(Biographies of participants listed alphabetically by first name)
Adam Tinkle is a multidisciplinary artist and scholar trained in music, currently working in sound, intermedia, performance, and participatory/collaborative modalities. His book manuscript, on experimental music and the aesthetics of social participation, connects sound studies with wider questions of social and public practice in the arts. Recent artistic projects include a pair of 2017 exhibitions as a member of the collaborative Seven Count, an artist’s book and multimedia environment drawn from material from his award-winning solo performance A Mess of Things, and a live soundtrack for a silent, feature-length history of the animated GIF. He has published in Leonardo Music Journal and Organised Sound, and teaches at Skidmore College, where he has guided the development of its summer Documentary Storytellers’ Institute since its inception in 2015.
Alexander Marsden is a third year Ph.D student at the University of North Carolina at Chapel Hill. Alex holds Bachelor’s and Master’s degrees from the University of Cambridge. His dissertation project, which is supervised by Chérie Rivers Ndaliko, critically analyses uses of music in refugee advocacy activism in the UK. His other research interests include grime, rap analysis, and Max Roach.
Alexandra T. Vazquez is Associate Professor of Performance Studies at NYU where she is also the Director of Graduate Studies. Her research and teaching interests focus on music, U.S. Latina/o and Latin American Studies, Caribbean aesthetics and criticism, race and ethnicity, and feminist theory. Her book, Listening in Detail: Performances of Cuban Music, won the American Studies Association’s Lora Romero Book Prize in 2013. Vazquez’s work has been featured in the journals American Quarterly, small axe, Social Text, women and performance, the Journal of Popular Music Studies, and in the edited volumes Nonstop Metropolis: A New York City Atlas, Reggaeton, and Pop When the World Falls Apart. Vazquez is currently working on a new book called Florida Water.
Amelia Marzec is an American artist focused on rebuilding local communications infrastructure to prepare for an uncertain future. Her work has been exhibited at SIGGRAPH, MIT, ISEA (Canada), LAPSody (Finland), ONCE Foundation Contemporary Art Biennial (Spain), NODE Forum for Digital Arts Biennial (Germany), and is part of the Rhizome ArtBase. She has been a resident at Eyebeam, a resident at Harvestworks, a fellow at New York Foundation of the Arts, the A.I.R. Gallery Emma Bee Bernstein Fellow, a Tow Fellow at Columbia University, a grantee of the Research Foundation of CUNY, and a nominee for the World Technology Awards for Art. Her work has been featured in Wired, Make, Hyperallergic, Neural Magazine, Metropolis Magazine, Creators, NPR, and the front page of Reddit. She holds an MFA in Design and Technology from Parsons School of Design, and a BFA from Mason Gross School of the Arts.
Anaar Desai-Stephens received her Ph.D. in Ethnomusicology from Cornell University in 2017. Her research focuses on popular music, media and aspirational subjectivity in neoliberalizing India and has been supported by the Howard Mayer Brown Fellowship from the American Musicological Society and Cornell’s Randel Dissertation and Teaching Fellowship, amongst other sources. She is an active violinist, currently playing with the Mumbai based world music band Maati Baani and the Latin band Palonegro. As a scholar, teacher, mentor, and musician, Anaar is committed to engaging multiple forms of structural inequality. She is a co-founder of the Indian gender justice organization BadalJa! and had the pleasure of teaching music appreciation through Cornell’s Prison Education Program in Spring 2017. Anaar is currently a Visiting Assistant Professor of Ethnomusicology at the Eastman School of Music, University of Rochester and will start as Assistant Professor there in Fall 2018.
As a Ph.D. student in Ethnomusicology at Columbia University, Andrés García Molina is currently developing a dissertation project around sound, media, and infrastructure in Cuba. He is part of the editorial board of Current Musicology and an editorial intern for Cultural Anthropology. His background is in Computer Science (BSc and MSc) and Latin American Studies (MA).
Aviva Rahmani’s PhD is from Plymouth University, UK where her dissertation was on “Trigger Point Theory as Aesthetic Activism.” She is an Affiliate at the Institute for Arctic and Alpine Research (INSTAAR), UCB and has taught at Stonybrook University. Rahmani exhibits and publishes internationally, most recently in Korea, China, and the UK as well as the USA. Her work, The Blued Tree Symphony (2015-present), an aspect of Gulf to Gulf (2009- present), a NYFA sponsored project on changing climate change policy with art was awarded fellowships from A Blade of Grass, and New York Foundation for the Arts (NYFA). Previous awards include from the Arts and Healing Network, Nancy H. Gray Foundation for Art in the Environment, and an NEA Ecology Residency in 2015. The Gulf to Gulf webcast sessions have been viewed from eighty-five countries. In 2007, her “Trigger Points/ Tipping Points,” film premiered at the 2007 Venice Biennale.
Berrow Duo is the dynamic combination of flute and cello committed to the creation of new works. New York City-based performers Leia Slosberg, flute, and Thea Mesirow, cello, bonded over their desire to push traditional playing boundaries with the incorporation of text and extended techniques in instrumental music. Together, they focus on the promotion of women and femme-identified composers and artists to create new works through close collaboration. Berrow Duo is passionate about experimentation, exploration, and the expansion of expression in instrumental music. In the 2017-2018 season, Berrow Duo will premiere four new works by Diana Rodriguez, Camila Agosto, and Zongyun We; their performances will take them to Boston and Baltimore in addition to their home in New York City.
Ben Roidl-Ward is a bassoonist and improviser based in Chicago. His dedication to working with and advocating for composers of his generation has led to several national tours featuring world premieres of new works for the bassoon. Ben has appeared as a soloist with the Seattle Symphony and the Oberlin Contemporary Music Ensemble, along with several regional orchestras throughout the United States. As an orchestral musician, he has performed with the Chicago Symphony, the New York Philharmonic, and the Richmond Symphony. He has spent his summers with the Tanglewood Music Center, Lucerne Festival Academy, National Repertory Orchestra, and Spoleto Festival USA. Currently a member of the Civic Orchestra of Chicago and a student of David McGill at Northwestern University, Ben also studied with Ben Kamins at Rice University, George Sakakeeny at the Oberlin Conservatory, and with Francine Peterson in the Seattle area.
Brendan Kibbee is a PhD candidate at the Graduate Center of the City University of New York and a fellow at CUNY’s Center for Place, Culture, and Politics, founded by social geographer David Harvey. He has taught at City University of New York and Rutgers University. His dissertation project, “Counterpublics and Street Assemblies in Postcolonial Dakar,” rethinks ways that music is integrated with economic life in a contemporary, postcolonial urban setting, generating forms of solidarity, community service, patronage, and political action. His research has been funded by Fulbright-Hays as well as the Society for Ethnomusicology’s 21st Century Dissertation Fellowship. He holds an MA in Ethnomusicology from CUNY and a Bachelor of Music from Rutgers University, where he studied jazz piano with Stanley Cowell.
Bryan Hayslett is a Ph.D. candidate at New York University’s Steinhardt School, where he is a member of the Adjunct Artist Faculty. His research centers on musical analysis and its relation to perception and performance. Founder and cellist of the contemporary performance group Juxtatonal, his solo programs often feature premieres of new works written for him; recent commissions include Drew Baker’s Ages of the Deceased and Kevin Joest’s Laughter Ballet, and his releases include “A Special Light” (Innova), featuring music of David Macbride. Hayslett, who holds degrees from The Hartt School of Music and The Boston Conservatory, also improvises music for yoga classes.
Camila Agosto (b. 1995) started her music studies as a violist and pianist at the age of eight. Her music has been performed by members of the International Contemporary Ensemble, the Semiosis Quartet, and clarinetist Eric Umble in venues like the Abrons Arts Center, The Firehouse Space, and the Banff Centre for Arts and Creativity. Her output ranges from electronic works to orchestral scores, often employing extended instrumental techniques and exhibiting a particular emphasis on timbral and textural elements. She holds a Bachelor’s degree in Music Composition from Montclair State University where she studied under composer Marcos Balter, and is currently pursuing her Master’s degree at the Peabody Institute of the Johns Hopkins University, where she studies under composer Oscar Bettison. A recipient of the Randolph S. Rothschild Scholarship, Agosto has also received awards and scholarships from the Marshall M. Williams Endowment and The Sorel Organization.
Caroline Louise Miller’s music is devoted to the exploration of affect, biomusic, labor, tactility, and glitch. Her latest work, Vivarium, premiered at Denmark’s SPOR 2017 festival as part of the European Capital of Culture. Vivarium is grotesque theater for two performers dissecting amplified, magnified pomegranates. In 2014 Caroline spent 2 weeks aboard a research vessel sailing from Taiwan to Micronesia, collecting field recordings aboard the ship. Her music appears across the U.S. and internationally, and she has recently enjoyed performances by Synchromy, SPLICE, Kallisti, Forest Collective, WasteLAnd, Wild Rumpus Ensemble, and the Inoo-Kallay Duo. C.L.M. is currently ABD in the department of music at UC San Diego.
Christine Dang Christine Thu Nhi Dang is Assistant Professor of Music at NYU. Her research explores the role of sound in mediating religious and political forms of belonging—with emphasis on the music of West Africa, Islam and Christianity in the global south, and contemporary soundscapes of urban life. Her current book project, “Songs of Spiritual Difference: Muslim and Christian Voices in Senegalese Public Space,” is based on two years of ethnographic research with multiple religious communities in Senegal; it examines the ways in which musical practice is used to produce experiences of spiritual belonging and difference, and probes the consequences of such musical production of belonging and difference bears on the wider publics in which religious communities are located. Her research will appear in Islamic Africa and Ethnomusicology Forum, and she has presented papers at the Society for Ethnomusicology, the American Anthropological Association, and the Society for the Anthropology of Religion, and the African Studies Association.
Danika Paskvan is an Alaskan musician and writer currently living in New York City. Her writing projects have centered around postdigital aesthetics, media convergence, disruptive technologies, language philosophy, memory work, embodied and sensory histories, haptics, and practitioner-centered approaches. As an instrumentalist, she mainly works in early music and contemporary music performance practices. She holds degrees from Northwestern University (linguistics, violin & viola performance) and The Juilliard School (performance). Her work and further information on her projects can be found at danikapaskvan.com.
Divino Letada Dayacap is a freelance composer and record producer who is currently taking up his bachelor’s degree in Music Composition at the University of Santo Tomas Conservatory of Music. He fronts and releases music under the band name “Halina”, writing and recording all of its material. Halina is a solo pop project with 1960s -1970s Psychedelic leanings, with a lyrical concept deeply embedded in sentimentality and romantic literature. His musical expertise also encompasses a wide field of sound/audio production, from film scores, to arranging and contemporary songwriting. His film work includes the critically acclaimed “PUSONG BATO (2014)” by Martika Escobar — which won grand prize of the local film festival Cinemalaya. He also has a keen interest in the visual arts, having knowledge in graphic design and art direction, having previously and partially taken an Architecture course.
Dorian Wallace is a composer, pianist, teacher, and activist. His work explores elements of the conscious and unconscious experience, deep political conscientiousness, socio-historical themes, protest, activism, secularism, existentialism, performance art, genre crossing, and often features improvisational elements. He is cofounder and artistic director of new music collective, Tenth Intervention, and conductor of the improvisational septendectet, The Free Sound Ahn-somble, both based in New York City. Wallace has composed and collaborated with artists including Alison Cook Beatty Dance, Robert Ashley, Hernando Bensuelo, Seneca Black, Tiger Chengliang Cai, The Cleveland Orchestra Piano Trio, Composers Concordance, Experiments In Opera, John King, Dave Liebman, Frank London, LottDance, Matt Marks, Brianna Matzke, Charlotte Mundy, New Vintage Baroque, Periapsis Music and Dance, Paul Pinto, Hajnal Pivnick, RIOULT Dance, John Sanborn, Son Lux, TRIODance, Aleksandra Vrebalov, and Pamela Z. Wallace performs with surrealist nightclub act Trystero, and is a founding member of the free music quintet AmmoCake.
Elizabeth A. Baker Eschewing the collection of traditional titles that describe single elements of her body of work, Elizabeth refers to herself as a “New Renaissance Artist” that embraces a constant stream of change and rebirth in practice, which expands into a variety of media, chiefly an exploration of how sonic and spatial worlds can be manipulated to personify a variety of philosophies and principles both tangible as well as intangible. Elizabeth has received recognition from press as well as scholars, for her conceptual compositions and commitment to inclusive programming. In addition to studies of her work, Elizabeth has been awarded several fellowships, grants, and residencies, in addition to sponsorships from Schoenhut Piano Company and Source Audio LLC. As a solo artist, Elizabeth represented by Aerocade Records. She is founder of the Florida International Toy Piano Festival, The New Music Conflagration, Inc., author of two books, and one half of the Baker-Barganier Duo.
Erich Barganier is a composer and multi-instrumentalist hailing from St. Petersburg, Florida. He writes chamber, orchestral, film, solo instrumental and experimental electronic music that explores microtonality, extended techniques, melodic interplay, generative processes, and algorithmic phrasing. His compositions have been performed live or as installations across the world in cities as diverse as New York City, London, Minsk, Sydney, and Kuala Lumpur and have been recorded on Nebularosa Records and Janus Music and Sound. Upon graduating from New College of Florida in 2014, he was awarded a Fulbright Scholarship and taught at Belarus State University of Culture and Arts in Minsk while collecting regional folk songs and performing music across Eastern Europe. Upon returning to the United States, he joined forces with New Renaissance artist Elizabeth Baker to form the Baker-Barganier Duo. Erich currently lives in New York.
Fred Moten teaches in the Department of Performance Studies. He is the co-author, with Stefano Harney, of The Undercommons: Fugitive Planning and Black Study. Their new book, All Incomplete, will be out later this year.
George Cloke is an award-winning sound artist and musician from Kent, UK. As an electronic/ambient producer, his work has been featured on BBC Radio 1, BBC 6 Music, Q Radio and NTS, and appeared in prominent music publications such as Drowned In Sound and The Wire. As a sound artist, he prized at The Engine Room International Sound Art Competition in London and has exhibited sound works at CCA Glasgow, Sound Thought Festival, Akusmata Helsinki and Morley Gallery in London.
Isidora Nojkovic is a Serbian/Canadian cellist currently based in New York City. She has performed internationally as a chamber musician and as a soloist, with appearances at Harpa Music Festival in Iceland, Chamber Music at Brahms’ Place Series in Austria, Ottawa Chamberfest, and Scotia Festival of Music with Lynn Harrell in Canada. Isidora was an associate member of the Ottawa Symphony Orchestra from 2013-2015, a national finalist at the Canadian Music Competition in 2006 and 2008, and was a 2016 winner of the British Columbia Arts Council Scholarship Award. She has also been a fellow at several prestigious summer festivals, including Spoleto Festival USA, International Soloist Academy in Austria, and Music Academy of the West. Isidora Nojkovic is a recent graduate of Manhattan School of Music, where she studied with Philippe Muller. Other former teachers include Paul Marleyn and Audrey Nodwell.
Islem Ben Fraj is a musician and visual artist based in Montreal. He is currently focusing on a post-rock project, but has also been an active percussionist in reggae and metal genres. He holds a DEC in 3D Animation and VFX from Institut Grasset in Montreal. Originally from Tunisia, he also completed a BA in Cinema and Directing Techniques from Institut Supérieur des Arts Multimédia de la Manouba in Tunis, and has studied Musicology at the Institut Supérieur de Musique in Tunis.
Iván Andrés Espinosa Orozco is a Ph.D. candidate in Literature and Culture Studies in Spanish at Georgetown University. He earned a M.A. in Education, with a concentration in Language and Arts at Carthage College after completing his B.A. in Spanish and English from the Universidad Pedagógica Nacional in Bogotá, Colombia. He also holds an M.A. in Spanish at the University of Wisconsin-Milwaukee. He is interested in critical theory, decoloniality, Andean narratives, and sound studies in Latin America. He is particularly interested in the history of noise and, in particular, radio, both as a means to provoke artistic production and contribute socially to integrate marginalized groups to the cultural canon. His current research project deals with the influence of the arrival of radio in Latin American cultural production.
Jenn Grossman is a sound and experiential media artist based in Brooklyn. She composes psycho-spatially, treating our sensorial realities as acoustic portals into the surreal, subconscious, and otherworldly, often displacing captured ephemera into a new environment, emitting it through objects, or creating audio visual experiences that expand perception. This has taken the form of installations, sound sculpture, ambient soundscapes, vocal experimentation, spatial sound works, public interventions, sound walks, and sound/movement collaborations with dancers and filmmakers. She has installed works, performed, and presented papers at various festivals and conferences such as the Governor’s Island Art Fair, Platforms II at MoMA PS1 Printshop, the She Resonates Series at Pioneer Works, the New York Transit Museum’s PLATFORM series, Reverse Gallery, Open Source Gallery, for the Megapolis Audio Festival, the Mixed Signals: Surround series at Future Space, CT::SWaM, the Quadrophonic series, Standing Waves at Knockdown Center, the Deep Listening Conference’s Cistern Dream Session, 60×60 Surround Sound at Harvestworks, NYU’s Sounds, Images & Data Conference, Brown’s OPENSIGNAL Festival, Lancaster University’s Women in Sound/Women on Sound Symposium, the University of Amsterdam’s Sound Signatures Conference, University of Toronto’s FOOT Festival, the Ende Tymes Festival, the Megapolis Audio Festival, and in unconventional public spaces.
Jillian Fulton is a Ph.D. candidate in Social Anthropology at York University. Her primary area of research, located within Arab-Islamic diaspora collectives of Toronto and Montreal, explores sensory anthropology, ethnomusicology, and performance studies through theories of sound and space, nostalgia and memory. She completed her MA in Ethnomusicology at the University of Alberta, and also holds a B.Mus and B.Ed from Queen’s University. Outside of academia, she actively performs at underground electronic music events in Toronto, and collaborates with Arabic folk musicians.
Born and raised in the Bronx, New York, Jocelyn Proietti graduated Smith College with a B.A in Africana Studies and English Language & Literature. As a Mellon Mays undergraduate research fellow she authored a senior thesis entitled: “Towards a Black Women’s Romantic Ideology: Theorizing Black Women’s Cultural Production in the 1980s/90s,” which tracked black women’s artistic responses to Enlightenment modernity during the period of the American culture wars. Focusing on pieces by Audre Lorde, Erykah Badu, Toni Morrison, and Lorna Simpson, the introduction to this work was recently published in the Mellon Mays Undergraduate Journal. Currently, she is a first-year doctoral student in American Studies and African American Studies at Yale University. Her research interests broadly include: visual art, literature, critical theory, popular music studies, queer studies, sound studies, the black radical tradition, afro-pessimism, women gender and sexuality studies, black feminism, performance studies, histories of the left, black Marxism, and cultural studies.
Jon Miguel Acosta is the lead guitarist of the Filipino band, Halina. Growing up, he developed a passion towards music and the visual arts. At the age of 22, he was given an opportunity to play at Bangon Marawi: A Benefit Concert, and was also voted as a semi-finalist for the Wanderband 2017 — a local music festival that showcases international acts. Acosta primarily works as a professional cartoon animator. Acosta is a Cum Laude graduate of the University of Santo Tomas at Manila, where he took up Advertising Arts and Design.
Jordan Musser is a Ph.D. candidate in Musicology at Cornell University. Titled “Managing the Crisis: Music, Neoliberalism, and the Popular Avant-Garde in Britain, 1975-1984,” his dissertation examines how free improvisers, performance artists, punk bands, and dub producers both drew on and resisted the rise of Thatcherite ideology, and the ways in which such negotiations fueled criss-crossings between the fine-arts avant-garde and popular music production. Jordan’s research has recently been supported by the DAAD and the Westfield Center for Historical Keyboard Studies, featured in the Metal Music Studies journal and Sounding Out!, and presented at numerous conferences. Jordan is currently a Don M. Randel Teaching and Research Fellow. Prior to coming to Cornell, he completed the M.A. in the Humanities from The University of Chicago and the B.M. in Music Education at Susquehanna University, and worked for Grove Music Online.
Justin aDams Burton specializes in popular music, focusing especially on hip hop, dance, and pop music alongside critical race and gender theory. He’s the author of Posthuman Rap (Oxford, 2017), co-editor of the forthcoming Oxford Handbook of Hip Hop Music Studies (Oxford, 2018), and a regular contributor to Sounding Out! Justin tweets sporadically from @j_adams_burton, and his favorite rapper is Shaquille O’Neal.
Katsy Pline is a field recordist and sound organizer in Oakland, CA. They are a founding member of the Field Recording Working Group, a field recording collective that investigates soundscapes of struggle in the Bay Area. Their work has endeavored to listen to and study revolutionary tendencies in the present, including worker and student movements in the UC system, struggles against white supremacy and police violence in the Bay Area, prison abolition, the 2017 Women’s Strike and anti-fascist action.
Kevin Sliwoski is a PhD candidate in Ethnomusicology at the University of California, Riverside with research interests in sound studies, global jazz, numbers stations, and the U.S. Military. His dissertation addresses sound, music, and infrastructure at former U.S. Naval Base, Subic Bay in the Philippines during the 1960s. Kevin holds Masters degrees in U.S. History and Musicology from the University of Oxford. He earned a Bachelors of Arts in Music from the University of Hartford. He is a trombonist and has studied Filipino through the SEASSI program at the University of Wisconsin, Madison.
Leah King is a multi-instrumentalist, music producer, and dancer who has performed in France, England, Germany, Czech Republic, Italy, Brazil, Peru, and throughout the northeastern US. Her first EP – the electronic soul album “There Comes a Time” – was produced in Berlin with generous support from Converse Rubber Tracks in 2015. She is a touring member of international DJ collective female:pressure, the creator of touring one-woman show “Can I Get a Smile? A Comedy about Sexual Violence” and the host of Culture of Consent with King, “C.O.C.K. Podcast” available on iTunes and Soundcloud.
Leo Chang is a composer of electroacoustic and acoustic new music. Lately, he has been focused on how listening practices may influence musical composition. He is currently pursuing his Master’s degree in Music Composition at New York University where he studies with Joan La Barbara and Tae Hong Park. He holds a Bachelor’s degree from Washington University in St. Louis, where he studied with Christopher Stark and Juri Seo. Leo has presented his music at various festivals: notably the Society of Electro-Acoustic Music in the United States (SEAMUS) National Conference, and the New York City Electroacoustic Music Festival (NYCEMF) at National Sawdust. He has written for musicians with disparate backgrounds: from professional ensembles such as the JACK quartet and Musica Intima, to students from Northwestern University, NYU, and any close friends who are willing to humor him and work with him in a creative capacity. Leo’s music has been described as having a “dark strength” that is “compelling” (TheatreScene.net).
Luis Fernando Gomez Alba is a sociologist and filmmaker from Cali, Colombia. He did his Sociology degree at Pontifical Xaverian University; at that institution he started doing research with the Center of Social and Cultural Studies of Memory (CESYCME). His work has been focus on the relation of memory and image in different communal organizations facing the Colombian armed conflict. He has also worked as a filmmaker for the Pontifical Xaverian University documenting pedagogical processes about fostering peace in Colombian regions like Meta, Guaviare, Guajira, Boyaca, Cauca and Cundinamarca.
Maile Colbert is an intermedia artist with a focus on sound and video. She is currently a PhD Research Fellow in Artistic Studies with a concentration on sound studies, sound design in time-based media, and soundscape ecology at the Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa. Her current practice and research project is titled, Wayback Sound Machine: Sound through time, space, and place, and asks what we might gather from sounding the past. She has exhibited, screened, and performed around the globe.
Marilyn Nonken (Associate Professor of Music, New York University, Steinhardt School) is recognized as “one of the greatest interpreters of new music” (American Record Guide. In theory and practice, she explores the Second Viennese School, ultramodernism, New York School, New Complexity, and spectral music. Her monograph The Spectral Piano: From Liszt, Scriabin, and Debussy to the Digital Age (Cambridge 2014) was recently issued in paperback, and she has contributed to Perspectives on the Performance of French Piano Music and Messiaen Perspectives, as well as the forthcoming Oxford Handbook of Spectral Music. Her nearly thirty recordings include Voix Voilées: Spectral Music for Piano, Tristan Murail: Complete Piano Music, Morton Feldman: Triadic Memories, and Olivier Messiaen: Visions de l’Amen. She records for New World, Lovely Music, Albany, Divine Art, Innova, CRI, BMOP Sound, New Focus, Kairos, Metier, Mode, and Bridge. A graduate of the Eastman School, she received her PhD from Columbia University.
Maryam Ivette Parhizkar is a Ph.D. student in African American Studies and American Studies at Yale University. Interested in racial entanglements and co-presences from the turn of the 19th century to the present, she studies Black, Latinx, and other diasporic and migrant artists, writers and culture-makers’ depictions of their encounters with “other others” in spaces––real and imagined––across a range of intermedial aesthetic practices. She is interested in how, together, they offer counternarratives to the institutionalized histories, crises, and futures of U.S. American modernity, aesthetics, and national identity. She holds an M.A. from the CUNY Graduate Center and is on the editorial board of Litmus Press, a small Brooklyn-based publisher dedicated to innovative, cross-genre and interdisciplinary work by poets, writers, translators and artists.
Maya Cunningham is pursuing an MA/PhD in ethnomusicology at the University of Maryland, College Park. She holds a Bachelor of Music in jazz studies from Howard University and a Master of Arts in jazz performance from Aaron Copland School of Music at Queens College. Her research interests are in African-American and Southern African traditional music and identity. In 2017 she received a Fulbright fellowship to study traditional music and national identity in Botswana. Cunningham is also a two-time award recipient of the National Endowment for the Humanities Summer Scholar fellowship to study African American Gullah culture, as well as African American culture and blues traditions in the Mississippi Delta. She has also received fellowships for research in Ghana and India. In 2017 she launched the Ethnomusicology In Action Curriculum Project that impacts African American children with research in Black Music that teaches them about their history, culture and traditional music.
Michael Beckerman is Carroll and Milton Petrie Professor of Music and Collegiate Professor of Music at New York University. He studied musicology at Columbia University and received his PhD in 1982 with a dissertation titled: Janáček´s Theoretical Works: An Exploration. He has taught at the University of Chicago; Washington University; the University of California, Santa Barbara; Central European University and New York University. He was elected Vice-President of American Musicological Society for the years 2010–2012, and was chair of the NYU Music Department from 2004-2013. He is a recipient of Dvořák and Janáček Medals from the Czech Ministry of Culture, and is also a Laureate of the Czech Music Council; he has twice received the ASCAP Deems Taylor Award and was awarded an honorary doctorate from Palacký University in the Czech Republic in 2015. Beckerman´s musicological interests have focused on Czech music and music in the camps, as well as other topics including Mozart, film music, Roma and censorship. His books include Martinů´s Mysterious Accident ed., 2007; New Worlds of Dvořák 2003; Janáček the Theorist 1994, and his most recent publications include “Slow Dissolves, Full Stops and Interruptions: Terezin, Censorship and the Summer of 1944,” Oxford Handbook on Music and Censorship, 2017; “Dvořák for the Birds,” In On the Third Hand, 2016 and “’Lullaby’: The Story of a Niggun,” Music and Politics, 2016 (with Naomi Tadmor). His current projects deal with the Roma (Gypsies) in Auschwitz (Accusatory Song), Gideon Klein´s Terezin Requiem, and issues of musical form and meaning. Beckerman is also a composer of many works including: 20 Pieces for Children of All Ages, 1979; Czech Cantata, 1983; Asolando, 18 Pieces to Prints by Jim Moon, 1986; Hiawatha Melodrama, 2008; and Dark Woods Variations, 2012. He has been a regular guest on Live From Lincoln Center, lectures throughout the United States and Europe and writes for The New York Times. This year he is the Leonard Bernstein Scholar in Residence at the New York Philharmonic.
Miranda Fedock is a third-year PhD student in ethnomusicology at the Graduate Center at City University of New York, where she researches traditional Tibetan folk music in Tibetan exilic communities. She holds a bachelor’s degree in music and psychology from Guilford College, and a master’s degree in violin performance and pedagogy from East Carolina University, where she completed a master’s thesis that fused strings pedagogy with ethnomusicology. Her current research focuses on issues of affect, embodiment, and intersubjectivity in the listening practices of Tibetans in exile. Today she will present a paper based on work she conducted during her first overseas fieldwork trip in summer 2017, titled “Silencing Tibet? Trungkar, Memory and Precarity in a Tibetan Refugee Community in Nepal.”
Nick Virzi (b. 1991) is a composer from New York City, currently living in the San Francisco Bay Area of California. His current work explores the dramatic and poetic nature of sound through mimetic representation, sonification of complex numerical rhythmic systems, and original nature recordings. In addition to composing, Nick is a guitarist, field recording artist, and conductor. He is a fellow of the Cortona Sessions for New Music (Toscana, IT), as well as the soundSCAPE exchange (Maccagno, IT), the New Music for Strings Festival (Aarhus, DE), and the Imani Winds Chamber Music Festival at the Julliard School. Nick received his Bachelors of Music (B.M.) in composition from the SUNY Purchase Conservatory of Music (NY), where he studied with Du Yun, Huang Ruo, and Suzanne Farrin. He is currently pursuing his Doctor of Musical Arts (D.M.A.) in composition at Stanford University, where he studies with Brian Ferneyhough.
Nicolas Aguia is a composer and classical guitarist from Bogotá, Colombia. He has two bachelor’s degrees, one in music undergraduate degree from Sergio Arboleda University and one in Philosophy from Pontifical Xaverian University. He has studied composition with Ricardo Marquez, Amparo Angel and Ezequiel Viñao. His music has been performed in the United States and Colombia by ensembles including the Jack Quartet, The National University of Colombia Guitar Orchestra, NYU Percussion Ensemble, and soloist Eunjin Lee and David Mariño, among others. Also, he has made music for short and documentary films that were shown in film festivals like the International Cartagena Film Festival and the Toronto Caribbean Tales International Film Festival.
Ola Mohammed is a PhD Candidate in Social and Political Thought and an executive member of the Black Graduate Students’ Collective at York University in Toronto, Ontario, Canada . Her doctoral research uses an interdisciplinary black studies, sound studies and popular music studies approach to theorize the ways in which the resonances of blackness in Canada are multiple despite efforts to constantly silence and police them via anti-black racism in the everyday, municipal and state levels. She explores the ways in which tuning into black sonic Canada[s] informs us not only of the cultural politics of listening, the social production, regulation and surveillance of blackness within the nation-state, but also the tremblings of possibility that black cultural producers and audiences create to resist and exist despite these muted violences.
Rebecca Lentjes researches gendered sonic violence and evangelical anti-abortion protesters as a doctoral student and Graduate Council Fellowship recipient at Stony Brook University. Rebecca received her BA in music and Romance languages from New York University in 2012 and has since worked for RILM Abstracts of Music Literature and the New York Review of Books. Her writing has appeared in TEMPO, The Journal of Interdisciplinary Voice Studies, Sounding Out!, Music & Literature, The Log Journal, VAN Magazine, and I Care If You Listen. She volunteers regularly both at a reproductive health clinic and at La Monte Young’s Dream House.
Sarah Chien is a dancer, improviser and world traveler. She spent the last 4 years as a performer with Andre Zachery/Renegade Performance Group and now creates her own improvised works with various collaborators. Among her influential training experiences she counts living in Ecuador, studying at Barnard College, working with Elia Mrak, and practicing qigong with Daria Fain. She has also been a company member of Sydnie L. Mosley Dances (founding collaborator of The Window Sex Project), and toured internationally with Jody Sperling/Time Lapse Dance. a In 2013 she founded Floor Friends, an organization through which she curates and produces classes and workshops. For the past two Septembers, Sarah has been the only American of a group of 40 international performers invited to work intensively with David Zambrano in Europe.
Serena Stucke is a Brooklyn-based sound artist and experimental filmmaker. Serena’s work in photography has led to her exploration of visual textures combined with audio experiments. Currently, she is working on short films about under-recognized artists and a music project which uses musique concrète samples and modular synthesis. Serena has recently been an artist in residence at Artscape Gibralter Point in Toronto, and her sound work published by Highbrow Lowlife Records out of Stockholm.
Seth Wenger is a graduate student at Yale Divinity School. Bringing people together around the creation of music is at the heart of the public humanities work Wenger is doing at Yale. Wenger is currently working with the Brothertown Indian Nation of Wisconson to document an archival project celebrating the 1845 musical compositions of Thomas Commuck, a Brothertown Indian of Narragansett descent.
Singers participating in the shapenote singing event represent many religious and non-religious backgrounds, and share one common goal, to gather around the hollow square and know each other more through song. The participants have no desire to re-enact their roots or perform for anyone. Shape note singing culture and its music are a living and ongoing practice in community building. Organizers emerge to help the practice thrive, but the structures of the group maintain a non-hierarchical telos.
Suzanne G. Cusick, Professor of Music on the Faculty of Arts and Science at New York University, has published extensively on gender and sexuality in relation to the musical cultures of early modern Italy and of contemporary North America, including in the collections Musicology and Difference, Queering the Pitch, and Audible Traces. Her feminist readings of early modern music and musical culture have appeared in JAMS, Early Music, The Cambridge Companion to Monteverdi, and the Brazilian journal Per Musi. Revista Academica de Musica. Cusick’s book, Francesca Caccini at the Medici Court: Music and the Circulation of Power (Chicago, 2009), received the 2010 book prize of the Society for the Study of Early Modern Women. Since 2003 she has edited Women and Music. A Journal of Gender of Culture, the first journal (and still the only English-language journal) focused on the relationship of gender and sexuality to musical culture. She currently studies the use of noise, music and “gender coercion” in the detention and interrogation of prisoners held during the 21st-century’s “war on terror,” work for which she received the Philip Brett Award given by the LGBTQ Study Group of the American Musicological Society in 2007.
Ted Moore is a composer, improviser, intermedia artist, and educator based in Chicago. His work focuses on fusing the sonic, visual, physical, and acoustic aspects of performance and sound, often through the integration of technology. Ted’s work has been reviewed as “an impressive achievement both artistically and technically” (Jay Gabler, VitaMN), “wonderfully creepy” (Matthew Everett, TC Daily Planet), and “epic” (Rob Hubbard, Pioneer Press). Ted’s work has been premiered by the International Contemporary Ensemble, Spektral Quartet, The Dream Songs Project, Yarn/Wire, Splinter Reeds, Quince Vocal Ensemble, ad others, and has been performed across the country including at The Walker Art Center (Minneapolis), Spectrum (NYC), and Root Signals Electronic Music Festival (Statesboro, GA), among others. Ted also frequently performs solo on electronics using his laptop, modular synthesizer systems, resonant physical objects, lighting equipment, and video projection. Currently Ted is pursuing a PhD in Music Composition at the University of Chicago.
Terri Hron performs and creates music and multimedia works for wide range of settings. Bird on a Wire is her solo performance project, where she uses collaboration to adopt new skills and technology, from live electronics in absorb the current (2008) and immersive environments in flocking patterns (2011) to embodied practices in NESTING (2017). She regularly works with other composers, performers and artists from other disciplines. Terri studied musicology and art history at the University of Alberta, recorder performance and contemporary music at the Conservatorium van Amsterdam, and electroacoustic composition at the Université de Montréal. She investigates collaborative practices and expanded perception in electroacoustic music. Her work is supported by the Canada Council for the Arts, the Fonds de Recherche Société et Culture du Québec and the Conseil des Arts et des Lettres du Québec, among others. She is the Executive Director of the Canadian New Music Network and lives in Montreal.
Thessia Machado is a visual/sound artist, instrument builder, and composer. Her work plumbs the materiality of sound and its effect on our shifting perceptions of time. Machado creates circumstances in which to mine the matter of her pieces, uncovering their innate physical properties and the sonic and visual relationships that can arise from their interactions. In her performed works, the ensemble of things is augmented by a dynamically responsive and intentionally unpredictable human element. In 2017 she was awarded the Berlin Prize by the American Academy in Berlin and the Foundation for Contemporary Arts Grants to Artists Award. She is also the recipient of fellowships from the New York Foundation for the Arts (2005, finalist 2011), The Experimental Television Center (2009) and The Bronx Museum (2004).