Contributors
Rent from DeepDyve- Contributors
Dana Baitz is completing a doctoral degree in musicology at York University under the supervision of Dr. Rob Bowman. Her dissertation examines the music of Prince, focusing on funk practices and the constitution of sex and gender. Dana's recent work has highlighted and tackled various dialectics within "new musicology," notably by invoking transsexual theory and phenomenology.
Žarko Cvejić is a doctoral student in musicology at Cornell University. He holds master's degrees in musicology from Cornell (2007) and the University of Oxford (2004), England, as well as a bachelor's degree in music from Oxford (2003). Žarko is writing a thesis on the reception of instrumental virtuosity in European nineteenth-century music criticism. His other interests include the performance and editing of early music.
Beverley Diamond is the Canada Research Chair in Ethnomusicology at Memorial University of Newfoundland, where she established and directs the Research Centre for the Study of Music, Media, and Place (MMaP). She has worked extensively in Inuit, First Nations, and, more recently, Saami communities and has conducted oral history in multicultural communities in Canada. The themes of her research have included cultural identity, feminist musicology, Canadian music historiography, Indigenous modernity, and the construction of social meaning in sound recording. She has coauthored Visions of Sound (1994) and coedited Canadian Music: Issues of Hegemony and Identity (1994) and Music and Gender (2000). Her book Native American Music of Eastern North America (2008) is part of Oxford University Press's Global Music series.
Nadine Hubbs is a critic and historian with interests in musical gender and sexuality studies, twentieth-century U.S. music, Anglo-American popular music, and class studies. Her first book, The Queer Composition of America's Sound, examines the midcentury gay composers' circle around Virgil Thomson and Aaron Copland, and her current book project is entitled Unmapped Country: Gay and Lesbian Country Music Fandom. She teaches gender, sexuality, and music studies at the University of Michigan.
Stephanie Jensen-Moulton, assistant professor of musicology at Brooklyn College, has published articles on women in hip-hop, the nineteenth-century piano prodigy "Blind Tom" Wiggins, and feminist pedagogy. She received her doctorate in musicology and certificate in women's studies from the CUNY Graduate Center in 2008, winning the Carolyn Heilbrun Prize for her dissertation on Miriam Gideon's 1958 opera Fortunato. Her current research focuses on intersections of American opera and disability.
Elizabeth L. Keathley is an associate professor of historical musicology at the School of Music, University of North Carolina, Greensboro. Her research addresses issues raised by musical modernism, gender, ethnicity, and other forms of "difference."
Rachel Lewis is a doctoral student in music and feminist, gender, and sexuality studies at Cornell University. Her research interests include opera and early music, women in popular culture, transnational feminism, and queer theory. She has published articles on constructions of gender in seventeenth-century Venetian opera and on the lesbian composer and feminist suffragette [End Page 113] leader Ethel Smyth. She also has an article on sexuality and surveillance forthcoming in the journal Social Justice.
Megan McFadden is a PhD candidate and instructor in the musicology department at Northwestern University. She is currently completing a dissertation entitled "Popular Ballad Circulation and Performance in Elizabethan and Jacobean England." Her research focuses on intersections between popular music, dramatic theater, memory, and identity construction in early modern England. McFadden has recently presented papers considering issues of politics and musical performance in broadside ballads and Jacobean masques.
Gascia Ouzounian is an historian of contemporary music and sound art and a violinist working in new music. She is lecturer at the School of Music and Sonic Arts at Queen's University Belfast, where she serves as director of performance studies. Her writings appear in the Journal of the Society for American Music, Organised Sound, Contemporary Music Review, Revue Circuit, and the RADIO Journal.
Kelly Savage holds a DMA in harpsichord performance from the State University of New York at Stony Brook, where she is also completing a doctorate in music history. She performs frequently as a soloist, continuo player, and chamber musician, recently working with Ensemble ACJW at Carnegie Hall and touring Taiwan with the chamber group Inégale. Her current research...
