GENERAL EDITOR
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Lisa 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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Vincent P. Benitez is Professor of Music Theory in the School of Music at the Pennsylvania State University where he teaches undergraduate and graduate courses in music theory and analysis. He holds a PhD in music theory from Indiana University, and the DMA degree in organ performance from Arizona State University. Benitez also holds a master’s degree in music theory and composition from Arizona State University, and bachelor’s and master’s degrees in organ performance from the University of North Texas.

As a music theorist, Benitez specializes in the music of Olivier Messiaen. He is the author of Olivier Messiaen’s Opera, Saint François d'Assise (Indiana University Press, 2019). He is also the author of Olivier Messiaen: A Research and Information Guide (Routledge, 2018), widely acknowledged as the standard bibliographic resource on the composer. Benitez has likewise published articles on Messiaen in Music Analysis, Messiaen the Theologian (Ashgate, 2010), the Dutch Journal of Music Theory, the Journal of Musicological Research, the fourth volume of the Poznan Studies on Opera (Theories of Opera), Music Theory Online, and the College Music Symposium.

Additional research interests for Benitez include the analysis of seventeenth- and eighteenth-century music, the history of music theory, and popular music. He is the author of The Words and Music of Paul McCartney: The Solo Years (Praeger, 2010). His interest in the music of the Beatles has resulted in a popular online Gen Ed course that he wrote for non-music majors at Penn State centering on the Fab Four’s music (MUSIC 109: The Music of the Beatles).

https://music.psu.edu/faculty/vincent-benitez

http://www.vincentbenitez.com/

 

Editorial Board: Scholarship and Research

Michael Baker
University of Kentucky

Bethany Collier
Bucknell University

Alfredo Colman
Baylor University

James Day
Gettysburg College

Maxine Fawcett-Yeske
United States Air Force Academy

Mark Ferraguto
The Pennsylvania State University

Robert Gardner
The Pennsylvania State University

Laura Gayle Green
Florida State University

Cynthia Gonzales
Texas State University

Melissa Hoag
Oakland University

Kelly Hollingsworth
Baylor University

Eric Lai
Baylor University

James Lyon
The Pennsylvania State University

Joshua Millard
University of Massachusetts, Lowell

Mark Richardson
East Carolina University

Carlos Xavier Rodriguez
University of Michigan

Ciro Scotto
Ohio University

Douglas Shadle
Vanderbilt University

Rex Woods
University of Arizona

 

FORUMS
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STAN PELKEY is Director of the School of Music at the University of Kentucky, where he has enhanced support for faculty research and development, expanded course offerings in music technology and electroacoustic composition, and launched initiatives to foster student innovation and greater diversity and inclusion in concert programming. He completed the M.A. in European History and the M.A. and Ph.D. in Historical Musicology at the University of Rochester / Eastman School of Music and has taught undergraduate and graduate courses in music history, theory, film music, world music, and entrepreneurship. Pelkey was the 2009 recipient of the Ralph Vaughan Williams Fellowship and has received grants from the American Handel Society and London Handel Institute. He coedited Anxiety Muted: American Film Music in a Suburban Age (Oxford University Press, 2014) and Music and History: Bridging the Disciplines (University of Mississippi Press, 2005), and he has written chapters on Dexter for NEPCA 2017: Proceedings of the Annual Conference of the Northeast Popular Culture Association (Cambridge Scholars Publishing, 2019), Doctor Who: “The Gunfighters” for Relocating the Sounds of the Western (Routledge, 2018), and Firefly for Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon (Scarecrow Press, 2010), as well as entries for Movies in American History: An Encyclopedia (ABC-CLIO, 2011). He has also published numerous book reviews in The American Historical Review, Music Reference.

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 (Ph.D., M.F.A., musicology, Brandeis University; B.A. summa cum laude, music and mathematics, Wellesley College) is Assistant Professor of Music History at Central Connecticut State University. 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.

 

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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Richard Masters is a soloist, opera coach, and conductor based in Blacksburg, VA, where he is an Assistant Professor of piano and collaborative piano on the music faculty at Virginia Tech's School of Performing Arts. Significant collaborations include concerts with Grammy-winning baritone Donnie Ray Albert, flutist Valerie Coleman, former Juilliard String Quartet violinist Earl Carlyss, saxophonist Harvey Pittel, and under the baton of Lorin Maazel. Recent performances include recitals at the Isabella Stewart Gardner Museum in Boston, the Schola Cantorum in Paris, Gallery 345 in Toronto, the Richard M. Nixon Presidential Library, the Percy Grainger Home and Museum in White Plains, and the San Francisco Conservatory. He has written on a variety of topics for publications including The Record Collector, Association for Recorded Sound Collections Journal, American Music Teacher, Stage Directors and Choreographers Journal, and Opera Journal. Conference presentations include appearances at the Music Teachers National Association National Conference, the College Music Society National Conference, Southeastern Theatre Conference, Virginia Music Teachers Association Conference, and the Kansas Music Teachers Association Conference. Dr. Masters is a Yamaha Artist. For more information, please visit www.richard-masters.com.

Editorial Board: Audio Performance

Benton Hess
Emeritus, Eastman School of Music

Kiyoshi Tamagawa
Southwestern University

Quinn Ankrum
Cincinnati Conservatory of Music

Kyle Hutchins
Virginia Tech

Joel Love
Houston Community College

 

MUSIC BUSINESS-INDUSTRY
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J. RUSH HICKS, J.D., is Chair of the Music Business Program of the Curb College of Entertainment and Music Business at Belmont University in Nashville, Tennessee. Prior to becoming a Belmont faculty member, Dr. Hicks was a practicing Music Row entertainment attorney for more than twenty-five years. He received a music degree in theory/composition from the University of Mississippi in 1978 as well as a J.D. degree from Mercer University in 1981. Dr. Hicks teaches copyright and entertainment law and artist management at both the undergraduate and graduate levels. Along with Dwayne O’Brien, a member of the band Little Texas, Dr. Hicks co-wrote the textbook Artist Management: The Relationship That Defines or Denies Success (Kendall Hunt, 2019).

As an entertainment attorney, Dr. Hicks has represented artists, songwriters, record and publishing companies and artist managers. He has been legal counsel for the Church Music Publishers Association for more than thirty years and previously was a Board member and Vice-President of the Music and Entertainment Industry Educators Association (MEIEA). He is a member of ASCAP, U.S. Copyright Society, Copyright Society of the South, Tennessee Bar Association, Country Music Association, National Academy of Recording Arts & Sciences (Grammy), and MEIEA. He is on the Policy Committee of the Copyright Alliance in Washington, D.C. and has lectured and presented at a number of music business conferences and workshops throughout the United States. He co-authored a refereed article titled “Empirical Investigations of Patterns in Sophomore Album Release” in the MEIEA Journal as well as an article entitled “Defending Prop Me Up in the Jukebox If I Die” (2015) in the International Country Music Journal.

 

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