About the Contributors
- About the Contributors
Jay M. Arms is a lecturer of Ethnomusicology at the University of Pittsburgh, where he teaches the Sundanese gamelan ensemble. He received his PhD in Cultural Musicology from the University of California, Santa Cruz. His scholarly interests include improvisation, tuning, notation, globalization, hybridity, experimental music, and public ethnomusicology. His current research focuses on the globalization of gamelan and its intersections with experimental music in the United States. He serves as the coeditor for the journal Balungan, which publishes scholarly and artistic works on gamelan and related art forms.
Aditi Deo is an Assistant Professor in the School of Arts and Sciences at Ahmedabad University. Her primary research interests are in music of the Indian subcontinent, especially Hindustani khayal music and a variety of regional forms. Her work addresses conceptual questions related to performance practice, technologies, pedagogies, circulation, and heritage. Aditi completed her PhD on contemporary practices in khayal from Indiana University Bloomington. She has previously held positions as Faculty Fellow at IISER Pune (2014–17) and Postdoctoral Fellow at University of Oxford (2011–13). Her work has appeared in publications including South Asian Popular Culture and Indian Theater Journal.
Dave Fossum is an Assistant Professor of Musicology in the School of Music at Arizona State University. He holds a PhD in Ethnomusicology from Brown University and an MA in Ethnomusicology from Wesleyan University. He studies ideas about creativity and intellectual property, focusing particularly on music in Turkey and Central Asia, and he has published in the journals Ethnomusicology and Analytical Approaches to World Music.
Garrett Groesbeck is a composer, performer, and ethnomusicologist currently pursuing graduate studies at Wesleyan University. He has played and sung koto music at events worldwide. He regularly conducts workshops, concerts, and lectures related to Japanese music and has been profiled in Hōgaku Journal and the Asahi Shimbun. In 2017 he received an MA in Music Composition and Theory from Nagoya College of Music as a Ministry of Education (MEXT) scholar, focusing on new music for Japanese instruments. His research interests include transmission of the koto in the twenty-first century, [End Page 135] dialogues around Japanese cultural identity, and Eurocentrism in music education.
Donna Lee Kwon is Associate Professor of Ethnomusicology at the University of Kentucky. She is the author of the book Music in Korea: Experiencing Music, Expressing Culture (Oxford University Press). Her interests include North and South Korean music, East Asian and Asian American popular and creative music, gender and the body, issues of space and place, ecomusicology, and voice studies. Her articles have appeared in Ethnomusicology, Ecomusicology Review, Music and Politics, and Music and Culture (Umakgwa Munhwa). She also enjoys teaching ensemble classes in Korean p'ungmul and samulnori as well as Balinese gamelan.
Nicholas Ragheb is an ethnomusicologist and a performer and educator of Near Eastern music, currently based in the Republic of Cabo Verde. He earned a PhD in Ethnomusicology from the University of California, Santa Barbara, with dissertation research on the liturgical music of the Coptic Orthodox Church in Egypt and of the North American diaspora. Nicholas has also studied privately with professors at the Music College of Helwan University in Cairo and teaches the theory and performance of the maqām tradition.
Rajeswari Ranganathan (stage name: Rajeswari Satish) is a doctoral student of Ethnomusicology at The Graduate Center of the City University of New York. Her research interests include the hereditary periya mēlam performance tradition, improvisation in Carnatic music, and Carnatic music practice in the diaspora. She has trained extensively with eminent musicians P. S. Narayanaswamy, C. S. Krishna Iyer, and M. A. Venugopal in India. An acclaimed Carnatic concert musician with over 30 years of performing and teaching experience, she has trained a number of students, from beginners to advanced learners. [End Page 136]
