Published: October 3, 2014




Marc T. Bolin has performed with such artists as B. B. King, Dee Dee Bridgewater, Neil Diamond, Mötley Crüe, Kenny Burrell, Sheila E, Black Eyed Peas, Aloe Black, and Stevie Wonder. He recently participated in a state tour of China, performed with the Ambassadors of New Orleans’ Jazz at the Red Sea Jazz Festival in Israel, has performed in two of Philip Glass’ operas, and has even played on the Mississippi riverboats. In 2007, Marc was commissioned to realize Duke Ellington's incomplete opera Queenie Pie for the Oakland Opera Theater. Then in 2008, he was invited to present his research and reflections in his paper “Realizing the Duke” at the Echoes of Ellington Conference at UT Austin. Marc received both his B.A. and his M.M. in music from UCLA. As a doctoral student in UCLA’s Department of Ethnomusicology, his research interests are American roots and African-American folk music, particularly jug band music; jazz; jazz opera; consumerism; the brass band revival; marching-performing street bands in the United States; West Coast hip-hop orchestras; L.A. studio culture; and jazz poetry. Marc is a veteran of the U.S. Marine Corps and fought in Operation Desert Storm for the liberation of Kuwait.


Ganavya Doraiswamy is trained in Carnatic vocal music and plays the harmonium and vina. She also specializes in the jalatharangam (set of ceramic bowls tuned with water), her grandmother Kalaimamani Seetha Doraiswamy’s instrument (her grandmother is a well-known Carnatic multi-instrumentalist). When touring with harikeerthan exponent Sri Tukaram Ganapathi Maharaj, she also learned abhangs. Ganavya also performed her Bharathanatya Arangetram in 2006. She has a B.A. in psychology and earned an M.M. in performance from Berklee College of Music. There, she translated jazz standards to Tamil and is thankful to have studied under musicians such as Dr. Laura Karpman, Perico Sambeat, and Victor Mendoza, and to have shared the stage with artists such as Diego el Cigala, Danilo Perez, Victor Wooten, and Placido Domingo. She was awarded a post-graduate fellowship, for which she taught and published a text titled Fundamentals of Indian Music. She recently toured with Zebbler (VJ for Shpongle, EOTO) and Encanti Experience. At UCLA, she wants research the process whereby some instruments become extinct. She is currently working with an IKEA designer to redesign a more durable jalatharangam model. 


Pablo Infante has studied in several Spanish universities. After receiving a bachelor of music education from the Universidad de Jaén (2010), he continued studying musicology (M.A. in musicology, Universidad de Granada, 2012; M.A., Hispanic music/ethnomusicology, Universidad de Valladolid, 2014) and specialized as a percussion performer (B.M., percussion performance, Conservatorio Superior de Granada, 2013). He spent a year in Italy as an Erasmus grantee and is coming to UCLA as a Fulbright grantee. Among his research interests are African music, African percussion, music and diaspora, and music and identity.


Edwin Porras received his B.M. in music composition from California State University Long Beach and his M.M. in Afro-Latin Music from California State University Los Angeles. As a performer, he is part of a chamber music ensemble in the South Bay area where he plays the double bass to compliment his interest in Afro-Latin music, R&B, and jazz. His master's thesis explores the phenomena of globalism, transculturation, power, identity, and creativity in Cuba. In the first year of his Ph.D. program, Edwin will continue to study the music and cultures of Latin America, as well as the diverse issues that surround them.


Otto Stuparitz holds a B.A. in musicology from the University of Illinois at Urbana-Champaign where he focused on Balinese gamelan and later Javanese gamelan. During his undergraduate studies, he researched how local recording studio practices were applied to different musical genres such as Americana, old-time music, bluegrass, rock, and world music projects. At UCLA he will focus on Indonesian musics as well as explore how digital distribution and recording technologies have impacted individual music localities.



Ryan Vig began studying in the Department of Ethnomusicology at UCLA as an undergraduate student in 2011 and will complete his B.A. and M.A. as a Departmental Scholar in 2016. He grew up building and repairing musical instruments with his father. This background drives his research interests in musical instrument construction, repair, collection, and endangerment. He has dedicated his musical performance studies at UCLA to the buzuq (long-necked, fretted lute) and sitar. He currently directs the World Music and Movement Organization and is working for the UCLA Digital Library in the UCLA Ethnomusicology Archive.

Payam Yousefi’s first exposure to traditional Persian music began in his home. From an early age his father’s voice created an atmosphere where Iranian music was taught indirectly in the same fashion that culture is observed, learned, and eventually passed down. Payam chose the kamancheh (Persian spike fiddle) as his primary instrument, and also studied the vocal radif-s of Persian music. Payam prides himself in being an active performer both inside Iran and in North America. He has studied as an apprentice of leading Iranian artists such as Negar Kharkan, Ostad Masumeh Mehrali, and virtuoso Ostad Ardeshir Kamkar. Payam’s ethnomusicological studies began as an undergraduate at UCLA. As an undergraduate he was active in scholarship, music instruction, composition, leading Persian ensembles, and performance. Currently Payam is a Departmental Scholar at UCLA and is pursuing his M.A. in ethnomusicology. Payam’s research interests include the periodization and aesthetic classification of traditional Iranian music from the Qajar period to the present, examination of traditional oral pedagogy in Iranian music, and the classification of the gusheh’s (mini modes) of the dastgah system (Persian modal system). He hopes that this research can be an insightful addition to the literature available to Western scholars on traditional Persian music.