GENERAL EDITOR
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urkevich lisa 2Lisa Urkevich, PhD is Professor of Musicology/Ethnomusicology and former founding Division Head (Dean) of Arts and Humanities and founding Chair of the Department of Music and Drama at the American University of Kuwait (AUK). She also regularly serves as an advisor for a myriad of international government and private sector initiatives in the performing arts and education. She specializes in the music of the Arabian Peninsula as well as Renaissance music and is the author of several publications, including Music and Traditions of the Arabian Peninsula (Routledge 2015), and “Anne Boleyn’s French Motet Book: A Childhood Gift” (Paris-Sorbonne 2011). Before joining AUK, she was a fulltime professor 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 at several institutions including Bucknell University and the University of Maryland. She is a former editor of the International CPE Bach Edition and for seven years was the Film/Video Reviews Editor of the Yearbook for Traditional Music (UNESCO). She is recipient of the Alumna of the Year Award at the University of Maryland and is 2015 Harvard University Fellow. She holds four degrees: PhD University of Maryland; MM Florida State University; BS Towson University; BA University of Maryland Baltimore County. www.urkevich.com

SCHOLARSHIP AND RESEARCH
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James GrymesJames A. Grymes is the author of Violins of Hope: Violins of the Holocaust—Instruments of Hope and Liberation in Mankind's Darkest Hour (Harper Perennial, 2014), which won a National Jewish Book Award. He is also the author of Ernst von Dohnányi: A Bio-Bibliography (Greenwood Press, 2001), as well as the editor of both Ernst von Dohnányi: A Song of Life (Indiana University Press, 2002) and Perspectives on Ernst von Dohnányi (Scarecrow Press, 2005). His research has appeared in scholarly journals such as Acta MusicologicaHungarian QuarterlyMusic Library Association Notes, and Studia Musicologica

Grymes is Professor of Musicology at the University of North Carolina at Charlotte, where he is an affiliate faculty member in the Holocaust, Genocide, & Human Rights Studies program and a member of the Honors Faculty. A recipient of teaching awards from the American Musicological Society and the University of North Carolina Board of Governors, his writings on the pedagogy of music history and appreciation have appeared in Pop-Culture Pedagogy in the Music Classroom (Scarecrow Press, 2011) and the Journal of Music History Pedagogy.

Grymes holds a baccalaureate degree in Music Education from Virginia Commonwealth University. He also holds a master's degree in Music Performance, a master's degree in Musicology, a Certificate in Early Music, and a Ph.D. in Musicology from The Florida State University, which has awarded him with a Faculty Citation for Distinguished Achievement in Scholarly Research in Music.

FORUMS
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Josef JansonJOSEF HANSON, Ph.D., is Assistant Professor and Coordinator of Music Education in the Rudi E. Scheidt School of Music at the University of Memphis, where he oversees bachelor's, master's, and doctoral programs in music education. As a teacher and scholar, he seeks unique ways to illuminate intersections between his two disciplinary passions, music education and arts entrepreneurship. Hanson teaches courses in instrumental music, research methods, and facilitates the School of Music’s unique seminar for first-year students. He also prepares new music faculty.  In demand as a presenter and clinician, he is a frequent contributor at a wide range of conferences nationally and internationally.  

Previously, Hanson taught music in Maryland public schools and spent 17 years at the University of Rochester and University of Massachusetts Boston in various faculty, administrative, and advisory roles. From 2016-2020, he served as President of the Society for Arts Entrepreneurship Education, and he continues to serve as an editorial board member and reviewer for various scholarly journals, including as Managing Editor of the Journal of Arts Entrepreneurship Education and editorial board member for Music Educators Journal and Contributions to Music Education. Dr. Hanson has led ensembles in performance at the Kennedy Center and Rock 'n' Roll Hall of Fame, and his writing has been featured in a variety of leading periodicals including the Journal of Research in Music Education, International Journal of Music EducationArtivate: A Journal of Entrepreneurship in the Arts, and Journal of Arts Management, Law, and Society. In 2021, he received the Rudi E. Scheidt School of Music’s Faculty Exceptional Teaching Award in recognition of his work with students. 
 
Hanson is a graduate of Towson University (BS), and the Eastman School of Music/University of Rochester (MA; PhD), where he received the Donald J. Shetler Prize for Excellence in Music Education, Eastman’s highest honor for music educators. https://www.memphis.edu/music/bios/hanson-j.php

 

BOOK REVIEWS
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sholes jacquelynJacquelyn Sholes (Ph.D., M.F.A., musicology, Brandeis University; B.A. summa cum laude, music and mathematics, Wellesley College) is Visiting Assistant Professor of Music at the University of Rochester. She previously held visiting faculty appointments at Boston University, 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, 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. Dr. Sholes 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. https://www.jacquelynsholes.com

 

TECHNOLOGY AND ONLINE RESOURCES
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mcconville brendanBRENDAN 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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Richard Miller

Richard Miller (Ph.D. Ethnomusicology, University of Wisconsin-Madison) is Assistant Professor of Ethnomusicology at the School of Music, University of Nevada, Las Vegas. He received formal training as an undergraduate student in Japanese and Korean history under John W. Dower and in Vietnamese and Indonesian history under John R.W. Smail, and graduate training in Ethnomusicology and Anthropology under Lois A. Anderson and Emiko Ohnuki-Tierney, with a thesis on the 20th century Japanese colonization of Korea, the development of 14th century Korean court music, and the introduction of western-style music, musicology, and music education in late 19th century Japan. He conducted several years of fieldwork in the U.S., Indonesia, and Japan, where he was a doctoral fellow at the National Ethnology Museum in Osaka, then spent a decade as Associate Director of the Center for East Asian Studies at the University of Wisconsin-Madison before coming to Las Vegas.

Miller has been pursuing two lines of research, one focusing on historical ethnomusicology and the other on teacher education (including music teacher education). He has an omnivorous appetite for music, with a special interest in Asian and African contemporary music, whether classed as “folk,” “popular,” or “classical.” As a result, his music research concerns processes of international exchange in historic context, and emphasizes the links between the creation and performance of music, and the creation and performance of identity, and has resulted in articles and reviews in journals such as Asian Music, Ethnomusicology, and Music Theory Spectrum. His most recent projects include interdisciplinary work on surrealism in 20th century composition in relation to anticolonial movements in Latin America and the long history of colorism in Japanese popular culture. Miller’s interdisciplinary teacher education research emphasizes the intersection of racism and capitalism in the preparation of music and regular K-12 teachers, and has appeared in journals such as Education and Urban Society, Review of Research in Education, and Educational Review. He is currently working on the history of the exclusion of the arts from standardized curriculum in relation to the commercialization of public education from Dewey through the current anti-Critical Race Theory moral panic in the United States. https://www.unlv.edu/people/richard-miller

 

 

MUSIC BUSINESS-INDUSTRY
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Aaron Hynds

Aaron Hynds, DMA, Bowling Green State University, is a Kentucky-based audio engineer, low brass performer, and composer. He is currently Lecturer of Music Business and New Media at the University of Kentucky, teaching courses in audio recording and the music industry. He also directs the RocKats rock ensemble. His creative practice as both performer and composer focuses on the intersection of digital and analog domains, with a particular emphasis on the use of his primary instrument, the tuba. He has performed widely throughout the United States, with many recent performances consisting exclusively of newly-written compositions for the tuba and bass trombone. And as a composer, his compositions have been performed in a number of venues around the country, including the 2022 Great Lakes Regional College Music Society Conference and the 2022 Great Plains Regional Tuba-Euphonium Conference. Upcoming projects include the performance and engineering of a double-CD of commissioned works for the tuba entitled Colossus: New Works for Solo Tuba, and the publication of a new textbook on audio engineering (Taylor & Francis). For more information: aaronhynds.weebly.com

 

PERFORMANCES, LECTURES, LECTURE-RECITALS
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hersey annaANNA 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 MEMBERS

Scholarship and Research

Clifton Boyd (2022-2025)
New York University

Alfredo Colman (2021-2024)
Baylor University

James Day (2020-2023)
Gettysburg College

Philip Ewell (2022-2025)
Hunter College

Maxine Fawcett-Yeske (2021-2024)
United States Air Force Academy

Robert Gardner (2021-2024)
Pennsylvania State University

Kunio Hara (2022-2025)
University of South Carolina

Kelly Hollingsworth (2020-2023)
Baylor University

James Lyon (2020-2023)
Pennsylvania State University

Anabel Maler (2022-2025)
University of Iowa

Imani Mosley (2022-2025)
University of Florida

Carlos Xavier Rodriguez (2020-2023)
University of Michigan

Ciro Scotto (2020-2023)
Ohio University

Shayna Stahl (2022-2025)
University of Kentucky

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

Forums

Andrew Adams, Performance
Western Carolina University

Sabrina Rashelle Clarke, Career Development
West Chester University

Radio Cremata, Music Technology
Ithaca College

Michael Laymon, Composition
Harold Washington College

Performances, Lectures, Lecture-Recitals, Training

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

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