Gabriel Ellis is a musicology PhD student at Stanford University. His current research focuses on intersections between music, technology, and identity in popular (and unpopular) genres, especially art pop, indie rock, and hip-hop. Other interests include the castrati, dandyism, and music and literature. He has presented research at the Midwest Chapter Meeting of the American Musicological Association and at the Music and Visual Cultures International Conference in Maynooth, Ireland.
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.
David Wilson is a musicology Ph.D. student whose research interests lie at the intersection of music and politics. His current research focuses on the ways in which the music of Cultural Revolution-era China interacted with political ideologies, discursive practices, and the construction of gender. Other research interests include the ways in which political structures of totalitarian regimes shape creative practices, as well as issues of vocality and vocalism in song and concert repertories of 19th-century Europe.
Kirstin Haag is a doctoral student in Musicology at Stanford University. Her research interests include vocal music transmission, early polyphony, and contemporary opera production. She also has experience in the production and direction of opera and musical theater works. Prior to coming to Stanford, she received a B.A. in Music and English Literature from the University of California, Davis, and taught high school in Nashville through Teach for America.
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.