Alisha Lola Jones is Assistant Professor of Ethnomusicology in the Department of Folklore and Ethnomusicology at Indiana University (Bloomington). Jones earned her Bachelor of Music from the Oberlin Conservatory, the Yale Divinity School and the Yale Institute of Sacred Music where she received her Master of Divinity degree, and earned her doctor of philosophy in ethnomusicology from the University of Chicago. She is completing a manuscript entitled Peculiar People: Meaning, Masculinity, and Competence in Gendered Gospel Performance. Her research breaks ground by analyzing the role of gospel music making in constructing and renegotiating gender identity among black men. Jones' musics of the African diaspora research interests include musical masculinities, voice studies, and emerging research on gastromusicology. In spring 2016, she received a College of Arts and Humanities Institute (CAHI) grant to expand upon research on music of the African diaspora to the Pacific islands, focusing on Pacific African Americans' musical responses to the #BlackLivesMatter and #SayHerName movements in the United States.



Deborah R. Vargas is Associate Professor in the Department of Ethnic Studies at the University of California, Riverside.  Her first book Dissonant Divas in Chicana Music was awarded the Woody Guthrie Prize for Best Book in Popular Music Studies by The International Association for the Study of Popular Music; Best Book in Chicano Studies by the National Association for Chicana and Chicano Studies; and Honorable Mention for Best Book in Latino Studies from the Latin American Studies Association.  Dr. Vargas's publications have appeared in journals, including Aztlan:  Journal for Chicano Studies, Women and Performance: Journal of Feminist Theory, and American Quarterly.


Kira Dralle received an MA in the History and Theory of Contemporary Art and an MFA at the San Francisco Art Institute, producing performative, interactive sound works. Her master's thesis explored the solo percussion works of Vinko Globokar, dealing with reception politics, gendered notation, language used in graphic scoring, and the political repercussions of interpretation. As a current PhD student in Musicology at the University of California Santa Cruz, her current work focuses on feminist issues within collaborative and interdisciplinary performance practice. Kira is a co-founder and writer for the Subversive Intellectuals Collective and a Researcher for the Center for New Music in San Francisco.

Kai Finlayson is a Ph.D. student of musicology at the NYU department of music. His dissertation explores how wind instruments around the turn of the nineteenth century show the genesis of a modern paradox of sonic materiality. Other projects include an exploration of Marxist projects of representation via the instrumentation and musical-stylistic references in the Black radical literary tradition.

Shana Goldin-Perschbacher is Assistant Professor of Music History at Temple University and faculty fellow in the 2015-2016 University of Pennsylvania Humanities Forum on Sex. Her ethnographic, historical, and analytical scholarship on popular music engages with feminist, queer, transgender, and critical race studies. Her essay on related research, “TransAmericana: Gender, Genre, and Journey” appeared in New Literary History 46/4 (Autumn 2015) and she has published essays engaging topics of identity in the music of Jeff Buckley, Meshell Ndegeocello, and Björk. This presentation draws from her current book project.

Eric Hung is Associate Professor of Music History at Westminster Choir College of Rider University in Princeton, New Jersey. His research focuses on Asian American music, public musicology, music and new media, and contemporary music inspired by Balinese gamelan. Current projects include a book on trauma and cultural trauma in Asian American music, and an edited volume on Public Musicology. Hung is also an active pianist and conductor who has performed in Germany, Austria, Hong Kong, Australia, and throughout North America. He is also Interim Co-President of New York-based Gamelan Dharma Swara, and the founder of the Westminster Chinese Music Ensemble.

Kyle Kaplan is a PhD student in Musicology at Northwestern University where he is affiliated with the Gender and Sexuality Studies program. His research considers music and the politics of intimacy during the mid-twentieth century, focusing on collaborations within transatlantic networks of gay modernists. Further interests include music in experimental film and dance, 20th-century Romantic thought and aesthetics, and feminist and queer theories of interdependence. He holds degrees from UCLA and McGill University and has read papers at meetings of the Society for American Music and Feminist Theory and Music.

Elìas Krell is a musician and scholar currently based in the Hudson Valley, New York. They joined the Women Studies Program at Vassar College as Consortium for Faculty Diversity Postdoctoral Fellow in 2014. Krell received a Ph.D. in Performance Studies and a Graduate Certificate in Gender & Sexuality Studies from Northwestern University in 2014 under the direction of E. Patrick Johnson. Their current book project, Transvocality: Transgender Activism in the Americas, is an ethnography of the singing voice in the context of the performance practices and daily lives of independent contemporary musicians in Canada, the U.S., Venezuela, and Argentina. Krell has published in the Journal of Popular Music Studies (2013), Trans Bodies/Trans Selves (2014), Text and Performance Quarterly (2015), The Oxford Handbook of Voice Studies (forthcoming), and various other scholarly venues. Krell is currently recording their fourth record of original folk music.

Rebekah Lobosco Gilli is a doctoral candidate in Musicology at the University of Toronto. She holds a B.A. in Music History and Literature from the University of Rhode Island and an M.A. in Music from Tufts University. Her dissertation is on the automaton Olympia from Jacques Offenbach's opera Les Contes d'Hoffmann (1881). Rebekah is specifically interested in investigating the implications of this character's portrayal onstage within both historical and modern stagings. She is also interested in popular music studies and film music studies, and her research has been published in the edited volume Queer in the Choir Room: Essays on Gender and Sexuality in Glee (2014). 

Mitchell Morris is Professor of Musicology at the University of California, Los Angeles. He specializes in music at the fin-de-siècle, Russian and Soviet music, 20th century American music, opera, rock and soul, and gay/lesbian studies. He has published essays on gay men and opera, disco and progressive rock, musical ethics, and contemporary music in journals such as repercussions and American Music as well as in collections such as Beyond Structural Hearing?, Musicology and Difference, En travesti, and Audible Traces. He is currently preparing a book entitled The Persistence of Sentiment: Essays on Pop Music in the 70s and at work on a project entitled “Echo of Wilderness: Music, Nature, and Nation in the United States, 1880–1945.”

Gayle Murchison is Associate Professor of Music at the College of William and Mary. The author of The American Musical Stravinsky: The Style and Aesthetic of Copland’s New American Music, the Early Works, 1921-1938 (The University of Michigan Press, 2012), her research interests include William Grant Still, Mary Lou Williams, Zap Mama, and the music of social and cultural movements (such as the Harlem Renaissance and Civil Rights Movements, and Afro-European studies). She has contributed a book chapter “Mary Lou Williams’s Girl Stars and the Politics of Negotiation: Jazz, Gender, and Jim Crow” to Jill Sullivan’s forthcoming Women's Bands in America: Performing Music and Gender in Society (Rowman & Littlefield Publishers). Prof. Murchison is currently the editor of Black Music Research Journal.

Ali Na is a PhD candidate in the Department of Communication at the University of North Carolina at Chapel Hill. She holds an M.A. in Performance Studies from New York University and a B.A. in Politics from Whitman College. She works in the fields of performance studies, digital technologies, and critical theory with attention to ethnicity, race, sexuality, sex, and gender. Her research is invested in politics and ethics in relation to non-normative bodies.

Chris Nickell is a third-year Ph.D. student in Music at New York University. He is currently working on two projects. The first, related to this paper, explores performances of Arab masculinity in the transnational underground music scene centered on Beirut. The second takes up issues of gender, bodies, and voices in the early operatic genre of lament. Chris is also a shop steward, organizer, and activist with GSOC-UAW, the graduate worker union of NYU.

Stephan Pennington is Assistant Professor at Tufts University’s Department of Music. He focuses on the politics of the performance of identity within the realm of popular music, with a special attention to race, gender, and sexuality. He has published in the Journal of the American Musical Society, Journal of the Royal Music Association, and Ethnomusicology Review. He has a book on the 1930s Marlene Dietrich hit “Falling In Love Again” forthcoming and is currently working on a book on transgender vocality.

Yun Emily Wang is a PhD candidate in ethnomusicology at the University of Toronto, where her doctoral research is supported by a fellowship from the Social Science and Humanities Research Council. Emily’s dissertation explores many tactical practices through which people make “home” (as a social imaginary, as produced spaces, as a type of kinship, as an affect) at the intersections between music, speech, and sound in the everyday life from the margins of Toronto’s Chinese diaspora. Emily has presented at SEM, IASPM-US and Canada, among others. She plays the Chinese spike fiddle, erhu, but only with appropriate critical distance. 




Hedy Law is Assistant Professor of Musicology at the School of Music at the University of British Columbia in Vancouver. She received her Ph.D. in music history and theory from the University of Chicago in 2007. Her articles have appeared in Cambridge Opera Journal; the collection of essays Musique et Geste en France: De Lully à la Révolution; and the Oxford Handbook of Music and Disability Studies.  She collaborated with the computer engineer Ira Greenberg on music and the digital humanities and co-authored an article for the journal CENTER: Architecture and Design in America. Her forthcoming articles will appear in Oxford Handbook of Music and Censorship; the collection of essays Noises, Audition, Aurality: History of the Sonic Worlds in Europe, 1500–1918; and the issue on music and citizenship in Opera Quarterly.  She is currently working on a book on music, pantomime, and freedom in the Enlightenment France.

Stephan Pennington is an Assistant Professor at Tufts University’s Department of Music. He focuses on the politics of the performance of identity within the realm of popular music with a special attention to race, gender, and sexuality. He has published in the Journal of the American Musical Society, Journal of the Royal Music Association, and Ethnomusicology Review. He has a book on the 1930s Marlene Dietrich hit “Falling In Love Again” forthcoming and is currently working on a book on transgender vocality.


Emily Wilbourne is Associate Professor at Queens College and the Graduate Center, in the City University of New York, and the Editor-in-Chief of Women and Music: A Journal of Gender and Culture. Her work focuses on sound and embodiment, representation and meaning in seventeenth-century Italian theatrical music; her first book, Seventeenth-Century Opera and the Sound of the Commedia dell’Arte is forthcoming from the University of Chicago Press. Her current research project, tentatively titled Opera’s Others: Musical Representation of Racialized Difference at the Beginning of the Anthropocene, considers a wide range of Europe’s “Others”—Turks, Jews, Romani, Black Africans, and native “savages”—in Italian music and theatrical performances during the seventeenth century. In 2011, Wilbourne was awarded the Philip Brett Award for exceptional musicological work in the field of gay, lesbian, bisexual, transgender/transsexual studies, for her article, “Amor nello specchio (1622): Mirroring, Masturbation and Same-Sex Love.”