Terry L. Dean is Assistant Professor of Musicology and Gender Studies at Indiana State University where he teaches courses in music history, popular and world traditions, and research methods. He is a contributor of articles and reviews in Three Oranges: The Journal of the Serge Prokofiev Foundation, Fontes Artis Musicae, and a forthcoming research guide to the music of Sergei Prokofiev. His current project is a book concerning the activities of the Rachmaninoff Memorial Fund and its piano competition. He holds the Ph.D. and M.A in Historical Musicology from The University of Georgia as well as the B.A. in Biology from West Virginia University.
Anna Ferenc is Associate Professor of Music Theory at Wilfrid Laurier University. Her research interests include developing music theory pedagogy in connection with the scholarship of teaching and learning.
Brian D. Hoffman is an Assistant Professor of Music Theory at the University of Central Florida and holds a Ph.D. in Music Theory from the University of Cincinnati (CCM). He has previously taught at Butler University and Oklahoma State University. Brian’s research interests include the musical-theater style, pop-rock music, sonata form, and rhythm and meter. He has presented research on these topics at regional, national, and international research conferences including the Society for Music Theory national meeting. In addition to his scholarly and educational work, Brian has maintained an active career as a music director and pianist for both regional and university musical theater companies.
Brian Edward Jarvis is a Visiting Assistant Professor of Music Theory at the University of Texas at El Paso and holds a Ph.D. in Music Theory from Florida State University. His dissertation introduces an approach to large-scale film-music analysis that focuses on collaborations between Joel & Ethan Coen and Carter Burwell. His other scholarly interests include form, harmony, and phrase structure in the eighteenth and nineteenth centuries with a special focus on the music of Charles Valentin Alkan.
J. Daniel Jenkins is an Associate Professor of Music Theory at the University of South Carolina. His edited collection, Schoenberg’s Program Notes and Musical Analyses, is forthcoming from Oxford University Press. Jenkins has been recognized for excellence in undergraduate teaching by the Eastman School of Music, the University of Rochester, and the University of South Carolina.
Vicky V. Johnson is an Assistant Professor and Coordinator of the Music Graduate Program at Tarleton State University. She holds degrees from Boston University (DMA in Music Education), Sam Houston State University (MA in Music Theory), and Tarleton State University (BM in Music Education).
Megan Lyons is an undergraduate student at the University of Delaware pursuing a B.M. in Music Education and a B.M. in Music Theory. Her research Chopin’s Nocturnes: A Comparison of Empirical Analysis and Performance Analysis was awarded the Phi Kappa Phi Undergraduate Essay Award in 2014. She currently serves as a Undergraduate Teaching Assistant for the Music Theory Area.
William O’Hara is a Ph.D. Candidate in Music Theory at Harvard University, a member of the Media, Literacy, and Visualization Team at the Derek Bok Center for Teaching and Learning, and an editorial assistant for the Journal of the American Musicological Society. His research interests include the history of music theory, the analysis of film and video game music, and the philosophy and methodology of music analysis.
Marcie Ray is an Assistant Professor of Musicology at Michigan State University. She holds degrees from the University of Texas (B.M. in Vocal Performance) and the University of California, Los Angeles (M.A. and Ph.D.). She teaches a number of courses that align with her research interests: music of the Baroque and eighteenth century; the history of opera; music, gender, and sexuality; and graduate seminars on music and violence, as well as music and identity. Her research has been published in Música em Perspectiva (2013), American Music (2014), a collection of essays entitled The Libretto as Enlightenment Text (2015), and is forthcoming in Early Music (2016).
Colleen Renihan is Assistant Professor of Music (CLA) at the School of Fine Arts and Music, University of Guelph. Her research has been published in The Journal of the Society for American Music, twentieth-century music, Music, Sound, and the Moving Image, as well as in several edited collections.
Sam L. Richards is a Visiting Professor of Music Theory and Composition at Brigham Young University. He is a theorist, composer, artist, and researcher and has presented research on music theory pedagogy and interdisciplinary collaboration at numerous national and international conferences. His research interests include pedagogy, processes of canonization, quotation, and postmodernism.
Amanda L. Scherbenske, PhD (Wesleyan University) is an ethnomusicologist whose research spans American and East European Jewish musics, with theoretical interests in musical multiplicity, space and place, affective labor, and genre construction. Her work has been published in Ethnomusicology, Yearbook for Traditional Music, American Music Review, and MUSICultures, among others. Her current book project, Resounding Multiplicity: New York Improviser-Composers and the Politics of Belonging, is an ethnographic and social study of contemporary avant-garde, jazz, and experimental musicians who perform across a variety of overlapping scenes and art worlds. She teaches undergraduate courses in ethnomusicology, world music, and music humanities.
Peter Schubert teaches at McGill’s Schulich School of Music and conducts VivaVoce. With Massimiliano Guido, he recently organized conferences in Venice and Montreal on historical improvisation. His “From Improvisation to Composition” recently appeared in the Collected Writings of the Orpheus Institute Series.
Christopher Segall is Assistant Professor of Music Theory at the College-Conservatory of Music, University of Cincinnati. His research has been published in the Journal of Musicology, Music Theory Online, and Theory and Practice.
Daniel B. Stevens is Assistant Professor of Music Theory at the University of Delaware, where he teaches core theory courses, keyboard harmony, and graduate seminars. As an Assessment Fellow at the University of Delaware, he designed and implemented a music ePortfolio used by all undergraduate majors. His research focuses on performance analysis, Brahms studies, and music theory pedagogy, and he has several publications forthcoming in Music Theory Pedagogy Online.
Alexa Woloshyn, PhD (University of Toronto) is a musicologist specializing in electroacoustic music, Aboriginal avant-garde and dance music, and contemporary vocal music. Recent articles on electroacoustic composers Robert Normandeau and Hildegard Westerkamp have appeared in Circuit: Musiques contemporaines and eContact!.