Musicology

Nathan Dougherty is Assistant Professor of Musicology at the University of Oklahoma, where he teaches graduate courses in music history and directs the Collegium Musicum. He is a specialist in eighteenth- and nineteenth-century French song and song cultures, with broader interests in historical performance practices, gender studies, historiography, and the medical humanities. He has presented papers nationally and internationally at annual meetings of the American Musicological Society and the France: Musiques, Cultures, 1789-1918 network, as well as at the Rocky Mountain Music Scholars Conference, the Indiana University Historical Performance Conference, and the University of Oregon Musicking Conference. His research has been supported by numerous fellowships and awards, including a Richard A. Zdanis Research Scholarship Award, a travel grant from the M. Elizabeth C. Bartlet Fund, a Graduate Affiliateship at the Baker-Nord Center for the Humanities, and a Case Western Reserve University Fellowship at the Library of Congress.

He also maintains an active career as a tenor and haute-contre, and has sung with many of the nation’s leading early music ensembles, including Apollo’s Fire, Les Délices, The Newberry Consort, The Thirteen, Atlanta Baroque, Bourbon Baroque, and Trobàr.

He received his PhD in Historical Musicology with an emphasis in Historical Performance Practice from Case Western Reserve University in 2022. He holds degrees in Early Music Performance from the University of Southern California and Vocal Performance from St. Olaf College.

Musicologist, Kaylee Feller-Simmons is a professor of music at Oklahoma University. Her research focuses on music and youth culture, a topic she has explored in many centuries: from adolescent drug use and song in Holland’s Golden Age, to mother-daughter relationships at the Victorian piano, to the politics of the 1990s and the Spice Girls’ “Girl power!” movement. An early modernist at heart, Feller-Simmons is currently completing her Ph.D. in musicology at Indiana University where her dissertation examines 17th-century Dutch songbooks and historical conceptions of youth and gender. She also holds an M.A. in musicology from Northwestern University, where she wrote her thesis on courtship and song culture in the Dutch Republic, and a B.A. in music education from Utah State University with emphases in choral and early childhood education.

Feller-Simmons' academic work has been supported by grants and fellowships such as the U.S. Department of Education Foreign Language and Area Studies Fellowship, the Peter Burkholder and Doug McKinney Musicology Research Fund, the Historians of Netherlandish Art Fellowship, and the American Musicological Society, among others.

In addition to her role at Oklahoma University, Feller-Simmons is an adjunct professor of musicology at Utah State University and serves as the webmaster for the American Musicological Society's Midwest Chapter. When she is not teaching or mastering the web, Feller-Simmons enjoys singing in early music chamber ensembles, as well as doting over her two adorable cats and husband.

Paul Feller-Simmons is a musicologist whose research studies the sonic and musical cultures of the early modern Western Jewish and Iberian worlds. His current book project, "(Re)sounding the Hebrew Nations: Music and Sephardic Community in the Dutch Republic," examines the musical lives of early modern Sephardic Jews in the Netherlands and investigates how aurality functioned as a mode of self-definition across the Dutch colonial sphere.

Feller-Simmons is co-editor of The Virgin Mary’s Essence in New Spanish Song (Web Library of Seventeenth-Century Music) and the forthcoming critical edition Villancicos from the Maya Highlands: Seventeenth-Century Vernacular Sacred Music from the Huehuetenango Manuscript Collection (A-R Editions). His recent scholarship includes “‘Sounding the Nação’: Eighteenth-Century Italianate Music, Aural Conversion, and Acoustic Community Formation at the Amsterdam Sephardic Synagogue” (Min-Ad, 2025) and “‘Hoy al Portal ha venido’: Nativity Scenes and the Galant Style in the Christmas Villancicos of the Cathedral of Santiago, Chile (c. 1770–1820),” published in Diagonal: An Ibero-American Music Review (2024).

Feller-Simmons’s research has been supported by fellowships and awards from institutions including the German Academic Exchange Service (DAAD), the Herzog August Bibliothek, the Max Weber Stiftung, the New Netherland Institute, and the Leo Baeck Institute. He is the recipient of the 2022 Noah Greenberg Award from the American Musicological Society, the 2022 Irene Alm Memorial Prize from the Society for Seventeenth-Century Music, and the 2024 Diversity, Equity, Inclusion, and Accessibility Award from the Society for Eighteenth-Century Music.

Originally from Chile, he earned his BA in Music from the Pontificia Universidad Católica de Chile, and his MA and PhD in Musicology from Northwestern University, where he was a Presidential Fellow.

Pedro López de la Osa is a Spanish musicologist and guitarist who specializes in chamber music, pedagogy, and research.

As a musicologist, Pedro earned his Diploma in Advanced Studies in Musicology at the Autonomous University of Madrid with Germán Labrador. In 2016, he received the Dean’s Distinguished Fellowship Award from the University of California, Riverside, where his dissertation focused on insiled Spanish composers under Franco’s dictatorship and Democracy, under the guidance of Walter A. Clark. He has presented papers at various conferences in the United States, Spain, and Australia, and his research has been recognized with numerous awards. Among them are the UCR Emeriti Association Graduate Student Award, the Ignus Dahl Award, and the Dissertation Year Program Award. He has also received grants from institutions in the USA and Spain, and has published articles in journals in Spain, Italy, and the USA. Some of his pedagogical works have been published or performed in different countries in America, Europe, and the Middle East. In 2025, his critical edition of two chamber works for piano and strings by Rafael Rodríguez Albert will be released, and recently, Bergmann published his latest work, with guitarist Luca Lampis, on the composer François Doisy.

As a professional guitarist, Pedro has devoted himself to chamber music, forming two successful duos with pianist Pablo López de la Osa and guitarist Paolo Benedetti. He has also collaborated and performed in Spain, France, Italy, the Czech Republic, Switzerland, Palestine, Ecuador, Costa Rica, the United States, and Poland with quartets such as Mirja and Arquà, soloists from the Juan Crisóstomo Arriaga Chamber Orchestra, Latitud Cero, the ESNCM Quartet, and the UCR String Quartet; with soloists Grace Marín, Adele Posani, Eduardo Fernández, Alessio Nebiolo, Enrique Santiago, Enrique Rivas, and Adain Pendleton; as well as with the Juan Crisóstomo Arriaga Chamber Orchestra, the Bethlehem String Ensemble, the EMAI Orchestra, the Collegium Musicum, and the Angelo Masini Philharmonic, under the direction of maestros such as Vicente Martínez, Alessandro Ardizzoni, Carlos Cuesta, Barry Sargent, Michele Cantoni, Jean Maumené, Rogério Budasz, and Ignacio Yepes.

He has recorded in Spain and Costa Rica for the national television channels and has given masterclasses in various countries in America, Europe, and the Middle East. Since 2007, he has conducted guitar ensembles such as La Sexta Cuerda, the EMAI Guitar Orchestra, the Angelo Masini Philharmonic, and the Juan Crisóstomo Arriaga Youth Orchestra. Among the recognitions he has received for his teaching are the Outstanding Teaching Award from the University of California, Riverside, and the Special Award from the Higher Academic Council of the Edward Said National Conservatory of Music in Jerusalem. In 2007, he won the Joaquín Rodrigo Prize for chamber music of the University of Santiago de Compostela.

Pedro completed his guitar degree at the Royal Superior Conservatory of Music in Madrid with José Luis Rodrigo and his master’s in chamber music at the Girolamo Frescobaldi National Conservatory of Music in Ferrara (Italy) with Tiziano Mealli and Stefano Cardi. Additionally, his encounters with guitarists Betho Davezac and Eduardo Fernández were pivotal to his training. He also earned a degree in music education from La Salle University in Madrid with pedagogue Raquel de las Heras and Francisco Cañizares. Currently, Pedro is part of the faculty at the University of Oklahoma as an Interim-Lecturer.

• PhD – University of California, Riverside
• MA – Universidad Autónoma de Madrid, Spain (Musicology)
  • Conservatorio Nazionale Girolamo Frescobaldi di Ferrara, Italy (Chamber music)
• BA – Real Conservatorio Superior de Música de Madrid, Spain (Guitar)
  • Universidad la Salle de Madrid, Spain (Music Education)

Sanna Pederson, who specializes in German music history and culture in the nineteenth century, has been the Mavis C. Pitman Professor of Music at the University of Oklahoma since 2001. Her most recent work focuses on chamber music in Berlin from 1870-1910, and studies specifically the concerts of the Joachim Quartet. Other interests include the aesthetic theories of Richard Wagner: she has published on the roles of love, sex, and gender in Wagner’s writings and has eleven articles in The Cambridge Wagner Encyclopedia. Other papers and publications have dealt with romanticism, the term absolute music, and the history of musicology. Earlier research focused on the reception of Beethoven, on which she has published with regard to nationalism, gender studies, narrative theory, and historiography.

Her dissertation from the University of Pennsylvania was on “Enlightened and Romantic German Music Criticism, 1800-1850.”

She has taught graduate seminars on Aesthetics, Beethoven and Schubert, the Classical Era, Romanticism, Chamber Music, and the Symphony.

In 2005-06 she was a Charles A. Ryskamp Research Fellow with the American Council of Learned Societies, and was on the editorial board of the Journal of the American Musicological Society from 2007-2013.

Zoe Sherinian is Professor of Ethnomusicology at the University of Oklahoma. She has published the book Tamil Folk Music as Dalit Liberation Theology (Indian Univ. Press 2014), articles on the Dalit parai frame drum in the journal Interpretation (2017), and articles on the indigenization of Christianity in Ethnomusicology (2007), The World of Music (2005), and Women and Music (2005). She has also produced and directed two documentary films: This is A Music: Reclaiming an Untouchable Drum (2011), on the changing status of Dalit (outcaste) drummers in India, and Sakthi Vibrations (2018), on the use of Tamil folk arts to develop self-esteem in young Dalit women at the Sakthi Folk Cultural Centre. She is presently writing a book entitled Drumming Our Liberation: The Spiritual, Cultural, and Sonic Power of the Parai Drum. She is also an active musician who performs and conducts trainings in the parai drum. She has extensively studied the mrdangam, the classical drum of South Indian Karnatak music, and performs on the jazz drumset. She has also performed with the Balinese Gamelan, Sekar Jaya, and several university based steel drum and African drumming ensembles. In 2009, Sherinian began the first parai (Indian folk) drumming ensemble in the U.S. at the University of Oklahoma and teaches drumset for the Girls Rock and Roll camp of Oklahoma City.

Sherinian’s research engages the intersectional relationship between caste, class, gender and music in South Asia as well as the historical and contemporary use of music to indigenize Christian ritual and theology. Her strengths include theoretical attention to the intersectionality of race, class, gender, caste and religion; a South Asia area studies concentration with focus on art, religion and politics; a secondary focus in African American music; ethnomusicological fieldwork praxis based in applied ethnomusicology, phenomenology, and participatory documentary filmmaking; as well as historically grounded research on cross-cultural religious contact and the resulting agency of oppressed people in the production of music. She also has strengths in gender and queer theory, and applies feminist analysis from global and anthropological perspectives to most of her work.

• PhD - Wesleyan University
• MA - Wesleyan University
• BA - Oberlin College

Maxwell Yamane (“yah-mah-nay”) is an Assistant Professor of Ethnomusicology at the University of Oklahoma. His research interests include Indigenous language reclamation and music (primarily among the Kiowa Tribe in Oklahoma), powwow music and dance, and Indigenous social movements and music. His current book project, “Powwow in the Capital: The Native American Urban Community and Sonic Acts in Washington, DC,” examines how powwow singers sonically reclaim Indigeneity, assert sovereignty, and transform settler soundscapes in the nation’s capital. As part of the project, he is also co-curating a community-based archive with and for the DC Native community. 

Yamane has published in academic journals such as American Comparative Studies, Ethnomusicology, Journal for Multilingualism and Multicultural Development, Journal of the American Musicological Society, and Signs and Society, as well as public facing publications with First American Arts Magazine and Music Means of the American Musicological Society. He has presented his research national and internationally at the Algonquian Conference, American Anthropological Association, American Studies Association, International Council for Traditional Music and Dance, Native American and Indigenous Studies Association, and Society for Ethnomusicology. He sings with Southern-style powwow drum groups Ottertrail and Zotigh Singers. 

Yamane is dedicated to culturally-responsible and collaborative scholarship in ways that serve the community.

Education:

• Ph.D., Ethnomusicology, University of Maryland
• M.A., Ethnomusicology, University of Maryland
• B.A., Socio-Cultural Anthropology, James Madison University 

Dr. Eugene Enrico is the Ruth Verne Davis Reaugh Professor of Music. Enrico, an internationally recognized music scholar, teaches undergraduate and graduate courses in music history. He also guides dissertation research and directs the Collegium Musicum. He serves as Producer/Director of the Early Music Television series of videos about early music and its cultural context, and is Artistic Director of the Accademia Filarmonica, a concert series featuring music of the 17th and 18th centuries.

Enrico earned his Ph.D. degree in Musicology from the University of Michigan in 1970. Before joining the faculty at the University of Oklahoma in 1976, he was a Postdoctoral Research Associate at the Smithsonian Institution and Assistant Professor of Musicology at the University of Louisville. In 1989, he served as a visiting research scholar, also at the Smithsonian Institution.

A specialist in Renaissance and Baroque music, Enrico is author of the book The Orchestra at San Petronio in the Baroque Era, published by the Smithsonian institution Press. Enrico also wrote the article “Music of Wind Instruments” published in Encyclopedia Britannica; produced the award-winning Waverly Consort Recording entitled 1492: Music From the Age of Discovery, and produced and directed Isabella d’Este: First Lady of the Renaissance, broadcast nationally by PBS. Enrico also has hundreds of concerts, radio and television broadcasts to his credit.

• Post-Doctoral Research Associate - Smithsonian Institution, 1973
• PhD (Musicology) - University of Michigan, 1970

Dr. Michael Lee taught courses on 20th-century music history, American music history, film music and film studies. He also lead the University of Oklahoma's Improvisation Ensemble. His research projects concerned Georges Auric and the Ballets Russes, American experimental music and the music of film composer Roy Webb. He and faculty colleague Armand Ambrosini collaborated on a textbook, Introduction to Western Concert Music.

• MA and PhD - University of Southern California
• BA and BME - University of Oregon