• photo of shannon garland

May 2, 2018

3:30 - 5 PM
Music Library 2406

In 2011, a minimalist ballad called "Love Doesn’t Exist in São Paulo" became a major hit in São Paulo, Brazil. Describing “bars full of empty souls,” where “no one goes to heaven,” the song describes the feeling of São Paulo as lacking in love. Written by longtime underground rapper named Criolo, whose work usually refers to life for the marginalized in the city’s periphery, the song became especially popular amongst cosmopolitan, middle-class youth, who had already begun using “love” to index ideal social relationships and modes of inhabiting the city. On the eve of the 2012 municipal elections, political activists drew on the popularity of the song to create an all-day music and arts festival called Love Exists in São Paulo, headlined by Criolo. Billed as a non-partisan, popular manifestation expressing the need for São Paulo governed by love, the event seemed to support mayoral candidate Fernando Haddad, who ran on a platform of humanizing the city. Haddad won. Referring to the event in his inaugural address, Haddad proclaimed love to indeed exist in São Paulo, promised to govern with love, and later brought event organizers into city government. This paper teases out the dynamics of city life that primed listeners to resonate with the song Não Existe Amor em SP, allowing its conversion into public event and political expedience. It shows how vague affects produced by experiences of the city become articulated and specified through the medium of song, as well as the ways in which actors drive such affective resonance into particular social meanings and political desires.

Shannon Garland is a Postdoctoral Fellow in Ethnomusicology at UCLA. She received her M.A. and Ph.D. in ethnomusicology from Columbia University. Examining media circulation, band touring, and live performance in the context of emerging music industry organizations, Dr. Garland's work addresses affect, aesthetics and sociality in the production of differential economies of value. Her book project, For the Love: Independent Music, Affect, and Labor in Brazil and Beyond, traces the interrelationships between cultural finance, social networking, and live performance, to show how aesthetic judgement forms through both global political economy and the intimate politics of social relationships. Dr. Garland serves as the 2017-2019 chair of the Economic Ethnomusicology Special Interest Group within the Society of Ethnomusicology.


  1. May 2, 2018 - 3:30pm to 5:00pm
  • poster of the lecture
February 28th
3:30 - 5:00 PM
Music 1145
This talk examines dohori song and intimate politics in Nepal, with attention to the micro politics of intimate relationships negotiated through improvised sung duets (dohori), and also through the inclusion of broader politics in these duets as the political and media landscapes changed throughout the 1990s and 2000s. Discussion of political topics in dohori lyrics was strictly forbidden in competitions and the state-run media up until 1990. I look at the slow movement toward including party politics and specific social issues in mainstream dohori performance and recordings in the period directly after the end of Nepal's civil war between Maoists and government forces. This period was characterized by calls for progressive reform, including changes in the ways intimate and public spheres were conceptualized politically and musically. Bringing the "public" world of party politics into the "intimate" sphere of dohori performance, this ongoing movement encompassed the inclusion of love in songs sung for party political platforms and vice versa, and attempts to create social change through the words, music, videos, and live performance of dohori songs. 
Anna Stirr is Associate Professor of Asian Studies at the University of Hawaii-Manoa. Her research focuses on music, dance, language, intimacy, and politics in South Asia, particularly in Nepal and the Himalayan region. Her first book, Singing Across Divides: Music and Intimate Politics in Nepal (Oxford University Press, 2017), looks at improvised dohori question-answer songs as culturally intimate, gendered expressions of ideas of nation, belonging, and heritage, within a cycle of migration and media circulation that spans the globe. She performs Nepali folk music as a singer, flutist, and percussionist.
Co-sponsored by the Ethnomusciology Program, the Distinguished Lecturer Series in the Music Department, and the Center for the Interdisciplinary Study of Music.


  1. February 28, 2018 - 3:30pm to 5:00pm
  • picture of Aaron Fox
Wed Feb 21, 2018 
3:30pm - 5:00 pm
UCSB Library, Special Research Collections (3rd Floor, Mountain Side)
Abstract: In this paper I will offer a broad view of “repatriation” and “recovery” projects undertaken in recent years by activists and ethnomusicologists working with archives of recorded sound.  Even when such work is focused on applied goals in the present, the turn toward repatriation suggests historical critique of ethnomusicology’s longstanding interdependence with militarism and colonialism. I connect the history of recording and “collecting" Native American music in the early 20th century to the later Cold War context in which contemporary ethnographic ethnomusicology emerged in its current institutionalized form -- in part through a reification of the earlier 20th century archive as ahistorical cultural data,  I interrogate the view of sound “archives” (and the work they have done to discipline our understanding of “music”) as sites of memory and scholarship in order to stress their importance as sites of domination and resistance, suggesting  a phenomenology of the "archival recording" that assumes a history of hegemonic mediation. I advance a specific critique of “repatriation” discourse in ethnomusicology as an ethically fraught domain, however necessary.  The paper is based on 12 years of work “repatriating” recordings from the Laura Boulton Collection at Columbia University. 
Bio: Aaron A. Fox is Associate Professor of Music and Director of the Center for Ethnomusicology at Columbia University. In recent years Fox has focused on issues of cultural and intellectual property and the repatriation of Native American cultural resources, as part of a broader interest in cultural survival and sustainability and music-centered community activism. His current project entails work with several Indigenous communities to return and recover recordings held by Columbia University’s Center for Ethnomusicology, including collaborative work with numerous Indigenous scholar/activists.  Fox's publications on this topic include “The Archive of the Archive” in The Routledge Companion to Cultural Property (2017) and “Repatriation as Re-Animation Through Reciprocity” in The Cambridge History of World Music: Vol. 1 (North America). His book, Real Country: Music and Language in Working-Class Culture, was published by Duke University Press in 2004.
Aaron A. Fox


  1. February 21, 2018 - 3:30pm to 5:00pm
  • timothy rommen lecture poster

Date: 3:30-5PM January 31, 2018 

Location: Music 1145 


Tools for Un-islanding? The Creole Geographies of Dominica’s Popular Music

Timothy Rommen

University of Pennsylvania

Focusing specifically on the historical trajectories of popular music emanating from the Commonwealth of Dominica starting in the 1970s (cadencelypso andbouyon), this paper develops an inquiry into what I call creole audibility. Creole audibility wrestles with the simultaneous and somewhat paradoxical audibility (within other genres) and inaudibility (as discreet genres) of these creole sounds within and without the Caribbean. I argue that the linguistic, processual, and identitarian uses of the “creole” so thoroughly integrated into analyses of Caribbean social and cultural contexts are inadequate to the Dominican scene and, by extension, to the contemporary moment throughout the region. New questions emerge in light of these Dominican musical trajectories: Can we think about creole sounds as instantiating, following Michel Foucault, a particular type of (very productive) heterotopia? That is, can cadencelypso and bouyon play the role of a sonic mirror that is simultaneously sounding the “there where I am” and the “there where I am not” of the Dominican social imaginary? What might thinking about these genres as sonic mirrors (both utopian and heterotopic, both audible and inaudible, both bounded and borderless) afford us in terms of developing critical purchase on the contemporary dynamics of small places (Dominica) and peripheral spaces (the Caribbean)? Can creole audibility be productively nuanced by recent work in archipelago studies that explores how the ubiquitous presence of the sea informs the relations between simultaneously interconnected yet isolated and discreet spaces? Put otherwise, are cadencelypso and bouyon shaped by an archipelagic (as opposed to an islanded) understanding of space that informs both social imaginaries and sonic possibilities? Finally, can we, in answering these questions, begin to understand the creole sounds of Dominica as decolonial tools—as tools for un-islanding? As Gordon Henderson (the pioneer of cadencelypso) has put it: “Some may say we are divided by the sea. I say we are linked by the sea.” 

Timothy Rommen (Ph.D. University of Chicago, 2002) is the Davidson Kennedy Professor in the College and Professor of Music and Africana Studies at the University of Pennsylvania. He specializes in the music of the Caribbean with research interests that include coloniality/decoloniality, the political economy of music and sound, creole musical formations, tourism, diaspora, music and spirituality, and the ethics of style. His first book, entitled "Mek Some Noise": Gospel Music and the Ethics of Style in Trinidad (University of California Press, 2007), was awarded the Alan P. Merriam Prize by the Society for Ethnomusicology in 2008. His is also the author of “Funky Nassau”: Roots, Routes, and Representation in Bahamian Popular Music (University of California Press, 2011). He is contributing author to and co-editor, along with Daniel Neely, of Sun, Sea, and Sound: Music and Tourism in the Circum-Caribbean (Oxford University Press, 2014). His current projects include a musical ethnography of Dominica and an edited volume on the political economy of music and sound in Caribbean tourism.



  1. January 31, 2018 - 3:30pm to 5:00pm
  • the poster of score
Tuesday, January 30, 2018 - 7:00pm - 9:30pm
Pollock Theater, UCSB

Score (2016)

Screening format: Sony 4K Digital Projection (93 minutes)

Director: Matt Schrader

Producer: Robert Kraft

This event is free but a reservation is recommended in order to guarantee a seat. 

Reserve Ticket

Tickets will be released on Tuesday, January 9 at 11:00 AM.

Score: A Film Music Documentary follows the creative struggles of designing a modern film soundtrack from scratch. Featuring some of Hollywood's premier composers, the film explores the power and influence of film scores in the modern world and gives viewers a privileged look inside the musical challenges of the process of composing a score.

Producer Robert Kraft will join moderator David Novak (Music, UCSB) for a post-screening discussion.

Watch the film's trailer here.

  1. January 30, 2018 - 7:00pm to 9:30pm
  • poster of the event

January 22 5 PM
Storke Plaza

The Hard-to-Find Show Space
January 22 8 PM

On January 22nd, KCSB-FM, the Center for the Interdisciplinary Study of Music (CISM), and The Hard to Find Showspace present a night of independent music with Arrington de Dionyso & Ben Bennett, along with Espresso, The Crudes, Easter Teeth, and Pookie.

Before the show, the public is invited to participate in a free, on-campus improvisational-music workshop with Arrington de Dionyso and tour-mate Ben Bennett in Storke Plaza (near KCSB) on the UCSB campus.

The workshop will focus on improvising with extended techniques, sharing skills and strategies for creating "new" instruments from more familiar elements. Their areas of focus are wood winds and percussion, respectively, but all instruments are welcome and there will also be some demonstrations of extended techniques for voice that can be used by all. (Note: In case of inclement weather, the workshop will move to the Media Center in the Associated Students Annex, immediately across the bike path north of Storke Tower.)


Arrington de Dionyso is an artist, musician, linguist, and instrument inventor based in Olympia, Washington. From 1995 until 2008 he was the leader of Old Time Relijun, a beloved art-punk combo that released eight albums with K Records. In 2009 he founded Malaikat Dan Singa, melding free associative Indonesian translations of William Blake with dancehall rhythms and postpunk angularity. This project led to numerous collaborations with musicians in Indonesia such as Senyawa, Karinding Attack, and HMM. Now in 2018, THIS SAXOPHONE KILLS FASCISTS would not exist were there not a need for it.

Benjamin Bennett has worked as an improvising percussionist for 10 years, touring North America and Europe as a soloist, in various ensembles and ad-hoc collaborations. He developed a unique approach to percussion which took the lineage of free-jazz, free-improvisation, Berlin reductionism, and extended technique playing as its foundation. In searching for an expanded sonic palette, and more fluid movement between various techniques, he distilled the drumset into a small collection of drumheads, stretched membranes, and other objects which offered a wide variety of unconventional sounds from very few materials, which could be rearranged into different combinations during a performance. This aesthetic development also translated to a practical advantage, in that this setup was small enough to fit into a backpack, freeing him from using a car to transport heavy percussion gear. He began touring by bus and bicycle, even completing a 7-day, 7-show bicycle tour through New England.

Showtime for this eclectic Hard to Find show is 8pm, and tickets will be available at the door for $5.
A drug-and-alcohol-free, all-ages venue, The Hard to Find is at 7190 Hollister Avenue in Goleta.

  1. January 22, 2018
  • poster of christina dunbar-hester's talk

Date: Saturday, November 4th, 2017, 10:30am - 11:45pm
Location: Girvetz Hall 1004, UC Santa Barbara

KCSB-FM & UCSB's Center for the Interdisciplinary Study of Music Present 

Christina Dunbar-Hester
Assistant Professor, USC Annenberg School for Communication and Journalism

A Keynote Lecture, “Low Power to the People: Community Radio and the Challenge of Media Democracy”

"How have activists addressed the media system, and to what effect? In this talk, I survey the last century of broadcast policy, including activism to expand non-commercial media since the Telecommunications Act of 1996. I focus on the activities of advocates for low power FM radio, a highly local medium that has great significance as a noncommercial, community-controlled platform. These activists conducted both policy work and hands-on training in technology with the goal of empowering everyday people. Their experiences contain important lessons for our present media ecosystem."

Christina Dunbar-Hester is a faculty member in the Annenberg School for Communication and Journalism at the University of Science & Technology Studies, and her research focuses on the intersection of technical practice and political engagement.

Part of the U.C. Radio Network Fall 2017 Conference (With a Q&A Featuring Area Low-Power FM Radio Activists)
This Talk is Free & Open to the Public!

Contact KCSB-FM for more information: (805) 893-3921 / /

  1. November 4, 2017 - 10:30am to 11:45pm
  • Still  image  from  Akounak  Tedalat  Taha  Tazoughai  (Kirkley,  2015:  Niger).

6:30 - AKOUNAK screening
7:45 - Q&A with Prof. David Novak + Filmmaker Christopher Kirkley
8:15 - Carlos Niño Performance
9:00- Mdou Moctar Performance

Date: October 14

Location: Multicultural Center

Admission: Free

Mdou Moctar is a pioneer of Tuareg guitar music, a style that has recently shown up on music charts and at North American music venues and festivals thanks to the popularity of groups like Tinariwen, Bombino, and Terakaft. Based in Agadez in Northern Niger, the youngest guitarist, singer, and songwriter Mdou Moctar is becoming increasingly recognized or his own musical experimentation and boundary-pushing work. 

His 2008 psychedelic-tinged Saharan desert-rock LP Anar was met with success via MP3 networks throughout West Africa. One of its standout tracks was featured on Music from Saharan Cellphones: Volume 1, a 2011 album of rare music complied by U.S. record label Sahel Sounds. This month, Sahel Sounds just released their fifth Mdou Moctar album, Sousoume Tamachek, and his first U.S. tour will appear in person at UCSB’s MultiCultural Center Theater. 

Mdou’s relationship with Christopher Kirkley—the founder of this Portland, Oregon-based world-music label—blossomed further with the 2015 release of Kirkley’s film Akounak Tedalat Taha Tazoughai (Rain the Color Blue With a Little Red In It), which not only pays tribute to Prince’s hit movie Purple Rain, but also to the 1973 Jamaican cult-classic reggae film The Harder They Come. The first ever Tuareg-language film, Akounak tells a fictional story of the struggle of a guitarist trying to make it against all odds in Agadez. (The title reflects how there is no word for “purple” in the Tamasheq language.)

KCSB-FM and UCSB’s Center for the Interdisciplinary Study of Music (CISM) will co-present the area debut of Akounak, immediately followed by a conversation and Q&A with writer/director Kirkley and UCSB Professor of Music David Novak. (Showtime is 6:30pm.)

Next up will be an eclectic music set by Los Angeles-based DJ Carlos Niño (of Dublab and KPFK fame), followed by Mdou Moctar and his band performing live at 9pm, a set sure to blend soulful and bluesy guitar work with danceable and high-energy rhythms too.

UCSB’s MultiCultural Center and CISM co-sponsor this all-ages event which is free and open to the public.

  1. October 14, 2017 - 6:30pm
  • poster of martin daughtry talk

Date: 3:30-4:45 PM, Wednesday, May 24, 2017

Location: Music Room 1145

From the standpoint of music studies, the relationship between voice and air is one of figure to ground or event to medium. In comparison to the voice, in other words, the air appears inert, transparent, and theoretically uninteresting. However, in our current era of global warming, airborne particulates, and rising CO2 emissions, air has become front-page news. What insights can we gain from turning the tables on the voice and taking air seriously? This talk brings music studies into conversation with recent writings on climate change to form a new framework for understanding singing and other vocal emissions in the anthropocene. 

J. Martin Daughtry is an associate professor of ethnomusicology at New York University. He teaches and writes on sound studies; acoustic violence; voice; listening; jazz in New York; air; Russian-language sung poetry; and the auditory imagination. 

This event it sponsored by the Department of Film and Media Studies, the Center for the Interdisciplinary Study of Music (CISM), and the Department of Music. 



  1. May 24, 2017 - 3:30pm to 4:45pm
  • poster of jocelyne guilbault's talk

Date: 3:30-5PM Wednesday, May 17, 2017

Location: Music Room 1145 

This paper addresses new musical formations that are articulated across places, times, and people and that are openly embraced and promoted by musicians as well as fans today. It explores what Guilbault calls the politics and logics of musical bonding as a processual example of worlding. Numerous studies have focused on the musical connections between centers and peripheries, on musical practices that have traveled from the so-called first countries to the global south. Save some notable exceptions, few studies ahve traced the bonding that musics from the global south have created not just in the West, but also among themselves--in various parts of the global south and Asia. This study examines two musicals practices from the sotuh, soca and zouk from the Caribbean region, to highlight the different logics of cosmopolitan musical bonding, the worlding (ways of thinking and being) they put into motion, the affective relations and the "mattering maps" (Lawrence Grossberg's term) that they generate. 

Professor Jocelyne Guilbault specializes in theory and method in popular music studies, politics of aesthetics, and issues deadling with power relations in music production and circulation. Since 1980, she has done extensive fieldwork in the French Creole- and English-speaking islands of the Caribbean on both traditional and popular music. She published several articles on ethnographic writings, aesthetics, the cultural politics of West Indian music industries, and world music. She is the author of Zouk: World Music in the West Indies (1993), Governing Sound: the Cultural Politics of Trinidad's Carnival Musics (2007), and Roy Cape: A Life on the Calypso and Soca Bandstand (with Roy Cape, 2014)

Sponsored by the Music Department's Distinguished Lecturer Series, Ethnomusicology Forum, and the Center for the Interdisciplinary Study of Music.

More information: (805) 893-3230 or



  1. May 17, 2017 - 3:30pm to 5:00pm