Doctor of sciences (in Art), Leading researcher of the State Institute for Art Studies Russian Federation Ministry of Culture (Moscow) Authored 14 books including a commented translation of medieval treatises on music, about 100 original articles. Gratitude for the great contribution to the development of culture and long-term fruitful work from the RF Minister of culture V. R. Medinsky (2019). Research interest: Maqām & Liturgy & History of Middle Eastern Jewish Diasporas, Music & Language &Cognition, Manuscripts on music (Persian, Hebrew, Arabic, Turkish &Azeri), Art of maqām
I’m a thirty-something disabled poly queer person who theorizes about and engages with philosophy of communication, disability studies, feminist theory, hermeneutics, Title IX investigation methods, social epistemology, and many other things. A key focus of mine is listening. I am understanding this verb quite broadly, and wish to explore the ethical, epistemological, and value-laden stories contained within. I currently work for Michigan State University as a teaching assistant for the Department of Philosophy. My professional experience also ranges to patient services in pediatrics, writing center tutor, touring musician, voice actor, audiobook proofer. I am also building a different kind of writing service that will be based solely on encouragement rather than critique. When the Patreon launches, I’ll upload the link here. I am also a life-long gamer and a music and comic book nerd.
I’m a PhD candidate in the department of Media, Music, Communication and Cultural Studies researching the productivity of non-normative bodies in videogames by integrating disability studies into videogame research, via textual analysis and sensory ethnography of Let’s Plays. I completed my Master of Research in 2014. My thesis, entitled ‘Romancing the Corpse’, was an examination of the representations of zombies in young adult paranormal romance through the theories of biopolitics (particularly Giorgio Agamben’s Homo Sacer and State of Exception), genre studies (how the works were situated within the romance genre) and audience response.
My teaching centers upon English literature of the 16th and 17th century, especially the drama of Shakespeare, Marlowe and Jonson and the poetry of Spenser and Milton, but I also frequently teach the intersection of that literary archive with political philosophy, metaphysics, medical writing, affect theory, eco-materialism, queer theory and psychoanalysis. In a separate stream of writing and thinking, I work on musical subculture and performance. When I’m not doing those things, I also make electronic music with my partner in a group called Matmos and by myself as The Soft Pink Truth.
I am a 64-year-old registered Radiologic Technologist who will soon be retiring from the medical field, and continue in the areas of philosophy of religion, and music. Formally trained in Apologetics at both the undergraduate and graduate levels, this is an area within the Christian faith where Christians need better training in general, and I am working now to hopefully improve this.
Bryan A. Whitelaw BMus (Hons) MPhil LRSM Bryan is a current PhD Researcher in Musicology at Queen’s University Belfast. His interests lie in the theory and analysis of 19th–century repertoire and works with allusions to literary or narrative figures, particularly in the music of Franz Liszt. Society for Musicology in Ireland Bryan is the current Student Representative and a council member of the Society for Musicology in Ireland: http://www.musicologyireland.com/ Similarly, he is a member of both the Royal Musical Association and the Society for Music Analysis. Master of Philosophy (MPhil) After completing his Bachelor of Music degree in 2015 with first-class honours, Bryan was awarded a School of Arts, English and Languages funding scholarship for his MPhil research project on the Piano Sonata in B minor (1853), by Franz Liszt. The MPhil thesis focuses on the contextual, theoretical, and hermeneutic analysis of the Liszt Sonata, and provides the first Sonata Theory analysis of this work. The thesis additionally explores a hermeneutic reading of the sonata in poetic terms, based on Johann Wolfgang von Goethe’s Faust (1808), and a typological comparison with Liszt’s other Faustian works; the Mephisto Waltzes and A Faust Symphony, for example. Doctor of Philosophy (PhD) Bryan’s PhD research focuses on the interplay between Franz Liszt’s literary and cultural influences, and their impact in his compositional output during the Weimar period; ca. 1848–1861. The research is based on the development of a narratographic music theory which attempts to bridge the divide between historically- and culturally-contextual scholarship, on the one hand, and the theoretically-rigorous application of formal theory on the other. The work thus adopts aspects of narratology, hermeneutics, and semiotics, alongside theoretical interests such as Hepokoski and Darcy’s Sonata Theory, William Caplin’s theory of formal functions, and neo-riemannian theory. The thesis explores a conextual history of Liszt’s time as kappelmeister in the Weimar Court Theatre, while situating his reception history within the lineage of Weimar Classicism. After setting up a theoretical methodology, the thesis chapters provide case-study analyses of several symphonic poems, the Faust Symphony, Dante Sonata, and the Piano Sonata in B Minor. A final chapter outlines the broader strategy Liszt employed as a compositional archetype for sonata-form works, before drawing some conclusions for the future analysis of Liszt’s oeuvre.
I am a researcher and critic working at the intersection of literature, the history of science, and philosophy, interested primarily in 19th century evolutionary thought and its cultural, political afterlives. My first monograph, Rethinking the Human in the Darwinian Novel, examines responses to evolutionary theory in 19th century literary realism and later Utopian fiction. Other projects, both in progress and complete, include work on the representation of islands in literature and philosophy, Michel Houellebecq, and the reception of Samuel Butler in the writing of Gilles Deleuze.
Mohammad Reza Azadehfar’s research and publications in music focus on Iranian music, rhythm, and music interdisciplinary studies. He has received five grants for researches in University of London, University of Arts, and INSF. He is an academic member of Faculty of Music at University of Arts Tehran and ex-dean of Music Faculty.
Musician * Teacher * Researcher
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.