Morteza Abolhasani is Lecturer in Marketing at the Open University Business School in the UK. His main research interests concern consumer behavior and consumer psychology, exploring the underlying processes determining consumers' emotional, mental, and behavioral responses and choices. Particularly, he is interested in exploring the effects of music used in advertising and service/retail environments on consumers' affective, cognitive, and behavioral responses.
David Allan is Professor of Marketing at Saint Joseph's University in Philadelphia, Pennsylvania, USA. Allan has a BA in Communications from American University, an MBA in Marketing from Saint Joseph's University and a PhD in Mass Media and Communications from Temple University, and spent over 20 years in radio before academia. He has published numerous articles (JAR, JBR, JCR); books (This Note's for You and Hit Play); and has been quoted in Billboard, NYT, Reuters, and WSJ.
Tim J. Anderson teaches at Old Dominion University in the Department of Communication and Theater Arts. His research focuses on popular music with a specific focus on those cultural and industrial forms and systems that "make music popular." In 2006 he published the study Making Easy Listening: Material Culture and Postwar American Recording with the University of Minnesota Press Anderson, T. and in 2014 the monograph Popular Music in a Digital Music Economy: Practices, Problems and Solutions for an Emerging Service Industry. He has contributed chapters for numerous collections and has published articles in a variety of academic journals.
Rika Asai teaches music history and culture at the University of Pittsburgh. She contributed a chapter,"'From operatic pomp to a Benny Goodman stomp!': The National Biscuit Company and Let's Dance," to Music and the Broadcast Experience: Performance, Production, and Audiences, an anthology edited by Christina Baade and James Deaville (2016). She has presented her work at regional and national AMS conferences, as well as international conferences including "Music, Festivals, Heritage" in Siena, Italy and "A 'Musical League of Nations'?: Music Institutions and the Politics of Internationalism," in London England.
Jay Beck is Associate Professor and Chair of Cinema and Media Studies at Carleton College (USA) and the author of Designing Sound: Technology and Sound Aesthetics in 70s American Cinema. He co-edited Lowering the Boom: Critical Studies in Film Sound and is American co-editor of the journal Music, Sound, and the Moving Image.
James Buhler is a professor of music theory at the University of Texas at Austin, where he teaches courses on music and film sound. He is author of Theories of the Soundtrack (Oxford University Press, 2019) and co-author of Hearing the Movies (Oxford University Press, 2016 second edition). He is co-editor of three anthologies: Music and Cinema (1999), Voicing the Cinema (2020), and Music in the Action Film: Sounds Like Action! (forthcoming). He has published widely in anthologies and journals, especially on the topic of music in soundtracks.
Bethany Cencer is a music historian and keyboardist and Lecturer in Music History and Literature at the University of Vermont. Her work looks at amateur music activities as a site for expressing and contesting British identity during the Georgian era. She has used the twentieth-century concept of middlebrow culture to offer a fresh perspective on amateur vocal genres during the long eighteenth century. Bethany also works on performance practice and ritual, focusing on music's materialities and earlier performance and listening cultures.
Dale Chapman is Associate Professor of Music at Bates College, where he also teaches in the programs in Africana and American Studies. His research examines jazz, African American music, and contemporary popular music as cultural practice, with a particular focus on the context of the relationship between music and market logics and institutions. His book, The Jazz Bubble: Neoclassical Jazz in Neoliberal Culture, was published with the University of California Press in 2018. His work has appeared in the Journal of Popular Music Studies, the Journal of the Society for American Music, and Popular Music, among others.
Remi Chiu is a musicologist and Associate Professor of Fine Arts at Loyola University Maryland. He received his PhD from McGill University, and specializes in the history of music and medicine, especially of the early modern period. He is the author of Plague and Music in the Renaissance (2017), has contributed articles and book chapters to leading publications in musicology, and has given peer-reviewed and invited presentation at national and international musicological conferences, including the annual meeting of the American Musicological Society and the annual Medieval and Renaissance Music Conference.
Paul Christiansen is Associate Professor of Music at Seton Hall University (USA). Focused on Czech music, Haydn, popular music, and music in political advertisements, his work has appeared in The New Grove Dictionary of Music and Musicians, Journal of Musicological Research, Notes, ECHO: a music-centered journal , Journal of the Society for American Music and other scholarly journals. His book Orchestrating Public Opinion: How Music Persuades in Television Political Ads for US Presidential Campaigns, 1952-2016 was published in 2018.
David Clem teaches courses in music history and film music as an Instructor of Music History at the Greatbatch School of Music, Houghton College, in Houghton NY (USA). He has published work on the role of music in filmic adaptations, and on applications of register theory to the analysis of film and television music. His research interests include intersections between philosophy, cultural criticism, and musical multimedia. This includes taking hermeneutic approaches to analyzing film and opera, and the study of pre-existing music that is recontextualized in multimedia settings.
Lincoln G. Craton is Professor of Psychology at Stonehill College, USA, where he teaches Psychological Science, Research Methods, and Advanced Research courses. His music cognition research explores the musical qualia evoked by chords and tones, the biological basis of chord perception, and the diverse mechanisms underlying musical response more generally. Along with colleague Geoff Lantos, he has developed an influential model of the factors that shape consumer response to advertising music, highlighting the multifaceted nature of musical response.
James Deaville is Professor of Music in the School for Studies in Art & Culture at Carleton University, Ottawa. He edited Music in Television: Channels of Listening (2010) and with Christina Baade co-edited Music and the Broadcast Experience: Performance, Production, and Audiences (2016). He has published articles on music and sound in trailers in Music, Sound and the Moving Image (2014) and in The Journal of Fandom Studies (2016), and is author of the essay "Trailer or Leader? The Role of Music and Sound in Cinematic Previews" in the Routledge Companion to Screen Music and Sound (2017). He is currently publishing the article "The Trailer Ear" in The Oxford Handbook of Cinematic Listening, edited by Carlo Cenciarelli.
Cynthia Fraser is Associate Professor of Marketing at The McIntire School of Commerce, University of Virginia, USA. She holds a PhD in Marketing and Econometrics from the Wharton School of the University of Pennsylvania, and a BA in Music from the University of Missouri-Kansas City Conservatory. Her research focuses on quantifying the impacts of diverse music backgrounds on short and long-term consumer learning from advertising. Her current research is devoted to the comparison of background music impacts across Eastern and Western cultures where tonality of language may impact the processing of background music.
Kate Galloway is Lecturer in Musicology/Ethnomusicology at Rensselaer Polytechnic Institute (USA). She specializes in North American music that responds to and problematizes environmental issues, sonic cartography, new media studies, digital humanities, and other topics. She has contributed to numerous journals and scholarly books. Her monograph Remix, Reuse, Recycle: Music, Media Technologies, and Remediating the Environment examines how and why contemporary artists remix and recycle sounds, musics, and texts encoded with environmental knowledge.
Jessica Getman is the Managing Editor for The George and Ira Gershwin Critical Edition and a film musicologist focusing on music in television and science fiction media. She holds a PhD from the University of Michigan, for which she produced a dissertation on music and social discourse in the original series of Star Trek. Other areas of study include music production in mid-twentieth-century American television, popular music in screen media, and amateur music in media fandom. She has recently published on George Gershwin, Lolita Ritmanis, and fan engagement with the soundtrack of Twin Peaks: The Return.
William Gibbons is Associate Professor of Musicology and Associate Dean of the College of Fine Arts at Texas Christian University. His research focuses primarily on the development and uses of musical canons, as well as the interpretation of musical multimedia. In addition to dozens of articles on these topics, Gibbons is the author of Building the Operatic Museum (2013) and Unlimited Replays: Video Games and Classical Music (2018). He is also co-editor of the essay collections Music in Video Games (2014) and Music in the Role-Playing Game (2019). He holds a BA in Music from Emory & Henry College and a PhD in Musicology from the University of North Carolina at Chapel Hill.
Dana Gorzelany-Mostak is a musicologist and Assistant Professor of Music at Georgia College. Her research on music and U.S. presidential campaigns appears in Music & Politics, the Journal of the Society for American Music, and American Music. Gorzelany-Mostak is the founder of Trax on the Trail, a website that tracks and catalogues the soundscapes of U.S. presidential elections. Her academic work on music and politics has also appeared in an anthology of studies on girlhood, and she has given numerous presentations at national and international scholarly conferences as well as in forums for public musicology.
Nicolai Jørgensgaard Graakjær is Professor of Music and Sound in Market Communication in the Department of Communication and Psychology at the University of Aalborg, Denmark. His research interests include various aspects of branding in music and sound, advertising, sports, and atmospheres of television, radio, web, and video games. His publications include the book Analyzing Music in Advertising: Television Commercials and Consumer Choice (2015) and numerous articles in scholarly journals.
Lawrence Harte (USA) is a tech media expert, editor of IPTV Magazine, and CMO of VegiPlus.tv. He was the CMO of Crumbs Music which provides pre-cleared licensed music for movies, TV shows, commercials, and other media. As CEO of LearnQIC.com, he is responsible for content and media production, licensing, and advertising systems. Mr. Harte has created thousands of articles and media posts which he managed on hundreds of media channels. He is author of numerous marketing, business, & technology books.
Julie Hubbert is an Associate Professor of Music History at the University of South Carolina where she is also on faculty in the Film and Media Studies department. She has written articles on a variety of film music and media topics including silent film, documentary film, compilation soundtracks and Scorsese. She is the author of Celluloid Symphonies: Text and Contexts in Music History (2011). Last year she was awarded an NEH Fellowship for the Humanities to work on her second book, Technology, Listening and Labor: Music in New Hollywood Film (1967-1980).
Bertil Hultén is Affiliated Professor of Marketing at Linneaus University in Sweden, and a pioneer in sensory marketing research. His research about sensory marketing and multi-sensory brand-experiences are published in the European Business Review, Journal of Brand Strategy, Journal of Retailing and Consumer Services, International Journal of Retail & Distribution Management, and other journals. The books Sensory Marketing by Hultén et al. (2009), and "Sensory Marketing: Theoretical and Empirical Grounds" by Hultén (2015) have received Swedish awards.
James J. Kellaris is the Womack / Gemini Corporation Professor at the University of Cincinnati, Lindner College of Business, Ohio, USA. He is also a professional musician and composer of contemporary art music. Kellaris' research on various influences of music on consumers has appeared in the Journal of Marketing, Journal of Consumer Research, Journal of Consumer Psychology, and in media outlets such as the New York Times, the Los Angeles Times, Forbes, and CNN Headline News. Kellaris' musical compositions are published by Joachim Trekel Musikverlag, Hamburg, and are widely performed internationally.
Bethany Klein is Professor of Media and Communication at the University of Leeds, UK. Her research interests include commercialism and the media, popular music culture, social issues and entertainment television, and media policy and regulation. She is the author of As Heard on TV: Popular Music in Advertising (2009) and Selling Out: Culture, Commerce and Popular Music (2020), and co-author of Understanding Copyright: Intellectual Property in the Digital Age ( 2015).
Klemens Knoeferle is Associate Professor of Marketing and co-founder of the Center for Multisensory Marketing at BI Norwegian Business School in Norway. He studies how people's decisions and well-being are influenced by sensory properties of products, communications, and (retail) environments. His research has been published in internationally renowned scientific journals, has received awards such as Best Paper at the Association for Consumer Research Latin American Conference 2017, and has led to consultation projects with firms in various industries.
Vijaykumar Krishnan is Associate Professor and Chair of the Department of Marketing at Northern Illinois University, USA. He is also a professional violinist in the Indian classical carnatic music style. Krishnan's research interests on identities for a brand including on sonic branding have appeared in Journal of Consumer Marketing, Journal of International Marketing and elsewhere. Krishnan has performed widely as a violinist, including seven performances at the prestigious Chennai Music Academy in India.
Peter Kupfer is Associate Professor of Musicology at Southern Methodist University in Dallas, TX. He received his Ph.D. from the University of Chicago with a dissertation on the Soviet musical comedy films of Grigory Aleksandrov and Isaak Dunayevsky. His research concerns music, ideology, and moving images, with particular interests in Soviet (film) music and classical music in popular media and advertising. His work has appeared in the Journal of Musicology, Twentieth-Century Music, Music and the Moving Image, BACH, and Music & Politics.
Mark Laver is an Assistant Professor of Music at Grinnell College. As a performer, he has shared the stage with leading jazz and improvising artists. His current research project is a biography of iconic Canadian clarinetist, composer, and educator Phil Nimmons. His first book, Jazz Sells: Music, Marketing, and Meaning (2015), explores the use of jazz music in advertising, marketing, and branding. His second book project was a collection of essays, co-edited with Dr. Ajay Heble, called Improvisation and Music Education: Beyond the Classroom (2016).
Hubert Léveillé Gauvin earned a Doctorate in Music Theory at the Ohio State University and is now the operations coordinator at Soproq, a not-for-profit collective rights management organization for makers of sound recordings and music videos in Canada. His primary research interest is the analysis of popular music using empirical, corpus-based, and computer-assisted approaches. He is interested in the impact of technology on compositional practices and music listening behaviors.
Joanna Love is Associate Professor of Music at the University of Richmond (USA). She has written extensively on popular music in US national brand and political advertising. Her recent book, Soda Goes Pop: Pepsi-Cola Advertising and Popular Music (2019) was supported by a fellowship from the American Association of University Women (AAUW). She has forthcoming chapters about music in television commercials in two edited collections and is co-editing an interdisciplinary book, titled Contested Frequencies: Sonic Representation in Music, Media, and Culture.
Ken McLeod is an Associate Professor of Music History at the University of Toronto. He has published widely on identity politics in popular music, popular music appropriations of art music, and the intersections between technology, science fiction, and rock music. His first book We Are the Champions: The Politics of Sports and Popular Music (2011) examines the interconnection of sport and popular music in constructing racial, gender, socio-economic, and national identities. His second book Driving Identity: At the Intersection of Popular Music and Automotive Culture is forthcoming.
Daniel Müllensiefen is Professor of Psychology at Goldsmiths, University of London in UK, where he is Co-Director of the Master of Science program in Music, Mind, and Brain. His scholarly work comprises many areas of music psychology, including computer models of music perception, the measurement of musical skills, and the development of musicality. He also worked as Scientist in Residence with London-based advertising agency adam&eve, where he investigated how music can affect the perception of advertising and brand communication.
Steve Oakes is a Senior Lecturer in Marketing at the University of Liverpool Management School, UK. His main research interests focus upon consumer responses to music in advertising and service environment contexts. He has published music and marketing articles in various journals including Psychology & Marketing, Journal of Advertising Research, Marketing Theory, Applied Cognitive Psychology, Journal of Marketing Management, and Journal of Services Marketing, among others.
Justin Patch is Assistant Professor of Music at Vassar College (USA) where he is also affiliated with American Studies, Media Studies, and Asian Studies. His research focuses on sound and emotion in contemporary US political campaigns and has appeared in many music journals and several the edited volumes. His monograph, Discordant Democracy: Sound, Affect, and Populism in the Presidential Campaign, was published by 2019. He is currently writing an introductory textbook on sound studieswith Tom Porcello.
Katherine Reed is an Assistant Professor of Musicology at California State University, Fullerton (USA). Her research interests include musical semiotics, the use of pre-existing music in film, and British popular music. Reed's recent research has appeared in Popular Music and Society, Music and the Moving Image, Musicology Now. She is the co-editor of the forthcoming collection Music in Twin Peaks: Listen to the Sounds and is at work on her current book project, Hooked to the Silver Screen: David Bowie and the Moving Image.
Ron Rodman is Dye Family Professor of Music at Carleton College in Northfield, Minnesota (USA). He earned his Ph.D. in Music Theory from Indiana University in 1992. His research interests include analysis of music in television and film, post-tonal theory in the 20th century, Schenkerian analysis, and musical signification. He has published numerous articles in collections and journals. His book, Tuning In: American Narrative Television Music, was published by Oxford University Press in 2010. He has also written a blog on television music for Oxford.
Lisa Scoggin completed her Ph.D. in Musicology at Boston University and received degrees from Oberlin College and the University of Wisconsin - Madison (USA). She has presented papers internationally at various music conferences. She specializes in music in American animation, film music, music in television, ludomusicology, and 20th-century American and British art music. She has taught at Boston University, St. Anselm College, and Tufts University. Her book The Music of Animaniacs: Postmodern Nostalgia in a Cartoon World is now available.
Charles Spence is Professor of Experimental Psychology and head of the Crossmodal Research Laboratory at Oxford University in UK, who researches the factors that influence what we eat and what we think about the experience, with world-leading chefs and food and beverage companies. He is author of the 2014 Prose prize-winning The Perfect Meal with Betina Piqueras-Fiszman, the international bestseller Gastrophysics: The New Science of Eating (2017), winner of the 2019 Le Grand Prix de la Culture Gastronomique from Académie Internationale de la Gastronomie, and Multisensory Packaging (2019).
Willem Strank is a post-doctoral research fellow and Master's coordinator (Film & TV Studies) at Kiel University, and is the co-founder of the Kiel Society for Film Music Research, co-editor of the e-journals Kiel Papers on Film Music Research and Rock and Pop in the Movies and the annual book series FilmMusik. Apart from numerous publications in the field of film music research he wrote his dissertation about Twist Endings in films in 2013 (published in 2014) and is currently working on a book about representations of capital and control in American and Federal German films of the 1980s.
Madelijn Strick is Assistant Professor of Social Psychology at Utrecht University in the Netherlands. She teaches courses on social influence, public communication, and consumer decision-making. She has published extensively on the psychology of advertising, focusing (among other subjects) on the impact of humor, being moved, narrative transportation and music. Strick and her colleagues have developed an influential model that explains and predicts the influence of humor in advertising on brand attitudes and choice.
Siu-Lan Tan is the James A.B. Stone Professor of Psychology at Kalamazoo College USA. She completed undergraduate degrees in Music, graduate studies at Oxford University, and a PhD in Psychology at Georgetown University. She is co-author of a leading text entitled Psychology of Music: From Sound to Significance (2018) and co-edited The Psychology of Music in Multimedia (2013) on the empirical research on music in multimedia, in the context of entertainment, education, and advertising. Her work has been published in many journals including Music Perception, Psychology of Music, and Psychomusicology: Music, Mind, & Brain.
Timothy D. Taylor, a Professor in the Department of Ethnomusicology at UCLA (USA), is an interdisciplinary social scientist who studies capitalism and other economic issues, globalization, and technology as they relate to music. He is the author of numerous articles and books, and a foremost authority on music and advertising. His book, The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture (2012), is a much sought-after resource on the topic. His current book projects include an ethnographic study of film and television musicians in Los Angeles, and The Oxford Handbook of Economic Ethnomusicology, co-edited with Anna Morcom.
David VanderHamm is a lecturer in the Department of Humanities and Philosophy at the University of Central Oklahoma, where he teaches courses in interdisciplinary humanities. He earned his Ph.D. in musicology from the University of North Carolina Chapel Hill, where he completed his dissertation on the social construction of virtuosity. His current research explores how displays and discourses of musical skill carry meaning for U.S. audiences during the age of electronic media. He has presented at conferences in musicology, ethnomusicology, and popular music studies, and he has published in American Music, Oxford Bibliographies, The Public Historian, and the Oxford Handbook of Phenomenological Ethnomusicology.
Catrin Watts received their Ph.D. in music theory from The University of Texas at Austin where they wrote a dissertation on the relationship between musical characteristics of popular music and the kinetic action of contemporary action film. Catrin's work on the film collaborations between Joe Wright and Dario Marianelli is published in the Music and the Moving Image Journal and further music in action film research is forthcoming in Sounds Like Action!: Music and Action Film.
Laurel Westrup, Ph.D., is a Continuing Lecturer with Writing Programs and the Honors Program at UCLA. Her research explores the intersections of media and popular music. She is co-editor of Sampling Media (2014, with David Laderman) and The Soundtrack Album: Listening to Media (2020, with Paul Reinsch). Her work has also appeared in the journals Projector, Film Criticism, Flow, and Spectator, as well as in several collections.
Mariana Whitmer (USA) is a film musicologist who specializes in the music of the classic Hollywood Western. She has published film score guides on Jerome Moross's The Big Country and Elmer Bernstein's The Magnificent Seven, and has contributed to volumes such as Music in the Western (edited by K. Kalinak, 2010), and Double Lives: Film Composers in the Concert Hall (edited by J. Wierzbicki, 2019). Among other publications, Whitmer recently co-edited a collected volume of essays titled Re-Locating the Sounds of the Western ( 2018).
Reba Wissner is on the music history faculty of New York University, Rampo College of New Jersey, Westminster Choir College of Rider University, and Montclair State University (USA). A historian of mid-century television music, she is the author of two books, A Dimension of Sound: Music in The Twilight Zone and We Will Control All That You Hear: The Outer Limits and the Aural Imagination and is finishing her third book, Music and the Atomic Bomb in American Television, 1950-1969.
