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Gabriel Ellis

Gabriel Ellis is a Ph.D. student in historical musicology. He writes about voices, technologies, and listeners in late medieval music and contemporary popular song. What do different notational systems allow composers to communicate with performers and listeners? Why is auto-tune such a popular aesthetic, as well as corrective, device? How have genres adjacent to hip-hop adopted and adapted its production techniques? Do drum machines have souls? He doesn't know, but he's working on it.


Michael Kinney

Michael examines representation and identity politics in late 19th, 20th and 21st century opera and musical theatre. Specifically, his work addresses issues of vocality, technology, and aging, with a focus on diva worship, fan studies, and queerness. Other interests include discourses of “late style” throughout music history, temporality in musical theatre, and the aesthetics of trash and disgust in 20th and 21st century film sound and music. 

Kirstin Haag

Kirstin Haag is a doctoral student in Musicology at Stanford University. Her dissertation centers on early-colonial missionary music of rural Guatemala with a focus on the villancico. The project examines the role of indigenous practitioners, the socio-political workings of colonial song, and issues of rural vs. urban music-making. Kirstin’s secondary research interests include the intersection of music, sports, and nationalism in the U.S., as well as issues of music pedagogy in higher education.

Benjamin Ory

Benjamin Ory is a fourth year PhD candidate in Musicology. His research centers around sacred music in the generation between 1520 and 1560, with specific focus on style in the masses of Nicolas Gombert and Adrian Willaert. Ben also pursues his love for early harpsichord repertoire and all things historical performance practice. He has previously sung in the vocal ensemble Convivium and the Stanford Facsimile Singers. 

Tysen Dauer

Tysen’s current work investigates the racialized aesthetics of low-level psychological states in the reception of early American minimalism. The project connects music transcription and analysis, auditory neuroscience and music cognition, ethnography, archival work, and critical race theory to make sense of first-person experiences of minimalist compositions. The work entails experimental psychology studies in collaboration with the NeuroMusic lab, the Music Engagement Research Initiative, and the Culture and Emotion lab.

Marcus Zagorski

Before coming to Stanford to study musicology, Marcus Zagorski studied composition at McGill University in Canada. He currently teaches at Comenius University in Bratislava, Slovakia, where he offers courses in music history, aesthetics, analysis, composition, and Central European history.


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