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MemberRyan Dohoney

…e Rothko Chapel. Oxford University Press, 2019.
 

Morton Feldman: Friendship and Mourning in the New York School.

Bloomsbury Academic. Under contract. Expected 2021.

                       
Peer-Reviewed Articles
 
“Élan vital … and how to fake it: Morton Feldman and Merle Marsicano’s Vernacular Metaphysics.” Contemporary Music Review, 38/3 (2019): 1–18. DOI: 10.1080/07494467.2019.1596632
“Spontaneity, Intimacy, and Friendship in Morton Feldman’s Music of the 1950s.”
Modernism/Modernity Print Plus, Volume 2, Cycle 3. Fall 2017.
 

“Echo’s Echo: Subjectivity in Vibrational Ontology.” Women & Music 19 (2015): 142–150.

 

“B…

I am Associate Professor of Musicology in the Bienen School of Music at Northwestern University where I also am core faculty in the Program in Critical Theory as well as an affiliate with the Black Arts Consortium. I write on experimental, modernist, and contemporary music.

MemberKaren Cook

I am associate professor of music history at the Hartt School at the University of Hartford in West Hartford, Connecticut. My main areas of focus are on late medieval notation, theory, and performance; medievalism; and contemporary pop music, jazz, and music in media such as film, television, and video games. Additionally, I am an active singer, performer, and conductor of both early and contemporary music.

MemberRyota MIKAMI

…musicology, contemporary music, Iannis Xenakis…
…MIKAMI, Ryota, A Brief History of Contemporary Music Centered on Iannis Xenakis and Michaël Levinas, in ARAZARU vol. 10, Tokyo, HEADZ, 2017, pp.1-59.

 

MIKAMI, Ryota, Night before Metastasis 1: When Xenakis was an student of composition, in ARAZARU vol. 11, Tokyo, HEADZ, 2018, pp. 1-39.

 

MIKAMI, Ryota, Night before Metastasis 2: the age of Atelier Le Corbusier: from refugee to engineer, in ARAZARU vol. 12, Tokyo, HEADZ, 2018, pp. 4-75….

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

MemberGlenda Goodman

  I am a historian of music who specializes in American music of the seventeenth and eighteenth centuries. My avenues of inquiry include the material culture of music and book history, amateur music-making and gender, and soundscapes of colonialism. My book, Cultivated by Hand: Amateur Musicians in the Early American Republic, brings together the history of gender, books, and labor to explore the little-known world of amateur music-making by women and men in the first generation after the American Revolution. I am currently working on a new project on Christian sacred music and settler colonialism in the eighteenth century. This project explores the territorializing role of music and sound in settler colonialism, as well as the ways in which the adoption and adaptation of Protestant hymnody by Native Americans (primarily Haudenosaunee Six Nations and Southern New England Algonquian-language group speakers). The first fruits of this research can be seen in my article on the lost music manuscript books of Joseph Johnson (a Mohegan Christian), which appeared in the Journal of the Society for American Music’s special issue on “Settler Sounds: Music, Indigeneity, and Colonialism in the Americas” (Fall 2019). My other articles have appeared in the Journal of the American Musicological Society, the Journal of the Society for American Music, the William and Mary Quarterly, Eighteenth-Century Studies, and the Journal of the Royal Musical Association (forthcoming Fall 2020), and edited collections. I teach courses on American music, women and music, popular music, and methods for the study of music history. My graduate seminars address topics in eighteenth-century studies, such as music and revolution, sacred music and settler colonialism; and methods/materials courses on music and book history, and archive studies. My approach to teaching and scholarship is fundamentally interdisciplinary. By training and inclination, I am very much a historian; I also have a background as a performer (I studied viola at Oberlin and Juilliard, where I played mostly experimental and contemporary music). Collaboration is important to me and I am in the middle of a large-scale collaborative interdisciplinary project with historian Rhae Lynn Barnes entitled American Contact: Intercultural Encounter and the History of the Book, which entails a symposium, a volume, and a digital humanities project. A second collaborative project with Dr. Barnes is on the topic “Early American Music and the Construction of Race.”  

MemberOksana Nesterenko

…ounding Incomprehensible: Music Representation of the Experience of Leningrad Siege in Alexander Knaifel’s Agnus Dei,” presented at Music, Sound, and Trauma: Interdisciplinary Perspectives online conference, February 12-14, 2021.

“Regaining the Sound of the Sacred: Spiritual Music in Ukraine Before and After Independence,” presented at Ukrainian Contemporary Music Festival, CUNY Graduate Center, New York, February 28-March 1, 2020.

“Religious Revival in Soviet Music During Brezhnev Era,” presented at the 51st Annual ASEEES Convention, San Francisco, November 22-26, 2019.

“A Requiem for the USSR: State Atheism and Secular Enchantment,”
at “Sound and Secularity” Symposium, Stony Bro…
…ent of their musical works. The five main chapters are each dedicated to one of the major cultural centers – Moscow, Saint Petersburg, Kyiv, Tallinn and Yerevan– and, after discussing historical context and general issues with censorship in a specific city, focus on selected works by composers who worked there during the period of my study.

Ukrainian Contemporary Music Festival in New York City www.ucmfnyc.com
(advisory board member, annual, since 2019).

Extended Techniques, a podcast and blog about contemporary music (founder and host, ongoing, since 2012).

Music and Nature: Between Scientific Reason and Divine Power, Stony Brook Graduate Music Symposium (chair and head organizer, February 2014)…

I am a music historian specializing in the late 20th century music, with a current research focus on the late Soviet Union, religion, spirituality and secularity. My research interests are guided by a broad question of what inspires contemporary composers, in particular, the influence of spiritual or philosophical beliefs on their music and its reception.