Liam Cagney is Ireland’s most active public musicologist. His musical criticism regularly appears in publications like the Irish Times, Gramophone, the Guardian, the TLS, the Spectator, the Telegraph, VAN, and Frieze, and his podcast with Stephen Graham, Talking Musicology, was nominated for a Classical:NEXT Innovation Award. Based in Berlin, he is writing a book of essays on techno and club culture. Liam Cagney received his PhD on French spectralism from City, University of London under the supervision of Ian Pace, and his most recent article was a chapter on the topic in the Routledge Research Companion to Modernism in Music. He is developing a monograph on Gérard Grisey, while co-editing the Oxford Handbook of Spectral Music and teaching at the BIMM Institute.

Mark Campbell [aka DJ Grumps], founder at Northside Hip Hop Archive, is a dj, curator and scholar. As a co-founder at the Bigger than Hip Hop Show at CHRY 105.5fm, Mark djed on and hosted the radio show from 1997-2015.  Mark’s research interests include hip hop archives, afrosonic life and the dj cultures. His recent publications include the edited collection We Still Here: Hip Hop in North of the 49th Parallel with Dr. Charity Marsh in 2020 and …Everything Remains Raw: Photographing Toronto hip hop Culture from Analogue to Digital as part of the Contact Festival exhibition at the McMichael Canadian Art Collection. Mark teaches at the University of Toronto Scarborough.

Judah M. Cohen is a musicologist and author of The Making of a Reform Jewish Cantor (2009), Sounding Jewish Tradition: The Music of Central Synagogue (2011), and Jewish Religious Music in Nineteenth Century America (2019). His current projects explore World War II-era narratives in musical theater, 19th century and postwar American synagogue music, and American Jewish singer/songwriter/liturgist Debbie Friedman.He teaches at Indiana University Bloomington, where he also directs the Borns Jewish Studies Program.

Alisha Lola Jones‘ research interests extend to global pop music, musics of the African diaspora, music and food, the music industry and the marketplace, and anti-oppressive ways of listening to black women. Additionally, as a performer-scholar, she consults museums, conservatories, seminaries, and arts organizations on curriculum, live and virtual event programming, and content development. Jones’ book Flaming?: The Peculiar Theopolitics of Fire and Desire in Black Male Gospel Performance (Oxford University Press) breaks ground by analyzing the role of gospel music making in constructing and renegotiating gender identity among black men. Alisha teaches at the University of Indiana, Bloomington.

Alejandro L. Madrid is a cultural theorist whose historical, ethnographic, and critical work focuses on music and expressive culture from Latin America and Latinxs in the United States. Working at the intersection of musicology, ethnomusicology, and performance studies, his work explores questions of transnationalism, diaspora, and migration; homophobia, masculinity, and embodied culture; and historiography, narrative, and alternative ways of knowledge production in music from the long twentieth century. Madrid teaches musicology and ethnomusicology as well as classes in the Latino Studies, Latin American Studies, and American Studies programs at Cornell University.

Susan McClary, best known for her book Feminine Endings: Music, Gender, and Sexuality, is also author of Georges Bizet: Carmen, Conventional Wisdom: The Content of Musical Form, Modal Subjectivities: Renaissance Self-Fashioning in the Italian Madrigal, Reading Music: Selected Essays by Susan McClary, Desire and Pleasure in Seventeenth-Century Music, Structures of Feeling in Seventeenth-Century Expressive Culture, and The Passions of Peter Sellars: Staging the Music. Focusing on the cultural analysis of music, both the European canon and contemporary popular genres, McClary teaches at Case Western Reserve University and is Distinguished Professor Emerita at UCLA.

Catherine Provenzano’s research focuses on voice, instrumentality, labor, and technology as they intersect class, race, and gender in US popular culture. Currently she is writing a cultural history and ethnography of pitch correction softwares (Auto-Tune, Melodyne) and conceptions of voiced emotion in US pop and hip-hop. Other projects include research into the ways audio softwares are developed for and marketed to evangelical megachurch worship spaces, and the logics of musical labor and/or service within these spaces. Some of her most recent research focuses on 20th century instantiations of “ease-of-use” instruments, from the Autoharp to MIDI packs. She teaches in the Musicology and Music Industry programs at the UCLA Herb Alpert School of Music, and is a performer and songwriter.

Emily Wilbourne was born in Australia and has lived, worked, and studied in NYC since 2003. She is fascinated by sound in relationship to bodies and particularly with the ways in which theatrical and musical sounds convey and construct information about race, class, gender, and sexuality. Most of her writing is focused on sonic objects and practices from the Italian seventeenth century. Earlier this year, Acoustemologies in Contact: Sounding Subjects and Modes of Listening in Early Modernity, a collection of essays co-edited with Suzanne G. Cusick, was published in an open-access edition. Emily is looking forward to a time when our scholarly interactions can once again take place in person; she would like to see your real face, not your zoom face.