
Ethnomusicology Program
The Five College Certificate Program in Ethnomusicology allows students interested in studying music from a multi-disciplinary perspective to build bridges across departmental boundaries in a rigorous and structured manner.
The Five College community is home to a diverse, vibrant group of students, scholars, and performers working in ethnomusicology, the anthropology of music, and related disciplines. Through the Five College consortium, students may take courses for credit at any campus. In addition, students with a special interest in ethnomusicology may pursue the Five College Certificate in Ethnomusicology, a program that allows students to develop a unique, multi-disciplinary curriculum focused on their individual research interests. Please note that as of Fall 2013, students from all five campuses, including the university, are eligible to participate in the certificate program.
Opportunities abound! Join one of several performance ensembles, take courses focused on a wide variety of topics, attend concerts and other events, and learn about our faculty.
On This Page

10th Anniversary Celebration
Hear alumni testimonials for our 10th Anniversary Celebration for the Ethnomusicology Certificate!
Faculty

Amy M. Coddington
Assistant Professor of Music, Amherst College. B.A. Macalester College, Ph.D University of Virginia. Influence of the music industry on musical expression. How popular musicians express their identities through music, how listeners articulate their own identities by consuming this music, and how the economic interests of the music and media industries complicates these relationships.
413-542-5967 • acoddington@amherst.edu

Jeffers Engelhardt
Professor of Music, Amherst College. B.M. Oberlin Conservatory, M.A., Ph.D. in Music, University of Chicago. Community-based ethnography, music and religion, voice, analytical approaches to music and sound, Europe and postsocialism.
413-542-8469 • jengelhardt@amherst.edu
Jason Robinson
Associate Professor of Jazz & Popular Music, Amherst College; M.A. & Ph.D., University of California, San Diego; Focus and Research: Improvised music and experimentalism in African American and African diasporic music. Teaching: Jazz, Popular Music and Urban Ethnography.
(413) 542-8208 • jrobinson@amherst.edu

Rebecca Miller
Professor of Music, Hampshire College. A.B., Bryn Mawr College. M.A. Wesleyan University. Ph.D. Brown University. Music of the Caribbean; popular and traditional musics of North America; music journalism; applied ethnomusicology; Irish traditional and popular music; old time (Appalachian) string band music. Performance: old time ensembles and klezmer bands.
(413) 559-5545 • rmiller@hampshire.edu
Junko Oba
Associate Professor of Music, Hampshire College. B.A., International Christian University, Tokyo, Japan, M.A., Ph.D, Wesleyan University. Research interests: Japanese traditional and contemporary popular musics, East Asia, Asian Diasporas (Nikkei Brazilian communities in Japan, in particular), national identity in the trans- and post-national world orders, applied ethnomusicology (sound record archiving), organology and musical instrument building.
(413) 559-6896 • joba@hampshire.edu

Olabode Omojola
Hammond-Douglass Five College Professor of Music, Mount Holyoke College. M.A. University of Ibadan. Ph.D. University of Leicester. Indigenous and modern musical traditions; African and world music traditions; African music and ethnomusicology.
(413) 538-2483 • bomojola@mtholyoke.edu

Margaret Sarkissian
Professor of Music, Smith College. M.A. and Ph.D. University of Illinois at Urbana-Champaign. Musics of Southeast and East Asia, especially Malaysia; popular music of the Islamic world, music and tourism. Performance: gamelan.
(413) 585-3198 • msarkiss@email.smith.edu

Andrea Moore
Assistant Professor of Music, Smith College. B.M. Rice University, M.A., University of Southern California, PhD, University of California Los Angeles. Music and commemoration; new music and concert culture; late capitalism; sociology of music; historiography.
413-585-3162 • amoore44@smith.edu

Steve Waksman
Professor of Music and American Studies, Smith College. M.A. University of North Carolina, Chapel Hill. Ph.D. University of Minnesota. American popular music; African American music; music and race; music and sexuality; the history of musical instruments (especially the guitar).
(413) 585-3161 • swaksman@email.smith.edu

Marianna Ritchey
Associate Professor of Music, UMass Amherst. B.A. Lewis and Clark College, M.A., Ph.D. University of California Los Angeles. Research interests: nineteenth-century romanticism, Berlioz, literature, contemporary classical music, economics, neoliberalism.
(413) 545-4077• mritchey@umass.edu
Certificate
Mission
The Five College Certificate Program in Ethnomusicology allows students interested in studying music from a multi-disciplinary perspective to build bridges across departmental boundaries in a rigorous and structured manner, and to receive credit for their accomplishments, even while completing a major in another field. In reflecting interdisciplinary trends in Ethnomusicology, students are encouraged to combine the certificate with degrees in various overlapping fields, such as African American and African Studies, American Studies, Anthropology, Asian Studies, Asian American Studies, Cultural Studies, European Studies, Gender Studies, language studies, Latin American Studies, Religion, Sociology, as well as other courses of study in Music (Composition, Performance, Jazz Studies/Improvisation, and Musicology).
The Certificate Program in Ethnomusicology provides a framework for navigating course offerings and engaging with ethnomusicologists throughout the Five Colleges. While "music" is the centerpiece of the certificate program, the wide range of topics that appear under the rubric of "ethnomusicology" extend far beyond "music in a cultural context" to include history, political science, economics, evolution, science and technology, physiology, media studies, and popular culture studies, among others.Students working within the Certificate Program might focus on music as it relates to a number of areas of inquiry, such as:
- relationships between music and other artistic and expressive forms (i.e. dance, theater, film);
- relationships between singing and other forms of vocal practice;
- relationships between the study of language and music;
- human cognitive capacity for musical and other sonic expression;
- listening as a culturally specific practice;
- the social history of music and popular culture;
- understanding national, class, gender, ethnic, sexual, and other forms of identity;
- the relationship between music and social and political power;
- globalization and transnationalism in music;
- the uses of music and sound in contemporary media production;
- roles of sonic technology and surveillance in contemporary Western society;
- the use of music and sound in relation to social and state control, the law, and space;
- intellectual property and copyright as it pertains to musical composition, performance, and ownership.
Requirements
To earn a Five College Certificate in Ethnomusicology, students must successfully complete a total of seven (7) courses distributed as indicated in the following four (4) categories. No more than five courses can be from any one department/discipline, and introductory courses in basic musicianship do not count towards the requirements; introductory courses in related disciplines may only be counted in certain circumstances determined by the research goals of the individual student. Students must earn a grade of C or better for courses counted towards the Certificate.
- Area Studies or Topics courses: at least two courses
- Methodology: at least two courses
- Performance: at least one course
- Electives: negotiated in consultation with the student's ethnomusicology advisor, including courses from related disciplines including: anthropology, sociology, history, or media studies; area studies fields such as African Studies, American Studies, Asian Studies, or Middle East Studies; or others related to a particular student's ethnomusicological interests.
Since ethnomusicological research and related musical performance may require understanding of and competence in a foreign language, students are encouraged, but not required, to acquire proficiency in a language relevant to their focus. Students are also encouraged to include experiential learning, a study abroad or domestic exchange experience, in-depth study of a single musical tradition, or comparative studies of several musical traditions.
Step 1: Applying
Students interested in the Five College Certificate in Ethnomusicology should contact a member of the Five College Ethnomusicology Committee on their campus as soon as possible to begin planning course work. In consultation with this certificate advisor, students must complete an application form for the certificate. While this form should be submitted as early as possible so that a student can become part of the certificate community (and gain priority access to certain capped courses), it must be submitted before the end of the add/drop period in the first semester of their senior year of study. On the recommendation of the campus advisor, applications are reviewed and approved by the Five College Ethnomusicology Committee.
A copy of the completed application form should be emailed to your campus certificate advisor.
Step 2: Completion
Students are also required to submit a certificate approval form and an unofficial transcript before the end of the add/drop period of their final semester. A more formal document, the approval form lists courses taken and in progress that complete the requirements for the certificate. The campus advisor will present this form to the Five College Ethnomusicology Committee for approval. After approval, the campus advisor and Five Colleges request a transcript from the student’s Registrar indicating the successful completion of in progress courses.
A copy of the completed approval form and an unofficial transcript should be emailed to your campus certificate advisor in advance of the deadline.
Courses
Many courses in addition to those listed below may be eligible towards the Five College Ethnomusicology Certificate. Students are encouraged to consult their campus Ethnomusicology advisor to identify courses that are appropriate for their interests.
Individual lessons and non-ensemble performance: Credit-bearing individual lessons and non-ensemble performance opportunities (i.e. special topics courses or thesis work) in an array of musical traditions and genres are available throughout the Five Colleges. Please consult the course catalog of your home institution and with a member of the Five College Ethnomusicology faculty to find the instructor best suited to your interests.
Five College Ethnomusicology Certificate students: Depending on your area of interest, courses can often fall within more than one of the four course categories required for the certificate. While a single course cannot be counted twice, you should work in close consultation with your campus Ethnomusicology advisor to determine the appropriate allocation of courses within the certificate requirements.
Spring 2022 Ethnomusicology Courses: Methodology
Rebecca Miller,Donna Cohn
02:30PM-03:50PM TU;02:30PM-03:50PM TH
Arts Barn STUDIO 1;Arts Barn STUDIO 1
Rebecca Miller,Donna Cohn
02:30PM-03:50PM TU;02:30PM-03:50PM TH
Arts Barn STUDIO 1;Arts Barn STUDIO 1
Olabode Omojola
MW 01:45PM-03:00PM
Pratt Memorial Music Bldg 109
Olabode Omojola
MW 01:45PM-03:00PM
Pratt Memorial Music Bldg 109
Margaret Sarkissian
M W 10:50 AM - 12:05 PM
Sage 215
Olabode Omojola
TU TH 4:00PM 5:15PM
Herter Hall room 212
Spring 2022 Ethnomusicology Courses: Area Studies or Topics
Jeffers L. Engelhardt
TTH 11:30 AM-12:50 PM
ARMU212
This course examines the relationship between music, sound, and religion in a broad, comparative perspective. We will devote particular attention to the intersections of religious sounds and racialized and minoritized communities. In the context of major world religions, new religious movements, and traditional spiritual practices, we will address fundamental issues concerning sacred sound: How does music enable and enhance the ritual process? How is sound sacred and what are its effects and affects? What happens as sacred sound circulates globally among diverse communities and in secular spaces? Listening, reading, and discussion will include Sufi music from Pakistan, Haitian Vodou, the songs of Ugandan Jews, Orthodox Christian hymns from Estonia, Islamic popular music from Malaysia, Chinese Buddhist chant, spirit possession music from Bali, and the music of Korean shamans. We will also engage with practitioners, scholars, performers, and the sacred sounds of religious communities in Amherst and beyond. Two class meetings per week.
Limited to 25 students. Professor Engelhardt. Spring semester. Regular class meetings will be fully remote; when possible, frequent face-to-face individual and small group meetings will be held.
Jeffers L. Engelhardt
TTH 11:30 AM-12:50 PM
ARMU212
This course examines the relationship between music, sound, and religion in a broad, comparative perspective. We will devote particular attention to the intersections of religious sounds and racialized and minoritized communities. In the context of major world religions, new religious movements, and traditional spiritual practices, we will address fundamental issues concerning sacred sound: How does music enable and enhance the ritual process? How is sound sacred and what are its effects and affects? What happens as sacred sound circulates globally among diverse communities and in secular spaces? Listening, reading, and discussion will include Sufi music from Pakistan, Haitian Vodou, the songs of Ugandan Jews, Orthodox Christian hymns from Estonia, Islamic popular music from Malaysia, Chinese Buddhist chant, spirit possession music from Bali, and the music of Korean shamans. We will also engage with practitioners, scholars, performers, and the sacred sounds of religious communities in Amherst and beyond. Two class meetings per week.
Limited to 25 students. Professor Engelhardt. Spring semester. Regular class meetings will be fully remote; when possible, frequent face-to-face individual and small group meetings will be held.
Junko Oba
04:00PM-05:20PM M;04:00PM-05:20PM W
Music and Dance Building RECITAL;Music and Dance Building RECITAL
Rebecca Miller
10:30AM-11:50AM TU;10:30AM-11:50AM TH
Music and Dance Building RECITAL;Music and Dance Building RECITAL
Rebecca Miller,Donna Cohn
02:30PM-03:50PM TU;02:30PM-03:50PM TH
Arts Barn STUDIO 1;Arts Barn STUDIO 1
Rebecca Miller,Donna Cohn
02:30PM-03:50PM TU;02:30PM-03:50PM TH
Arts Barn STUDIO 1;Arts Barn STUDIO 1
Margaret Sarkissian,Suleiman Ali Mourad
M W 1:20 PM - 2:35 PM
Sage 215
Margaret Sarkissian,Suleiman Ali Mourad
M W 1:20 PM - 2:35 PM
Sage 215
Fall 2022 Ethnomusicology Courses: Area Studies or Topics
Jeffers L. Engelhardt
WF 12:30 PM-01:50 PM
(Offered as MUSI 449 and ANTH 449) This seminar explores the sound and significance of the human voice in broad perspective. What do we communicate with our voice? Why are certain voices powerful or unforgettable? How are voices culturally shaped and constrained? How do people use their voice along the continuum between speech and song? What happens when the voice turns text into sound? What does it mean in terms of politics and personhood to have a voice? How does vocal sound relate to knowledge of the body and ideas about race, gender, and identity? To engage these questions, we will begin by examining the classic premise that the voice is a sonic medium for music, language, and other forms of communicative expression whose production (singing, speaking, vocalizing) and uptake (listening, recognizing, empathizing) are basic to social life and inhabiting one's environment. Throughout the term, we will push this premise in critical new directions by remembering that song and language affect us because the voice is not merely a medium. What Roland Barthes famously describes as "the grain of the voice" is its profound, compelling sonic presence beyond its role as a medium. Thinking about the significance of vocal sound and timbre in this light, we will explore a host of voices and vocal styles from throughout the world, including how we use our own creativel, in performance, and relative to the constraints of a voice-impacting global pandemic. We will listen and read widely, benefiting from each others' experience and insights as well as those of singers and scholars who will join us. Fulfills either the departmental seminar requirement or the comprehensive exam requirement for the major.
Fall semester. Professor Engelhardt.
Olabode F. Omojola
TTH 01:00 PM-02:20 PM
(Offered as BLST 204 [A] and MUSI 105) This course focuses on twentieth-century African popular music; it examines musical genres from different parts of the continent, investigating their relationships to the historical, political and social dynamics of their respective national and regional origins. Regional examples like highlife, soukous, chimurenga, and afro-beate will be studied to assess the significance of popular music as a creative response to social and political developments in colonial and postcolonial Africa. The course also discusses the growth of hip-hop music in selected countries by exploring how indigenous cultural tropes have provided the basis for its local appropriation. Themes explored in this course include the use of music in the construction of identity; popular music, politics and resistance; the interaction of local and global elements; and the political significance of musical nostalgia.
Fall semester. Limited to 30 students. Five College Professor Omojola.
Olabode F. Omojola
TTH 01:00 PM-02:20 PM
(Offered as BLST 204 [A] and MUSI 105) This course focuses on twentieth-century African popular music; it examines musical genres from different parts of the continent, investigating their relationships to the historical, political and social dynamics of their respective national and regional origins. Regional examples like highlife, soukous, chimurenga, and afro-beate will be studied to assess the significance of popular music as a creative response to social and political developments in colonial and postcolonial Africa. The course also discusses the growth of hip-hop music in selected countries by exploring how indigenous cultural tropes have provided the basis for its local appropriation. Themes explored in this course include the use of music in the construction of identity; popular music, politics and resistance; the interaction of local and global elements; and the political significance of musical nostalgia.
Fall semester. Limited to 30 students. Five College Professor Omojola.
Jason Robinson
WF 12:30 PM-01:50 PM
Functioning as a combined seminar and performance workshop, this course explores the theory and practice of musical improvisation. Rather than focus on one specific musical style, we will define “improvised music” in an inclusive way that draws equally from American and European experimental musics, various approaches to post-1965 jazz improvisation, and several musical traditions from around the world that prominently use improvisation. Students will be encouraged to develop new performance practices drawn from and in dialogue with these diverse musical traditions. Reading, listening, and video assignments will help familiarize students with the burgeoning field of improvised music studies and will serve to guide class discussions. Students with any musical/stylistic background are encouraged to enroll. Two class meetings per week. Fulfills the departmental seminar requirement for the major.
Requisite: Basic instrumental or vocal proficiency. Limited to 10 students. Fall semester. Professor Robinson.
Jeffers L. Engelhardt
WF 12:30 PM-01:50 PM
(Offered as MUSI 449 and ANTH 449) This seminar explores the sound and significance of the human voice in broad perspective. What do we communicate with our voice? Why are certain voices powerful or unforgettable? How are voices culturally shaped and constrained? How do people use their voice along the continuum between speech and song? What happens when the voice turns text into sound? What does it mean in terms of politics and personhood to have a voice? How does vocal sound relate to knowledge of the body and ideas about race, gender, and identity? To engage these questions, we will begin by examining the classic premise that the voice is a sonic medium for music, language, and other forms of communicative expression whose production (singing, speaking, vocalizing) and uptake (listening, recognizing, empathizing) are basic to social life and inhabiting one's environment. Throughout the term, we will push this premise in critical new directions by remembering that song and language affect us because the voice is not merely a medium. What Roland Barthes famously describes as "the grain of the voice" is its profound, compelling sonic presence beyond its role as a medium. Thinking about the significance of vocal sound and timbre in this light, we will explore a host of voices and vocal styles from throughout the world, including how we use our own creativel, in performance, and relative to the constraints of a voice-impacting global pandemic. We will listen and read widely, benefiting from each others' experience and insights as well as those of singers and scholars who will join us. Fulfills either the departmental seminar requirement or the comprehensive exam requirement for the major.
Fall semester. Professor Engelhardt.
Rebecca Miller
02:30PM-03:50PM TU;02:30PM-03:50PM TH
Music and Dance Building RECITAL;Music and Dance Building RECITAL
Fall 2022 Ethnomusicology Courses: Methodology
Jason Robinson
WF 12:30 PM-01:50 PM
Functioning as a combined seminar and performance workshop, this course explores the theory and practice of musical improvisation. Rather than focus on one specific musical style, we will define “improvised music” in an inclusive way that draws equally from American and European experimental musics, various approaches to post-1965 jazz improvisation, and several musical traditions from around the world that prominently use improvisation. Students will be encouraged to develop new performance practices drawn from and in dialogue with these diverse musical traditions. Reading, listening, and video assignments will help familiarize students with the burgeoning field of improvised music studies and will serve to guide class discussions. Students with any musical/stylistic background are encouraged to enroll. Two class meetings per week. Fulfills the departmental seminar requirement for the major.
Requisite: Basic instrumental or vocal proficiency. Limited to 10 students. Fall semester. Professor Robinson.
Olabode Omojola
MW 01:45PM-03:00PM
Margaret Sarkissian
M W 10:50 AM - 12:05 PM
Sage 215
Margaret Sarkissian
M W 10:50 AM - 12:05 PM
Sage 215
Performance Courses
Numerous opportunities exist for Five College students to participate in ensembles and learn instruments and styles from various global music traditions. The list below includes several of the ongoing ensembles related to ethnomusicology in the Five Colleges. Contact the instructor for full details. In addition to those listed below, there are numerous choral groups, orchestras, jazz ensembles, and other ensembles performing within the Five Colleges.
Appalachian Old Time & Bluegrass Ensembles
Hampshire College
Contact: Prof. Rebecca Miller
Chinese Music Ensemble
Smith College
Contact: Joy Lu
Irish/Celtic Ensemble, The Wailing Banshees
Smith College
Contact: Ellen Redman
Javanese Gamelan
Smith College
Contact: Prof. Margaret Sarkissian
West African Drumming
Mount Holyoke College
Contact: Faith Conant
Elective Courses
Elective courses are negotiated in consultation with the student's ethnomusicology advisor, including courses from related disciplines including: anthropology, sociology, history, or media studies; area studies fields such as African Studies, American Studies, Asian Studies, or Middle East Studies; or others related to a particular student's ethnomusicological interests.
Certificate Recipients
Georgia Beatty, Hampshire College
Cara Doherty, UMass Amherst
Erin Elizabeth Hancock, Mt. Holyoke College
Isabela Haye, Hampshire College
Antonina Hill, Hampshire College
Melissa Jordan, Hampshire College
Matthew McGowan, Hampshire College
Max Nemhauser, Hampshire College (Fall 2019 graduate)
"Ethnomusicological Methodology in Documentary Filmmaking"
Carlos Sevilla, Hampshire College
Yuchen "Angel" Xiang, Mt. Holyoke College
Samuel Croff, Amherst College
"The 9th Dimension: A Composition and Performance Thesis"
Ben Fitts, Hampshire College
Caia Lee, Mt. Holyoke College
"Soundscapes of the Human Uterus: Fetal Sensory Experience and Development"
Bingyao Liu, Mt. Holyoke College
"Yangqin, Tsimbl, Cimbalom, Salterio... : An Exploration of Hammered Dulcimer Music"
Stella Silbert, Hampshire College
"Composing and Listening in a Layered Sound World"
Lena Abraham, Hampshire College
"Intersections of Gender in Electro-Acoustic Music and Noise"
April Crowley, Hampshire College
"Irish Roses, Irish Rebels: Women in Irish Traditional Song"
Nashua Malko, Hampshire College
"Awash in Sound: Sound Meditation and Healing Discourse in the Northeastern United States"
Olivia St. Pierre-Baxter, Hampshire College
"All Join Hands: Social Dancing and Identity in French-Canadian Communities"
Maxwell Rea, Hampshire College
"Call and Response: Unity through deep conversation; interpersonal cooperation harmonizing the individual and community, and other socio-musical implications"
Lenka Saldo, Hampshire College
"Embodied Imaginations: Dancing Identities in Cuban Miami"
Emily Matz, Smith College
Maria Wood, Smith College
“New Ideas in the Air: The Birth of Hamilton: An American Musical”
Nicholas Jordan, UMass Amherst
Tatiana Hargreaves, Hampshire College
"Contemporary American Fiddle Culture and Cuban Violin History"
Tomal Hossain, Amherst College
"Gregorian Chant of St. Mary's Monastary and St. Scholastica Priory: A Radio Documentary”
Zoe Langsdale, Smith College
"Irish Music and Sean-nós Singing"
Alexis Ligon, Amherst College
"Music, Critical Blackness, and Ethnographic Documentary Film"
Owen Dempsey, Hampshire College
"Different Drummers (Vovovo υuƒolawo) - Teaching Music to Students with Special Needs"
Emma Rothman, Hampshire College
"Sound, Noise, Music and Meaning: Performing Collaborative Listening"
Sean Seid, Hampshire College
"Interpretations of Colonial American Dance Music”
Bianca Couture, Smith College
Rene Cruz, Hampshire College
Allyson Grammo, Mount Holyoke College
Nick Kane, Hampshire College
Parker McQueeney, Hampshire College
Frances Caperchi, Hampshire College
"The Making of BUSNEST: The Nuances of Cultural Appropriation"
Abigail Hobart, Hampshire College
"The Red Barn Folk Festival: A Community Exploration of New England Folklife"
Jacob Hochberger, Hampshire Colleg
"Soundin' like weself: The Trinidadian Rapso Tradition"
Traci Laichter, Hampshire College
"Klezmer: Jewish Identity in the New Country"
Caleb MacKenzie-Margulies, Hampshire College (Fall 2014 graduate)
Emily Moran, Hampshire College
"Gullah Geechee Life, History, and Culture and the Impact of Gentrification on St. Simons Island and Sapelo Island, Georgia: The Past and the Present"
Kathleen Toomey, Mount Holyoke College
"The Nagara Drum and the Struggles of Folk Musicians in Pushkar, India"
James Hartman, Hampshire College
"The Viola Caipira in Brazilian Harvest Festival Music"
Thomas Heisler, Hampshire College
"Don't Take the Mask Off the Old Lone Ranger: Captain Luke and the Drink House Blues"
Rebecca Holtz, Smith College
"Gender-Role-Free Contra Dancing at the Montague Grange (A Radio Journalism piece)"
Lydia Warren, Smith College
Anna Maria Amoroso, Mount Holyoke College
"Methods of Pedagogy in Hindustani Classical Music"
Rebekah Danielson, Mount Holyoke College
"Musical Hybridity Building a Sense of Community"
Katie Hoyer, Smith College
"The Meaning of Medieval: Lopes-Graça, Portugalidade, and the Cantiga d'Amigo"
Sasha Hsuczyk, Hampshire College
"All Things That Rise Must Converge: Julia Clifford and the Spirituality of Music Performance and Experimental Art As a Means of Ethnomusicological Research Expression"
Sara Loh, Smith College
"'Oppa Malaysia Style': The Psy effect on Malaysian Music, Media and Politics"
Phoebe Smolin, Hampshire College
"La Canción de Boyle Heights: How An East Los Angeles Neighborhood Uses Music To Resist The Silencing of Its Histories "
Jacques Robert Boudreau, Hampshire College
Division III: American Mythology: Explorations in Music Composition and Ethnomusicology
Baron Collins-Hill, Hampshire College
Division III: Modern Traditional Music
Zoe Darrow, Mount Holyoke College
Certificate focus: Scottish Style Fiddling in Cape Breton and Prince Edward Island
Andrew Alexander Feinberg, Hampshire College
Division III: Speaking and Singing: The Musical Nation
Sarah Godel, Smith College
Josh Landes, Hampshire College
Division III: Behind This Tongue: DIY Radio On The Road
Alex Mcle, Mount Holyoke College
Certificate focus: The Importance of Music in Sustaining the Culture of the Maori People of New Zealand
Amber Smith, Mount Holyoke College
Certificate focus: The Harlem Renaissance: Cultural Memory and the Discourse of Africa in Jazz
Duncan Trudeau, Hampshire College
Division III: Composition and Performance on the Classical Guitar
Katherine Beyer, Hampshire College
Division III: Music-Making and Acclimating, A Radio Documentary: Reinforcing and Reshaping Nigerian Immigrant Identities Through Music
Morgan Greenstreet, Hampshire College
Division III: What I Did and Didn't Learn about Tokoe in Ghana: Many Versions of Authenticity
Ashley Soto, Amherst College
Honors thesis: Soundscapes of Latin@ Identity: Music-Making in the Puerto Rican Community of Holyoke and Beyond
Contact Us
Program Chair:
Olabode Omojola, Hammond-Douglass Five College Professor of Music, Mount Holyoke College
Five College Staff Liaison:
Ray Rennard, Director of Academic Programs