List of JSAM Contributors (2/2, May 2008)
Contributors
Dale Chapman is Assistant Professor of Music at Bates College. His research brings perspectives from cultural theory to bear upon jazz, hip-hop, techno, and popular music in the African diaspora. His work has appeared in ECHO: a music-centered journal and is to be published in Playing Changes: New Jazz Studies, ed. Robert Walser (Duke University Press, forthcoming).
Louis Chude-Sokei is currently Associate Professor of Literature at the University of California, Santa Cruz. His book The Last Darky: Bert Williams, Black on Black Minstrelsy and the African Diaspora (Duke University Press, 2006) was a nonfiction finalist for the 2007 Hurston/Wright Legacy Award.
Brent Hayes Edwards teaches in the Department of English and Comparative Literature at Columbia University. He is the author of The Practice of Diaspora (Harvard University Press, 2003) and co-editor of Uptown Conversation: The New Jazz Studies (Columbia University Press, 2004), as well as co-editor of the journal Social Text. He is currently working on two books: a study of the interplay between jazz and literature, and a cultural history of “loft jazz” in 1970s New York.
Rebekah Farrugia is Assistant Professor of Media Studies in the School of Communication at Western Michigan University, where she teaches a broad range of courses in media theory, production, and criticism. Her research focuses on digital culture and the interconnections among gender, technology, and popular music. Her writing has been published in Canadian Women’s Studies and the Journal of Popular Music Studies, on whose editorial board she currently serves.
Ajay Heble is Professor of English in the School of English and Theatre Studies at the University of Guelph. He is the author or editor of several books, including Landing on the Wrong Note: Jazz, Dissonance, and Critical Practice (Routledge, 2000), and is the Artistic Director and founder of the Guelph Jazz Festival. He is founding co-editor of the journal Critical Studies in Improvisation/Études critiques en improvisation and Project Director for the Improvisation, Community, and Social Practice Project.
Mike Heffley is the author of The Music of Anthony Braxton (Greenwood Press, 1996) and Northern Sun, Southern Moon: Europe’s Reinvention of Jazz (Yale University Press, 2005). He was awarded a Guggenheim Fellowship in 2006 to write a book on the global face of improvised and experimental music. Information on his music, books, and other writings is available at http://www.heffleyrecords.com and http://www.almatour.org.
Vijay Iyer is a pianist, electronic musician, composer, improvisor, bandleader, and independent scholar based in New York. A recipient of the Alpert Award in the Arts and an interdisciplinary Ph.D. from the University of California, Berkeley, Iyer teaches at New York University and the New School University, and has published in Music Perception, Current Musicology, and Journal of Consciousness Studies. His recent recordings include Tragicomic with his quartet and Still Life with Commentator with poet Mike Ladd.
George E. Lewis, improvisor-trombonist, composer, and computer/installation artist, is the Edwin H. Case Professor of American Music at Columbia University. Lewis has served as music curator for The Kitchen in New York, and has been a member of the Association for the Advancement of Creative Musicians (AACM) since 1971. A 2002 MacArthur Fellow, Lewis’s work is documented on more than 120 recordings, and his published articles have appeared in numerous scholarly journals and edited volumes. He is the author of A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008).
George Lipsitz is Professor of Black Studies and Sociology at the University of California, Santa Barbara. His books include Footsteps in the Dark: The Hidden Histories of Popular Music (University of Minnesota Press, 2007), The Possessive Investment in Whiteness (Temple University Press, 1998), and Dangerous Crossroads (Verso, 1994).
Fred Moten teaches in the Department of English at Duke University. He is author of In the Break: The Aesthetics of the Black Radical Tradition (University of Minnesota Press, 2003) and of three collections of poetry, Arkansas (Pressed Wafer Press, 2000), I ran from it but was still in it (Cusp Press, 2007), and Hughson’s Tavern (Leon Works, 2008).
Gascia Ouzounian is a historian of new music and sound art, and a violinist working in new and intermedia music. She studied computer music and violin performance at McGill University and critical studies/experimental practices in music at the University of California, San Diego. Ouzounian is Lecturer in the School of Music and Sonic Arts at Queen’s University Belfast.
Joseph Schloss is Visiting Scholar and Adjunct Assistant Professor of Music at New York University. He is the author of Making Beats: The Art of Sample-Based Hip-Hop (Wesleyan University Press, 2004) and Foundation: B-boys, B-girls and Communities of Style (Oxford University Press, forthcoming), and is a past winner of the Society for Ethnomusicology’s Charles Seeger Prize.
Salim Washington is a New York–based composer and jazz musician who plays tenor sax, flute, and oboe and leads the Harlem Arts Ensemble. He is Associate Professor of Music at Brooklyn College and Senior Associate at the Institute for Studies in American Music. He is coauthor with Farah Jasmine Griffin of Clawing at the Limits of Cool: Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever (Thomas Dunne, 2008).
Ellen Waterman is Associate Professor in the School of Fine Art and Music at the University of Guelph. Her research on experimental music performance and improvisation is located at the nexus of performance studies and ethnomusicology. She is founding co-editor of the journal Critical Studies in Improvisation/Études critiques en improvisation.