Betsey Biggs is a composer and artist whose practice in music, sound, video, and installation aims to explore the resonance between sound and image; to actively engage the audience; and to explore the relationships among sound, memory, and geography. Her work has been described by the New Yorker as "psychologically complex, exposing how we orient ourselves with our ears." She has collaborated with musicians and artists including Margaret Lancaster, Evidence, the Now Ensemble, the BSC, So Percussion, Tarab Cello Ensemble, and the Nash Ensemble and with filmmakers Jennie Livingston and Amy Harrison. Her work has been seen and heard at venues as disparate as ISSUE Project Room, Abrons Arts Center, the Conflux Festival, MASSMoCA, and the Sundance Film Festival and on the streets of Oakland, Red Hook, Williamsburg, and the Gowanus. Biggs holds a PhD in music composition from Princeton University and is currently a visiting scholar at Brown University.
Anna Hoefnagels is associate professor in the School for Studies in Art and Culture (Music) at Carleton University, in Ottawa, Canada, where she teaches courses on First Peoples' music, Canadian music, ethnomusicology, and music and gender, among others. With Beverley Diamond she co-edited Aboriginal Music in Canada: Echoes and Exchanges (Montreal: McGill-Queen's University Press, 2012), and with Gordon Smith she co-edited Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present (Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2007). She has published articles in MUSICultures, the Canadian Journal for Traditional Music, the World of Music, and Ethnologies, and she has presented papers at various conferences, including the annual meetings of the Society for Ethnomusicology, the Canadian Society for Traditional Music, the Folklore Studies Association of Canada, the Canadian University Music Society, and the British Forum for Ethnomusicology, and at the International Council for Traditional Music and Feminist Theory and Music meetings. [End Page 169]
Julia Eklund Koza is a professor in the Department of Curriculum and Instruction at the University of Wisconsin-Madison, where she holds appointments in music education and multicultural education. In addition, she is a faculty member in the School of Music, a faculty affiliate in the Women's Studies Program, the chair of the Music Education Area, and a past co-chair of the Committee on Women in the University. Her widely published research focuses on equity issues in education and music education as well as on corporate influence on music education policy. Author of Stepping Across: Four Interdisciplinary Studies of Education and Cultural Politics, she currently is working on a new book, "Destined to Fail": Carl Seashore's World of Music, Education, and Eugenics.
Susan McClary (PhD, Harvard) is professor of music at Case Western Reserve University; she has also taught at the University of Minnesota, McGill University, and UCLA. Her research focuses on the cultural analysis of music, both the European canon and contemporary popular genres. Best known for her book Feminine Endings: Music, Gender, and Sexuality (1991), she is also author of Georges Bizet: Carmen (1992), Conventional Wisdom: The Content of Musical Form (2000), Modal Subjectivities: Renaissance Self-Fashioning in the Italian Madrigal (2004), Reading Music: Selected Essays by Susan McClary (2007), Structures of Feeling in Seventeenth-Century Expressive Culture (2012), and Desire and Pleasure in Seventeenth-Century Music (2012). McClary received a MacArthur Foundation Fellowship in 1995.
Paula Matthusen is currently assistant professor of music at Wesleyan University. She writes both electroacoustic and acoustic music and realizes sound installations. Her work often considers discrepancies in musical space—real, imagined, and remembered. Her music has been performed by Alarm Will Sound, International Contemporary Ensemble (ICE), orchest de ereprijs, Ballett Frankfurt, Dither, Glass Farm Ensemble, Kathryn Woodard, James Moore, Jody Redhage, Todd Reynolds, Kathleen Supové, and Margaret Lancaster. Awards include a Fulbright Grant, two ASCAP Morton Gould Young Composers' Award, a Van Lier Fellowship, and the Walter Hinrichsen Award from the American Academy of Arts and Letters.
Monica Hairston O'Connell holds a PhD in ethnomusicology from New York University. She serves as executive director of the Center for Black Music Research at Columbia College Chicago. O'Connell's current areas of research interest include jazz, gender, race, and nation through the lens of black feminist theory.