Sarah ANGELLO is a doctoral candidate in ethnomusicology at the CUNY Graduate Center in New York City. Presently, her work examines cultural policy, intersections between the arts and community development, and the organizational systems behind musical life in New YorkCity. She earned undergraduate degrees in political science and music (piano performance) at Gettysburg College, and completed her masters at the CUNY Graduate Center.
In addition to her academic pursuits, she has worked with leading orchestras, chamber ensembles, and choirs in a variety of administrative roles.
Anja BRUNNER is researcher and lecturer in Cultural Anthropology of Music at the Institute of Musicology at the University of Bern. She gained a doctorate in musicology from Vienna University (Austria) with a work on the Cameroonian popular music bikutsi. Her research interests are African popular music, music of Southeast Europe and its use in different musical fields, issues of musical genre development, questions on music and (postcolonial) politics, and musical performance within diaspora communities.
Kerry BRUNSON is a current PhD student in musicology at UCLA. She received her MA in Musicology from California State University, Long Beach with her thesis “Mass Classical: America, Accessibility, and the Atlanta School of Composers.” Her research focuses on American orchestras, musical hierarchies, and cultural and political aspects of musicking. In addition to her scholarly work, Kerry is also an active musician and docent at the Getty Center in Los Angeles, where she leads gallery tours for K-12 students during the school year.
María CÁCERES-PIÑUEL is postdoctoral researcher at the University of Bern. She studied Human Sciences and History and Science of Music, and later she completed a Master of Hispanic Music at the University of Salamanca. Her PhD, carried out under a cotutelle between Bern University and the University of Zaragoza, analysed the conceptual axes and international cultural transfers that led to the emergence of musicology as an autonomous discipline in Spain. Her current research project focuses on international exhibitions and the changing patterns of art management related to music at the turn of the 20th century.
Christopher CAMPO-BOWEN is a PhD candidate in musicology at the University of North Carolina at Chapel Hill. His dissertation investigates the history of Czech comic opera, particularly how conceptions of ruralness structured notions of subjectivity, ethnicity, and identity in Czech culture during the late nineteenth and early twentieth centuries. He holds degrees in orchestral conducting from Stanford University and the Catholic University of America. His dissertation research was supported by a Fulbright US Students Grant to the Czech Republic for the academic year 2014–2015. He has articles forthcoming in 19th-Century Music and Cambridge Opera Journal.
Carla CONTI is professor of Choir conduction and choral repertoire at Santa Cecilia Conservatoire in Rome. Academic qualifications: University Degree in Musicology, Bologna; Piano, Choral Music and Choir Conducting, Didactics of Music Academic diplomas. Publications: Nobilissime allieve 2003, Lo Stabat Mater di Clotilde Capece Minutolo 2005; Amphion Tebas, Cantus Neapolim, 2008; Ai lumi dei suoni sacri, 2009; Per devozione e per diletto Giannini 2011; Fenesta tricolore 2012; Schedare per credere 2013; Canzone appassionata: 90 anni tra identità e significati, (ID); De l’hortus clausus à la chambre de musique, Lion 2016. Teaching experiences: SICSI Naples University; Master Roma Tre University.
Siwat CHUENCHAROEN. A native of Thailand, Siwat initially studied Economics in Bangkok before he decided to dedicate himself seriously to classical music. At Hochschule der Künste Bern he studied the piano and obtained a Bachelor of Music and a Master’s Degree in Music Pedagogy.
Siwat is living in Switzerland, where he is currently writing his PhD project at the Graduate School of Arts Bern, focusing on the reformation of Thai music after the Siamese revolution of 1932. Besides, he also works as a piano teacher, an ad-hoc pianist, an accompanist, as well as an amateur organist.
Annegret FAUSER is Cary C. Boshamer Distinguished Professor of Music, Harold J. Glass USAF Faculty Mentor/Graduate Fellow Distinguished Term Professor (2017–20), and Adjunct Professor of women’s and Gender Studies at the University of North Carolina at Chapel Hill. Her research focuses on music of the nineteenth and twentieth centuries, and in particularly that of France and the United States. She has published on French song and opera, women composers, exoticism, nationalism, reception history, and cultural transfer. Her two most recent books are Sounds of War: Music in the United States during World War II, published in 2013 by Oxford University Press—for which she received both the Music in American Culture Award of the AMS and an ASCAP Deems Taylor Award—and The Politics of Music Identity, published in 2015 by in the “Ashgate Contemporary Thinkers on Critical Musicology” series. From 2011−13, she was the Editor-in-Chief of the Journal of the American Musicological Society. In October 2017, her book on Aaron Copland’s Appalachian Spring will appear with Oxford University Press. She is currently writing a monograph titled: In the Shadow of Beethoven: Musical Universalism and Transnational Scholarship in the 1920s.
Alexander GOLOVLEV. Having graduated from the Moscow State University in 2013, I am currently working on a PhD thesis on French and Soviet musical diplomacy in Allied-occupied Austria at the European University Institute in Florence. Based on archival research conducted in Moscow, Paris, Nantes, London, Vienna, Salzburg, Innsbruck, Graz and Klagenfurt, it seeks to unite the cultural diplomats’ perspective with public perceptions through analysis of contemporary reporting. I am specifically looking into construction of national imageries by receiving society’s cultural elites and how they impacted musical practices and views on the Others, in a non-linear relationship with foreign actors’ agenda and goal-settings.
Sonia GONZALO DELGADO is a final year PhD student at the Universidad de Zaragoza. Her dissertation focuses on the revival of early Iberian keyboard repertoires and has published articles and presented papers on Wanda Landowska’s reception in Spain and on Joaquín Nin’s and Santiago Kastner’s role in including early Iberian repertoires into concert practice. She also works in the arts management industry in Spain (Otoño Musical Soriano) and the UK (SJE Arts, Oxford).
Paula HARPER is a PhD candidate in Historical Musicology at Columbia University. Her work focuses on issues of circulation, sharing, sociality and social media, fandom, gender, and representation. She has presented nationally and internationally on topics such as Beyoncé, Taylor Swift, internet musical practices, and viral videos, and she serves on the editorial board of the Current Musicology journal. In 2015, Paula was appointed a Lead Teaching Fellow through Columbia University’s Center for Teaching and Learning, and she was the recipient of the 2016 Meyerson Award for Excellence in Core Teaching.
Olli HEIKKINEN, PhD, works as a researcher in Sibelius Academy. He is currently working on domestication of musical institutions in Finland. His previous research interests include sound recording aesthetics, musical genres, the birth of “Finnish” musical language, folk song collecting, the history of brass bands in Finland, and Jean Sibelius’s music. (email@example.com).
Catherine A. HUGHES is a Visiting Assistant Professor of Music at St. Joseph’s University in Philadelphia. She completed her Ph.D. at the University of North Carolina at Chapel Hill in 2015, with a dissertation on music and civic identity in Brussels between the World Wars. Her research has been supported by the University of North Carolina’s Royster Society of Fellows, the American Musicological Society, and the Council for European Studies.
Artemis IGNATIDOU is a final year Research Student at Brunel University London [UK], working on 19th century European cultural history, with a special focus on music, musical exchange in the continent, and the construction of reciprocal musical and national identities through the arts. She has completed a Master’s degree in Modern World History [Brunel University London, 2013], and a Bachelor’s Degree in Media and Communications [Goldsmiths College, University of London, 2011]. She has presented her work in academic conferences in England (Cambridge University, September 2016), France (6th International Euroacademia Conference, Nice May 2016), and Canada (The Banff Centre, January 2016).
Nadav IZHAKY is a third-year musicology master’s student at Hebrew University in Jerusalem, Israel, and he holds a Bachelor of Arts degree in classical guitar from the Jerusalem Academy of Music. He is writing his master’s thesis on white power music, and his research interests otherwise include the ethnomusicology of folk and popular music, and particularly of American roots music.
Mary JONES is a Ph.D. Candidate in Music History at Yale University. Her current dissertation project, entitled “Goddard Lieberson at Columbia Records: Actor-Networks in the Age of the LP, 1941-1961,” explores the complex process of record production in mid-twentieth century America through case studies of Goddard Lieberson’s work at that firm. Broadly considered, her work uses a variety of archival accounts to investigate networks of emergent media, institutional and corporate dynamics, and recording aesthetics. She has previously presented her work at the 2016 national meeting for the American Musicological Society.
Peter KUPFER is Assistant Professor of Music History at Southern Methodist University in Dallas, TX. He received his Ph.D. from the University of Chicago with a dissertation on Soviet musical comedy films of the 1930s. His research combines historical, analytical, and empirical methods to address intersections of music, ideology, and moving images, with particular interests in 20th century Russian/Soviet music and classical music in film and television. His research has been appeared in the Journal of Musicology, Twentieth-Century Music, Music and the Moving Image, and Classical Music in the German Democratic Republic, edited by Kyle Frackman and Larson Powell.
Vesa KURKELA, PhD is Professor of Music History at the Sibelius Academy, Helsinki. He has written extensively on various topics of music history in Finland and elsewhere: popular music, music publishing, nationalism and transnationalism, folk music and ideology, concert institution and orchestral repertoires, radio music, and recording industry. (firstname.lastname@example.org).
Jinwon KIM is a Visiting Assistant Professor at Oberlin College (2016-2017) in the United States, staring in July 1, 2016. Before starting this position, she taught sociology courses at CUNY’s Brooklyn College, Kingsborough CC, Queens College, and York College. She earned her Ph.D. in Sociology at the Graduate Center, City University of New York in 2016. Her dissertation, “Branding Korea or Marketing Ethnicity: Manhattan’s Koreatown as a “Transclave” in the Global Economy,” investigates how Korea’s nation branding strategy, entrepreneurs in Koreatown, and local consumers in New York City have together shaped the development of Manhattan’s Koreatown as a new type of ethnic enclave.
Meebae LEE received her Ph.D. in historical musicology from the Graduate Center of the City University of New York, United States. Building on her doctoral dissertation, “Rewriting the Past, Composing the Future: Schumann and the Rediscovery of Bach,” her recent work concerns J.S. Bach’s latent legacy in Robert Schumann’s music. She also uses sociological perspectives to interpret the unique art music scenes in South Korea. She has been an assistant editor at RILM, adding Korean material, since 2005; she is currently the sole operator of RILM’s Korean national committee. She is an assistant professor in the music department at Chonbuk National University in South Korea.
Natasha LOGES is Head of Postgraduate Programmes at the Royal College of Music, London. She led research seminars at various universities including the Humboldt University Berlin, Manchester, Huddersfield and Birmingham. Her research has been funded by the AHRC and the British Academy. Publications include Brahms in the Home and the Concert Hall (CUP 2014) and articles/chapters in the Cambridge Companion to the Singer-Songwriter, the Cambridge History of Musical Performance and Music & Letters. The books Brahms and his Poets and Johannes Brahms in Context are in preparation. She performs regularly as a song accompanist and broadcasts on BBC Radio 3.
Ana LOMBARDÍA is post-doctoral researcher at Instituto Complutense de Ciencias Musicales (ICCMU). She received her European PhD in Musicology for the dissertation Violin music in mid-18th-century Madrid: contexts, genres, style (Universidad de La Rioja, 2015, cum laude). She has developed research projects at the universities of Cardiff (UK), Bologna and Pavia (Italy) and North Carolina (NC, USA); Istituto Vivaldi (Venice) and Real Academia de España (Rome); besides three collective R&D projects with the Mecri Research Group. She is author of a dozen academic publications on chamber music from 1680 to 1830, including “Corelli as a model?”, Ruspoli International Musicology Prize.
Markus MANTERE, PhD, works as a university research fellow at the Sibelius Academy of the University of the Arts Helsinki. His research covers a wide range of scholarly interests: intellectual and social history of musicology in Finland, intellectual history of music in the 19th century, as well as the philosophy of music (particularly the Frankfurt School). (email@example.com).
Miguel Ángel MARÍN, who received his PhD from the University of London, is a tenured professor at the Universidad de La Rioja and Director of the Music Program at the Fundación Juan March. His research focuses on instrumental music in Spain during the eighteenth century, with particular emphasis on Italian composers such as Corelli, Boccherini, Brunetti and Scarlatti. He has authored or edited 10 books, including Joseph Haydn y el cuarteto de cuerda (Madrid, 2009), the joint publication of 16 string quartets by Gaetano Brunetti (Madrid, 2012) and the critical edition of Clementina (Bologna, 2013) for the Boccherini Complete Edition. He has contributed to the volume devoted to the eighteenth century in the recent Historia de la Música Española e Hispanoamericana (2014). He is the Principal Researcher of the R&D Group “Music in Early-Modern Spain: composition, reception and performance” www.unirioja.es/mecri, financed by the Spanish Ministry.
He is also interested in music management, music programming and music performance studies. In his position as Director of Music Program at the Fundación Juan March he attempts to fuse musicology and programming, applying perspectives and concepts derived from musicological research to the stage.
María Luisa MARTÍNEZ MARTÍNEZ has an International Ph.D. on Musicology (Universidad de Jaén) and is currently a Visiting Scholar and collaborator at The Foundation for Iberian Music, Graduate Center of the City University of New York (CUNY). Her research focuses on music in the Bourbon Spanish court during the latter nineteenth and early twentieth centuries, and on the evolution of flamenco guitar playing. Since 2012, she works at United Nations International School (New York).
Cla MATHIEU (Bern) studied classical guitar at the Universities of Music in Basel (MA Pedagogy), Bern (MA Performance) and Sion (CAS Interpretation). At the University of Bern, he completed a MA “Research on the Arts” and is currently working on a PhD on guitar performance in the early 20thcentury at the Bernese Graduate School of the Arts. Besides his scientific endeavors, he teaches at a regional music school and is an active performer.
Alberto NAPOLI is a doctoral student at the University of Bern. After his Master Degree from the Musicology Department at the University of Pavia (Cremona), he continued his musicological path internationally, taking part in research projects at the Centre d’Études Supérieures de la Renaissance in Tours, the University of North Carolina at Chapel Hill, and developing an individual research project supported by the Paul Sacher Stiftung in Basel (CH). His current dissertation project focuses on the intersections between music and exhibition culture in liberal Italy (1861–1911). He is also a member of the Interdisciplinary Cultural Studies program offered by the Walter Benjamin Kolleg at the University of Bern.
Tiago de OLIVEIRA PINTO, music and cultural producer, anthropologist and musicologist, holds the Chair on Transcultural Music Studies at the University of Music FRANZ LISZT in Weimar, Germany since 2009. His Chair has recently been promoted to a UNESCO Chair that cooperates closely with UNESCO’s Intangible Cultural Heritage Section.
Besides covering a large academic program, the Chairs projects deal essentially with music as intangible heritage, with commodification of traditional and local musical practices, among other fields of research. Collaborative research actions have been developed in straight partnership with institutions, scholars and practitioners in Cuba, Brazil, South Africa, Tanzania, Ethiopia, Afghanistan and Thailand.
Saijaleena RANTANEN, PhD, works as a postdoctoral research fellow at the Sibelius Academy of the University of the Arts Helsinki. She is a music historian, and her research interests are in social, political and cultural history of music. In addition to the emergence of song festivals in Finland, her current research project examines the music culture of Finnish emigrants in the USA and Canada from the 1890s to the 1930s. (firstname.lastname@example.org).
William ROBIN is an assistant professor of musicology at the University of Maryland. He completed his PhD at the University of North Carolina at Chapel Hill with a dissertation focused on indie classical and new music in the twenty-first century United States. His research interests include American new music since the 1980s and early American hymnody. As a public musicologist, Robin contributes to the New York Times and The New Yorker, and received an ASCAP Deems Taylor/Virgil Thomson Award in 2014 for the NewMusicBox article “Shape Notes, Billings, and American Modernisms.”
Christiane SIBILLE studied History and Musicology at the University of Heidelberg and wrote her master thesis on German-speaking folk music research in Lorraine during the 1930s. She received her PhD (Dr. phil) at the University of Heidelberg in 2014. In her doctoral thesis, entitled: «Harmony Must Dominate the World». Internationale Organisationen und Musik in der ersten Hälfte des 20. Jahrhundert (published 2016, www.dodis.ch/q6), she analyzed the emergence of international organizations in the field of music in the context of national and international interests.
Christiane Sibille has worked as scientific researcher at the University of Heidelberg (Cluster of Excellence Asia and Europe in a Global Context) and the University of Basel. Since 2012 she is academic researcher for the Diplomatic Documents of Switzerland, where she co-ordinates the digital humanities activities. Her research focuses on transcultural and transnational history, the history of international organizations, global transfers of music, and digital humanities.
Melanie STRUMBL studied Musicology and Gender Studies at the University of Vienna. She is currently working on her dissertation about exhibiting and displaying music historiography at the Music and Theater Exhibition in Vienna 1892 at the Institute of Musicology in Bern. Her PhD is funded by the SNF-project The Emergence of 20th Century Musical Experience. She is also a member of the Interdisciplinary Cultural Studies program offered by the Walter Benjamin Kolleg at the University of Bern.
Timothy D. TAYLOR is a Professor in the Department of Ethnomusicology at the University of California, Los Angeles. He is the author of numerous articles and books including: Global Pop: World Music, World Markets (Routledge, 1997), Strange Sounds: Music, Technology and Culture (Routledge, 2001), Beyond Exoticism: Western Music and the World (Duke, 2007), The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture (Chicago, 2012), Music and Capitalism: A History of the Present (Chicago, 2016), Music in the World: Selected Essays (Chicago, 2017), and editor, with Mark Katz and Tony Grajeda, of Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio (Duke, 2012).
Sarah TOMLINSON is in her third year of graduate studies in musicology at the University of North Carolina at Chapel Hill. Her dissertation is on the ideological history and current practice of classical music programming for youth audiences in the United States. She situates her study of classical music in young people’s lives within feminist methodologies and critical examinations of elitism, ageism, and race studies. Her dissertation work weaves historical and ethnographic research methods together with social engagement. As she pursues her PhD, Sarah is earning a graduate certificate in cultural studies and a graduate certificate in participatory research.
David TRIPPETT is a Senior Lecturer in the Faculty of Music at Cambridge University. His research focusses on Richard Wagner, and the intersection of German aesthetics with the growth of the natural sciences. Following an edited translated of Carl Stumpf’s The Origins of Music (OUP, 2012), his second book, Wagner’s Melodies (CUP 2013), examines the cultural and scientific history of melodic theory in relation to Wagner’s writings and music. His latest project, funded by an ERC starting grant, examines how a scientific materialist conception of sound was formed alongside a dominant culture of romantic idealism during the 19th century. Other current projects include the first edition of Liszt’s opera Sardanapalo, and a monograph on sound and matter ca. 1860. He is the recipient of several awards, including the Einstein and Lockwood Prizes (AMS), the Nettl Prize (SEM), an ASCAP Deems Taylor award, and a Philip Leverhulme Prize.
Cristina URCHUEGUÍA was born in Spain, studied Piano at the Conservatorio Superior de Música in Valencia and Musicology, Art History and Hispanic Philology in Würzburg (DE). In 1999 she completed her PhD with a dissertation about polyphonic Masses and their transmission in sources from Spain, Portugal and Latinamerica with a grant from the Graduate School “Textual Criticism” at the University in Munich. 2000 till 2005 she worked as editor and researcher for several editorial and cataloguing projects, such as Richard Wagner’s editions in Munich, Ludwig van Beethoven’s in Bonn, Johann Sebastian Bach’s in Göttingen and Arcangelo Corelli’s in Zürich.
From 2005 to 2009 she was appointed as researcher at the University in Zürich and led the project Die Triosonate. Cataloue Raisonné, funded by the Balzan-Prize of Prof. Dr. Ludwig Finscher. There she also got her habilitation in 2009 with Allerliebste Ungeheuer. Deutsche komische Singspiele 1760-1790 , a research focusing on the German Spingspiel before the time of Mozart. At the University of Bern she became assistant-professor in 2010, then tenured as Extraordinary professor in 2016. She has collaborated as teacher with the Centro de Documentación Musical in Colombia and the Universidad Politécnica de Valencia. She is the principal investigator of “The Emergence of 20th Century Musical Experience: The International Exhibition of Music and Theatre in Vienna 1892”, funded by the Swiss National Science Foundation (http://vienna1892.unibe.ch/).
She investigates the tension between material representations and ideal aesthetic expressions of music in all its variations. This focus includes source studies, the theory and praxis of cataloguing and textual criticism as well as issues concerning canonization, cultural use and transmission and, last not least, the idea of authenticity understood as ideological bias.
Petra VAN LANGEN studied recorder at the Utrecht Conservatory and musicology and cultural history of the twentieth century at the Utrecht University. In 2014 she completed her PhD on Catholic musicians and the confessionalization of Dutch music life between 1850 and 1948 at the Radboud University Nijmegen. She is a board member of the Royal Society for Music History of the Netherlands and employed at the University Library in Utrecht, preparing an inventory of the collection of the Gregory-Society. She is currently preparing a biography on Albert Smijers, the first Dutch professor in musicology. In 2017 she will publish a history of the Catholic Society for Conductors and Organists on occasion of its centennial.
Jennifer WALKER is a Ph.D. candidate at the University of North Carolina at Chapel Hill, where she is currently writing a dissertation that examines the ways that music mediated the historiographical divide between the Catholic church and the French Third Republic and created a channel through which a simultaneously sacred and secular French identity was constructed. Her work has been presented at conferences in the United States and in Europe, and work based on her research on Darius Milhaud’s opera Esther de Carpentras won the Student Presentation Prize from the Southeast chapter of the American Musicological Society. She is currently one of that chapter’s student representatives to the AMS Council. Jennifer is the first Harold J. Glass USAF Graduate Fellow in Music, and is a 2017 recipient of the M. Elizabeth C. Bartlet Travel Grant from the AMS.