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date: 21 January 2021

(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.



Eliot Bates is Lecturer in Ethnomusicology and Popular Music Studies at the University of Birmingham. He taught at the University of Maryland after completing his Ph.D. at the University of California, Berkeley. An ethnomusicologist, his work focuses on digital audio recording cultures, with a particular interest in the production of arranged folkloric music in Istanbul. His first book, Music in Turkey: Experiencing Music, Expressing Culture, was published by Oxford University Press in 2010. Eliot is a performer and recording artist of the ‘ud (oud), and he currently collaborates with the Cornell Avant Garde Ensemble and the hallucinatory apocalyptic supergroup Current 93.



Frauke Behrendt is a Senior Lecturer at the University of Brighton and her research interests include the areas of digital cultures, sound studies, mobility, interaction design, sustainable transport and smart cities. She leads the 3-year RCUK funded ‘Smart e-bikes’ research project (http://www.smart-ebikes.co.uk) that developed an open-source fleet monitoring system with sensor integration. She was on the Steering Committee of the EU COST Action on Sonic Interaction Design and The International Mobile Music (p. xiv) Workshop Series. Previously, Behrendt held posts as Research Fellow at the Cultures of the Digital Economy Research Institute (CoDE) and as Assistant Professor at the Rhode Island School of Design (US). For publications, invited keynotes and other projects see www.fraukebehrendt.com



Harmony Bench is Assistant Professor of Dance at The Ohio State University. She researches the impact of media technologies on movement, gesture, and choreography—namely in social and screen media. Harmony’s research interests include histories and theories of corporeality, digital media and its consequences for bodily experiences and dance practices, and critical theories of dance and performance. She is on the editorial board of the International Journal of Screendance, and she is working on a book tentatively entitled Screen/Dance and the Politics of Mediality.



Justin D. Burton is Assistant Professor of Music at Rider University. His work engages posthumanity, critical race theory, and hip hop. Recent publications appear in the Journal of Popular Culture and the Journal of the Society for American Music.



Mark J. Butler is a music theorist whose research addresses popular music, rhythm, and technologically mediated performance. He is Associate Professor and Coordinator of the program in Music Theory and Cognition in the Bienen School of Music at Northwestern University. He is the author of Unlocking the Groove (Indiana, 2006) and the editor of Electronica, Dance, and Club Music (Ashgate, 2012). His most recent book project is based on extensive fieldwork with internationally active DJs and laptop musicians based in Berlin. By examining relationships between technology and improvisation, he reveals how these musicians create dynamic, novel performances through the transformation of seemingly “fixed” prerecorded objects.



Karen Collins is Canada Research Chair in Interactive Audio at the Canadian Centre of Arts and Technology, the University of Waterloo, Ontario. Her work focuses primarily on sound and music in games, and explores how new technologies impact our audio experience. This research has included studies of sound on smart tables (horizontal computers), mobile phones, video games, and how sound is used in slot machines to manipulate players. She has published two books: Game Sound (MIT Press 2008), which was named in the Top 10 Big Ideas in Gaming at the Game Developers’ Conference in 2009, and From Pac-Man to Pop Music (Ashgate 2008).



Georg Essl is Assistant Professor for Electrical Engineering and Computer Science and Music at the University of Michigan. He holds a Ph.D. in computer science from Princeton University. He has been affiliated with Deutsche Telekom Laboratories, MIT Media Lab Europe, University of Florida, and HyperWave. His current research focuses on mobile phones as musical instruments, sound synthesis, and tangible interactions. He founded and directs the Michigan Mobile Phone Ensemble (Michigan MoPho), is also co-founder and co-director of the Stanford Mobile Phone Orchestra (MoPho), and is founding director of the Berlin Mobile Phone Orchestra (Berlin MoPho).



(p. xv) Miki Kaneda is a Ph.D. candidate in music with a designated emphasis in new media at the University of California, Berkeley, and a Mellon C-MAP Fellow (influence of the performative focus) at the Museum of Modern Art. Her dissertation explores changing senses of the everyday in postwar Japan through a historical and ethnographic study of intermedia art and experimental collectives in the 1960s.



Kate Levitt is an accomplished DJ who has performed in venues throughout the United States, Mexico, and Europe. She is a doctoral candidate in communication at the University of California San Diego, where she works on the relationship between music, technology, and identity. Her research spans many different areas, including constructions of risk and security in urban nightlife, transnational flows of culture and policy between the United States and Latin America, and the contested ways in which society adopts new media. She holds a BA in political science from Barnard College and an MA in communication from UCSD.



Wayne Marshall is an ethnomusicologist (Ph.D. 2007, University of Wisconsin- Madison), blogger (wayneandwax.com), and DJ whose work focuses on digital media and cultural politics across the United States, the Caribbean, and the wider world. A faculty associate at Harvard’s Berkman Center for Internet and Society, he is currently teaching at Brandeis University while writing a book on grassroots creativity in the age of YouTube. He co-edited Reggaeton (Duke 2009) and has written for The Wire and the Boston Phoenix, as well as journals such as Popular Music and Callaloo.



Andra McCartney is Associate Professor of Communication Studies at Concordia University, Montreal, Canada, where she teaches courses in sound production, research creation, media technology as practice, and sound theory. She is a soundwalk artist, leading public walks and creating gallery installations, recordings, performances, videos, and radio works. Her works can be heard on the internet, on CBC radio, and on CDs produced by Deep Wireless, Terra Nova, and the Canadian Electroacoustic Community. Her current FQRSC-funded research project, Soundwalking Interactions, investigates the ways that people listen through and engage with soundwalks and artworks made from soundwalks.



Daniel T. Neely is an independent scholar (Ph.D. 2008, New York University) living in New York City. His research interests include the traditional musics of Jamaica and Ireland, sound theory, and the articulation of music and humor.



Henri Penttinen was born in Espoo, Finland, in 1975. He completed his M.Sc. and Ph.D. (Dr. Tech.) degrees in Electrical Engineering at Aalto University (former Helsinki University of Technology) in 2002 and 2006, respectively. His main research interests are sound synthesis, signal processing algorithms, musical acoustics, and real-time audio applications in mobile environments. Dr. Penttinen was a visiting scholar at Stanford University (CCRMA), during 2007 and 2008. He is one of the co-founders, with Georg Essl and Ge Wang, of the Mobile Phone Orchestra of CCRMA 1.0. He is also the co-inventor, with Jaakko Prättälä, of the electro-acoustic bottle (eBottle).



(p. xvi) Benjamin Piekut is Assistant Professor in the Department of Music at Cornell University. His research has appeared in American Quarterly, Jazz Perspectives,Cultural Critique, and The Drama Review, and his book, Experimentalism Otherwise, was published in 2011 by the University of California Press. He is co-editor (with George E. Lewis) of the Oxford Handbook of Critical Improvisation Studies.



Alexander Rehding is Fanny Peabody Professor of Music and Department Chair at Harvard University. He was editor of Acta musicologica and is editor-in-chief of the Oxford Handbook Online series in music. His main interests lie at the intersection of theory and history, and cover a wide spectrum from Ancient Greece to the Eurovision Song Contest. He is interested in the history of music theory, music-aesthetic questions, and issues of sound and media. Recent publications include Music and Monumentality and the Oxford Handbook of Neo-Riemannian Music Theories.



Atau Tanaka’s early inspiration came upon meeting John Cage during his Norton Lectures at Harvard, informing his re-creation of Cage’s Variations VII, which has been performed across Europe. He creates musical instruments using bio-sensor interfaces and mobile technologies, and seeks out the continued place of the artist in democratized digital forms. His work has been presented at Ars Electronica, SFMOMA, Eyebeam, V2, ICC, and ZKM. He has been artistic ambassador for Apple, researcher at Sony CSL, artistic co-director of STEIM, and director of Culture Lab Newcastle. He leads a major European Research Council project on gesture and music at Goldsmiths, University of London.



Chris Tonelli received his doctorate at the University of California, San Diego in the Critical Studies and Experimental Practices in Music Program. He was Visiting Lecturer in Contemporary Music and Culture at the New Zealand School of Music at the Victoria University of Wellington and Visiting Assistant Professor of Ethnomusicology and Popular Music Studies at Memorial University of Newfoundland. His research interests include transnational flows of popular music between North America and Japan, extra-normal vocal performance, imitation, and the history of American popular music. He is currently a postdoctoral fellow for 2013–2014 with the Improvisation, Community, and Social Practice project.



Ge Wang is Assistant Professor at Stanford University in the Center for Computer Research in Music and Acoustics (CCRMA), and researches mobile and social music, programming languages and interactive software systems for computer music, and education at the intersection of computer science and music. Ge is the author of the ChucK audio programming language, the founding director of the Stanford Laptop Orchestra (SLOrk), and co-founding director of the Stanford Mobile Phone Orchestra (MoPhO). Concurrently, Ge is the Co-founder of Smule—reaching over 100 million users—and the designer of the iPhone's Ocarina and Magic Piano.



(p. xvii) Alexander G. Weheliye is Associate Professor of African American Studies and English at Northwestern University, where he teaches black literature and culture, critical theory, social technologies, and popular culture. He is the author of Phonographies: Grooves in Sonic Afro-Modernity (Duke University Press, 2005). Currently, he is working on two projects: Habeas Viscus: Racialization, Bare Life, and the Human and Modernity Hesitant: The Civilizational Diagnostics of W.E.B. Du Bois and Walter Benjamin. His work has been published in American Literary History, boundary 2, The Journal of Visual Culture, Public Culture, and Social Text.



Justin A. Williams is Lecturer in Music at the University of Bristol. He received his BA in music from Stanford University, master’s degree in music from King’s College London, and a Ph.D. from the University of Nottingham. He completed an ESRC-funded Postdoctoral Fellowship to research a project on music and automobility at the Centre for Mobilities Research at Lancaster University. He is author of Rhymin and Stealin: Musical Borrowing in Hip-hop (University of Michigan press, 2013) and is currently editing the Cambridge Companion to Hip-hop.



Christina Zanfagna is Assistant Professor of Ethnomusicology at Santa Clara University. Her research focuses on the intersections of music, spiritual practice, and urban geography. In particular, she specializes in Black sacred and popular musics, especially soul music, hip-hop, and gospel rap. Christina's work has appeared in Black Music Research Journal, the Pacific Review of Ethnomusicology, and Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader. She has worked extensively with community arts organizations such as Afropop Worldwide and Mosaic Multicultural Foundation and currently dances flamenco throughout the Bay Area.



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