(p. xvii) Contributors to Volume 2
(p. xvii) Contributors to Volume 2
Bruce Ellis Benson is professor of philosophy at Wheaton College, Illinois. He specializes in the phenomenology of music and aesthetics in general. He is the author or editor of eleven books, including The Improvisation of Musical Dialogue: A Phenomenology of Music (Cambridge, 2003) and, more recently, The New Phenomenology: A Philosophical Introduction (Bloomsbury, 2013).
Tim Blackwell is a senior lecturer at Goldsmiths, University of London. Blackwell holds degrees in physics, theoretical physics, and computer science. He is a musician active in jazz, free improvisation, and computer music performance. Blackwell proposed the concept of the live algorithm, an autonomous software agent that creatively participates in human improvisation, and was the principal investigator for the multidisciplinary Live Algorithms for Music research network. His own Swarm Music is a live algorithm based on animal swarms. He has also developed Woven Sound, a real-time system that weaves strands of sound into visual tapestries.
David P. Brown is the author of Noise Orders: Jazz, Improvisation, and Architecture (Minnesota, 2006), a study of the design implications of structures that facilitate improvisation in jazz. Developing from that work, Brown’s current design research explores process-oriented approaches to urban design, based on parameters derived from the interests and concerns of organizations that impact metropolitan development. The Available City, an ongoing design project related to this research, has been exhibited in the 2012 Venice Architecture Biennale and has received support from the Graham Foundation. Brown is an associate professor at the University of Illinois at Chicago School of Architecture.
Christopher Dell, PhD, lives and works as theoretician, artist, and musician in Berlin. He has served as a visiting teacher of architecture theory at the University of Fine Arts, Berlin, and a visiting professor for urban design theory at HafenCity University, Hamburg (where he also co-led the research project University of Neighborhoods) and the Technical University, Munich. He was a member of the Aedes Network Campus Berlin executive board in 2009, and has written numerous articles and books, including Improvisations on Urbanity (coauthored with Ton Matton; Post, 2009), Tacit Urbanism (Post, 2010), ReplayCity (Jovis, 2011), Die improvisierende Organisation (Transcript, 2012), Ware: Wohnen! (Jovis, 2013), and Das Urbane (Jovis, 2014).
Sher Doruff, PhD, is an interdisciplinary artist, writer, and theorist. She is currently a senior researcher at the Gerrit Rietveld Academy of Art and Design and tutors in the (p. xviii) Master of Choreography and Master of Artistic Research programs at the Amsterdam School of the Arts and Royal Academy of Fine Art in the Hague. She teaches in the Master of Artistic Research programme at the University of Amsterdam and supervises several artist PhD candidates. She is on the editorial board of Inflexions Journal of Research Creation and Fibreculture Journal and has published numerous texts in academic and artistic contexts.
Sabine Feisst is professor of music and senior sustainability scholar at Arizona State University. Focusing on twentieth- and twenty-first-century music studies, she published the monographs Der Begriff “Improvisation” in der neuen Musik (Studio, 1997) and Schoenberg’s New World: The American Years (Oxford, 2011), as well as numerous essays in European, US, and Australian professional journals, essay collections, and encyclopedias. She is currently editing the Oxford Handbook of Ecomusicology. With Severine Neff, she is one of the co-editors of the nine-volume set Schoenberg in Words (Oxford, forthcoming), and with Denise Von Glahn, she is editing the book series “Music, Nature, Place” for Indiana University Press.
Dana Gooley is associate professor of music at Brown University. His research centers on European music and musical culture in the nineteenth century, with an emphasis on performance, reception, and the public sphere. A specialist of Franz Liszt, he has published The Virtuoso Liszt (Cambridge, 2004) and co-edited two essay collections, Franz Liszt and His World (Princeton, 2006) and Franz Liszt: Musicien Européen (Editions Vrin, 2012). He has published articles on music criticism, virtuosity, musical mediation, improvisation, performance studies, cosmopolitanism, and jazz. He is writing a book on the aesthetics and practice of keyboard improvisation in the nineteenth century.
D. Fox Harrell is associate professor of digital media in the Comparative Media Studies program and the Computer Science and Artificial Intelligence Laboratory at MIT. His research lies at the intersection of computer science, cognitive science, and digital media arts. A recipient of an NSF CAREER Award, Harrell founded and directs the Imagination, Computation, and Expression Laboratory, which researches and develops new forms of gaming, social media, computational narrative, and other innovative uses of the computer as a medium. He is the author of Phantasmal Media: An Approach to Imagination, Computation, and Expression (MIT Press, 2013), a manifesto on using computers for creative expression, cultural analysis, and social empowerment.
Ellie M. Hisama is professor of music at Columbia University and a member of the executive committee of the Institute for Research on Women, Gender, and Sexuality. She is a former director of the H. Wiley Hitchcock Institute for Studies in American Music, founding editor of the Journal of the Society for American Music, and editor-in-chief of Women and Music. She has published Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (Cambridge, 2001), the co-edited volumes Critical Minded: New Approaches to Hip Hop Studies (ISAM, 2005) and Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-Century American (p. xix) Music (Rochester, 2007), and articles on musicians including the Cure, Julius Eastman, and DJ Kuttin Kandi.
Adriene Jenik is an artist and arts educator who resides in the Phoenix metro area and maintains a studio in the high desert of California. Her computer and media artwork spans several decades, including pioneering work in interactive cinema and live telematic performance. A founding professor of the Interdisciplinary Computing in the Arts major at the University of California, San Diego, as well as the Digital Culture major at Arizona State University, Jenik has taught electronic and digital media to generations of students. She is currently director of the Herberger Institute School of Art at Arizona State and the Katherine K. Herberger Endowed Chair of Fine Arts.
Antoinette LaFarge is an artist and writer whose beat is virtuality and its discontents. Her major subjects are forgery, impersonation, and the culture of pseudonymity, and her work takes form as computer-mediated performance, interactive installation, digital prints, and writing. Recent new media performance and installation projects include Far-Flung Follows Function (2013), Galileo in America (2012), Hangmen Also Die (2010), and WISP (World-Integrated Social Proxy) (2009–2010), and she has just completed a book on fictive art. LaFarge is professor of art and digital media in the Department of Art, Claire Trevor School of the Arts, University of California, Irvine.
George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University. A fellow of the American Academy of Arts and Sciences, his honors include a MacArthur Fellowship (2002) and a Guggenheim Fellowship (2015). A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis’s creative work has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, International Contemporary Ensemble, and others. His widely acclaimed book, A Power Stronger Than Itself: The AACM and American Experimental Music (Chicago, 2008) received the American Book Award and the American Musicological Society’s first Music in American Culture Award. In 2015, Lewis received the degree of Doctor of Music (DMus, honoris causa) from the University of Edinburgh.
Ton Matton is a Dutch urban planner and designer. In 2001 he founded the Matton Office, whose headquarters are in the Free Range Office Rotterdam. From 2003, Matton was professor of art, architecture, and design at the Hamburg Art Academy. He worked at BOOM (advisors in environmental design in Delft, the Netherlands), taught as urban designer at different Dutch universities, organized architectural excursions, and started Buro Schie, an office for urban design and environment. Matton has exhibited/participated in Architecture Biennale Venice, Archilab, Architecture Biennale Sao Paulo, Manifesta, Architecture Biennale Rotterdam, Design Week Milano, Museum Boijmans van Beuningen, Deutsches Architekturmuseum Frankfurt, Louisiana Museum of Modern Art, Aedes Berlin, Royal Institute of British Architects, IBA Hamburg, and Netherlands Architecture Institute Rotterdam, among others. (p. xx)
Raymond MacDonald is professor of music psychology and improvisation and head of the Reid School of Music at Edinburgh University. He has published over 70 papers and co-edited five texts: Musical Identities (Oxford, 2002), Musical Communication (Oxford, 2005), Music, Health and Wellbeing (Oxford, 2012), Musical Imaginations: Multidisciplinary Perspectives on Creativity, Performance and Perception (Oxford, 2012) and The Oxford Handbook of Musical Identities (2015). As a saxophonist and composer he has collaborated with musicians such as Evan Parker, David Byrne, Jim O’Rourke, and Marilyn Crispell. He has released over 50 recordings and toured and broadcast worldwide. He has produced music for film, television, theater and art installations, and is a founding member of Glasgow Improvisers Orchestra.
Brian Magerko is associate professor of digital media at Georgia Institute of Technology and head of its Adaptive Digital Media (ADAM) Lab. He received his PhD in computer science and engineering from the University of Michigan in 2006. He explores the intersection of creativity, cognition, and computing. This work leads to studying creativity and human cognition, building artificial intelligence that can creatively collaborate with human users, and using human creativity as a gateway to understand better how to teach computing skills effectively.
Walton Muyumba is associate professor in the Department of English at Indiana University, Bloomington. He is the author of The Shadow and the Act: Black Intellectual Practice, Jazz Improvisation, and Philosophical Pragmatism (Chicago, 2009). His essays, reviews, and interviews—about jazz, hip-hop, the blues, African Diaspora fiction, and American popular culture—have appeared in The Chicago Tribune, Crisis, The Dallas Morning News, The Los Angeles Review of Books, Oxford American, and the Washington Post, among other electronic and print publications. Muyumba is writing several new books, including a study of John Edgar Wideman’s fiction.
Bruno Nettl, born 1930, received his PhD at Indiana University, and spent most of his career teaching ethnomusicology at the University of Illinois, where he is now professor emeritus of music and anthropology. His best-known books are The Study of Ethnomusicology (Illinois, rev. ed. 2005); Heartland Excursions: Ethnomusicological Reflections on Schools of Music (Illinois, 1995); and Nettl’s Elephant: On the History of Ethnomusicology (Illinois, 2010). He has served as president of the Society for Ethnomusicology and as editor of its journal, Ethnomusicology. In 2012 he was named Charles Homer Hoskins Lecturer for 2014 by the American Council of Learned Societies. He is the co-editor of two collections about improvisation: In the Course of Performance (Illinois, 1998) and Musical Improvisation: Art, Education, and Society (Illinois, 2009).
Celia Pearce is an award-winning game designer, author, researcher, teacher, curator, and artist who specializes in multiplayer gaming and virtual worlds; independent, art, and alternative game genres; and games and gender. A co-founder of the women’s game collective, Ludica, she is also associate professor of game design at Northeastern University. Her books include Communities of Play: Emergent Cultures in Multiplayer (p. xxi) Games and Virtual Worlds (MIT, 2009) and Ethnography and Virtual Worlds: A Handbook of Method (Princeton, 2012). She was co-curator of “XYZ: Alternative Voices in Game Design,” the first exhibition devoted to women’s contribution to game design, and co-founder and Festival Chair of IndieCade.
Simon Penny is professor of art at the University of California, Irvine, and the founding director of its Arts Computation Engineering graduate program. In 2014, he was Labex International Professor at the University of Paris 8 and École nationale supérieure des arts décoratifs. Penny is an interactive media artist, teacher, and theorist with a longstanding concern for embodied and situated aspects of artistic practice. He explores—in both artistic and scholarly work—problems encountered when computational technologies are interfaced with cultural practices whose first commitment is to the engineering of persuasive perceptual immediacy and affect. His installations Fugitive, Traces, and Petit Mal attend to embodied experience and gesture; see simonpenny.net.
Benjamin Piekut is a historian of experimental music, jazz, and rock after 1960, and an associate professor of music at Cornell University. He is the author of Experimentalism Otherwise: The New York Avant-Garde and Its Limits (California, 2011), and the editor of Tomorrow Is the Question: New Directions in Experimental Music Studies (Michigan, 2014). With David Nicholls, he co-edited a special issue of Contemporary Music Review for John Cage’s 100th birthday. He has published articles in Jazz Perspectives, The Drama Review, American Quarterly, Twentieth-Century Music, Cultural Critique, and the Journal of the American Musicological Society.
Eric Porter is professor of history and history of consciousness at the University of California, Santa Cruz. His research interests include black cultural and intellectual history, US cultural history, critical race and ethnic studies, and jazz studies. He is the author of What Is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists (California, 2002); The Problem of the Future World: W.E.B. Du Bois and the Race Concept at Midcentury (Duke, 2010); and, with the photographer Lewis Watts, New Orleans Suite: Music and Culture in Transition (California, 2013).
A. J. Racy is a professor of ethnomusicology at the University of California, Los Angeles. He has published numerous works on music and musical cultures of the Middle East, including his award-winning Making Music in the Arab World: The Culture and Artistry of Tarab (Cambridge, 2003). Born in Lebanon, Racy is a well-known composer, recording artist, and multi-instrumentalist who has performed and lectured widely in the United States and abroad.
Jennifer D. Ryan is associate professor of English and coordinator of the English MA program at SUNY—Buffalo State, where she teaches courses in American poetry, the American novel, graphic narratives, and African-American literature. She has published articles on classic blues singer Bessie Smith, African-American superheroes, captivity tropes in Mark Danielewski’s House of Leaves, Ezra Pound’s Asian influences, and Los Angeles poet Wanda Coleman’s American Sonnets sequence, among other topics. Her (p. xxii) book, Post-Jazz Poetics: A Social History, was published by Palgrave Macmillan in 2010. She is currently at work on a book-length study of shared compositional techniques in the poetry of Ted Hughes and Sylvia Plath.
Ed Sarath is professor of music and director of the program in Creativity and Consciousness Studies at the University of Michigan. Active as teacher, artist, author, and educational innovator, his most recent book is Improvisation, Creativity, and Consciousness: Jazz as Integral Template for Music, Education, and Society (SUNY, 2013). He designed Michigan’s groundbreaking BFA in Jazz and Contemplative Studies. He founded and serves as president of the International Society for Improvised Music. Recent compositional work includes Brahma, Vishnu, Shiva, for 90-voice choir, string orchestra, and jazz soloists. His recording New Beginnings (2004) features the London Jazz Orchestra playing his large ensemble compositions, and his solo flugelhorn work.
Hazel Smith is research professor in the Writing and Society Research Centre, University of Western Sydney. She is the author of The Writing Experiment (Allen and Unwin, 2005) and Hyperscapes in the Poetry of Frank O’Hara (Liverpool, 2000). She is coauthor, with Roger Dean, of Improvisation, Hypermedia and the Arts Since 1945 (Routledge, 1997) and co-editor, with Roger Dean, of Practice-Led Research, Research-Led Practice in the Creative Arts (Edinburgh, 2009). Smith is also a highly published poet, performer, and new media artist. Formerly a professional violinist, she is a member of austraLYSIS, the sound and intermedia arts group; see www.australysis.com.
Leo Treitler was born in Dortmund, Germany, in 1931, and immigrated in 1938 to the United States. His past professorial appointments include the University of Chicago, Brandeis University, Stony Brook University, and the Graduate Center of the City University of New York, where he is now distinguished professor of music emeritus. His contribution to this Handbook grows out of his interest in the ontology of music, which was engaged during his studies of the composition, performance, and notation of the earliest recorded music of the Western Middle Ages. He is a fellow of the American Academy of Arts and Sciences and the New York Institute of the Humanities.
Sara Villa is a visiting scholar at the International Institute for Critical Studies in Improvisation at McGill University; previously she was a postdoctoral fellow at the Centre de recherche en éthique de l’Université de Montréal, with a research project focused on the influence of improvisatory jazz practices on Beat generation poetics. She is the translator into Italian of Windblown World: The Journals of Jack Kerouac 1947–1954. She has published articles on Kerouac, Virginia Woolf, and Anglo-American cinema. Her monograph on the film adaptation of Woolf’s Orlando (I due Orlando: Le poetiche androgine del romanzo woolfiano e dell’adattamento cinematografico) was published by CUEM (Milan) in 2009.
Writer, musician, and teacher Rob Wallace holds a PhD in English from the University of California, Santa Barbara. Since 2010 he has taught at Bowling Green State University in the International Studies program, the Department of English, and the Department (p. xxiii) of Musicology, Composition, and Theory. He is the author of Improvisation and the Making of American Literary Modernism (Bloomsbury, 2012) and co-editor (with Ajay Heble) of People Get Ready: The Future of Jazz Is Now! (Duke, 2013). His recordings can be found on the pfMentum and Ambiances Magnétiques record labels.
Ge Wang is assistant professor at Stanford University’s Center for Computer Research in Music and Acoustics. He researches programming languages and interactive software design for computer music, mobile and social music, laptop orchestras, and education at the intersection of computer science and music. Wang is the author of the ChucK audio programming language, and founding director of the Stanford Laptop Orchestra and the Stanford Mobile Phone Orchestra. He is also the co-founder of Smule (reaching over 100 million users) and the designer of the iPhone’s Ocarina and Magic Piano apps. See http://ccrma.stanford.edu/~ge/.
Graeme Wilson is a research fellow at the Reid School of Music, University of Edinburgh, where he implements both the Scottish Music and Health Network and Concurrent, a network for the study of interdisciplinary improvisation. He has published widely as a psychologist in this area and on health, identities, and discourse. A founding member of Scottish National Jazz Orchestra and Glasgow Improvisers Orchestra, his saxophone playing features on over 25 CD releases. His commissioned works for saxophone quartet, jazz orchestra, and large improvising ensemble explore interactive processes and selected texts as referents for collective improvisation.
Michael Young is pro vice-chancellor (teaching and learning) and professor of music computing at De Montfort University, Leicester. He read music at the University of Oxford and was awarded a PhD in composition from Durham University. He lectured at Oxford Brookes University and was head of music at Goldsmiths, University of London. He is a composer, performer, and researcher with interests in artificial intelligence and generative media; his work explores machine learning systems for improvised performance, including the “_prosthesis” series for solo player and computer. He is co-founder of the Live Algorithms for Music network, created in 2004. www.michaelyoung.info.