College Music Curricula for a New Century Edited by Robin D. Moore

Examines curricula in national and international programs
— Uses global perspectives for discussions of how best to reform academic music instruction
— Provides a more comprehensive overview of progressive curricular experiments taking place than has ever existed before


Critiques and calls for reform have existed for decades within music education, but few publications have offered concrete suggestions as to how things might be done differently. Motivated by a desire to do just that, College Music Curricula for a New Century considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Editor Robin Moore creates a dialogue among faculty, administrators, and students about what the future of college music instruction should be and how teachers, institutions, and organizations can transition to new paradigms.

Including contributions from leading figures in ethnomusicology, music education, theory/composition, professional performance, and administration, College Music Curricula for a New Century addresses college-level curriculum reform, focusing primarily on performance and music education degrees, and offer ideas and examples for a more inclusive, dynamic, and socially engaged curriculum of applied musical study. This book will appeal to thoughtful faculty looking for direction on how to enact reform, to graduate students with investment in shaping future music curricula, and to administrators who know change is on the horizon and seek wisdom and practical advice for implementing change. College Music Curricula for a New Century reaches far beyond any musical subdiscipline and addresses issues pertinent to all areas of music study.


Oxford University Press


    Moore Robin 2008 (Photo by Marsha Miller)

Robin Moore is a Professor in the School of Music at the University of Texas at Austin. He has received fellowships from the Rockefeller Foundation, the MacArthur Foundation, the National Humanities Center and the ACLS. His written work includes Nationalizing Blackness (University of Pittsburgh Press, 1997), Music and Revolution (University of California Press, 2006), Danzón: Circum-Caribbean Dialogues in Music and Dance (2013, co-authored with Alejandro Madrid) and articles numerous journals and book anthologies. He edits the Latin American Music Review.


Juan Agudelo is a Ph.D student in Ethnomusicology at the University of Texas at Austin. His research focuses on Latin American popular dance music in transnational contexts, and his dissertation examines new forms of digital cumbia produced for contemporary urban dance clubs. Mr. Agudelo has published reviews, translations, and encyclopedia entries in various academic volumes, and he was archivist and research assistant for the PBS documentary series Latin Music USA.

Deborah Bradley completed her PhD in the Dept. of Sociology and Equity Studies, Ontario Institute for Studies in Education (University of Toronto) in 2006. She has published on social justice and music education in many noted journals, including Philosophy of Music Education Review, Journal of Aesthetic Education, Music Education Research, and Action, Criticism, and Theory for Music Education. Her teaching and research were in the areas of World Music Education (Choral and General Music), and Anti-Racism Education. Dr. Bradley was appointed Editor in Chief for MayDay Group publications, which include the journals Action, Criticism, and Theory for Music Education (ACT), and TOPICS for Music Education Praxis.

Katie Chapman received a M.M in Ethnomusicology and a B.M in Vocal Performance from the University of Texas at Austin. Her Master’s report demonstrates how the Cuban rumba can be studied to further understand Cuban gender identity by observing the voice. Katie completed two certifications: one in Business Foundations from the McCombs School of Business and the other in Arts and Cultural Management and Entrepreneurship from the LBJ School of Public Affairs. Currently, Katie works as an administrative associate on a $3.5 million grant project studying audience building in performing arts organizations.

Carlos Dávalos is a graduate student in Ethnomusicology at the University of Texas at Austin. His research interests are Latin American and Mexican hip-hop, and the ways in which migration and technology have contributed to new forms of Mexican identity as manifest through hip-hop cultural practices. Before moving to Austin, Carlos was a journalist and open-media analyst based in Mexico City.

Mark F. DeWitt is Professor of Music and holds the Dr. Tommy Comeaux Endowed Chair in Traditional Music at the University of Louisiana at Lafayette, where he directs an undergraduate curriculum and degree program in traditional music. His primary research area is Cajun and Creole French music of Louisiana and its diaspora, and he is author of Cajun and Zydeco Dance Music in Northern California: Modern Pleasures in a Postmodern World (University Press of Mississippi, 2008). He received a PhD in ethnomusicology from the University of California, Berkeley and an MM in music theory from the New England Conservatory of Music.

Hannah Durham is a PhD student in musicology at the University of Texas at Austin. Her research area includes popular music and American audiences in the 1950s-60s, disability studies, genre, and performance studies. Her dissertation will focus on David Bowie’s artistic collaborations with Brian Eno in the late 1970s, listening practices, celebrity studies, and Bowie’s post-death reception. Hannah has played French horn in the UT longHorn Choir, orchestra, and university bands. She has also participated in the Early Music Ensemble. As a guitarist and bassist, Hannah has written, recorded, and performed with several rock bands in and around Austin, TX.

Myranda Harris is percussionist, music educator, and ethnomusicologist based in Austin, Texas. Currently a PhD candidate in ethnomusicology at UT Austin, she holds a M.M. and B.M. from the University of North Texas. As a musician, Myranda has built a diverse rhythmic vocabulary by studying percussion in a number of music traditions around the world, and she is an active performer and clinician in the Central Texas area. Her forthcoming dissertation, which focuses on fusion music in South India, examines how music unites people and communities from diverse backgrounds.

Eddie Hsu is a PhD student in ethnomusicology at the University of Texas at Austin. His primary research focus is the musical practices of the Taiwanese Aboriginal community and issues of appropriation and revivalism. He received his B.A. in dizi (Chinese bamboo flute) performance at Tainan National University of the Arts in Taiwan. As a musician with diverse interests, Hsu has collaborated with several groups, including Sangat (collaborative music ensemble with musicians from National Academy of Performing Arts, Pakistan), A?k-i Me?k (Arabic and Turkish maqum-based music on ney), and UT Javanese Gamelan Ensemble.

Paul Klemperer has a masters degree in ethnomusicology (University of Texas), a B.A. in sociology (Amherst College), and 40 years of professional playing experience. He discovered jazz at an early age, studying with with jazz legends Archie Shepp, Max Roach and Ray Copeland. He has opened for renowned artists such as BB King, The Neville Brothers, Ray Charles, Chuck Berry, and James Brown, and has appeared on national TV and radio shows in the U.S. and Europe. He presents workshops, demonstrations, and lectures on a variety of music-related topics. Working as a bandleader, composer, arranger, and freelancer, Paul has produced 5 CD’s of original music, and collaborated on over 100 recording projects.

Emily Kohut graduated in 2016 with from Colorado College, where she earned a B.A. double major in Classics and English. A native of London, Ontario, Canada, she moved to Colorado Springs with her family in 2001. She focuses on classical languages and literature, emphasizing Latin. Her activities at Colorado College included tutoring in classical languages, mentoring first-year students, and serving as Dr. Victoria Levine’s research assistant from 2014 through 2016. In the summer of 2015, Kohut was an intern for Curricular Development and Programs with Harvard University’s Center for Hellenic Studies in Washington, D. C. She hopes to attend graduate studies in Classics and to pursue an academic career.

Victoria Lindsay Levine is professor of music at Colorado College where she teaches ethnomusicology and Southwestern Studies. Her research focuses on Native North American musical cultures and she is the author, co-author, or editor of numerous publications, including four books. She has received fellowships from the American Council of Learned Societies, the National Endowment for the Humanities, and the Society for Ethnomusicology, among others. At Colorado College, Levine has served as the John D. and Catherine T. MacArthur Professor, the W. M. Keck Foundation Director of the Hulbert Center for Southwestern Studies, and the Christine S. Johnson Professor of Music.

Creighton Moench has a master’s degree in Ethnomusicology from the University of Texas at Austin and is currently pursuing his PhD at the same institution. During the writing of this volume he served as a Research Assistant involved with the Butler school of music’s partnership with the National Academy of Performing Arts in Karachi, Pakistan. His research interests include Popular music history, African-American vernacular traditions, Hindustani classical music, and Musical Theater. Outside of the classroom he often performs in regional and community theater and is an amateur musician in many different “world” music ensembles.

Robin Moore is Professor of Ethnomusicology at the University of Texas at Austin. His research interests include music and nationalism, music and race, and music of Cuba and the Hispanic Caribbean. His publications include Nationalizing Blackness (University of Pittsburgh Press, 1997), Music and Revolution (University of California Press, 2006), Music of the Hispanic Caribbean (Oxford Press, 2010), Musics of Latin America (W.W. Norton, 2012), Danzón: Circum-Caribbean Dialogues in Music and Dance (Oxford, 2013, co-written with Alejandro Madrid), and articles on Cuban music in Cuban Studies, Ethnomusicology, Encuentro de la cultura cubana, the Latin American Music Review, and other journals and book anthologies. Since 2005 he has served as editor of the Latin American Music Review.

Justin Patch teaches global and popular music in the music department at Vassar College. His research focuses on the auditory culture of contemporary politics and political campaigns in the US, sound studies, and on critical issues in ethnographic research and humanities education. His work has appeared in Soundings, The European Legacy, International Political Anthropology, The Journal of Sonic Studies, Americana, The Ethnomusicology Review, Zeteo, and the edited volume Critical and New Literacies: Teaching Towards Democracy with Popular Culture and Postmodern Texts.

Ludim Rebeca Pedroza is Associate Professor of Music at Texas State University. She works primarily in the areas of music history and Latin music studies, teaching undergraduate and graduate courses on a variety of topics. Among these is the survey History of Music in Latin America and specialized seminars on the music and aesthetics of the Caribbean, Mexico, and the Romantic era. Pedroza’s publications include the article “Merengue Meets the Symphony Orchestra” (American Music, 2014), various publications on El Sistema, and Brian Pertl is currently the Dean of the Lawrence Conservatory of Music. He is a trombonist, ethnomusicologist, former Microsoft manager, didjeridu player, Deep Listener, and passionate advocate for music education at all levels. Brian believes that creating music cultures that honor creativity, exploration, collaboration, and play along with teaching exceptional core musicianship and growing intellectual capacity are key to creating musicians who will best overcome the obstacles and capitalize on the opportunities facing today’s graduates. Brian is passionate about proactively tackling the challenges that face the world of music education in the 21st century and is endlessly optimistic that the properly prepared music graduate will have more opportunities to create a musical life than ever before.

Sonia Tamar Seeman received her Phd from University of California, Los Angeles in ethnomusicology and has conducted field research in Southeastern Europe and Turkey on Romani, Macedonian, Turkish, and transnational musical practices. At UCLA she taught at UCSB for 4 years on a post-doctoral faculty fellowship and as a lecturer. At UT Austin since 2006, she has served on a variety of arts- as well as campus-wide curriculum committees, has been awarded a Teaching Excellence Award from the School of Music and appointed a member of UT’s Provost Teaching Fellows. In addition, she has conducted music workshops and founded UT Austin’s Middle Eastern Ensemble “Bereket.” She is the project facilitator for a musical fusion project Sangat with members of the Butler School of Music and junior faculty from the National Academy of Performing Arts, Karachi, Pakistan.

Jack Talty is a traditional musician, composer, producer, educator, and ethnomusicologist from county Clare, Ireland. As a performer Jack has travelled extensively throughout Europe, the United States, Australia, and Asia, and has contributed to over 30 albums to date as a musician, producer, composer, arranger, and engineer. A regular contributor to television and radio broadcasts, he performs regularly as a soloist, with his award-winning band Ensemble Ériu, and as a section leader with the Irish Memory Orchestra. In 2009 Jack completed an MA in Music at the University of Limerick and is currently completing his doctorate there under the supervision of Dr. Aileen Dillane.

Michael Tenzer is active as a composer, performer, scholar and teacher. His creative works include the books Gamelan Gong Kebyar: The Art of Twentieth Century Balinese Music (2000; winner of the ASCAP-Deems Taylor and Society for Ethnomusicology’s Merriam awards), two edited volumes of Analytical Studies in World Music (2006, 2011), diverse chapters and articles, and “Let Others Name You” (2009) a CD of his compositions on New World Records’ Recorded Anthology of American Music. Involved with Balinese music since 1977 as performer, composer and researcher, he co-founded Gamelan Sekar Jaya in Berkeley California in 1979. His numerous compositions for gamelan since 1982 have been cited in the Balinese press as a “significant contribution to our cultural heritage.” Tenzer is Professor of Music at the University of British Columbia.


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