Gabriel Solis

Associate Professor of Musicology

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B.A. (musicology), University of Wisconsin;

Ph. D. (musicology/ethnomusicology), Washington University in St. Louis

A specialist in African American music, Gabriel Solis has done ethnographic and historical research with jazz musicians and capoeiristas in the United States. His work views black music in both American and diasporic perspectives. Drawing on work in African American studies, anthropology, and history, he addresses the ways people engage the past, performing history and memory through music. Additionally, his work explores musicians' and audiences' interactions with and personalization of mass-mediated musical commodities in transnational circulation. He has received the Wenner Gren Foundation's Hunt Fellowship, the Arnold O. Beckman Fellowship for distinguished research, and the Madden Fellowship for research in technology and the arts. He is the author of articles on jazz and rock in The Musical Quarterly, Ethnomusicology, the Journal of the Royal Musical Association, the Journal of Popular Music Studies, and a number of edited collections. He is the author of a book on contemporary performances of Thelonious Monk's music, titled Monk's Music: Thelonious Monk and Jazz History in the Making (University of California Press, 2007), co-editor with Bruno Nettl of a collection of essays on improvisation cross-culturally, and is currently working on a book on Tom Waits and the theatrics of masculinity. In addition to jazz, Dr. Solis has studied capoeira with Professor Doutor of ASCAB and Instructor Macaquinho of Capoeira Angola Palmares, and works with Aboriginal Australian musicians and dancers in Sydney and Cape York, Queensland.


Teaching Philosophy

I believe that university-level education is a responsibility shared between teacher and students. Whether students are first-year non-majors or Ph.D. candidates, I am committed to helping them master course material, and in return I expect them to think critically and creatively about the ideas presented to them. I believe students learn best in an interactive environment, in which they are encouraged to actively participate in the discovery process. As students learn more, the balance shifts within the conversation and I expect them to bring a more extensive body of knowledge and more sophisticated analytical framework to the conversation. I strive to make my students’ engagement with ethnomusicology part of a broader humanistic study, challenging them to seek out the connections between musical sound and social processes. I want them to bring all of their knowledge about culture and history to bear on their musical learning, and in turn to be able to bring their understanding of music to bear on studies in the arts, humanities, and social sciences. Finally, I encourage students to draw on and analyze their very personal musical experiences as listeners and performers, humanizing theoretical study with practical application.