STEPHEN ARTHUR ALLEN

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1 STEPHEN ARTHUR ALLEN GILLIAN ANDERSON is an orchestral conductor and musicologist. Her performances in Europe and North and South America have been described as "triumphant" (The Washington Post), "extraordinary" (Edward Rothstein, The New York Times) and "an enormously involving experience" (Tom Di Nardo, Piladelphia Daily News). Her most recent performance of Robin Hood (Fairbanks, 1922) was with the San Diego Symphony and Les Deux Timides (Clair, 1929) with the NYU Chamber Orchestra at the Tribeca Film Festival. Her reconstruction and performance of Nosferatu (Murnau, 1921) with the Brandenburg Philharmonic is available on BMG Classics. A videotape and CD of her reconstruction and performance of Carmen (DeMille, 1915) with the London Philharmonic are available from Video Artists International. DVDs of her reconstruction and performance of the original accompaniment for Haexan (Christiansen, 1922) and her new accompaniment for Pandora's Box (Pabst, 1929) are available from Criterion films.! With painter Lidia Bagnoli she has made a short film Inganni which was commissioned by and shown at the National gallery of Art in Washington, DC in conjunction with an exhibit on Trompe L'oeil. On 24 June 08 she will conduct the world premiere of the reconstructed Haexan at the neogothic Villa Rusconi in Mezzolara, Italy. She has been featured on a number of television programs, most notably "CBS Sunday Morning" and "All Things Considered Weekend." With Ronald Sadoff she recently has founded the journal, Music and the Moving Image, published by the University of Illinois Press. For more information go to: JEREMY BARHAM studied at the Universities of Durham and Surrey, gaining his PhD with a thesis on Mahler s Third Symphony. He is Lecturer in Music at the University of Surrey, and in addition to Mahler his research interests include music and the moving image, jazz, and 19thand 20th-century interdisciplinary and contextual studies such as music and philosophy, music and literature, critical and cultural theory and theories of musical meaning. His publications include a chapter on Mahler s early compositions in The Mahler Companion (OUP, rev. edn, 2002), two edited volumes of Mahler studies, Perspectives on Gustav Mahler (Ashgate, 2005) and The Cambridge Companion to Mahler (CUP, 2007), a chapter in Terror Tracks (Equinox, 2008) on the music in Kubrick s The Shining, and an article on science fiction film music, Scoring Incredible Futures (The Musical Quarterly, forthcoming). He is also managing editor of the monograph series Studies in Recorded Jazz (OUP) scheduled to begin publication in GIORGIO BIANCOROSSO MICHAEL BAUMGARTNER received his Master's degree in musicology and film studies from the University of Zurich and his Ph.D. in musicology from the University of Salzburg with a dissertation on Kurt Weill, Thea Musgrave and Othmar Schoeck. He was a Visiting Fellow at Harvard University from 2001 to From 1990 to 2006 he was the senior editor with the largest musicological research project in Switzerland, the edition of the complete works of the Swiss composer Othmar Schoeck. Since 2006, he is a Killam postdoctoral research fellow at the University of British Columbia, where he is writing a book about Jean-Luc Godard's use of sound in his films. DAN BLIM recently finished his third year at the University of Michigan, where his interests include musical theatre, film music, and connections between music and the visual arts. He is pursuing a PhD in Musicology and a graduate certificate in the Screen Arts and Cultures program. His dissertation will examine the use of musical collage as a method of expressing American identity. A graduate of Swarthmore College, he holds a BA in Music and Art History. When not in

2 the library, Dan can be found pursuing his love of cooking, folk dancing, scrabble, or updating his musicology blog at thoughtlights.blogspot.com. PER F. BROMAN, Associate Professor of Music Theory, Bowling Green State University, studied violin and music theory at Ingesund College of Music, Sweden, music theory at the Royal College of Music in Stockholm, and music theory and musicology at McGill University in Montreal (M.A. Musicology). He received his Ph.D. from the University of Gothenburg. His research interests include twentieth-century analytical techniques, Nordic music, aesthetics, pedagogy of music theory, and film music. He was editor-in-chief of Crosscurrents and Counterpoints: Offerings in Honor of Bengt Hambraeus at 70 (Gothenburg: University of Gothenburg, 1998), and What Kind of Theory Is Music Theory? Epistemological Exercises in Music Theory and Analysis (Stockholm University, 2008), wrote the chapter New Music of Sweden for New Music in the Nordic Countries (Pendragon Press, 2002), and contributed to Woody Allen and Philosophy (Open Court, 2004), and South Park and Philosophy (Blackwell, 2007). ROYAL S. BROWN is internationally known as a scholar and critic. He has published three books, Focus on Godard, Overtones and Undertones: Reading Film Music, and Film Musings: A Selected Anthology from Fanfare Magazine, as well as numerous articles on film and film music. He is a regular contributor to Cineaste magazine and, as a public scholar, has also written for such magazines as High Fidelity, Fanfare, of which he was Music Editor for several years, The Perfect Vision, and The Absolute Sound. A Full Professor at Queens College in the City University of New York, Dr. Brown is former Director of the Film Studies Program at Queens College, and served three years as Deputy Executive Officer of the Ph.D. Program in French at the City University s Graduate Center in Manhattan, where he also teaches in the Film and Music programs. He is currently Chair of the Department of European Languages and Literatures at Queens College. He also teaches film and musical aesthetics part time at the New School in Manhattan. Scholarly articles in several different languages by Professor Brown have appeared in journals and anthologies throughout the world, and he has given invited talks and seminars in such venues as Vienna, Seville, Melbourne, London, and Rio de Janeiro. A French scholar as well, Professor Brown has published in such journals as the Nouvelle Revue Française. In 1989, Professor Brown curated the first complete retrospective of the films of Alain Robbe-Grillet. The subject of numerous radio interviews, Professor Brown has also appeared in two film documentaries, the Oscar-nominated Music for the Movies: Bernard Herrmann, and the German television documentary on David Raksin, Bilder, die Mann hören kann. Original photographs taken by Professor Brown have appeared in various publications. Over the last several years Professor Brown has made a number of radio appearances on such programs as National Public Radio s Performance Today. Professor Brown s most recent articles include the 20-page Sound Music in the Films of Alain Robbe-Grillet, in the anthology Cinesonic: The World of Sound in Film, ed. Philip Brophy (Melbourne: AFTRS, 1999); Ein neue musikalische Form schaffen. Bernard Herrmann und der Hollywood-Filmscore. Trans. Petra Metelko. Film und Musik, ed. Regina Schlagnitweit and Gottfried Schlemmer (Vienna: Synema, 2001), pp ; and Music and/as Cine-Narrative, in A Companion to Narrative Theory (Oxford, UK: Blackwell, 2005), pp In May 2007 he gave the keynote talk, How Not to Think Film Music, in the Music and the Moving Image conference at New York University. That talk is published in the first issue of Music and the Moving Image. He is currently at work on a book entitled Images of Images: Myth, Lacan and Narrative Cinema. PATRICK BURKE is an assistant professor and Director of Undergraduate Studies in the Department of Music at Washington University in St. Louis, where he teaches courses on jazz, popular and "world" musics, and ethnomusicology. He received his Ph.D. in ethnomusicology from the University of Wisconsin-Madison in His first book, Come In and Hear the Truth: Jazz and Race on 52nd Street, is forthcoming in July 2008 from the University of Chicago Press.

3 His next major research project, now in progress, addresses the role of African American musical practices and political movements in the performance and reception of 1960s rock. ANTHONY J. BUSHARD is assistant professor of music history at the University of Nebraska School of Music. Prof. Bushard received a B.A. in music (piano) from St. John's University in Collegeville, Minnesota, as well as a masters and Ph.D. in musicology from the University of Kansas. He is a member of the American Musicological Society, College Music Society, Society for American Music, Pi Kappa Lambda and Phi Kappa Phi honor societies, and a two-time recipient of the Milton Steinhardt Scholarship in musicology at the University of Kansas. Also while at KU, he was a harpsichordist for the KU Collegium Musicum and the Spencer Consort. Dr. Bushard's research interests are in Contemporary American music with a special focus on jazz, blues, and film music. His masters research deals with the jazz and blues club scene in Kansas City during the 1930s. Furthermore, he has published sections of that research in the New Grove Dictionary of Jazz, Second Edition. His dissertation, entitled Fear and Loathing in Hollywood: Representations of Fear, Paranoia, and Individuality vs. Conformity in Selected Film Music of the 1950s, considers the musicodramatic implications of the scores for High Noon (1952), The Day the Earth Stood Still (1951), and On the Waterfront (1954) alongside sociopolitical undercurrents of the 1950s. A sampling of this work is featured in the current issue of the Journal of Film Music and is forthcoming in College Music Symposium. Dr. Bushard has presented his research at CMS and SAM national meetings, as well as regional meetings of the AMS, CMS, film and jazz symposia, and at various lectures throughout the Midwest. Dr. Bushard has taught previously at the University of Kansas and The University of Missouri, Kansas City. At UNL he teaches courses in Jazz History, Film Music, World Music, American Music, and Introduction to Undergraduate Studies in Music. WALTER AARON CLARK is a professor of musicology and the chair of the Music Department at the University of California, Riverside, where he is the founder/director of the Center for Iberian and Latin American Music ( Prof. Clark is the author of several books, including Isaac Albéniz: Portrait of a Romantic (1999/2002) and Enrique Granados: Poet of the Piano (2006), both published by Oxford University Press. The Granados biography won the 2006 Robert M. Stevenson Award. He also edited and contributed to the Routledge volume From Tejano to Tango: Latin American Popular Music (2002). He is the editor of a new series from Oxford entitled Currents in Latin American and Iberian Music. His research has appeared in numerous reference sources, scholarly journals, and edited volumes, on topics as diverse as Albéniz s operas Pepita Jiménez, Henry Clifford, and Merlin, Granados s opera Goyescas, Ralph Vaughan Williams s opera Riders to the Sea, and the Hollywood musicals of Carmen Miranda. In fact, he has a longstanding interest in music and its dramatic contexts. He is currently working on a book about the Spanish zarzuela composer Federico Moreno Torroba. Website URL: LISA CLEVELAND is an assistant professor in the Fine Arts Department at St. Anselm College in Manchester, New Hampshire. She earned her Ph.D. in Music Theory from Northwestern University and teaches courses in music theory, music history, film music, jazz studies, aural skills, and humanities. Dr. Cleveland has presented papers at The College Music Society 2006 National Conference and the 2007 CMS Rocky Mountain and Northeast Regional Conferences in the areas of jazz and film studies. She recently presented a paper on the properties and formal applications of the octatonic pitch collection in comparative works of early 20th century composers at the CMS SuperRegional Conference in April 2008.

4 ANNABEL COHEN REBECCA COYLE has published books, articles and chapters on various aspects of cultural and media production, including film music and sound. Her book Reel Tracks: Australian Film Music and Cultural Identities was published by John Libbey (UK) in 2005 and her anthology of essays about animation film music will be published by Equinox in January next year. She teaches into the media studies program at Southern Cross University, Australia. LEAH CURTIS is a composer for film, theatre and the concert hall. She holds a degree in Music from the University of New South Wales, completed an exchange in composition and conducting at the University of Illinois, and is a graduate of the Australian Film Television and Radio School in Screen Composition. Her first scores were for the Shakespearean productions Much Ado About Nothing and The Tempest, and from these she was named the Young Shakespearean Artist of the Year and sent to England for immersion in Shakespearean Theatre at the Royal Shakespeare Company, and at The Globe in London. Curtis then traveled to Los Angeles where she was accepted into the ASCAP Film Scoring Workshop and began working on US productions in a range of roles in the music department, from music preparation through to the entire composition and production of scores and soundtracks. She was taken under the wings of Hollywood veterans Alf Clausen on The Simpson s Steve Bramson on JAG and Dan Foliart on Seventh Heaven, where she worked through the live scoring process weekly as an intern. Curtis composed and produced the full orchestral score to Australia: Facing the South, a hardcover high-end collection of photographs of Australia with a soundtrack, commissioned by the Australia Council for the Arts. As well as her experience as a composer, Curtis has also been orchestrator on several films, including The Cave (Sony), Sophie Scholl: The Last Days (German film nominated for an Academy Award for Best Foreign Feature) and One Missed Call (WB). She has composed and recorded with many ensembles, including the Sydney and Tasmanian Symphony Orchestras, and the Hollywood and Prague Studio Symphony Orchestras. In 2006 she received the Fulbright Postgraduate Award in conjunction with the MA Hons self directed program at AFTRS while hosted by the University of Southern California in their Scoring for Motion Pictures and Television Department. During this time, she composed a number of film scores, including Grace, Interval (mandarin with subtitles), Disarmed and The Spirit of the Sword (Japan). Accolades include the Reg Waite Award, finalist in the Young Australian of the Year Award, the Dame Joan Sutherland Award (NY), winner of the Sydney Symphony Orchestra Composer Dialogue Competition (Australia), the UCLA BMI Jerry Goldsmith Film Scoring Award, the ASCAP Film Scoring Workshop in Los Angeles, and she is a Queen s Trust recipient. She is currently engaging in international collaborations on a number of productions, sharing her time between Los Angeles USA, Sydney Australia and other locations where projects take her. JAMES DOERING is an Associate Professor of Music at Randolph-Macon College in Ashland Virginia, where he teaches music history, music theory, and organ. He holds a Ph.D. in musicology from Washington University in St. Louis, a M.M. in piano performance from the University of North Carolina-Greensboro, and a B.M. from The College of Wooster. His research interests include film music and the American symphony orchestra. He has presented papers at the annual conferences of the Society for American Music and at various regional chapters of the American Musicological Society. He is also active as a keyboard player, currently serving as organist at Duncan Memorial United Methodist Church. ANNETTE DAVISON

5 JACK CURTIS DUBOWSKY has scored four feature films and worked in the music department at Pixar Animation Studios. He teaches at NYU in the Design, Digital Arts, and Film department of the School of Continuing and Professional Studies. He writes about film, music, and popular culture. He has a MM in Composition from the San Francisco Conservatory of Music JEAN-MICHEL DUMAS After acquiring a professional degree in computer-assisted composition at the Musitechnic Institute (1998), he scored many short films; 3 of those were awarded prizes (Mel Oppenheim, Jean-Fran ßois Bourassa and Kodak prizes). While doing scoring work, he became interested in voice manipulation, algorithmic composition and generative music. These particular interests lead him to study electroacoustic composition at Universit de Montr al ( ), under the direction of Robert Normandeau and Jean Pich, where he refined his skills at musical programming and acousmatic composition. In 2003, he is offered a place as an audio researcher within the TOT Audio Group at the Society for Arts & Technology (SAT). To this day, he still continues to research at the SAT, supervised and directed by Zack Settel, on new digital tools aimed at creation and performance. In 2004, he met author Daniel Danis, and since the work on voice and generative art in general was common grounds for both artists, they went on to create many theater/performance pieces together, and are still collaborating to this day. Now a graduate in electroacoustic composition and currently researching the creation and the use of new interfaces in the composition process, he is heading towards the end of his master Äôs degree in algorithmic/generative composition as he continues to write music for theater and to do research work at the SAT. Since 2007 he is also a technical consultant for the iact labs at the music faculty of the Universit de Montr al. web (mainly in french): REBECCA M. DORAN EATON completed her Ph.D. in Music Theory at the University of Texas at Austin in May Her dissertation, Unheard Minimalisms: The Functions of the Minimalist Technique in Film Scores, examines the use of minimalist music in movies since the 1960s. She holds a M.M. in Composition from the University of Louisville. She has recently been chosen to score her first film, a documentary on Sam Houston. REBECCA FÜLÖP is entering her fourth year of doctoral studies in historical musicology at the University of Michigan and is currently beginning research on her dissertation, tentatively titled?how to Score a Woman: Gender Construction in Hollywood Film Music 1935?1965.? She has contributed to the book review section of *The Journal of Film Music* and has co-authored an essay with Arnie Cox in the forthcoming book *Sounds of the Slayer: Music, Sound, and Silence in Buffy the Vampire Slayer* (Ashgate, fall 2008). Other interests include contemporary Hollywood film music, 20th century music, American music, popular music, Hungarian opera, and Renaissance music and instrumental practice. IAN GARWOOD DANIEL GOLDMARK works on American popular music, film and cartoon music, and the history of the music industry. He received his B.A. in music from the University of California, Riverside; his M.A. and Ph.D. in Musicology come for the University of California, Los Angeles. His dissertation, Happy Harmonies: Music and the Hollywood Animated Cartoon, was completed in the Spring of Goldmark co-edited The Cartoon Music Book (A Cappella, 2001) and Beyond the Soundtrack: Representing Music in Cinema (California, 2007). His monograph, Tunes for 'Toons: Music and the Hollywood Cartoon (California, 2005), received positive reviews in The

6 New Yorker, The Wall Street Journal, Los Angeles Magazine, and The Hollywood Reporter. His current research is on early film music and Tin Pan Alley in the early 1900s. He also is the Series Editor of the Oxford Music/Media Series from Oxford University Press. Goldmark spent several years working in the animation and music industries. He was an archivist and music coordinator at Spümcø Animation in Hollywood. For five years Goldmark was research editor at Rhino Entertainment in Los Angeles, where he produced or co-produced several collections and anthologies. His most recent collections include a two-cd set of the music of Tom & Jerry composer Scott Bradley, and a two-disc anthology entitled Courage: The Complete Atlantic Recordings of Rufus Harley, the world s first and only jazz bagpiper. PATRICIA HALL (Ph.D., music theory, Yale University, 1989; M.A., music theory, Columbia University, 1980; B.A. biological psychology, U.C. Berkeley, 1976) is Associate Professor of Music Theory at the University of California, Santa Barbara, where she has been teaching since Her research interests include 19 th- and 20 th -century theory, the music of Alban Berg, film music, twentieth-century musical sketches, and music and politics. Her book, A View of Berg s Lulu Through the Autograph Sources (University of California Press, 1997), won an ASCAP Deems-Taylor Award. She is the co-editor of A Handbook to Twentieth-Century Musical Sketches (Cambridge University Press, 2004); and author of A View of Berg s Wozzeck Through the Autograph Sources (Oxford University Press, in progress). Her articles and reviews have been published in The Musical Quarterly, 1985); The Berg Companion, ed. Douglas Jarman, Alban Berg, Historical and Analytical Perspectives, ed. David Gable and Robert Morgan, The Cambridge Companion to Berg, ed. Anthony Pople, The Rosaleen Moldenhauer Memorial: Music History from the Primary Sources. A Guide to the Moldenhauer Archives, ed. Jon Newsom and Alfred Mann, Computing in Musicology, A Handbook to Tweniteth-Century Musical Sketches, eds. Patricia Hall and Friedemann Sallis,The Musical Times, and Music Theory Spectrum, and the Journal of Music Theory. She has recently given papers at national conferences of the Society for Music Theory, the American Musicological Society, and Music and the Moving Image. Her research has been supported by grants from the Fulbright Commission and the Paul Sacher Archive. She is currently the editor of Music and Politics, an online journal. DAVID HELVERING teaches music theory at the Lawrence University Conservatory of Music, where he has been a member of the faculty since He received a Bachelor of Music Education degree from Arkansas State University, a Master of Music degree in theory and composition from Sam Houston State University, and a Ph.D. in music theory from the University of Iowa. His dissertation, Functions of Dialogue Underscoring in American Feature Film, examines techniques composers have employed from the early 1930s to the present when accompanying scenes with dialogue. Mr. Helvering is currently researching the use of music in early sound film, including the development of mickey-mousing as a compositional technique as well as the rise of the symphonic film score. RICH HOUSH is a Ph.D. candidate at the University of Kansas in the Department of Theatre & Film. His primary research interests include experimental film, music and new media. Having earned his M.A. at the University of the West of England in Film Studies & European Cinema, transnational flows of artistic production, distribution and reception especially within nonmainstream or alternative screen spaces and contexts (i.e. museums, galleries and arthouses) continue to inform his work. For the second time, Rich is co-teaching Experimental Film & Video with Dr. Edward S. Small, author of Direct Theory: Experimental Film/Video as Major Genre, this coming Fall at the University of Kansas. British structuralist/materialist filmmakers of the 1960s- 70s, more specifically Malcolm Le Grice and his artistic body of work as well as his theoretical writings on media arts are the focus of Rich s dissertation research. ANDREW L. KAYE (Ph.D., Columbia University, 1992) is an ethnomusicologist with research interests in sub-saharan Africa, Brazil, musical preferences, and film music. His history of contemporary African music appears in Musica dell'africa Nera. Civiltà subsahariane fra

7 tradizione e modernità, a book co-authored with Leonardo D Amico (Palermo: L Epos, 2004). Other publications include The film score and the African musical experience in Approaches to African Music (Valladolid, Spain: Universidad de Valladolid Press, 2006; available online at the Revista Transcultural de Musica; and the encyclopedia entry, The guitar in Africa (Garland Encyclopedia of World Music, Volume 1: Africa, New York: Garland, 1998). A longtime collaborator with pioneering folk music specialist Alan Lomax, Kaye co-edited Lomax's "Southern Journey" a series of 13 compact discs, published by Rounder Records. He has taught as a visiting lecturer at the Universidade Federal de Pernambuco (Recife, Brazil), the University of Iceland and the Universidad de Buenos Aires (Facultad de Artes y Letras). Most recently, in May 2008, he presented a colloquium on "Brasil como uma emblema da musica cinematica" ("Brazil as an emblem of film music") at the Instituto de Etnomusicologia, Faculdade de Ciências Sociais e Humanas at the Universidade Nova de Lisboa (Portugal). He currently teaches courses in music, cinema and culture as part of the Africana Studies faculty at Lehigh University and for the Film Studies program and Music department at Muhlenberg College. In addition to his scholarly interests, Andrew is an aficionado of the tango, and dances regularly at Manhattan milongas. ERICA KUDISCH graduated cum laude from Vassar in May 2006 and recently received her M.A. from the University of Pittsburgh. A coloratura soprano and composer, Kudisch's academic interests center on the relationships between opera and new media, especially video games. She is a principal with Undercroft Opera and a founding member of Alia Musica Pittsburgh. Works of note include Pygmalion (one-act opera), Three Poems by Cao Cao, The Destroyers (String Quartet no. 2 for actors, winner of the Jean Slater Edson prize), and Heroes and Villains (voice and guitar song cycle). DANIJELA KULEZIC-WILSON obtained her BA in musicology at the University of Belgrade and her PhD at the University of Ulster, UK. She lectures on documentary film at the National University of Ireland Maynooth and gives seminars on film sound and music at universities across Ireland. Danijela s research focuses on approaches to film that emphasize and utilize film s inherent musicality. Her publications include essays on film rhythm, P.T. Anderson s Magnolia, Prokofiev s music for Eisenstein s films, Darren Aronofsky s Pi, Jim Jarmusch s Dead Man and a forthcoming comparative study of musical and film time. While living in Belgrade, she was a member of the editorial board of the journal Musical Wave. She also worked as a music advisor/supervisor on documentaries, short films and television. RACHEL LEWIS is currently working towards the completion of a PhD dissertation in Musicology with a graduate minor concentration in Feminist, Gender, and Sexuality Studies at Cornell University. Her dissertation, Bordering on Desire: Towards a Transnational Lesbian Cinema, explores the relationship between music, lesbian desire, and the experience of migration in contemporary European and U.S. independent film and documentary. Rachel s other research interests cover a wide range of topics in feminist and lesbian musicology, from constructions of gender in seventeenth-century opera to women in the music video, and lesbian and gay historiography. She has published an article on Monteverdi s opera L Incoronazione di Poppea in the journal Music & Letters, and has an article on the lesbian composer and feminist suffragette leader, Ethel Smyth, that is forthcoming in the collection Sapphists, Sexologists, and Sexualities: Lesbian Histories II, ed. Mary McAuliffe and Sonja Tiernan (Cambridge Scholars Press, 2008). THOMAS MACFARLANE completed his Ph.D. in Music Composition New York University where he teaches courses in Music Theory and Composition. He also co-teaches The Performing Arts in Western Civilization with the director of the NYU Department of Music and Performing Arts Professions, Dr. Lawrence Ferrara. His dissertation, "The Abbey Road Medley: Extended Forms in Popular Music" focused on the impact of recording technology on the compositional style of the Beatles. He transformed his findings into a book published by The Scarecrow Press in November

8 ROGER MOSELEY NANCY NEWMAN (Ph.D., Brown University) is an Assistant Professor of Music at SUNY Albany. Her essay on the musical, The 5000 Fingers of Dr. T is forthcoming in Lowering the Boom: Critical Studies in Film Sound (University of Illinois Press). Her dissertation on The Germania Musical Society, entitled, "Good Music for a Free People, is being revised for the series, Eastman Studies in Music. Additional work on 19th century music has appeared in the Yearbook of German American Studies, the Institute for Studies in American Music (ISAM) Newsletter, and Women and Music. She is an active performer of electro acoustic music for piano and other keyboards, and recently premiered several works for toy piano. EFTYCHIA PAPANIKOLAOU is Assistant Professor of Musicology at Bowling Green State University. She holds a B.A. in English Philology and Literature from the University of Athens, Greece, Music Theory Degrees from the National Conservatory of Athens, and Master s and Ph.D. degrees in Historical Musicology from Boston University. Her principal research focuses on the interconnections of music, religion, and politics in the long nineteenth century, with emphasis on the sacred as a musical topos. Other research interests include music and film, and dance studies. Most recent publications include: Of Duduks and Dylan: Negotiating Music and the Aural Space, an essay included in an interdisciplinary collection titled Cylons in America: Critical Studies in Battlestar Galactica (2007), which was recently recognized as the Best Edited Collection in Popular and American Culture by the Popular Culture Association/American Culture Association; and her essay The Art of the Ballets Russes Captured: Reconstructed Ballet Performances on Video was published in the March 2008 issue of the Music Library Association s Notes. She is currently writing a monograph on the genre of the Romantic symphonic Mass. NATHAN PLATTE is a doctoral candidate in musicology at the University of Michigan. He has presented papers at conferences for the Society for American Music, the Society for Cinema and Media Studies, AMS Midwest, and MaMI. His dissertation examines the dynamics of creative collaboration between Hollywood producer David O. Selznick and film composers Miklós Rózsa, Dimitri Tiomkin, and Franz Waxman. Outside of musicology, Nathan enjoys playing bass trombone loudly and reading Dr. Seuss to his two-year-old son. ALAN HOUTCHENS has been a member of the music faculty in the Department of Performance Studies at Texas A&M University since He holds degrees in musicology and French horn performance from the University of Colorado, the University of Wyoming, and the University of California, Santa Barbara. He maintains a broadly interdisciplinary perspective in both his teaching and research activities. Interdisciplinary courses he teaches include Music in Early Western Culture, Music in Modern Western Culture, and Music Among the Arts. Dr. Houtchens is an authority on the life and times of Antonín Dvořák, and focuses his research and publishing endeavors on topics concerned with Czech culture. Articles by him have appeared in Notes, The Opera Journal, Czech Music, The Journal of Musicology, The Choral Journal and in several books, including Dvořák in America, , Dvořák-Studien, Rethinking Dvořák: Views from Five Countries, The Orchestra: Origins and Transformations, The Reader s Guide to Music, and Europe 1789 to 1914: Scribner Encyclopedia of the Age of Industry and Empire. Currently he is engaged as chief editor of Dvořák s opera Vanda, which will be one of the first volumes to be published by Bärenreiter as part of the New Critical Edition of the Works of Antonín Dvořák. ADAM MELVIN

9 DENICE MCMAHON is a PhD student at the Faculty of Music, University of Cambridge (UK). She completed a Bachelors Degree in Music and and an interdisciplinary Masters Degrees in Film at University College Cork (Ireland) and began her current research at Cambridge in October Funded by the National University of Ireland and the AHRC, her doctoral research is focused on the music and composers of post-war modernist French film. CHARLES MUELLER holds an MA in music history from Portland State University and is a recent PhD in historical musicology from Florida State University. His primary areas of specialization are popular music during the 1980s, music and subculture social theory, and postmodernism and popular music. Secondary areas of scholarly interest include popular music and organology, Marxist criticism, and baroque lute and guitar music. Charles Mueller has presented papers at Indiana University's Extreme Musicology and Folklore conference, The Midwest Graduate Consortium, and the International Association for the Fantastic in the Arts International conference. His writings on the music and poetry of World War I appear in Cambridge University's Ivor Gurney Society Journal. Charles Mueller has received Florida State University's Malcolm Brown Award and a fellowship from The Presser Foundation. He has played electric guitars and early plucked strings for over twenty-five years and is currently working with famed Florida blues singer Charles Atkins. BRANDON SCOTT MURPHY DAVID NEUMEYER is Leslie Waggener Professor in the College of Fine Arts and Professor of Music in the Sarah and Ernest Butler School of Music, The University of Texas at Austin. He taught formerly at Indiana University, Bloomington. Research interests include linear analysis methods for traditional tonal music, history and analysis of film and film music, and, starting recently, the history of music in social dance. He is one of the co-editors of Music in Cinema (Wesleyan, 2000), and, with James Buhler and Robert Deemer, he has written Hearing the Movies: Music and Sound in Film History, an undergraduate textbook, now in production at Oxford University Press and scheduled to be published in spring Website: HOLLEY REPLOGLE-WONG is a doctoral candidate at UCLA, writing a dissertation on operetta, the megamusical, and American middlebrow culture. Her other interests include film music, video game music, classical crossover, cultural hierarchies, and issues of nationalism. Her paper "Coming-Of-Age in Wartime: American Propaganda and Patriotic Nationalism in Yankee Doodle Dandy" is now published in Echo: A Music-Centered Journal. Recently, the UCLA Academic Senate recognized Holley's teaching by awarding her the Distinguished Teaching Assistant Award. Holley sings with the Angeles Chorale, the Voices of Christmas, and other ensembles, and enjoys playing show tunes and other middlebrow repertory on the piano. STEPHEN RODGERS is an Assistant Professor of Music Theory and Musicianship at the University of Oregon. A specialist in the music of Hector Berlioz, he recently completed a monograph on the composers' programmatic works, Form, Program, and Metaphor in the Music of Hector Berlioz, soon to be published by Cambridge University Press. A related essay on the first movement of the Symphonie fantastique appeared in the collection Sounding Off: Theorizing Disability in Music (Routledge, 2006), edited by Joseph Straus and Neil Lerner. Rodgers s work on Berlioz grows out of a longstanding concern for the connections between music and other forms of expression. His scholarly publications and presentations have dealt with Roland Barthes s writings on the music of Schumann and comedy in Shostakovich s opera The Nose and the Nikolai Gogol story upon which it is based. He has also written many articles for Chamber

10 Music magazine on such topics as classical music and Gen X, barbershop harmony, and young composers in New York City. DENNIS ROTHERMEL is Professor and Chair, Department of Philosophy, California State University, Chico. His areas of specialization include Aesthetics of Cinema and Kant and Nineteenth-Century German Philosophy. His current research interests lie in the intersection of philosophy and cinema. His essay on Jane Campion s The Piano, Ang Lee s Crouching Tiger, Hidden Dragon, Roman Polanski s The Pianist, and Zhang Yimou s Hero appeared in 2007 in the Quarterly Review of Film and Video. His essay on Mystic River appeared in an anthology on the films of Clint Eastwood published by University of Utah Press in A complete curriculum vitae is available at: COLIN ROUST currently teaches at the Oberlin College Conservatory of Music. He received a BMus in music history and euphonium performance from the University of Missouri. He completed his graduate work at the University of Michigan, where he wrote a dissertation entitled "Sounding French: The Film Music and Criticism of Georges Auric, " His current projects include articles on the relationships of Auric's personal politics to his music, music and the French Resistance during World War II, and a monograph on Auric's film career. ROBERT ROWE RON SADOFF JEFF SMITH is a Professor in the Department of Communication Arts at the University of Wisconsin-Madison and the author of The Sounds of Commerce: Marketing Popular Film Music (Columbia University Press, 1998). His scholarship on film music has appeared in several edited anthologies, including Post-Theory: Reconstructing Film Studies (1996), edited by David Bordwell and Noël Carroll; Passionate Views: Film, Cognition, and Emotion (1999), edited by Carl Plantinga and Greg M. Smith; Music and Cinema (2000), edited by James Buhler, Caryl Flinn, and David Neumeyer; and Soundtrack Available: Essays on Film and Popular Music (2002), edited by Arthur Knight and Pamela Robertson Wojcik. He is currently at work on How Reds Were Read: Film Criticism and the Hollywood Blacklist, a metacritical study that traces the development of particular interpretive practices shaped by the institutional contexts associated with the fifties Red scare. KATHERINE SPRING is Assistant Professor of Film Studies at Wilfrid Laurier University (Waterloo, Canada). Having recently earned her PhD from the University of Wisconsin-Madison, she is working on a book-length study of songs and music in early sound cinema. Her recent essay on the subject earned a prize from the Society for Cinema and Media Studies and will be published in CINEMA JOURNAL. Her other research interests include early American film history and Hong Kong cinema. She also enjoys hiking with her Rottweiler and rocking out with an electric guitar. BENJAMIN STEEGE is a music theorist and historian who studies the intertwined cultural histories of music, music theory, pedagogy, science and technology in modernity. His interests include the history of listening; material culture of music in the 19th to 21st centuries; music and the culture of experiment; relations between musical and scientific modernisms; ideas of

11 "progress" and of the avant-garde; past and present notions of temporality; historiography. He is currently working on a book exploring the position of 19th-century scientist Hermann von Helmholtz in relation to contemporary discourses of sensation, aurality, attention, and humanism. He has published on the work of Edgard Varèse, and is now writing about how a range of musical modernisms ngaged new forms of technological modernity emerging around Prof. Steege has previously taught at Williams College. He is the recipient of the Alvin H. Johnson AMS 50 Dissertation Fellowship from the American Musicological Society and a grant from the Deutscher Akademischer Austausch Dienst to support research in Berlin. He received his PhD from Harvard University in 2007 and holds the position of Assistant Professor in the Department of Music at Stony Brook University. JOAKIM TILLMAN studied musicology and philosophy at Stockholm University where he presented his doctoral dissertation Ingvar Lidholm och tolvtonstekniken: Analytiska och historiska perspektiv på Ingvar Lidholms musik från 1950-talet (Ingvar Lidholm and the Twelve-Tone Technique: Analytical and Historical Perspectives on Ingvar Lidholm's Music from the 1950s) in He is assistant professor in musicology at Stockholm University, where he teaches courses in musical analyses, twentieth-century music (including film music), and Wagner. He is completing a book about Wagnerian influences in Swedish late romantic opera, and his research is currently focused on narrative perspective in opera and film music. JAMSHED TUREL is currently a doctorate student in Music Theory at McGill University. He has worked as a music editor and studio technician for various film music composers in Montréal, and is currently the music editor and programmer for Campagn Arts Media in Québec. His main research interests include narrative theory, film music, Schenkerian analysis, and temporality in sound. His present research is funded by the Fonds Québécois de la Recherche sur la Société et la Culture. JAMES STEICHEN holds a BA in comparative literature from the University of Virginia and an MA in Humanities from the University of Chicago. His scholarship focuses on classical music performance culture--in particular sacred music, oratorio, and opera--and has been informed by his work in arts management at organizations including the National Symphony Orchestra, John F. Kennedy Center for the Performing Arts, University of Chicago Presents, and Chicago Chorale. He will be entering the PhD program in musicology at Princeton University this fall. ISABELLA VAN ELFEREN is assistant professor of Music and Media at the Department of Media and Cultural Studies of Utrecht University. She is a board member of international research group Global Gothic located at Stirling University, Scotland. Isabella is the author of Mystical Love in the German Baroque: Theology - Poetry - Music (Scarecrow Press 2008) and the editor of Nostalgia or Perversion? Gothic Rewriting from the Eighteenth Century until the Present Day (Cambridge Scholars Publishers 2007). She has published on music, literature and cultural history of the German Baroque as well as on mobile phone ringtones and Gothic subcultures. Her current research focuses on musical transgressions, the uncanny, and hauntology in the Gothic; she is working on a monography on the musical uncanny in David Lynch s Twin Peaks. Isabella organised the international conferences Paragone and Beyond. Past and Present Thinking on the Relationships between the Arts (Utrecht 2002), Nostalgia or Perversion? Gothic Rewriting from the Eighteenth Century until the Present Day (Nijmegen 2005) and Uncanny Media: The Gothic Shadows of Mediation (Utrecht 2008). Website CAROL VERNALLIS is associate professor of Film and Media Studies at Arizona State University. Her research focuses on the relations between sound and image. Her first book, Experiencing Music Video (Columbia University Press), attempts to theorize an aesthetics of the genre, while her second book, The Art and Industry of Music Video, fothcoming with Duke, draws

12 on fieldwork and interviews with music video directors and others in the industry to give an account of the production, post-production and distribution of music videos. Her article on the Eternal Sunshine of the Spotless Mind will appear in Screen this Fall. Her work appears in American Music, The Journal of Popular Music Studies, Journal of the Society for American Music, Popular Music, and Screen, has been anthologized in Medium Cool: Music Videos from Soundies to Cell Phones (Duke) and Critical Essays in Popular Musicology (Ashgate). Her videos have been screened nationally and internationally. JONATHAN WAXMAN is a Ph.D. candidate in Historical Musicology at the NYU Department of Music. He is currently working on a dissertation entitled "The Composer's Voice in the Concert Hall: Program Notes and Musical Meaning in the 20th-Century." PO-WEI WENG (M.A., Ethnomusicology, Wesleyan University; M.A., Musicology, National Taiwan University) is currently a Ph.D. Candidate in Ethnomusicology at Wesleyan University. His musical career began with a ten-year professional training in Peking opera as both musician and actor. He was a Chinese flute major in the college and a winner of several Chinese flute competitions in Taiwan. Since he came to the United States in 2004, he has been an active performer of Chinese flute and Javanese gamelan, and also an instructor of Peking opera percussion. As a scholar, Weng has published articles on Chinese operatic and traditional music in Taiwan. His M.A. thesis, Dynamic Interaction: Significance and Communication in Peking Opera Percussion Music (2006), explores the complex signification system of Peking opera percussion, examining how these musical conventions are contextualized into an active and interactive process of performance-building. Weng has also conducted extensive fieldwork on ritual and folk music of Penghu archipelago in southwestern Taiwan, which has resulted in two co-authored books: The Shao-Fa Ritual Music in the Penghu Archipelago (The Bureau of Culture, Penghu County, 2005) and Nanguan and Bayin Music in the Penghu Archipelago (BCPC, 2004). At the doctoral level, Po-wei Weng expands his research interests onto film/tv music, music and technology, and music, globalization and post-colonialism. His recent research focuses on the soundscapes of Pili budaixi, a techno-mediated, televised puppetry, and the music in Chinese wuxia/kungfu movies. Website: LAUREL WESTRUP is a Ph.D. candidate in the Cinema and Media Studies program at UCLA. Her recent publications include Media s Martyrs? Rock n Roll, Film, and the Political Economy of Death (Summer 2007, Spectator) and Toward a New Canon: The Vietnam Conflict Through Vietnamese Lenses (2006, Film and History). Her dissertation explores the political economy of death in relation to rock music performance in film and television. JAMES WIERZBICKI s current research focuses on questions having to do modernism and the postmodern, twentieth-century music in general, and film music and electronic music in particular. Along with a monograph on the electronic score for the 1956 film Forbidden Planet (Scarecrow Press, 2005), his recent publications include articles in the Journal of the American Musicological Society, Music and the Moving Image, Perspectives of New Music, Beethoven Forum, The Journal of Film Music, Opera Quarterly, the Journal of Popular Film and Television, and Film and Philosophy. In January of 2009 Routledge will publish his Film Music: A History. His in-progress book is a study of the full range of American music in the 1950s, regarded through such societal filters as post-war technology, the Red Scare, race relations, and sexual politics. Between 1974 and 1995 Wierzbicki worked as chief classical music critic for the St. Louis Post- Dispatch and other Midwestern newspapers; during the 1980s and 90s he was also a contributing editor, specializing in contemporary music, for High Fidelity/Musical America magazine and a commentator for National Public Radio s Performance Today program. For his journalistic work he was twice honored with ASCAP s Deems Taylor Award for excellence in writing about music.

13 In addition to teaching in the University of Michigan s musicology department, Wierzbicki serves as executive editor of MUSA (Music of the United States of America), a publishing project run by the American Musicological society and funded by the National Endowment for the Humanities. GREGORY ZINMAN is a doctoral candidate in the Cinema Studies department of New York University, where he is currently writing his dissertation, "Handmade: Cinema in the Artisanal Mode." He reviews DVDs for the Washington Post, films for NYLON, and is the News Editor of Artkrush ( His article, "The Joshua Light Show: Concrete Practices and Ephemeral Effects," will be published this summer in the Smithsonian's journal, American Art. His essay on Walther Ruttmann, Oskar Fischinger, and the birth of abstract cinema will be published in the forthcoming New History of German Cinema (Camden House).