Contributors

ARTICLES

Francesca Draughon a doctoral candidate in musicology at UCLA, is writing a dissertation on the music of Gustav Mahler within the fin-de-siècle cultural atmosphere of Vienna, exploring topics such as religious identity, dance, gender, body politics, orientalism, and modern subjectivity. Currently the recipient of a UCLA Dissertation Year Fellowship, she was earlier awarded a Fulbright Fellowship to Vienna in 1999-2000. She also pursues research interests in popular music and is a student of Bharata Natyam (South Indian classical dance) in both Los Angeles and Vienna.

Anahid Kassabian is Assistant Professor of Communication and Media Studies at Fordham University. She is Chair of the International Association for the Study of Popular Music, past editor of the Journal of Popular Music Studies, and co-editor of Keeping Score (University Press of Virginia, 1997), an anthology on music and disciplinarity. Her book, Hearing Film (Routledge, 2001), theorizes the identifications and engagements that contemporary film scores condition. Her current work focuses on ubiquitous music and ubiquitous listening.

Raymond Knapp, Associate Professor in Musicology at UCLA, earned a Ph.D. in musicology at Duke University with a dissertation on Brahms. He has published or given talks on Landini, Haydn, Mozart, Beethoven, Wagner, Brahms, Dvorák, Mahler, Bartók, and The Sound of Music, and is currently pursuing projects on Haydn, Chaikovsky, Amy Beach, and the American Musical. His articles appear in Nineteenth-Century Music, The Journal of the American Musicological Society, The Journal of Musicological Research, and Brahms Studies, among others. He composes (mostly tonal) music and plays second violin in the Santa Monica Symphony with moderate skill and great enthusiasm.

Tamara Levitz is an Associate Professor of Musicology at McGill University in Montreal, Canada. Her published work includes articles on Ferruccio Busoni, Kurt Weill, Stravinsky, and numerous other aspects of twentieth-century music.  She is the recipient of fellowships from the Alexander von Humboldt Stiftung and the Stanford Humanities Center, and is currently completing a book on modern dance and music in the first half of the twentieth century, with a particular focus on the interrelationships between artistic movements in Germany, France, the United States, and Cuba.

ROUNDTABLE

Gage Averill is Professor of Music, Chair of the Music Department, and Coordinator of the Program in Ethnomusicology at New York University.  He is author of A Day for the Hunter, A Day for the Prey: Popular Music and Power in Haiti (Chicago 1997) and Four Parts, No Waiting: A Social History of American Barbershop Harmony (Oxford, forthcoming). His research interests include Caribbean popular music, music and power, North American vernacular music, and public sector ethnomusicology.

Nazir Jairazbhoy was appointed lecturer in Indian music in 1962 by the School of Oriental and African Studies in London. In 1969 he was appointed associate professor of Asian Studies at the University of Windsor in Ontario, and professor of music at UCLA in 1975. He has taken an active part in American and international scholarly societies, and has served as president of the Society for Ethnomusicology and as the first chair of the Department of Ethnomusicology and Systematic Musicology at UCLA. He has numerous publications to his credit, including The Rags of North Indian Music: Their Structure and Evolution and Hi-Tech Shiva and Other Apocryphal Stories: an Academic Allegory. He has also produced numerous audio and video documents, which include A Musical Journey through India, 1963-1964 and, in collaboration with Amy Catlin, Bake Restudy in India: 1938-1984, which received an award from the Society for Visual Anthropology of the American Anthropological Association, and Retooling a Tradition: a Rajasthani Puppet Takes Umbrage at his Stringholders, a fictive documentary. He served as director of the Indian Music Performance until his retirement in 1994.

Jihad Racy is a well-known performer and composer of the music of the Middle East. He has performed regularly on television and presented a weekly radio program on world music in Lebanon. In North America, he has lectured at various universities and cultural institutions, and has given recitals in numerous major theaters. He has over fifty scholarly publications based on his extensive research in the Middle East. Racy is a virtuoso on traditional Arab instruments, particularly the nay and the buzuq, and other folk and urban instruments from the Middle East. Racy has also composed and performed music for numerous television, feature, and documentary films. Inspired by both Western and Middle Eastern traditions, he composed and arranged Zaman Suite for the Kronos Quartet.

Timothy Rice is a specialist in the folk music of Bulgaria and Macedonia. His research, based on numerous field trips to the Balkans since 1969, has been published in major journals, including Ethnomusicology, Yearbook for Traditional Music, and Journal of American Folklore. He has also published articles on ethnomusicological methods, cross-cultural music theory, and music education. Rice has served his academic field in a variety of ways, including editing a collection of scholarly essays, Cross-Cultural Perspectives on Music, serving as editor of Ethnomusicology, and acting as treasurer and member of the board of directors of the Society for Ethnomusicology. He is founding co-editor of the ten-volume Garland Encyclopedia of World Music and in 1994 published May it Fill Your Soul: Experiencing Bulgarian Music, with the University of Chicago Press.

Before coming to UCLA, Hiromi Lorraine Sakata taught in the Ethnomusicology Program at the University of Washington where she served as Chair of the Ethnomusicology program, Associate Director of the School of Music, and Acting Director of the Middle East Studies Program and Middle East Center. Since 1966, her research interests have focused on South Asian Islamic musical cultures. Her book, Music in the Mind: The Concepts of Music and Musician in Afghanistan, was published in 1983. Her most recent publications focus on devotional music of Pakistan.

Anne Elise Thomas is a Ph.D. candidate in ethnomusicology at Brown University. She first developed an interest in Arab music as an undergraduate at the College of William and Mary, where she played qanun in the William and Mary Middle Eastern Music Ensemble directed by Dr. Anne K. Rasmussen. She is currently living in Amman, Jordan, where she is a CAORC fellow at the American Center of Oriental Research, conducting fieldwork for her dissertation on musical transmission and youth participation in Arab music.

PHOTO ESSAY

Sheila Masson was born in London, England and moved to the United States during her teens. She studied illustration and photography at Central Saint Martin’sSchool of Art and Design in London, England, and the Kent Institute of Art and Design in Maidstone, England. After graduation she returned to live permanently in the United States. She moved to Los Angeles after working as a photo editor in New York City for four years to begin her career as a photojournalist. Shelia is currently a freelance photographer for three Los Angeles area newspapers and is also a photo assistant for documentary photographer Lauren Greenfield.

REVIEWS

Kay Dickinson teaches Film Studies at Middlesex University, London. Her doctoral thesis was concerned with music videos and synaesthesia, and her research more generally focuses upon interactions between pop music and the moving image. Kay is a regular contributor to Sight and Sound magazine and is about to publish a piece on women's uses of vocoders in Popular Music.

Dave Kopplin Presently Assistant Professor of Commercial Music at California State Polytechnic University, Pomona, Dave Kopplin holds degrees from the University of Colorado and the University of Southern California. He received the Ph.D. in composition at UCLA under Roger Bourland, Ian Krouse, David Lefkowitz, Robert Walser and Susan McClary. Professional credits include film scores, incidental music for theater, works for chorus, orchestra, electro-acoustic ensembles, songs, and works for jazz and Latin-jazz groups. Kopplin has performed and recorded with San Francisco's Clubfoot Orchestra and the Brazilian jazz group Araça Azul, among many others. He is active as a speaker and writer for L.A. Opera, the Los Angeles Philharmonic, and Hollywood Bowl and regularly contributes articles to Performing Arts magazine.

Dana T. Marsh is reading for the D.Phil. in Musicology at the University of Oxford, England, with a focus on Tudor Polyphony in its liturgical context during the English Reformation. He earned his B.M. from the Eastman School of Music and worked in Los Angeles as a conductor, countertenor soloist and organist for nearly ten years, directing the Paulist Boy Choristers of California (1992-2000) and the Anglican Choir of Saint Luke’s (1990-96). He has performed as a soloist with the American Bach Soloists, New York Collegium, and Musica Angelica, and has recorded for RCM and Koch International Classics. He is currently a lay clerk with the Choir of New College, Oxford.