Paul David Flood is an incoming Ph.D. student in Musicology at the Eastman School of Music, University of Rochester. His research interests include national identity and compositional aesthetics in 20th and 21st century Nordic music, the Eurovision Song Contest, music and philosophy, and choral music. He holds a M.F.A. in Musicology from the University of California, Irvine and a B.A. in Music from Westminster Choir College. Outside of his scholarship, Paul is an active choral singer.
I’m a Senior Lecturer of Music Studies and Research at Queensland Conservatorium, Griffith University (Brisbane), and an Associate Researcher at the RITMO Centre for Interdisciplinary Study of Rhythm, Time and Motion (University of Oslo) and the Orpheus Institute (Ghent). I’m also a busy composer and improvising trombonist. My research is on musical interaction and improvisation, philosophy, temporal processes in African and Afro-diasporic musics, and feminist, queer, postcolonial and phenomenological approaches to thinking about music, including music analysis. I’m also deeply interested in music pedagogy. I edit the new online Practice Magazine (submissions accepted!), am Critical Forum Editor for Music Analysis, and will soon be soliciting contributions for a new book series on music and philosophy with Edinburgh University Press.
Jeremy Coleman joined the Department of Music Studies, School of Performing Arts, University of Malta, as Lecturer in Music in September 2020. Before that, he was based in Aberdeen, lecturing on a part-time basis in the Music Department at the University of Aberdeen and concurrently (for a term in 2017-18) in the Department of Comparative Literature, King’s College London. During this time, he also pursued a freelance career as a collaborative pianist, specialising in art song and chamber music repertoire. Dr Coleman is a musicologist and performer with wide interests in research and teaching which centre on music and social theory, performance, criticism, and music historiography. His first book _Richard Wagner in Paris: Translation, Identity, Modernity_ appeared with Boydell & Brewer in 2019 and has been reviewed in Die Musikforschung, The Musical Times, The Wagner Journal and Wagner Notes (“Original, valuable and highly absorbing, especially where it unpacks new and exhilarating discourses from fields other than musicology…a fascinating story.” THE WAGNER JOURNAL). He has published articles and book reviews in journals including Current Musicology, The Chopin Review and the Marx & Philosophy Review of Books, and has translated academic papers. He has also contributed numerous entries in The Cambridge Wagner Encyclopedia (Cambridge University Press, 2013) and The Cambridge Stravinsky Encyclopedia, eds. Edward Campbell and Peter O’Hagan (forthcoming 2021). He is a board member of the Royal Musical Association Music & Philosophy Study Group: https://musicandphilosophy.ac.uk.
My research focuses on the musical culture of sixteenth and seventeenth-century England and encompasses a wide range of themes including court music, civic pageantry, ballads and popular song, gender, death songs and elegies, music philosophy, mythology, manuscript studies, and early music printing.
Ph.D. student and Assistant Instructor in Musicology at Indiana University Research interests include choral music, particularly in England and Scotland, and musical nationalism, politics, and power in the early twentieth century. Also interested in music history pedagogy and teaching philosophy.
Linda Fairtile is the Head of Parsons Music Library at the University of Richmond (VA), where she also teaches in the First-Year Seminar program. Her research focuses on the operas of Verdi and Puccini, and specifically on issues of compositional process. She is currently preparing critical editions of Puccini’s Edgar (Ricordi) and Verdi’s Otello (University of Chicago Press/Ricordi).
John Covach is Director of the University of Rochester Institute for Popular Music, Professor of Music in the School of Arts and Sciences, and Professor of Theory at the Eastman School of Music. He has published dozens of articles on topics dealing with popular music, twelve-tone music, and the philosophy and aesthetics of music. He is the principal author of What’s That Sound? An Introduction to Rock Music (W.W. Norton) and has co-edited Understanding Rock (Oxford University Press), American Rock and the Classical Tradition (Routledge) and Traditions, Institutions, and American Popular Music (Routledge), Sounding Out Pop (University of Michigan Press), and the Cambridge Companion to the Rolling Stones (Cambridge).
Arnold Berleant is Professor of Philosophy (Emeritus) at Long Island University (USA) and the founding editor of the on-line journal, Contemporary Aesthetics. He is the author of numerous articles, as well as eight books and three edited volumes. Berleant’s work ranges over aesthetics, especially environmental aesthetics, the arts, ethics, and social philosophy. He has lectured widely, both nationally and internationally, and has been active in many professional organizations including the International Association of Aesthetics of which he is a founding member and Past President.
Lauren Acton is faculty and program coordinator for the Performing Arts Fundamentals program and faculty for the Music Industry Arts and Performance program at Centennial College in Toronto, Canada. She is a musicologist, cultural theorist, and performer who received her PhD in musicology at York University, Toronto. Her academic research and teaching interests embrace a range of topics: musicology, popular music studies, theater studies, acting, performance studies, cultural theory, and aesthetic philosophy. Her research publications have addressed violence in Canadian musicals, analyzed the stage and screen versions of Show Boat, explored the repertoire of musicals written for children in school and community settings, and examined the intersection between tourism and musicals at the Stratford Festival of Canada.