(p. xiii) Contributors
(p. xiii) Contributors
Sumanth Gopinath is Associate Professor of Music Theory at the University of Minnesota. He is the author of The Ringtone Dialectic: Economy and Cultural Form (MIT Press, 2013). His essays, articles, and reviews on Steve Reich, Marxism and music scholarship, academic politics, the ringtone industry, Bob Dylan, and Benjamin Britten have appeared in scholarly journals including Music Theory Spectrum, Journal of the Society for American Music, and First Monday, and the edited collections Sound Commitments, Highway 61 Revisited, and Music and Narrative since 1900. He is working on a book project on musical minimalism and is doing research on sound in new and formerly new media, Bob Dylan’s musicianship, the aesthetics of smoothness, and the music of James Dillon.
Jason Stanyek teaches at the University of Oxford where he is University Lecturer of Ethnomusicology and Tutorial Fellow at St. John’s College. Before arriving to Oxford he was Assistant Professor at New York University, Visiting Associate Professor at Harvard University and External Faculty Fellow at the Stanford Humanities Center. He has published on subjects ranging from Brazilian hip-hop to Pan-African jazz, from free improvisation to posthumous duets. His ethnographic monograph on music and dance in the Brazilian diaspora and a co-edited volume (with Frederick Moehn) on the history of bossa nova in the United States are forthcoming. From 2013 to 2018 he will serve as reviews editor of the journal Twentieth Century Music.
Jayson Beaster-Jones is Assistant Professor in the Department of Performance Studies at Texas A&M University. His research examines music retail stores as sites of cultural production in contemporary India, focusing in particular upon the economic and social values that are produced as music is sold, as well as the meanings that accompany music commodities in sales contexts. His research also addresses the cultural and media histories of the Indian music industry, the discourses of piracy and intellectual property, and the social changes that have accompanied India’s economic liberalization reforms. He has recently published in the journals Ethnomusicology and Popular Music.
Arild Bergh completed a Ph.D. on the topic of music and conflict transformation at the University of Exeter, with fieldwork in Norway and Sudan. Bergh is a member of the SocArts research group and founding editor of the journal Music and Arts in Action (www.musicandartsinaction.net). Bergh previously worked as a music journalist, researching and writing on topics ranging from immigrant music in Europe to cassette music culture and underground music in communist countries and has published (p. xiv) research on music and conflict transformation, mobile music technologies, and music and migration. Research website: www.musicalista.net.
Maia Bergh is currently studying graphic design in Manchester. She spent the past few years traveling extensively in Europe, studying French in Paris, German in Switzerland, art in Brighton, and history in Oxford. She has also done a range of non-profit work, including voiceover work for Oxfam campaigns.
Tyler Bickford is assistant professor of English at the University of Pittsburgh, where he teaches children’s literature and childhood studies. He received his Ph.D. in ethnomusicology in 2011 from Columbia University and has written articles and reviews for Popular Music, Ethnomusicology, Journal of Folklore Research, Journal of Consumer Culture, Current Musicology, and several edited volumes. http://www.tylerbickford.com
Bill Bahng Boyer, a doctoral candidate in ethnomusicology at New York University and a lecturer in music at Dartmouth College, is currently writing his dissertation, “Public Hearing: Sonic Encounters and Social Responsibility in the New York City Subway System,” which examines individual and collective listening practices in the spaces of the subway.
Michael Bull is Reader in Media at the Sussex University. He has published widely in the field of mobile technologies and sound. He is the author of Sounding Out the City: Personal Stereos and the Management of Everyday Life (Berg 2000) and Sound Moves: iPod Culture and Urban Experience (Routledge 2007). He also co-edited The Auditory Culture Reader (Berg 2003, with Les Back) and is a founding editor of the journal Senses and Society (Berg). He is presently writing a monograph on the history of sound for the University of Illinois Press.
Patrick Burkart research interests include the political economy of popular music and software industries, telecommunications and media policy studies, international communications, global media studies, cyberliberties, and critical theory. His books include Pirate Politics: The New Information Policy Contests, Digital Music Wars: Ownership and Control of the Celestial Jukebox (with Tom McCourt) and Music and Cyberliberties. He has taught and researched in Latin America and Scandinavia. He is Editor of Popular Communication: The International Journal of Media and Culture.
Evelyn Nien-Ming Ch’ien is a member of l’Institut d’Etudes Transtextuelles et Transculturelles at the Université Jean Moulin Lyon III in Lyon, France. Until 2010 she was Associate Professor at the University of Minnesota, where she taught courses in literature and hip-hop music composition. For 2011–2012 she is a Fulbright Senior Research Scholar in Guangzhou, China. She has published in a variety of venues, among them, Wasafiri, Granta, The New Centennial Review, the Village Voice, World Englishes, English Today, and the Review of International American Studies. Her book Weird English (Harvard University Press, 2004) has been reviewed in, among others, Library Journal (Aparna Zambare), Choice, Far Eastern Economic Review, Politics and Culture, The Globe (p. xv) and Mail (Toronto), The New York Su, RMMLA, The Texas Observer, and the NPR program, The Morning Show at KPFA Radio in Berkeley, California.
J. Martin Daughtry is Assistant Professor of Ethnomusicology at New York University. His work on musical nationalism, voice, and underground media in Soviet- and Post-Soviet Russia has been published in the journals Ethnomusicology, Poetics Today, and Russian Literature. Currently he is completing a monograph on sound, listening, and violence within the context of Operation Iraqi Freedom. He is also a sound designer for “Virtual Iraq,” a virtual-reality PTSD treatment program created by the Institute for Creative Technologies (USC) for use in Veterans Administration hospitals throughout the United States.
Tia DeNora is Professor of Music Sociology at the University of Exeter. She is the author of Music in Everyday Life. Her current work is in the area of music and wellbeing, and she is a member of the SocArts Group at Exeter University.
Kariann Goldschmitt is Visiting Assistant Professor of Music at New College of Florida and was the Mellon Fellow of Non-Western Music at Colby College from 2009 to 2011. She earned her Ph.D. in musicology from the University of California–Los Angeles. Her work on the international reception of Brazilian popular music and its relationship to the global culture industries has appeared in Luso-Brazilian Review and Popular Music and Society. She has contributed numerous entries on topics related to Latin America for The New Grove Dictionary of American Music.
Heather A. Horst is a Vice-Chancellor’s Senior Research Fellow in the School of Media and Communication and Director of the Digital Ethnography Research Centre at RMIT University. Her research explores transformations in the organization and experience of social life in light of new media, material culture, and transnational migration. Her books include The Cell Phone: An Anthropology of Communication (with Daniel Miller, Berg), Hanging Out, Messing Around, and Geeking Out: Living and Learning with New Media (with Mizuko Ito, et al., MIT Press), and an edited volume with Daniel Miller, Digital Anthropology, published with Berg in 2012.
Katie M. Lever-Mazzuto is Assistant Professor at Western Connecticut State University in Danbury, Connecticut. Her research interests include the social implications of technology use. More specifically, she is interested in how mobile technologies, such as digital music devices and mobile phones, are used in public environments. She completed her Ph.D. at Rutgers University.
Jan Maghinay Padios is Assistant Professor of American Studies at the University of Maryland College Park, where she is completing a book on customer service call centers in the Philippines. Her research brings together of critical cultural studies and political economy, with emphasis on neoliberal globalization, transnational labor, media and communication, and ethnography. Her work has been published in Circuits (p. xvi) of Visibility: Gender and Transnational Media Cultures (New York University Press, 2011) and Figures of Southeast Asian Modernity (University of Hawai’i Press, 2014).
Noriko Manabe is Assistant Professor of Music at Princeton University. Her publications on Japanese hip-hop, ringtones and the music business, and Cuban music have appeared in Ethnomusicology, Asian Music, Latin American Music Review, Transcultural Music Review, and several edited volumes, including Internationalizing Internet Studies, ed. Gerard Goggin and Mark McLelland. She received her Ph.D. from City University of New York in ethnomusicology and music theory. She was previously an Institutional Investor-ranked analyst on Japanese Internet and games at JP Morgan. She is currently writing monographs on the history of Japanese children’s songs and on Japanese musical subcultures, including hip-hop and reggae.
David McCarthy earned a Master of Arts in musicology and a Master of Music in saxophone performance at the University of Minnesota in 2010. He teaches at the Brooklyn College Conservatory of Music and is pursuing a Ph.D. in musicology at the Graduate Center of the City University of New York.
Mara Mills is Assistant Professor of Media, Culture, and Communication at New York University. She is currently completing a book on the significance of deafness to the emergence of communication engineering in the telephone system. Articles from this project can be found in Social Text, Differences, and The Oxford Handbook of Sound Studies. Her new research concerns the history of talking books, reading machines, and “print disability.” Mills is the co-editor of a recent issue of Grey Room on the “audiovisual” and the recipient of the 2010 Irving K. Zola Award for Emerging Scholars in Disability Studies.
Mark Nye is a photographer, filmmaker, and IT professional. He is currently editing an ethnographic documentary film on Marathi Kirtan and working on a photographic series entitled The Suburbs of Silicon Valley. He is employed by the University of Illinois at Urbana-Champaign where he manages large-scale enterprise applications. Mark is a full time telecommuter and lives in Stanford, California with his wife Anna Schultz.
Marc Perlman is Associate Professor of Music at Brown University. His book, Unplayed Melodies: Javanese Gamelan and the Genesis of Music Theory (2004), won ASCAP’s Deems-Taylor Award, the Alan Merriam Prize from the Society of Ethnomusicology, the Wallace Berry Award from the Society for Music Theory, and the American Musicological Society’s Lewis Lockwood Award. In 2007–2008 he received a Mellon New Directions Fellowship to study intellectual property law. His writing on the international effort to craft an intellectual property regime for traditional music has appeared in the edited volume Making and Unmaking Intellectual Property (University of Chicago Press, 2011).
Sindhumathi Revuluri is Associate Professor of Music at Harvard University. Her primary area of study is the musical culture of fin-de-siècle France, with a secondary specialization in contemporary Indian music and cinema. Her other research interests include music and empire, global pop music, film and media studies, and critical and (p. xvii) postcolonial theory. Her research has been supported by fellowships from the French Government (Bourse Chateaubriand) and the Woodrow Wilson Fellowship Foundation (Andrew W. Mellon Fellowship in Humanistic Studies). She co-organized (with Ingrid Monson and Olivia Bloechl) the seminar “Postcolonial Music Studies” at the Radcliffe Institute (2009). In 2009–2010 she was a fellow at the Penn Humanities Forum of the University of Pennsylvania.
Martin Scherzinger is Associate Professor of Media, Culture, and Communication at New York University. His research specializes in sound studies, musical culture, media, and politics of the twentieth and twenty-first centuries, with a particular interest in non-western music, the political hermeneutics of absolute music, cultures of musicology, philosophy, and music theory, in elation to political economy in an international frame. Two forthcoming book projects include The Political Stakes of Musical Form and African Genealogies of European and American Concert Music.
Joseph Schloss is the author of Foundation: B-boys, B-girls and Hip-hop Culture in New York (Oxford University Press, 2009), and Making Beats: The Art of Sample-Based Hip-Hop (Wesleyan University Press, 2004), which won the 2005 Book Prize from the International Association for the Study of Popular Music. He is adjunct assistant professor of Black and Latino Studies at Baruch College of the City University of New York.
Anna Schultz is Assistant Professor of Ethnomusicology at Stanford University. Schultz’s first book, Singing a Hindu Nation: Marathi Devotional Performance and Nationalism, will be published by Oxford University Press in 2012. Her published and forthcoming articles and book chapters are on the regional performance of Hindu nationalism, style and patronage in Marathi kirtan, the aesthetics of suffering in the Indo-Caribbean diaspora, race and ethnicity in bluegrass music, and the para-liturgical music of the Bene Israel of India.
Jonathan Sterne teaches in the Department of Art History and Communication Studies and the History and Philosophy of Science Program at McGill University. He is author of The Audible Past: Cultural Origins of Sound Reproduction (Duke, 2003), MP3: The Meaning of a Format (Duke 2012); and numerous articles on media, technologies, and the politics of culture. He is also editor of The Sound Studies Reader (Routledge, 2012). Visit his website at http://sterneworks.org.
Tim Wall is Professor of Radio and Popular Music Studies, and Director of Research in the Birmingham Centre for Media and Cultural Research, at Birmingham City University in the United Kingdom. He also leads the Interactive Cultures research team, who explore the relationship between culture, technology, and the media. His published research includes studies of BBC specialist music radio, internet radio, online fandom, and jazz and popular music history. He works with the music and radio industries on solutions to the challenge of new online environments. The second edition of his Studying Popular Music Culture was published in 2013.
(p. xviii) Nick Webber is Senior Researcher and Research Developer in the Birmingham Centre for Media and Cultural Research at Birmingham City University, United Kingdom. He has written on identity, cultural history, and the relationship of technology and culture, and his current research includes contemporary popular music consumption, online archiving and civic history, and the culture of massively multiplayer online games. He has published a monograph on The Evolution of Norman Identity 911–1154 (Boydell). He is a contributor to the Encyclopedia of Consumer Culture (Sage), Assistant Editor of The Radio Journal, and a member of the editorial board of Midland History.
Christopher Joseph Westgate is a media scholar who teaches courses in digital media, media industries, media identities, Latin/@ media, and the history of media. His articles and reviews have been published in Media, Culture & Society; Communication, Culture & Critique; the Journal of Communication; and the Journal of Popular Music Studies. Westgate’s research program includes the following areas of inquiry: global media and Latin/@ representation; media industries and the production of digital culture; and popular music and sonic technologies.