Contributors to this issue Philip Brett, who was recently appointed Professor in the Department of Musicology of the University of California at Los Angeles, specializes in English music, editing and textual criticism, early music performance, and gay and lesbian studies. He is General Editor of The Byrd Edition (20 vols., Stainer and Bell, 1973), for which he personally edited ten volumes. He has written a great deal on the music of Benjamin Britten, including the entry in the recent edition of The New Grove Dictionary of Music and Musicians (2000), for which he also collaborated with Elizabeth Wood on "Gay and Lesbian Music." He is co-editor of Queering the Pitch: The New Gqy and Lesbian Musicology (Routledge, 1994), Cruising the Performative (Indiana University Press, 1995), and Decomposition: Post-Disciplinary Performance (Indiana University Press, 2000). Regula Burckhardt Qureshi teaches ethnomusicology in the Department of Music at the University of Alberta. She is the author of S ufo Music of India and Pakistan: Sound, Context and Meaning in Qawwali (Cambridge University Press, 1986), and the co-editor of Muslim Communities in North America (University of Alberta Press, 1983), Muslim Families in North America (University of Alberta Press, 1991), and Voices of Women: Essqys in Honor of Violet Archer (University of Toronto Press, 1995). She has been a frequent contributor to Ethnomusicology, Asian Music, Canadian University Music Review, the Journal of the American Musicological Society, and American Ethnologist. She has also contributed essays to Comparative Musicology and Anthropology of Music: Essqys 011 the History of Ethnomusicology (University of Chicago Press, 1991) and Canadian Music: Issues of Hegemotry and Identity (Canadian Scholars Press, 1994). She is to contribute to Music and Marx: Ideas, Practice, Politics (Gar-
land/routledge, 2001). Burckhardt Qureshi was elected a Fellow of the Royal Society of Canada in 1996. Lori Burns is Associate Professor and chair of the Department of Music at the University of Ottawa. Her work on Bach has been published in Music Theory Spectrum, the Journal of Music Theory, and in book form (Bach's Modal Chorales, Pendragon, 1995). More recently she has written on popular music subjects, including articles in Understanding Rock (edited by John Covach and Graeme Boone, 1997) and Expression in Pop Rock Music (edited by Walter Everett, 1999). Her forthcoming book, with co-author Melisse Lafrance, is entitled Disruptive Divas: Critical and AnalYtical Essqys on Feminism, Identity, and Popular Music (Garland). Beverley Diamond is a Canadian ethnomusicologist at York University, Toronto. She has worked extensively in Inuit and First Nations communities in the Northwest Territories, Labrador, Quebec and Ontario, and is strongly interested in issues of cross-cultural representation, historiography, gender, and identity. She is the co-author of Visions of Sound: Musical Instruments of First Nations Communities in Northeastern America (University of Chicago Press, 1994), and co-editor of Canadian Music: Issues of Hegemo'!J and Identity (Canadian Scholars Press, 1994) and Music and Gender (University of Illinois Press, 2000). Murray Dineen teaches in the Department of Music at the University of Ottawa and holds a doctorate in historical musicology with a concentration in music theory from Columbia University. He has published on Adorno in Musica! QuarterlY and Criticus Musicus. His research interests extend from the subject of genre in music to an interdisciplinary study of performance in music and sport funded by the Social Sciences and Humanities Research Council of Canada.
David Gramit teaches music history at the University of Alberta and is the editor of the Journal oj Musicological Research. His book, Cultivating Music: The Aspirations, Interests, and Limits oj German Musical Culture, 1770-1848, is forthcoming from the University of California Press, Line Grenier is Associate Professor in the Department of Communication at the Universite de Montreal (Quebec), She has published on French-language popular music in Quebec in journals such as Popular Music, New Formations, Communication, EthnomusicoloJ!)l, and Cultural Studies. She is currently working on a book on issues related to the genealogy of the chanson dispositij in Quebec and its role in the development of local music-related industries. Jocelyne Guilbault, Professor of Ethnomusicology at the Music Department of the University of California at Berkeley, specializes in Caribbean studies, Since 1980, she has done extensive fieldwork in the Creole-speaking islands and the English Caribbean on both traditional and popular music, Her focus on interpretive theory and methodology in ethnographic writings, aesthetics, and world music has also led her to produce several articles in major periodicals and to lecture across North America and in major international conferences in Europe and the Caribbean. She is the author of Zouk: World Music in the West Indies (University of Chicago Press, 1993). Her two current book projects include one on musical bonds, boundaries, and borders in the Caribbean experience both in the islands and abroad (Traditions and Challenges oj a World Music: The Music Industry oj CalYpso) and' another on a selected number of superstars of the English Caribbean in connection with the politics of difference in world music (Superstars oj the English Can'bbean: The Politics oj Difference in World Music).
George Lipsitz is Professor of Ethnic Studies at the University of California, San Diego and (with Susan McClary and Robert Walser) is co-editor of the Music/Culture series at Wesleyan University Press. His publications include A Life in the Struggle: Ivory Perry and the Culture of Opposition (Temple University Press, 1988), Time Passages: Collective Memory and American Popular Culture (University of 11innesota Press, 1990), and Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place (Verso, 1994). Richard Middleton is Professor of Music at the University of Newcastle upon Tyne. He is the author of Pop Music-and the Blues (Gollancz, 1972), Stu4Jing Popular Music (Open University Press, 1990), and numerous articles on popular music. Professor J\1iddleton was an editor of the journal Popular Music from its foundation in 1980 to 1999. He is an International Advisory Editor for the Enryclopedia of Popular Music of the World and an Associate Editor on popular music to the New Grove Dictionary of Music and Musicians. John Shepherd is Professor of Music and Sociology and Chair of the Department of Sociology and Anthropology at Carleton University, Ottawa. He has authored numerous articles on the sociology and aesthetics of music, theory, and method in musicology and popular music; studies. He is the author of Musica come sapere sociale (Unicopli/Ricordi, 1988) and Music as Social Text (polity Press, 1991), a co-editor of Rock and Popular Music: Politics, Policies, Institutions (Routledge, 1993) and Relocating Cultural Studies: Developments in Theory and Research (Routledge, 1993), and the co-author (with Peter Wicke) of Music and Cultural Theory (polity Press, 1997). He is Chair of the Editorial Board and Joint Managing Editor of the Enryclopedia of Popular Music of the World, a project whose first volume, Popular Music Studies: A Select International
Bibliograpl!J, was published by Cassell in 1997. In 2000, he was elected a Fellow of the Royal Society of Canada. Will Straw is Associate Professor in the Graduate Program in Communications at McGill University. From 1984 until 1993, he taught in the Film Studies Program at Carleton University, Ottawa. He has published articles in the journals Cultural Studies and Popular Music, as well as in such anthologies as The Cultural Studies Reader (Routledge, 1993), Rock and Popular Music: Politics, Policies, Institutions (Routledge, 1993), Relocating Cultural Studies: Developments in Theory and Research (Routledge, 1993), The Subcultures Reader (Routledge, 1997), The Clubcultures Reader: Readings in Popular Cultural Studies (Blackwell, 1997), The Cinematic City (Routledge, 1997), and Sexing the Groove: Popular lv1usic and Gender (Routledge, 1997). He is a co-editor of Theory Rules: Art as Theory, Theory as Art (University of Toronto Press/YYZ Books, 1996), a founding editor of Topia: A Canadian Journal of Cultural Studies, and an International Advisory Editor for the Enryc!opedia of Popular Music of the World. He is also co-editor, with Simon Frith, of the Cambn'dge Companion to Rock and Pop. Gary Tomlinson is Annenberg Professor in the Humanities and Chair of the Department of Music at the University of Pennsylvania. His books include Monteverdi and the End of the Renaissance (University of California Press, 1987), Music in Renaissance Magic (University of Chicago Press, 1993), and Metapl!Jsical Song: An Essery on Opera (princeton University Press, 1999). He has contributed articles to journals and anthologies on topics ranging from indigenous New WorId song to l\1iles Davis. In 1988 he was awarded a MacArthur Fellowship.
Peter Wicke is Professor of the History and Theory of Popular Music, and Director of the Centre for Popular Music Research at Humboldt University, Berlin. He has published extensively on popular music and related issues in the sociology and aesthetics of music throughout the former Eastern bloc and in the West. He is the author of Rockmusik: zur Asthetik und Sociologie eines Massenmediums (Reclam, 1987), translated as Rock Music: Culture, Aesthetics and S ocioloj!)! (Cambridge University Press, 1990), Bigger than ufo: Rock und Pop in den USA (Redam, 1991), and Vom Umgang mit Popmusik (Volk und Wissen, 1993), a co-editor of Rockmusik und Politik: Ana /ysen, Interviews and Dokumente (Ch. Links, 1996) and Handbuch der Popularen Musik (Atlantis/Schott, 1997), and the co-author, with John Shepherd, of Music and Cultural Theory (polity Press, 1997). Wicke is a member of the Editorial Board of the Enryclopedia of Popular Music of the World, a project whose first volume, Popular Music Studies: A Select International Bibliograplry, was published by Cassell in 1997. His latest book, Von Mozart iji Madonna: Eine KultuYJ,eschichte der Popmusik (Kiepenheuer) was published in 1998.