Harris M. Berger, Canada Research Chair in Ethnomusicology, Professor of Ethnomusicology and Folklore, and Director of the Research Centre for the Study of Music, Media, and Place, Memorial University of Newfoundland
Jocelyne Guilbault, Distinguished Professor of Ethnomusicology and Popular Music Studies and Chair of Graduate Studies, University of California, Berkeley
Samuel Araujo, Professor of Ethnomusicology, Federal University of Rio de Janeiro
Alessandro Arbo, Professor of Music and Head of the Groupe de recherches expérimentales sur l’acte musical, University of Strasbourg
Christopher Ballantine, Emeritus Professor of Music and a Lifetime Fellow, University of KwaZulu-Natal
Alexandrine Boudreault-Fournier, Associate Professor, University of Victoria
Marie Buscatto, Professor of Sociology at Paris 1 Panthéon Sorbonne University
Adrian Curtin, Associate Professor, Department of Communications, Drama, and Film, University of Exeter
Beatriz Ilari, Associate Professor of Music Education, Department of Music Teaching and Learning, University of Southern California
Josh Kun, Professor and Chair in Cross-Cultural Communication, Director of the USC Annenberg School of Communication, University of Southern California
James G. Mansell, Associate Professor of Cultural Studies, Department of Cultural, Media and Visual Studies, University of Nottingham
Elizabeth Hellmuth Margulis, Professor of Music, Director of the Music Cognition Lab, Princeton University
Will Straw, James McGill Professor of Urban Media Studies, McGill University
Carol Vernallis, Affiliated Researcher, Music Video and Film Studies, Music Department, Stanford University
Ellen Waterman, Helmut Kallmann Chair for Music in Canada and Professor, School for Studies in Art and Culture, Carleton University
Harris M. Berger
Harris M. Berger is Canada Research Chair in Ethnomusicology, Professor of Ethnomusicology and Folklore, and Director of the Research Centre for the Study of Music, Media, and Place at Memorial University of Newfoundland. His research focuses on the theoretical foundations of ethnomusicology and folklore studies, phenomenological approaches to expressive culture, and heavy metal music. His books include Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience, Global Pop, Local Language (Harris M. Berger and Micheal T. Carrol, eds.), Identity and Everyday Life: Essays in the Study of Folklore, Music, and Popular Culture (Harris M. Berger and Giovanna P. Del Negro), Stance: Ideas about Emotion, Style, and Meaning for the Study of Expressive Culture, and Metal Rules the Globe: Heavy Metal Music around the World (Jeremy Wallach, Harris M. Berger, and Paul D. Greene, eds.). He has served as editor Journal of American Folklore, series editor of Wesleyan University Press’s Music/Culture book series, president of the US Branch of the International Association for the Study of Popular Music, and president of the Society for Ethnomusicology.
Jocelyne Guilbault is Distinguished Professor of Ethnomusicology and Popular Music and Chair of Graduate Studies in the Department of Music at the University of California, Berkeley. Since 1980, she has done extensive fieldwork in the French Creole- and English-speaking islands of the Caribbean on both traditional and popular music. Informed by a postcolonial perspective, she published several articles on issues of representation, aesthetics, West Indian music industries, multiculturalism, world music, music and militarization, and the politics of musical bonding. She is the author of Zouk: World Music in the West Indies (1993), a study that maps the complex musical network among the French-Creole speaking islands, and the vexed relations that are articulated through music between the West Indian French Departments and the Metropole, France. Her book, Governing Sound: the Cultural Politics of Trinidad’s Carnival Musics (2007), explores the ways the calypso music scene became audibly entangled with projects of governing, audience demands, and market incentives. In Roy Cape: A Lifetime on the Calypso and Soca Bandstand (2014), an experiment in dialogic co-authorship with a reputed Trinidadian musician, she engages the audible entanglements of circulation, reputation and sound. She recently coedited a volume titled The Political Economy of Music and Sound: Case Studies in the Caribbean Tourism Industry. Dr. Guilbault has been on several editorial boards and served as a board member of the Canadian Music Society, the Society for Ethnomusicology, the Caribbean Studies Association, and the Board of Governors of the University of California Humanities.
Samuel Araujo holds a PhD in musicology from the University of Illinois at Urbana-Champaign (1992) and is a Professor of Ethnomusicology at the Federal University of Rio de Janeiro. Having served on the Executive Board of the International Council for Traditional Music (ICTM) from 1999 through 2001, when he acted as Chair of the Local Arrangements Committee for the 37th ICTM World Congress, he is currently serving as First Vice-President of the Society for Ethnomusicology and on the editorial boards of Latin American Music Review, the Malayan Journal of Music, and Música y Investigación (Argentina). He has also been president of the Brazilian Association for Ethnomusicology (2006–2008) and Music Coordinator for Rio de Janeiro’s Secretary of Culture. His research interests include music and power relations, dialogical music ethnography, applied ethnomusicology, and the history of world ethnomusicologies. Having published extensively in Brazil and abroad, his English-language publications include an article co-authored with residents of a Brazilian urban community that appeared in the 50th anniversary issue of the journal Ethnomusicology (“Conflict and Violence as Theoretical Tools in Present-Day Ethnomusicology”) and a chapter in Music in Conflict (University of Illinois Press, 2010), which was co-edited by John Morgan O’Connell and Salwa El-Shawan Castelo Branco. His latest publication, the book Samba, Sambistas e Sociedade, Um Ensaio Etnomusicólogico, was released in 2021 by the Federal University of Rio de Janeiro Press.
Alessandro Arbo (firstname.lastname@example.org) is Professor in the Music Department at the University of Strasbourg (https://arts.unistra.fr/musique/) and head of the Groupe de recherches expérimentales sur l’acte musical (https://gream.unistra.fr/). After having devoted some historical studies to the musical cultures of the Italian border region of Friuli-Venezia Giulia, Arbo has focused his research primarily on the aesthetics and philosophy of music. He has published extensively in these fields, including Dialettica della musica. Saggio su Adorno (Milano 1991), Il suono instabile. Saggi sulla filosofia della musica nel Novecento (Torino 2000), La traccia del suono. Espressione e intervallo nell’estetica illuminista (Naples 2001), Archéologie de l’écoute. Essais d’esthétique musicale (Paris 2010), and Entendre comme. Wittgenstein et l’esthétique musicale (Paris 2013). Furthermore, he edited Perspectives de l’esthétique musicale : entre théorie et histoire (Paris 2007), and (with M. Le Du and S. Plaud) Wittgenstein and Aesthetics: Perspectives and Debates (Frankfurt 2012). His current interests include the ontology of music and issues concerning musical recording in the digital age. He is co-editor (with M. Ruta) of Ontologie musicale : perspectives et débats, (Paris 2014) and (with P.-E. Lephay) Quand l’enregistrement change la musique (Paris, 2017). He has also edited books on the work of the Italian composer Fausto Romitelli (1963–2004). Arbo is a member of the scientific board of Rivista di Estetica and the International Review of the Aesthetics and Sociology of Music.
Christopher Ballantine is Emeritus Professor of Music and a Lifetime Fellow at the University of KwaZulu-Natal in South Africa. His academic career has been built around a fundamental interest in the role that music can play in the struggle for a better, more egalitarian society, and his research has broached a range of theoretical and disciplinary fields, including the sociology of music, musical meaning, and the philosophy of music. Working as a radical musicologist, he has written extensively about issues related to endogenous music in Africa and varieties of 20th- and 21st-century popular, Western-classical, and operatic music. His philosophically grounded writings are widely published internationally; they explore the meanings and social implications of music and the forces that shape it. In addition to a large number of peer-reviewed articles in leading journals, his books include Music and its Social Meanings; the award-winning Marabi Nights: Jazz, “Race,” and Society in Early Apartheid South Africa; Twentieth Century Symphony; and the co-authored Living Together, Living Apart? Social Cohesion in a Future South Africa. His most recent publications include chapters in Sound and Imagination and The Routledge Companion to Jazz Studies, and “Against Populism: Music, Classification, Genre” in the journal Twentieth-Century Music. A chapter in The Routledge Companion to Diasporic Jazz Studies is in press.
Alexandrine Boudreault-Fournier is an Associate Professor at the University of Victoria. She conducts research on electronic music, media infrastructure, and digital data consumption and circulation in Cuba since the year 2000. She is the author of Aerial Imagination in Cuba: Stories from Above the Rooftops (2019) and co-edited the volumes Organized Sound: Musicologies of Infrastructure (Oxford University Press, 2020) and Urban Encounters: Art and the Public (McGill University, 2017). Since 2019, Boudreault-Fournier has served as Editor-in-Chief of Anthropologica, the Canadian Anthropology Society’s main journal. She recently was the guest editor for the special issue “Ethnographies of the Night” for the journal Ethnologies (2022) and the special issue “Champs sonores” for the journal Anthropologie et Société (2019). She has published articles in edited volumes and in journals such as American Anthropologist, Journal of Latin American and Caribbean Anthropology, Anthropologica, and Family Medicine in French, English, Spanish, and Portuguese. Boudreault-Fournier directed the film Golden Scars (2010), which was in part funded by the National Film Board of Canada, and co-directed La Tumba Mambi (2022), Guardians of the Night (2018), Fabrik Funk (2015) and The Eagle (2015).
Marie Buscatto is Full Professor of Sociology at Paris 1 Panthéon Sorbonne University (France). She is a sociologist of arts, gender, and work, and her early research examined the processes limiting women’s access to the world of jazz. Her current research focuses on social inequalities affecting the trajectories of artists in developed countries. She also studies subjective and objective ambivalences affecting artistic practices, careers, and professions, as well as the epistemological status of qualitative methods. In the past twenty years, Buscatto has published more than 130 papers, special issues, articles, or books. More information on her work can be found at https://www.researchgate.net/profile/Marie_Buscatto. Her latest articles in English include “Getting Old in Art: Revisiting the Trajectories of ‘Modest’ Artists,” which appeared in the journal Recherches sociologiques et anthropologiques, and “Feminisations of Artistic Work: Legal Measures and Female Artists’ Resources Do Matter,” which appeared in Todas as Artes. Her recent English-language book chapters include “Beyond Frontiers: From Japanese Traditional Koto to Transnational Improvised Music” (in Musique, Mondialisation et Sociétés, Presses Universitaires de Rouen, 2020), “Doing Ethnography: Ways and Reasons” (The SAGE Handbook of Qualitative Data Collection, Sage Publications, 2018), and “Trying to Get In, Getting In, Staying In: The Three Challenges for Women Jazz Musicians” (in Bourdieu in Question: New Directions in French Sociology of Art, Brill Editions, 2018).
Adrian Curtin is Associate Professor in the Department of Communications, Drama, and Film at the University of Exeter. He has a PhD in interdisciplinary theatre studies from Northwestern University, where he was a Presidential Fellow. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and Death in Modern Theatre: Stages of Mortality (Manchester University Press, 2019) and co-editor of The Edinburgh Companion to Modernism in Contemporary Theatre (Edinburgh University Press, 2023). His research has focused on theatrical modernism from the late nineteenth century onward, theatre sound and aurality, theatrical exploration of mortality, and the theatrical representation of Western classical music. He co-founded the Sound, Voice, and Music working group of the Theatre and Performance Research Association. He was the principal investigator of a research network entitled “Representing Classical Music in the Twenty-First Century,” which was funded by the Arts, Humanities and Research Council (UK) and operated from 2019 to 2021. This network explored contemporary artistic and media representation of classical music, as well as demographic representation in the classical music industry. He later co-edited a special collection of the Open Library of Humanities on this topic. In 2022, he was awarded a British Academy Mid-Career Fellowship to work on a research project and a program of public engagement about “orchestral theatre,” focusing on interdisciplinary performance experimentation by contemporary British ensembles. He is a classically trained cellist and has worked as an actor, musician, and theatre-maker.
Beatriz Ilari is Associate Professor of Music Education in the Department of Music Teaching and Learning at the University of Southern California. Using both quantitative and qualitative approaches, she has conducted extensive research with infants, children, and youth to examine the intersections between music, child development, cognition, and culture. Ilari is a research fellow at USC’s Brain & Creativity Institute and collaborates regularly with colleagues from various fields in Brazil, Portugal, Spain, the UK, the USA, and Hong Kong. Her research has appeared in venues such as the Journal of Cross-Cultural Psychology, Journal of Research in Music Education, Music & Science, Proceedings of the New York Academy of Sciences, and Psychology of Music. Ilari is currently working on two research projects concerning music participation and wellbeing in American middle-school students and Brazilian musicians from underserved communities.
Josh Kun is Director of the USC Annenberg School of Communication, where he is Professor and Chair in Cross-Cultural Communication. He is author and editor of several books, most recently The Tide Was Always High: The Music of Latin America in Los Angeles (UC Press, 2017) and Double Vision: The Photography of George Rodriguez (Hat & Beard, 2018). As a curator of music and public humanities projects, he has collaborated with SFMOMA, The California African American Museum, The Grammy Museum, The Getty Center, the Hammer Museum, the Getty Center, among others. His writings on music, art, and culture have appeared in the New York Times, New Yorker, the Los Angeles Times, and many other publications, and he co-edits the book series Refiguring American Music (with Ron Radano and Nina Sun Eidsheim) for Duke University Press. He has been the recipient of an American Book Award, a Berlin Prize Fellowship, and a MacArthur Fellowship.
James G. Mansell
James G. Mansell is Associate Professor of Cultural Studies in the Department of Cultural, Media, and Visual Studies at the University of Nottingham, UK. He specializes in historical cultures of hearing and listening and in heritage practices relating to the sounding past. He is the author of The Age of Noise in Britain: Hearing Modernity (University of Illinois Press, 2017) and co-editor of Negotiating Noise Across Spaces, Places and Disciplines (Lund University, 2021). He has published articles and book chapters on historical methodology in sound studies, including chapters in The Routledge Companion to Sound Studies (2018) and The Bloomsbury Handbook of Sonic Methodologies (2020). His collaborative work with museums on the question of how to collect and exhibit historical music and audio technologies includes the projects “Sonic Futures: Collecting, Curating and Engaging with Sound at the National Science and Media Museum” (2020–2021) and “Music, Noise and Silence: Building Engagement in the Culture of Science and Music” (2015), the latter a collaboration with the Science Museum, London. His credits as a curator include the exhibitions “Enchanted Modernities: Mysticism, Landscape, and the American West” (Nora Eccles Harrison Museum of Art, 2014), which focused on the links between art, music, and alternative spiritualities in the United States, and “Pioneering Spirit: Maud MacCarthy – Music, Mysticism and Modernity” (Borthwick Institute for Archives, 2014), which dealt with the life and work of Irish violinist, mystic, and Indian music expert, Maud MacCarthy.
Elizabeth Hellmuth Margulis
Elizabeth Hellmuth Margulis is Professor and Director of the Music Cognition Lab at Princeton University. Her book On Repeat: How Music Plays the Mind (Oxford University Press) received the Wallace Berry Award from the Society for Music Theory and the ASCAP Deems Taylor/Virgil Thomson Award. She also contributed the Psychology of Music volume to Oxford University Press’s Very Short Introductions series. She is President of the Society for Music Perception and Cognition.
Will Straw is James McGill Professor of Urban Media Studies at McGill University in Montreal, Canada. His writings on popular music have appeared in the journals Cultural Studies, Cultural Sociology, Criticism, Substance, and many other journals. He is the co-editor, with Simon Frith and John Street, of the Cambridge Companion to Pop and Rock. Dr. Straw has edited (or co-edited) twenty other volumes of scholarship on cultural issues, and has published some 150 articles on popular culture, cinema, cities and music. Best known for his work on the concept of musical scene, he has also pursued research on the place of informal archives (such as personal collections and compilation recordings) in the building of cultural memory, and on the material culture in which music often finds itself embedded. Other research interests include histories of popular music in Montreal and Canada, and the role of public policy in sustaining local and national musical cultures. Straw’s current research focuses on the ways in which cities around the world have sought to regulate, develop and represent their night-time culture. He maintains a website, theurbannight.com, devoted to tracking developments in the night-time culture of cities and has a particular interest in the role of popular music within such developments. Dr. Straw is a past president of the Canadian Communication Association, and has been awarded the David Thomson Award for Graduate Teaching and Supervision at McGill University.
Carol Vernallis’s books include Experiencing Music Video: Aesthetics and Cultural Context (Columbia University Press, 2004), which provides a theoretical account of the genre. It is the first to articulate a theory of how music, lyrics, and image can be placed in relation, and also the first to provide detailed analyses of individual videos that show the parameters of sound and image at work in a temporal flow. Her Unruly Media: Youtube, Music Video, and the New Digital Cinema (Oxford University Press, 2013) attempts to take account of a new mediascape that is driven by intensified audiovisual relations. The book considers the techniques and strategies that are shared across the three forms of digital media it focuses on. Vernallis is co-editor of The Oxford Handbook of New Audiovisual Aesthetics, and The Oxford Handbook of Sound and Image in Digital Media (Oxford University Press, 2013). Her articles have appeared in American Music, Cinema Journal, the Journal of Popular Music Studies, Journal of the Society for American Music, Music Sound and the Moving Image, Popular Music, the Quarterly Review of Film and Video, and Screen. Her videos have screened internationally. Vernallis is lead series editor for Bloomsbury’s New Approaches to Sound, Music, and Media. Her most recent projects include two collected volumes with Bloomsbury, Transmedia Directors: Sound|Music|Image and Cybermedia: Scientists and Humanists Face the Machines. Her nearly completed monograph is Musical Spectacle in the Era of Personal Media.
Ellen Waterman holds the Helmut Kallmann Chair for Music in Canada and is a Professor in the School for Studies in Art and Culture at Carleton University. Her interdisciplinary research in music and sound studies engages with improvisation, performance ecologies, listening, and community-engaged research-creation methodologies. Her early work examined the environmental music dramas of R. Murray Schafer. In the 2000s, she conducted Sounds Provocative a cross-Canada comparative research project on experimental music performance. Waterman is also active as a flutist/vocalist specializing in creative improvisation, a practice that informs her research-creation. Her instructional score Bodily Listening in Place (2022), commissioned by New Adventures in Sound Art, explores an expanded concept of listening across different sensory modalities. Waterman’s books include three edited collections: Sonic Geography Imagined and Remembered, The Art of Immersive Soundscapes (with Pauline Minevich and James Harley), and Negotiated Moments: Improvisation, Sound, and Subjectivity (with Gillian Siddall). She has been a core member of the International Institute for Critical Studies in Improvisation since its inception and was a founding co-editor of the peer reviewed journal Critical Studies in Improvisation/Études critiques en improvisation. She is a member of the editorial collective for Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument (Music and Social Justice Series, U Michigan Press 2023). In 2021, Waterman founded the Research Centre for Music, Sound, and Society in Canada, dedicated to exploring the complex and diverse roles that music and sonic arts play in shaping Canadian society.