J. CV of the Project Director

EDUCATION

• 2016. Doctor of Philosophy (PhD), Music Theory, Ohio State University
• 2011. Master of Music (MM), Choral Conducting, University of Texas at San Antonio
• 2009. Master of Music (MM), Music Theory and Composition, Texas State University
• 2006. Bachelor of Music (BM), Composition, Southwestern University (Texas)

PROFESSIONAL CERTIFICATION

• 2022. Master Online Teacher (MOT) Certificate, University of Illinois Springfield
• 2011. Colleague of the American Guild of Organists (CAGO)

POSITIONS HELD

• 2022–. Assistant Professor of Research, Morehouse College, Atlanta, GA
• 2016–2022. Assistant Professor of Music, Morehouse College, Atlanta, GA
• 2019–2021. Fulbright Scholar, University of Nigeria Nsukka
• 2018–2022. Instructor, Spelman College Department of Music, Atlanta, GA
• 2012–16. Graduate Teaching Associate, Ohio State University, Columbus
• 2014. Lecturer, Peter King College of Music, Lagos, Nigeria
• 2013. Fulbright Student, University of Lagos, Nigeria
• 2009–11. Graduate Teaching Assistant, University of Texas San Antonio

PUBLICATIONS (lead or sole author except where noted by * indicating co-author)

• 2023. “Branding Afrobeat,” Journal of World Popular Music (forthcoming)
• *2023. “The Hierarchy of Galant Schemata and Some of its Implications for Eighteenth-Century Musicianship,” Music Theory Online (forthcoming)
• 2023. “Scale-Degree Skeletons in Ìgbò Vocal Music,” Mathematical App. World Music (forthcoming)
• 2022. “Analysis of Singing in Tone Languages: A review and case study in Yorùbá” Transactions of the International Society for Music Information Retrieval (under review)
• 2022. “Tone Realization and Register Transformations in Nigerian Art Music: A formal analysis of Èkwúèmé and Olúrántí,” Perspectives of New Music 59(2), https://doi.org/10.1353/pnm.2021.0011
• 2022. “Ojú l’ọ̀rọ̀ọ́ wà: The Praise Gaze in Oríkì Performance,” Muziki 18(2), https://doi.org/10.1080/18125980.2021.2015247
• 2022. “Tones and Tunes: Melody and Part-Writing Exercises based on Ìgbò and Yorùbá Lyrics,” Engaging Students: Essays in Music Pedagogy Vol. 8 https://doi.org/10.18061/es.v8i0.7743
• 2021. “Igbo Speech Surrogacy: Preliminary Findings based on the Oja Flute,” Frontiers in Psychology, https://doi.org/10.3389/fpsyg.2021.653068
• 2021. “Onset and Contiguity: Melodic Feature Reduction and Pattern Discovery,” Music Theory Online https://doi.org/10.30535/mto.27.4.2
• 2021. “Tonal Counterpoint Revisited: From Yorùbá Pop to American Hip-Hop,” Analytical Approaches to World Music 9(2), https://www.aawmjournal.com/articles/2021b/Carter-Enyi_Aina_AAWM_Vol_9_2.html
• 2021. “Visualizing Intertextual Form with Arc Diagrams: Contour and Schema-Based Methods,” ISMIR Proceedings 22, https://archives.ismir.net/ismir2021/paper/000008.pdf
• 2020. “‘Bold and Ragged’: The Cross-Cultural Case for Melodic Angularity,” Music & Science 3, https://doi.org/10.1177/2059204320949065
• 2020. “Melodic Languages and Linguistic Melodies,” (12 min.) SMT-V (Society for Music Theory – Video) 6(5), https://vimeo.com/448178213
• *2019. “Decolonizing the Mind through Song: from Makeba to the Afropolitan present,” Performance Research 24(1), https://doi.org/10.1080/13528165.2019.1593737
• 2019. “EMViz (Early Music Visualization): A MATLAB Runtime Application,” Journal of Open-Source Software 4(37), 1094, https://doi.org/10.21105/joss.01094
• 2019. GLAM Collaboration Spotlight: Morehouse Art Song Project, https://glam.auctr.edu/glam-collaboration-spotlight-morehouse-art-song-project-aaron-carter-enyi-ph-d/
• *2019. “How we got into Drum Circles, and how to get out,” Intersections 39(1), https://doi.org/10.7202/1075343ar
• *2019. “Thirteen Ways to ‘Hail Mary’: A Case Study of the Forum for the Inculturation of Liturgical Music,” Yale Journal of Music & Religion 5(1), https://doi.org/10.17132/2377-231X.1118
• *2019. “Vocal Music and Pedagogy of Chinese, African and Indian Genres,” Oxford Handbook of Singing, https://doi.org/10.1093/oxfordhb/9780199660773.013.26
• *2018. “A Diachronic Study of Rhythm in Shakespeare Performance,” Voice & Speech Review 12(1), https://doi.org/10.1080/23268263.2018.1438963
• 2018. “Hooked on Sol-Fa: The Do-Re-Mi Heuristic for Yorùbá Speech Tones,” Africa 88(2). https://doi.org/10.1017/S0001972017000912
• 2018. “Lùlù fún wọn: Oríkì in Contemporary Culture,” Ethnomusicology 62(1), https://doi.org/10.5406/ethnomusicology.62.1.0083
• 2018. “Music More Ancient Than Words: Du Bois’s Theories on Africana Aurality,” Sounding Out! https://soundstudiesblog.com/tag/aaron-carter-enyi/
• 2016. “Contour Levels: An Abstraction of Pitch Space based on African Tone Systems,” Ph.D. Dissertation, http://rave.ohiolink.edu/etdc/view?acc_num=osu1461029477
• 2016. “Contour Recursion and Auto-Segmentation,” Music Theory Online, https://doi.org/10.30535/mto.22.1.1
• 2016. “Perception of Syntagmatic Tone Intervals in Ìgbò and Yorùbá,” Tonal Aspects of Languages, https://doi.org/10.21437/TAL.2016-23
• 2014. “Bringing Ìgbò Culture to the World: The Glees of Laz Ekwueme,” Contemporary Experiences: Journal of African Humanities https://contemporary-experiences.scholasticahq.com/article/409.pdf
• 2011. “Music of Three Continents: Europe, North America and Africa,” MM Thesis, UT-San Antonio
• 2009. “Interview with Ken Metz and an Analysis of his work Songs from Mother Goose,” MM Thesis. Texas State University, San Marcos
• 2009. “The Effect of Environment and Mentorship on the Study of Composition,” Changing Face of Music Education: Environment and Education, ed. by John Sloboda

GRANTS AND SPONSORSHIPS

• 2022. US Mission in Nigeria, Public Diplomacy Grant, 50th Anniversary Tour of Morehouse College Glee Club, $95,033
• 2022. Delta Airlines, Corporate Relations, 50th Anniversary Tour of Morehouse College Glee Club, $77,000
• 2022. Delta Airlines, Study Abroad Award, $5,000
• 2022. Julian Grace Foundation, Social Justice Study Abroad Award, $2,500
• 2021. US Consulate Lagos, Public Diplomacy Grant, Morehouse Masterclasses, $25,000
• 2020. National Endowment for the Humanities (NEH), CARES Act, Algorithmic Thinking, Analysis and Visualization in Music (ATAVizM), $30,000
• 2019. National Endowment for the Humanities (NEH), Humanities Collections and Reference Resources, Africana Digital Ethnography Project Collection Accessibility Program (ADEPt-CAP), $349,800
• 2019. Associated Colleges of the South, (Re)Visioning Race & Gender in Music, Innovative Instruction Implementation Grant, $20,000
• 2019. National Endowment for the Humanities (NEH), Digital Humanities Advancement Grant (Level II), Algorithmic Thinking, Analysis and Visualization in Music (ATAVizM), $100,000
• 2018. US Department of Education, Title III Curriculum Development Grant, “Africana Music Experiential Pedagogy (AMEP)”, $25,000
• 2018. Associated Colleges of the South (ACS), Innovative Instruction Implementation Grant, Africana Music Experiential Pedagogy (AMEP), $25,000
• 2018. Associated Colleges of the South (ACS), Innovative Instruction Planning Grant, Africana Music Experiential Pedagogy (AMEP), $2,000
• 2018. US Department of Education, Title III Curriculum Development, Sustainable Instrument-Making, $8,000
• 2017. American Council of Learned Societies (ACLS), Digital Extension Grant, Africana Digital Ethnography Project (ADEPt), $147,000
• 2017. Pi Kappa Lambda, Matching Grant, Sub-Saharan Africa Commissioning Project (SACP), $600

AWARDS AND HONORS

• 2022. National Endowment for the Humanities, NEH-Mellon Fellowship for Digital Publication
• 2019. Fulbright Scholar to Nigeria, Teaching and Research Grant
• 2018. African Studies Association, Special Citation for Contributions to the 2018 Meeting in Atlanta
• 2017. American Council of Learned Societies (ACLS), Fellow
• 2016. Ohio State University, School of Music, Graduate Achievement Award in Music Theory
• 2015. Ohio State University, School of Music, Costanza Doctoral Research Grant
• 2015. Global Music Awards, Gold Medal for Synaesthesia recorded by Todd Oxford
• 2015. Acoustical Society of America, Smartphone App Design Competition, First Place
• 2012. Fulbright Student to Nigeria, Full Research Grant
• 2011. University of Texas at San Antonio, Graduate Research Competition First Place, Oral History
• 2010. University of Texas at San Antonio, Malu and Carlos Alvarez Graduate Research Fellow
• 2009. College Music Society-South Central, Student Composition Prize
• 2008. Texas State University, Graduate Composition Prize
• 2006. Southwestern University, Meyer Composition Award

PROJECTS

• 2022–. Headies (Nigerian Music Awards) in Atlanta
• 2022. Study Abroad to Nigeria: Nigerian Entertainment Industry
• 2022. Morehouse Masterclasses (Outreach to Secondary School Students in Nigeria)
• 2020–. ADEPt Center @ the University of Nigeria
• 2019–2022. Morehouse College Glee Club 50th Anniversary Tour of Nigeria
• 2017–. Algorithmic Thinking, Analysis, and Visualization of Music (ATAVizM)
• 2016–19. Morehouse Archives Art Songs Project
• 2016–. Sub-Saharan Africa Commissioning Project (SACP)
• 2019–20. (Re)Envisioning Gender and Race in Music, Spelman College
• 2019–20. Sam Chukwu Memorial Recording Studio, University of Nigeria, Nsukka
• 2018–19. Africana Music Experiential Pedagogy (AMEP)
• 2017–19. Making African Instruments Lecture Series (MAILS)
• 2012–. Africana Digital Ethnography Project (ADEPt)

FIELD RESEARCH (including links to example videos from the fieldwork)

• 2019–22. Nigeria
• 2017–19. Immigrant communities in Atlanta (Nigerian, Senegalese)
• 2017–19. Gullah Sea Islands (Georgia and South Carolina)
• 2018. Ghana
• 2013–14. Nigeria
• 2013. Kenya and Tanzania
• 2013. Ethiopia
• 2013. Benin
• 2012. Immigrant communities in Greater New York City (Nigerian, Senegalese)
• 2011. Immigrant communities in Harlem (Senegalese)
• 2011. Nigeria
• 2010–11. Immigrant communities in Houston and San Antonio (Burundian, Congolese, Nigerian)
• 2010. China

VIDEO PROJECTS (selected list)

• 2022. “Morehouse College Glee Club: Celebrating 50 years since the 1972 African Tour,” (6 min.) https://youtu.be/mpVwyLzvpKE
• *2021. “Keepers of the Songs,” (27 min.), Society for Music Theory, Jacksonville, Fl https://youtu.be/n_ZNPxdjvoo
• 2020. “Melodic Languages and Linguistic Melodies,” (12 min.) SMT-V (Society for Music Theory – Video) 6(5), https://vimeo.com/448178213
• 2019. “‘Egwu a yara ozo’ by Orba Ikorodo Ensemble” (3 min.), ADEPt: University of Nigeria Digital Collection 1
• 2018. “McIntosh County Shouters, ‘Move, Daniel’” (2 min.),Africana Digital Ethnography Project 55
• 2016. “Mayowa Adeyemo praises Ẹ̀jirẹ́ (Twins)” (2 min.), Ibeji–Twice Born Exhibition, African Museum of Art, Belgrade, Serbia
• 2014. “How to play the Udu Pot Drum” (2 min.),Africana Digital Ethnography Project 2
• 2014. “Á di ọ̀rọ̀ awítúnwí (People Become Words): The Art of Fújì Singing” (50 min.), Society for Ethnomusicology, Pittsburgh, PA. <https://youtu.be/6gqHAxvWYYw>
• 2013. “Kuria Poetry and Music Festival” Africana Digital Ethnography Project KUJ (Kuria) Collection
• 2011. “Amadou Bamba Day Parade” (25 min.), Africana Digital Ethnography Project 4
• 2011. “At Home with Music: Burundian Refugees in America” (20 min.), Screened at UNESCO International Council for Traditional Music, St. John’s, Newfoundland https://youtu.be/erzDCvj3fc8

More video projects are available at the following links:

• Africana Digital Ethnography Project (ADEPt) website: www.adept.africa
• Africana Digital Ethnography Project (ADEPt) YouTube channel: youtube.com/AfricanaDigitalEthnographyProject
• Africana Digital Ethnography Project (ADEPt) open-access repository: radar.auctr.edu/adept
• Yorùbá Poetry YouTube channel: youtube.com/YorubaPoetry

WORKSHOPS (leader and/or instructor, links are to materials and documentation of the program)

• 2017–2019. Making African Instruments Workshops, Atlanta University Center
• 2019. Committee on Diversity Pedagogy Session, Society for Music Theory (SMT), Columbus, OH
• 2018. Outreach Session for Public School Teachers, African Studies Association (ASA), Atlanta, GA
• 2018. Musicology and Ethnomusicology Students Association (MESA), University of Georgia
• 2018. Minority Science and Engineering Improvement Program, Morehouse College
• 2018. iSTEM Summer Academy, Morehouse College
• 2017. Minority Science and Engineering Improvement Program, Morehouse College
• 2017. Summer Faculty Development Program, Morehouse Makerspace, Title III

SERVICE (internal)

• 2021–2022. International Recruiting Activities, Morehouse College
• 2020–2021. Member, Faculty Research Committee, Morehouse College
• 2017–2019. Accompanying Vocal Juries and Recitals

SERVICE (external)

• 2017–. Referee for Journals including: Africa, African Music, Advanced Interdisciplinary Research on Singing (AIRS), Culture & Religion, Frontiers in Psychology, Journal of African Cultural Studies, Journal of Musicological Research, Music Theory Online, Music Theory Spectrum, Psychology of Music, Sage Open
• 2018–2021. Member, Committee on Race and Ethnicity, Society for Music Theory
• 2018. Member, Local Arrangements Committee, African Studies Association
• 2015. Student Volunteer, Society for Music Theory Annual Meeting
• 2014. Event Coordinator and Music Director, End Ebola Now Initiative, “Voices to End Ebola” fundraisers for Doctors Without Borders (MSF), 2014, raised $12,000
• 2013. Judge, Biennial Choral Competition, Catholic Archdiocese of Lagos
• 2013–14. Coordinator, World Voice Day Organization
• 2013–14. Editorial Board, Journal of the Acoustical Society of Nigeria
• 2011. Music Coordinator, World Refugee Day Celebration, San Antonio, Texas,
• 2010–2011. Student Board Member, College Music Society-South Central

SKILLS

• Languages studied: French, Ìgbò, Mandarin, Spanish, Yorùbá
• Music Literacy and Aural Skills
• Programming Languages: MATLAB, Python, C, JavaScript, HTML
• Digital Audio Workstations/Software: Audacity, Cubase, Digital Performer, Logic Pro, Pro Tools
• Video Editing Software: Adobe Premiere Pro
• Musical Notation Software: Finale, MuseScore, Sibelius
• Signal Processing: MATLAB
• Statistics: MATLAB, Python, R, SPSS
• Linguistic Annotation: ELAN, FLEx, Praat
• Video Captioning: YouTube Studio, Adobe Premiere Pro
• Data Visualization: Adobe Creative Suite, MATLAB, Tableau
• Databases: Excel, Google Sheets, JavaScript, SQL
• Geographic Information Systems: ArcGIS, Google Maps API
• Web Design: HTML/CSS/JavaScript, Adobe Dreamweaver, cPanel, WordPress