2013 Summer Institute Staff and Lecturers
Deane is a musicologist, teacher, performer, researcher, author, editor, bibliographer, archivist, librarian, museologist, and administrator for American music. As Director of the Center for American Music and Curator of the Foster Hall Collection at the University of Pittsburgh, Deane has brought one of the largest repositories of musical Americana into the mainstream of academic life through research, teaching, interpretive performance, and conservation of music in the context of its cultural and social roles in the history of the United States of America. Deane is widely known for his work in providing access to information and source materials in American music history. As former chair of the Department of Music at the University of Pittsburgh, Deane has helped promote an integrated curriculum of historical musicology, ethnomusicology, theory and analysis, with solid grounding in music research and bibliography skills.
Mariana is currently Project Coordinator at the Center for American Music at the University of Pittsburgh, responsible for initiatives related to developing use of the Stephen Foster Collection, bringing American music to scholars and educators. Mariana has consulted on Voices Across Time since early 1999, assisting in the selection of songs, completing the historical research of individual songs, and contributing to the essay and discussion materials. She also has worked with the Department of Education at the University of Pittsburgh in integrating Voices Across Time into the social studies curriculum. Mariana has presented Voices Across Time several times at conferences and seminars. Dedicated to the study of music as it relates to history, she is currently guest editor for a special music issue (July 2005) of the Magazine of History, a publication of the Organization of American Historians.
Kathryn Miller Haines
Kathy is the Associate Director for the Center for American Music and is responsible for the day to day operations of the Center’s library and museum. She has worked with the Center for American Music since 1994 and provided research, writing, editing, and rights acquisition for Voices Across Time. She has contributed articles on Voices Across Time for a number of publications, has presented Voices Across Time at a number of conferences and seminars, and is the webmaster for the project’s website.
Mark is a 30-year veteran of the classroom. He has received the Texas Committee for the Humanities “Outstanding Teacher in the Humanities.” the Walmart “Teacher of the Year Award,” and has been a finalist in the “State Farm Good Neighbor Award.” Mark teaches at St Agnes Academy, A Dominican Community School in Houston, Texas.
Susan Oehler Herrick
Susan is a specialist in the history of African American music and culture, holds a doctorate in ethnomusicology and folklore from Indiana University-Bloomington and a Masters in secondary social studies education from Vanderbilt University. As the former Education Programs Manager at the Rock and Roll Museum and Hall of Fame and Museum (www.rockhall.org), Herrick redesigned inter-disciplinary K-12 level educational programs to meet state standards for learning anchored in the humanities. During her tenure at the museum (2004-2008), the Ohio Council for the Humanities provided support, in part, for the Summer Teacher Institute, which Herrick managed and staffed. Herrick’s decade of teaching experience spans public high school, non-profit, community college, and university settings, where she has engaged learners at all levels in exploring history, language arts, and cultural expression through the study of music and the people who make it.
Lecturers and Performers
Andrew received the B.A. from the City College of New York and the M.A. and Ph.D. from the University of North Carolina at Chapel Hill. Andrew teaches courses in American music at Carleton College in Minnesota, focusing on rock, rhythm and blues, and jazz. He has been invited to speak nationally and internationally at institutions such as the University of Surrey, Princeton University, and the University of Michigan. Andrew has written articles, encyclopedia entries, and reviews on the music of Marvin Gaye, the Beatles, African-American pop singers and balladeers, and Bang On a Can. He has written extensively about American rhythm and blues, and is an expert on the music of Motown. His book, I Hear a Symphony: Listening to the Music of Motown, is forthcoming from The University of Michigan Press. Working directly with Universal Records, Andrew has served as consultant for several recent Motown reissues. He is also co-author of the history of rock textbook What’s that Sound (W.W. Norton).
John is an associate professor and coordinator of music history at California State University, Fullerton His research specialties include Latin American, Mexican, Mexican-American and German-American musical traditions, with articles and reviews in journals, dictionaries and encyclopedias in the US, Mexico, Spain and Britain, including the Diccionario de la Música Española e Hispanoamericana, The New Grove Dictionary of Music and Musicians, Journal of the Royal Musical Association, American Music, Latin-American Music Review, Journal of the American Musicological Society and Heterofonía, among others. He is the author of the book: Music in German Immigrant Theater in New York, 1840-1930, and the musical edition Mexican-American Music from Nineteenth-Century California: The Lummis Folksong Collection.
Tim is an associate professor of history at the College of Mount St. Joseph in Cincinnati, Ohio. He is the author of Strike Songs of the Depression (University of Mississippi Press, 2002), which examines the central role of song writing and singing during three Depression-era strikes in three different industries—the Gastonia, North Carolina textile strike (1929), the Harlan County coal mining strike (1930-31), and the Flint, Michigan automobile sit-down strike (1936-37). Tim taught high school for eleven years, after which he entered the doctoral program in History at Miami University (Ohio) where he studied American labor history. His publications also include contributions to the Michigan Historical Review, the Encyclopedia of American Social History, and the Encyclopedia of Strikes in American History.
Scott is an associate professor at Carnegie Mellon University and the author of Born Losers: A History of Failure in America (Harvard University Press, 1995) which was awarded Harvard’s annual Wilson Prize, for the best “first book” accepted by the press. Active as a public historian, he has been a consultant to the Smithsonian Institution, the National Archives, the National Park Service, an off-Broadway play, and film and radio documentaries. His study, “A Marble House Divided: The Lincoln Memorial, the Civil Rights Movement, and the Politics of Memory, 1939-1963” (Journal of American History, June 1993) won best article prizes from the Organization of American Historians and from the Eugene V. Debs Foundation. He edited a one-volume abridgement of Alexis de Tocqueville’s Democracy in America (HarperCollins, 2005) and he is co-editor of the “American History and Culture” book series for New York University Press.
Norm is the author of Folk Music: A Regional Exploration (2005), Long Steel Rail: The Railroad in American Folksong (2nd edition., 2001), Traditional Anglo-American Folk Music: An Annotated Discography of Published Recordings (1994), and other volumes. He has edited and/or annotated more than three dozen albums of folk and country music, has written numerous articles, book chapters, and book reviews on various aspects of folk, country, and popular music; has been recordings review editor for Journal of American Folklore (1968-69, 1986-90) and Western Folklore (1970-75); and was editor of the JEMF Quarterly (1966-88). He is a retired physical chemist, and currently teaches chemistry at Portland Community College.
Jim is Professor of Musicology and Chair of the Musicology Area at the School of Music, State University of New York at Fredonia. His primary research focuses on the music and musicians of the American Civil War. He has also worked in the areas of music history pedagogy, American popular music of the 19th and 20th centuries, and the history of bands.
Davis received a BS in Music from the University of Colorado at Denver with an emphasis in scoring and arranging; an MM in composition from the University of Texas; and a PhD in music history and theory from Boston University.
Alex is Professor of History and American Studies at Wheaton College in Massachusetts. He is the author of Prodigal Sons: The New York Intellectuals and Their World (1986); co-editor of “Takin’ It to the Streets”: A Sixties Reader (1995, 2/e 2002); and editor of Long Time Gone: Sixties America: Then and Now (2001). He is currently working on a study of the way the Vietnam War experience has shaped American life.
Barbara has written extensively about American Music (An American Music: The Search for an American Musical Identity, Oxford Univ Press, 1986) and the 1960s (Sights on the Sixties, Rutgers Univ Press, 1992). She has lectured to diverse audiences as a member of the New York State Council for the Humanities Speakers Bureau and taught at a variety of institutions, including Columbia University, Teachers College and Empire State College. Her published articles include pieces on folk and concert music, Charles Ives, GI antiwar activism during the Vietnam era, and Jane Fonda. A co-founder of the New York Giants Youth Baseball organization, she helps athletes to earn college admission and scholarships. A member of the History Department at the Horace Mann School, Dr. Tischler was recently appointed Interim Head of the school’s upper division.
David and Ginger Hildebrand
David and Ginger present concerts and educational programs throughout the United States for museums, historical societies and sites, as well as at universities for graduate and undergraduate students. They appear frequently at Colonial Williamsburg and Mount Vernon. Their music is featured on movies and television documentaries, including the PBS series "Liberty! The American Revolution," "Rediscovering George Washington," and the C-SPAN Series "American Presidents."You can visit them online at www.colonialmusic.org.
Garrett is the owner of Treelady Studios, a 6,000 square foot recording studio in Pittsburgh, PA. Garrett serves as the Recording Tips Editor for Tape Op Magazine, the third largest recording journal in North America. He has written over 100 articles on recording hardware, technology, and theory in publications such as EQ Magazine, Drum Magazine, Rockrgrl, The Indie Bible, The Metro Music Guide to Entertainment, and CURB. He is also a Certified Audio ProTools Operator. Garrett holds a B.A. in Economics from Trinity University, and a M.S. in Policy and Administration from Carnegie Mellon University. He was an economic development planner for the City of Pittsburgh and the Borough of Wilkinsburg. Prior to working in government, Garrett was a special education teacher in San Antonio where he instructed learning disabled and emotionally disturbed students.
Susan is professor of musicology at the University of Wisconsin-Madison. She holds a joint governance position in the University's internationally recognized Women's Studies program and is one of only a few musicologists in the country whose research actively engages issues of women's history and feminist methodologies. She co-edited and contributed to the award-winning collection of essays Cecilia Reclaimed: Feminist Perspectives on Gender and Music, published by the University of Illinois Press. She is currently writing a book on Ragtime dance and American culture before World War I. Her essay taken from this study, "Watching Our Step: Embodying Research, Telling Stories," which appeared in Audible Traces: Gender, Identity, and Music (1999), received the Gertrude Lippincott Award from the Society of Dance History Scholars for the best article on dance published that year.
Alan was born in 1942 in Jacksonville, Florida. A violinist by early training, he put himself through college at the University of Miami playing classical music. While a graduate student at Duke University in the 1960s, he began documenting oldtime fiddlers in the Upper South. Documentation turned to apprenticeship, and he relearned the fiddle in the style of the Upper South from musicians like Henry Reed of Glen Lyn, Virginia, and Tommy Jarrell of Toast, North Carolina. He taught a repertory of oldtime fiddle tunes to his band, the Hollow Rock String Band, which was an important link in the instrumental music revival in the 1960s. After receiving his Ph.D. in 1968, he taught English, folklore, and ethnomusicology at UCLA in 1968-69. He then moved to Washington, D.C., for over thirty years of service with Federal cultural agencies. He was head of the Archive of Folk Song at the Library of Congress 1969-74, director of the folk arts program at the National Endowment for the Arts 1974-76, and director of the
American Folklife Center at the Library of Congress 1976-99. Since his retirement, he has turned enthusiastically to a life of writing, consulting, lecturing, and playing the fiddle. Visit his webpage at http://alanjabbour.com.
Dale is Director of the Center for Popular Music at Middle Tennessee State University and Professor of Musicology, Emeritus, at Vanderbilt University. He has published widely in the field of American music studies, including Demons of Disorder: Early Blackface Minstrels and Their World (Cambridge: Cambridge University Press, 1997), which was the recipient of the C. Hugh Holman Award presented by The Society for the Study of Southern Literature; and Excelsior: Journals of the Hutchinson Family Singers, 1842-1846 (Stuyvesant, New York: Pendragon, 1989), which won the Irving Lowens Award. His The Ingalls-Wilder Family Songbook, a scholarly and critical edition of the music in the Little House books was published in 2010. He is also the founder, owner, and president of Pa’s Fiddle Recordings, LLC, a record label dedicated to recording the music referenced in Laura Ingalls Wilder’s books so that children and their parents might once again engage and enjoy the magnificence of America’s musical heritage.