- Susan Thomas, Executive Editor, University of Colorado
- Brandi Neal, Carolina Coastal University
- Marysol Quevedo, University of Miami
- Christopher J. Smith, Texas Tech University
- Roger Freitas, chair, Committee on Communications, American Musicological Society
- Robert Judd, executive director, American Musicological Society
- Martha Feldman, president, American Musicological Society
Executive Editor Susan Thomas is Professor of Music at the University of Colorado. A specialist on Cuban and Latin American music and music, gender, and sexuality studies, her book, Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage (University of Illinois Press, 2009) was awarded our own Robert M. Stevenson Prize and the Pauline Alderman Book Award from the International Alliance for Women in Music. She has held research fellowships in the David Rockefeller Center for Latin American Studies at Harvard University and the Stone Center for Latin American Studies at Tulane University and is currently completing her second book, The Musical Mangrove: The Transnationalization of Cuban Alternative Music.
Brandi Neal is a reformed band nerd and originally from Sumter, SC. She received her BA in music from the University of South Carolina and later her MA and PhD in historical musicology from the University of Pittsburgh. A lecturer at Coastal Carolina University, her primary research interests are sacred vocal music from the renaissance and baroque eras, with a particular emphasis on the music of Nicolas Gombert, the semiotics of golden-age rap music, and musico-theatrics of popular music in the post-Trayvon Martin era. She has a rescue diva dog named Daisy.
Marysol Quevedo, a native of San Juan, Puerto Rico, is Assistant Professor of Musicology at the Frost School of Music at the University of Miami. She received her Ph.D. in musicology with a minor in ethnomusicology from Indiana University. Her research interest include art music in Cuba after the 1959 Revolution and more broadly the relationship between music composition and performance, national identity, and politics in Latin American music scenes. Quevedo’s chapter, “Experimental Music and the Avant-Garde in Post-1959 Cuba: Revolutionary Music for the Revolution,” will appear in the forthcoming collection of essays Experimentalism in Practice: Perspectives from Latin America from Oxford University Press, and she has written numerous entries for the second edition of the Grove Dictionary of American Music and is a contributor to Oxford Annotated Bibliographies.
Christopher J. Smith is Professor, Chair of Musicology, and Director of the Vernacular Music Center at Texas Tech University. His research interests are in African American music, 20th-century music, Irish traditional music and other vernaculars, improvisation, music and politics, and historical performance. He records and tours with Altramar medieval music ensemble, the Irish traditional band Last Night's Fun, the Juke Band (pre-WWII blues and jazz), and the pan-European Balfolk group Rattleskull. His full-length theatrical dance show, Dancing at the Crossroads, premiered in February 2013, and his scholarly monograph, The Creolization of American Culture: William Sydney Mount and the Roots of Blackface Minstrelsy (Illinois) was the winner of the Irving Lowens Award from the Society of American Music in 2013. His new monograph for Illinois is Movement Revolutions: Bodies, Spaces, and Noise in American Cultural History (2019). He is the Executive Editor of the peer-reviewed Journal of the Vernacular Music Center, directs the TTU Celtic Ensemble, and arranges for and conducts the Elegant Savages Orchestra symphonic folk group at Texas Tech. He is a former nightclub bouncer, framing carpenter, lobster fisherman, and oil-rig roughneck, and a published poet.