…2019 “’Writing in’ the Woman Composer: A Review of Australian Feminist Musicology from 1988-Present”. Paper accepted for the Gender Diversity in Music and Art Conference, University of Western Australia, July 16-19….
Imani Mosley is currently a PhD candidate in Musicology at Duke University. After receiving two Masters degrees from Peabody (Bassoon Performance/Musicology), she began PhD work at Columbia where she received a Master of Arts in Musicology before attending Duke. She is currently writing her dissertation entitled “‘The queer things he said’: British Identity, Social History, and Press Reception of Benjamin Britten’s Postwar Operas.” In addition to her work on Britten, she also specializes in contemporary opera, feminist and queer theory, reception history, and British and American music from 1890 to 1945. She is currently the Harsha Murthy Fellow in Digital Scholarship (Duke University Libraries) where she creates and curates projects and events in the digital humanities. She has presented papers throughout the United States and the United Kingdom.
I am a Postdoctoral Research Associate and Lecturer in the Department of Music at the University of Virginia. My research interests include the ethics of music analysis, feminist and queer theory, Schenkerian analysis, and affective autoethnography. My dissertation, “Analysis as Ethics: Experiments with Music Loving,” explores analysis as a loving, ethical practice through the perspectives of feminist music theory and new materialisms. I am currently developing a project that brings together writings on queer animacies of the nonhuman and theories of musical agency. My work on analytical ethics has been published in Music Theory Online. I have also presented my research at meetings of the Society for Music Theory, Music Theory Midwest, the American Musicological Society, and Feminist Theory and Music. My work has been supported by the Social Sciences and Humanities Research Council of Canada and the Institute for Research on Women and Gender at the University of Michigan. I am the co-chair of the SMT Queer Resource Interest Group.
Marian Wilson Kimber is Professor of Musicology at the University of Iowa. Her research about Felix Mendelssohn and Fanny Mendelssohn Hensel has appeared in numerous books and journals. Wilson Kimber’s 2017 book, The Elocutionists: Women, Music, and the Spoken Word, published by the University of Illinois Press, explores women’s roles as performers and composers in the intersection of poetic recitation and music in American cultural life. The book is the recipient of the H. Earle Johnson Publication Subvention from the Society for American Music and an additional subvention from the American Musicological Society. Wilson Kimber has recently taken up performing the women’s spoken-word compositions she writes about in the duo, Red Vespa, with pianist Natalie Landowski.
I am a Lecturer in French Film at the University of Bristol. I am currently working on a book project that explores ‘listening spaces’ in contemporary French and Francophone documentaries, with a focus on the documentary convention of the filmed interview. Part of this project is particularly concerned with works by the Belgian filmmaker Chantal Akerman. Other research interests that dovetail with this project include sound studies, musicology and listening, queer studies, and feminist queer theory and intersectionality. My first monograph Godard and Sound: Acoustic Innovation in the Late Films of Jean-Luc Godard was published by I.B.Tauris in 2017 and explores the relationship of sound to vision in cinema and in turn our relationship as spectators with the audiovisual in a selection of post-1979 films by Jean-Luc Godard.
Gillian L Gower is a musicologist and medievalist specializing in the cultural history of medieval England and Scotland. Broadly speaking, her research centers the ways in which women and racial minorities use music as a discourse through which to negotiate, challenge, and construct forms of power and authority. Her current book project, Music and Queenship in Medieval England, examines tensions between gender and power in English religious song, ca. 1200-1500. She has also published work on medievalism in popular culture and music paleography. Dr Gower received her PhD in Musicology from the University of California, Los Angeles. She also holds an MA in Music from Hunter College of the City University of New York and a BA from Johns Hopkins University’s Writing Seminars program. At present, Dr Gower is a Research Assistant for the Carnegie Trust-funded digital humanities project Towards a Prosopography of Scottish Musicians before the Reformation hosted at the University of Edinburgh. She previously taught at UCLA and Southern Methodist University.
Dr. Danielle Sofer (she/her/they/them) is Executive Director of the LGBTQ+ Music Study Groups. Dr. Sofer’s recent publications concern various means of electronic mediation, exploring how gender dynamically cuts across current social justice activism, postcolonial resistances, as well as historical and systemic constitutions of race and sexuality. Such topics feature extensively in a forthcoming monograph, Making Sex Sound: Vectors of Difference in Electronic Music (MIT Press), the first book to explore sexuality in electronic music. A nomad by blood, generations before her moved about East of the Mediterranean, and she’s never lived anywhere longer than 3 years. She was a professor for 10 years – recently quit her job over sexual harassment and bullying – and is now more determined than ever to resist those for whom equality feels like oppression. A music theorist attuned to gendered hearings and sensitive to cultural context, Dr. Sofer has published on music by Elizabeth Maconchy, Juliana Hodkinson, Alice Shields, Donna Summer, and Barry Truax and on the reception of Adorno’s ‘listening typology’. She completed a PhD with distinction at the Kunstuniversität Graz. Her volume Elizabeth Maconchy: Music as Impassioned Argument (Universal Edition, 2018), edited with Christa Brüstle, features contributions from the composer’s two daughters, family photos, and a complete list of the composer’s works presented for the first time. Recent articles include an analysis of gender and sexuality in music by Barry Truax (Organised Sound, 2018), and ‘Breaking Silence, Breaching Censorship: “Ongoing Interculturality’” in Alice Shields’s Electronic Opera Apocalypse’, forthcoming in American Music journal, awarded subventions from the Society for Music Theory and the American Musicological Society’s AMS 75 Publication Awards for Young Scholars Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. Danielle graduated summa cum laude from the State University of New York at New Paltz with a BA in music performance (viola and piano) and honours. She holds Master’s degrees from Binghamton University (New York) in piano performance and Stony Brook University (New York) in music history and theory, with a thesis on Prokofiev’s opera The Gambler, a project that brought her to St. Petersburg, Russia as an Erasmus student. Prior to joining the faculty of the Institute for Musical Criticism and Aesthetical Research at the Kunstuniversität Graz, Danielle studied music theory at the University of Wisconsin-Madison, where she was an assistant to Brian Hyer. She has presented on sexuality and electronic music on several occasions, including conferences of the International Computer Music Association, The Society for Music Theory, The Society for Musicology in Ireland, and the Feminist Theory and Music conference. As a violist, pianist, and singer, Danielle has performed in New York City, Boston, San Francisco, Graz, Haifa, Tel Aviv, Jerusalem and many smaller cities around the globe. http://daniellessofer.wixsite.com/daniellesofer
Instructional Assistant Professor of musicology, Illinois State University
Morgan Rich is a Volkswagen Stiftung and the Andrew Mellon Foundation Postdoctoral Fellow in the Humanities, working at the Staatliches Institut für Musikforschung, Berlin. She received her PhD in musicology from the University of Florida. Her dissertation reassesses Theodor Adorno’s relationship with Alban Berg in a pivotal moment in his philosophical and compositional career. During the 2016/2017 academic year she was a Visiting Assistant Professor of Musicology at the University of Florida School of Music. She has presented at the Annual Meetings of the American Musicological Society, International Council of Europeanists, German Studies Association, Austrian Studies Association as well as various national and international conferences for musicology and European studies.