About the Authors

Abstract

Robin James is Associate Professor of Philosophy at University of North Carolina, Charlotte. She is the author of four books: The Future of Rock and Roll: 97X WOXY and The Fight for True Independence (University of North Carolina Press, forthcoming), The Sonic Episteme (Duke University Press, 2019), and Resilience and Melancholy (Zer0, 2015). Isidora Miranda received her PhD in Musicology at the University of WisconsinMadison and is currently a Postdoctoral Scholar at Vanderbilt University. Her work focuses on music and theater performance within the context of the Philippines’ long colonial history. She is currently working on a book project on the Tagalog sarsuwela, cultural nationalism, and constructions of racial and gendered identities in the musical stages of Manila. Her work has been supported by various grants, including the American Musicological Society’s resident fellowship at the Newberry Library and the Mellon Fellowship for Dissertation Research in Original Sources through the Council for Library and Information Resources. Celeste Day Moore is a historian of African American culture, media, and black internationalism and the author of Soundscapes of Liberation: African American Music in Postwar France (Duke University Press, 2021). She is an Assistant Professor of History at Hamilton College in Clinton, NY. Matthew D. Morrison, a native of Charlotte, North Carolina, is an Assistant Professor in the Clive Davis Institute of Recorded Music at the Tisch School of the Arts of New York University. He is the Susan McClary and Robert Walser American Council of Learned Societies Fellow from 2021–2022, where he is in residence at the University of Edinburgh. Matthew is completing his book manuscript, Blacksound: Making Race and Popular Music in the United States (University of California Press, forthcoming). His work has appeared in various publications, including the Journal of the American Musicological Society and the Oxford Handbook of Music and Philosophy, and he contributes creatively as a dramaturg and artistic consultant within the arts. Imani Danielle Mosley is a musicologist, cultural historian, and digital humanist focusing on the work of Benjamin Britten, music, opera, and modernism in Britain post-1945. Her current research addresses digital sonic mapping, acoustics, and rituals in the English churches and cathedrals central to Britten’s sacred music. In addition to her work on Britten, Mosley also specializes in contemporary opera, reception history, queer theory, masculinities studies, and race in 21st-century popular musics. Alon Schab is a musicologist, composer, and recorder player. He wrote his doctoral dissertation on Henry Purcell at Trinity College Dublin. Since 2012 he has been a faculty member in the Department of Music at the University of Haifa, and since 2016, a committee member of the Purcell Society. He is the author of The Sonatas of Henry Purcell: Rhetoric and Reversal (University of Rochester Press, 2018) and of A Performer’s Guide to Transcribing, Editing and Arranging Early Music (Oxford University Press, forthcoming). Jürgen Thym, Professor Emeritus of Musicology at the Eastman School of Music (University of Rochester), is an authority on classical music of the nineteenth and JOURNAL OF MUSICOLOGICAL RESEARCH 2021, VOL. 40, NO. 4, 366–367 https://doi.org/10.1080/01411896.2021.1993684