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  • About the Contributors

Alison Arnold teaches in the Music and Arts Studies departments at North Carolina State University. She conducted research on the Hindi film song industry for her doctoral dissertation from the University of Illinois at Urbana–Champaign (1991), and edited South Asia: The Indian Subcontinent, volume 5 of The Garland Encyclopedia of World Music (Garland Publishing, 2000). Her more recent research has focused on the South Asian diaspora in the United States, including Hindustani vocal study, and most recently on the Vietnamese Montagnard community in North Carolina.

Gregory Booth is an associate professor of ethnomusicology at The University of Auckland, specializing in contemporary South Asian music culture. He is the author of Brass Baja: Stories from the World of Indian Wedding Bands (Oxford University Press, 2005) and Behind the Curtain: Making Music in Mumbai's Film Studios (Oxford University Press, 2008). In addition, he has published articles on film music, processional music, film structure, orality and music cognition, and the transmission of Hindustani classical music (tabla) in journals such as Ethnomusicology, Asian Music, Popular Music, The Psychology of Music, and Asian Folklore Studies.

Virginia Danielson is the Richard F. French Librarian of the Loeb Music Library at Harvard University and Curator of the University's Archive of World Music. Danielson is the author of the award-winning monograph The Voice of Egypt: Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century (University of Chicago Press, 1997) and coeditor of The Middle East, volume 6 of The Garland Encyclopedia of World Music (Routledge, 2002). She has authored numerous articles on music of the Middle East, women in Middle Eastern music, and Muslim devotional music, and served as principal advisor to the film A Voice Like Egypt, premiered at the New York Film Festival in 1996.

Rolf Groesbeck is Associate Professor of Music History/Ethnomusicology, and Director of the Indian Percussion Ensemble, at the University of Arkansas–Little Rock. He has published articles and reviews, mostly on Kerala, in Asian Music, World of Music, Ethnomusicology, Yearbook for Traditional Music, and other journals. [End Page 186]

Edward O. Henry is Professor Emeritus at San Diego State University. He was awarded a PhD degree in Anthropology at Michigan State University, where he studied with Dr. Ralph Nicholas, Dr. Charles Morrison, and Dr. Alfred Bacon Hudson. Under a student exchange program with Indiana University, he studied the anthropology of music with Dr. Alan P. Merriam.

Jesse A. Johnston currently teaches at the University of Michigan–Dearborn. He completed a PhD degree in Ethnomusicology from the University of Michigan in 2008 with a dissertation focused on the history and performance of the cimbalom in the region of Moravia in the Czech Republic. His research interests also include musical instruments, Javanese gamelan, and brass bands.

Jonathan McIntosh is Assistant Professor of Ethnomusicology at The University of Western Australia, where he teaches classes on ethnomusicology, popular music, and the music of Southeast Asia. His 2006 PhD dissertation (Queen's University Belfast) focused on children's practice and performance of dance, music, and song in Bali, Indonesia.

V. N. Muthukumar is a doctoral candidate in the department of South and Southeast Asian Studies, University of California–Berkeley. A physicist by training, he received a PhD degree in Physics from the University of Madras, India, and served on the Physics faculty at Princeton University and the City College of the City University of New York before moving to Berkeley in 2007 to pursue a doctoral degree in South and Southeast Asian Studies. His research interests are in theoretical Condensed Matter Physics, Tamil and Sanskrit literature, and Indian classical music. He is trained in both South and North Indian classical music. He learned to play the South Indian percussion instrument, the ghatam, from Kumbakonam Sri Rajappa Iyer, and was a concert level performer. Currently, he learns Dhrupad from Sri Falguni Mitra and Sri Indra Kishore Misra.

David Novak is Assistant Professor of Music at the University of California–Santa Barbara. He is the author of Japanoise: Media Circulation and the Transnational Feedback of Experimental Music (forthcoming, Duke University Press), a multisited ethnography on the circulation of Noise between North America and Japan. His work deals with popular music, media technology, and social practices of listening as critical discourses of global modernity. Other research interests include music as intellectual property, film music, and the public uses of sound in urban spaces. [End Page 187]

Sumarsam is an adjunct professor of music at Wesleyan University, teaching performance, history, and theory of gamelan. He holds an MA degree in Music from Wesleyan University and a PhD degree from Cornell University. He is the author of several articles on gamelan and wayang, in English and Indonesian publications. His book Gamelan: Cultural Interaction and Musical Development in Central Java was published by the University of Chicago Press in 1995 (Pustaka Pelajar Press of Yogyakarta published its Indonesian version in 2003). As gamelan musician and a keen amateur dhalang of Javanese wayang kulit, he performs, conducts workshops, and lectures throughout the world.

Christina Sunardi is an assistant professor of ethnomusicology in the School of Music at the University of Washington–Seattle. She has studied Javanese performing arts in Indonesia and in the United States since 1997, earning her PhD degree from the University of California–Berkeley in 2007.

Hwee-San Tan obtained her PhD degree and completed a postdoctoral fellowship at the School of Oriental and African Studies (SOAS), University of London, following a year of lecturing at the University of Durham. Aft er a 3-year lectureship at University College Dublin, she currently lectures at Goldsmiths College London and the University of Surrey, and is also a research and teaching associate at SOAS. She has published on Buddhist liturgical music and is currently preparing a monograph on Buddhist rites for the dead and their music in Fujian, China.

Yuhwen Wang is an assistant professor in the Graduate Institute of Musicology at National Taiwan University. She received her PhD degree in Music Theory from Columbia University. She has published articles on goal orientedness and nongoal orientedness as aesthetic values in Western music criticism, as well as on somatic significance in Chinese traditional music. Her recent research focuses on the traditional aesthetic practices of guqin and the interrelationship among music, bodily health, and virtues. She is currently working on a book on the artistic significance of mind/body/consciousness association in various genres of traditional Chinese music. [End Page 188]

Additional Information

ISSN
1553-5630
Print ISSN
0044-9202
Pages
186-188
Launched on MUSE
2010-01-16
Open Access
No
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