Contributors
- Contributors
Olivia A. Bloechl is an assistant professor in the Department of Musicology at the University of California, Los Angeles, where she specializes in the music cultures of early modern France, England, and colonial North America. Her research is generally concerned with identity and difference as expressed in music, especially colonial difference. Her work has appeared in the Musical Quarterly, the Journal of Popular Music Studies, and the Journal of Musicology. Her full-length study of the effects of early colonialism on European music cultures, entitled Native American Song at the Frontiers of Early Modern Music, is forthcoming from Cambridge University Press.
Annegret Fauser is professor of music and adjunct associate professor in women's studies at the University of North Carolina in Chapel Hill. She has published on French song and opera, French women composers, exoticism, nationalism, reception history, and cultural transfer. Her publications include monographs on French orchestral song (1994) and on the roles of music during the 1889 world's fair in Paris (2005) as well as an edition of reviews of the first performance of Jules Massenet's opera Esclarmonde (2001); she coedited, with Manuela Schwartz, a major publication on Wagnerism in France (1999). Currently, she is writing a monograph on women musicians in Paris during the late nineteenth century, jointly editing (with Mark Everist) a volume on the institutions of French musical theater, and editing the correspondence between Nadia Boulanger and Aaron Copland.
Lydia Hamessley is associate professor of music at Hamilton College, where she teaches courses in medieval and Renaissance music history, world music, women in music, and opera. She received her doctorate from the University of Minnesota, and she was the coordinator for the first Feminist Theory and Music Conference: Toward a Common Language held in Minneapolis in 1991. She has published in Music & Letters, Queering the Pitch: The New Gay and Lesbian Musicology, Menacing Virgins: Images of Virginity in the Middle Ages and Renaissance, Women & Music, and Ruth Crawford Seeger's Worlds: Innovation and Tradition in Twentieth-Century American Music. She is the coeditor, with Elaine Barkin, of Audible Traces: Gender, Identity, and Music. Her research interests center on southern Appalachian music as well as women in old-time and bluegrass music. She is a clawhammer banjo player.
Eileen M. Hayes is assistant professor of ethnomusicology at the University of North Texas. She received her doctorate in music from the University of Washington. She is the coeditor of More than the Blues: Black Women and Music across the Disciplines, forthcoming from the University of Illinois Press. Currently, she is completing a full-length manuscript on the politics of race and sexual identity in “women's music.” Additional publications include a chapter on black women and “women's music” in African American Music: An Introduction, edited by Mellonee V. Burnim and Portia Maultsby (Routledge, 2005), and a review of Radical Harmonies in Ethnomusicology. She has presented papers at the conference Feminist Theory and Music, the Society for Ethnomusicology, the German Musicological Society, the Center for Black Music Research, the College Music Society, and the Society for American Music.
Nadine Hubbs writes on gender and sexuality in classical and pop music and is the author of The Queer Composition of America's Sound: Gay Modernists, American Music, and National Identity (Berkeley: University of California Press, 2004). She teaches music and gendersexuality studies at the University of Michigan and is a 2005–6 visiting scholar in the Center for the Study of Gender and Sexuality at New York University. In 2000 Hubbs reviewed Alice Echols's Scars of Sweet Paradise: The Life and Times of Janis Joplin in these pages (vol. 4).
Allison Adah Johnson is a composer and postdoctoral fellow and lecturer at Occidental College, where she teaches in the Departments of Music, Asian Studies, and Cultural Studies. Her compositions have been performed at the New West Electro-Acoustic Music Festival, the New Directions in Asian-American Music Festival, and the Frau Musica (nova) Festival, among others. Her papers on Asian and Asian American music and composers have been presented at such conferences as the Society for American Music, Feminist Theory and Music, and the International Conference of Asia Scholars. Her writings have been...
