- Andrea Moore, Assistant Professor, Smith College
- Brandi Neal, Lecturer, Carolina Coastal University
- Marysol Quevedo, Assistant Professor, University of Miami
- Susan Thomas, Professor, University of Georgia
Technical Editor: Daniel Walden, PhD Candidate in Music Theory, Harvard University
- Roger Freitas, chair, Committee on Communications, American Musicological Society
- Robert Judd, executive director, American Musicological Society
- Martha Feldman, president, American Musicological Society
- Sean Lorre, Joshua O. Neumann, student representatives
- Blake Howe, Moderator asst.
- Robert F. Judd, Martha Feldman, Robert W. Fink, Jason Hanley, Nathaniel G. Lew, James Parsons, Steve Swayne, Michael Tusa, ex officio
- Tim Watkins, AMS-L
- Melanie Lowe, Matthew Mugmon, John A. Rice, Meghan Joyce Tozer, James L. Zychowicz, additional members
Bob Fink (Professor) is a past chair of the UCLA Musicology department, and currently Chair of the UCLA Herb Alpert School of Music’s Minor in the Music Industry. He also currently serves as President of the US Branch of the International Association for the Study of Popular Music (IASPM-US). His research focus is on music and culture after 1950, with special interests in the history and analysis of African-American popular music and the politics of contemporary art music. His book Repeating Ourselves, A Study of American Minimal Music as a Cultural Practice appeared in 2005 from the University of California. He is currently teaching a class on Public Musicology (and blogging is on the syllabus).
Andrea Moore is an Assistant Professor of Musicology at Smith College. She earned her doctorate in musicology at the University of California, Los Angeles in 2016 and was a Chancellor’s Postdoctoral Fellow at the University of California, Riverside. A 20/21st-century specialist, much of her research focuses on new music and concert culture after 1989. Her current work includes a study of post-Cold War music and the globalized politics of identity, and an ongoing investigation into the intersections of classical music, labor, class, and neoliberalism. She is the co-founder of the “Musicology and the Present” conference series. Andrea is also a former percussionist and arts administrator.
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.
Susan Thomas is Professor of Music and Women's studies at the University of Georgia. 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.