Musicology Alumni

Profiles of some current students and recent alumni in Musicology:

Justin D. Burton received a Ph.D. in musicology from Rutgers University in 2009. His research revolves around popular music/culture, music technologies, hip hop and critical race theory. Recent publications include "From Barthes to Bart: The Simpsons v Amadeus," Journal of Popular Culture 46:3 (2013): 481-500 and a review essay of Watch the Throne (Jay Z and Kanye West) and Undun (The Roots) for the Journal of the Society for American Music 7:3 (2013): 343-47. Forthcoming is "Dancing Silhouettes: The Mobile Freedom of iPod Commercials," Oxford Handbook of Mobile Music Studies. Ed. by Sumanth Gopinath and Jason Stanyek. New York: Oxford University Press, 2013 (forthcoming). Burton co-edited the print and online versions of the Journal of Popular Music Studies 24:3 (2012) and is currently co-editing with Ali Colleen Neff a future issue of JPMS called "Sounding Global Southernness," which will feature essays that explore music-making practices across the postcolonial, Black Atlantic and Third Worlds. Burton served from 2011-13 as web editor for the International Association for the Study of Popular Music, U.S. Branch (IASPM-US) and currently holds a seat on the organization's executive committee. As an Assistant Professor at Rider University, Burton has helped to design and launch a new music program that confers a B.A. in Popular Music Culture. He also also serves as a faculty member for Rider's Gender and Sexuality Studies and Multicultural Studies programs.

David Chapman holds a bachelor of music degree from the University of Rhode Island and a master of music degree from the Yale School of Music, both in double-bass performance. He received his Ph.D. in Historical Musicology from Rutgers University, where he currently teaches courses in musicology, performance practice and world music. His publications include the monograph Bruckner and the Generalbass Tradition (Vienna: Musikwissenschaftlicher Verlag, 2010) as well as articles and reviews in various scholarly journals, including Ad Parnassum:A Journal of Eighteenth- and Nineteenth-Century Instrumental Music and the Galpin Society Journal. He is currently preparing an edition of the Nullte Symphony of Anton Bruckner for the Musikwissenschaftlicher Verlag's forthcoming New Collected Works Edition. Dr. Chapman performs on modern double bass, violone in contrabasso, violone da gamba, and five-string Viennese Violon. He currently appears with several early music groups in the New York metropolitan area, including Sinfonia New York, Early Music New York, and theAmerican Classical Orchestra. He has also served for several years as assistant director of the Rutgers Classical Players.

Tim Cochran graduated from Rutgers in 2012 with a Ph.D. in Musicology. His dissertation, advised by Dr. Nancy Rao, explores Olivier Messiaen’s analyses of Claude Debussy’s music in Tome VI of the posthumous Traité de rythme, de couleur, et d’ornithologie. The dissertation focuses in particular on Messiaen’s unique methods of interpretation, which often reflect aspects of his own compositional worldview. Articles based on Cochran’s dissertation are forthcoming in The Journal of Musicology and Theoria: Historical Aspects of Music Theory; he has also presented his work at national and regional meetings of the American Musicological Society, among other conferences. He plans a book-length expansion of the dissertation that will place his research within a wider historical and philosophical context. Other research projects in progress include an interdisciplinary reading of Debussy’s Prélude à l’après-midi d’un faune through the lens of Nijinsky’s choreography for the work and a study of Debussy quotations in film as objects of memory. Cochranis currently Visiting Assistant Professor of Music at Muhlenberg College in Allentown, PA, where he teaches a wide range of music history courses including an elective on the style and reception of music by Haydn and Mozart and a general education course on rock, pop, and soul.

Solomon Guhl-Miller received his Ph.D. in Musicology from Rutgers University in January 2012. His dissertation is titled “The Path of Wagner’s Wotan: German Idealism, Wagner’s Prose Writings, and the Idea of Moral Progress.” At Rutgers he has taught introductory courses in musicology and music theory, the on-line introduction to music, and a course on Wagner’s Ring Cycle. At Temple University he is currently teaching Introduction to Music Research, Graduate Music History Review, and the survey of early music history. He has several forthcoming publications in the subjects of Ars Antiqua polyphony and Richard Wagner's Ring, subjects on which he has presented papers at numerous International conferences.

Nicole Pantos Vilkner is a Ph.D. student in musicology at Rutgers. Her research centers on musical salons in Paris during the long 19th-century. She is interested in the urban circulation of music, 19th-century usage of transcription and the changing significance of music in different social spaces. Her work draws from feminist cultural geography and gender theory; she presented a paper at the 2013 Feminist Music and Theory Conference entitled “Circulation and Boundaries in the Nineteenth-Century Parisian Salon” and she was a Fellow in the Women’s International Leadership Program at International House NYC, an interdisciplinary program focusing on issues facing women in cross-cultural spaces. She has taught introductory musicology courses at Rutgers and lectured at the Eastern Conservatory of Music and Art on topics ranging from historical performance practice to improvisation and role-play. In addition to her academic work, Vilkner is an avid performer of new music. She has worked with composers such as Tom Cipullo, Lera Auerbach, Joyce Hope Suskind and Vivian Fung, and has sung nearly 100 premieres of vocal solo and chamber works. Vilkner holds degrees from Princeton University (A.B., English, Certificate in Music) and Manhattan School of Music (M.M., voice).

Chia-Yi Wu is a current Ph.D. student at Rutgers, writing a dissertation entitled “Tragedies of the Romantic Female: Schubert’s Last Three String Quartets.” Her master’s thesis, entitled “Praying through the Musical Synthesis of Wylkynson’s Salve Regina,” was completed in 2008. She has read papers before the American Musicological Society (“Opera Without Words: Schubert’s String Quartet No. 15 in G Major, D. 887”) and at the 2011 conference Counterpoints: Nineteenth-Century Music and Literature, sponsored by Fordham University and the journal 19th-century Music (“A Spinner’s Tale: Schubert’s String Quartet No. 13 in A Minor, D. 804”). She has taught courses including “Schubert and Early Romanticism,” and she has appeared as a guest lecturer at Westminster Choir College and in graduate seminars at Rutgers. Wu is also an accomplished pianist and private teacher of piano.