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| Dylan Robinson completed his doctorate at the University of Sussex and began a Postdoctoral Fellowship in the Faculty of Music at the University of Toronto in 2010. His research examines the intersections between Canadian art music and First Nations traditions. This research is situated within the socio-political context of Canadian multiculturalism and First Nations sovereignty, and is strongly influenced by his own Stó:lô First Nations heritage. As part of his postdoctoral research, he is working on a book that investigates intercultural collaboration, and manifestations of musical hybridity between First Nations and Western art music traditions. Dr. Robinson’s previous research has concentrated on music epistemology, drawing upon the work of Emmanuel Levinas and Jacques Rancière to devise new methods for writing about musical subjectivity and alterity.
His teaching has included a variety of Western art music and Ethnomusicology courses on topics such as Music and Postcolonial Theory; Music in Canada; Music, Gender and Sexuality; and Contemporary Perspectives in the Philosophy of Music.
Dr. Robinson’s publications include Opera Indigene: Re/presenting First Nations and Indigenous Culture (Ashgate, 2010), co-edited with Pamela Karantonis, and the co-edited volume Collision: Interarts Practice and Research (Cambridge Scholars, 2008). He has also contributed chapters in a variety of collections including “Musical Epistemology” in Pieter Verstraete et al. (eds.) Ways of Knowing: (Un)doing Methodologies, Imagining Alternatives in the Humanities, (Cambridge Scholars Press, 2009), and “Musical Alterity and Musicology” in Carsten Friberg and Rose Parekh-Gaihede (eds.) At the Intersection Between Art and Research. Practise Based Research in the Performing Arts. (NSU Press, 2010). In addition, he co-organizes the annual meeting “Interdisciplinary Perspectives on Music in Canada” along with Dr. Mary Ingraham.
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