About the Contributors
Music Research Annual, Volume 4, 2023
Alice Aterianus-Owanga is Assistant Professor of Anthropology at the University of Neuchâtel (Switzerland). For her PhD and post-doctoral research, she studied hip-hop, politics, and identity in Gabon; dance circuits that connect Senegal with France and Switzerland; and Afro-Latin dance and post-apartheid identities in Cape Town, South Africa. She is the author of a number of articles in academic journals and has edited several special issues of journals on the anthropology of music and dance. The director of four documentary films, she uses film as a means of ethnographic collaboration and also as a way to disseminate her research. In 2018, her book Le rap ça vient d’ici: Musiques, pouvoir et identité dans le Gabon contemporain received the Coup de Cœur prize from L’Académie Charles Cros.
Patrick Burkart is Professor of Communication and Journalism and Affiliated Professor of Performance Studies at Texas A&M University. He has published Why Hackers Win: Power and Disruption in the Network Society (with Tom McCourt), Pirate Politics: The New Information Policy Contests, Music and Cyberliberties, and Digital Music Wars: Ownership and Control of the Celestial Jukebox (with Tom McCourt). He has also served as editor-in-chief of Popular Communication: The International Journal of Media and Culture, edited the collection Spotification of Popular Culture in the Field of Popular Communication, and co-edited Popular Communication, Piracy and Social Change (with Jonas Andersson Schwarz). He has researched and taught media and telecommunications technology, law, and policy in Denmark, Finland, Mexico, and Sweden. Burkart has presented and consulted on information policy with the European Centre of Excellence for Countering Hybrid Threats and the European Union Democracy Observatory, as well as on hybrid conflicts with the Council on Foreign Relations. He also has served as an editorial board member for Rock Music Studies and served on the international editorial board for the journal Applied Cybersecurity and Internet Governance.
Luca Cossettini is Associate Professor in musicology and the history of music at the University of Udine (Italy), where he teaches about electronic music, audio restoration, and music publishing. He studies the influence of audio technology on compositional processes in the second half of the twentieth century, with the aim of laying the foundation for a critical and analytical methodology capable of interpreting, analyzing, and critically editing electronic and mixed music. He is the scientific coordinator of the MIRAGE Lab (http://mirage.uniud.it/), which is dedicated to the preservation, restoration, and reissue of recorded music.
Eric Drott is Associate Professor of Music Theory at the University of Texas at Austin. He is author of Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981. His second book, Streaming Music, Streaming Capital, is to be published in early 2024. His current projects include The Oxford Handbook of Protest Music, co-edited with Noriko Manabe. In 2021, he received the Dent Medal from the Royal Musical Association.
Musicologist Angelo Orcalli conducts research on the history of theories of music, the analysis of contemporary Western music, and the practice of developing critical editions of electronic and mixed musical works. In 1995, he established the MIRAGE Laboratory for the restoration of electronic music. Until 2023, he was a full professor at the University of Udine, where he taught in the Master’s Degree Program in Multimedia Communication and Information Technologies in the Department of Mathematics and Informatics. He currently teaches theories of music in the ATIAM (Acoustics, Signal Processing, and Computer Science Applied to Music) Master’s Program, which is jointly delivered by Université Pierre et Marie Curie, Institut de Recherche et Coordination Acoustique/Musique (IRCAM), Sorbonne Université, and Télécom Paristech.