nancy allen (email@example.com) discovered music editing at NYU, where she attended the graduate program in music technology. It was in the "Audio for Video" class that she met Suzana Peric, the music editor with whom she worked for nearly ten years, and learned almost everything she knows about the craft. Her first film was Scorses's Kundun (scored by Philip Glass). Together with Suzana, she went on to work with directors like Roman Polanski (The Pianist, The Ninth Gate); Mike Nichols (Closer, Charlie Wilson's War); Jonathan Demme (Beloved, Heart of Gold, Rachel Getting Married); and Peter Jackson (The Lord of the Rings: The Fellowship of the Rings). Since then, Nancy has worked on films with: Darren Aronofsky (Black Swan, Noah); John Cameron Mitchell (ShortBus); Paul Haggis (The Next Three Days); Barry Levinson (Liberty Heights, You Don't Know Jack); and David Frankel (Hope Springs, One Chance, Collateral Beauty). She has been nominated for two Golden Reel awards (winning for Lord of the Rings) and was part of the Emmy award-winning team for the sound and music on HBO's Bessie. She received her undergraduate degree in marketing and English from Georgetown University and her graduate degree from NYU. Nancy lives in NYC with her husband Rob—her go to secret weapon for musical inspiration.
mark durrand (firstname.lastname@example.org) teaches in the Department of Media Study at University at Buffalo and is a senior lecturer in the Department of Music at The University of Akron. His teaching includes the subjects music in the movies, popular music, music of the European tradition, and representations of the immigrant experience in narrative and documentary film.
sonya hofer (email@example.com) is a musicologist who completed a PhD from Stony Brook University. Her dissertation, Experimental Electronica Beyond "the Great Divide," explores the interdisciplinary terrain of a significant metagenre of electronic music—experimental electronica—and focuses on how the repertory eludes categorization by perplexing disciplinary lines. Hofer's research examines the intersections and negotiations of, not only the varying fields of musical creation, such as those spanning the classical and the popular, but also, the varying fields of artistic creation, such as those between art and music. She has been [End Page 62] on the faculty at Colorado College, Stony Brook University, and one of France's Grande Écoles. In addition to her teaching and research in the university setting, Hofer has also worked as a gallery curator and in various guises within indie rock.
sarah caissie provost (firstname.lastname@example.org) is an assistant professor in musicology and the director of graduate studies at the School of Music at the University of North Florida. She received a doctorate in musicology from Brandeis University with a dissertation titled "Benny Goodman's 1938 Carnegie Hall Concert." Her forthcoming publications and presentations include work on Mary Lou Williams's educational endeavors and Ziggy Elman's klezmer-influenced big-band performances. [End Page 63]