Invited talks


  • University of Illinois, Ethnomusicology Colloquium, Champaign-Urbana, Fall 2019.

"The Democracy That Society Allows: Sounds of Protests in Japan and the U.S."

  • Keynote speech, Graduate Students in Music Conference, CUNY Graduate Center, Spring 2019.

"How Sound Shapes Demonstrations, and How Demonstrations Shape Sound."

  • University of Arkansas, Music and Japan Studies, Winter, 2019.

"Covers, Contrafacta, and Parodies in Protest Music.“

  • CHAT Fellows Seminar, Temple University, Winter 2019.

"How Sound Shapes Demonstrations, and How Demonstrations Shape Sound."

  • Fisher Center for the Study of Gender and Justice, Hobart and William Smith Colleges, Winter 2018.

"How Sound Shapes Demonstrations, and How Demonstrations Shape Sound."

  • CHAT Distinguished Lecture, Temple University, Fall 2018.

"We Gon’ Be Alright? The Sounds of Street Protests in Japan and the U.S."

  • Tokyo University of the Arts, Summer 2018.

"How Sound Shapes Demonstrations, and How Demonstrations Shape Sound."

  • Plenary speaker, MTMS Graduate Student Conference and Thinking about Music series, University of Cincinnati, College-Conservatory of Music, Spring 2018.

"Sound in Japanese Street Demonstrations from the Antinuclear Movement to Pro-Democracy Protests"

  • University of Pittsburgh, Asian Studies Center, Winter 2018.

"The Evolution of Protest Sounds in Japan from the Fukushima accident to Article 9."

  • Earlham College, Jackson Bailey Lecture, Winter 2018.

“Protest Music in Contemporary Politics.”

  • Queensborough Community College, Department of Music, Fall 2017.

"The Sounds of Post-Inauguration Protests."

  • Temple University, Music Studies Colloquium, Fall 2017.

"Documenting Nuclear Afterlives." 

  • University of Pennsylvania, Wolf Humanities Forum, Fall 2017.

"Hip Hop in Japan."

  • University of Pennsylvania, Japanese Popular Culture, Fall 2017.

“Why Japanese Musicians Don't Get into Politics.”

  • Bard College, Department of Music, Fall 2017.

“The Sounds of Post-Inauguration Protests: Memory, Circulation, Innovation.”

  • Brooklyn College, H. Wiley Hitchcock Institute for Studies in American Music, Spring 2017.

“The Past Is Prologue: Intertextuality in Protest Music after the Fukushima Accident.” 

  • College of William and Mary, Asian Studies, Spring 2017.

“Music and Post-3.11 Social Movements.”

  • Northern Illinois University, December 1, 2016.

“Music Commemorating the Hiroshima and Nagasaki Bombs.” 

Music Studies Colloquium, Temple University, October 7, 2016.

“The Revolution Will Not Be Televised: Protest Music After Fukushima.”

  • ICAS, Temple University Japan, July 6, 2016.

“Intertextuality in Protest Music.”

  • Plenary speech. Conference on Music and Resistance, Revolution, and Social Movements, Universidade Nova de Lisboa, June 17, 2016.

“Musicians as Educators in Recent Social Movements.”

  • Asian Conference on Cultural Studies, Featured Session, Art Center of Kobe, June 4, 2016.

“Keeping It Real: Authenticity and Japanese Hip-Hop.”

  • Asian Studies Program, City College, CUNY, May 12, 2016.

“Music in Antinuclear Protests: Talk and Workshop.”

  • Sound Studies Colloquium, University of Minnesota, April 14, 2016.

“Cyberspace, Music, and Participation in the Japanese Antinuclear Movement.”

  • Department of Anthropology, University of Colorado, March 4, 2016.

“The Revolution Will Not Be Televised: Protest Music after Fukushima.”

  • Asian Languages and Literatures, Temple University, February 17, 2016. 

“Musicians and the Japanese Antinuclear Movement Post-Fukushima.”

  • Science and Global Security Seminar Series, Princeton University, February 10, 2016.

“Musicians and the Antinuclear Movement” and “Workshop on Protest Music.” 

    • Conference, "Power and Protest: Global Responses to Atomic Energy," Middlebury College, January 22, 2016.
  • “Analyzing Music in Social Movements.”

    • Franklin Humanities Institute, Mellon Seminars in Historical, Global, and Emerging Humanities, Duke University, December 2015.

  • “Issues in the Analysis of Popular and Non-Canonical Musics.”
    • CUNY Graduate Center, November 2015. 
  • “Typology of Intertextuality in Protest Songs in Post-Fukushima Japan.”
    • Ethnomusicology Colloquium, Oxford University, October 2015.
    • Music Colloquium, New York University, September 2015.
  • “Intertexuality in Protest Music Post-3.11” 
    • Kadokawa Summer Program, University of Tokyo, July 30, 2015.
    • Westminster Choir College, Rider University, April 2015.
  • “Popular Culture and Recent Social Movements in Japan.” 
    • East Asian Humanities, Princeton University, April 28, 2015.
  • “Music in Demonstrations.”
    • Music and Protest, SUNY-Stony Brook, March 23, 2015.
  • “Musicians in the Japanese Antinuclear Movement: Motivations, Roles, and Risks.” 
    • Asia and the Environment Workshop, Oberlin College, February 21, 2015.
  • “A Typology of Intertextuality in Protest Songs in Post-Fukushima Japan.” 
    • Oberlin College Conservatory, February 20, 2015.
  • "Art and Activism: A Conversation with Vijay Iyer and Noriko Manabe."
    • Whitman College, Princeton University, February 2015.
  • "Antinuclear Protest Music in Post-3.11 Japan: Communication Methods in Cyberspace, Recordings, Festivals, and Demonstrations."
    • Center for Japanese Studies, University of Michigan, February 2014. 
  • "Locating the Japanese and the Jamaican in Japanese Reggae/Dancehall. 
    • Department of Literatures in English, University of the West Indies at Mona, July 20, 2010.
  • "The Evolution of Sonic Style in Japanese Hip-Hop."
    • Association of Princeton Graduate Alumni, Princeton University, May 29, 2010. 
    • East Asian Studies Department Colloquium, Princeton University, December 2, 2009.
  • “洋楽ジャンルの適応と変遷:童謡、ヒップホップとレゲエの事例研究."   
  • "The Adaptation of Western Genres in Japanese Popular Music: From Children's Songs to Hip-Hop and Reggae."  
  • Globalization and Japanese Creativity: Adaptation of Japanese Language to Rap.” 

Analyzes the interaction of Japanese prosody, rhythms, and rhymes in rap.


Revised version following field work in Japan:

Forty-five minute presentation including videotaped interviews with Scha Dara Parr and clips from a performance by artists from Da Me Records. Webcast of lecture and handouts available.

  • “Musical Interpretations of Don Quixote: Reflections of Time, Place, and Meaning.” 
Examines how national views of Spain, intellectual trends, and interpretation of the main character influenced musical interpretations of the literary work, taking Purcell, Telemann, Rubinstein, Strauss, and de Falla as examples.