Contributors
Rent from DeepDyve- Contributors
Eric Galm is Associate Professor of music at Trinity College in Hartford, Connecticut, where he founded the Trinity Samba Ensemble, developed the annual Samba Fest, and produced the debut United States tour for Berimbrown. His publications include The Berimbau: Soul of Brazilian Music (2010 Mississippi), "Baianas, Malandros and Samba: Listening to Brazil Through Donald Duck's Ears," in Global Soundtracks (2008 Wesleyan), and "Percussion Instruments of Brazil" in The Encyclopedia of Percussion (2007 Routledge). He holds degrees and certificates from Wesleyan, Tufts, the University of Michigan, the Escola Brasileira de Música and the Universidade Federal do Rio de Janeiro in Brazil. He was an invited participant at the Música em Debate conference (Universidade Federal do Rio de Janeiro). He is currently researching the 1950s Brazilian Folklore Movement.
Kariann Goldschmitt received her Ph.D. in musicology from the University of California, Los Angeles and is the 2009–2011 Mellon Fellow of Non-Western Music at Colby College. She is currently expanding her dissertation to a monograph entitled, "Bossa Mundo: Brazilian Popular Music's Global Transformations (1959–2009)." She plays trumpet, guitar, cavaquinho, and surdos.
Julie Koidin is flute lecturer at Loyola University Chicago and earned masters and doctorate degrees in flute performance from Northwestern University. Her doctoral thesis is titled, "Benedicto Lacerda and the 'Golden Age' of Choro Flute Playing" (Northwestern 2006). She will release her first book: Os sorrisos do choro: Uma jornada musical através de caminhos cruzados (São Paulo: Choro Music). She is a former Fulbright Grant fellow and active as a professional flautist playing concentrating on choro and classical music.
Bryan McCann teaches Brazilian History at Georgetown University. He is the author of Hello, Hello Brazil: Popular Music in the Making of Modern Brazil (Duke, 2004) and Throes of Democracy: Brazil since 1989 (Zed, 2009). He is currently working on a book on redemocratization and conflict over urban space in Rio de Janeiro in the 1970s-1990s. [End Page 191]
Richard Miller earned a Ph.D. in music theory from the Catholic University of America in 2006, where he now teaches music theory, ear-training, and guitar. He also teaches music theory and guitar at Georgetown University. He holds a Master of Music degree in guitar performance from the Manhattan School of Music. He is also a professional guitarist, concentrating on Brazilian popular and erudite music performed on 6 and 7-string guitar.
Jason Stanyek is Assistant Professor of Ethnomusicology in the Department of Music at New York University and was recently a Visiting Associate Professor at Harvard University and an External Faculty Fellow at the Stanford Humanities Center. He has published on subjects ranging from Brazilian hip-hop to Pan-African jazz, from intercultural free improvisation to capoeira. His forthcoming publications include an ethnographic monograph on Brazilian performance in the U.S. entitled Around the World Goes Around: Performing Brazilian Music and Dance in the United States and a co-edited volume (with Sumanth Gopinath) entitled The Oxford Handbook of Mobile Music Studies. He also edited (with Alessandra Santos) an interdisciplinary issue of the journal Critical Studies in Improvisation on "Brazilian Improvisations." [End Page 192]
