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John Brackett currently teaches courses in music theory at the University of Utah. His research interests include early approaches to twelve-tone composition, the music and musical thought of John Zorn and other composers associated with the “Downtown” scene of New York’s Lower East Side, the intersections between the philosophy of science and post-war American music theory, and the analysis of popular music. This article is drawn from his forthcoming book John Zorn: Tradition and Transgression (Indiana University Press).

Paul Christiansen is Assistant Professor of Music at the University of Southern Maine. His work has appeared in the New Grove Dictionary of Music and Musicians, Plainsong and Medieval Music, MLA Notes, the Journal of Musicological Research, and elsewhere. He holds a Ph.D. in Musicology and Criticism from the University of California, Davis, and taught for three years in the Musicology Department of Palacký University in the Czech Republic.

James Deaville is Associate Professor of Music in the School for Studies in Art and Culture at Carleton University in Ottawa, where he studies Franz Liszt, television news music, and African-American entertainers in fin-de-siecle Europe. His recent publications include a chapter in Franz Liszt and His World (published by Princeton University Press), an article in "Music and Cultures of Racial Representation in the Nineteenth Century," a special issue of Nineteenth Century Music Review for which he is guest editor, and an article comparing music in the Canadian and American news coverage of 9/11 for Routledge’s Music in the Post-9/11 World. He has also recently published in JAMS and JSAM, will be contributing to Wagner and His World and has a chapter in a forthcoming volume Conflict and the Politics of Identity. Besides working on a monograph about television news music, he is undertaking a new project regarding the musical signification of civil defense sirens.

Ivan Paolo de Paris Fontanari is a doctoral candidate in Social Anthropology at Universidade Federal do Rio Grande do Sul, Brazil. His dissertation explores the meaning of being a DJ, performing techno and drum & bass music and running parties through the personal trajectories of working-class young DJs in São Paulo. He has published in Brazilian academic journals and alternative media on diverse issues concerning youth and culturally critical practices in contemporary Brazil. His research interests concentrate on ethnography, music, expressive culture, globalization, mediation, cultural production and consumption, and Brazil.

Melissa de Graaf is Assistant Professor of Musicology at the Frost School of Music at the University of Miami. She holds a B.A. degree in Music and English from the University of California, Davis, an M.A. degree in Music and Women's Studies from Brandeis University, and a Ph.D. in Music from Brandeis University. De Graaf's essays on Aaron Copland and Ruth Crawford were recently published in collections edited by Judith Tick, Carol Oja, Ellie Hisama, and Ray Allen. She is the recipient of a number of awards and grants, including the American Association of University Women American Fellowship. She is currently writing a book about music in the New Deal and the New York Composers' Forum concerts, 1935-1940.

Sanna Pederson is Mavis C. Pitman Professor of Music at the University of Oklahoma, where she specializes in German nineteenth-century music and culture. She has published articles relating Beethoven and German music to nation building, historiography, masculinity, and anti-romanticism. She is currently working on a book called Musical Romanticism and Cultural Pessimism: the Impact of the Revolutions of 1848-49 on German Musical Life.

Holley Replogle-Wong is a doctoral candidate at UCLA, writing a dissertation on operetta, the megamusical, and American middlebrow culture. Her other interests include film music, video game music, classical crossover, and cultural hierarchies. She sings with the Angeles Chorale, the Voices of Christmas, and other ensembles, and enjoys playing show tunes and other middlebrow repertory on the piano.

Sandy Thorburn is an independant music scholar whose area of interest includes Canadian musical theatre. He has taught at McMaster University, Queen's University, St. Lawrence College, The University of Waterloo, and the University of Western Ontario. He is the resident musical director at the Thousand Islands Playhouse.


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