(p. xi) Contributors
(p. xi) Contributors
Harold Anderson teaches cultural anthropology at Bowie State University in Maryland and works as a documentarian, researcher, and curator for a number of museums and organizations. He also teaches cultural documentation and ethnographic methodology as a member of the core faculty in the Master of Arts in Cultural Sustainability program at Goucher College in Towson, Maryland. His clients have included the Virginia Foundation for the Humanities, Maryland State Arts Council and Maryland Traditions, Arlington County Cultural Affairs, and the Smithsonian Center for Folklife and Cultural Heritage. He was a Mozart Fellow at Otago University in New Zealand—a prestigious residency for composers—and earned his PhD in ethnomusicology at University of Maryland, College Park. His focus is on traditional, indigenous, and maritime cultures, including Pacific peoples, African American watermen, and communities in the Chesapeake region of Maryland as well as urban destinations for peoples in diaspora. His research languages include Maori and French. He has written numerous reports on endangered folkways for prestigious national institutions like the Smithsonian and has done extensive fieldwork in both the United States and New Zealand. Harold is also an award-winning composer and accomplished jazz bassist.
Caroline Bithell is Senior Lecturer in Ethnomusicology at the University of Manchester in the United Kingdom. She has published widely on Corsican music, which was the main focus of her research from 1993. Her monograph Transported by Song: Corsican Voices from Oral Tradition to World Stage was published by Scarecrow Press in 2007. Her edited collection The Past in Music appeared as a special issue of the journal Ethnomusicology Forum (2007). Her book, A Different Voice, A Different Song: Reclaiming Community Through the Natural Voice and World Song, and her co-edited volume, The Oxford Handbook of Music Revival appeared with Oxford University Press in 2014.
Philip V. Bohlman is the Mary Werkman Distinguished Service Professor of Music and the Humanities at the University of Chicago and honorary professor at the Hochschule für Musik, Theater und Medien Hannover. His research and teaching range widely across many fields, with particular emphasis on the intersections of music and religion. Among his recent publications are Music in American Religious Experience (coedited with Edith L. Blumhofer and Maria M. Chow) and Jewish Music and Modernity, both published by Oxford University Press. His current research includes ethnographic studies of music and religion in India and of the music in the Muslim communities of Europe. He is an active performer, serving as artistic director of the New Budapest Orpheum Society, an ensemble-in-residence at the University of Chicago.
(p. xii) Mellonee Burnim is professor and director of the Ethnomusicology Institute in the Department of Folklore and Ethnomusicology and adjunct professor in the Department of African American and African Diaspora Studies at Indiana University-Bloomington. She is a Distinguished Alumnus of the University of North Texas and was selected as the first Distinguished Faculty Fellow in Ethnomusicology and Ritual Studies at the Yale Institute for Sacred Music in 2004. As an ethnomusicologist with a specialization in African American religious music, Burnim has done fieldwork and led workshops on African American religious music across the United States, as well as in Cuba and Malawi. The founding director of the African American Choral Ensemble at IU in 1975, she has also served as minister of music in churches of various denominations, including Fairview United Methodist Church in Bloomington, where she has been for the past twelve years. She is coeditor of African American Music: An Introduction (Routledge 2006), currently under revision, and the Illinois Press series African American Music in Global Perspective.
Melvin L. Butler is currently assistant professor of music at the University of Chicago. He earned a PhD (2005) in ethnomusicology from New York University. He has received a Ford Foundation Pre-Doctoral Fellowship (1999) and a Fulbright IIE research grant (2002). In 2004–2005 he was the Thurgood Marshall Dissertation Fellow at Dartmouth College. His research interests center on music, identity, and charismatic Christianity in the Caribbean and the United States.
Julia Byl is assistant professor in ethnomusicology at the University of Alberta. She works on the history of performance in North Sumatra, with broader interests in the connections between sound, religious belief and identity politics in Southeast Asia. Her recent book, Antiphonal Histories (Wesleyan University Press, 2014), explores the pasts audible in the Sumatran musical present. From 2012–2015, she served as a post-doctoral researcher at King’s College London for the European Research Council-funded project, “Musical Transitions to Colonialism in the Eastern Indian Ocean.”
Jonathan M. Dueck is assistant professor of writing at the George Washington University; he has also taught at Duke University, the University of Maryland, and the University of Alberta, his alma mater. He has served as president of the Mid-Atlantic Chapter of the Society for Ethnomusicology. His musical research interests center on music and Christianity in North America and in Africa; he is also developing new research on the role of music and sound in sport. He has published articles on Christian/Mennonite popular and art musical practices in Ethnomusicology, the Journal of American Folklore, Popular Music and Society, the Journal of Mennonite Studies, and the Conrad Grebel Review, in addition to chapters in various edited collections.
Jeffers Engelhardt is associate professor of music at Amherst College. A graduate of the University of Chicago, his research deals broadly with music, religion, European identity, and media. His first authored book, Singing the Right Way: Orthodox Christians and Secular Enchantment in Estonia, and a coedited volume, Resounding Transcendence: Transitions in Music, Religion, and Ritual, were both published by Oxford University Press.
(p. xiii) Christopher Dicran Hale was raised in Nepal and India, where he began studies in sitar. He studied jazz guitar and classical composition at Berklee College of Music, graduating with a BA in composition in 1990. Following college, Christopher formed a rock band together with Indian friends in Lucknow, India, that included Indian devotional music in its repertoire. In 1999, returning to the West, Christopher formed the devotional fusion band Aradhna (aradhnamusic.com), with Pete Hicks. The band released six albums between 2000 and 2012. Christopher is based in Toronto and travels extensively, teaching and performing sitar and Indian vocal music (christopherhalesitar.com).
Keith Howard professor of music at SOAS, University of London, and was dean of research at Sydney Conservatorium of Music, University of Sydney. He is the author or editor of nineteen books, including Singing the Kyrgyz Manas (Global Oriental, 2011 with Sabarbek Kasmambetov, Gulnara Kasmambetova and Razia Sultanova), Korean Kayagum Sanjo: A Traditional Instrumental Genre (Ashgate, 2008, with Chaesuk Lee and Nicholas Casswell), Zimbabwean Mbira Music on an International Stage (Ashgate, 2007, with Chartwell Dutiro), Creating Korean Music (Ashgate, 2006), Preserving Korean Music (Ashgate, 2006), Korean Pop Music: Riding the Wave (Global Oriental, 2006), Korean Shaman Rituals: Revivals, Preservation and Change (Seoul Press, 1998), True Stories of the Korean Comfort Women (Cassell, 1995), and Korean Musical Instruments (Oxford University Press, 1994). He has also written more than one hundred articles. He founded and directed OpenAir Radio and the SOASIS CD and DVD label, and from 2002 to 2007 was director of the AHRC Research Centre for Cross-Cultural Music and Dance Performance. He is active both as a broadcaster on global music and Korean affairs (for BBC, NBC, ITV, Press TV, Sky, etc) and as a performer, having given recitals in Europe, America, Asia, and Australasia.
Monique Ingalls is assistant professor of music at Baylor University. Previously, she was a postdoctoral fellow in popular music at the University of Cambridge. She writes about popular congregational music in evangelical and Pentecostal Christianity, and her work has been published in ethnomusicology and religious studies journals. Monique is cofounder of the conference Christian Congregational Music: Local and Global Perspectives and is coeditor of books on music in global Pentecostalism and Christian congregational music.
Tala Jarjour is assistant professor in the Departments of Music and Anthropology at the University of Notre Dame. She obtained her PhD at the University of Cambridge and has taught at New York University for NYU Abu Dhabi. She specializes in music of the Arab world and the Middle East, especially religious music, and focuses on Syriac chant. Her current research explores the articulations between musical systems, group identities, performance, emotion, and power.
Marie Jorritsma received her doctorate in ethnomusicology from the University of Pennsylvania and is currently a senior lecturer at the University of the Witwatersrand, South Africa. Her monograph, Sonic Spaces of the Karoo: The Sacred Music of a South African Coloured Community, was published in 2011 by Temple University Press and Wits University Press.
(p. xiv) Deborah Justice is the Schragis Postdoctoral Fellow in American Popular Music at Syracuse University; previously she was a postdoctoral associate at the Institute of Sacred Music at Yale University. She received her PhD from Indiana University. Her research interests include the movement of music, media, and religion; phenomenological approaches to musical experience; and how groups in the United States, the Middle East, and Europe use musical traditions to balance emergent identities with rich heritage. In addition to previous scholarly publications in the Pacific Review of Ethnomusicology (now Ethnomusicology Review) and Folklore Forum, she has published an instructional book, Middle Eastern Music for the Hammered Dulcimer, with Mel Bay, because she enjoys an active performance life as a hammered dulcimer player and teacher.
Judith Klassen is a violist, ethnomusicologist, and curator of Cultural Expression at the Canadian Museum of History. She completed her PhD at Memorial University of Newfoundland in 2008, where her doctoral research explored faithful defiance in the song practices of Mennonites in northern Mexico. Judith holds a Master’s in Ethnomusicology (York University), a Bachelor of Music in Viola Performance (University of Manitoba), and a Bachelor of Church Music (CMBC).
Barbara Rose Lange is associate professor of ethnomusicology at the Moores School of Music, University of Houston. She has researched several aspects of popular culture in Hungary, including music in the Roma rights movement, lakodalmas rock, Pentecostal singing, and experiments with folk music.
Glaura Lucas is professor of ethnomusicology at the School of Music of the Universidade Federal de Minas Gerais, Brazil, and currently coordinates the Laboratory of Musicology and Ethnomusicology at this institution. She has conducted extensive research on the music of the Afro-Brazilian congado ritual, and is the author of Os sons do Rosário: o congado mineiro dos Arturos e Jatobá (Editora UFMG, 2002; 2nd ed. 2014). Together with the leader of the black community of Arturos (Minas Gerais, Brazil), José Bonifácio da Luz, she has organized the collective construction of a CD book on their congado music, called Cantando e reinando com os Arturos (Rona, 2006).
Fiona Magowan is professor of anthropology and director of research in anthropology and ethnomusicology at Queen’s University, Belfast. Her publications focus on indigenous music, performance, and Christianity; cultural tourism; religion and ritual; and sex and gender. She has conducted fieldwork in Arnhem Land, Northern Territory, Queensland, and South Australia. Her books include Melodies of Mourning: Music and Emotion in Northern Australia (Oxford, 2007); The Anthropology of Sex (Oxford, Berg 2010, coauthored with H. Donnan); and the coedited volumes Performing Gender, Place and Emotion (Rochester, 2013, with L. Wrazen); Transgressive Sex (Oxford, Berghahn, 2009, with H. Donnan); Landscapes of Performance (Aboriginal Studies Press, 2005, with K. Neuenfeldt); and Telling Stories (Allen and Unwin, 2001, with B. Attwood). She was CI on an ESRC project (The Domestic Moral Economy in the Asia-Pacific 2011–2015) and senior researcher on the HERA project Creativity in a World of Movement (2010–2012). She was a former chair of the Anthropological Association of Ireland, member of the (p. xv) Royal Irish Academy’s National Committee for Social Sciences, and chair of the Music and Gender Symposium of the International Council for Traditional Music.
Luisa Nardini is an associate professor of musicology at the University of Texas, Austin. She specializes in Gregorian chant, medieval music theory, music and visual art, manuscript studies, and oral and written transmission of liturgical chant. Her forthcoming book, Interlacing Traditions: Neo-Gregorian Chant Propers in Beneventan Manuscripts focuses on the additions to the Gregorian Propers in Beneventan manuscripts and will appear in the series the Pontifical Institute of Mediaeval Studies from the University of Toronto Press. She is also currently working on the edition and study of the prosulas copied in Beneventan manuscripts.
Anna E. Nekola received her PhD in musicology at the University of Wisconsin–Madison, and she teaches courses in music, communication, and queer studies at Denison University. Her research appears in The Journal of the Society for American Music (2010), Mediating Faiths: Religion, Media and Popular Culture (2011), Christian Congregational Music—Performance, Identity and Experience (2013), and Popular Music (2013). She is currently working on a book analyzing the disputes over worship music within contemporary American evangelical Christianity, exploring how ideological and theological disputes are reconfigured as spiritual battles over the most appropriate musical style for organized worship services.
Joseph J. Palackal is the founder and president of the Christian Musicological Society of India. He earned a doctorate in ethnomusicology from the Graduate Center of the City University of New York. He has contributed articles on Christian music in India to several international publications, including The New Grove Dictionary of Music and Musicians and the Garland Encyclopedia of World Music. He is principal vocalist for over forty releases in five languages, including Sanskrit and Syriac. He made his debut in New York in the off-Broadway show Nunsense. Currently he is completing his book on the Syriac chants in South India.
Suzel Ana Reily is Professor of Ethnomusicology at the Universidade Estadual de Campinas (UNICAMP). Previously, she was a reader in ethnomusicology and social anthropology at Queen’s University, Belfast. Her publications include Voices of the Magi: Enchanted Journeys in Southeast Brazil (Chicago, 2002), the editorship of Brazilian Musics, Brazilian Identities (2000, British Journal of Ethnomusicology 9, no. 1), The Musical Human: Rethinking John Blacking’s Ethnomusicology in the Twenty-first Century (Ashgate, 2006), Brass Bands of the World (Ashgate, 2013), and the production of a website/CD-ROM based on John Blacking’s ethnography of the Venda girls’ initiation school.
Jennifer Ryan is an assistant professor of African and African American studies at Indiana State University. She received her PhD from the University of Pennsylvania in 2008, and her dissertation was entitled “ ‘Can I Get a Witness?’: Soul and Salvation in Memphis Music.” Her main areas of research interest include intersections of the sacred and secular in African American music, music and tourism, and the idea of “soul” in the 1960s.
(p. xvi) Zoe Sherinian is associate professor of ethnomusicology at the University of Oklahoma. Her research focus has been the indigenization of Christian music in India, with secondary emphases in gender studies (intersectionality) and world percussion. Her recent book Tamil Folk Music As Dalit Liberation Theology (Indiana University Press, 2014) argues that Dalits have been able to draw on the flexibility of Tamil folk music to create an indigenized Christian liberation theology that can respond in liturgical performance to their needs for transformative social change. Her journal publications on this work include Ethnomusicology (Summer 2007), Worlds of Music (2005), Women and Music (2005), and the online journal Religion Compass (2009). In 2008–2009 she received a Fulbright Senior Research Fellowship to conduct ethnographic fieldwork and make a film on the changing status of the parai frame drum of the Dalits of Tamil Nadu, India. This resulted in the documentary film This Is a Music: Reclaiming an Untouchable Drum. She has since received an Asian Arts Council grant and an AIIS Fellowship to make her second film on the use of folk arts as a tool of empowerment for untouchable women drummers.
Jennifer Sinnamon worked with the Education Board in Northern Ireland before joining the staff of the Conservatory of Music and Drama, Dublin Institute of Technology, as lecturer in piano and ethnomusicology. She completed her PhD in ethnomusicology in 2007 at Queen’s University, Belfast, where she has also lectured in ethnomusicology. Her doctoral research, which was funded by Dublin Institute of Technology, focused on music and emotion in the sphere of Palestinian martyrdom and funerary practices, while her MA dissertation discussed nationalist expression and music within traditional Palestinian wedding festivities. She has carried out ethnomusicological fieldwork in the West Bank and Gaza, and in the Palestinian diaspora, over the course of many years. Her research interests include martyrdom, conflict, emotion theory, motivation theory, and social and cultural theory, particularly in relation to uses of music in everyday life in Palestine.
Thérèse Smith is Associate Professor of music at University College Dublin’s School of Music. She lived for ten years in the United States, completing her master’s and PhD at Brown University, conducting fieldwork in Rhode Island, Kentucky, and Mississippi primarily, and lectured at university. She has published widely on Irish traditional music and African American music. She served as the inaugural chair of the International Council for Traditional Music, Ireland (2006–2009).
Julie Taylor is consultant and coordinator of anthropology and ethnomusicology/arts training for SIL International in Africa, where she has been based since 1993. Her PhD (University of Edinburgh, 2002) was in ethnomusicology, focusing on responses to cultural change among the Sabaot of Kenya, and her MA (Wheaton, 1992) was a generative analysis of music systems from Papua New Guinea and Irian Jaya. She is adjunct lecturer in World Arts at the Graduate Institute of Applied Linguistics (GIAL) in Dallas, and All Nations Christian College (ANCC) in the U.K. She has also taught ethnomusicology and arts training programs in Europe and Africa, including Daystar University (p. xvii) (Nairobi). Her research interests and conference papers include utilizing music and art forms for community education (public health, literacy), trauma healing, minority group enhancement, diaspora issues and contemporary contextualized worship.
Matthew Peter Unger is a postdoctoral fellow with the Canada Research Chair in Social Theory, Culture and Law (George Pavlich) at the University of Alberta. His forthcoming monograph, titled Sound, Symbol, Sociality, uses the philosophy of Paul Ricoeur to understand the intersection of the social, juridical, and political implications within aesthetic judgment. His co-edited collection Accusation (in-process) brings to bear theoretical and archival approaches upon the social discourses of sovereignty, the legal person, and accusation.
Jacqueline Witherow received her doctorate in ethnomusicology from Queen’s University Belfast. She is currently the Campaigns and Research Manager for the Royal National Institute of Blind People. She is also a company director for the Northern Ireland Community Relations Council.
Natalie K. Zelensky is assistant professor of music at Colby College. Graduating with distinction from Northwestern University, she specializes in music and diasporas, with a focus on the political exiles who left Russia after the Bolshevik Revolution and settled in the United States. She has published articles and presented conference papers on Russian popular and sacred music cultures in New York, Russian American summer camps, underground sacred music in the Soviet Union, and the classic blues. Currently she is working on a book project that explores Russian popular music as it emerged on America’s stages and radio programs during the Cold War era.