Research Interests:
—Bregada rakyat (people’s brigade) is a relatively new performance practice unique to Yogyakarta. Taking inspiration from the royal palace’s regiments of ceremonial soldiers, local people have formed hundreds of amateur fife and drum bands, which may be seen marching at weddings and other private events, parades both large and small, and even dedicated bregada rakyat festivals. I am interested in the social and political dimensions of bregada rakyat and the factors behind its rapid growth over the past 10–15 years.
—Cengkok, or melodic formulae, make up the basic musical vocabulary of several instruments in the Central Javanese gamelan. Despite profound advances in other areas of theory, the fundamental nature of cengkok remains somewhat of a mystery. What are the limits of variability (wiletan) for a given cengkok? What features actually distinguish one cengkok from another? Do cengkok (as they stand) constitute a closed system? I am interested in coming to a more objective understanding of cengkok and developing an improved system of nomenclature for educational and analytical purposes.
—Classic banjo refers both to a historical era in the five-string banjo’s development (roughly 1870–1930) and a contemporary stream of banjo playing oriented toward the same. In contrast to bluegrass and old-time musical contexts, the banjo is treated as a solo or lead instrument largely unbound by musical genre. The classic banjo era arguably represents the height of the instrument’s popularity and mainstream cultural relevance in both North America and the UK, yet it remains poorly known among the general public, banjo players, and music scholars alike. I am interested in understanding how the banjo’s story is told and what is expressed via omission.