Kofi Agawu (kagawu@princeton.edu) is Professor of Music at Princeton University. A Fellow of the Ghana Academy of Arts and Sciences and a Corresponding Fellow of the British Academy, he was George Eastman Visiting Professor at Oxford University in 2012–13. His most recent book is an introductory text, The African Imagination in Music (OUP, 2016).
Rachel Beckles Willson (r.beckleswillson@rhul.ac.uk) is Professor of Music and Director of the Humanities and Arts Research Centre at Royal Holloway, University of London. Her two most recent monographs – Ligeti, Kurtág and Hungarian Music during the Cold War (CUP, 2007) and Orientalism and Musical Mission (CUP, 2013) – engage with music politics and historiography. Subsequent work in press has sought to theorize an embodied politics of listening to and playing music. She currently holds a Major Research Fellowship from the Leverhulme Trust for a study of the oud entitled Reorientations: Migrations of a Musical Instrument.
Eric Clarke (eric.clarke@music.ox.ac.uk) is Heather Professor of Music at the University of Oxford. He has published on issues in the psychology of music, musical meaning, music and consciousness, and the analysis of pop music, including Ways of Listening (OUP, 2005) and Music and Consciousness (OUP, 2011, with David Clarke). He was Associate Director of the AHRC Research Centre for Musical Performance as Creative Practice (2009–14) and is a Fellow of the British Academy.
Brigid Cohen (bc64@nyu.edu) is an Assistant Professor of Music at New York University. Her research centres on twentieth-century avant-gardes, migration and diaspora, and intersections of music, the visual arts and literature. Her book Stefan Wolpe and the Avant-Garde Diaspora (CUP, 2012) won the Lewis Lockwood Award from the American Musicological Society. She is currently writing the monograph Musical Migration and the Global City: New York, 1947–1965, which explores questions of displacement and citizenship through a study of cold war New York concert avant-gardes, electronic music, jazz and performance art.
Martin Čurda (curdam@cardiff.ac.uk) is a graduate of the Masaryk University, Brno, and a final-year Ph.D. candidate in musicology at Cardiff University, where he is studying the music of the Czech composer Pavel Haas from analytical, hermeneutical and cultural-critical perspectives. He has presented a number of conference papers on Haas's work (mostly in the UK), and himself organized the first international conference focusing specifically on this composer (Cardiff, 30 January 2016).
James Currie (jcurrie@buffalo.edu) is an Associate Professor in the Department of Music at the University at Buffalo, New York, where he is also on the faculty of the Center for the Study of Psychoanalysis and Culture. In spring 2015 he was a full-time Visiting Associate Professor in the Department of Music at New York University. His book Music and the Politics of Indiana (Indiana University Press) came out in 2012 and he is presently working on a collection of essays tentatively entitled Desperate Listening: Music in a Troubled Time. He is also active as a performance artist.
Mark Doffman (mark.doffman@music.ox.ac.uk) is a Leverhulme Early Career Fellow in the Faculty of Music, University of Oxford. From 2011 to 2014 he was postdoctoral research assistant on the AHRC-funded project ‘Creative Practice in Contemporary Concert Music’, led by Eric Clarke at the University of Oxford. Prior to his work at Oxford, Doffman was a full-time researcher in the Sociology Department at the Open University investigating the working lives of black British jazz musicians.
Deirdre Loughridge (dloughridge@berkeley.edu) is a Lecturer in the Department of Music at the University of California, Berkeley. She has held fellowships from the Mellon Foundation and the American Council of Learned Societies. Her first book, Haydn's Sunrise, Beethoven's Shadow: Audiovisual Culture and the Emergence of Musical Romanticism, is forthcoming from University of Chicago Press (2016). Her work on music and visual technologies in the eighteenth and nineteenth centuries has also appeared in the Journal of Musicology and Eighteenth-Century Music.
Arnaldo Morelli (arnaldo.morelli@cc.univaq.it) is Professor of Music History at the University of L'Aquila. His publications include the monograph Il tempio armonico: Musica nell'oratorio dei Filippini in Roma, 1575–1705 (Laaber-Verlag, 1991) and numerous articles, mainly concerning music patronage, music and architecture, iconography, oratorio, cantata, sacred music and keyboard music and instruments. He is currently completing a monograph on Bernardo Pasquini (1637–1710). He has been editor of Recercare since 2002.
Sindhumathi Revuluri (revuluri@fas.harvard.edu) is Assistant Dean for Faculty Affairs, and formerly Associate Professor of Music, at Harvard University. She regularly teaches courses on Music and Empire and Global Pop Music, and also works on the music of nineteenth- and twentieth-century France, with particular attention to musical modernism. She is currently completing a book, Sounding Empire in Fin-de-siècle France, which examines the dual currents of exoticist representation and nationalism and situates them in the context of French imperial aspirations. Revuluri also works on contemporary Indian music and film, focusing on south India's urban centres. She has organized conferences on a wide range of topics, from Postcolonial Music Studies (Radcliffe Institute, 2009) to Proust and the Arts (Harvard University, 2013). Her published work appears in the Journal of Musicological Research, Journal of Asian Studies, Current Musicology and the Journal of the American Musicological Society.
Mark Slater (m.slater@hull.ac.uk) is a Senior Lecturer in the School of Drama, Music and Screen at the University of Hull and is a composer, producer, performer and researcher. The improvisatory and accidental play a large part in his creative output, which explores the convergences between the popular and the experimental, the planned and the surprising, the restricted and the liberated. His research projects centre on processes of musical creativity with a particular focus on how recordings are made. His most recent published works on this topic appear in Popular Music and in the edited volume Music, Technology and Education: Critical Perspectives (Routledge, 2016).
Martin Stokes (martin.stokes@kcl.ac.uk) is King Edward Professor of Music and Head of Department at King's College, London. His research focuses on the music of Europe and the Middle East, with particular interest in Turkey and Egypt. His most recent book is The Republic of Love: Cultural Intimacy and Popular Music in Turkey (University of Chicago Press, 2010). Islam and Popular Culture, co-edited with Karin Van Nieuwkerk and Mark Levine, is forthcoming from the University of Texas Press. He is a Fellow of the British Academy.
Renee Timmers (r.timmers@sheffield.ac.uk) is a Senior Lecturer in Psychology of Music at the Department of Music, University of Sheffield, where she directs the Music, Mind, Machine research centre. She was trained in the Netherlands in musicology and psychology, and was a Research Fellow at various institutes before being appointed to her current post. Her main areas of research include expressive timing in music performance, perception and expression of emotion in music, and multimodal experiences of music.
Giovanni Zanovello (giovzano@indiana.edu) is an Associate Professor of Musicology at the Indiana University Jacobs School of Music. He specializes in the history of fifteenth-century musical institutions, music in fifteenth-century culture and the composer Heinrich Isaac. He has received research grants and awards from various institutions, including the University of Padua, the Centre National de la Recherche Scientifique, Villa I Tatti, Indiana University and the Swiss Society of Musicology.
