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  • Contributors

Bethany J. Collier is an assistant professor of music at Bucknell University. Her research interests include the representation of “Chinese”-ness in Indonesian performance and intersections of Balinese performance, ritual, and politics. She received her doctorate in musicology from Cornell University in 2007.

Melina Esse is an assistant professor at the Eastman School of Music. Her research interests include opera, film sound, performance theory, and gender studies. She has published on the place of the body in the music and criticism of early nineteenth-century Italian opera and is at work on new projects dealing with operatic improvisation and with opera, film, and media technology.

Kimberly Francis is a visiting assistant professor of music at the School of Fine Art and Music at the University of Guelph, Canada. She received her PhD in musicology from the University of North Carolina at Chapel Hill in 2010, writing on the professional partnership of Nadia Boulanger and Igor Stravinsky. Her work has been supported by grants from the American Association of University Women, the Social Sciences and Humanities Research Council of Canada, the American Musicological Society, and the graduate school of UNC-CH. Kimberly has recent or forthcoming articles in Musical Quarterly, the International Alliance of Women and Music Journal, the Revue de Musicologie, and Music Theory Online. She will also be a contributing author to Patricia Hall’s forthcoming Oxford Handbook of Music Censorship.

Amanda Harris completed her doctorate in 2009 at the University of New South Wales. Her dissertation explored the links between feminist movements and women composers at the turn of the twentieth century in France, Germany, and England. An important part of her thesis work was the reliance on primary sources and reevaluating the biographies of composing women, including Ethel Smyth, Lili Boulanger, Louise Héritte-Viardot, and Luise Adolpha Le Beau. She teaches musicology at the universities of New South Wales and Western Sydney and is pursuing a research project investigating women’s writing of autobiographies, letters, diaries, and music histories at the turn of the twentieth century.

Elizabeth K. Keenan completed her doctorate in ethnomusicology at Columbia University in 2008. Her dissertation, an ethnography of music festivals, examines the connections between feminist politics, popular music, and the American middle class. In 2008 she won the Wong Tolbert Prize from the SEM Section on the Status of Women for her paper “‘I don’t see what the war has to do with feminism’: Third Wave Feminism, the War on Terror, and the Politics of the American Middle Class,” and in 2007 she won the Lise Waxer Prize of the Popular Music Section of SEM for her paper “Straightyfest, Ladyquest, Ladyfest: Femininity, Sexuality, and Third Wave Feminism at Young Women’s Punk Rock Music Festivals.” She has published in the Journal of Popular Music Studies and Current Musicology and has presented her work at a variety of conferences, including the Society for Ethnomusicology, Society for American Music, International Association for the Study of Popular Music—U.S. Branch, and Feminist Theory and Music. [End Page 103]

Ellen Waterman is director of the School of Music at Memorial University of Newfoundland. She has a doctorate in critical studies and experimental practices from the Department of Music at the University of California, San Diego, and is a professional flutist specializing in creative improvisation and contemporary music. Working at the intersection of performance studies, ethnomusicology, and cultural studies, Dr. Waterman’s current research includes an SSHRC-funded comparative study of experimental music performance in Canada. Her anthology Sonic Geography Imagined and Remembered provided the first cultural critique of acoustic ecology. [End Page 104]

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