GENERAL EDITOR
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LISA URKEVICH, PhD, is currently Senior Advisor, Music, to the General Culture Authority of Saudi Arabia. Previously, she was a Professor of Musicology/Ethnomusicology at the American University of Kuwait where she was the founding Division Head (Dean) of the Arts and Humanities. In 2015-2016 she served as a visiting fellow at Harvard University. Before moving to the Middle East, as a two-time Senior Fulbright Scholar, Urkevich was a professor of Musicology/Ethnomusicology at Boston University where she held a joint position in the College of Fine Arts, the College of Arts and Sciences, and the Graduate School of Arts and Sciences. She has taught both western and non-western music courses at a variety of institutions including Bucknell University and the University of Maryland. She holds four degrees in music: PhD University of Maryland, MM Florida State University, BS Towson University, BA University of Maryland Baltimore County.

Urkevich is a specialist in the performing culture of the Arabian Peninsula, where she has undertaken fieldwork for almost two decades. She is the author of Music and Traditions of the Arabian Peninsula: Saudi Arabia, Kuwait, Bahrain, and Qatar (New York/London: Routledge: 2015), lauded as “among a handful of the best books on traditional music” (Roots World), and “one of the most comprehensive books on music anywhere in the Middle East and North Africa” (The National).

Along with ethnomusicological work, Urkevich is an established historical musicologist. Through her Renaissance music publications, she proved in two separate studies that precious surviving music books were not the possessions of royal men as formerly believed but were the books of women (Anne Boleyn; and Anne of France). Her findings have an impact on a myriad of factors, including the dating and source stemmas of major compositions.

Urkevich is a former editor of the International CPE Bach Edition, for whom she worked for two years. For seven years she was the Film/Video Reviews Editor of the Yearbook for Traditional Music (UNESCO). She is the 2015 recipient of the Alumna of the Year Award at the University of Maryland. www.urkevich.com

SCHOLARSHIP AND RESEARCH
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DONALD HENRIQUES is Professor of Music at California State University, Fresno where he teaches courses in ethnomusicology, directs the student mariachi, and coordinates the MA program in Music Performance and Music Education. In summer 2016 he was a research fellow at the Teresa Lozano Long Institute for Latin American Studies at the University of Texas at Austin and, in summer 2017 was a Visiting Professor at Universidad Rey Juan Carlos in Madrid, Spain.

Henriques earned his PhD in ethnomusicology at the University of Texas at Austin working with renowned Latin American music scholar, Gerard Béhague. He holds an MM in composition from Indiana University where he studied with Chilean composer, Juan Orrego-Salas, and a BA in guitar performance from California State University, East Bay.

His publications include "Mariachi Reimaginings: Encounters with Technology, Aesthetics, and Identity" in Transnational Encounters: Music and Performance at the U.S.-Mexico Border (Oxford University Press, 2011); entries on famous Mexican ranchera singers and Latin American musical genres in the Grove Dictionary of American Music (Oxford University Press, 2013); and extended articles on Texas Conjunto and Tejano accordionist Flaco Jiménez in Latin Music: Musicians, Genres, and Themes (Greenwood Press, 2014).

From 2000-2005 Henriques was Director of Mariachi Paredes de Tejastitlán at the University of Texas at Austin and in 2007, formed Mariachi Fresno State, a popular student group that performs at numerous University and cultural events. Prior to his work in ethnomusicology, Henriques performed widely as a classical guitarist reaching the finals of the Tokyo International Guitar Competition as well as receiving a fellowship from the Spanish government to study at the international Spanish music institute Música en Compostela, in Santiago de Compostela, Spain.

Editorial Board: Scholarship and Research

Carol M. Babiracki
Syracuse University

Claire L. Boge
Miami University

Alfredo Colman
Baylor University

James Day
The College of New Jersey

Maxine Fawcett-Yeske
United States Air Force Academy

Laura Gayle Green
Florida State University

Keitha Lucas Hamann
University of Minnesota, Twin Cities

Eileen M. Hayes
Towson University

Beatriz Ilari
University of Southern California

Tammy L. Kernodle
Miami University

Horace J. Maxile, Jr.
Baylor University

Joshua Millard
University of Massachusetts, Lowell

James Parakilas
Bates College

Mario Pelusi
Illinois Wesleyan University

Rex Woods
University of Arizona

FORUMS
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SANDRA YANG who holds an MA and PhD in Musicology from the University of California, Los Angeles (UCLA), is Associate Professor of Music History at Cedarville University, now in her ninth year. Yang specializes in twentieth-century French musicology, primarily focusing on the works of Olivier Messiaen and Darius Milhaud. Additionally, she has done research in the Scholarship of Teaching and Learning with a noted interest in online learning environments and the use of new technologies in pedagogical applications. She is a member of the American Musicological Society, AMS Pedagogy Study Group, Society for Ethnomusicology, and the College Music Society. Her special interests include folk dancing of Germany, Poland, Greece, and other Eastern European countries, as well as inter-disciplinary studies involving the humanities, music, history, philosophy, theology, and literature. She is currently the editor-in-chief of Musical Offerings, an Undergraduate Journal of Musicology. Yang has published articles in the Journal of Music History Pedagogy, Paul Claudel Studies, Paul Claudel Papers, Journal of Online Teaching and Learning, and Musicians and Composers of the Twentieth Century. She also contributed a chapter to Dimensions of International Migration. She is deeply involved in service and has worked on University accreditation and assessment, as well as Departmental NASM accreditation.

Editorial Board: Forums

Andrew Adams, Performance
Western Carolina University

Sabrina Rashelle Clarke, Career Development
West Chester University

Radio Cremata, Music Technology
Ithaca College

Josef Hanson, Music Education
University of Massachusetts-Boston

Michael Laymon, Composition
Harold Washington College

Elizabeth Robinson, Scholarship & Research
Missouri Southern State University

Vicki Seldon, Engagement & Outreach
Prairie View A&M University

Olivia Tucker, Student Representative
University of North Texas

BOOK REVIEWS
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JACQUELYN SHOLES (PhD, MFA, musicology, Brandeis University; B.A., music and mathematics, Wellesley College) serves on the musicology faculty at Boston University and teaches as visiting faculty at Boston Conservatory (beginning Fall 2018). She has held visiting faculty appointments at Brown University, Wellesley College, and Williams College. She is currently President of the New England Chapter of the American Musicological Society and served as Acting Co-Director (with Lewis Lockwood) of the Center for Beethoven Research in Spring 2018. Her research focuses on musical meaning and narrative and on issues surrounding reportorial canons, particularly in music of the eighteenth through twentieth centuries.

Her first book, Allusion as Narrative Premise in Brahms’s Instrumental Music (Indiana University Press, Spring 2018) examines the ways in which Brahms appears to weave allusions to the music of other composers into broad, movement-spanning narratives that reflect Brahms’s attempts to define and articulate his own historical position. Sholes is currently guest editing an issue of Nineteenth-Century Music Review focusing on the influence of Beethoven on Brahms and his circle. She has authored articles and reviews in such journals as 19th-Century Music, Nineteenth-Century Music Review, The Journal of Musicological Research, and Notes. Her work has been presented at meetings of the American Musicological Society, Society for American Music, German Studies Association, and Nineteenth-Century Studies Association and at the North American Conference on Nineteenth-Century Music. She has also done interdisciplinary consulting work with neuroscientists at MIT resulting in co-authorship on a publication in Proceedings of the National Academy of Sciences. Her current projects continue to explore issues surrounding narrative and the canon, as well as connections between music and literature, national identity, math, and science and technology.

Technology and Online Resources
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BRENDAN McCONVILLE is Associate Professor, Associate Director for Undergraduate Studies, and Coordinator of Music Theory and Composition at the University of Tennessee School of Music in Knoxville. He holds a PhD and MA in Music Theory/Composition, Rutgers University with an undergraduate degree from Johns Hopkins University and the Peabody Conservatory of Music. As a composer, McConville’s works have been commissioned, performed, televised, and recorded in the United States and in Europe. He recently received a Fulbright Scholar award to support research and compositional activities in Abruzzo, Italy. His music has been recorded on the labels Wide Classique, ERMmedia, and Navona, and has been published by BRS Music. As a music theorist, his areas of research include twentieth-century music analysis and the use of emerging technologies in theory pedagogy. His writings appear in scholarly journals such as Theory and Practice, The Journal of Music Theory Pedagogy, College Music Symposium, The Journal of Music Theory Pedagogy Online, and Tempo, and he is co-author of Music Theory Foundations: an Interactive eBook. His service to the College Music Society is extensive: he has served as Secretary-Treasurer and Board Member in Music Theory for the Southern Chapter and as is the President-Elect of that chapter. He is also highly active in the Association for Technology in Music Instruction, having presented on numerous technologies at the ATMI National Conference over the past decade and he has served as a Program Committee member for the group several times.

AUDIO PERFORMANCE
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DAMON SINK is a faculty member in the Commercial and Electronic Music program at Western Carolina University where he teaches courses in MIDI, synthesis, and recording arts, and directs both the Music Technology Ensemble and the Western Carolina Civic Orchestra. He received his doctorate from the Cincinnati College-Conservatory of Music, where he studied composition with Joel Hoffman, Ricardo Zohn-Muldoon, and Samuel Adler. Two recent compositions, Prelude and Spinnerfall, for flute and piano, and American Etchings, for alto saxophone and string quartet have been performed on recent CMS programs in Sydney and San Antonio.

In addition to his creative work as a composer, Sink has worked in other areas of media production, advertising, video, and film. Before joining the faculty at Western Carolina University, he served as a full-time member on the faculties of Xavier University and the University of Dayton and founded dalSegno Media, an audio/visual production company. Other academic pursuits have included topics in the history of music theory as well as the development of rich media modes of analytical presentation.

Sink maintains a busy schedule as recording engineer and producer including past and ongoing projects with Ballaton Brass, Rick Sowash, Terry King, Philip Amalong, the Smoky Mountain Brass Quintet and the American Trombone Quartet. He is also active member of the Association for Technology in Music Instruction (ATMI) which meets jointly with CMS each year.

Editorial Board: Audio Performance

Scott Belck
University of Cincinnati
College-Conservatory of Music

Don Bowyer
Sunway University, Malaysia

Jason Hoogerhyde
Southwestern University

Andrea Waters
University of Dayton

Keith Mason
Belmont University

MUSIC BUSINESS-INDUSTRY
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V.J. MANZO (PhD Temple University, M.M. New York University) is Associate Professor of Music Technology and Cognition at Worcester Polytechnic Institute (WPI). He is a composer and guitarist with research interests in theory and composition, artificial intelligence, interactive music systems, music cognition, and electric guitar performance. At WPI, he is the co-director of the Media Arts Group Innovation Center (MAGIC), and directs labs related to interactive music system development and electronic device manufacturing. Manzo is author of several books published by Oxford University Press including Max/MSP/Jitter for Music, Foundations of Music Technology, and co-author of Interactive Composition and Environmental Sound Artists. He has created numerous software projects including the Modal Object Library, a collection of programming objects to control harmony in algorithmic and electro-acoustic compositions, and EAMIR, an open-source project and 501c3 non-profit charity organization that supports composition, performance, education, and research through accessible technology-based musical instruments. He is the founder of Clear Blue Media, a boutique production company that develops and distributes multimedia, music, and interactive software applications including music-oriented games, educational systems, and performance software for interactive music. He is also the co-founder of Fuse, an electronic and pro-audio hardware manufacturer. www.vjmanzo.com

Editorial Board: Music Business-Industry

Scott Barton
Worcester Polytechnic Institute

Frederick Bianchi
Worcester Polytechnic Institute

Don Bowyer
Arkansas State University

Frank Clark
Georgia Tech University

Socrates Garcia
University of Northern Colorado

Sanford Hinderlie
Loyola University

Leon Janikian
Northeastern University

Catherine Radbill
New York University

Rick Schmunk
University of Southern California

Kim Wangler
Appalachian State University

PERFORMANCES, LECTURES, LECTURE-RECITALS
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ANNA HERSEY, a soprano hailed by critics as a “force of nature,” enjoys performing a wide range of vocal repertoire. A native of Minnesota, she has performed throughout the United States and Europe, appearing with Palm Beach Opera, Florida Chamber Orchestra, Hispanic-American Lyric Theater, Skylark Opera, the Minnesota Opera, and Theatre de la Jeune Lune (at Berkeley Repertory Theater), among others. She is presently Assistant Professor of Voice, University of Wisconsin, Oshkosh, and the editor-in-chief of VOICEPrints, the peer-reviewed journal of the New York Singing Teachers Association. She has taught at a myriad of institutions including Iowa State University, Barry University, Broward College, University of Miami, and Eastern New Mexico University.

Hersey earned her doctorate at the University of Miami where she was a Smathers Fellow. She holds master’s degrees in performance and musicology from the University of Minnesota and pursued advanced studies at the Accademia Musicale Chigiana in Siena, Italy. As an expert on Scandinavian vocal literature and diction, Hersey was a Fulbright Scholar at the Kungliga Musikhögskolan (Royal College of Music) in Stockholm, where she collaborated with pianist Matti Hirvonen. She also conducted research at Det Kongelige Danske Musikkonservatorium (Royal Danish Academy of Music) and Københavns Universitet (University of Copenhagen), with support from a post-doctoral fellowship of the American Scandinavian Foundation.

Hersey’s articles have been published in the Journal of Singing, VOICEPrints, and The Opera Journal, and her translations and transcriptions have been published by Carnegie Hall. Her first book, Scandinavian Song: A Guide to Swedish, Norwegian, and Danish Diction and Repertoire was released in 2016. Recent performances have been sponsored by Finlandia Foundation, American Scandinavian Foundation, Sons of Norway, The Lief Eriksson International Festival, and The Grieg Society. http://annahersey.com

Editorial Board: Performances, Lectures, Lecture Recitals

Robin Giebelhausen
University of New Mexico

Pete Smucker
Stetson University

Emily McManus
St. Mary’s College

John Nix
The University of Texas at San Antonio

Gregory Oakes
Iowa State University

Jeff Brown
Western Illinois University