The institute’s faculty consists of seven full-time professors specializing in the various subdisciplines of musicology as well as cultural anthropology, who provide students with a comprehensive musicological training integrating a diverse range of different research areas. Several part-time professors add to the richness of the curriculum, and since 2006 have contributed especially to the general education offerings for undergraduates with courses on topics such as nanguan and guqin performance, sound art, and world music.

Full-time Faculty
Professor & Acting Director of the Institute
Ph.D., Anthropology, The Academy of Korean Studies
Research interests: Musical culture of Japan and Korea; colonialism; history of the record industry; popular music
Fumitaka Yamauchi spent an extended period in South Korea, where he received his PhD from the Academy of Korean Studies with his doctoral dissertation, which was the first comprehensive study in Korean of the recording industry in the context of colonial Korea and its relations with imperial Japan. He then became an assistant professor at the Institute of Oriental Culture (currently the Institute for Advanced Studies on Asia), University of Tokyo, before joining the faculty of the Graduate Institute of Musicology in 2009. He held visiting fellowships at Harvard during his PhD studies and at Yale during his appointment in Japan. His current research interests include the historical formations of recording culture and popular music in East Asia in their relation to issues of colonial modernity, wartime mobilization, and technological mediation. His recent publications in English include “Policing the sounds of colony: Documentary power and the censorship of Korean recordings in the age of performative reproduction” (2011, Musica Humana), and he is the co-editor (with Hugh de Ferranti) of a special issue of The World of Music on colonial modernity and East Asian musics (2012), which features his own essay “(Dis)Connecting the empire: Colonial modernity, recording culture, and Japan-Korea musical relations.”
Personal website

Professor & Director of The Language Training & Testing Center
Ph.D., Chinese Literature, National Taiwan University
Research interests: 
Chinese popular song; Chinese music history; Chinese music theory; Chinese classical theater

Tung Shen obtained her Ph.D from the Department of Chinese Literature at National Taiwan University with a research specialization in Chinese classical literature. She was also a doctoral candidate in ethnomusicology at the University of Maryland. She is currently Professor in the Graduate Institute of Musicology and also serves as the Director of the Center for the Arts at National Taiwan University. Previously, she also held the position of Dean for International Affairs. Her research interests are principally in the history and theory of Chinese popular song, Chinese classical music, and Chinese literature. To date, Professor Shen has published several books, including Musical Recollection in Formosa - The Legend of Zhou Lan-Ping and Four Seas Records, An Investigation into the infrastructure and the History of Nan-guan Music, and The Music of the Sui and Tang Dynasties: Their Music Divisions and Tuning Systems. In addition, she is also the author of more than fifty journal and conference papers, including important and influential essays such as “Zhou Lan-Ping and the Legend of Green Island Serenade” and “The Love for Taiwan, Towering in the Middle of the Ocean - The Imagery of Taiwan Portrayed in the Compositions of Zhou Lan-Ping.” During the 2013-2014 academic year, she offered a collaborative course with the University of Heidelberg, titled “Chinese Popular Songs: 1920-1970,” and previously also taught seminars such as “Historical Chinese Documents” and “History of Chinese Music” both in the Department of Chinese Literature and in the Graduate Institute of Musicology at National Taiwan University.
Personal website
Ying-fen WANG
Ph.D., Ethnomusicology, University of Pittsburgh
Research interests: Nanguan music; social history of Taiwanese music; historical recordings
Ying-Fen Wang received her Ph.D. in ethnomusicology from the University of Pittsburgh in 1992.  She founded the Graduate Institute of Musicology in 1996 and served three stints as its director.  As one of the founding board members of the Study Group of Musics of East Asia of the International Council for Traditional Music, she also served as its first chairperson from 2006 to 2010 and is now on the steering committee of the newly-founded East Asian Regional Association of the International Musicological Society.  She has been studying nanguan music since 1983 and has published articles on nanguan’s tune identity and creative process, its tune classification system, and the impact of cultural policy on nanguan in postwar Taiwan.  IN 2000, she started to work on the collection history of Taiwan music and in 2008 published a book and CD-set on Kurosawa Takatomo’s wartime survey of Taiwan music of 1943. She is currently working on the social history of music in colonial Taiwan under Japanese rule in relation to the issue of colonial modernity, focusing particularly on the recording industry and radio programming.  She is also conducting out a three-year project on the nanguan 78 rpm records issued in Amoy, Taiwan, and Southeast Asia. Other ongoing projects include the study of the representation of the aboriginal music and dance in colonial Taiwan, the comparison of the record industries in Taiwan and Korea under Japan’s rule (in collaboration with Yamauchi Fumitaka), and the compilation of a database of performing arts activities as reported in Taiwan nichi nichi sinbo (Taiwan Daily News, largest and longest-running newspaper in colonial Taiwan).
Personal website
Yuh-wen WANG
Associate Professor
Ph.D., Music Theory, Columbia University
Research interests: Music, body, mind, and spirituality; music analysis; music aesthetics; judgment of musical value
Yuhwen Wang obtained her Ph.D. from Columbia University in music theory.  Her scholarly work engages the relationship among music, body and mind, and analytical investigations in aesthetic tastes in pre-modern Chinese and Taiwanese music.  She has written articles about traditional guqin practice, the aesthetic practice of the erhu performer Abing, and ancient Chinese music philosophy.  She is currently writing a book exploring the intertwined nature of traditional Chinese music with bodily health, mental welfare, and spiritual strength, and is also conduting research on differences in musical time between pre-modern and modern Chinese and Taiwanese music.
Personal website
Chien-chang YANG
Associate Professor
Ph.D. in History and Theory of Music, The University of Chicago
Research interests: European music history; history of musical thought; aesthetics and philosophy of music; critical theory; musical modernity; musical modernism in East Asia.
Chien-Chang Yang has held teaching and research positions at National Chiao Tung University and the Academia Sinica in Taiwan, before joining the faculty of National Taiwan University in 2006. He earned his doctorate from the University of Chicago in 2002 with the dissertation, “Music as Knowledge: The Foundation of GermanMusikwissenschaft and Hugo Riemann's Theory of Listening,” which won research grant support from the DAAD and the Chiang Chingkuo Foundation. He has published and presented scholarly papers in Taiwan, Hong Kong, Japan, Korea, and the United States. His research areas include the intellectual history of music, critical theory, music historiography, and issues related to musical modernity. Recent research topics include the interaction between experimental sciences and music aesthetics in the late 18th century, Adorno's conceptions of historical time and compositional techniques, and historiography of 20th-century music.
Personal website
Chen-gia TSAI
Associate Professor
Ph.D., Systematic Musicology, Humboldt University
Research interests: Chinese theater music; biomusicology; phoniatics; music acoustics; psychoacoustics
With research interests are located at the intersection between the natural sciences and the performing arts, Chen-gia Tsai conducts research on the physics of musical instruments and the physiological/emotional responses to Chinese opera and other performing arts, as well as on the cognitive neuroscience of music. His recent book, Alternative Watching/Listening: Brain Diseases and Voice Disorders in Performing Arts, draws together medical and musical sources to make sense of the artistic depictions of disease manifestation in social and historical contexts.
Personal website
Jen-yen CHEN
Associate Professor
Ph.D., Historical Musicology, Harvard University
Research interests: 18th-century Austria; music and the Enlightenment; sociology of music
Jen-yen Chen received his Ph.D. from Harvard University in historical musicology, and has been a member of the Graduate Institute of Musicology since 2006.  The focus of his scholarship is music of eighteenth-century Austria, and specific areas of research include Catholic sacred music traditions, aristocratic patronage, and issues of social class in relation to the Enlightenment.  More recently, he has begun to pursue work on the interactions of European and Asian cultures in the eighteenth century and their reflection of a developing global modernity.  He has published articles in European, American, and Taiwanese journals and essay collections as well as edited volumes of music.
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Part-time Faculty
Made Mantle Hood
Ph.D. in Ethnomusicology, University of Cologne, Germany
Research interests: Ethnomusicology; Southeast Asian Music Culture; Gamelan Music
Personal website
Lap-kwan KAM

Associate Professor

He studied composition and music theory at the Hochschule für Musik (MA) and musicology at the University (MPhil, PhD) in Vienna, with several scholarships from Alban Berg Stiftung and the Austrian government. He was Visiting Associate Professor at the University of Hong Kong in 2010 and Visiting Scholar at the Austrian Academy of Sciences in 2011. A cofounder of Taiwan Musicology Forum in 2005 and the program chair of the Biennial Conference of the Regional Association for East Asia, International Musicological Society in 2013, he has also served on the international advisory board of the Journal of the Royal Music Association 2014-2019 and the editorial board of Formosan Journal of Music Research since 2017. His current research concerns comparative music historiography in Austria, Taiwan, and Canada, Mahler and Viennese critical modernism, as well as sound and music in film. Recent publications: “Between Musicology and Mythology at the Stunde Null: Austria’s 950th ‘Birthday’ and the 50th Anniversary of Bruckner’s Death,” in Dreams of Germany: Musical Imaginaries from the Concert Hall to the Dance Floor (New York: Berghahn, 2019) and “Traditional Music, Alternative Modernity, and Internal Colonialism: Reassessing the Campaigns and for National Music and Folk Songs in Postwar Taiwan,” in Decentering Musical Modernity: Perspectives on East Asian and European Music History (Bielefeld: Transcript, 2019).;
Personal website
Hsin-chun LU

Associate Professor
Ph.D., Ethnomusicology, UCLA
Research interests: Ethnomusicology; Diaspora Studies; Globalization; Soundscapes; Modernity

My academic interests focus on the processes and sites of intersection between music and mobility. Music in diaspora brought about by human migration, the distribution of music led by technology or media developments, and the power of music as a platform for social change are the three basic forms of intersection I study. With a principal geo-cultural specialty in Burma/Myanmar and its diaspora, my research in the past twenty years has concentrated on Burmese classical musicians, migrant workers, and Sino-Burmese immigrants.

My book, Unfaded Splendor: Representation and Modernity of the Burmese Classical Music Tradition (written in Chinese, National Taiwan University Press, 2012) was a study of the tradition called thachin gyi as performed by several classical musicians before Burma’s 2011 political and economic reform, when it was still used strategically as a response to the ruling military. I have continued to observe these musicians’ music-making post-reform to understand how their new access to a global market has had an impact on their music-making and transmission.

Apart from that, I also explore various ways of music-making amongst Sino-Burmese communities at home in Yangon, as well as in their diaspora communities in Macau, Taiwan, and Los Angeles. Key issues include the formation of multiple identities (generational, artistic, and ethnic), the performance of difference as defiance, soundscapes making, music embodiment, etc.

In recent years, I have brought cultural industrialization and cultural tourism into my scholarly focus, drawing from two case studies of the “Twin Water Festival phenomenon”: the first in Macau, where one festival is held by the Sino-Burmese community and the other by Burmese migrant workers (mostly ethnic Burmese, Chin, and Karen peoples). The second takes place in Taiwan, where one festival is held by the Sino-Burmese community in Taipei and the other by veterans of the KMT army withdrawn from the Thai-Burma borders to Taoyuan, a city south of Taipei. I explore cultural governance and ethnic politics emerging from the tensions generated from the Twin Water Festival phenomenon, as well as the economic, political, and social forces that shaped old patterns of interconnection.

Last, ever-mindful of the significant commonalities and differences between ethnomusicology and anthropology, I also view my research from a broader methodological perspective that links studies of sounds, space, society, embodiment, and sentiment between these two fields.
Personal website
Szu-wei CHEN

Assistant Professor
Ph.D., Film & Media Studies, University of Stirling
Research interests: Popular music; world music; modern music industry
Personal website
Kung-yuan LEE

Teaching Fellow (Performance)
B.A., Chinese Literature, National Cheng Kung University 
Research interests: Guqin music
Personal website

Teaching Fellow (Applied music)
59th Grammy Award Winner (Best New Age Album)
Research interests: Tabla
Personal website
Xin-xin WANG

Teaching Fellow (Performance)
Diploma in Nanguan studies, Fujien Vocational College of Art 
Research interests: Nanguan music
Personal website
Yannick DAUBY

Teaching Fellow (Applied music)
M.A., Digital Arts, University of Poitiers
Research interests: Soundscapes and sound art
Personal website
Anastasia Melati Listyorini

Teaching Fellow (Applied music)
Ph.D. student, Dept of Dance, Taipei National University of the Arts
Research interests: Javanese dance
Personal website

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