Graduate Alumni

Our graduate students have had tremendous success as multimedia performers, software developers, media consultants, applied ethnomuscologists, composers, media consultants, authors, and college and university professors.  

Music & Multimedia Composition Alumni

(Program was formerly known as Computer Music & Multimedia)

Akiko Hatakeyama (Ph.D. '19) Akiko Hatakeyama is a composer/performer of electroacoustic music and intermedia. She explores the boundaries between written music, improvisation, electronics, real-time computer-based interactivity, and visual media. Storytelling, memories, and nature play an important role in Akiko's work, and she most often finds beauty in simplicity. She joined the Music Technology program at the University of Oregon as an assistant professor in 2016.

Jinku Kim (Ph.D. '19) is a composer, performer, and multimedia artist currently residing in New England Area. His work focuses on pushing the boundaries of interaction through sound installation and audio visual performances. His works have been performed and installed at various places including REDCAT of Walt Disney Concert Hall, Whitney Museum of American Art, STEIM in Amsterdam, The New children’s Museum in San Diego, Machine project in Los Angeles.

Luke Moldof (Ph.D. '19) is a Providence and New York based artist, currently focused on sound and photography. For the past few years his work has been largely made up of unedited and unprocessed location recordings, acknowledging the tropes of “field recording” as a genre, seeking to operate outside them or to address them in uncommon ways. He uses similar methods of exploration and critique to produce photographic works, in an attempt to highlight the consonance and dissonance between these two practices. Luke studied jazz guitar at the New England Conservatory and was active for a time in the American noise scene. Past areas of interest included: improvisation, tape / concrete music, and synthesis, though they’re largely on the back burner. He discovered a love for animals, which manifested itself in his parrot recording, “Kiki&Kiki” featured on his split LP with Peter Ablinger on Banh Mi Verlag. He is passionate about the Nashville and Bakersfield sounds and practices pedal steel, lap steel, and chicken pickin’ guitar as much as he can.

Asha Tamirisa (Ph.D. '19) works with sound and image and researches media histories. Particular interests include tool-building with both software and hardware, experimental music and film, and intermedia composition/installation. Asha's research integrates media archeological methods with feminist science and technology studies perspectives, looking closely and critically at often forgotten elements and conditions of media. Asha is a founding member of OPENSIGNAL, a group of artists concerned with the state of gender and race in electronic music/art practices. Asha is Assistant Professor of Music at Bates College.

Brian House (Ph.D. '18) is an artist who works with the material ecologies of sound and data. By constructing embodied, participatory systems, he explores how computational temporalities negotiate with the rhythms of everyday life. His work has been shown by MoMA in New York, MOCA in Los Angeles, Ars Electronica, Cincinnati Contemporary Arts Center, Eyebeam, Rhizome, Los Angeles Contemporary Exhibitions, Conflux Festival, ISEA, NIME, and Issue Project Room, among others, and has been featured in publications including WIRED, TIME, The New York Times, SPIN, Metropolis, and on Univision Sports. He holds a degree in computer science from Columbia University and one in art from Chalmers University (Sweden). In addition to his doctoral work at MEME, Brian completed a masters in Modern Culture and Media at Brown.

Seth Thorn (Ph.D. '18) is a composer-performer, violist, hardware designer, and interdisciplinary scholar whose work examines the relationship between gesture and sound. His research integrates texts on classical aesthetics, phenomenology, spectacle, interactivity, embodied cognition, and the sociology of craftsmanship. Seth has graduate degrees in German studies, political theory, and computer music. His compositions have been invited for performance at ICMC, NIME, and NYCEMF. He is currently associate faculty in the School of Arts, Media, and Engineering at Arizona State University.

Caroline Park (Ph.D '17) is a composer, musician, and artist working primarily within minimal means. She has shared the stage with Mem1, Steve Roden, a canary torsi, Evidence, Dollshot, and Arnold Dreyblatt, and has performed at the Stone (NYC), AS220 (Providence), and in Jordan Hall (Boston). Solo releases can be found on cassette, CD, and in digital formats via labels Private Chronology, Bathetic Records, VisceralMediaRecords, Pure Potentiality Records and Absence of Wax. Her 2011 cassette 'Adrift' was recommended by Steve Smith for anyone "interested in long-form, slow-drifting electronic buzz, crackle and drift." Caroline is 1/4 of the electro-improv quartet BUMPR (with Peter Bussigel, Stephan Moore, and Tim Rovinelli) and sometimes plays under the solo moniker CHYP. She holds B.M. and M.M. degrees in composition from the New England Conservatory, and she lives and works in Providence. More information can be found at

Mark Cetilia (Ph.D '16) is a sound / media artist working at the nexus of analog and digital technologies. Exploring the possibilities of generative systems in art, design, and sound practice, Cetilia’s work is an exercise in carefully controlled chaos. For over a decade, he has worked to develop idiomatic performance systems utilizing custom hardware and software, manifesting in a rich tapestry of sound and image. Cetilia holds a Ph.D in Computer Music and Multimedia from Brown University and an MFA in Digital + Media from the Rhode Island School of Design. He is currently a visiting Assistant Professor at Brown, Critic at the Rhode Island School of Design, and Co-Director of the Media Lab at Community MusicWorks.

Kristina Wolfe (Ph.D. '16) is a composer, wanderer, electronic musician, maker, and multi-instrumentalist. She is of Danish and American heritage, and spent many of her formative years wandering through the forests listening to the sounds of space and place. This environment cultivated her imagination and creative focus on the spirits of the past, and has inspired her work and listening practices up to the present day. Kristina is a MSCA Senior Researcher, VRAASP— University of Huddersfield, Huddersfield, UK.

Stephan Moore (Ph.D. '15) is a sound artist, sound designer, composer, improviser, maker, teacher, and curator based in Chicago. His creative work manifests as electronic studio compositions, improvisational outbursts, sound installations, scores for collaborative performances, algorithmic compositions, interactive art, and sound designs for unusual circumstances. His collaborations with sound artist Scott Smallwood (as electronic duo Evidence) and choreographer Yanira Castro (in her company A Canary Torsi) span more than a decade. He is the curator of sound art for the Caramoor Center for Music and the Arts, organizing annual exhibitions since 2014. He is also the president of Isobel Audio LLC, which builds and sells his Hemisphere loudspeakers. He was the touring music coordinator and sound engineer of the Merce Cunningham Dance Company for several years, and has worked with Pauline Oliveros, Anthony McCall, and Animal Collective, among many others. He teaches in the Sound Arts and Industries program at Northwestern University.

Blevin Blectum (Blevin Kelley Ph.D. '14) is an electronic music / multimedia composer, performer, and sound designer residing with avian animals in Seattle WA. Incorporating elements of text, video, acoustic and electronic instruments, her multimedia work is centered around a scored musical core, and inspired by the imagined realms of radio plays and speculated science fictions. Working solo and in collaboration she has released dozens of critically acclaimed recordings since 1998. As the duo Blectum from Blechdom, with long-time collaborator Kristin Grace Erickson, she received the Digital Music Award of Distinction at the Prix Ars Electronica 2001 in Linz, Austria. She is a recent co-founder of the Traveling Bubble Ensemble, with co-composer and violist Michael Kelley, violinist Elise Kuder, and performer/builder Marjorie Gere. Blevin's work has been featured and reviewed in publications including Wire magazine (UK), Neural, Pitchfork, Time Out (New York and London), Signal to Noise, Art Forum, Blow Up (Italy), Vogue (Italy), and Rolling Stone.

Peter Bussigel (Ph.D. '14) builds sound systems that become instruments, performances, sculptures, and less general interanimata. Peter also makes music with brass instruments and electrons and teaches new media and sound arts in Vancouver.

Freida Abtan (Ph.D. '13) is Lecturer at Goldsmiths, University of London. Abtan is a Canadian multi-disciplinary artist and composer living in London, UK. Her music falls somewhere in between musique concrete and more modern noise and experimental audio and both genres are influential to her sound. Her work has been compared to bands such as Coil, and Zoviet France, because of her use of spectral manipulation and collage.

Jacob Richman (Ph.D. '13) Richman's creative work focuses on unique performance settings and mixtures of composition for live performers, media arts, and site-specific installations. He feels that exploring relationships between sounds, images, live performers, space, and movement is an effective way to both investigate and convey greater connections that surround us. His recent work also explores the practice of "roving performances"—those in which the audience moves to experience the piece. He is interested in how movement through a performance setting can help express complex topics such as personal and collective loss, and expose the hidden linkages between things. Jacob is a Lecturer in multimedia production and theory in the Film/Media and Art and Art History Departments at the University of Rhode Island.

Matthew Peters Warne (Ph.D. '13) is a composer and installation artist who creates work to explore the role we play in our own perception. Warne creates electronic instruments and software to manipulate recordings of everyday soundscapes in live performance. His recordings are drawn primarily from Angola, in southern Africa, as part of an effort to understand the intersection between emerging, resource-rich nations and changing global cultures. He is a part-time assistant professor in the Departments of Music, Foundation, and Transmedia at Syracuse University.

Lyn Goeringer (Ph.D. '11) serves as assistant professor of composition at Michigan State University's College of Music. She is a composer and intermedia artist who works with video, sound, and light. She creates video art for gallery installation, live performance, and dance. Her work is often playful but complex, engaging with everyday objects toward abstract results.

Brian Knoth (Ph.D. '11) is a media artist, composer, and educator specializing in music composition/production, sound design, digital video, computer graphics, and interactive multimedia. This work has been realized in several formats including electro-acoustic music, audio-visual composition, digital video art, interactive multimedia performance/installation, and interactive systems for mind-body rehabilitation. Generally speaking, his creative work and research in multimedia explores ideas related to multi-sensory perception/integration, multi-modal communication, empathy, and human-computer/environment interaction. Knoth is an Assistant Professor in the Communication Department at Rhode Island College.

Kevin Patton (Ph.D. '11) is an artist and speculative designer whose primary mode of making is through creating interactive systems. He is active in the fields of multimedia theatre, experimental music, collaborative design, and interactive art. Kevin is also a frequent collaborator in installation, network art, and performance art projects.
Kevin is Assistant Professor of Interaction Design at the Corcoran School of the Arts and Design.

Shawn Greenlee (Ph.D. '08) is a composer and sound artist. In recent work, Greenlee focuses on generating digital audio from graphic patterns. Via computer programs of his own design, he advances new methods for interpreting visual image as sound (graphic synthesis). Further areas evident in his work include electroacoustic improvisation, spatial audio, and noise. Greenlee’s solo and group discography spans over fifty releases to date, complemented by an active practice as an exhibiting artist and sound designer. He has performed extensively across the United States and Europe, appearing on several conferences, festivals, and tours. Greenlee is Associate Professor at the Rhode Island School of Design (RISD), where he is also the Programs Head for the Division of Experimental & Foundation Studies.

Jamie Jewett (Ph.D. '08) is the director of Lostwax Multimedia Dance, a multi-media dance theater company that seeks to examine the visceral cusp between installation, performance space and narrative through the use of technology. Jewett has been an artist in residence at HERE Center for the Arts in New York, at STEIM in Amsterdam, and at Perishable Theater in Providence, RI. His works such as After the Fall (Danspace at St. Mark's), as well as Seven Veils (HERE), Rest/Less (HERE,), Snowblind (University of Michigan IMMEDIA commission), Kindly Bent to Ease Us, and as far back to the evening length works Glyph (1996), Cloud In Trousers (1997) utilize interactivity, cinematic imagery and live video. His on-going collaborations with author Thalia Field also include an online multimedia piece, Zoologic and SEVEN VEILS. His recent full length works MELT, BLINKING, and SEVEN VEILS were commissions from the Firstworks Providence Festival, where they premiered. Lostwax on Vimeo.

Thomas Ciufo (Ph.D. '04) is a sound artist, composer, improviser, and researcher working at the intersections of electroacoustic performance, interactive instrument design, sonic art and emerging digital technologies. Additional research and teaching interests include audio recording and production, acoustic ecology and listening practices, and innovative approaches to teaching, learning, and career development. Currently serving as a Faculty Innovation Hire in Digital Music and Music Entrepreneurship at Mount Holyoke College, Thomas is developing new courses in music technology, acoustic ecology, sonic arts and interdisciplinary digital / media arts. He is also a faculty affiliate in the Mount Holyoke College Makerspace.

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Musicology & Ethnomusicology Alumni

Byrd McDaniel (Ph.D. '19) researches popular music reception in the U.S., emphasizing listening, disability, and amateur performance. His dissertation featured case studies on karaoke, air guitar competitions, and lip syncing. Byrd received an M.A. in American studies at the University of Alabama, and he designed and taught courses at University of Alabama, Brown University, and Tufts University. Byrd is a Visiting Professor of Music at Northeastern University.

Esther Kurtz (Ph.D. '18) is a Postdoctoral Teaching Fellow in the Department of Music at Washington University in St. Louis, and she will continue there as Assistant Professor of Music effective July 2019. She will be teaching two courses a semester in topics such as American Popular Music, Ethnographic Methods and Ethics, and Jazz History, as well as continuing to develop her research on capoeira Angola in Brazil.

David Fossum (Ph.D. '17) is a Postdoctoral Fellow, Dietrich School of Arts and Sciences, University of Pittsburgh. He begins an appointment as Assistant Professor in the musicology program at Arizona State University in January 2019. Dave has a B.A. in English/Comparative Literature from George Mason University and an M.A. in Ethnomusicology from Wesleyan University. His M.A. thesis draws on music analysis and ethnographic data to explore innovation and transmission among musicians of the Ahal School of instrumental Turkmen dutar performance, which he began studying while serving as a Peace Corps Volunteer in Turkmenistan. His Turkmen research has culminated in two peer-reviewed articles, one published in the journal Ethnomusicology in 2015 and one forthcoming in the journal Analytical Approaches to World Music. His dissertation, titled “A Cult of Anonymity in the Age of Copyright: Authorship, Ownership, and Cultural Policy in Turkey’s Music Industry,” examines how actors in Turkey challenge, exploit, and seek to implement the country’s developing intellectual property regime.

Francesca Inglese (Ph.D. '16) is Assistant Professor of Ethnomusicology at Northeastern University.  Her dissertation, "Coloured Moves and Klopse Beats: Minstrel Legacies in Cape Town, South Africa,” received Brown's Joukowsky Family Foundation Outstanding Dissertation Award. She received her BA in music (with a focus on composition) from Vassar College and an MA in ethnomusicology from the University of Toronto. She has studied, performed, and taught Baroque, Jazz, and Carnatic violin/viola while living in Scotland, India, and Iceland, and played in a range of musical ensembles. Her MA thesis focused on the various musical interactions and encounters amongst African American and Jewish women vaudeville performers in the early 20th century as well as the sonic and embodied legacy of blackface minstrelsy in the performances of Sophie Tucker. Her current ethnographic dissertation research explores the music and dance practices, public parades, and youth development projects of minstrel troupes in Cape Town in relation to questions of coloured subjectivity, urban spatial politics, and corporeal knowledge in post-apartheid South Africa.

Dave Wood (Ph.D. '15) is an Instructor in Appalachian Studies at Appalachian State University. His dissertation research examines the correlation of musical structure, affect, and personality factors in the Appalachian old-time music revival community, and this is indicative of my general interest in a cognitive approach to ethnomusicology. He explored the relationship between music and emotion cross-culturally, the evolutionary origins of music, and implicit musical knowledge in music production and reception from an interdisciplinary perspective. From a humanistic standpoint, of interest to Wood are the uses of audio technology, musical taste and identity, musical appropriation, traditional music preservation initiatives, and music from Appalachia and the American South.

Bradley A. Hanson (Ph.D. '14) is the Director of Folklife at the Tennessee Arts Commission. An ethnomusicologist and folklorist, he previously worked as a cultural interpreter for the Tennessee State Parks and the Friends of the Cumberland Trail. As part of the Cumberland Trail Music and Heritage project, his efforts included field research, archival management, interpretive writing, and record and radio production centered on regional culture and folklife. He has also collaborated on programming, preservation, and documentary projects with Humanities Tennessee, Campbell Cultural Coalition, Jubilee Community Arts and the Tennessee Archive of Moving Image and Sound. In 2011, he was given the Blanton Owen Fund Award from the American Folklife Center at the Library of Congress to support his fieldwork with bluegrass, country and gospel musicians in East Tennessee.

Triin Vallaste (Ph.D. '14) is the Academic Department Coordinator for Russian Studies at Amherst College.

Aleysia Whitmore (Ph.D. '14) is Assistant Professor, Ethnomusicology, at University of Denver. Her research focuses on the world music industry, globalization, and cultural policy and she teaches popular music, world music, and classical music courses. During the 2018/2019 academic year, Aleysia will be a EURIAS research fellow. She will be conducting research on cultural policy and world music at the IMéRA research institute in Marseille, France. She is also finishing a book that examines West African and Cuban musics in the world music industry. Aleysia holds a BMus from the University of Toronto (Canada) and AM and PhD degrees in ethnomusicology from Brown University (USA). She has taught at Brown University, Boston College, the University of Miami and the University of Colorado Denver.

Benjamin R. Teitelbaum (Ph.D. '13) is Assistant Professor of Ethnomusicology and Affiliate Faculty in International Affairs. He earned a Ph.D. from Brown University with auxiliary studies at the Royal College of Music, Stockholm and Harvard University, and a B.M., summa cum lade, in nyckelharpa performance from Bethany College. Prior to coming to the College of Music, Teitelbaum was Instructor and Head of Nordic Studies, also at the University of Colorado, Boulder.

Julie Hunter (Ph.D. ’12) is Assistant Professor at SUNY Potsdam. For the past five years, Julie has been bringing the music and cultural traditions of West Africa to students at The Crane School of Music. Hunter has taken seven trips to Ghana in West Africa to conduct research over the years—including her most recent trip this past August. Hunter described the field of ethnomusicology as the study of music and culture and people making music. The intriguing field of study allows students to learn about music and cultures from around the world, not just by the “classic” European composers. African musical traditions are hundreds of years old and have been passed down from generation to generation through oral traditions—influencing a number of styles, from Afropop to jazz.

Daniel Piper (Ph.D. ’12) is the Curator for Latin America and the Caribbean instruments at the The Musical Instrument Museum (MIM), Phoenix, AZ. Daniel Piper is a music scholar and multi-instrumentalist with a PhD in ethnomusicology from Brown University in Providence, Rhode Island. He has conducted extensive field research in the Dominican Republic and northeast Brazil and has published on traditional music, popular religion, and dance from these countries. Piper’s dissertation is entitled, “Urbanization, Gender, and Cultural Emergence in the Music of Dominican Popular Religion: Salves and Palos in San Cristóbal.” He has also written numerous essays on topics such as improvisation in early jazz, musical modernization in Brazil, Cuban rumba and rap, and Afro-Dominican pilgrimage and processionals. Through long-term fieldwork projects, he has developed expertise in ethnographic interviewing, videography, and photography, which continue to serve him well in his work at MIM.

Brent Wetters (Ph.D. ’12) is an adjunct teaching professor at Worcester Polytechnic Institute and Special Lecturer at Providence College.

Erica Haskell (Ph.D. '11) is an Associate Professor of Music and Theater at the University of New Haven. Haskell’s research areas include the music of South Eastern Europe, the politics of music, applied ethnomusicology, post-war cultural redevelopment, refugee music as well as cultural policy in post-war Bosnia-Herzegovina.

Katy Leonard (Ph.D. ’11) is a Lecturer in Music at Harvard University. Her research interests include bluegrass music, hip hop culture, virtual and physical community, music and political movements, and the arts in civic and community engagement. Leonard's most recent publications focus on rapper/poet Kendrick Lamar, b-boy Richard "Crazy Legs" Colón, rapper/actor Chris “Ludacris” Bridges, and the history of Dirty South rap.

Maureen Loughran (Ph.D. ’08) is the Deputy Director of the Center for Traditional Music and Dance, New York City. She served for a number of years as a Senior Producer of American Routes, the nationally broadcast public radio program hosted by Nick Spitzer. While at American Routes, she produced over 80 two-hour programs and numerous segments that were broadcast nationally, including feature radio documentaries profiling Woody Guthrie, John Coltrane and Alan Lomax. Loughran conducted fieldwork to document Baton Rouge’s sacred and secular music traditions for the Folklife Program of the State of Louisiana’s Department of Culture, Recreation and Tourism. Along with Spitzer, she was awarded an Archie Green Fellowship by the American Folklife Center at the Library of Congress in 2010-2011. She has worked in various folk arts archives including the Irish Traditional Music Archive in Dublin, Ireland, the National Archives, the Archive of Folk Culture and the Irish Music Archive at Boston College.

Clifford Murphy (Ph.D. ’08) was appointed the director of Folk & Traditional Arts at the National Endowment for the Arts in August 2015. He oversees the NEA’s grantmaking in folk and traditional arts, and manages the NEA National Heritage Fellowships. Murphy was previously the director of Maryland Traditions, the folklife program of the Maryland State Arts Council (MSAC). In 2011, Murphy launched the state’s first Maryland Traditions Folklife Festival, and also managed the Maryland Traditions grant program supporting apprenticeships and projects. Murphy also produced the state's annual Achievement in Living Traditions and Arts (ALTA) Awards. In 2014, Murphy helped to establish a partnership with the University of Maryland Baltimore County to bring MSAC’s 40 years of folklife archives into the university library system, making the collection available to the public.

Birgit Berg (Ph.D. '07) has an extensive background in international media marketing including specialized knowledge of Asian media markets. She is currently the Operations Manager of the Business Development team at the U.S. Agency for Global Media (USAGM). She oversees the day-to-day activities of a global marketing team working to promote and place the TV, Radio, and Digital content of five media houses on commercial media stations in foreign markets. Birgit has also served as the Regional Director of Marketing for the USAGM's East Asia/Pacific Office of Marketing in Bangkok, Thailand, where she was responsible for the promotion and placement of Voice of America and Radio Free Asia programming on media stations across Asia. She began her public service career as a Presidential Management Fellow, after completing a Ph.D. in Ethnomusicology from Brown University. Birgit’s Ph.D. work, "The music of Arabs, the sound of Islam: Hadrami ethnic and religious presence in Indonesia,” focused on Islamic expressive culture in Indonesia.

Timothy J. Cooley (Ph.D. '99) is Professor of Music in the Ethnomusicology Program at UC Santa Barbara. He specializes in vernacular and popular musics of Central Europe, especially Poland, and North America. His research interests include music and sports, tourism, and identities, the intellectual history of ethnomusicology, and ecologies of cultural practices. His edited volume, Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology (Oxford University Press, 1997 and second edition 2008), is a standard text for students of ethnomusicology. His second book, Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians (Indiana University Press, 2005), won the 2006 Orbis Prize for Polish Studies (American Association for the Advancement of Slavic Studies). Cooley’s most recent book, Surfing about Music (University of California Press, 2014), was shortlisted for AMS’s Music in American Culture Award. Currently he is the editor and contributing author of Cultural Sustainabilities: Music, Media, Language, Advocacy, a collection of essays forthcoming from the University of Illinois Press in 2019. From 2006-09 he was the editor of Ethnomusicology. He has published articles and chapters in encyclopedias and books such as The New Grove Dictionary of Music and MusiciansCambridge History of World MusicEncyclopedia of Global Religion, the leading textbook Worlds of Music, and in leading academic journals such as British Journal of EthnomusicologyEuropean Meetings in Ethnomusicology, and The World of Music.

Gregory Melchor-Barz (Ph.D. '97) is a medical ethnomusicologist who has engaged field research in Uganda, Rwanda, Kenya, South Africa, and Tanzania. He received the PhD from Brown University and the MA from the University of Chicago. A former opera singer, Barz is Alexander Heard Distinguished Professor at the Blair School of Music at Vanderbilt University while holding the position of senior professor at the Odeion School of Music at the University of the Free State (South Africa). His latest book is a co-edited volume titled The Culture of AIDS in Africa: Hope and Healing in Music and the Arts, published by Oxford University Press.

Susan Hurley-Glowa (Ph.D. '97) is both an ethnomusicologist and hornist. She began her studies as a hornist, completing degrees in performance in the US and at the Staatliche Hochschule für Musik in Freiburg, Germany, where she studied with Ifor James.  Susan is Associate Professor of Ethnomusicology and Horn at University of Texas Brownsville.  When she is not in the Rio Grande Valley on the Mexican border, she lives with her husband and two sons in Fairbanks, Alaska, where her husband Josef Glowa (Ph.D. 1997 Brown University) is Associate Professor of German. As an ethnomusicologist, her research interests include Luso-African, Latin American, and Alaska Native music cultures. She has published numerous articles and an award winning documentary film on her research specialty, music of the Cape Verde Islands.  She is the director of the newly established Center of Excellence for Latin American and Iberian Music at the University of Texas Brownville, and host of the weekly world music radio show Excursiones Musicales, broadcast throughout the Rio Grande Valley by the NPR station KMBH 88 FM in Harlingen, Texas. 

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