Associate Professor of Music
She teaches ethnomusicology, popular music studies, music theory, and Asian studies courses. Her research interests include traditional and contemporary Japanese music cultures; performative identity politics in Asian diasporas, especially in Brazilian expatriate communities in Japan; national and nationalized identity performances in the trans- and post-national world; music and collective memory construction; and organology and music instruments building.
As a musician, she trained to perform piano, koto (Japanese long zither), and jiuta shamisen (Japanese long-necked lute). At Hampshire, she has been playing viola da gamba in an ensemble in the Five College Early Music Program.
Every culture bears unique sensibilities to sounds. People cultivate distinctive ways of hearing, understanding, and relating to them. These sensibilities are also re?ected in the processes of sound- and music-making. Different instruments are devised to encapsulate distinctive cultural values not only acoustically but also visually in their material forms. This course aims to explore diverse music cultures of the world through the lens of organology (the study of musical instruments). We examine a wide range of sound-making devices in their current sociocultural and historical contexts. Our investigation encompasses subjects such as social functions and signi?cations of the instruments, e.g., ritual objects, status symbols, and exotic commodities, myths and symbolism attributed to the instruments, technology and craftsmanship involved in the fabrication, and ecological and ethical concerns for the use of certain materials, e.g., exotic wood, tortoise shells, and ivory. (keywords: musical instruments, material culture, ethnomusicology, sounds, music)
Ethnomusicology is a field of music scholarship, which examines a wide range of music and music-related human activities with distinctive sociocultural perspectives and methodologies. This course offers an introductory experience of the field for students pursuing ethnomusicological projects in their Div. II and III and those interested in exploring this relatively unknown field. Students will be introduced to the historical development of the field since its emergence in the late 19th century and more recent critical discourses, subjects that many ethnomusicologists investigate, and how they approach them. Fieldwork being a central methodology, students will learn how to plan and execute their research, document, analyze, and interpret ethnographic research information, how to preserve and share their research findings, and ethical issues pertaining to the handling of individual and collective cultural properties. The course also includes a brief introduction to other methodologies such as archival, organological, and iconographical research. (keywords: music, ethnomusicology, field research methodology)
This course introduces students to basic mechanisms of diatonic harmony. Through analysis, performance, and composition, we will build a solid working understanding of basic principles of melody, harmony, and form common in many musical traditions that we consume in our everyday lives. Assignments will include writing short melodies and accompaniments as well as more detailed compositional and improvisational projects. We will use our instruments and voices to bring musical examples to life in the classroom. Two class meetings and one ear training session per week. There will be a diagnostic evaluation administered in the first class. The instructor's permission will be given, based on the result. (keywords: music, basic music theory)
"Listening" occupies a special place in Japanese cultures. Whether it be in literature, folklore, or everyday activity, indications are plentiful that listening has been nurtured as a multisensory experience and that it encompasses a wide range of phenomena, beyond so-called music. This course explores Japanese sound cultures, with special attention to the underlying unique conceptions of "listening": how have people in Japan cultivated distinct sensibilities in listening, and how, in turn, such sensibilities have constituted Japanese sound cultures. This is a cultural studies course and music training is not a prerequisite. However, the required coursework includes listening exercises, various analysis assignments, and occasional hands-on activities. Through these exercises, selected readings, and class discussion, students are invited to open their ears, senses, and minds to unique cultural values, sensibilities, and practices of listening in Japanese sound cultures and rigorously question their own practice and conception of "listening."
This course explores and critically examines what constitutes "music" and its manifold practices. Presented from transdisciplinary and multicultural points of view, the course consists of several thematic modules, in each of which two instructors will lead the unpacking of specific subjects, such as the nature of sound, listening, sonic realization of time, musical space, and embodiment. By using different kinds of expertise and methodologies drawn from music theory, sound studies, ethnomusicology, etc., the music we analyze will represent diverse traditions around the world as well as contemporary sound practices representing various global styles. No previous training in music theory is necessary, but the required coursework includes weekly listening, creative transcription, various analysis assignments, and hands-on performative activities. Through these exercises, selected readings, and class discussion, students are invited to open their ears, senses, and minds to unique cultural values, sensibilities, and practices, and rigorously question their conception of "music" and musical discourses.
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