Ana María Ochoa is Professor of Music and Director of the Center for Ethnomusicology at Columbia University. She holds degrees from the University of British Columbia and Indiana University, where she received her PhD in Folklore and Ethnomusicology. Prior to joining the faculty at Columbia, she taught at New York University. She has also served as a researcher at the Colombian Institute of Anthropology and History, as the director of Music Archives at the Colombian Ministry of Culture, and as a researcher at the Centro Nacional de Investigación y Documentación Musical Carlos Cháves in Mexico. She is currently editor of the Latin American branch of the International Association for the Study of Popular Music (IASPM) and member of the editorial board of TRANS—the Journal of the Iberian Society for Ethnomusicology.
Professor Ochoa’s research interests lie in traditional Latin American musics and transculturation, music and literature, music and cultural policy, and the construction of the popular in Latin America. She has published extensively in both Spanish and English, and through her many articles and monographs has significantly shaped the evolution of the discipline (or interdiscipline) of Sound Studies. In 2014, she published her monograph Aurality: Listening and Knowledge in Nineteenth Century Colombia, which explores the central role listening has played in the formation of notions of language, music, voice, and sound that determine the politics of life in Latin America and the Caribbean.
Brian Kane holds degrees from the University of California, Berkeley (B.A. in Philosophy, 1996; Ph.D. in Music, 2006). Prior to joining the faculty at Yale, he was a Mellon Postdoctoral Fellow in Music at Columbia University (2006-2008). His scholarly work is interdisciplinary, located in the intersection of music theory, composition and philosophy. Working primarily with 20th century music, Kane’s emphasis is on questions of sound and signification. Central themes in his research are: music and sound art, histories and theories of listening, phenomenology, improvisation, music and subjectivity, technology, conceptualizations of sound and music in literature and philosophy, and theories of the voice. Some of these themes are interwoven in Kane’s recent work on acousmatic sound. Acousmatic refers to the separation of audition from all other sensory modalities, and is often deployed in phenomenological contexts in order to disclose the “essence” of listening. In his first book, Sound Unseen, Kane investigates the question of acousmatic sound beyond its phenomenological context and demonstrates its pertinence to current work on musical and non-musical forms of listening. is also involves reconstructing the philosophical and material history of acousmatic sound from its supposed origins in the Pythagorean school, through the rise of mechanically reproduced sound and electronic composition, to contemporary discourses on the senses, sound, and composition.
PAST YGMS SPEAKERS/WORKSHOP LEADERS
Richard Cohn (Yale University) - YGMS 2010
Robert Gjerdingen (Northwestern University) - YGMS 2014
Daniel Harrison (Yale University) - YGMS 2014
James Hepokoski (Yale University) - YGMS 2008
Ian Quinn (Yale University) - YGMS 2012
Alexander Rehding (Harvard University) - YGMS 2010
Emily Wilbourne (Queens College, CUNY) - YGMS 2012