I hold a Ph.D in Ethnomusicology from SOAS, University of London (2017), an M.A. in Ethnomusicology (UBC 2008), and a B.A. in Interdisciplinary Studies (UBC 2006). I am currently a sessional lecturer in music at Simon Fraser University and Vancouver Community College. My research focusses on music, identity, and representation in transnational music revivals.
My primary research project is an ethnographic study of jew’s harp revival communities based on multi-sited fieldwork in Norway, Austria, Sicily, and online. My work uses the jew’s harp to examine how musical instruments reflect changing tastes, technologies, and social identities, and how transnational music communities are changing radically in the digital age. This research was supported by a Doctoral Fellowship from the Social Sciences and Humanities Research Council of Canada (SSHRC), and a Research Scholarship from SOAS, University of London.
My work engages with the musical ethnography of Europe, and aligns with the growing area of historical ethnomusicology. While the jew’s harp has been one of the most popular musical instruments in Europe since the Middle Ages, it has long been seen as an object of little value, sitting at the junctions between classical and folk, public art and private enjoyment, and urban and rural. My research demonstrates how the jew’s harp and the study of “unpopular” music can be used to critically engage with the core concepts of value, virtuosity, and productivity at the centre of European musical discourse.
My full academic profile is available on:
Morgan, Deirdre. 2008. "Organs and bodies: The Jew’s harp and the anthropology of musical instruments". MA thesis, University of British Columbia.
2017 Ph.D. in Music, School of Oriental and African Studies, University of London
2008 M.A. in Ethnomusicology, University of British Columbia
2006 B.A. in Interdisciplinary Studies, University of British Columbia
Simon Fraser University
African Music Cultures (Term 1, 2016, 2017); 3 credit elective course; upper-level non-majors
Vancouver Community College
African Music Cultures (Term 1, 2015, 2016, 2017); 3 credit required course; upper level music majors
Asian Music Cultures (Term 2, 2016, 2017, 2018); 3 credit required course; upper level music majors
SOAS, University of London
Introduction to Music Analysis seminar (Term 1, 2014); 3 credit required course; first year music majors
COURSES PREPARED TO TEACH
Research & Writing in the Arts & Humanities Theory & Method in Ethnomusicology
African Music Cultures (World Music survey) Ethnography and Representation
Asian Music Cultures (World Music survey) Fieldwork & Qualitative Methods
American Music Music and Film
Global Popular Music Ethnomusicology of Europe
Music, Power, and Protest Interdisciplinary Seminar
Performance Ensembles: Balinese gamelan, Ghanaian dance-drumming, Jew’s harp ensemble
Manuscripts in Submission
Morgan, Deirdre. “Cracking the code: archives, transmission, and smiths in the Norwegian munnharpe revival.”
Manuscripts in Preparation
Morgan, Deirdre. “(Un)worthy objects: the jew’s harp and the hidden economy of ‘worthless’ music.”
Morgan, Deirdre. “Perverted talent: the jew’s harp virtuoso from 1730 to present.”
Morgan, Deirdre. 2017. Review of The Jew’s Harp in Britain and Ireland, by Michael Wright. Ethnomusicology Forum 26(2): 271-273.
Morgan, Deirdre. 2016. “Excavating heritage: The archaeology of revival in the jew’s harp traditions of Norway, Austria, and Sicily.” In Studien zur Musikarchäologie X, edited by Ricardo Eichmann and Lars-Christian Koch, 75-79. Rahden/Westfalen.: Verlag Marie Leidorf.
GRANTS & FELLOWSHIPS
2012 Doctoral Fellowship, Social Sciences and Humanities Research Council of Canada
2012 Research Scholarship, SOAS, University of London
2007 Graduate Scholar Award, Social Sciences and Humanities Research Council of Canada
2015 Student Paper Prize, British Forum for Ethnomusicology
“Arcadian Tones: The Austrian Maultrommel from the Pastoral to the Avant-Garde.” UBC Music Colloquium Lecture, Vancouver, March 17, 2017.
“Rustic Chivalry: Heroes, outlaws, and the Sicilian marranzano.” International Council for Traditional Music, Limerick, July 15, 2017.
"Speaking in Tongues: A multi-sited 'insider' ethnography of the international jew’s harp revival." Institute for Musical Research, "Researching Music: Interviewing, Ethnography, and Oral History", Senate House, London, June 6, 2016.
"Revival/Continuation: Paradigms of transmission and boundaries of knowledge in the Norwegian munnharpe smithing tradition.” British Forum for Ethnomusicology & Société Française d’Ethnomusicologie, Musée du Quai Branly, Paris, July 2 – 5, 2015.
“Excavating Heritage: The Jew’s harp revivals of Norway, Austria, and Sicily.” International Study Group on Music Archaeology 9th symposium, “Sound – Object – Culture – History”, Ethnological Museum, Berlin, September 13, 2014.
“Breathing Life to Iron: Audio recordings and the (re)making of the Jew’s harp virtuoso.” British Forum for Ethnomusicology & Analytical Approaches to World Music conference, “Analysis, Cognition, Ethnomusicology”, SOAS, University of London, July 1, 2014.
“Harnessing Participation: Social media as living cultural archive in the international Jew’s harp community.” British Forum for Ethnomusicology and ICTM-Ireland joint conference, “Ethnomusicology in the Digital Age”, Queen’s University, Belfast. April 6, 2013.
“Hearing Balinese Genggong: the Jew’s harp and the anthropology of musical instruments.” British Forum for Ethnomusicology, “Making Sound Objects”, Pitt-Rivers Museum, University of Oxford. November 24, 2012.
SERVICE TO PROFESSION
2016 – present Book Notes Reviews Editor, Yearbook for Traditional Music
2014, 2016 Manuscript Review, Studien zur Musikarchäologie
2008 Organizing Committee, Society for Ethnomusicology, Northwest Chapter Conference, University of British Columbia
2011 – present Board Member, International Jew’s Harp Society
2012 – 2015 President, SOAS Mouth Harp Society
2011 – 2013 Executive Director, North American Jew’s Harp Guild
2006 – 2011 President (2010-11) and Board Member, Gamelan Gita Asmara
2014 – 2015 Professional Development in Higher Education Programme
SOAS, University of London (29 hours of pedagogical training)
2007 – 2012 Arts Administration (production, marketing, and development)
Past employers include musica intima, Pacific Baroque Orchestra, MusicFest Vancouver, Vancouver International Song Institute and Festival, Chan Centre for the Performing Arts
1992 – 2002 Piano Performance Grade 9; Harmony; History; Counterpoint; Analysis
Royal Conservatory of Music and Conservatory Canada
Society for Ethnomusicology
British Forum for Ethnomusicology
International Council for Traditional Music
Galpin Society for the Study of Musical Instruments
Ethnomusicology, Anthropology of Music, Ethnography, Applied Ethnomusicology, Anthropology of the Body, Music and identity, Musicology, Organology, Musical Instruments, Material Culture Studies, Music analysis, World Music Pedagogy, Music Education, Music Psychology, Music and Language, Breath - Body - Voice, Body in Performance, Participatory Research, Cultural Musicology, Cultural Anthropology, Sociology of Music, Overtone Singing and Harmonics, Vowel harmony, Trance, Shamanism, Drone-Based Music, Clowning, Performance As Research, Festivalization, Popular Music Studies, Sound archives, European Studies, Ethnography (Research Methodology), Ethnographic Methods, Digital Ethnography, Ethnographic fieldwork, Folk Music, Folk Music Revivals, Norwegian folk music, Traditional Music, Arts Administration (Specializing In Music), Ethnographic Film, Jew's Harp, Jaw Harp, Mouth harp, Vargan, Khomus, Maultrommel, Munnharpe,Scacciapensieri, Marranzano, Brumle,Doromb, Dan Moi, Genggong, Sicily, Austria, and Norway