Timothy Rommen (Ph.D. University of Chicago, 2002) specializes in the music of the Caribbean with research interests that include folk and popular sacred music, popular music, critical theory, ethics, tourism, diaspora, and the intellectual history of ethnomusicology. His first book, entitled "Mek Some Noise": Gospel Music and the Ethics of Style in Trinidad (University of California Press, 2007), was awarded the Alan P. Merriam Prize by the Society for Ethnomusicology in 2008. His is also the author of “Funky Nassau”: Roots, Routes, and Representation in Bahamian Popular Music (University of California Press, 2011). He is contributing author to and co-editor, along with Daniel Neely, of Sun, Sea, and Sound: Music and Tourism in the Circum-Caribbean(Oxford University Press, 2014). He is co-editor of the Chicago Studies in Ethnomusicology book series (University of Chicago Press), and editor of and contributing author to Excursions in World Music (Pearson). He is a contributor to the Cambridge History of World Music, and his articles and reviews appear in Ethnomusicology, Popular Music, the Black Music Research Journal, the Latin American Music Review, the Journal of Musicology (forthcoming), The World of Music, The New West Indian Guide, the Journal of Religion, the Journal of the Royal Anthropological Institute, The Yearbook for Traditional Music, the Journal of Anthropological Research, the International Dictionary of Black Composers, and the Encyclopedia of Popular Music of the World. His current projects include a musical ethnography of Dominica and a second volume on music and tourism in the circum-Caribbean.
Tim is currently engaged in a long-term musical ethnography of Dominica. Focusing on the musical complexities and socio-cultural meanings accruing to jing ping, cadence-lypso, and bouyon in the process of interacting with each other and with other local and translocal genres, this project investigates: 1) the many ways through which historical and contemporary junctures and disjunctures between the Anglophone and Francophone Caribbean have shaped the particular spaces within which Dominican music is produced and consumed; 2) the musical and linguistic inheritances that, forged into new statements of creole musical life, combine to provide rich sources for the region’s popular music; and 3) the fraught dynamics by virtue of which tourism and the fiscal pressures attendant to small island economics continue to exert downward pressure on the options and opportunities available to musicians and audiences in Dominica.
He is also, together with Jocelyne Guilbault, working on an edited collection concerning music and sound in the all-inclusive hotels of the Caribbean.
- Introduction to Music in World Cultures (MUSC 50)
- Introduction to Global Music (MUSC 150)
- Latin American Music (MUSC 158)
- Caribbean Music and Diaspora (MUSC 258)
- Accordions of the New World (MUSC 157)
- Intellectual History of Ethnomusicology (MUSC 605)
- Writing About Music (MUSC 608)
- Field Methods in Ethnomusicology (MUSC 650/450)
- Caribbean Music and the Ethics of Style (MUSC 705)
- Caribbean Popular Music and Tourism (MUSC 705)
- Theorizing the circum-Caribbean (MUSC 705)