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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James 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 Musicologica, Hungarian Quarterly, Music 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 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.
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 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.
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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Vanessa Davis, DMA, is an active clarinetist, teacher, and writer. She regularly performs with the Lone Star Wind Orchestra, Toccare Winds, and Mesquite Symphony Orchestra while also freelancing in and around Texas, USA. She has performed at Carnegie Hall, the Meyerson Symphony Center, and Symphony Hall in Boston. Prior to current appointments, she performed with the Orchestra of the Southern Finger Lakes, the Boston Civic Symphony, Cambridge Symphony, Mercury Orchestra, and the Metropolitan Wind Symphony of Boston as well as other groups around the Boston, Finger Lakes, and Dallas Fort-Worth areas. An avid proponent of new music, Davis has commissioned and performed numerous works for clarinet. She is a Buffet Crampon USA Performing Artist.
Committed to teaching, Davis offers masterclasses throughout the United States and abroad. She currently serves on the faculty of Stephen F. Austin State University, Lubbock Christian University, and Laredo College, and also maintains a full clarinet studio in the Dallas-Fort Worth Metroplex. As a writer, she has contributed to The Instrumentalist, NACWPI Journal, the journal of the International Clarinet Association The Clarinet, and the College Music Symposium.
Davis graduated from the University of North Texas with a Doctor of Musical Arts degree. Her dissertation, “A Concept-Based Pedagogy Approach to Selected Unaccompanied Clarinet Repertoire” won the prestigious Toulouse Dissertation Award in Fine Arts. Her primary teachers include Kimberly Cole Luevano (University of North Texas), Richard MacDowell (University of Texas - Austin Butler School of Music), and David Seiler (University of New Hampshire). She undertook additional studies with Richard Faria and Elizabeth Gunlogson. www.vanessadavisclarinet.com
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.
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
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
Andrew Adams, Western Carolina University
Sabrina Rashelle, West Chester University
Radio Cremata, Ithaca College
Josef Hanson, University of Massachusetts-Boston
Michael Laymon, Harold Washington College
Elizabeth Robinson, Missouri Southern State University
Vicki Seldon, Prairie View A&M University
Olivia Tucker (Student Representative), University of North Texas
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
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
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