My name is Davis Winkie, and I am a Ph.D. student in military history at UNC-Chapel Hill. My hobbies include running and following my favorite soccer team, Atlanta United FC. In a past life, I played college football for Vanderbilt University, but now I moonlight as a soldier in the NC Army National Guard. My general research interests center around American memory and commemoration of its 20th century wars. These interests are very inclusive: memorials, public education curricula, movies, books, music, ceremonies, and more. In the past, this has led me to track the evolution of U.S. high school history textbooks’ treatments of the Japanese-American internment and the Allied bombing campaign in WWII. I have also explored the ways that politics and economic necessity led the way in shaping the form and function of Tennessee’s WWI memorial. My current project (which is to become my M.A. thesis and an article) reevaluates the early Cold War relationship between the U.S. military, the Production Code Administration, and Hollywood. I argue that Hollywood war films faced a daunting system of soft censorship orchestrated by the DoD and PCA. Ultimately, this demonstrates the direct role that the military played in planting the cinematic seeds for America’s enduring popular “good war” mythology.
2016: “Chef de Musique or Chef de Macaroni: The Twisted History of the European Military Music in Persia.” Rivista Italiana di Musicologia. No. 51. pp. 51-88.
2015: Musical Souvenirs: European Transcriptions of Persian Music (1600-1910). Tehran: Mahoor.
2014: Let No One Judge You: Early Recordings from Iran, 1906-1933. London: Honest Jon’s Records.
2011: “Persian Records by the Lindström Company: Triangle of Political Relationships, Local Agents and Recording Company.” The Lindström Project, Contributions to …
Postdoctoral Scholar Department of Ethnomusicology The UCLA Herb Alpert School of Music Ethnomusicologist, Historian. Area of interest: Musical cultures of Iran (Persia) History of music in Iran and the Middle East. Recording industry in non-Western cultures.
I was awarded my PhD from the University of Huddersfield in 2014. My research explored contested themes in social history and musicology. Even though brass bands were a national movement I analysed the bands of the Southern Pennines to explain why brass bands became such a powerful metonym of northern working-class culture. I found that this cliché emerged from ca. 1840-1914 through a number of elements that were largely external to the brass band movement. I have published on brass bands and aspects of class, gender and region. My ongoing research continues into the social networks that emerged from musical groups in the long nineteenth century and beyond. My current research projects include women and gender in military bands; jazz and working-class identity in a 1930’s Staffordshire town, and the role of discotheques in provincial life throughout the 1970s and 1980s. I have led adult-education courses at the University of Huddersfield and the University of York, and I have contributed research to the AHRC-funded Making Music in Manchester during World War One project, based at the Royal Northern College of Music. I also write for the northern ezine Northern Soul as a music correspondent. I am seeking post-doctoral opportunities.
Semi-retired professor emeritus from Virginia Military Institute, currently teaching occasionally at James Madison University.
Tiffany Ng is assistant professor of Carillon and University carillonist at the University of Michigan, Ann Arbor. An energetic advocate of diversity in contemporary music, she has premiered or revived over 60 works by emerging and established composers from Yvette Janine Jackson to Augusta Read Thomas, pioneered models for interactive “crowdsourced” carillon performances and environmental data-driven sound installations with Greg Niemeyer, Chris Chafe, Ed Campion, Ken Goldberg, John Granzow, and Laura Steenberge, and through her composer collaborations significantly increased the American repertoire for carillon and electronics. Her concert career has taken her to festivals in fifteen countries in Europe, Asia, and North America, including the 2018 University of Chicago Rockefeller Carillon New Music Festival, 2018 Canberra Carillon Festival, 2017 University of Michigan Bicentennial, UC Berkeley 2015 Campanile Centennial, Stanford 2014 CCRMA anniversary festival, 23rd International Carillon Festival at Bok Tower Gardens-Florida, 2014 International Carillon Festival Barcelona, and 2008 Post-Congress Festival of the World Carillon Federation. Dr. Ng’s previous appointments include visiting professor of Music History at St. Olaf College, associate carillonist at the University of California, Berkeley, and instructor of Carillon at the University of Rochester. Her musicology dissertation, “The Heritage of the Future: Historical Keyboards, Technology, and Modernism,” explores the carillon and organ in terms of music technology, the Early Music movement, and the Cold War in America and the Netherlands, drawing on media studies, urban planning, legal history, and the history of military electronics to reevaluate the Organ Reform Movement and the postwar use of carillons as diplomatic and urban planning technologies. Ng holds a licentiate diploma magna cum laude from the Royal Carillon School “Jef Denyn” where she studied with Geert D’hollander, a PhD from UC Berkeley where she studied with Richard Taruskin (musicology and new media), a master’s degree from the Eastman School of Music where she studied with William Porter (organ), and a bachelor’s degree from Yale University (English and music). She is a former special exhibit curator at the Yale University Collection of Musical Instruments, former assistant director of the Women in Music Festival and the Contemporary Organ Music Festival in Rochester, New York, author of the multimedia catalog of the Municipal Carillon Museum of Mechelen, Belgium, and currently serves on advisory boards for the Stearns Collection of Musical Instruments, Yale University Guild of Carillonneurs, and Organ Historical Society. Ng’s awards include the Shirley Verrett Award for outstanding support of women of color in the arts, the U-M Institute for the Humanities Faculty Fellowship, the Center for World Performance Studies Faculty Fellowship, the Ronald Barnes Memorial Scholarship for Carillon Studies, the E. Power Biggs Fellowship of the Organ Historical Society, the Consortium for Faculty Diversity Fellowship, the UC Berkeley Arts Research Center Fellowship, the Westfield Center for Early Keyboard Studies paper award, and the Belgian American Educational Foundation Fellowship.
Dr. Peter J. García is Professor at California State University Northridge where he teaches in Anthropology, Music, and Chicana and Chicano Studies. His research in U.S. Latinx and Mexican borderlands focuses on indigenous and settler music-culture intersectionalities and contact zones between and among New Mexican, Northern Mexican and Southwest Native American (indigenous) communities and immigrant barrios on both sides of the US/Mexico border. García is also faculty advisor, directs and performs with the CSUN Latin/x music ensemble and Mariachi “el Matador.” García was Fulbright García-Robles grantee to Mexico in 2007 and continues ethnographic research on the annual peregrinacion (pilgrimage) in Magdalena de Kino (Sonora).
studied composition at Osaka College of Music / invited composer at Takefu International Music Festival / Internationale Ferienkurse fur Neue Musik Darmstadt Stipendienpreis / Session de composition Royaumont Voix Nouvelles