Abigail Carissa Lindo

SCHOLAR/ARTIST • EDUCATOR • RESEARCHER

Click here for Azorean Acoustemologies • Click here for EthnowithAbby

Greetings!I am a Jamaican-born music researcher, cultural theorist, educator, and creative. My dissertation is an (eco)feminist, sonic ethnography of Ponta Delgada, considering how the musical behaviors and performances of culture on the island aid in creating a distinct musical identity in the region, considering postcolonial realities, intersectional identity, and collective musical experiences.

• Email
• LinkedIn
• CV
• Instagram
• Apple Music

• Arrow Down

Abigail Lindo

About Me

I am a Jamaican-born cultural theorist, educator, creative, and social scientist of music and sonic culture primarily concerned with African American musicking and Portuguese vernacular music practices in the Azores. My dissertation is an (eco)feminist, sonic ethnography of Ponta Delgada, the capital of the Azores (an autonomous region of Portugal), considering how the musical behaviors and cultural realities on the island aid in creating a distinct musical identity in the region. I am a former K-12 music educator and classically trained mezzo-soprano who writes songs in my downtime and occasionally performs (independently and in ensembles). I am actively incorporating performance into my current research endeavors and presentation methodologies, using multimedia to produce more public-facing research. I am in the final year of my PhD at the University of Florida in Gainesville, FL.

Education

_{Certificates (in-progress): Modern European Studies, Gender Studies, and Instructional Design}

Research Interests

Portuguese Folk, Religious, and Vernacular Music Practices
Music Festival Culture and Community Music Making
Black Sonic Expression and Embodiment
Feminisms and Gender Studies
Jamaican Popular Music
Ecomusicology

The background image on this website was taken on the northeastern coast of São Miguel.

Abigail Lindo

Teaching Experience

Workshops, Trainings, and Career Development Experiences

2023 Institute on Teaching and Mentoring
Southern Regional Education Board (SREB): Tampa, Florida2023 Southeastern Conference (SEC) Emerging Scholars Career Preparation Workshop
University of Arkansas: Fayetteville, Arkansas2023 International Workshop for Doctoral Students in Ethnomusicology
Center for World Music at the University of Hildesheim: Hildesheim, GermanyOnline Diversity, Inclusion, and Belonging Training (2023)
University of Florida: Gainesville, FL USAUF Center for Latin American Studies Soundings Workshop 2022
University of Florida: Gainesville, FL USAGraduate School Summer 2021 Dissertation Writing Workshop
University of Florida: Gainesville, FL USAEthnic Culture, Teaching and Learning Workshop 2021
Shenandoah University: Winchester, VA USA (online)

Abigail Lindo

Presentations

Publications

“The Black Female Voice and Visage in 20th Century American Popular Music”
Book Chapter: Singing Out: The Musical Voice in Audiovisual Media
Edinburgh University Press, 2024 (forthcoming)“‘Four Women,’” Three Songs: Nina Simone’s Voice (as Object) in Global Hip Hop Sampling”
Peer-Reviewed Article, Music Research Forum (2023)Queer Voices in Hip-Hop: Cultures, Communities, and Contemporary Performance
Book Review, Notes (2023)“Tremor’s Ethos of Sustainability: Theorizing Sonic Eco-cosmopolitanism”
Peer-Reviewed Essay, Society for Ethnomusicology Student Newsletter 19.1 (2023)“Research Realities in Ethnography and the Poetry of Alternative Identities”
Peer-Reviewed Essay, Society for Ethnomusicology Student Newsletter 18.1, 2023“Beyond Black and White: Humanizing Black Bodies Through Hip Hop Videos in the BLM Era”
Scholarly Article: Currents in Music Research (inaugural issue)
University of Michigan, 2021.

Abigail Lindo

Selected Honors, Awards, and Fellowships

Invited Talks

SEM Student News Roundtable; SEM Annual Meeting in Ottawa, ON, 2023
African American Music as Catalyst for Cultural Change (BHM Talk at UAç), 2023
On Diversity and Musical Engagement in the Language Classroom (UAç), 2023
UF Center for Humanities in the Public Sphere Synergies Series, 2023
“Sonic Black Feminism and Cultural Transmission in the Work of Nina Simone”; UAç, 2023
Experiences in American Higher Education; Fulbright Commission Portugal (UAç), 2022
UF Center for Latin American Studies, Soundings Workshop, 2022
Society for Christian Music Scholarship, Annual Meeting Graduate Career Roundtable, 2022
UF Brown Center for Leadership, LeadUF Motivational Speakers, 2021
UF Center for European Studies, Lunchtime Symposium Presentation, 2021

Abigail Lindo

Service Experiences

Service to the FieldGraduate Student Committee Member, Project Spectrum, 2023 - Present
Student Board Member, SEMSEC, 2022 - Present
Visiting Reviewer, New Florida Journal of Anthropology, 2022
Event Organizer, UF Student Society for Musicology, 2019 – 2022
Vocal Coach, UF Popular Music Ensemble, 2020 – 2022
Session Volunteer, American Musicological Society, 2021 – 2021
Graduate Representative, UF College of the Arts DEI Committee, 2020 – 2021
Treasurer, UF Student Society for Musicology, 2020 – 2022Non-(Ethno)musicology and Community Service ExperienceVolunteer Performer and Academic Speaker, University of the Azores American Corner, 2022 – 2023
Reviewer, UF Journal of Undergraduate Research, 2022 – 2022
Peer Advisor, UF Graduate Diversity Initiatives BOE, 2021 – 2021
Leadership Coach, LeadUF Spring 2021 Leadership Program, 2021 – 2021
Madrigal Singer, Charlotte County Players Winter Ensemble, 2018 – 2018
Event Coordinator, Charlotte County Public Schools, 2017 – 2019
Youth Music Director and Ministry Leader, Discipleship Driven Ministries, 2016 – 2019
Event Organizer, New College of Florida Gender and Diversity Center, 2010 – 2012

Academic Planning

Intersecções Sónicas: Musical Intersections in Interdisciplinary Research
University of the Açores: Ponta Delgada, Summer 2023Creative Resilience
Graduate Research Symposium
UF Student Society for Musicology, Fall 2021

Abigail Lindo | Ethnomusicologist

Dissertation Research

Azorean Acoustemologies: Gender, Sonic Identity, and Ecotourism in São Miguel
My dissertation is a feminist ethnographic exploration into the contemporary sonic culture driven by music festivals on São Miguel, the largest of nine islands in the Portuguese autonomous region of the Azores. I will focus on the capital city of Ponta Delgada as an area of cultural exchange, with musical gatherings acting as temporary communities for often subjugated populations. In these spaces, queer and female participants often celebrate and express their identities through sonic engagement as a liberatory practice. I will consider collective ideas of cultural value, “acceptable” gendered behavior, and the experiences of female and queer performers and attendees of musical events (especially those who grew up in the region) to understand how they form identity among others during musical engagement and view themselves as gendered individuals while they perform or respond to music.Click here to read more.

Other Research Topics and Media

On Introspective Resonances: SZA’s SOS and Modern Narratives of Black (Self)Love
Situating Audiovisual Dissonance: Home Alone, Shittyflute, and the Collective Confusion of 5-Minute Crafts
In Praise of Hybrid Fieldwork: Depictions and Realities in Presentation and Presence
Betraying EDM as Eurocentrism: African American Cultural Practices and Azorean Nightlife
Sonic Junk and Techno Trash: How Performances with Recycled Objects Further Collective Environmental Ethos
Sound(ing) as Geographic Body: Blackness and Blankness

Media and Public-Facing Research

“Trying to Tremor: Alternative Identity and Alternative Music in São Miguel,” 2021
“Queer Fado and Nationality: Going Beyond the Gendered Genre with a Queer Perspective,” 2021
"Covid Grieving and Jamaican Pentecostal Breath," 2021
“Four Women, Three Songs: Nina Simone Sampled in Polish and American Hip Hop,” 2020
“Fado’s Romanticized Landscape: Saudade and the Portrayal of Gendered Environment,” 2020
“Luso-American Cultural Amalgamation through Radio in the Early 20th Century,” 2020

Click here to visit my public research site.Click here to visit the site for Azorean Acoustemologies,
an ongoing research project beginning with my dissertation.

Abigail Lindo

Professional Affiliations

Professional Competencies and Skills

• Excellent organizational, oral, and written communication skills
• Educator with almost ten years of classroom experience (in-person and online)
• Experience with culturally responsive teaching practices and writing standards-based curriculum
• Awareness of instructional design and delivery in K-12 and higher education
• Developed curricular resources for other educators and diverse learners
• Knowledge of Universal Design, Kagan, Thinking Maps, and other educational frameworks/approaches
• Proficient with common office software programs on Mac and PC (including Microsoft Office Suite)
• Skilled with online education platforms (including Canvas and Blackboard)
• Capability in recording and editing audio and video content for academic and social media applications
• Knowledgeable with Quaver Music and other online music education resources
• Reads, sings (classically trained mezzo-soprano), plays (piano, violin, guitar, & clarinet), improvises, and composes musical works
• Proficient with music production software (including Pro Tools and Logic digital audio workstations)
• Understanding of and engagement with technoculture, social media, and standard institutional data management and storage systems
• Flexible, team player who is comfortable working (and learning) in a fast-paced environment

Languages

Portuguese, Intermediate (2 Years)
Spanish, Intermediate (1 year)
Jamaican Patios, Fluent (Native Speaker)

Abigail Lindo

Contact

Email: abbylindo@icloud.com
Text and Voice Messages: 941-882-0812Institutional Mailing Address
P.O. Box 117900
435 Newell Drive (MUB 130)
Gainesville, FL 32611-7900

Questions/Comments?
Please fill out the form below.

Abigail Lindo | Ethnomusicologist

Thanks!

You'll hear from someone shortly.

• Done

Abigail Lindo

Performance Statement

Performance is a mode of presentation: whether it is individual or collective, it serves as an extension of bodily knowledge to provide a sonic identity that is temporally fleeting, emotionally resonant, and dynamic in function. In my undergraduate studies, I learned the piano, continued to play the clarinet, and formalized my vocal practice through private voice lessons with Carlo Thomas. During my previous experiences as a K-12 educator, I relished opportunities to teach students to play the ukulele (soprano and baritone), keyboards, guitar, violin, and various percussion instruments. Simultaneously, I played keyboard and drums at my church in Port Charlotte, FL, assisting with the senior praise team and leading the youth singers.In my present existence as a researcher, adjunct instructor, and student, I am actively seeking to apply my musical knowledge and creative capabilities within and outside the context of my dissertation. This presently manifests in recorded improvisatory vocal explorations, the composition of a lecture-performance, a forthcoming vocal album (with the prospect of peer collaborations), and diverse applications of the viola da terra, an Azorean string instrument I am learning during my Fulbright-funded tenure in São Miguel. Outside of my own ongoing performance projects, I believe that instruction is greatly impacted by the addition of performance, something I incorporate as a mode of assessment for my adjunct course in hip-hop history and culture. I look forward to exploring other modes of vocal and bodily performance in my future instruction.

Recent Performance Ensemble Involvement

Albums and Compositional Projects

Abigail Lindo

Dissertation Research

Click here to visit the Azorean Acoustemologies website

Abigail Lindo

Excerpts from My Teaching Philosophy and Diversity Statement

We are all lifelong learners: whether it is something we acknowledge actively or passively. As an educator, my role is to provoke students to think critically about music, enjoy the learning process as they better develop their awareness of sound and its potential for diverse meanings, and to appreciate music in a personal way through individual and shared experiences. My pedological approach is student-centered, interdisciplinary, culturally and historically driven, and diverse in delivery. I use whole-brain teaching to provide instruction that is applicable in different contexts, intentionally structuring instructor-student interactions.Specific strategies are employed to elevate learning experiences for students’ abilities, backgrounds, and skill ranges. Appealing to auditory, kinesthetic, and visual learners, I often employ the use of technology, performance, and movement to illuminate concepts and develop meaningful and memorable learning experiences. Potentially, this is a result of my six years teaching elementary music and secondary choral classes, but university students still desire to be engaged in their learning and enjoy it in the process. Therefore, my instruction is not lecture-heavy.Connections: it is what learning is all about. Students collaborate and engage with the materials through scaffolded instruction and varied activities inside and outside of our course time together: they become stronger as independent thinkers. Students engage with new ideas and build understanding through discussion and peer-collaboration, with assessment manifesting through project-based assignments and critical thinking demonstrated through independent written work.In the classroom environment I encourage students to strengthen their musicianship and understanding through creation, in the form of written work (including lyrics, poetry, reflective prose, and more traditional essays), compositions, projects, and presentations. It is through active participation in discussion and the creation of these products that students demonstrate the application of their skills in critical thinking and understanding of the material. Differences are embraced, with instruction designed to acknowledge the value of students’ varied backgrounds.

Diversity Statement

We are all lifelong learners: whether it is something we acknowledge actively or passively. As an educator, my role is to provoke students to think critically about music, enjoy the learning process as they better develop their awareness of sound and its potential for diverse meanings, and to appreciate music in a personal way through individual and shared experiences. My pedological approach is student-centered, interdisciplinary, culturally and historically driven, and diverse in delivery. I use whole-brain teaching to provide instruction that is applicable in different contexts, intentionally structuring instructor-student interactions.Specific strategies are employed to elevate learning experiences for students’ abilities, backgrounds, and skill ranges. Appealing to auditory, kinesthetic, and visual learners, I often employ the use of technology, performance, and movement to illuminate concepts and develop meaningful and memorable learning experiences. Potentially, this is a result of my six years teaching elementary music and secondary choral classes, but university students still desire to be engaged in their learning and enjoy it in the process. Therefore, my instruction is not lecture-heavy.Connections: it is what learning is all about. Students collaborate and engage with the materials through scaffolded instruction and varied activities inside and outside of our course time together: they become stronger as independent thinkers. Students engage with new ideas and build understanding through discussion and peer-collaboration, with assessment manifesting through project-based assignments and critical thinking demonstrated through independent written work.In the classroom environment I encourage students to strengthen their musicianship and understanding through creation, in the form of written work (including lyrics, poetry, reflective prose, and more traditional essays), compositions, projects, and presentations. It is through active participation in discussion and the creation of these products that students demonstrate the application of their skills in critical thinking and understanding of the material. Differences are embraced, with instruction designed to acknowledge the value of students’ varied backgrounds.

Abigail Lindo

Thank you for viewing my video CV. This is an alternative approach to reading about my experiences and, using sounds (including my voice) and images, you are able to better understand me as a potential candidate.


Utilize the Links Below to Access Additional Employment informationCV - Academic and Employment since 2013
Resume - Complete Employment

• Complete CV
• Video CV
• Complete Resume

Trying to Tremor