My Work Focuses on: 
the intersection of music, globalization, and technology in twentieth-century African and European musical production and consumption
My Other Interests Include: 
music and decolonization; music and digital culture; the history of science and technology; media studies; popular music studies


More about Sophie Brady

My dissertation examines the history of the musical avant-garde in France and Francophone West Africa in the second half of the twentieth century, focusing on experimentation at radio stations and the philosophical ideas that shaped this musical production and exchange.

At Princeton, I have taught undergraduate courses on American music and recording technology (AMS 399 for Professor Emily Thompson) and Western symphonic repertoire (MUS 225 for Professor Ruth Ochs). I have also taught Music Appreciation (MUS 101) at Rowan College of South Jersey as instructor of record through the GradFutures Community College Teaching Fellowship.

An alto in the Princeton University Glee Club and Early Music Princeton, I have also been a Resident Graduate Student at Forbes College, a Graduate Writing Center Fellow, and a member of the Student Friends of the Princeton University Library. 

My research has been supported by fellowships from the Social Science Research Council, the Cultural Services of the French Embassy in the United States, the Council of American Overseas Research Centers, the American Musicological Society, the Association for Recorded Sound Collections, and the West African Research Association. 

Recognition & Awards

Lise Waxer Student Paper Prize, Popular Music Section of the Society for Ethnomusicology, 2021

Radio & Decolonization, National Endowment for the Humanities Summer Seminar,  2021 

Annual Meeting Travel Award, Society for Ethnomusicology, 2019

Roy Dickinson Welch Fellowship in Music, Princeton University, 2017-2018


“World,” Journal of Popular Music Studies 33, No. 3 (September 2021): 81-83.

“Review: International Music Score Library Project (IMSLP).” Journal of the American Musicological Society 72, No. 3 (December 2019): 920-935.