Michael Eldridge is an associate professor of English Literature at Humboldt State University in Arcata, CA. His interview with Harry Belafonte appeared in Transition: An International Review (Summer 2002). Past publications include: “The Rise and Fall of Black Britain,” also in Transition (Fall 1998), and “Out of the Closet: Nuruddin Farrah’s Secrets and the American Press” in World Literature Today 72: 4 (Fall 1998).
Ruth Hellier-Tinoco is a scholar and performer who currently teaches in the School of Community and Performing Arts, University College Winchester, UK. Her research areas include Mexican performance practice with a focus on politics, ideology and tourism; arts and disability; arts in education and radical performance practices. Her publications include “La Danza de los Viejitos de Jarácuaro: La tradiciòn sigue evolucionando” in Piel de Tierra, Journal of the Instituto Michoacano de Cultura (1998), and “Experiencing People: Relationships, Responsibility and Reciprocity,” British Journal of Ethnomusicology (2003).
Bennett Hogg Bennett Hogg is a composer and lecturer at University of Newcastle-upon-Tyne and Edinburgh College of Art, UK. His dissertation, “The Cultural Imagination of Musics Mediated by Technology” centers on the voice in early sound technology, and focuses on early 20th century ideas about writing, memory and anxieties surrounding mechanization, in particular the ways such phenomena are encountered in psychoanalysis, surrealism and the writings of Walter Benjamin. He has written for the Times Higher Education Supplement (London) and will soon publish “High Fidelity, Low Fidelity: Technological Paradigms for the Ideologies of Power” in the British, refereed on-line journal ARiADA text.
Keith Howard is reader in music at the School of Oriental and African Studies, University of London, UK, and director of the AHRB Research Centre for Cross-Cultural Music and Dance Performance. He is the author or editor of ten books and approximately 100 articles and 100 reviews. These include: Bands, Songs, and Shamanistic Rituals: Folk Music in Korean Society (Seoul: Royal Asiatic Society, 1989), Korean Musical Instruments (Hong Kong: Oxford University Press, 1995), True Stories of the Korean Comfort Women (London: Cassell, 1995), Korean Shamanism: Revivals, Survivals and Change (Seoul: Seoul Press, 1998), Korean Music: A Listening Guide (Seoul: National Center for Korean Traditional Performing Arts, 1999). His new book, Preserving Korean Music, Creating Korean Music, will be published in 2005.
Jelena Jovanovic is an ethnomusicologist currently affiliated with the Institute of Musicology in Belgrade. Most of her research and publications concern Serbian traditional folk singing. She is one of the founders and artistic directors of the female singing group Moba which specializes in rural traditional Serbian songs. Moba has released two cds: Grow Up, Grow Up, You Green Pine (Boxpocks, Paris, 2001) and Vazda znjejes, Jano: Srpske tradicionalne pesme / Serbian traditional songs (Sokoj/Biem, Belgrade, 2001) and has performed in Greece, France, Lithuania, and Germany. She is also a principal contributor to the book Hey Rudnik, You Old Mountain! Traditional Singing and Playing of the Crnucanka Group, Central Serbia (Belgrade, 2003).
Edward Larkey is an associate professor of German Studies and Intercultural Communication at University of Maryland, Baltimore County, USA, where he is currently Director of the MA program in Intercultural Communication. His many publications on rock music in the former east Germany include “Contested Spaces: GDR Rock Between Western Influence and Party Control” in his edited volume A Sound Legacy: Music and Politics in East Germany (Washington DC: American Institute for Contemporary German studies, 2000).
Sharon Meredith completed her Ph.D in ethnomusicology and Caribbean Studies at Warwick University, UK with the dissertation “Tuk in Barbados: The History, Development and Recontextualisation of a Musical Genre.” Articles include: “Tuk Music: Its Role in Defining Barbadian Cultural Identity” in European Meetings in Ethnomusicology (vol. 8, 2000), and “Barbadian Tuk Music: colonial development and post-independence recontextualization,” in British Journal of Ethnomusicology (vol. 12/2, 2003). Current research interests include fife and drum musics in former colonial countries and Caribbean popular culture.
Laudan Nooshin is a senior lecturer in Ethnomusicology in the Music Department at City University, UK. Recent and forthcoming articles include: “Improvisation as ‘Other’: Creativity, Knowledge and Power. The Case of Iranian Classical Music,” Journal of the Royal Musical Association (2003); and “Circumnavigation with a Difference? Music, Representation and the Disney Experience: It's a Small, Small World,” Ethnomusicology Forum (2004). Two books are forthcoming from Ashgate Press in 2005: Iranian Classical Music: The Discourse and Practice of Creativity and Music and the Play of Power: Music, Politics and Ideology in the Middle East, North Africa and Central Asia.
Grant Olwage is a research fellow at the Wits School of Arts, University of the Witwatersrand, South Africa. His essays “Hym(n)ing: Music and Masculinity in the Early Victorian Church” and “The Colour and Class of Tone” appear respectively in Nineteenth-Century British Music Studies, vol. 3, edited by Bennett Zon and Peter Horton (Ashgate Press, 2003), and Ethnomusicology Forum, vol. 13/2 (2004). Current projects include editing a monograph titled Composing Apartheid, and work on “the voice” and club/dance music. He performs as a DJ under the name of Dr G.
Annie J. Randall is an associate professor of musicology at Bucknell University in Lewisburg, PA. She has published several journal articles and book chapters on late eighteenth and early nineteenth-century German music and is coauthor of the book Puccini and “The Girl”: History and Reception of The Girl of the Golden West (University of Chicago Press, 2004). She is currently collaborating on a collection of essays, She’s So Fine: Whiteness, Femininity, Adolescence, and Class in 1960s Music, edited by Laurie Stras.
Helen Reddington is a senior lecturer in the Commercial Music Department of University of Westminster, UK. Her Ph.D dissertation, “An Analysis of the Role of Female Instrumentalists in Punk and Rock Bands in the ‘Moment’ of Socio-Political Change in Great Britain, ca. 1976 to ca. 1982,” was partly based on her experiences as a bass player for Joby and the Hooligans, “the worst band in Brighton.” Her “Lady Punks in Bands: a Subculturette?” appears in The Post Subcultures Reader edited by David Muggleton and Rupert Weinzerl (Berg, 2003). In 2001 she toured the UK with her song-cycle “Voxpop Puella,” and in 2004 Near Shore Records released the cd “Helen and the Horns” under Reddington’s nom de chanson Helen McCookerybook.
Britta Sweers is junior professor in ethnomusicology at the Hochschule für Musik und Theater in Rostock, Germany. Recent publications include: “Das Andere im Eigenen entdecken musikethnologisches Denken in der historischen Musikwissenschaft” [Discovering the Other in One’s Self: Ethnomusicological Thinking in Historical Musicology] in Hamburger Jahrbuch für Musikwissenschaften, vol. 15 (Peter Lang, 1998), and “Die Fusion von traditioneller Musik, Folk und Rock Berührungspunkte zwischen Popularmusikforschung und Ethnomusikologie” [The Fusion of Traditional, Folk, and Rock Music Popular Music Research Meets Ethnomusicology] in Dreißig Jahre Popularmusikforschung: Konzepte Ergebnisse, Perspektiven. Hamburger Jahrbuch für Musikwissenschaft vol. 19 (Peter Lang, 2002). Her book Electric Folk: The Changing Face of English Traditional Music is forthcoming from Oxford University Press in 2004.
Hon-Lun Yang is an assistant professor of musicology at Hong Kong Baptist University, Hong Kong, PRC. Publications include: “Nationality versus Universality: The Identity of George W. Chadwick’s Symphonic Poems” in American Music 2003 / 21; “Politics, Identity, and Reception: Composers of the Second New England School” in Past in the Present, Conference Proceedings of the 16th Congress of the IMS, 2000; “The Chinese Piano Tradition and Liszt” in The Liszt Society Journal 2001 / 21; “Socialist Realism and Chinese Music” in Socialist Realism and Music: Anti-Modernisms and Avant-gardes, ed. M. Bek (Bärenreiter; forthcoming); “Globalization and Western Music Historiography in the PRC, Taiwan, and Hong Kong” in the Conference Proceedings of the Musicological Society of Japan International Congress in Shizuoka In Celebration of the 50th Anniversary (2004).