Ananay Aguilar is a Leverhulme Early Career Fellow at the Faculty of Music in the University of Cambridge. Her interests lie in the production and circulation of recordings, especially in related matters of aesthetics, economics, technology and law. With the support of the Faculty of Law, she is currently working on a project on the legal circumstances surrounding performance and their effect on contemporary music-making.
Christopher L. Ballengee earned his PhD in Ethnomusicology at the University of Florida in 2013 and is currently Assistant Professor of Music at Anne Arundel Community College in Arnold, Maryland. His work has been presented at various international conferences and colloquia and appears most recently in The Music Documentary: Acid Rock to Electropop (Routledge, 2013).
Matthew Isaac Cohen is Professor of International Theatre at Royal Holloway, University of London. His research concerns tradition in modernity, itinerant and transnational performance, intercultural processes and puppet theatre, with a particular focus on Indonesia. His publications include The Komedie Stamboel: Popular Theater in Colonial Indonesia, 1891-1903 (winner of the Benda Book Prize from the Association for Asian Studies), Performing Otherness: Java and Bali on International Stages, 1905-1952 and The Lontar Anthology of Indonesian Drama, Volume 1: Plays for the Popular Stage. He also performs shadow puppetry internationally under the company banner of Kanda Buwana, and in 2009 he received the royal title 'Ki Ngabehi' from the court of Kacirebonan (West Java, Indonesia) for services to Cirebon's traditional culture and the art of puppetry.
Samuel Curkpatrick undertook doctoral research on Wägilak song and the Australian Art Orchestra through the National Centre for Indigenous Studies, the Australian National University. He was a co-founding fellow of the Commonwealth Intercultural Arts Network through the Centre for Commonwealth Education, Cambridge University and is currently an Adjunct Research Fellow at Monash University. He comes from a background of clarinet performance, having played principal roles in the Australian Youth Orchestra and at the Australian National Academy of Music.
Shannon Dudley is Associate Professor of Ethnomusicology at the University of Washington. He holds a PhD from the University of California, Berkeley, 1997, and is the author of Carnival Music in Trinidad (Oxford University Press 2004), Music From Behind the Bridge (Oxford 2008), and other articles on Caribbean music. He is a guest curator for the museum exhibit and website American Sabor: Latinos in U.S. Popular Music. He directs the UW steelband and participates in the Seattle Fandango Project, working to build community through participatory music.
Eero Hämeenniemi is a Finnish composer, pianist, writer and translator of texts from Classical Tamil into Finnish. He is an Artist Professor for the state of Finland and a Docent (Visiting Professor) at the Sibelius Academy of the University of the Arts, Helsinki. Collaboration with master musicians from southern India has been an important part of his work for many years. He has written music for many well-known musicians, notably with the leading female singer of South-Indian Carnatik music, Bombay Jayashri Ramnath. A collection of his poetry translations from Classical Tamil will appear in 2015.
Henry Johnson is Professor in the Department of Music, University of Otago, New Zealand. His teaching and research interests are in the field of ethnomusicology, particularly the creative and performing arts of Asia and its diasporas. His recent books include Performing Japan (Global Oriental, 2008; co-edited), The Shamisen (Brill, 2010), and Cultural Transformations (Rodopi, 2010; co-edited).
Mekala Padmanabhan is an independent scholar, who has held teaching and research positions at universities in North America and the UK. From Chennai, South India, her interests include Tamil film music and popular culture. Other research contributions include publications and several conference presentations on Haydn, late eighteenth-century lieder, German literature and aesthetics. She holds degrees in musicology and in piano pedagogy from the University of Nottingham (UK), University of North Dakota (US), and University of Victoria (Canada), and a Licentiate Diploma (Piano Performance) from the Trinity College of Music, London (UK). She was a Visiting Fellow at the AHRC Research Centre for Musical Performance as Creative Practice in 2013 undertaking research related to Tina K. Ramnarine's project on 'Global perspectives on orchestras'.
Jonathan McIntosh is Lecturer in Ethnomusicology at Monash University. He has undertaken extensive fieldwork in Bali, Indonesia, where his research primarily examines children's and teenagers' practice and performance of traditional dance, music and song. He has also carried out research that focuses on the Indonesian diaspora in Western Australia. Recent publications have appeared in Anthropology in Action, Anthropology Matters, Asia Pacific Journal of Anthropology, Asian Music and the International Journal for Music Education.
Anna Morcom specializes in music and dance in India and Tibet. Her research focuses on phases of modernity ranging from nation building to globalization and neoliberalism, and spans issues of politics, ideology and inequality as well as media and marketisation. Her publications include Illicit Worlds of Indian Dance: Cultures of Exclusion (Oxford University Press, 2013). She is currently Reader in the Music Department at Royal Holloway, University of London.
Barley Norton is a Senior Lecturer in the Music Department at Goldsmiths, University of London. He author of the monograph Songs for the Spirits: Music and Mediums in Modern Vietnam (University of Illinois Press, 2009), the director of the film Hanoi Eclipse: The Music of Dai Lam Linh (Documentary Educational Resources, 2010), and co-editor of Music and Protest in 1968 (Cambridge University Press, 2013), which received the American Musicology Society's 2014 Ruth A. Solie Award.
Fiona M. Palmer is Professor of Music at the National University of Ireland Maynooth and has a background as a professional orchestral double bassist. Her critical biographies of Domenico Dragonetti (Oxford University Press, 1997) and of Vincent Novello (Ashgate, 2006) reflect her interests in socio-economic and performance issues. As part of her current project, a detailed re-evaluation of the conducting profession in Britain c. 1870-1914, she is the first academic to fully explore the Liverpool Philharmonic Society's archive.
Tina K. Ramnarine is Professor of Music at Royal Holloway. She trained at the Royal Academy of Music and has a background as a professional orchestral violinist. She has held academic appointments in both Music and Anthropology, including Visiting Professorships at the Royal College of Music and at the University of Otago. Her research focuses on performance, globalization, identity politics and environmental issues. Publications include the books Creating Their Own Space: The Development of an Indian-Caribbean Musical Tradition (University of West Indies Press, 2001), Ilmatar's Inspirations: Nationalism, Globalization, and the Changing Soundscapes of Finnish Folk Music (Chicago University Press, 2003), Beautiful Cosmos: Performance and Belonging in the Caribbean Diaspora <http://www.plutobooks.com/display.asp?K=9780745317663&> (Pluto Press, 2007), Musical Performance in the Diaspora (Routledge, 2007), and Sibelius's Violin Concerto (Oxford University Press, forthcoming).
Bradley Shope is Assistant Professor of Music at Texas A & M in Corpus Christi. He is the co-editor of More Than Bollywood: Studies in Indian Popular Music (Oxford University Press, 2014), and has written numerous articles and book chapters on popular music in India.
Shzr Ee Tan is a Senior Lecturer at Royal Holloway University of London, researching music and new media in Sinophone worlds. Other interests include musical revival and cosmopolitanism, Taiwanese indigeneity, gender and politics in music. Publications include Gender in Chinese Music (University of Rochester Press, 2013), and Beyond Innocence: Amis Aboriginal Song in Taiwan as an Ecosystem (Ashgate, 2012). She is an active musician with a background in classical piano, jazz, Korean percussion, tango/ Balkan accordion, Chinese and Japanese music. She is academic consultant to London's Southeast Asian Arts Festival and co-convenor of the Asian Performing Arts Forum.
Oli Wilson is a Lecturer in the Music Department at Otago University in Dunedin, New Zealand, where he teaches popular music studies, ethnomusicology and contemporary music. In addition to New Zealand popular music and postcolonialism, His areas of research include music in Papua New Guinea, the music industry, recording and popular music production, and recording studio ethnography.
Benjamin Wolf works as an academic, composer and performing musician. He completed his PhD at Royal Holloway in 2010 and now works as Lecturer in Music at Regent's University, London, having previously worked as a visiting lecturer at Bristol University and Royal Holloway. He has given papers for RMA, IMR, POPMAC and NABMSA conferences, focusing on the interactions of music and politics in twentieth-century Britain, and has been published in the Musical Times. He has broadcast on Radio 3 and for the BBC's Songs of Praise. He has performed at venues including Westminster Abbey and the South Bank Centre, and toured internationally.
