joão marcos copertino (he/him/his)

joão marcos copertino is a graduate student at Harvard in romance languages. He is mostly working with intersections between race, literature, and desire in Brazilian culture. Prior to Harvard, he received formal training as a lyric singer (Escola Municipal de Música de São Paulo). Currently, he is working in a Brazilian history of emotions and desire debating the impacts of slavery and slave-trade in Brazilian society.


Jessie Cox (he/him/his)

Jessie is a composer, drummer, and scholar, currently in pursuit of his Doctorate Degree at Columbia University. His scholarly writing has been published in Critical Studies in Improvisation, American Music Review, Array Journal, amongst others. A publication is forthcoming in liquid blackness published by Duke University Press. At Columbia University, Cox is a co-organizer of the Comparing Domains of Improvisation, a group that facilitates talks by prominent and emerging scholars so as to engage in interdisciplinary meetings around improvisation; as well as being a co-founder of openwork an interdisciplinary journal published by Columbia University libraries.


Nico Daleman (he/him/his)

Nico Daleman (Bogotá 1989) is a Colombian-born musicologist, researcher and sound artist based in Berlin. His interest in contemporary music and sonic practices tie together discourses of sound studies, musicology, science technology studies and music science. His writings have been published in MusikTexte, Positionen and the Berliner Festspiele Blog. He is the host of "The Rest is Music", a monthly show on Cashmere Radio that explores practices of contemporary music and experimental electronic music on the periphery of the canon. Nico studied Audio Engineering, Musicology and Sound Studies & Sonic Arts in Bogotá, Boston and Berlin.


Nathan Friedman (he/him/his)

Nathan Friedman is a composer, performer, and scholar from the unceded territories of the Tk’emlúps te Secwe̓pemc (Kamloops, British Columbia). He has degrees in composition from the University of Victoria and Wesleyan University and is currently pursuing an MA in Musicology from the University of Toronto.


Kevin P. Green (he/him/his)

As a four-part practitioner, Kevin P. Green has over thirty years of experience as a freelance musician, music educator, and emerging scholar. Throughout his career he has created content, performed in live settings, taught students from ages four to adult, and presented at conferences in the United States and abroad. His areas of emphasis include: Hip-Hop culture; jazz; the music of Cuba, Jamaica, and Brazil; music pedagogy; and marching music ensembles. Mr. Green is presently at the ABD stage in the Integrative Studies program, within the department of music, which he entered as a Strategic Enhancement of Excellence Through Diversity (SEED) Fellow. In his dissertation, he will explore how Hip-Hop has influenced and is interpreted by musicians, educators, and arrangers within the show style marching ensemble and Historically Black College and University music department ecosystem.


Annie Kim (she/hers)

Annie Kim is a first-year Ph.D. candidate in the Musicology & Ethnomusicology program at Brown University. Her research lies at the intersection of voice and sound studies, and she is particularly interested in issues of race, gender, materiality, and technological mediation. Prior to attending Brown, Annie received an M.A. in Musicology from Tufts University and a B.A. in History and Music from Boston College.


Zane Larson (he/him/his)

Zane Larson is currently a PhD student in Music Theory at the University of Iowa. He holds a MM in Music Theory from Florida State University and a BA in Music Performance (vocal) with a minor in education from Luther College. Zane’s primary research areas include pop music, musical theater, and choral music. Additionally, he looks at how musical analysis and identities are intertwined. Some other interests of his are music theory pedagogy and ethnomusicology.


Patrick S. Mitchell (he/him/his)

Patrick Mitchell is a second-year master’s musicology student at the College-Conservatory of Music at the University of Cincinnati. Prior to his start at UC, he graduated with an Honors Bachelor of Musical Arts in vocal performance from the Chicago College of Performing Arts at Roosevelt University. Since the early 2010’s, Patrick has been touring, recording, and writing music in Chicago’s emo and DIY scenes. Although his connection to DIY music remained separated from his academic pursuits, his experience has inspired him to focus his graduate scholarship on popular music of the last 30 years. Under the advice of Shelina Brown, Patrick is currently writing his master’s capstone on masculinity in 2000’s emo music.


Eugenio Monjeau (he/him/his)

Eugenio Monjeau was born in Buenos Aires, Argentina in 1985. He has a BA in Philosophy (Universidad de Buenos Aires) and will soon receive an MA in Arts in Education (Harvard University, Class of ‘22). He has worked as an artistic programmer and producer in different venues, such as the Teatro Colón of Buenos Aires. He was a presidential advisor in public policy communication under President Mauricio Macri. He co-authored La mala educación, a book about the Argentine education system, with Helena Rovner (World Bank). His articles and essays on politics, culture, education, and the arts have been published in Argentine and international media. He is currently self-employed as a music appreciation professor. He has given several lectures on chamamé, and his work on the subject has been published at the Revista of the David Rockefeller Center for Latin American Studies (Harvard University). He lives in Princeton, New Jersey.


Rômulo Moraes (he/him/his)

Rômulo Moraes is a Brazilian writer, sound artist and ethnographer. PhD candidate in Ethnomusicology at The Graduate Center, CUNY with a Fulbright/CAPES Scholarship, he holds a Masters in Culture and Communication from UFRJ and has worked and taught at The New Center for Research & Practice. He is the editor of &&& Journal and author of “Casulos” (Kotter, 2019). Currently, he’s researching phenomenologies of imagination, post-mediatic maximalism, the entwinement of pop and experimental, and the cosmopoetics of crate digging.


Shelley O'Brien (she/they)

Shelley O'Brien is a PhD candidate in the department of Environmental and Urban Change at York University. Her research thinks-with fungi and air, death, sex and time. As a musician, mother and zen practitioner, her methodology reflects these artistic, embodied and contemplative practices in processes of research creation.


Jenna Richards (she/her/elle)

Jenna Richards embraces a demanding schedule as a portfolio musician, including performance, research, and arts administration. She has performed from Toronto to Salzburg, organized national research projects, and programmed 750+ musical events. Jenna holds nine consecutive Nova Scotia Talent Trust awards and is currently pursuing her PhD, Interdisciplinary Research in Music with OGS funding.


Jessie Rubin (she/hers)

Jessie Rubin is a second-year ethnomusicology PhD candidate at Columbia University. Two summers of working with the organization Learning for the Empowerment and Advancement of Palestinians (LEAP) in Tyre, Lebanon became the seed of the fieldwork for her paper, “Vocality in Exile: The Indigenization of Scottish Bagpipes in a Palestinian Refugee Community.” Rubin continued to explore articulations of hybridity and themes of sonic circulation and in her Masters’ thesis, which examines queer New York-based reformulations of MENA (Middle East/North African) cultural practices within an electronic dance party network.


Devon Osamu Tipp (he/they)

Devon Osamu Tipp is a shakuhachi player, composer, and visual artist, whose research and performance endeavours focus on the intersections between traditional Japanese music, contemporary musical praxis, and microtonality. His work draws influence from his Japanese and Eastern European roots, his experiences as a jeweler and painter, improvisations with plants, and his studies of gagaku and hōgaku in the US and Japan. His recent compositions focus on rhythmic and timbral transmutation of cyclical materials, controlled improvisation, and morse code. His compositions have been performed in the US, Europe, Australia, and Japan. He has presented his research and performed at venues such as the Inter­national Shakuhachi Festival Prague, the University of Pittsburgh Music on the Edge series, the Oulu Music Festival (Finland), New Music on the Point (Vermont, USA), Charlotte New Music Festival (USA) and universities and other festivals in the US, Asia, and Europe. For more information, please visit


Alice (Bai) Xue (she/hers)

Alice (Bai) Xue is a second-year doctoral student at CUNY graduate center. She teaches music theory at Hunter College.