Timothy D. Taylor is the author of Global Pop: World Music, World Markets (Routledge, 1997), Strange Sounds: Music, Technology and Culture (Routledge, 2001), and numerous articles on various popular and classical musics. He has received fellowships from the National Humanities Center and the American Council of Learned Societies. He is currently writing a history of music used in advertising from early radio to the present, and a book on world music since Global Pop.
Chapman earned his PhD in musicology at the University
of California, Los Angeles, with a dissertation entitled Specters
of Jazz: Style, Ideology, and Jazz as Postmodern Practice. His
research focuses upon recent developments in jazz and popular music,
examining how jazz produces meaning within the context of contemporary
postmodern society. Chapmans article, Trainspotters and
Rumporollers: Gilles Peterson, DJ Culture, and Jazz as Afrodiasporic
Practice will appear in the collection of essays Playing Changes:
New Jazz Studies, edited by Robert Walser and forthcoming through
Duke University Press. He has taught at the University of California,
Riverside and at California State University, Fullerton. He is presently
a McCain Postdoctoral Fellow at Mount Allison University in New Brunswick,
J. Lester Feder received his MA in ethnomusicology from Brown University in 2001, and is now a doctoral candidate in musicology at the University of California, Los Angeles. He is currently writing a dissertation on country music and the cultural politics of race and region.
Morrison is Assistant Professor of Music at Princeton
University, where he teaches courses on modernity. He is the author
of Russian Opera and the Symbolist Movement (University of California
Press, 2002), articles on Ravel, Rimsky-Korsakov, Prokofiev, Scriabin,
Shostakovich, and several essay-reviews. He writes on occasion for the
Arts & Leisure section of The New York Times. In 2002 he
was a guest lecturer at the Institute Pro Arte in St. Petersburg, Russia;
this past year, he has been conducting archival research in Moscow.
He is currently writing a collection of essays on the ontology of ballet,
and has just begun a monograph entitled Prokofiev: The Soviet Years.
Carlos Palombini is Associate Professor of Musicology at the Federal University of Minas Gerais (UFMG), Belo Horizonte, Brazil, and director of the UFMG Contemporary Music Research Center. He specializes in the interpretation and critique of musique concrète and Pierre Schaeffer's writings. Dr. Palombini holds a PhD from the University of Durham, UK. He has published in the Computer Music Journal, Music and Letters, Organised Sound, and the Leonardo Music Journal. His article Musique Concrète Revisited appears in Larry Sitsky, ed., Music of the Twentieth Century Avant-Garde: A Biocritical Sourcebook (Westport, Greenwood, 2002) and in Eduardo Miranda, ed., Música y nuevas tecnologías: perspectivas para el siglo XXI (Barcelona: L'Angelot, 1999).
Deborah Schwartz-Kates is Assistant Professor of Musicology at the University of Texas at San Antonio. Her research focuses on Argentine art music of the nineteenth and twentieth centuries, the construction of national identity, and the relationship between vernacular and classical repertoires. She authored the article on Alberto Ginastera in the revised edition of The New Grove Dictionary of Music and Musicians and has recently received an NEH Faculty Research Award for her work on Latin-American film music.