Current Student Profiles
Mariana Castro Carvajal is originally from Mexico City. She began her formal musical training at the age of fourteen, studying classical piano under Antonina Dragan, Vlada Vassilieva, and Anatoly Zatin at the Institute of Fine Arts in Colima, Mexico. She was the recipient of a 2016 Emerging Leaders in the Americas Program scholarship, through which she participated in an exchange program with Brandon University, Manitoba. She transferred to Brandon the following year and completed her Bachelor of Music with Honours. Mariana is interested in studying Mexican national identity and indigenismo in the context of protest music. She aims to elucidate the ways in which music and musicking might further social justice and change in vulnerable Latin American communities.
Eric Taylor Escudero is originally from São Paulo, Brazil. He has a BA in Communication and Multimedia from the Pontifical Catholic University of São Paulo and an MA in Music and the Environment from the University of the Highlands and Islands, Scotland. At UHI, his final project, entitled Mirrors, consisted of a collection of songs and other pieces inspired by a journey from Brazil to Scotland. His research interests include the music and traditions of southeastern coastal communities in Brazil, Fandango Caiçara, and issues of identity in folk music. Eric is involved in a solo folk/rock music project (http://erictaylor.bandcamp.com) and serves as songwriter, guitarist, and arranger for Brazilian singer Ana Luísa Ramos (http://analuisaramos.bandcamp.com).
Gale Franklin is a singer-songwriter from Winnipeg, Manitoba. She received her Bachelor of Music from Carleton University in 2018, with a focus on songwriting. The same year, she released her debut EP, Fool’s Paradise, which is now available on all online platforms. Her research interests examine the role of music in identity and alliance formation in the context of migration. Her current research interrogates how Syrian refugees in Canada use music in their daily lives to cultivate a sense of belonging, heal emotional wounds of trauma, and generate Syrian Canadian identity narratives.
Originally from Niagara, Ontario, Tia Julien received a Bachelor of Arts from the University of Guelph, specializing in music and English studies. With a passion for music and writing, she strives to understand how the relationships between words and sound function in everyday life. Her interests lie in identity, experience, and storytelling, particularly how music and literature function to connect people to themselves, others, and a shared social environment.
Callum Latta was raised in St. John’s and in 2019 was awarded a BA with Honours in English from Memorial University, where he also minored in philosophy. He wrote his English honours essay on the use of language in blues music and plans to continue his graduate research in this area. After dedicating many years to learning and performing blues guitar, he is interested in how contemporary Canadian performers continue to find meaning in this genre.
Born in Seattle, Washington, Ryan Ritter-Jones (he/they/she) learned music performance in school choral and orchestral ensembles as well as various forms of rock and alternative music in local bands. He completed his BA in Ethnomusicology at Fairhaven College under the guidance of Professor Mark Miyake. Their scholastic interests are varied but generally focus on countercultural musics and the diverse communities they create. Her past research has explored how masculinity is constructed through references to anime in contemporary hip-hop and how violent dance practices in punk and metal scenes can be understood through play theory and mythology. Ryan looks forward to further investigations into the phenomenological potentials of moshing.
Sarah van den Berg has been a singer for most of her life. Whether through her recent forays into songwriting or her eclectic choral experience, she is continually in awe of the voice’s ability to connect her to herself, those around her, and her physical surroundings. Sounding, soundscapes, and deep listening have piqued her curiosity in recent years. Inspired by new materialism, she hopes to examine ...Float..., a recent multidisciplinary choral performance that featured immersive art installations on a farm in St. John’s, as a site where deep relationships with the nonhuman world were forged through shared musicking.
Originally from Topeka, Kansas, Karen Mize Berglander completed a dual BA in German and Music, with an emphasis in voice, at the College of Saint Benedict and an MA in Musicology at the University of Denver. She is an active performer and served as supplemental chorus for the Colorado Symphony in addition to her involvement with academic choirs, opera workshops, and the University of Denver’s gamelan and kathak dance ensembles. Karen’s research examines experiences and expressions of femininity and queerness in the North American DIY punk scene and aims to tackle those issues from both an academic and activist approach. As an activist, Karen is particularly interested in the role that DIY performance venues play as safe spaces and the ways these venues can be utilized as a point for community outreach among at-risk populations.
Carolyn Chong’s research interests include the role of the arts in Indigenous resurgence, decolonization, health, and social justice movements. Living in northern Norway for two years inspired her to pursue a multi-sited doctoral research project examining pan-Indigenous musical performance and arts festivals in northern Canada and Norway and their role in redefining Indigenous–settler relationships. Before returning to the field of ethnomusicology, Carolyn worked as an occupational therapist in London, England. Listen to Carolyn talk about her research here.
Jacob Danson Faraday has worked for many years as a performer, sound designer, recording engineer, and touring sound technician. Inspired by this work, he now examines the creative influence of live sound technicians and the working communities of large-scale touring productions. He holds an MSc from the University of Edinburgh and a BMus from Dalhousie University. Contact: firstname.lastname@example.org
Christian Dauble is from Dunedin, Florida. He began studying the Highland bagpipe at the age of twelve under Pipe Major Sandy Keith, as part of Dunedin’s Scottish Arts program. He went on to complete a BA in Music and a BS in Anthropology at Florida State University. During his time at FSU, he continued to study the bagpipe as well as the Chinese guzheng and Balinese gamelan gong kebyar. Christian has recently completed the master’s program in ethnomusicology from Memorial. Christian is interested in studying the performance practice of the classical Ceòl Mór music of the Highland pipe, along with issues of identity and nationalism within the broader piping community.
Kiersten Fage holds a BMus and a BA (Honours) from the University of Western Australia and an MMus in Early Music (Baroque Cello) from McGill University. Kiersten grew up in the small coastal town of Albany, Western Australia, surrounded by folk music; she performed regularly with her cello in bands, sessions, and folk festivals. These experiences inspired her honours thesis, “Searching for the Scots Cello,” which investigated the relatively unexplored area of eighteenth- and nineteenth-century Scottish folk cello playing. This research became an integral part of her master’s research project, which involved performances of eighteenth-century Scottish dance music on period instruments. Kiersten’s current research explores the rise, fall, and contemporary revival of folk cello playing in North America. From African American cello players in dance bands of the Colonial period, to cello players in the string bands of the early twentieth century, to contemporary folk cellists, Kiersten’s research aims to recognise folk cello playing as an established tradition. Kiersten is also involved with a project at the Centre d’études acadiennes at the University of Moncton, creating digital transcriptions of Acadian folk songs and tunes.
Certified by the Canadian Association for Music Therapy, Monique McGrath is a music therapist and ethnomusicologist interested in music, health, and culture. Her current research focuses on music therapy with children on the autism spectrum in Uganda. By gaining an understanding of Ugandan local beliefs and traditional healing practices related to autism, Monique aims to develop new culturally informed methods for music therapists interested in cross-cultural work.
Daniel Neill is from Toronto, Ontario. He completed a BMus in Jazz Studies through Humber College and an MA in Musicology at York University, while maintaining a busy schedule as a professional drummer and drum instructor. Daniel’s current research is focused on the pedal steel guitar, an instrument that he became interested in through his work as a drummer with various country, blues, and Americana artists. His research is concerned with the roles of gender and social class and the politics of labour in the instrument maker’s workshop. In addition to his activities as a musician, Daniel’s interest in riding and maintaining vintage motorcycles has greatly influenced his research interests.
Toshio Tatsu Oki started taking violin lessons under the Suzuki method at the age of four and has been playing piano since he was ten. He attended an Engineering program at the University of Western Ontario for three years. After discovering the world of social sciences, he undertook an Honours Bachelor's degree in International Development at York University. It was not until he moved to Japan that he discovered Irish music and started playing his violin again with more passion. The desire to pursue his passion for Irish music led him to the Master's program in Ethnomusicology at Memorial. His research interests lie in hybrid musical processes with a focus on the phenomenon of Irish music in Japan. Listen to Toshio talk about his research here.
Diego Pani became involved with music in his teenage years, learning both the traditional multipart singing of Santu Lussurgiu, his hometown in Sardinia, Italy, and starting a punk rock band. This interest in both traditional and popular music drove his subsequent research, which focused on the dynamics of learning, performance and the diffusion of music by young generations of musicians, in reference to the use of media as a learning device (historical recordings), as well as the construction of social meaning via audio and video materials, in the oral/vernacular traditions of Sardinia and popular music of North America. In addition to his academic studies, he sings with the Sardinian heavy blues band King Howl and manages Talk About Records, a DIY record label that specializes in the production of records and events of blues, Americana and rock 'n' roll artists.
Inspired by Eddy Van Halen's 1991 guitar solo on "Right Now," Glenn Patterson picked up the electric guitar at the age of twelve. His musical interests shifted from rock, blues, and jazz to traditional fiddle and banjo music during his undergraduate engineering degree at Queen's University (Canada). He then moved to Montreal to pursue a Master's in electrical engineering at Concordia and also hosted a weekly bluegrass and old-time jam session and organized square dances in Montreal and southern Quebec. Having met prominent field recordists in the old-time music revival encouraged him to pursue a Ph.D. in ethnomusicology at Memorial. His research focuses on home recording; popular culture, memory, and media; proactive archiving; and community-engaged and collaborative research within the English-speaking minority of Quebec's Gaspé Peninsula. His PhD dissertation has involved creating a digital sound archives with a local anglophone health and social services advocacy organization, Vision Gaspé-Percé Now. Their blog is available at http://gaspesiancommunitysound.com. Along with fiddler/musicologist Laura Risk, he also co-produced the CD-booklet "Douglastown: Music and Song From the Gaspé Coast" between 2010 and 2014; this project was awarded Quebec's 2014 Prix Mnémo for a project deemed remarkable in documenting oral heritage in Quebec.
Ophelia Ravencroft is a music historian and social activist from Halifax, Nova Scotia who has made her home in Newfoundland since 2008. Presently, she is engaged in an ethnography and oral history of the St John's metal community, with a particular eye to concepts of identity and of genre definition among local metalheads. Outside academia, she is a feminist activist who advocates especially for the rights of sex workers, and heads the committee behind St John's SlutWalk.
Peter Verdin has been playing in DIY bands since he was in high school, including one alleged ska band that he will neither confirm nor deny existed. Although he is primarily a bass player (both upright and electric). Peter is well-versed on a variety of stringed and keyed instruments. After graduating from the University of Minnesota with a B.A. in cultural studies and comparative literature, he spent several years working in a recording studio as a sound engineer and travelling the U.S. as a bass player with the neo-Americana group, the Gypsy Lumberjacks. Peter completed an M.A. in ethnomusicology at University College Cork, Ireland, where his work focused on transnationalism and its effect on ideas of locality. His research interests also include the effects of globalization on contemporary music, mediation, memory, and musical consumption. Now situated in St. John’s with his Wifey and Doggo, he is pursuing a Ph.D. in Ethnomusicology at Memorial University. You can listen to some of the recordings Peter has played on/recorded below: http://www.gypsylumberjacks.com/; https://widowjones.bandcamp.com/; and https://howlers.bandcamp.com/
Jing Xia is a professional guzheng player and teacher from China. During her master study of music administration, she also acted as concert host and chairman secretary of Hunan Symphony Orchestra. Her articles have been published in the Chinese journals Cultural Study and Music Space. Since moving to St. John's, she has been an active performer in city's music scene. She is interested in the fusion music combing the guzheng and western genres, and the transformation of this traditional instrument, including instrumental structures, performance styles, and compositions. Her research focuses on the modern development of the guzheng in the western world, especially in the North America.
Jordan W. Zalis is a doctoral student in ethnomusicology who holds his bachelor of music in vocal performance and master of arts in music and culture from Carleton University. His research is focused on sound, music, and sport as they relate to ideas concerning individual and group identity, social organization, and politics. Places like the stadium, the ballpark, and the sofa are where he chooses to study music and media and where he feels at home as a researcher. When away from the field, Jordan is an active creator and performer of new musics ranging from song to experimental sonic composition. Listen to Jordan’s feature on CBC’s “PhDs On the Go” here.