About the Contributors
- About the Contributors
Alexander M. Cannon is currently Assistant Professor of Music History and Ethnomusicology in the School of Music at Western Michigan University. He holds a BA in music and economics from Pomona College and an MA and PhD in ethnomusicology from the University of Michigan. His research investigates creativity in scenes of southern Vietnamese music performance; he is published in Ethnomusicology, Ethnomusicology Forum, and the Journal of Vietnamese Studies.
Elizabeth Clendinning is an Assistant Professor of Music at Wake Forest. A graduate of Florida State University (PhD 2013, MM 2009) and the University of Chicago (BA 2007), she previously taught at Emory University (2013–14). Clendinning has published research on space, time, cultural representation, and pedagogy within transnational Balinese gamelan communities and in American film and television music. Her current book project focuses on gamelan and the historiography of American ethnomusicology. At Wake Forest, she teaches undergraduate courses in world music, popular music, and ethnomusicological methods and directs the Wake Forest University Balinese gamelan, Gamelan Giri Murti.
Jane M. Ferguson is Lecturer in Anthropology and Southeast Asian History at the Australian National University. Her research work and ongoing interests in Burma/Myanmar and Thailand include topics from historic ethnicity and the Shan insurgency, popular music and cinema in Burma, to geographies and hauntings of aviation operations.
Lisa Gold teaches at the University of California, Berkeley, where she earned her PhD in ethnomusicology with a specialization in Balinese music in ritual and theater, gamelan gender wayang, and shadow puppetry. Other research interests include Javanese gamelan, transmission, oral performance and improvisation, music and space, folklore and folk music of the British Isles, and performance ecosystems. She is a member of Gamelan Sekar Jaya, Gamelan Sari Raras, and ShadowLight. She has performed and conducted extensive research in Bali and the United States and is the author of Music in Bali: Experiencing Music, Expressing Culture (Oxford University Press Global Music Series, 2005) and a number of articles. [End Page 188]
Rolf Groesbeck is Associate Professor of Music History/Ethnomusicology at the University of Arkansas at Little Rock. He has published articles and reviews, mostly on the temple instrumental music of Kerala, India, in Ethno-musicology, Asian Music, Yearbook for Traditional Music, the World of Music, Garland Encyclopedia of World Music, and the International Journal of Hindu Studies (forthcoming), among other publications. At UALR he leads the Indian Percussion Ensemble, a ceṇṭa (Kerala drum) ensemble, and has performed ceṇṭa throughout Kerala and in the United States.
Benjamin Krakauer received his PhD in ethnomusicology from the University of Texas at Austin in May 2014. He has held Adjunct and Visiting Assistant Professor appointments at Temple and Emory Universities. His article “The Ennobling of a ‘Folk Tradition’ and the Disempowerment of the Performers: Celebrations and Appropriations of Bāul-Fakir Identity in West Bengal” appeared in Ethnomusicology (2015). He is currently completing an article on experimental bluegrass from New York City during the 1970s. He has toured with mandolinist David Grisman and has recorded banjo for Acoustic Disc, CMH Records, and the Fiddle Masters series.
James Mitchell is a Lecturer at Khon Kaen University, Thailand, and an Adjunct Research Fellow at Monash University, Australia. His most recent book is Luk Thung: The Culture and Politics of Thailand’s Most Popular Music, published by Silkworm Books. He can be contacted through drjameslmitchell@gmail.com.
Jaco van den Dool is a Lecturer and PhD candidate in the Department of Arts and Culture Studies at Erasmus University Rotterdam. He conducts his PhD research in the field of music transmission and learning strategies, including the complex role of the body in the music transmission process. He seeks to contribute to the understanding and implementation of inter musical and intersensory modes of transmission in formal music education. Currently he is the director of School of Performing Arts Kathmandu, founded in 2011. In addition, he holds a professorship on “blended learning” at Codarts (Rotterdam Conservatory). [End Page 189]
