Contributors  

ARTICLES

Susan McClary specializes in the cultural criticism of music, both the European canon and contemporary popular genres. Before arriving at UCLA in 1994, McClary taught at the University of Minnesota (1977-91) and McGill University (1991-94). She is best known for her book Feminine Endings: Music, Gender, and Sexuality (University of Minnesota Press, 1991). She is also author of Georges Bizet: Carmen (Cambridge University Press, 1992) and coeditor with Richard Leppert of Music and Society: The Politics of Composition, Performance and Reception (Cambridge University Press, 1987). Her latest book, Conventional Wisdom, was published by the University of California Press in 2000. She was awarded a John D. and Catherine T. MacArthur Foundation Fellowship in 1995.

Joseph Auner is Associate Professor of Music, SUNY at Stony Brook. In March 2000 he co-organized the symposium, "Singing the Body Electric: Music, Multimedia, and Digital Technology." Recent publications include "Schoenberg and His Public in 1930: the Six Pieces for Male Chorus, Op. 35," and "Soulless Machines and Steppenwolves: Negotiating Masculinity in Krenek's Jonny spielt auf." He is editing The Schoenberg Reader for Yale University Press, and is general editor for Studies in Contemporary Music and Culture, Garland/Routledge.

MEMOIR

Maiko Kawabata is a doctoral candidate in musicology at the University of California, Los Angeles. Her dissertation, "The Violin's Voice: Drama and Heroism in the Romantic Concerto," is a critical study of the nineteenth-century violin concerto from Beethoven through Chaikovsky. Ms. Kawabata also plays violin professionally in the Los Angeles area; she has recently performed chamber works at the County Museum's Monday Evening Concerts.

ROUNDTABLE

Robert Fink is assistant professor in musicology at the University of California, Los Angeles. He focuses on music after 1965, with a special interest in minimalism, postmodernism, and the intersection of cultural and music-analytical theory. His current project is a book on minimalism, media, and advertising in the 1960s for University of California Press. His work has appeared in the Journal of the American Musicological Society, 19th-Century Music, American Music, Modernism/Modernity, and the collection Rethinking Music. In 1998-99 he was the recipient of a resident fellowship at the Stanford Humanities Center.

Reebee Garofalo is a professor at the University of Massachusetts, Boston, where he has taught since 1978. He has written numerous articles on racism, censorship, the political uses of music, and the globalization of the music industry. His most recent book is Rockin' Out: Popular Music in the USA (Allyn and Bacon, 1997). For relaxation, he enjoys drumming and singing with the Blue Suede Boppers, a fifties rock and roll band.

Born and raised in Los Angeles, Becky Gebhardt is currently an undergraduate studying English and music history at UCLA. She plays the bass, guitar, and guiro in the rock-folk band Raining Jane. Her plans for the future include being a poor musician and going to culinary school.

Casper Partovi is an associate with the law firm of Gibson, Dunn & Crutcher LLP where he practices in the field of corporate transactions. He received his J.D. from the University of Southern California in 1999 and his M.A. in Musicology from UCLA in 1996. While at UCLA, Casper focused on developments in nineteenth-century German Romantic music and philosophy.

REVIEWS

Malcolm Bilson has devoted the past quarter-century to the study and performance of late 18th and early 19th century Viennese keyboard literature on pianos of the period, both copies and originals. He has recorded all the Mozart Piano Concertos with Sir John Eliot Gardiner and the English Baroque Soloists for Deutsche Grammophon, the Mozart Piano-Violin Sonatas with Sergiu Luca, the Beethoven Piano-Cello Sonatas with Anner Bylsma for Nonesuch Records, and the Mozart Piano Sonatas for Hungaroton. He is currently recording the Schubert piano sonata cycle also for Hungaroton. Bilson plays and gives master classes all over the world, is director of Keyboard Studies in Historical Performance Practice at Cornell University, and Adjunct Professor at the Eastman School of Music in Rochester, New York. He is a member of the American Academy of Arts and Sciences.

Russell Reising is Professor of American Literature and Culture at The University of Toledo. He is the author of The Unusable Past: Theory and the Study of American Literature (Methuen, 1986) and Loose Ends: Closure and Crisis in the American Social Text (Duke University Press, 1996), as well as articles in American Quarterly, New England Quarterly, and Popular Music: Intercultural Interpretations (edited by Toru Mitsui). He is currently writing two books focusing on the impact of LSD on Anglo-American culture from the fifties to the present, and also editing a collection of essays on the Beatles' Revolver for Ashgate Press.

John Richardson lectures at City University, London. He is author of Singing Archaeology: Philip Glass's Akhnaten (Wesleyan University Press, 1999) and co-editor of Beatlestudies 1: Songwriting, Recording, and Style Change (Jyväskylä: University of Jyväskylä Press, 1998). He is currently working on a book that investigates questions regarding influence and intertextuality in multimedia contexts across a wide array of genres and styles. His most recent article "The Laura Effect: Male Infatuation and the Musical Reconstruction of the Absent femme fatale in Laura and Twin Peaks," will be published in the forthcoming book Weird On Top: The Cinema and Television of David Lynch, eds. Annette Davison and Erica Sheen (Flicks Books, 2001).

Mark Slobin is Professor and Chair of Music at Wesleyan University. He is the author of numerous books, most recently Fiddler on the Move: Exploring the Klezmer World (Oxford University Press, 2000).

Erin Templeton earned her B.A. and M. A. in English at Pennsylvania State University. She is currently working on her Ph. D. in early twentieth-century British and American literature at the University of California, Los Angeles and is primarily interested in issues of intimacy in Modernist texts. She has written about the artistic exchange of Ezra Pound and George Antheil, as well as T. S. Eliot's The Waste Land.