Contributors
- Contributors
Karen Ahlquist is an associate professor of music at the George Washington University in Washington DC. She is the author of Democracy at the Opera: Music, Theater, and Culture in New York City, 1815–60 (1997) and editor of Chorus and Community (University of Illinois Press, forthcoming). Her research interests include music in the theater, choruses and choral music in the nineteenth century, music criticism, and transatlantic influences. Professor Ahlquist has held offices in the Society for American Music and the American Musicological Society. She teaches courses in Western music history, American music, and ethnomusicology.
Joyce Andrews is a professor of voice at the University of Wisconsin—Oshkosh. As a soprano soloist, Ms. Andrews has enjoyed an active professional career in opera, oratorio, concert, and recital work across the United States. She has performed numerous recitals abroad, including England and France, where she has been an invited clinician at French conservatories. Her research into song settings of Emily Dickinson's poetry may be heard in a new CD released in 2003 by Capstone Records, Emily Dickinson Songs. Her lecture recital, “The World of Emily Dickinson,” was most recently presented at the National Museum of Women in the Arts in Washington DC in July 2003.
Marcia J. Citron is Lovett Distinguished Service Professor of Musicology at Rice University. She has authored three books on women and music, including the award-winning Gender and the Musical Canon (reprint with new preface, University of Illinois Press, 2000). Recent interests also extend to film and opera and include the volume Opera on Screen (Yale University Press, 2000). A new essay in Musical Quarterly discusses operatic elements in Coppola's Godfather trilogy.
Beverly Diamond is the Canada Research Chair in Ethnomusicology and Traditional Music at Memorial University of Newfoundland. She teaches in the Folklore Department of the School of Music. She has done research in Inuit and First Nations communities in the Northwest Territories, Labrador, Quebec, and Ontario. More recently she has worked in Sami communities in Norway and Finland. She recently was awarded the Jaap Kunst Prize by the Society for Ethnomusicology for her article “Native American Contemporary Music: The Women” (in World Music, 2003). Among her publications are Visions of Sound: Musical Instruments of First Nations Communities in Northeastern America (coauthored with M. Sam Cronk and F. von Rosen, University of Chicago Press, 1994); Canadian Music: Issues of Hegemony and Identity, coedited with Robert Witmer (Canadian Scholars Press, 1994); and Music and Gender, coedited with Pirkko Moisala (Urbana: University of Illinois Press, 2000).
Lisa Gilman is an assistant professor in the Department of Performance Studies at TexasA&M University, College Station, and holds a PhD in folklore with a minor in African studies. Her work focuses on intersections between dance, politics, and gender. She is currently working on a book-length manuscript, “Dancing in the Votes: Performance, Gender, and Politics in Malawi,” about women's dancing in Malawi's political culture, also the subject of a number of her published articles. She has recently begun to research relationships between dance and militarism globally.
Shannon L. Green holds a PhD in musicology from the University of Wisconsin–Madison. Her dissertation is “Art for Life's Sake: Music Schools and Activities in the U.S. Social Settlements, 1892–1942.” Currently she lives and teaches in southern Wisconsin.
Clara Henderson is a PhD candidate in ethnomusicology at Indiana University. Since 1982 she has been working in the music program of Blan tyre Synod of the Church of Central Africa Presbyterian, Malawi. She is currently on study leave and is writing her dissertation on the spiritual, sensual, and corporeal dimensions of Presbyterian Mvano women's dance in Malawi.
Claudia Macdonald is Associate Professor of Musicology at Oberlin College. Her articles on Robert Schumann, the piano concerto, music criticism, and women musicians have appeared in various journals.
Mary Simonson is Presidential Fellow in the University of Virginia's PhD program in Critical and Comparative Studies in Music. She has presented papers addressing issues of female vocality and embodiment in Auber's La Muette de Portici and Lois Weber's film version of the opera, The Dumb Girl of Portici. Her current research interests include feminist theory, nineteenth...
