golson (Sage Publications, forthcoming).
PRESENTED PAPERS
2023
“The Akai MPC and the Ghosts in the Hip-Hop Machine.” Paper and music production workshop presented at the Third International Conference on Timbre, Thessaloniki, Greece, July 10.
“Spatial Audio and the Imaginary Soundscapes of Grand Theft Auto 5.” Paper presented at the International Association for the Study of Popular Music conference, Minneapolis, MN, June 27.
“Compression as Worldbuilding: The Sonic Philosophy of Daddy Kev.” Paper presented at the Low End Theories conference, May 19.

2022
“The Music Products Industry After #MeToo.” Panel presented as part of Albright College’s “Empowering Albright Voices,” March 4.

2021
“Software Studies and Music Production.” Paper presented as part of the “Popular Music Books in Process” series from the International Association for the Study of Popular Music, US Branch, September 27.
“Virtual Reality Applications for Remote Music Collaboration.” Paper presented at the New York State/ St. Lawrence chapter meeting of the American Musicological Society, April 16.
2020
"Gross Beats: Hyperquantization in Trap Music." Paper presented at the Muddy Rhythms Seminar, Oslo, Norway, February 4.
2019
"The Music Products Industry and Its Discontents." Paper presented at the American Musicological Society annual conference, Boston, MA, October 31.
"Controller Cultures: Technologies of Play in Hip-Hop and Electronic Dance Music." Paper presented at the international Art of Record Production conference, Boston, MA, May 18.
"Interface Aesthetics: Procedural Listening and the Ecology of Digital Music Production." Paper presented at the international conference Sustainable Sounds: Interrogating the Materials of Music Making Technologies, Edinburgh, UK, May 11.
"Plugin Cultures: The Digital Audio Workstation as Maximal Interface." Paper presented at the annual meeting for the International Association for the Study of Popular Music, US Branch, New Orleans, Louisiana, March 10.
2018
"From the Studio to the Stage: The New Ecology of Digital Audio Production." Paper presented at the annual meeting for the American Musicological Society, San Antonio, Texas, November 10.
"Ubiquitous Production: Making Music with the iPhone." Paper presented at the annual meeting for the Society for Cinema and Media Studies, Toronto, Ontario, March 15.
"Ubiquitous Production: Making Music with the iPhone." Paper presented at the annual meeting for the International Association for the Study of Popular Music (US), Nashville, Tennessee, March 9.

2017
“From the Studio to the Stage: The New Ecology of Digital Audio Production.” Paper presented at the joint meeting for the Northwest and Pacific-Southwest chapters of the American Musicological Society, Los Angeles, California, April 29.
2016
“Off the Grid: Self-Effacing Production in Electronic Dance Music.” Paper presented at the annual meeting of the Society for Music Theory, Vancouver, BC, November 4.
“New Creation and Location Technologies.” Invited speaker and panel moderator, “Digital Hollywood: Music 2020,” Skirball Cultural Center, Los Angeles, CA, October 20.
“Electronic Music, Computational Aesthetics, and the Californian Ideology.” Poster and workshop presented at the annual meeting of the Society for American Music, Boston, MA.
2015
"'Digging the Carts': Technologies of Play in Hip-Hop Production and Performance.” Society of Ethnomusicology, Austin, TX
"Programming Sound: Computational Thinking in Electronic Music." Pacific-Southwest Chapter of the American Musicological Society, Riverside, CA
2014
“Off the Grid: Self-Effacing Production in Juke and Footwork.” American Musicological Society, Milwaukee, WI
“Interface.” Invited panelist and performer, “Machine Fantasies: A Workshop on Music Technologies.” Tufts University, Medford, MA
“’Less Work, More Flow’: Embodied Interactivity and the Ecology of Digital Media.” International Association for the Study of Popular Music (US), Chapel Hill, NC
“The Limits of Digitalism: Hypermasculinity and the New Cultures of Control.” Thinking Gender, UCLA Center for the Study of Women
2013
“Interface Design and Technical Practice in Digital Audio Production Software.” BruinTech, “Tech-a-Thon,” UCLA
“Can’t Stop, Won’t Stop: Critical Perspectives on Miley Cyrus.” Invited panelist, UCLA Cultural Affairs Commission
“The Limits of Digitalism: When Software Becomes Hardware.” International Association for the Study of Popular Music (US), Austin, TX
2012
“There’s an App for That: Technological Mediation in the Live Performance of Hip-Hop.” Lecture recital presented at the annual meeting for the Society for Ethnomusicology, New Orleans, LA
“Virtue/Virtuosity/Virtuality.” Harvard Graduate Music Forum, “Music and Media,” Cambridge, MA
2011
“How to Reformat the Planet: Technostalgia and the ‘Live’ Performance of Chipmusic.” The Art of Record Production conference, San Francisco, CA
“’Keepin’ It Real’: ‘Liveness’ and the Externalization of the Digital Interface in Instrumental Hip-Hop Production.” Lecture recital presented at the Stony Brook University Graduate Music Symposium, “Perspectives on Performance,” Stony Brook, NY
“Behind the Beat: Technical and Practical Aspects of Instrumental Hip-Hop.” International Association for the Study of Popular Music (US), Cincinnati, OH
2010
“Behind the Beat: Technical and Practical Aspects of Instrumental Hip-Hop.” Tufts University Graduate Research Symposium, Medford, MA
INVITED LECTURES AND WORKSHOPS
2023
"Push: Software Design and the Cultural Politics of Music Production." Book presentation for a launch event of the Society for Music Production Research, June 16.
"Music Technology Pedagogy and the Liberal Arts." Presentation for the Reading Musical Foundation Board of Trustees, June 2.
“Plugin Cultures: The Business of Beats.” Lecture for Hip-Hop Production at Amherst College, April 21.
"Creativity and Innovation Brainstorming Session." Workshop presented for the Teaching & Learning Day at Albright College, January 19.
2022
“Software Design and the Cultural Politics of Music Production.” Lecture for Instruments, Interfaces, Infrastructures at Harvard University, October 19.
“Artificial Intelligence, Deep Listening, and the ‘Crisis’ of Automation.” Lecture for Haverford College, Haverford, PA, March 17.
“Lo-Fi Aesthetics: Sampling Hip-Hop’s Golden Age.” Workshop for Haverford Humanities Center, Haverford College, Haverford, PA, March 17.
“The Music Products Industry After #MeToo.” Lecture for Intersectionality Technology and Music for The George Washington University, Washington, D.C., March 10.
“Artificial Intelligence, Deep Listening, and the ‘Crisis’ of Automation.” Lecture for the Corcoran School of the Arts and Design at The George Washington University, Washington, D.C., March 10.

2021
“The Cultural Politics of Music Software.” Guest Seminar for Software Studies and Music from University of California, Los Angeles, May 17.
“Music Production XR: Making Music in Mixed Realities.” Lecture for the Local Perspectives on Electronic Music Series, Montgomery County Community College, Blue Bell, PA, February 23.
2020
“Virtual Reality, 360 Video, and the Future of Classical Music Performance.” Workshop for The Da Camera Society, Los Angeles, May 26.
2019
"The Music Products Industry and Its Discontents." Lecture for The Music Business Forum from Albright College, Reading, Pennsylvania, April 6.
2018
"Sampling and Sequencing Audio in Ableton Live." Workshop for the Thelonious Monk Institute of Jazz from University of California, Los Angeles, April 6.
"Music Technology and Live Performance." Lecture for The Art and Culture of the DJ from Eckerd College, St. Petersburg, Florida, January 22.
"Sound Mixing and Mastering in Logic Pro X." Workshop for the Thelonious Monk Institute of Jazz from University of California, Los Angeles, January 12.
2017
"Making Beats and Remixes in Ableton Live." Workshop, Producers, Remixers, and Electronic Music from University of California, San Diego, November 8.
"Sound Recording, Editing, and Post-Production for Video." Intercollegiate Media Studies Workshop, Claremont Colleges, Claremont, California, October 19.
2016
“Hip-Hop, Video Games, and Electronic Dance Music.” Lecture recital, Millspace Speaker/Performer Series, Newmarket, NH.
2014
“The Dirty South: Hip-Hop from Atlanta to Sao Paolo.” Class lecture, History of Rock, Orange Coast College, Costa Mesa, CA
2013
“Sound, Code, and the Aesthetics of Hardware Hacking.” Lecture and workshop, Digital Music Cultures, Occidental College, Los Angeles, CA
“Bleeps and Bloops: Circuit-Bending and Hacker Music Cultures.” Lecture recital, Music and the Internet, UCLA
2012
“The Ghosts of New Media.” Lecture and workshop, Digital Media: Current Directions, University of California, Irvine, CA
2011
Making Music for Games. Five day workshop on music composition and sound design, New Heights Teen Center, Portsmouth, NH
2010
“Gaming the System: Technical Practice in Video Game Music Composition” Lecture recital, Tufts University, Medford, MA
“Introduction to Hip-Hop Performance and Practice.” Class lecture, History of Rock and Roll, Tufts University, Medford, MA
SELECTED PERFORMANCES
2021
“Beats, Rhymes, and Life.” Musical Performance with the Albright Rap Collective, Albright College, Reading, Pennsylvania, October 14.
Musical score for “Kintsugi, a Pandemic Project.” Produced by Jeff Lentz and performed by The Domino Players, Albright College, Reading, Pennsylvania, September 17.
2019
"Sound Masses and Wine Glasses." Art Gallery Exhibition and Music Recital, Albright College, Reading, Pennsylvania, March 30.
2018
"Conformation." Music Faculty Recital, Albright College, Reading, Pennsylvania, October 20.
“Mosaic." Music for theatrical production. Albright College, Reading, Pennsylvania, September.
2016
“Music for Games and Interactive Media." Visiting Artist Series, Pitzer College, Claremont, California, November 11
2015
“Love From Afar: A Multimedia Concert.” Sound engineer and laptop performer for audio-visual concert of works by Osvaldo Golijov and Kaija Saariaho, The Hammer Museum, Los Angeles, CA
2014
“Walk Among Worlds.” Sound designer for collaborative installation with graphic artist Máximo González, Fowler Museum, Los Angeles, CA
2012-2014
“Frequency.” Multimedia performance for the Los Angeles video game music festival, The Smell, Los Angeles, CA
2012-2013
UCLA Game Arts Festival. Artist and DJ, The Hammer Museum, Los Angeles, CA
2011
Boston Cyberarts Festival. Multimedia performance, Atlantic Wharf, Boston, MA
2010
MUSO Presents: The Books and The Attic Bits. Multimedia performance, UNH
2009-2010
Ordnance Multimedia Club Night. 3D installation artist, DJ, electronic musician, Champion’s Café, Boston, MA
2007-2008
Naked Arts—Creativity Exposed. Multimedia performance and collaborative art installation with two actors, a sculptor, and a film student, University of New Hampshire
2007
The Man Who Was Thursday. Real-time streaming media and experimental art collaboration, iArt exhibition, AXIOM Gallery, Boston, MA
2000-
Club performances and electronic music residencies in Boston, New York City, and Los Angeles
TEACHING EXPERIENCE
Albright College
"Black Popular Music." Lecturer, 25 students (2024)
"Improvisation." Seminar Instructor, 10 students (2023)
“Senior Seminar.” Lecturer, 10 students (2023)
“Talent Management.” Lecturer, 10 students (2023)
“Music & Cinema.” Lecturer (online & in-person), 20 students (2021-2023)
“Popular Music & Digital Culture.” Lecturer (online & in-person), 20 students (2020-2023)
“Songwriting.” Lecturer, 10 students (2018-2023)
“Commercial Arranging.” Lecturer, 10 students (2019-2021)
“Applied Lessons in Music Production.” Private Lesson Instructor (2018-2023)
“Sound Design for Visual Media.” Lecturer, 10 students (2021-2022)
“Game Production.” Lecturer, 10 students (2021)
“Introduction to Game Design.” Lecturer, 15 students (2020)
“Game History & Development.” Lecturer, 15 students (2020-2022).
“Experience Design & Narrative.” Lecturer, 15 students (2020-2021).
“Intro to the Music Business.” Lecturer, 35 students (2020).
“Mixing & Mastering.” Lecturer, 10 students (2022).
“Recording Technology.” Lecturer, 10 students (2018-2022).
“Rap Collective.” Performance Ensemble Director, 20 students (2019-2023).
“Music Marketing.” Lecturer, 25 students (2019-2023).
“Cultural Politics of Hip-Hop.” Lecturer (online & in-person), 15 students (2019-2021).
“Intro to Music Technology.” Lecturer (online & in-person), 10 students (2019-2022).
“Music Production.” Lecturer, 15 students (2019-2023)
“Theory and Aural Skills II.” Lecturer, 12 students (2019)
“Live Audio Production.” Lecturer, 25 students (2018)
“Theory and Aural Skills I.” Lecturer, 12 students (2018)
Millersville University
"Synthesis & Sampling." Lecturer, 25 students (Spring 2020)
Pomona College
"Survey of American Music." Undergraduate Lecturer, 20 students (Spring 2018)
Pitzer College
"Sound Design." Undergraduate Lecturer, 20 students (Spring 2018)
"Introduction to Digital Media Studies." Undergraduate Lecturer, 25 students (Spring 2018)
"Game Sound." Undergraduate Lecturer, 20 students (Fall 2017)
"Popular Music & Digital Culture." Undergraduate Lecturer, 25 students (Fall 2017)
"Introduction to Digital Sound Production." Undergraduate Lecturer, 20 students (Fall 2017)
"Introduction to Digital Media Studies." Undergraduate Lecturer, 20 students (Spring 2017)
"Sound Design." Undergraduate Lecturer, 20 students (Spring 2017)
"Remix Cultures." Undergraduate Lecturer, 20 students (Spring 2017)
“Popular Music & Digital Culture.” Undergraduate Lecturer, 25 students (Fall 2016)
“Introduction to Digital Sound Production.” Undergraduate Lecturer, 20 students (Fall 2016)
UCLA
"History of Popular Music." Undergraduate Seminar Instructor, 15 students (Spring 2018)
"Experience Design." Undergraduate Lecturer, 25 students (Spring 2018)
"Seminar on the Music Industry." Undergraduate Seminar Instructor, 20 students (Winter 2018)
"Seminar on the Music Industry." Undergraduate Seminar Instructor, 20 students (Fall 2017)
"Audio Technology for Musicians." Undergraduate Lecturer, 20 students (Summer 2017)
"Seminar on the Music Industry." Undergraduate Seminar Instructor, 20 students (Summer 2017)
"Seminar on the Music Industry." Undergraduate Seminar Instructor, 20 students (Spring 2017)
"Seminar on the Music Industry." Undergraduate Seminar Instructor, 20 students (Fall 2016)
“Audio Technology for Musicians.” Undergraduate Lecturer, 20 students (Summer 2016)
“Music Industry, Technology, and Science.” Undergraduate Seminar Instructor, 20 students (Summer 2016)
“Writing About Music.” Undergraduate Lecturer, 20 students (Summer 2015)
“Computational Thinking and the Arts.” Undergraduate Seminar Instructor, 20 students. Honors Interdisciplinary Cluster (Spring 2015).
“Writing About Music.” Teaching Assistant, 20 students (Winter 2015).
“History and Practice of Electronic Dance Music.” Undergraduate Lecturer, 65 students (Summer 2014).
“Music & Gender.” Teaching Assistant, 60 students (Fall 2014).
“Stardom Strategies for Musicians.” Teaching Assistant, 160 students (Winter 2014).
“History and Practice of Electronic Dance Music.” Undergraduate Lecturer, 65 students (Summer 2013).
“The Art of Record Production.” Undergraduate Seminar Instructor, 16 students. Honors Interdisciplinary Cluster (Spring 2013).
“America in the 1960s.” Teaching Assistant, 50 students (2012-2013 Year).
Tufts University
“Music Technology and Digital Culture.” Teaching Assistant, 60 students (Fall 2010).
“History of Rock ‘n’ Roll.” Teaching Assistant, 150 students (Spring 2010).
RESEARCH EXPERIENCE
2023
“The Economics and Sociocultural Impact of Digital Service Providers,” Albright Creative Research Experience, student collaboration with Jack Baldwin

2022
“Building Connections Across Music and Games,” Albright Creative Research Experience, student collaboration with Kyle Kartchner

2021
“Performing Gender in Videogame Livestreams,” Albright Creative Research Experience, student collaboration with Jonathan Craft

2020
“The Music Products Industry After #MeToo,” Albright Creative Research Experience, student collaboration with Sarajean Reinert
2015-2016
Digital Strategist, UCLA Career Center
2013-2016
Researcher, Music Industry Data, Academic Rights Press
Research Assistant, Nina Eidsheim, UCLA Musicology
Research and Instructional Technology Consultant, UCLA Center for Digital Humanities
2012
Archivist, Center for Primary Research and Training, UCLA Special Collections
SERVICE
External Program Review
2022-2023
External Review, Beloit College Music Department
Doctoral Thesis Supervision
2023
Bjørnar Sandvik, Time Tinkering: On Grids, Waveforms, and Techniques of Machine Rhythm (University of Oslo)
Conference and Event Organization
2023
Program Committee, American Musicological Society, New York State - St. Lawrence Chapter
2018
Program Committee, Society for Ethnomusicology, Southern California and Hawaii Chapter
2015
Conference Committee Chair, “Inertia: A Conference on Sound, Media, and the Digital Humanities” (UCLA)
Program Committee, American Musicological Society, Popular Music Study Group
Organizational Assistant, “Voice Studies Now” Conference (UCLA)
2012-2014
Program Committee, International Association for the Study of Popular Music (US)
Organizational Assistant, University of California Multicampus Research Group
Organizer, UCLA Musicology Distinguished Lecture Series
Program Committee, Echo: A Music-Centered Journal annual conference
Editing
2023-2026
Editorial Board Member, Journal of the Society for American Music
2023-
Manuscript Reviewer, Journal of Sound and Music in Games
2020-
Manuscript Reviewer, Cambridge University Press
2020-
Manuscript Reviewer, Routledge
2014-
Manuscript Reviewer, Journal of Popular Music Studies
2012-2015
Web Editor, International Association for the Study of Popular Music (US)
Technical Editor, Echo: A Music-Centered Journal
Technical Editor, Ethnomusicology Review
Leadership
2018-
Executive Committee, International Association for the Study of Popular Music (US)
Chair, Lise Waxer Prize Committee, Society for Ethnomusicology
2017-
Listserv Moderator, American Musicological Society
2014-16
Graduate Student Representative, UCLA Electronic Dance Music Club
2012-2014
Graduate Student Representative, International Association for the Study of Popular Music (US)
Election Committee, International Association for the Study of Popular Music (US)
PROJECT DESIGN & MANAGEMENT
2019
Web and Graphic Design, "Lion Records," Albright College
2018
Web and Graphic Design, "UCLA Master of Applied Economics"
2017-
Web and Graphic Design, "ImaginePhD Student Toolkit," Multicampus Graduate Career Consortium
2016
Web and Graphic Design, “UCLA Master of Social Science Program,” UCLA Division of Social Sciences
2015-2016
Digital Strategist, UCLA Career Center
Project Lead, “Online Encyclopedia of Electronic Dance Music," UCLA Musicology
Lead Design, “Engaging Punk” Online Companion, UCLA Musicology
Web Design, “Unediting the Teaching Text," UCLA Center for 17th and 18th Century Studies
User Experience Design, “Keys to Voice Studies” Website, UCLA Musicology
2014-2015
Consultant, “Beyond the Digitized Slide Library: A Digital Art History Institute," UCLA Digital Humanities
Web Design, “Underwater Cultural Heritage,” UCLA Digital Humanities
User Experience Design, UCLA Center for Digital Humanities Website
Consultant, “Online Encyclopedia of African Music,” UCLA Ethnomusicology
2013
Interaction Design, “RomeLab," Mellon Foundation Humanities Virtual Worlds Consortium
Consultant, “Multimedia in the Classroom,” UCLA English Composition
Consultant, “Babelium: Translation Tools for Language Instruction." UCLA Asian Languages and Cultures
PROFESSIONAL AFFILIATIONS
Music and Entertainment Industry Educators Association
Society for Cinema and Media Studies
Society for American Music
Society for Music Theory
American Musicological Society
Society for Ethnomusicology
International Association for the Study of Popular Music (US)
REFERENCES
Joseph Auner, Professor of Music, Tufts University
Nina Eidsheim, Assistant Professor of Musicology, UCLA (Dissertation Advisor)
Robert Fink, Professor of Musicology, UCLA
Peter Lunenfeld, Professor of Design Media Arts, UCLA
Stephen Mamber, Professor of Cinema and Media Studies, UCLA
Miriam Posner, Digital Humanities Program Coordinator, UCLA
Timothy D. Taylor, Professor of Ethnomusicology, UCLA