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
Alessandro Arbo, Professor of Music and Head of the Groupe de recherches expérimentales sur l’acte musical, University of Strasbourg
Daphne A. Brooks, William R. Kenan, Jr. Professor of African American Studies, American Studies, Music, and Women’s, Gender, and Sexuality Studies at Yale University
Marie Buscatto, Professor of Sociology at Paris 1 Panthéon Sorbonne University
Sara Cohen, James and Constance Alsop Chair in Music, University of Liverpool
Beverley Diamond, Professor Emerita of Music, Memorial University of Newfoundland
Samuel Furé-Davis, Professor of English, University of Havana
Antoine Hennion, Professor at Mines ParisTech and PSL University
Julian Henriques, Convenor of the MA Program in Cultural Studies, Director of the Topology Research Unit, Co-founder of the Sound System Outernational Research Group, and Professor in the Department of Media and Communications, Goldsmiths, University of London
Edwin Hill, Associate Professor, Department of French & Italian and Department of American Studies & Ethnicity, 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
Elizabeth Hellmuth Margulis, Professor of Music, Director of the Music Cognition Lab, Princeton University
Jann Pasler, Distinguished Professor of Music, Musicology, University of California, San Diego
Jui Ramaprasad, Associate Professor of Information Systems, Robert H. Smith School of Business, University of Maryland
Even Ruud, Professor Emeritus at the University of Oslo and the Norwegian Academy of Music
Mark M. Smith, Carolina Distinguished Professor of History, Director of Research for the Institute for Southern Studies, University of South Carolina
Will Straw, James McGill Professor of Urban Media Studies, McGill University
Carol Vernallis, Affiliated Researcher, Music Video and Film Studies, Music Department, Stanford University
Stacy Wolf, Professor of Theatre, Director of the Program in Music Theater, and Director of the Princeton Arts Fellows, Princeton 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.
Alessandro Arbo (email@example.com) 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.
Daphne A. Brooks
Daphne A. Brooks is the William R. Kenan, Jr. Professor of African American Studies, American Studies, Music, and Women’s, Gender, and Sexuality Studies at Yale University. She is the author of two books, Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910, which won the Errol Hill Award for Outstanding Scholarship on African American Performance, and Jeff Buckley’s Grace. Brooks is currently working on a three-volume study of Black women and popular music culture entitled Subterranean Blues: Black Women Sound Modernity. Her articles on race, gender, performance, and popular music culture have appeared in a range of leading journals. She is the author of the liner notes for The Complete Tammi Terrell and Take a Look: Aretha Franklin Complete on Columbia, each of which won the ASCAP Deems Taylor Award for outstanding music writing. Brooks has also edited The Great Escapes: The Narratives of William Wells Brown, Henry Box Brown, and William Craft and the “Performing Arts” volume of The Black Experience in the Western Hemisphere series. From 2016 to 2018, she served as the co-editor of Bloomsbury Press’s “33 1/3 Sound: Short Books About Albums” series. She is the co-founder and co-director of Yale University’s Black Sound & the Archive Working Group. Her writings have appeared in The New York Times, The Nation, The Guardian, Pitchfork.com, and other press outlets. She is currently editing an anthology of essays culled from Blackstar Rising & The Purple Reign: Celebrating the Legacies of David Bowie and Prince, an international 3-day conference and concert which she curated.
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).
Sara Cohen is a Professor at the University of Liverpool, where she holds the James and Constance Alsop Chair in Music and is Director of the Institute of Popular Music. She has a DPhil in Social Anthropology from Oxford University and is author of Rock Culture in Liverpool (1991) and Decline, Renewal and the City in Popular Music Culture (2007), co-author of Harmonious Relations (1991) and Liverpool’s Musical Landscapes (2018), and co-editor of Sites of Popular Music Heritage (2014). She has specialized in interdisciplinary research on popular music, defined in its broadest sense, but with a particular interest in ethnographic research and in the anthropology of music. Her research interests have centered on place, heritage, memory and ageing. Much of Sara’s research has been conducted through collaboration with scholars based at universities in the UK and overseas, and through partnership with a wide range of non-academic groups and organizations, including museums and galleries, governing bodies and heritage managers, film and media companies, music businesses and associations. She has led a series of major research projects supported by various funding bodies and is currently involved as co-applicant in a project supported by the Canadian Social Sciences and Humanities Research Council. She is an editorial board member for five international peer-reviewed journals. Other external appointments have included membership of the UK Arts and Humanities Research Council College, General Secretary of the International Association for the Study of Popular Music, and Visiting Professorships at universities overseas.
Ethnomusicologist Beverley Diamond is Professor Emerita at Memorial University of Newfoundland where she served as Canada Research Chair in Ethnomusicology and also founded and directed the Research Centre for the Study of Music, Media, and Place (MMaP) from 2003-15. She previously taught at Queen’s University and York University. She has contributed to Canadian cultural historiography, feminist music research, and Indigenous studies. Her research has explored social constructs of technological mediation, Indigenous theory as it relates to sound worlds, and, most recently, concepts of reconciliation and healing.
Samuel Furé-Davis taught Spanish language and translation at the University of Ghana from 1989 to 1992, before taking his current post as Professor of English at the University of Havana. He teaches classes on Anglo-Caribbean literature, English, and research methods, as well as graduate courses on cultural theory. Furé-Davis is an active member of the Caribbean Studies Association and its Executive Council, as well as a member of other academic organizations, including the Latin American Branch of the International Association for the study of Popular Music and the Latin American Studies Association. He has delivered public lectures at universities around the world, including the Universities of the West Indies (Mona, Jamaica and Cave Hill, Barbados), the University of Quintana Roo (Mexico), the University of British Columbia and Brock University (Canada). Furé-Davis has published widely on Rastafarianism, reggae, issues of race in Cuba, and Caribbean literature. His research focuses on Anglo-Caribbean culture and Latin American reggae, including entries in The Encyclopedia of Caribbean Religions (University of Illinois Press, 2013) and a chapter in the book Global Reggae (Canoe Press, 2012). Among other distinctions and awards, Professor Furé-Davis was the winner of the Pinos Nuevos artistic and literary prize for his book Cantos de Resistencia (Letras Cubanas, 2000) and the Catauro Cubano award by the Fernando Ortiz Foundation for La Cultura Rastafari en Cuba (Editorial Oriente, 2011).
Antoine Hennion is a Professor at Mines ParisTech and PSL University. The former Director of the Centre de Sociologie de l’innovation (1994–2002), Hennion has published extensively on the sociology of music, media, and culture. His work elaborates a theory of mediation that combines cultural sociology with science, technology, and society studies. By investigating new forms of social inquiry, he is developing a pragmatist approach to attachments and fragilities, from taste and the practices of amateurs to issues of homecare and migrants. His main book publications include The Passion for Music: A Sociology of Mediation (Ashgate 2015), La Grandeur de Bach (with J.-M. Fauquet; Fayard 2000), Figures de l’amateur (with S. Maisonneuve; La Documentation française 2000), Figures de l’amateur: Formes, objets et pratiques de l’amour de la musique d’aujourd’hui (with S. Maisonneuve and É. Gomart; La Documentation française 2000), and Rock: de l’histoire au mythe (with P. Mignon; Anthropos 1991). His writings on music and taste have appeared in numerous venues, including the books Actor Network Theory and After, Popular Music Matters, Reset Modernity!, The Empirical Baroque, and Art and the Challenge of Markets, and the journals Cultural Sociology, Journal of Cultural Economy, and Transposition: Musique et sciences sociales. More information on his work can be found here.
Professor Julian Henriquesis Convenor of the MA Program in Cultural Studies, Director of the Topology Research Unit, and Co-founder of the Sound System Outernational Research Group in the Department of Media and Communications at Goldsmiths, University of London. Previously Henriqueswas head of film and television in the Caribbean School of Media and Communication at the University of the West Indies in Kingston, Jamaica. Henriquesresearches street cultures, music, and technologies, including those of the reggae sound system. His credits as a writer-director include the reggae musical feature film Babymother andthe improvised short drama We the Ragamuffin. Hehas worked as a producer for numerous BBC and Channel Four documentaries, and as a sound artist, his sculpture Knots & Donuts was shown at the Tate Modern. Henriquesis a founding editor of the journal Ideology & Consciousness. He is co-author of the book Changing the Subject: Psychology, Social Regulation, and Subjectivity and author of the monographs Sonic Bodies: Reggae Sound Systems Performance Techniques and Ways of Knowing and the forthcoming Sonic Media: The Street Technology of the Jamaican Sound System. Henriquesis a co-founding trustee of the Stuart Hall Foundation and the principle investigator for a European Research Council consolidator research grant (2021–2025) titled Sonic Street Technologies.
Edwin Hill is an Associate Professor at the University of Southern California with joint appointments in the Department of French & Italian and the Department of American Studies & Ethnicity. His research lies at the intersections of popular music and literature, with a focus on histories of race and modernity, theories of sound, post/colonialism and black feminist thought, black Atlantic and Mediterranean noir fiction, and popular musical forms and cultural practices (jazz, hip hop, and house). He published his book Black Soundscapes White Stages: The Meaning of Francophone Sound in the Black Atlantic by Johns Hopkins University Press (African diaspora series, 2013). Published articles appear in Ethnomusicology Forum, the Journal of Popular Music Studies, and Negritud: Journal of Afro-Latin American Studies. His book-in-progress deals with black rage and sound cultures in France and the US.
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.
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.
Jann Pasler, Distinguished Professor at UC San Diego, musicologist and documentary filmmaker, seeks to understand not only the intentions underlying music’s creation, but also the contingencies, contradictions, and performativity involved in its practice, reception, and role in people’s lives. Her work addresses the use of music to connect individuals to community and negotiate complex, fluid identities through gender, sexuality, race, class, or nation. Investigating how music has helped shape political identities under Third Republic France, she has shown how it contributed to “composing” citizens and to the formation and health of their democracy. Studying music in francophone colonial cultures, particularly North Africa, Senegal, and Vietnam, she reframes modern colonial history through its aurality in many forms, especially the radio. Pasler’s wide-ranging approaches to musical biography, history, and music’s effects on society and culture challenge readers to rethink assumptions about national and colonial identities; her critical, interdisciplinary, intercultural, and intra-imperial approaches suggest new theoretical perspectives. Her books include Writing through Music: Essays on Music, Culture, and Politics (Oxford University Press, 2007), the ASCAP Deems Taylor award-winning Composing the Citizen: Music as Public Utility in Third Republic France (University of California Press, 2009), Saint-Saëns and his World (Princeton University Press, 2012), and La République, la musique et le citoyen, 1871-1914 (Editions Gallimard, 2015), which won the Prix de l’essai from the Fondation Singer-Polignac. Currently she is completing Sounding the French Empire: Colonial Ethnographies of Music and New Media, 1860s-1960s (supported by the ACLS in 2016-17). Her website is http://www.writingthroughmusic.com/.
Jui Ramaprasad is an Associate Professor of Information Systems in the Robert H. Smith School of Business at the University of Maryland. Before joining the University of Maryland, she taught in the Desautels Faculty of Management at McGill University. She holds a PhD in Information Systems from the University of California-Irvine, where her interest in the impact of information technology on music consumption developed and resulted in her dissertation. Her current research is on digital platforms and digital goods more broadly, but it continues to focus on motivating participation, interaction, consumption, and payment in the context of online music and digital music platforms. In particular, she is concerned with how technology can provide opportunities for a broader range of artists to emerge and be paid for their work. Ramaprasad conducts quantitative, empirical studies—ranging from randomized field experiments, to quasi-experimental methods, to lab experiments and more—and has experimented with qualitative research as well. Her papers have been published in the top journals in her field, including Information Systems Research, Management Information Systems Quarterly (MISQ), and Management Science. She is currently an Associate Editor at two of these journals (MISQ and Management Science) and has co-chaired numerous conferences.
Even Ruud is professor emeritus at the University of Oslo and the Norwegian Academy of Music. He has also been adjunct professor in music therapy in the Department of Communication and Psychology at Aalborg University in Denmark. Ruud is trained as a piano teacher, musicologist, music therapist, and certified psychologist. His work emphasizes a multidisciplinary perspective that draws on music psychology, the ethnography of music, music therapy, and music education. He has engaged in theoretical research in music education and music therapy, the analysis of music video, ethnographic research on rock bands, and qualitative studies on music and identity, as well as on health and life quality in the field of music. Ruud is the author of Music Therapy and its Relationship to Current Treatment Theories, Music Therapy: Improvisation, Communication, and Culture, Music Therapy: A Perspective from the Humanities, and, most recently, Toward a Sociology of Music Therapy: Musicking as a Cultural Immunogen. In Norwegian, he has published a textbook in musicology (Musikkvitenskap) and a study of music and identity (Musikk og identitet), as well as essays on music education and other aspects of contemporary culture. As a member of the Centre for Music and Health (CREMAH) at the Norwegian Academy of Music, he co-edited a number of anthologies. He has been instrumental in developing the profession of music therapy in Norway. Ruud is a member of the Norwegian Academy of Science and Letters.
Mark M. Smith
Mark M. Smith is Carolina Distinguished Professor of History and Director of Research for the Institute for Southern Studies at the University of South Carolina. He is author or editor of a dozen books, including Mastered by the Clock: Time, Slavery, and Freedom in the American South (winner of the Organization of American Historians’ 1997 Avery O. Craven Award); Debating Slavery: Economy and Society in the Antebellum American South; Listening to Nineteenth-Century America; How Race Is Made: Slavery, Segregation, and the Senses (a Choice Outstanding Academic Title); and Sensing the Past: Seeing, Hearing, Smelling, Tasting, and Touching in History. His most recent book, published in 2014, is The Smell of Battle, The Taste of Siege: A Sensory History of the American Civil War. It was named a Foreign Affairs Best Book of 2014. His work has been translated into Chinese, Korean, Danish, German, and Spanish. Recognized as one of the foremost scholars of the American South and as a pioneer in the history of the senses, he is also a noted scholar of the history of natural disasters. He is the author of Camille, 1969: Histories of a Hurricane and was co-author of Hurricane Katrina and the Forgotten Coast of Mississippi (Cambridge University Press 2014). This work was funded by a National Science Foundation grant. Smith has lectured in Europe, throughout the United States, Australia, and China and his work has been reviewed and featured in the New York Times, the London Times, Brain, Science, the Washington Post, Slate, and the Wall Street Journal. He is the co-editor of Studies in International Slavery (Liverpool University Press), co-editor of Cambridge University Press’ series, Studies on the American South, and General Editor of the Penn State University Press’ Interdisciplinary Perspectives Studies in Sensory History. He is a regular book reviewer for the Wall Street Journal.
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.
Stacy Wolf is Professor of Theatre, Director of the Program in Music Theater, and Director of the Princeton Arts Fellows at Princeton University. She is the author of Changed for Good: A Feminist History of the Broadway Musical (Oxford University Press, 2011), A Problem Like Maria: Gender and Sexuality in the American Musical (University of Michigan Press, 2002), and the co-editor of The Oxford Handbook of the American Musical (with Raymond Knapp and Mitchell Morris, 2011). Wolf’s manuscript-in-progress, Beyond Broadway: Musical Theatre Across the U.S. (forthcoming from OUP), explores how the national Broadway musical theatre repertoire finds new life at local venues across the country, including summer camps, high schools, community theatres, and afterschool programs. Recent publications include “’The Hills Are Alive with the Sound of Music’: Musical Theatre at Girls’ Jewish Summer Camps in Maine, USA” in Contemporary Theatre Journal; “The Feminine Mystique Goes to Broadway: Housewives in 1960s Musical Theater” in The Sixties, Center Stage; an essay on women in The Hunchback of Notre Dame for Disney Theatrical Group’s Study Guide; and two forthcoming articles on gender in the smash hit Hamilton. Before Princeton, Wolf taught in the Performance as Public Practice Program in the Department of Theatre & Dance at the University of Texas at Austin, in English and Theatre & Dance at the George Washington University, and in the School of Theatre at Florida State University. In 2017, Wolf received a Guggenheim Fellowship, a Bogliasco Foundation Fellowship, and a President’s Distinguished Teaching Award at Princeton.