W. Anthony Sheppard is Associate Professor of Music at Williams College where he teaches courses in 20th-century art and popular music, Asian musics, opera, and film music.  His book, Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Music Theater received the 2003 Kurt Weill Prize and his JAMS article on World War II propaganda film music received the 2002 AMS Einstein Award.  He is currently at work on a book entitled Extreme Exoticism: Japan in the American Musical Imagination which has been supported by a NEH Fellowship and Summer Stipend.

Steve Waksman is Assistant Professor of Music and American Studies at Smith College. He is the author of Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience, and has published essays on the guitar and its history in The Cambridge Companion to the Guitar, The Encyclopedia of Popular Music of the World, and Guitar Cultures. Currently, he is working on a revisionist history of heavy metal and punk rock, titled The Noise of Youth: Rethinking Rock Through the Metal/Punk Continuum. He is also occasional lead guitarist for the Distractions.


Richard Crawford, Hans T. David Distinguished University Professor Emeritus, at the University of Michigan, taught for more than four decades at Michigan. His books include The American Musical Landscape (Berkeley, 1993; 2000), America’s Musical Life: A History (New York, 2001), and An Introduction to America’s Music (2001). Now working on a study of the life and music of George Gershwin, he is editor-in-chief of Music of the United States of America (MUSA), a national series of scholarly editions organized by the American Musicological Society.

James Deaville is Associate Professor and Director of Graduate Studies in the School of the Arts of McMaster University. He received his PhD from Northwestern University in 1986. He has spoken and published about Liszt and his circle in Weimar, Wagner, Mahler, Strauss, REger, music criticism, music and gender, television and film music, and music and race. In 1997 Pendragon Press published his edition of Bayreuth memoirs of Wagner's balletmaster Richard Fricke. The fruits of his researches have appeared in such publications as the New Grove Dictionary of Music and Musicians, The New Grove Dictionary of Opera, Norton/New Grove Dictionary of Women Composers, Pipers-Enzyklopädie des Musiktheaters, Studies in American Music, Notes, Canadian University Music Review, Hamburger Jahrbuch für Musikwissenschaft, Studien zur Wertungsforschung, the Cambridge Companion to Liszt, and the Cambridge Companion to the Lied.

Charles Hiroshi Garrett is Assistant Professor in the School of Music at the University of Michigan, Ann Arbor. His doctoral studies in musicology at the University of California, Los Angeles were supported by an Alvin H. Johnson AMS-50 Dissertation Fellowship. He is a past recipient of the AMS Howard Mayer Brown Fellowship and the Mark Tucker Award from the Society of American Music.

Carol J. Oja is William Powell Mason Professor of Music at Harvard University. Her most recent book, Making Music Modern: New York in the 1920s (Oxford, 2000), won an ASCAP-Deems Taylor Award and was named best book of the year by the Society for American Music, and she is co-editor, with Judith Tick, of Copland and his World (Princeton, 2005). She is also author of Colin McPhee: Composer in Two Worlds (Smithsonian, 1990; University of Illinois, 2004), as well as articles on a variety of twentieth-century American composers, including George Antheil, Marc Blitzstein, Aaron Copland, Henry Cowell, Ruth Crawford, George Gershwin, Elie Siegmeister, William Grant Still, and Virgil Thomson. She is past-president of the Society for American Music and former director of the Institute for Studies in American Music at Brooklyn College. Currently, she is writing a book about Leonard Bernstein for the Yale Broadway Masters series.

Michael Saffle is professor of Music and Humanities in the Department of Interdisciplinary Studies at Virginia Tech. He earned his joint PhD in musicology and humanities at Stanford University and has published articles and reviews in the Journal of the American Musicological Society, Acta Musicologica, Notes, the Programmhefte of Bayreuth’s Wagner Festival, Music & Letters, and the Leonardo Music Journal as well as the International Dictionary of Black Composers. His books include Franz Liszt: A Guide to Research, revised and republished by Routledge in 2004. He serves as editor for American biographical entries on behalf of the new MGG.

Ruth A. Solie is Sophia Smith Professor of Music at Smith College, and is also a participant in the Women’s Studies Program there. She is the author of Music in Other Words: Victorian Conversations (2004) and the editorof Musicology and Difference (1993). She is particularly interested in questions of music historiography and the social history of music.

Judith Tick,
Matthews Distinguished University Professor of Music at Northeastern University, writes about American music in general and the history of women in music in particular. Her biography, Ruth Crawford Seeger. A Composer’s Search for American Music (1997) won an ASCAP Deems Taylor Award. This book as well as her article on “Charles Ives and Gender Ideology” also won awards from the Society for American Music. Tick also wrote the entries on “Women and Music” for The New Grove Dictionary of American Music (1986) and the 2001 revised edition of The New Grove Dictionary of Music. She is currently working on an anthology of primary sources for the study of American music and musical life, Music in the USA: An Uncommon Reader to be published by Oxford University Press. In 2004 she was elected to the American Academy of Arts and Sciences.

Josephine Wright is Professor of Music and The Josephine Lincoln Morris Professor of Black Studies at The College of Wooster, and
chair of the college's Department of Africana Studies. She holds degrees from the University of Missouri—Columbia, the Pius XII Academy at Florence, Italy, and the PhD in Historical Musicology from New York University. A past editor of the journal American Music, and former member of the Board of Directors of the American Musicological Society and the Society of American Music, she currently sits on the editorial boards for the journals of both organizations. She has published extensively in the field of African American music. She was co-author with Eileen Southern of African American Traditions in Song, Sermon, Tale, and Dance, l600s–l920: An Annotated, Classified Bibliography of Literature (1990) and Images: Iconography of Music in African-American Culture, 1770s–1920s (2000), and principal editor (with Samuel A. Floyd) of New Perspectives on Music: Essays in Honor of Eileen Southern (1992).


Gregory Bloch studies musicology at the University of California at Berkeley. During 2004/2005, he will be in residence in London as a Mellon Research Fellow of the Institute of Historical Research of the University of London's School of Advanced Study.

Andy Fry is Assistant Professor of Music at the University of California, San Diego. He completed his graduate studies at the University of Oxford, with a dissertation on African-American Music and Musicians in Interwar Paris. His publications include articles in the Journal of the Royal Musical Association, Cambridge Opera Journal, and a chapter in the forthcoming volume Western Music and Racial Discourses, edited by Julie Brown.

James Kennaway did his undergraduate studies in London and recently received his PhD in musicology at UCLA, completing a dissertation entitled “Richard Wagner and Degeneration in Music.” He is currently an independent scholar, music critic, and translator in Berlin.

Glenn Pillsbury is currently working on a book-length study of the heavy metal band Metallica for Routledge, and earned a PhD in musicology from UCLA in 2003 with a dissertation on that group.  In addition to the subject of Metallica, he has lectured on issues of history and performance in barbershop music, technique and transcendence in the music of metal guitar virtuoso Steve Vai, as well as the complexities of history and musical identity within the metal tribute band phenomenon.

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