David Ake is Assistant Professor of Music at the University of Nevada, Reno. His publications include articles for American Music and the Encyclopaedia Britannica, as well as a chapter for the forthcoming Cambridge Companion to Jazz. As a pianist, Dr. Ake has led award-winning groups based in New York, Los Angeles, and Germany. He has appeared as a sideman for such creative improvisers as Ravi Coltrane, Charlie Haden, James Newton, and Bud Shank. His most recent recording is titled North from the group The Collective. [Editor's note: An updated version of Dr. Ake's work on Sidney Bechet can be found in his book Jazz Cultures, to be published by the University of California Press in 2001.]
One of the foremost Baroque cellists in the United States, Elisabeth Le Guin has been praised for the vigor and sensitivity of her ensemble playing. She is a founding member of Philharmonia Baroque Orchestra and the Artaria String Quartet, and appears in numerous recordings on the Koch and Harmonia Mundi labels. Ms. Le Guin received a doctorate in historical musicology at Berkeley in 1997, and currently teaches in that discipline at UCLA. She has published on New Age music and postmodern listening, and is working on a book, tentatively entitled Boccherini: an Essay in Carnal Musicology, to be published by the University of California Press.
Jason Middleton is a PhD candidate in the Literature Program at Duke University. His interests include film, popular music, affect, and the body. His publications include "DC Punk and the Production of Authenticity," in Over the Edge: Transformations of Popular Music Culture, forthcoming from Duke University Press. He is a member of the editorial collective of Polygraph: An International Journal of Culture and Politics, and issue editor of Polygraph 11, Margins of Global Culture.
INTERVIEW
Maria Cizmic received a BA in music and English from Santa Clara University, after which she performed, accompanied, and taught piano throughout the San Francisco Bay Area. A recipient of the Jacob Javitz Fellowship, Ms. Cizmic is currently a graduate student in musicology at UCLA and plans to focus her dissertation on issues of nationalism and modernism in early twentieth-century Eastern European music.
BOOK REVIEWS
Dale Chapman is a doctoral student in the department of musicology at UCLA. His principal areas of interest include jazz, electronic dance music and hip hop. He is presently in the planning stages of a dissertation that will be devoted to recent appropriations of jazz in contemporary American culture.
Glenn T. Pillsbury’s principal scholarly interests are in the area of popular music studies. Currently working on a dissertation examining notions of genre and the music of the heavy metal band Metallica, he has also spoken about the historiography of barbershop quartet singing, and is preparing an edition of vocal music by French Baroque composer M.A. Charpentier.
Jacqueline Warwick is a doctoral candidate in musicology at UCLA, preparing a dissertation on popular music and girl culture. She was awarded the Ingolf Dahl Prize in Musicology for her conference paper "Fleshing Out Bilitis." Her publications include "’Make Way for the Indian’: Bhangra and South Asian Presence in Toronto," forthcoming in Popular Music and Society.
SOUND & FILM REVIEWS
Durrell Bowman is a UCLA Ph.D. candidate in musicology, with a dissertation exploring ideological and genre issues in the music of the Canadian progressive hard rock band Rush. He also teaches in the area of film music, including a recent survey course and a forthcoming seminar on the music of film noir and Hitchcock suspense-thrillers.
Steven Chean is a freelance music journalist and an editor at Rhino Records.
Daniel Goldmark is a doctoral candidate in musicology at UCLA.
Erik Leidal specializes in music aesthetics and queer theory. A Fulbright scholar to Vienna and graduate of Rice University in music history and English, he has performed and recorded regularly with the Arnold Schoenberg Chor, and continues to sing in early music ensembles. He has published on modes of signification in Aretha Franklin's music, and contributed to the Fitzroy & Dearborn Gay & Lesbian Studies Reader.
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