About the Contributors
- About the Contributors
Benjamin Fairfield serves as Lecturer in the Music Department at the University of Hawai'i at Mānoa and the University of Hawai'i West O'ahu. His PhD dissertation, "The Participatory We-Self: Ethnicity and Music in Northern Thailand," examined Karen (pgak'nyaw), Lahu, Akha, and Lanna-Thai participatory music traditions. He recently published an English translation of Karen artist "Chi" Suwichan Phattanaphraiwan's auto-ethnographic story of the Karen harp, I am Tehnaku (Sangsilp, 2015), and is currently working on a second translation project, Forbidden Songs of the Pgak'nyaw, with the same author.
Megan E. Hill is a Lecturer in Ethnomusicology at the University of Michigan and the Managing Editor of the Music by Black Composers project of the Rachel Barton Pine Foundation. She received her PhD from the University of Michigan in 2016 with a dissertation on soundscapes in Asakusa, Tokyo, Japan. Her ongoing research interests include sound cultures in contemporary Japan; agency and place making in urban sonic environments; intersections of gender, sexuality, language, and music in Japanese popular music; and access to and awareness of classical compositions of Africans and the African diaspora as a matter of social justice.
Jasmine Hornabrook is currently an Early Career Fellow at the Institute of Musical Research and Associate Lecturer at Goldsmiths, University of London. She has been researching South Indian music and the Tamil diaspora in London since 2009. She completed her PhD thesis, "Becoming One Again: Music and Transnationalism in London's Sri Lankan Tamil Diaspora," in 2016 at Goldsmiths, University of London. Since completing her PhD, she has focused on the performance of Tamil devotional songs at the London Sivan Temple. This research led to a postdoctoral cultural engagement project that involved documenting Tamil devotional songs in London and organizing an intercultural musical collaboration.
Terence Lancashire currently teaches aspects of Japanese culture and history at Osaka Ohtani University. He obtained an MA in ethnomusicology at the Queen's University, Belfast, and an MA in area studies, Japan, from the School of Oriental and African Studies (SOAS), London University. He received his PhD from Osaka University with a dissertation focusing on the kagura (ritual shrine music and theater) of Shimane prefecture in western Japan. In addition [End Page 176] to articles on Japanese performing arts, he has published Gods' Music—the Japanese Folk Theatre of Iwami Kagura (Florian Noetzel, 2006) and An Introduction to Japanese Folk Performing Arts (Routledge, 2016 reprint).
Jennifer Milioto Matsue is an ethnomusicologist at Union College specializing in modern Japanese music and culture. She has conducted research on numerous music cultures in contemporary Japan, including the Tokyo hard-core rock scene, nagauta (chamber music featuring the 3-stringed lute shamisen), taiko (Japanese ensemble drumming), and Vocaloid Hatsune Miku. She is the author of the monograph Making Music in Japan's Underground: The Tokyo Hardcore Scene (Routledge, 2008) and Focus: Music in Contemporary Japan (Routledge, 2015), as well as several articles on related topics. She is now embarking on new research on iconic Icelandic performer Björk.
Inna Naroditskaya is Professor of Musicology at Northwestern University. A graduate of the University of Michigan, she specializes in Azerbaijani music and culture, Soviet and post-Soviet cultural dynamics, gender, music, and Islam. A recipient of a Senior Fellowship at the Davis Center for Russian and Eurasian Studies (Harvard University), summer grants from IREX and URGC (Northwestern), and the CEW Margaret Dow Towsley Scholar Award (University of Michigan), she is the author of two books: Song from the Land of Fire: Azerbaijanian Mugam in the Soviet and Post-Soviet Periods (Routledge, 2003) and Bewitching Russian Opera: The Tsarina from State to Stage (Oxford University Press, 2011).
Jonathan Roberts is an ethnomusicologist, gamelan musician, and ensemble leader. He received his DPhil from the University of Oxford with a thesis on amateur community gamelan associations in Central Java, focusing on practitioners' and supporters' reasons for engaging with the traditional performing arts and the importance of making sound in Javanese social and political life. His other research interests include cross-cultural performance practice, the vocal elements within Javanese gamelan, and the intersections between language and music. He has lectured at Liverpool University.
Wim van der Meer...
