CV

ANAHID KASSABIAN

33 Dolphin Road

East Quogue, NY 11942, USA

Cell Phone: +1 (631) 800-4117

(only when in US)

e-mail: akassabian8615@gmail.com

127 Garston Old Road

 Liverpool

L19 9AE

UK Mobile +44 (0)7914 674 490

Curriculum Vitae

Employment:

James and Constance Alsop Chair, School of Music, University of Liverpool, 2005-2015

Associate Professor, Department of Communication and Media Studies, Fordham University, 2002-2005, Assistant Professor, 1996-2002

Co-Director, Literary Studies Program, 2002-2005; Associate Director, Literary Studies Program, Fordham University, 2001-2002; Program Faculty, Literary Studies Program, Fordham University, 1996-2005

Program Faculty, Literary and Women’s Studies Programs, Fordham University, 1996-2005

Lecturer, various universities, Media Studies, Cinema, Women’s Studies, Armenian Studies, 1993-2004.

Development Consultant, various women’s culture organisations, including Women’s Philharmonic Orchestra, San Francisco Bay Area, 1993-95

Education:

Ph.D., Modern Thought and Literature, Stanford University, 1993

Visiting Scholar, Musicology Institute, Göteborg University, 1988

B.A., summa cum laude, Media Studies (dept. honors), Fordham University, The College at Lincoln Center, 1986

 

Grants, Honors, Awards, inc:

Guest Researcher, Institute of Cultural Sciences, Göteborg University,

September-December 2011 (also listed in Employment)

Ames Fund Faculty Grant, 1998-2000

Whiting Fellow in the Humanities, 1990-91

Kaltenborn Foundation Grant, 1988 (for study in Sweden)

American-Scandinavian Foundation Grant, 1988 (for study in Sweden)

Books:

Ubiquitous Listening: Affect, Attention, and Distributed Subjectivities(Berkeley/Los Angeles: University of California Press, 2013)

 

Theorises a model of non-individual subjectivity—distributed subjectivity—based on affect that has listening to ‘background’ or ubiquitous musics, across a spectrum of attention, as one of its primary conditions of possibility. Case studies include film, tv, “the internet home”, smartphones, video art, coffee shops, and Armenian diasporan jazz.

 

Hearing Film: Tracking Identification in Contemporary Hollywood Film Music (New York and London: Routledge, 2001)

 

Argues that shifts in contemporary film scoring demand a new theory of assimilating vs. affiliating identification and that compiled and composed scores condition identification differently. Case studies include films with strong central female characters, action-adventure films, and films with interracial romances.

 

 

Books Edited:

Ubiquitous Music, co-editors Elena Boschi, Marta García Quiñones, and Anahid Kassabian (London: Ashgate Popular Music Series, 2013)

 

On music in everyday life, including ringtones in India, Edison’s mood music experiments, and more. Articles by, e.g, Lawrence Kramer, Jonathan Sterne, Amit Rai, Tony Grajeda, Christina Baade, and Franco Fabbri

 

The Aunt Lute Anthology of U.S. Women Writers, Volume Two: The 20th Century, General Editors: Lisa Maria Hogeland and Shay Brawn, Co-Editors: Juliana Chang, Linda Garber, Michelle Gibson, Anahid Kassabian, Deborah T. Meem, Rhonda Pettit, María Josefina Saldaña-Portillo (San Francisco: Aunt Lute, 2008)

 

Keeping Score: Music, Disciplinarity, Culture, co-editors David Schwarz and Anahid Kassabian (Charlottesville, VA: University Press of Virginia, 1997), includes articles by Susan McClary, Patrick McCreless, Jennifer Rycenga, Robert Walser, and Ola Stockfelt.

Journals Edited:

Music, Sound, and the Moving Image, co-founded with Ian Gardiner, Liverpool

 

University Press, 2012 (first issue published Spring 2007; co-edited four and a half volumes)

 

Journal of Popular Music Studies, 1996-2000, including special issue on pedagogy and curriculum. (Resurrected from several years of non-publication; after four years, Taylor and Francis took it over, now published by Blackwell.)

 

‘And the walls come a-tumblin’ down’: Music in the Age of Post-disciplinarity, special issue of Stanford Humanities Review 3.2, January 1994

 

Refereed Journal Articles: 

"Sound and Immersion in Timekiller Games," Journal of Sonic Studies 10 (2015) https://www.researchcatalogue.net/view/219904/219905

 

“For New Musicology: A Farewell,” Invited contributor for special issue on “What is (was?) critical musicology?”

 

"On Theoretical Canons in Popular Music Studies,” part of a group of essays on the topic solicited by special section editor S. Waksman, Journal of Popular Music Studies v22 n1 2010

 

“Inattentive Engagements: The New Problematics of Sound and Music” in Cinema Journal v48 n1, 2008

 

“From Somewhere Else: Egoyan’s Calendar, Freud’s Rat Man, and Armenian Diasporic Nationalism”, with D. Kazanjian, Third Text, Spring 2005

 

“Would You Like World Music with Your Latte?: Starbucks, Putumayo, and Distributed Tourism,” Twentieth Century Music 1:2, Spring 2005 (reprinted in Spanish in La Música que no se escucha, Garcia Quiñones, ed, Orquestra del Caos, Barcelona: 2008, and reprinted in Chinese Popular Music Studies Encyclopedia)

Book Chapters and other articles, inc:

"You mean I can make a tv show?": Web series, assertive music, and African-American women producers", The Routledge Research Companion to Popular Music and Gender, ed Stan Hawkins (Ashgate, 2016)

 

"Game and Play in Video Game Music", Ludomusicology: Approaches to Video Game Music, with Freya Jarman, ed by Michiel Kamp, Tim Summers, and Mark Sweeney (Equinox, 2016)

 

“Improvising Diasporan Identities: Armenian Jazz,” Jazz/World: New Repertoires, New Productions, G Plastino and PV Bohlman eds., University of Chicago Press, in press, 2015

 

“Ubiquitous Musics: Technology, Listening, and Subjectivity”, in Bennett and Waksman, SAGE Handbook of Popular Music, 2015.

 

“The End of Diegesis as We Know It (and I feel fine): Why audiovisual studies should stop focussing on film”, C Gorbman and J Richardson, eds., Oxford Handbook of New Audiovisual Aesthetics, New York: Oxford University Press, 2013

 

“Music for Sleeping”, M Thompson and I Biddle, eds., Sound, Music, Affect: Theorizing Sonic Experience, New York: Bloomsbury Academic, 2013

 

“Ubiquitous Listening,” in Popular Music Studies, D Hesmondhalgh and K Negus, eds., Oxford 2002 (Translated in ECUS Cadernos de Pesquisa: Interdisciplinaridade e Cultura (Brazil), forthcoming, andas “L’ascoltoubiquo” in Sound Tracks: Tracce per lo studio Interdisciplinaredella Popular Music, Francesco D’Amato, ed., Meltemi 2002)

 

“Music, Sound, and the Moving Image: The Present and a Future,” Postgraduate Research Handbook in Popular Music Studies, Derek Scott, ed., Ashgate: 2009

 

“Popular” in Key Terms in Popular Music and Culture, Swiss and Horner, eds., Blackwell Publishers, Malden, MA and Oxford, 1999

 

“Melancholic Memories and Manic Politics: Feminism, Documentary, and the Armenian Diaspora” (w/D. Kazanjian) in Feminism and Documentary, Walker and Waldman, eds., University of Minnesota Press, 1999

 

“Naming the Armenian Genocide,” in Space and Place, Theories of Identity and Location, Lawrence and Wishart, 1993 (orig. appeared in nf 8)

Invited Lectures, inc:

“The Future of Musicology”, University of Oslo Department of Musicology Annual Study Day, September 2014

Lecture, “Ubiquity”, Kulturwissenshaft, Humbolt University, June 2012

Keynote Address, "iPhone Apps, Future Environments, and the Challenges of Interactive Media", 100 Years of Musicological Scholarship in Finland – Celebration Symposium, Helsinki University, March 2011

“Affect, Thought Experiments, and Sound and Music in Audiovisual Media,” Experimenting in Music: Duke University Music Department Lecture Series 2009-10, November 2009

Lecture, “From synchronisation to affect: attention, listening, ubiquity,” CHARM Symposium 5, Cultures of Recording, April 2008
Keynote Address, Sound, Music and the Moving Image, London 2007

Keynote Address, Over the Waves: Music and Broadcasting Conference, Dept. of Music, McMaster University, Toronto Canada, March 2005

“Women, Immigration, and Displacement in Middle East Film,” Arte East, co-sponsored by NYU Program on Gender and Sexuality, October 2003.

“World Music and Distributed Subjectivity,” Background Listening and Music Composition Speaker Series, Fundacio La Caixa, Barcelona, February 2003

“Listening for identifications: Compiled vs. Composed Scores in Contemporary Hollywood Films,” Cinesonic 3, Melbourne Australia, June/July 2000

“Melancholic Memories and Manic Politics,” 20th Century Seminar, CUNY Graduate Center, May 1997

Referee for Journals, Book Publishers, and Funders: 

Arts & Humanities Research Council UK, Ashgate Publishing Ltd, Bloomsbury

Body & Society (Journal), Cinema Journal, Critical Studies and Media Communication

(Journal), Cultural Critique (Journal), Economic and Social Research Council UK,

Feminist Formations (Journal), Hong Kong Research Grants Council, Humanities

(Journal), Journal of Popular Music Studies, Journal of Sonic Studies, Journal of Sound Studies, Journal of the Society for American Music, Journal of South Asian Popular Culture,

MIT Press, MUSICultures (Journal), Oxford University Press, Popular Communication (Journal), Rockefeller Archive Center, Routledge, Science Fiction Film and Television (Journal), Social Sciences and Humanities Research Council of Canada, UK SBS, University of California Press

Referee for Promotion and Tenure Committees, inc: 

City University London, Columbia University, The New School (US), University

of Newcastle, Northeastern University (US), Smith College, University of

Toronto, Vassar College, Yale University

 

Reviews of Programs and Departments:

External Review of Media Studies Department,

National University of Ireland, Maynooth, 2006 (Final report submittedJune 2007);

Assessment Report for proposed MA program in Music and Culture, Carleton University, Ottawa

Research Networks: 

Participating Member, Norsound: Nordic Research Network forSound Studies (2011-2015; funded by the Nordic Research Council)

 

International Member, Sound in Media Culture (participated in three of six meetings 2012-2014; funded by the German Research Foundation)

 

Project Consultant, “Listening to the moving images: new interdisciplinary methodologies for the study of sound and music on Portuguese cinema and media”, project funded by Fundação para a Ciência e a Tecnologia, 2010-2013.

 

Curatorial Projects, inc:

Women Filmmakers of the Arab World, LAAF 2014; Liverpool Arabic Arts Festival Film Programme, July 2010;

San Francisco Armenian Film Festival, February 2006;

Cinema East Screening Series, Diaspora/Other category,, ArteEast, NY, Spring 2004;

New York and San Francisco Armenian Film Festivals, 2004;

New York Armenian Film Festival, Alwan for the Arts, June 2002

Reviews and other journalism, inc: 

“Virtually Advising,” chief advisor, website providing on-line academic advising for national student community, 9/2000-2008

 

“Airing our dirty laundry,” on Ryan’s Bleach, in Armenian Forum, v2 n2, 2000.

 

“Too small to count,” in “85 Years After,” Armenian Weekly, January 1, 2000

 

Reviews of 11 films, Magill’s Online Service and Magill’s Cinema Annual, 1989-93

 

“The Sounds of Feminism,” Ms., Sept./Oct. 1992

PhD Theses Supervised, including:

Current: Signe Kjaer Jensen, “Children’s Animated Films: The Sound of an Aesthetic Experience”, Department of Film and Television, Linnaeus University (Sweden)

At University of Liverpool:

 

Áine Mangaoang, Dangerous Mediations: YouTube, Pop Music and Power in a Philippine Prison Video (2015)

 

Jacqueline Waldock, Urban Domestic Soundscape: A New Perspective (2014)

 

John McGrath, Semantic Fluidity: Samuel Beckett, Repetition, and Modern Music (2014)

 

Melanie Rudig, Sonorous Negotiations of Politico-Cultural Identity: Popular Music in Tyrol (2010)

 

Timothy McNelis, Popular Music, Identity, and Musical Agency in U.S. Youth Films (2010)

 

Elena Boschi, Playing Cultural Identities In and Out of the Cinematic Nation: Popular Songs in British, Spanish, and Italian Cinema of the Late 1990s (2010)

 

 

Guest PhD Students: 

Meng Lu, for 2013, on Shanghai city soundscapes in film, from East China Normal University (ECNU), Shanghai(Comparative Literature & Cross-cultural Study)

 

Laura Miranda González, for three months in 2009, on the film music of Manuel Parada, from Universidad de Oviedo (Musicology)

 

Eduardo Viñuela Suárez, for three months in 2008, on music videos, from Universidad de Oviedo (Musicology)

 

Marta García Quiñones, for three months in 2007, on distracted listening, from University of Barcelona (Philosophy)

Courses Taght

At Institute for Musical Research:  

PhD Reading Group: “Classical Texts in Cultural Theory for Music Scholars” 2010-2016

At University of Liverpool, inc:

“Music in Digital Culture: ,” 2016

“Contemporary Issues in the Study of Audiovisual Music, ” 2014

“Reception Studies in Music and Culture,” 2011–2015

“Researching Music”, 2011–2014

“Studying Popular Music,” MA, 2005–2011, 2014

“PhD Seminar: Research” and “PhD Seminar: Teaching & Professional Issues”, 2005–2013

“Music and Culture,” first year compulsory, 2009–2011

“Textual Analysis,” MA (co-taught), 2006–2012

“Studying Music in Audio-Visual Media”, MA, 2005–2008

At Fordham

“Listening to Literature,” Spring 2005

University, inc: “Journalism Workshop,” Spring 2005

“Theories of Media, Culture and Society,” 2004

“Middle East Film and Literature,” 2003

“Soundscape Studies,” 2002

“Film and Gender,” 1996-2002

“Introduction to Communication and Media Studies,” 1998-2005

“Popular Music as Communication,” 1997-2004

“Film Theory,” Spring 1997-2004

“Feminist Theories in Intercultural Perspective,” Spring 1998

“Understanding Television,” Spring 1997

 

Elsewhere:

“Diversity in the U.S.”; undergraduate and graduate;

“Introduction to Women’s Studies”;

“Film and Social Change”, undergraduate and graduate;

“Film Aesthetics”;

“Articulating Diasporas: Armenian Film”;

“Race and Racism in the U.S.”;

“Popular Culture and Color in the U.S.” (freshman writing);

“The Gender(s) and Color(s) of Contemporary American Film”;

“Analyzing the Barrage: Writing About the Media” (two-quarter sequence, freshman writing);

“Feminist Film and Television Theory”, separate undergraduate and graduate sections; Senior Honors Thesis Advising;

 

External Examining (6 PhDs, inc):

Steven Colburn, Amateur Concert Filming for YouTube, University of Sussex, 2012

 

Rachel Segal, Franz Waxman: The Composer as Auteur in Golden Era Hollywood, Newcastle University, 2010

 

Joy Roles, Forming Soundmarks: A Critical Evaluation of the Sonic Brand within the Contemporary Mediascape, University of East London, 2009

 

Laura Ahonen, Mediated Music Makers: Constructing Author Images in Popular Music, University of Helsinki (Finland) 2006

 

Freya Jarman, Breaking Voices: Fragmentation, Subjectivity &Vocality in Popular Musc, University of Newcastle, 2006

 

Janeen Kirkham, The Singing Subject: Women and Voice in Contemporary Cinema, University of New England (Australia) 2005

Media Appearances, Various, inc:

Panel Discussion, ‘On the Beat’, BBC Radio Merseyside, 7/09

 

Interview, Swedish language radio in Finland, 11/04

 

One-hour roundtable on popular music in film, “Odyssey”, Chicago Public Radio, 4/19/02

 

Interview on Finnish National Evening News, July 2001

 

Interview on Triple J Radio Melbourne with Megan Spencer, July 2000, Sydney with Jo Chichester, July 2000

Guest on “Hye-Talk,” nationally distributed Fresno, CA-based Armenian issues half-hour television program, April 1996

Public Engagement, including: 

"Freedom Hour", Liverpool Arab Arts Festival, 2014. Discussion of the place of the arts in individual and collective understandings of ethnic, national, and other identities.

 

Liverpool Arab Arts Festival film screenings and literary events. I regularly introduce events, host discussions, and/or give brief talks before or after the events to offer some context. 2008-present.

 

"The Roles of Arts and Culture for Homelands and Diasporas in Times of Crisis", at the event "Yemen today & the role of Yemeni diaspora supporting Yemen tomorrow”, organised by ChangePoint Liverpool, January 2012. There were 75 people in the audience, scholars, activists, journalists, and lawyers from Yemen and its diasporas.

 

"The Power of Sound", a full day of events co-organised with Jacqueline Waldock May 2011 at FACT. It included presentations by School of Music postgraduate researchers, teens from Gay Youth Are Out (GYRO), schoolchildren from several local junior schools, etc. Total attendance was approximately 100.

 

Pre-Concert Talk, Liverpool Philharmonic, June 2008; approximately 50 attendees. The orchestra performed live to the film of Der Rosenkavalier.

Installation Art:

“Solemnity”, collaboration with Hrayr Anmahouni Eulmessekian, premiering November 2010 at Pratt Institute in Brooklyn as part of the Blind Dates Project (www.blinddatesproject.org)

 

Papers Presented, inc:

“The changing nature of audio-visual relationships and the joys of editing”, Culturgest, FCT, New University of Lisbon, May 2012; Sound in Media Culture Workshop, Humboldt University, Berlin, October 2011

 

"The ConDem Coalition, The Department of Business, Innovation and Skills, and Tuition Fees: Life in British Universities", Cultural Studies Association, March 2011

 

'Improvising Diasporan Identities: Armenian jazz fusion projects,' Migrations and Identities, Liverpool University, June 2010

 

“Scoring Bus Stations, or, Listening to Classical Music,” IASPM-US, Oct 2004

 

“The World in a Cup of Coffee: Starbucks, Putumayo, and World Music,” New Soundscapes Conference, University of Roma La Sapienza, November 2002

 

“La Música Omnipresenta y La Subjectividad Conectada,” International Association for the Study of Popular Music, Latin American Branch, April 2002

 

“Valuing the Popular?”, Literary Studies Colloquium, Fordham U, May 2000

 

“Fitting Feminism, Fits of Feminism,” Women in the Profession, Midwest Sociological Society, April 2000

 

“Repetition Compulsion in Egoyan’s Calendar,” Middle East Studies Association, November 1999

Papers Presented, inc:

“The changing nature of audio-visual relationships and the joys of editing”, Culturgest, FCT, New University of Lisbon, May 2012; Sound in Media Culture Workshop, Humboldt University, Berlin, October 2011

 

"The ConDem Coalition, The Department of Business, Innovation and Skills, and Tuition Fees: Life in British Universities", Cultural Studies Association, March 2011

 

'Improvising Diasporan Identities: Armenian jazz fusion projects,' Migrations and Identities, Liverpool University, June 2010

 

“Scoring Bus Stations, or, Listening to Classical Music,” IASPM-US, Oct 2004

 

“The World in a Cup of Coffee: Starbucks, Putumayo, and World Music,” New Soundscapes Conference, University of Roma La Sapienza, November 2002

 

“La Música Omnipresenta y La Subjectividad Conectada,” International Association for the Study of Popular Music, Latin American Branch, April 2002

 

“Valuing the Popular?”, Literary Studies Colloquium, Fordham U, May 2000

 

“Fitting Feminism, Fits of Feminism,” Women in the Profession, Midwest Sociological Society, April 2000

 

“Repetition Compulsion in Egoyan’s Calendar,” Middle East Studies Association, November 1999

Community Service:

Member, Board of Directors, Liverpool Arabic Arts Festival, 2010-present (first board formed 2010; formerly Advisory Board Member)

 

Charter Member and Treasurer, Board of Directors, Aunt Lute Foundation Books, 1994-present

 

Board of Directors, The Armenian Center at Columbia University, 1998-2002

 

Advisory Board Member, For Those in Pain, Inc., 1996-2002

Service at Liverpool University, inc:

Department:

Departmental Director of Postgraduate Studies, 2009-2013

Organiser, Departmental Research Seminar Series, 2006-7, 2011-12

Research Committee, 2007-2015

 

University:

Liverpool University and Colleges Union Branch Committee Member, 2010-2014

Founding member, Disabled Staff Network, 2006-present; Chair, 2009-10

Founding member, Disability Policy sub-group, 2006-09

Professional (including):

Program Committee Member, Music and Media Study Group of The International Musicological Society, 2012, 2013

 

Advisory Board Member, Institute for Musical Research, School of Advanced Studies, University of London, 2006-2012

 

Program Committee, Feminist Theory and Music VIII, 2004-05

 

Chair, Executive Committee, International Association for the Study of Popular Music, 1999-2003

 

Editor, Journal of Popular Music Studies, 1997-2000

 

Executive Board, International Association for the Study of Popular Music, US Branch, 1992-2000

 

Program Review Committee, Program in Modern Thought and Literature, Stanford University, 1989-91;

 

Student Representative, 1990-91;

 

Qualifying Exam List Revision Committee, 1991

 

Feminist Studies Program Board, Stanford University, 1989-90

Languages:

Fluent Danish; Reading French, Armenian, Swedish and Norwegian