Ethnomusicology faculty at Pitt study and teach courses on some of the most exciting and timely areas of music research today including: (1) global popular music; (2) music, labor, and value; (3) gender and sexuality; (4) media and technology; (5) sound studies; (6) cultural rights and advocacy; and (7) sound archives and repatriation.
Our aim is to prepare students to become educators in the field of ethnomusicology and active in the public sector. Evidence of success is our strong record of graduate placement at universities both within and outside the U.S. In addition, our alumni hold advocacy positions in educational, government, and nonprofit organizations.
Graduate students in ethnomusicology usually pursue at least one certificate in area studies, global studies, cultural studies, and/or women’s studies.
Students also take advantage of the offerings in the University's various centers, departments, and programs, including African Studies, Africana Studies, Asian Studies Center, Center for Latin American Studies, Cultural Studies, Department of East Asian Languages and Literatures, European Studies Center, Humanities Center, Russian and East European Studies, and Women's Studies.
Ethnomusicology faculty study and teach courses on some of the most exciting and timely areas of music research today including global popular music, gender and sexuality, and sound studies, among others. Faculty areas of research include music of Africa, Eastern Europe, and Southeast Asia.
Shalini R. Ayyagari specializes in the music of South Asia, with a focus on development, sustainability, and subaltern studies in India and Pakistan. She teaches graduate courses in field methods, ethnographic film, transmedia filmmaking, and Bollywood film.
Adriana Helbig specializes in the music of Eastern Europe, focusing on the relationship between music and politics, advocacy research, Romani music, global hip-hop, migration, and post-socialist music industries.
Andrew N. Weintraub’s research has focused on Indonesian music and theater; music theory and practice; social relations of power; music and the formation of nation-states; gender and popular music; cultural rights and sound repatriation; and the relationship between music and Islam. He is the Director of the University Gamelan.