Education Ph.D., Ethnomusicology, University of Washington, Seattle. M.A., Folkore/Ethnomusicology, Indiana University. B.M., Piano/Music History, Temple University.
Biography Dr. Eileen M. Hayes joined the College of Arts and Communication in Fall 2017. She holds degrees from Temple University, Indiana University, and the University of Washington. Her research interests include African American music, feminist theories, queer studies, and race in American popular culture. She is the author of Songs in Black and Lavender: Race, Sexual Politics, and Women's Music (University of Illinois Press). Her writings appear in Ethnomusicology and Women and Music: the Journal of Gender and Culture. She is a past Book Review Editor, Women and Music. She has presented papers at numerous conferences including the Society for Ethnomusicology, the College Music Society, Feminist Theory and Music, Society for American Music, the German Musciolgoical Scoiety, Center for Black Music Research, and NASM. She is the co-editor, with Linda Williams, of Black Women and Music: More than the Blues (University of Illinois Press). From 2012-17, she served as professor and chair of the Department of Music at Towson University. Prior to that, she served as chair of the division of Music History, Theory, and Ethnomusicology at the University of North Texas.
Hayes is the recipient of numerous fellowships (Ford Foundation Postdoctoral; Danforth Compton; DAAD-University at Gottigen). Past editorial advisory board memberships include the Journal of the Society for American Music and the CMS Cultural Expressions in Music series; currently, she serves on the editorial advisory board of the Eastman Rochester Studies in Ethnomusicology. Hayes has held presidential appointments in the Society for Ethnomusicology, College Music Society, and Society for Music Theory. She is a former regional chair of the National Association of Schools of Music. Her term as president-elect of the College Music Society begins in January 2018. Hayes' research into the interactions of race, gender, and sexuality in regard to African American music and culture is complemented by her advocacy on behalf of women, faculty of color, and other underrepresented constitutuencies in schools of music and now, in colleges of arts and communication.
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