Curriculum Vitae 2025 Old

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EDUCATION:

  • Department of Anthropology, University of Pennsylvania, Philadelphia, PA Ph.D., 2002. Dissertation: “Modern Noise and Ethnic Accents: Indonesian Popular Music in the Era of Reformasi.”
  • Haverford College, Haverford, PA B.A., Sociology/Anthropology, 1992. Senior Thesis: “Rites of the Condemned: Sociomusical Aspects of Speed Metal Music.”

FULL-TIME ACADEMIC APPOINTMENTS

  • Professor. Department of Popular Culture, School of Cultural and Critical Studies. Affiliated Faculty, Program in American Culture Studies, Program in Asian Studies. Bowling Green State University, 2015-Present.

  • Acting Chair and Graduate Coordinator. Department of Popular Culture. Bowling Green State University. 2016.

  • Associate Professor. Department of Popular Culture. Bowling Green State University. 2009-2015.

  • Assistant Professor. Department of Popular Culture, Bowling Green State University. 2003-2009.

PUBLICATIONS:

Books:

  • Varas-Díaz, Nelson, Jeremy Wallach, Esther Clinton, and Daniel Nevárez-Araújo, eds. Defiant Sounds: Heavy Metal Music in the Global South. Lanham, MD: Lexington Books, 2023.
  • Wallach, Jeremy. Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001. New Perspectives in Southeast Asian Studies, Volume 3. Madison, WI: University of Wisconsin Press, 2008.
  • Wallach, Jeremy, Harris M. Berger, and Paul D. Greene, eds. Metal Rules the Globe: Heavy Metal Music around the World. Durham, NC: Duke University Press, 2011.2

Academic Journal Special Issue:

  • Wallach, Jeremy and Esther Clinton, eds. “Constructing Genre in Indonesian Popular Music: From Colonized Archipelago to Contemporary World Stage.” Special Issue of Asian Music 44(2); 2013.

Academic Journal Articles:

  • Harnish, David and Jeremy Wallach. “‘Dance to Your Roots’: Genre Fusions in the Music of Indonesia’s Krakatau.” Asian Music 44 (2): 115-134, 2013.
  • Hickam, Brian and Jeremy Wallach. “Female Authority and Dominion: Discourse and Distinctions of Heavy Metal Scholarship.” Journal for Cultural Research 12 (3): 255-277, 2011.
  • Wallach, Jeremy. “Rainforest to Raves: Ethnomusicological Forays into Popular Music.” Journal of World Popular Music 6 (2): 223-227, 2019.
  • _______. “Living the Punk Lifestyle in Jakarta.” Ethnomusicology 52(1): 97-115, 2008. Winner of the 2009 Richard Waterman Junior Scholar Prize.
  • _______. “Underground Rock Music and Democratization in Indonesia.” World Literature Today 79 (3-4): 16-20, 2005.
  • _______. “Of Gongs and Cannons: Music and Power in Island Southeast Asia.” Wacana Seni Journal of Arts Discourse 3: 1-28, 2004.
  • _______. “The Poetics of Electrosonic Presence: Recorded Music and the Materiality of Sound.” Journal of Popular Music Studies 15(1): 34-64, 2003.
  • _______. “Exploring Class, Nation, and Xenocentrism in Indonesian Cassette Retail Outlets.” Indonesia 74 (October): 79-102, 2002. Wallach, Jeremy and Esther Clinton. “History, Modernity, and Music Genre in Indonesia: Introduction to the Special Issue.” Asian Music 44(2): 3-23, 2013.
  • Wallach, Jeremy and Esther Clinton. “History, Modernity, and Music Genre in Indonesia: Introduction to the Special Issue.” Asian Music 44(2): 3-23, 2013.
  • Wallach, Jeremy and Alexandra Levine, “‘I Want You to Support Local Metal’: A Theory of Metal Scene Formation.” Popular Music History 6 (1/2): 119-39, 2011.

Peer-Reviewed Book Chapters:

  • Clinton, Esther and Jeremy Wallach. “‘United We Never Shall Fall’: Thoughts on Metal and Disability.” In Heavy Metal and Disability: Crips, Crowds, and Cacophonies (Jasmine Shadrack and Keith Kahn-Harris, eds.), pp. 9-22, 2024.
  • ___________. “Facing the Musical Other: Alfred Schutz, Emmanuel Levinas, and the Ethnography of Musical Experience.” In The Oxford Handbook of the Phenomenology of Music Cultures (Harris M. Berger, Friedlind Riedel, and David VanderHamm, eds.). New York: Oxford University Press, pp. 611-635, 2024.
  • ___________. “Talking Metal: A Social Phenomenology of Hanging Out in Metal Culture.” In Heavy Metal Music and the Communal Experience (Nelson Varas-Díaz and Niall W. R. Scott, eds.). Lanham, MD: Lexington Books, pp. 37-55, 2016.
  • ___________. “Recoloring the Metal Map: Metal and Race in Global Perspective.” In Modern Heavy Metal: Markets, Practices and Cultures (Toni-Matti Karjarlainen and Kimi Kärki, eds.). Helsinki: Aalto University School of Business, pp. 274-282, 2015.
  • Hecker, Pierre, Mark LeVine, Nahid Siamdoust, and Jeremy Wallach. “By Way of an Epilogue: The Joys of Resistance.” In We’ll Play Till We Die: Journeys across a Decade of Revolutionary Music in the Muslim World by Mark LeVine. Berkeley: University of California Press, pp. 251-285, 2022.
  • Moser, Sarah, Esther Clinton, and Jeremy Wallach. “Leisure Activities in Southeast Asia.” In The Palgrave Handbook of Leisure Theory (Karl Spracklen, Brent Lashua, Erin Sharpe, and Spencer Swain, eds.). Hampshire, UK: Palgrave Macmillan, pp. 107-125, 2017.
  • Varas-Díaz, Nelson, Daniel Nevárez-Araújo, Jeremy Wallach, and Esther Clinton. “Metal in the Distorted South: A Call for Defiance and Reflection.” In Defiant Sounds: Heavy Metal Music in the Global South (Nelson Varas-Díaz, Jeremy Wallach, Esther Clinton, and Daniel Nevárez-Araújo, eds.). Lanham, MD: Lexington Books, pp. 9-29, 2023.
  • Wallach, Jeremy. “The Entextualization of Performative Sociality: Ethnomusicological Approaches to Sonic Encoding and Decoding.” The Ethnography of Recording Studios (Serena Facci and Giovanni Giuriati, eds.). Venice, Italy: Fondazione Giorgio Cini Intercultural Institute of Comparative Music Studies, pp. 52-57, 2024.
  • _______. “Asian Metal Rising: Metal Scene Formation in the World’s Most Populous Region.” In The Cambridge Companion to Metal Music (Jan Herbst, ed.). Cambridge: Cambridge University Press, pp. 319-329, 2023.4
  • _______. “Reformasi-Era Popular Music Studies: Reflections of an Anti-Anti-Essentialist.” In Sounding Out the State of Indonesian Music (Andrew McGraw and Christopher J. Miller, eds.). Ithaca, NY: Cornell University Press, pp. 162-179, 2022.
  • _______. “Global Rock as Postcolonial Soundtrack.” In The Bloomsbury Handbook of Rock Music Research (Allan Moore and Paul Carr, eds.). New York: Bloomsbury, pp. 469-485, 2020.
  • _______. “Indieglobalization and the Triumph of Punk in Indonesia.” In Sounds and the City: Essays on Music, Globalisation and Place (Brett Lashua, Karl Spracklen and Stephen Wagg, eds.). Hampshire, UK: Palgrave Macmillan, pp. 148-161, 2014.
  • ________. “Notes on Dangdut Music, Popular Nationalism and Indonesian Islam.” In Sonic Modernities in the Malay World: A History of Popular Music, Social Distinction and Novel Lifestyles (1930s – 2000s) (Bart Barendregt, ed.). Leiden: Brill, pp. 271-289, 2014.
  • ________. “Underground Rock Music and Democratization in Indonesia.” In Out of the Absurdity of Life: Globale Musik, Norient 012 (Thomas Burkhalter and Theresa Beyer, eds.). Solothurn, Germany: Traversion, pp. 172-181, 2012.
  • _________. “Distortion-Drenched Dystopias: Metal in Island Southeast Asia.” In Reflections in the Metal Void (Niall W. R. Scott, ed.). Oxford: Inter-Disciplinary Press, pp. 101-119, 2012.
  • _________. “Unleashed in the East: Metal Music, Masculinity, and ‘Malayness’ in Indonesia, Malaysia and Singapore.” In Metal Rules the Globe: Heavy Metal Music around the World (Jeremy Wallach, Harris M. Berger, and Paul D. Greene, eds.). Durham, NC: Duke University Press, pp. 86-105, 2011.
  • ________. “Living the Punk Lifestyle in Jakarta.” In White Riot: Punk Rock and the Politics of Race. (Stephen Duncombe and Maxwell Tremblay, eds.). London: Verso, pp. 317-332, 2011.
  • _______. “Engineering Techno-Hybrid Grooves in Two Indonesian Sound Studios.” In Wired for Sound: Engineering and Technologies in Sonic Cultures (Paul D. Greene and Thomas Porcello, eds.). Middletown, CT: Wesleyan University Press, pp. 138-155, 2005.
  • _______. “Snapshot 11.4: World Beat.” In Music Cultures in the United States: An Introduction (Ellen Koskoff, ed.). New York: Routledge, pp. 370-377, 2005.
  • _______. “‘Goodbye My Blind Majesty’: Music, Language, and Politics in the Indonesian Underground.” In Global Pop, Local Language (Harris M. Berger and Michael T. Carroll, eds.). Jackson, MS: University Press of Mississippi, pp. 53-86, 2003.
  • Wallach, Jeremy, Harris M. Berger, and Paul D. Greene. “Affective Overdrive, Scene Dynamics, and Identity in the Global Metal Scene.” In Metal Rules the Globe: Heavy Metal Music around the World (Jeremy Wallach, Harris M. Berger, and Paul D. Greene, eds.). Durham, NC: Duke University Press, pp. 3-33, 2011.
  • Wallach, Jeremy and Esther Clinton. “Is Heavy Metal a Protest Music?” in The Oxford Handbook of Protest Music (Noriko Manabe and Eric Drott, Eds.). New York: Oxford University Press. Forthcoming.
  • Wallach, Jeremy and Esther Clinton. “Burgerkill Plays Dayton: The Arrival of Indonesian Metal in Ohio.” In Popular Music in East and Southeast Asia: Sonic (Under)Currents and Currencies (Mayco Santaella, ed.). Kuala Lumpur, Malaysia: Sunway University Press, 118-129, 2022.
  • ________________. “Theories of the Post-Colonial and Globalization: Ethnomusicologists Grapple with Power, History, Media, and Mobility.” In Theory for Ethnomusicology: Histories, Conversations, Insights; Second Edition (Harris M. Berger and Ruth Stone, eds.). Upper Saddle River, NJ: Prentice Hall, 114-139, 2019.
  • ________________. “The Horror and the Allure: Metal, Power, Gothic Literature, and Multisubjectivity.” In Connecting Metal to Culture: Unity in Disparity (Miko Elovaara and Bryan Bardine, eds.). Lanham, MD: Lexington Books, pp. 99-118, 2017.
  • Wallach, Jeremy and Alexandra Levine. “‘I Want You to Support Local Metal’: A Theory of Metal Scene Formation.” In Heavy Metal: Controversies and Countercultures (Titus Hjelm, Keith Kahn-Harris, and Mark LeVine, eds.). Bristol, CT: Equinox Press, pp. 117-135, 2013.

Book and Recording Reviews:

  • Wallach, Jeremy. “Eggheadbanger Classic: A Reflection on Keith Kahn-Harris’s Extreme Metal: Music and Culture on the Edge [Oxford Berg, 2006]. “Metal Music Studies 11:1, in press.
  • Wallach, Jeremy. “Decolonizing Metal Studies: The Documentary Films of Nelson Varas-Díaz and Puerto Rico Heavy Metal Studies” (Review of The Distorted Island [2015] and The Metal Islands [2017]). MUSICultures 46(1): 163-166, 2019.
  • ______. Review of Gongs and Pop Songs: Sounding Minangkabau in Indonesia by Jennifer A. Fraser (Athens, OH: Ohio University Press, 2015). Indonesia 102: 121-123, 2016.
  • ______. “Review Essay: Echoes of the Twentieth Century” (Review of Echo & Reverb: Fabricating Space in Popular Music Recording, 1900-1960 by Peter Doyle, Middletown, CT: Wesleyan University Press, 2005). Ars Lyrica 18: 225-229, 2009.
  • ______. Review of Making Scenes: Reggae, Punk, and Death Metal in 1990s Bali by Emma Baulch (Durham, NC: Duke University Press, 2007). Journal of Anthropological Research 65: 331-333, 2009.
  • _______. Review of Black Mirror: Reflections in Global Musics (Dust-to-Digital DTD-10; 2007). Ethnomusicology 53(1): 176-178, 2009.
  • _______. Review of New York City: Global Beat of the Boroughs (Smithsonian Folkways Recordings SFW CD 40493; 2001). Ethnomusicology 49(3): 209-212, 2005.
  • _______. Review of Songs and Gifts at the Frontier: Person and Exchange in the Agusan Manobo Possession Ritual by José Buenconsejo (Current Research in Ethnomusicology Volume 4, New York: Routledge, 2002). Asian Music 36(1): 123-127, 2005.
  • _______. Review of The Rough Guide to the Music of Indonesia (World Music Network RGNET 1055 CD; 2000), Ethnomusicology 48(3): 464-468, 2004.
  • _______. Review of Prison Songs: Historical Recordings from Parchman Farm 1947-48, Vols.1 and 2 (Rounder Records CD 1714, 1715; 1997). Yearbook for Traditional Music: 235-36, 2000.
  • _______. Review of “A History of Siamese Music Reconstructed from Western Documents, 1505-1932” (T. Miller and J. Chonpairot; Crossroads 8/2:1-192, 1994). Khosana 24: 3-4, 1997.
  • _______. Review of My Music (S. Crafts, D. Cavicchi, C. Keil, and the Music in Daily Life Project; Hanover, NH: University Press of New England, 1993). Oral History Review 23(2): 128-30, 1996.

Additional Publications:

  • Clinton, Esther, Jeremy Wallach, Nelson Varas-Díaz, and Daniel Nevárez-Araújo. “Epilogue: Metal Unbound.” In Defiant Sounds: Heavy Metal Music in the Global South (Nelson Varas-Díaz, Jeremy Wallach, Esther Clinton, and Daniel Nevárez-Araújo, eds.). Lexington Books, pp. 387-389, 2023.
  • Nevárez-Araújo, Daniel, Nelson Varas-Díaz, Jeremy Wallach, and Esther Clinton. “Introduction: Of ‘Metal’ and Metal: A Global South Approach to Metal Studies.” In Defiant Sounds: Heavy Metal Music in the Global South (Nelson Varas-Díaz, Jeremy Wallach, Esther Clinton, and Daniel Nevárez-Araújo, eds.). Lanham, MD: Lexington Books, pp. 1-5, 2023.
  • Wallach, Jeremy. Foreword. Teaching Metal (Bryan Bardine and Kevin Ebert, eds.). Lanham, MD: Lexington Books. Forthcoming.
  • Wallach, Jeremy. “Thoughts on the 10th Anniversary of Metal Rules the Globe.” International Society for Metal Music Studies (ISMMS) official website. May 8, 2021. https://metalstudies.org/mms101/thoughts-on-the-10th-anniversary-of-metal-rules-the-globe-w-jeremy-wallach/
  • _______. “Musical Protest in Indonesian Metal.” Norient: Network for Local and Global Sounds and Media Culture. Available on Norient.com, August 28, 2017.7
  • _______. “East of Hell: Black Metal in Indonesia.” Norient: Network for Local and Global Sounds and Media Culture. May 12, 2016. Available on Norient.com.
  • _______. “Corruption at All Levels.” In Seismographic Sounds: Visions from a New World (Theresa Beyer, Thomas Burkhalter, and Hannes Liechti, eds.). Bern, Switzerland: Norient Books, pp. 22-23, 2015.
  • _______. “Singing in the Streets of Jakarta.” Norient: Network for Local and Global Sounds and Media Culture. January 15, 2015. Available on Norient.com.
  • _______. “Preface: Indonesia and the Globalized World.” In Komunikasi dan Komodifikasi: Mengkaji Media dan Budaya dalam Dinamika Globalisasi [Communication and Commodification: Researching Media and Culture within the Dynamics of Globalization] by Idi Subandy Ibrahim and Bachruddin Ali Akhmad. Jakarta: Yayasan Pustaka Obor Indonesia, xvii-xix, 2014.
  • _______. Foreword. In Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music (Eric James Abbey and Colin Helb, eds.), Lanham, MD: Lexington Books, ix-x, 2014.
  • _______. “5 Video Clips from Indonesia.” Norient: Network for Local and Global Sounds and Media Culture. September 26, 2014. Available on Norient.com.
  • _______. “Rock Music in Indonesia.” Norient: Network for Local and Global Sounds and Media Culture. Published October 22, 2013. Available on Norient.com.
  • _______. “Distortion-Drenched Dystopias: Metal and Modernity in Southeast Asia.” In The Metal Void: First Gatherings Critical Issues Volume 88 (Niall W. R. Scott, ed.). Oxford, UK: The Inter-Disciplinary Press, pp. 357-366, 2010. E-Book available from interdisciplinary.net.
  • _______. “Dangdut Trendy.” Inside Indonesia 78 (April-June): 30, 2004.
  • _______. “Aural Autocracies: Music and Power in Island Southeast Asia.” Middle Atlantic Chapter of the Society for Ethnomusicology Newsletter 15(2): 3-6, 1996.
  • Wallach, Jeremy and Esther Clinton, “Epilogue: Sesuatu Pandangan yang Merakyat [An Approach Close to the People]: The Bowling Green Approach.” In Riset Komunikasi dan Budaya: Perspektif Teoretik dan Riset (Idi Subandy Ibrahim and Bachruddin Ali Akhmad, eds.). Depok, Indonesia: Rajawali Press, pp. 375-382, 2021.

Encyclopedia Entries:

  • Wallach, Jeremy. “Dangdut” and “Heavy Metal: Global Dissemination and Expansion.” In Encyclopedia of Popular Music of the World, Volume IV: Genres (John Shepherd, David Horn, Dave Laing, Paul Oliver, and Peter Wicke, eds.). London: Continuum. Forthcoming.
  • _______. “World Beat.” In The Garland Encyclopedia of World Music Volume 3: The United States and Canada (Ellen Koskoff, ed.). New York: Garland, pp. 337-342, 2001.
  • Wallach, Jeremy and Vinay Dharwadker. “South and Southeast Asia.” In The Greenwood Encyclopedia of World Popular Culture, Volume 6: Asia and Pacific Oceania (Vinay Dharwadker and Gary Xu, eds., Gary Hoppenstand, General Editor). Westport, CT: Greenwood, pp. 211-226, 2007.

Translations:

  • Wallach, Jeremy. “Poetique de la Presence Electro-Sonique: Musique Enregistrée et Matérialité du Son.” In Penser les Musiques Populaires (Gérôme Guibert and Guillaume Heuguet, eds.). Paris: La Rue Musicale/Philharmonie, 2022.
  • _______. Musik Popular Indonesia 1997-2001: Kebisingan dan Keberagaman Aliran Lagu [Indonesian-Language Edition of Modern Noise, Fluid Genres]. With a New Preface. Depok, Indonesia: Komunitas Bambu, 2017.
  • _______. “Selamat Tinggal Sang Butaku [Goodbye My Blind Majesty],” In Bahasa dan Kuasa [Language and Power], Revised Edition (Yudi Latif and Idi Subandy Ibrahim, eds.). Bandung, Indonesia: Penerbit Simbiosa. Forthcoming.

IN PREPARATION:

  • Wallach, Jeremy. “Popular Music Culture: Vernacular Philosophy: Popular Music and the Human Crisis.” Book manuscript in progress.
  • _______. “Music and Popular Culture.” In The Bloomsbury Handbook for Ethnomusicology (Sarah Weiss and Sarah Morelli, eds.). New York: Bloomsbury. In progress.
  • _______. “Global Metal, Digital Media, and Scenic Conciousness: An Ethnometallugist’s Diary.” Metal Music Studies. 10th Anniversary Issue. in progress.
  • _______.“Converging Points, Discrete Artistic Sensibilities, and the Pedagogical Bent: Ethnographies of Philippine Auditory Popular Cultures Lecture Series.” Special Section of Kritica Kultura. In progress. Wallach, Jeremy and Esther Clinton. “Is Heavy Metal a Protest Music?” In The Oxford Handbook of Protest Music (Noriko Manabe and Eric Drott, eds.). New York: Oxford University Press. Forthcoming.

CONFERENCE PAPERS AND PRESENTATIONS:

Invited Lectures:

  • “Popular Music, Tourism, and Education.” Co-presented with Kurt Baer. Division of Music Education, Chiang Mai Rajabhat University, Chiang Mai, Thailand; August 2024.
  • “Punk dan Bahasa Inggeris [Punk and the English Language].” Keynote address presented (in Indonesian) at the Punk Scholars Network International Conference, Jakarta, Indonesia (Virtual); December 2023.
  • “After the Revolution: Recent Developments in Indonesian Popular Music.” Presented at the Center for Southeast Asian Studies, Northern Illinois Univ., DeKalb, Ill.; October 2022.
  • “The Rise of Asian Heavy Metal.” Presented at the Asian Studies Center, Michigan State University, Lansing, Michigan (Virtual); November 2021.
  • “Totem and Taboo in Punk Studies.” Keynote address presented at the Punk Scholars Network International Conference, Jakarta, Indonesia (Virtual); December 2020.
  • “The Entextualization of Performative Sociality: Ethnomusicological Approaches to Sonic Encoding and Decoding.” 25th Annual International Seminar, Fondazione Giorgio Cini Intercultural Institute of Comparative Music Studies, Venice, Italy; January 2019.
  • “Twenty Years of Popular Music in the Era of Reformasi: Reflections of an Anti-Anti- Essentialist.” Presented at the “Sounding the State of Indonesian Music” Symposium, Cornell University, Ithaca, New York; March 2018.
  • “‘Metal is Always Protest Music’: An Ethnomusicological Perspective on the Indonesian Heavy Metal Scene.” Center for Music, Media and Place, Music and Culture Lecture Series, Memorial University, Newfoundland, Canada; February 2018. Live-streamed and archived. https://www.youtube.com/watch?v=vmT_tlMnfbs&t=368s
  • “Modern Noise, Fluid Genres.” American Cultural Center, Embassy of the United States, Jakarta, Indonesia; July 2017.
  • “Modern Noise.” Lecture/Discussion at Kedai Café, Jakarta, Indonesia; July 2017.
  • “Theorizing Heavy Metal Community: Learning from Indonesia.” Symposium on Heavy Metal Music and the Communal Experience, University of Puerto Rico, Center for Social Research, San Juan, Puerto Rico; March 2014.10
  • “Diversification and the Duality of Domination in Global Heavy Metal.” Symposium on Heavy Metal and Globalization, University of Dayton, Dayton, Ohio; November 2012.
  • “Technohybridity and Genre Formation in Democratic Indonesia.” First International Conference of the PhD in Music Program of the University of the Philippines: “The Impact of Music in Shaping Southeast Asian Societies.” Manila, Philippines; September 2011.
  • “Using Indonesian and American Jazz to Understand American Culture.” Plenary presentation at the Culture, English Language Teaching and Literature Third Annual International Seminar, Soegijapranata Catholic University, Semarang, Indonesia; January 2011.
  • “Wajah Pribumi: Iwan Fals and the Performance of Indonesian Masculinity.” Presented at “The Beat Goes On: Popular Music in Twentieth Century Southeast Asia,” Workshop sponsored by the Royal Netherlands Institute for Southeast Asian and Caribbean Studies (KITLV), Jakarta, Indonesia; January 2011.
  • “Ghostly Presences: On the Uncanniness of Recordings.” Culture and Communication Graduate Colloquium Series, Drexel University, Philadelphia, Pennsylvania, March 2010. “Popular Music Genres in Democratic Indonesia, 1998-2009.” Musicology Colloquium, Oberlin College, Oberlin, Ohio; September 2009.
  • “Popular Music and the Mass Media in Indonesia.” Lamont School of Music, University of Denver, Denver, Colorado; March 2009.
  • “Fluid Genres: Indonesian Popular Music, National Identity, and Globalization.” Colorado College, Colorado Springs, Colorado; March 2009.
  • “The Relationship between Music and Culture.” Presented at the Honors College, Florida Atlantic University, Jupiter, Florida; February 2008.
  • “‘Dangdut Is the Music of My Country’: Popular Music After Soeharto.” Center for Southeast Asian Studies, University of Michigan, Ann Arbor, MI; January 2008.
  • “Technology, Commodification, and Authenticity in Popular Music.” Keynote Address, Fifth Annual Conference of the South Central Graduate Music Consortium, Duke University, Durham, North Carolina; September 2007.
  • “Popular Music and Islam in Post-Soeharto Indonesia.” Presented at the Center for Southeast Asian Studies, Northern Illinois University, DeKalb, Illinois; April 2005.
  • “Vampires and Mosh Pits in the Global Village: Producing an Indonesian Rock Music Video.” Presented in the Haverford College Young Alumni Lecture Series, Haverford, Pennsylvania; February 2005.
  • “Dangdut Underground: ‘Low Class’ Music and National Belonging in Indonesian Student Culture.” School of Music Colloquium Series, University of Wisconsin— Madison, Madison, Wisconsin; March 2004.
  • “Dangdut Music, Indonesian Islam, and ‘Unofficial Nationalism.’” Royal Netherlands Institute of South-East Asian and Caribbean Studies 17th Annual International Workshop on South-East Asian Studies. Workshop Title: “South-East Asian Pop Music in a Comparative Perspective.” Leiden University, The Netherlands; December 2003.
  • “Metacultural Performance: Music, Nation, and Mediation in Jakarta, Indonesia.” Presented for the Anthropology Program, MIT, Cambridge, Massachusetts; February 2003.
  • “From Studio to Street Corner: Production, Reception, and Replication of Dangdut Music in Indonesia.” Presented at the Department of Music, University of Richmond, Richmond, Virginia; January 2003.
  • “‘Because My Soul is Malay’: Genre, Class and National Authenticity in the Indonesian Student Music Scene.” Presented for the Department of Music, Ethnomusicology Colloquium Series, Columbia University, New York City; February 2002.

Conference Presentations:

    • “Representing Collectivities through Physical Media in Southeast Asian Popular Music.” To be presented at the Annual Meeting of the International Association for the Study of Popular Music—Southeast Asia, Taipei, Taiwan; August 2025.
    • “Encoding and Decoding the Nation in Southeast Asian Popular Music.” To be presented at the Annual Meeting of the International Association for the Study of Popular Music, Paris, France; July 2025.
    • “Forging Solidarities in the Global Metal-Scape: The View from Southeast Asia.” To be presented at the Eighth Biennial Meeting of the International Society for Metal Music Studies,Seville, Spain; June 2025.
    • Co-Presenter with Ally Dellgren, “Changing Class Composition of the Metal Audience, 1970-2024.” Presented at the Metal and Change Conference, Dayton, Ohio; October 2024 (Virtual).