Contributors’ Notes

Dr. Sophie Abramowitz is a Postdoctoral Fellow at Brown University in a joint appointment with the Department of American Studies and the Center for Digital Scholarship at Brown University Library. Her current book project, Playing the Folk, examines how authors like Zora Neale Hurston, Langston Hughes, and Francis La Flesche adapted the language and ideas of folklore to create musical and dramatic performances, in order to exchange and address changing ideas of racial and gender self-definition. Her teaching similarly focuses on race, cultural history, and creative world-building through the practices of collecting and musical performance. Dr. Abramowitz also collaborates on a number of archival and digital projects, including a multiplatform compilation of recordings from the 1969 Ann Arbor Blues Festival, released on Third Man Records in 2019.Erin Bauer is Assistant Professor of Musicology at the University of Wisconsin-Whitewater. Her research examines musical relationships through systems of globalization. In particular, she explores the interconnection between genre and identity as an implication of global processes. Her current book, forthcoming from the University of Illinois Press, addresses the worldwide spread of Texas-Mexican conjunto music. Bauer previously served as Director of Instrumental Music at Laramie County Community College. She holds a Ph.D. in musicology from Claremont Graduate University.Owen Coggins is a Leverhulme Early Career Fellow in Social & Political Sciences at Brunel University London, investigating ambiguity, marginal religiosity and ideology in black metal music. Owen’s monograph Mysticism, Ritual and Religion in Drone Metal (Bloomsbury Academic 2018) won the 2019 IASPM Book Prize, and he is working on a book with Deirdre Morgan about folk instruments in global metal music.Herb L. Fondevilla is an Associate Professor at Rikkyo University in Tokyo, Japan, and a former visiting researcher at the Institute of Island Studies at Meiji University. Her interdisciplinary research interests cross the fields of Japanese visual and media culture, contemporary art, community-based art projects and initiatives, as well as the benefits of the arts on health and wellbeing.Molly Geidel is a senior lecturer in 20th century US cultural history at the University of Manchester. She is the author of Peace Corps Fantasies: How Development Shaped the Global Sixties (2015). She is working on two books, one on documentary film and development in the Americas, and the other on the counterinsurgent girl.Kate Grover is a PhD candidate in American Studies at the University of Texas at Austin. Her dissertation, Amplified Activists: Feminist Responses to the Modern American Music Industry, historicizes the gender-based inequalities impacting women musicians and examines efforts to create a more accessible and inclusive music industry. This research is supported by fellowships from the Smithsonian Institution and the American Association of University Women. Kate's work on popular music, feminisms, and American culture has been published in the Journal of Popular Music Studies, Signs: Journal of Women in Culture and Society, Not Even Past, and Quarterly Horse: A Journal of [brief] American Studies. She currently lives in Washington, D.C.Dr. Maren Hancock (she/her) is a Lecturer in Popular Music at the School of Performing Arts, University of Wolverhampton. A critically acclaimed professional DJ and musician for over two decades, Maren’s interests include marginalized communities in popular music cultures and music industry entrepreneurship. She has published several academic and popular articles on DJ culture, and her book Lady Lazarus: Confronting Lydia Lunch was selected for the Rock n’ Roll Hall of Fame Museum and Library in Cleveland, OH. Currently, she is co-editing the first collection on Canadian DJ culture with Dr. Charity Marsh, We Can Dance If We Want To: Canadian DJ Culture Turns Up, and completing a scholarly monograph focusing on the voices of gender marginalized DJs in Canada, Stereotypes: Canadian Women DJs Sound Off.Alexandra Hui is an Associate Professor of History at Mississippi State University and Co-Editor of Isis. She is the co-editor of Testing Hearing: the Making of Modern Aurality (Oxford, 2020), the 2013 Osiris volume on music, sound, and the laboratory, and is the author of The Psychophysical Ear: Musical experiments, Experimental Sounds, 1840-1910 (MIT, 2012). She is interested in the co-development of new forms of listening, technology, and concepts of the environment. Her two current projects are histories of the science of background music and how field scientists listen to nature.Alexander Russo is an Associate Professor in the Department of Media and Communication Studies at The Catholic University of America in Washington, DC. He is the author of Points on the Dial: Golden Age Radio Beyond the Networks, Duke University Press, 2010. He has also written articles and book chapters on the technology and cultural form of radio and television, sound studies, the history of music and society, and media infrastructures.Robyn Shooter is a Ph.D. candidate in English and Music at King’s College London. Her dissertation examines the role of gender representation, community formations, and genre classification in the establishment and reception of Americana music (1960 to Present).Amy Skjerseth is incoming Lecturer in Audiovisual Media and co-director of the MA Music in Audiovisual Media Program at the University of Liverpool. She recently received her PhD in Cinema and Media Studies from the University of Chicago. Her dissertation, Music’s Visual Waves: Popular Music Technology and Audiovisual Aesthetics, explores how music technologies from transistor radios to Auto-Tune transformed visual expressions of popular music in media. Further research examines how devices from musical automata to deepfakes shape audiovisual cultures.Andy Kelleher Stuhl is a PhD candidate in Communication Studies at McGill University. His dissertation examines the cultural meaning of automation in American and Canadian radio's industrial and artistic contexts, ranging from the 1950s into the 2010s. In this research and in other work, he approaches media history as a resource for overlooked precedents that scholars and artists might adapt toward critical intervention in present-day technological systems.Patrick Valiquet is an independent writer, translator, and musician. Between 2010 and 2021 he held research posts at the universities of Oxford, Edinburgh and Birmingham with funding from the British Academy, the Institute of Musical Research, the Fonds de Recherche du Québec, and the Social Sciences and Humanities Research Council of Canada. Ongoing projects include a historical monograph on the ontological politics of Pierre Schaeffer’s listening and media research, several articles on experimental music pedagogies in France and Britain in the 1970s, and an English translation of Daniel Charles’ 1978 habilitation thesis, Le temps de la voix.

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