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  • About the Contributors

Bruno Deschênes is a composer, musician, and ethnomusicologist, as well as a critic and journalist of world music. His primary field of study as an ethnomusicologist is the history and aesthetics of Japanese traditional music, particularly in regard to the shakuhachi, which he plays. His second field of study is what Swiss ethnomusicologist Laurent Aubert calls “transmusicality,” that is, those musicians who take on the music of a culture of which they are not native (in particular, Westerners), investigating identity, authenticity, performance, and teaching. He recently published two papers on this aspect of his research: “La transmusicalité: Ces musiciens occidentaux qui optent pour la musique de l’‘autre,’” MUSICultures 34/35 (2007–8):47–70; and “Le musicien transmusical,” in Territoires musicaux mis en scéne (Montreal: Les Presses de l’Université de Montréal, 2011), 385–98.

Michael Gardiner is Assistant Professor of Music Theory at the University of Mississippi and has studied noh for many years (with an emphasis on the nohkan flute). From 2010 to 2012 he was an Arts and Sciences Postdoctoral Fellow at the University of Pittsburgh, where his research included the study of dys/ordered network space and phases of concrescence originating within Louis Couperin’s unmeasured harpsichord preludes. He is currently working on a monograph that reconfigures the contemplative modalities of Hildegard von Bingen’s Ordo Virtutum by means of a mandala design.

Benjamin Krakauer is a PhD candidate at the University of Texas at Austin. He recently completed a year as a Fulbright Scholar in West Bengal. In his dissertation, he addresses the recent bifurcation of Baul-Fakir music into participatory and professionalized streams, arguing that both streams are forums in which notions of modernity, spirituality, and modern Bengali identity are negotiated and embodied by Bengalis of various socioeconomic classes and religious affiliations. He is currently a lecturer at the University of Massachusetts Boston and Middlesex Community College. He was the 2012 recipient of the Society for Asian Music Small Grant.

Joyce S. Lim, from Malaysia, is on faculty at the Noh Training Project, which offers the most extensive noh training available in the United States. She has trained in kotsuzumi, ōtsuzumi, taiko, shimai (dance), and utai (chant). Her [End Page 137] utai teacher, Oshima Kinue, is the only professional female shite actor in the Kita school. Her research and choreography have been presented internationally and in venues in New York, such as Dance Theater Workshop and Danspace Project, with funding from Robison Foundation, Nippon Foundation, Japan Foundation, and the Asian Cultural Council, among others.

Heather MacLachlan is Assistant Professor of Ethnomusicology at the University of Dayton, Ohio. She earned her PhD in ethnomusicology from Cornell University in 2009. MacLachlan is the author of Burma’s Pop Music Industry: Creators, Distributors, Censors (University of Rochester Press, 2011). She has published scholarly articles on a number of topics, including music making among various Burmese populations. MacLachlan speaks English, French, and Burmese. She has conducted fieldwork in Yangon, Burma, in the refugee camps on the Thai-Burma border, and among diaspora Burmese communities in New York and Indiana.

Lonán Ó Briain is Lecturer in Music at the University of Nottingham (UK), where he teaches courses in ethnomusicology and popular music and serves as Co-Director of Performance Studies. Previously he taught at the University of Birmingham and the University of Sheffield. He earned his PhD in ethnomusicology from the University of Sheffield in 2012. His current research is on the musical cultures of Vietnam’s ethnic minority groups with a particular focus on the Hmong.

Carmel Raz is a PhD candidate in Music Theory at Yale University, working on a dissertation examining the relationship between late eighteenth-century neuroscience and early Romantic music. She has published articles in the Zeitschrift der Gesellschaft für Musiktheorie and in the Journal of Neo-Victorian Studies. In parallel to her academic work she maintains an active career as a violinist and composer. For more information, see www.carmelraz.com.

Bonnie C. Wade is Professor of Music (Ethnomusicology) at the University of California, Berkeley, specializing in South Asian (Hindustani) and East Asian (Japanese) musics. A holder of the Richard and Rhoda Goldman Distinguished Chair...

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