I am an Assistant Professor of Musicology in the Department of Music at Princeton University, where I am also associated faculty in the Department of East Asian Studies, Program in Latin American Studies, and Program in American Studies. I am also a Research Associate in the Department of Music at SOAS in London. 

My interests center on 1) music, politics, and social movements; 2) language, text setting, and meaning; and 3) technology and the music industry. I work primarily in popular music, especially in Japan and Latin America. I received a Ph.D. from CUNY Graduate Center with concentrations in both ethnomusicology and music theory, and my methods pair ethnography with musical analysis. My research is interdisciplinary, drawing from political science, sociology, urban studies, literary studies, linguistics, media studies, and anthropology.

My publications have addressed music and the Japanese antinuclear movement; the impact of the Japanese language on rap; the aesthetics of Japanese hip-hop DJs; the differences in the online radio markets in the United States and Japan; propaganda in Japanese children’s songs; and the interaction of text and music in the songs of Cuban singer-songwriter Silvio Rodríguez, among other topics. My articles have appeared in Ethnomusicology, Popular Music, Asian Music, Latin American Music Review, Transcultural Music Review, two Oxford Handbooks, a Cambridge Companion, and several edited volumes.

My monograph, The Revolution Will Not Be Televised: Protest Music After Fukushima (in press at Oxford University Press, publication November 20, 2015), addresses the role of musicians in (self-)censored environments and the ways they convey their political messages through music in four different performance spaces—cyberspace, demonstrations, festivals, and recordings. It won the Book Subvention Award from the Society for Ethnomusicology’s Diversity Committee and the Barr-Feree Foundation Award. My article on antinuclear demonstrations, which is related to this book, won the Waterman Prize from the Popular Music Section of the Society for Ethnomusicology in 2014.

My second monograph, Revolution Remixed: A Typology of Intertextuality in Protest Songs (under contract with Oxford, forthcoming), constructs a classification of intertextuality as it pertains to protest songs and analyzes cases drawn from the Japanese antinuclear movement. It won a book subvention award from the Society for Music Theory in April 2016. 

I am working on a monograph on the development of nationalistic symbols and text setting in Japanese children’s songs from the Meiji Era to the Allied Occupation, and another on identity and aesthetics across three transnational popular music scenes in Japan: hip-hop, reggae/dancehall, and electronic dance music.

I am also editing two essay collections, Sonic Contestations of Nuclear Power (with Jessica Schwartz) and The Oxford Handbook of Protest Music (with Eric Drott). These projects are supported by a grant from the Princeton Center for Human Values. 

My research has been funded by the NEH Fellowship for Advanced Social Science Research on Japan, Kluge Fellowship, the Japan Foundation Fellowship, the SSRC/JSPS Fellowship, Princeton, and CUNY. My sponsors abroad have included the International Research Center for Japanese Studies (Nichibunken) and Tokyo University of the Arts. In addition to Japan, I have conducted archival research and fieldwork in Cuba, Spain, Mexico, and Indonesia.

I am on the editorial board for Twentieth-Century Music, a contributing editor for The Asia-Pacific Journal, and Chair of the Investment Committee for the Society for Ethnomusicology. I will serve on the Program Committee for the annual conference of the Society for Music Theory in 2016.

I play keyboards, sing, and write songs for Wayside Shrines, a collective of Princeton-area musicians performing original songs to lyrics by Paul Muldoon. Our album, Word on the Street, is available at the Princeton Record Exchange and The band has a monthly residency at the Irish Arts Center. Information on the band's performances and other activities are posted on our Facebook page and Twitter. page

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