Jorge Arévalo Mateus is the Executive Director for the Association for Cultural Equity/Alan Lomax Archive in New York City. He holds a doctorate in ethnomusicology from Wesleyan University (2013), with areas of specialization in applied ethnomusicology, Latin America and Caribbean traditional and popular music, music education, archives and digital humanities, American Folk, Jazz, and World Music. He currently teaches at Hunter College (CUNY) and the Center for Ethnic Studies, Borough of Manhattan Community College (CUNY), and is a project director and founder of FolkCOLOMBIA School of Dance and Music. A regular presenter at SEM Annual Meetings (most recently in 2015 and 2012), Arévalo Mateus also served as Vice President of MACSEM (2003) and as program assistant for the SEM 2008 Annual Meeting and the NEH-SEM Summer Institute’s Ethnomusicology and Global Culture meeting (2011) at Wesleyan. He is a member of the Applied Ethnomusicology, Archives, and Voice Studies SIGs.
Danielle Brown, Ph.D. is the owner of My People Tell Stories, LLC (MPTS), a multimedia publishing and production company that she founded in 2014. The company is based on the premise that people of color in particular, and marginalized people in general, need to tell and interpret their own stories. Danielle authored the company’s recently released first book, East of Flatbush, North of Love: An Ethnography of Home. She received her Ph.D. in Music from New York University with a concentration in ethnomusicology and a specialization in the music of Latin America and the Caribbean. Her research has focused mostly on parang/parranda music in Trinidad. Before starting MPTS, Danielle served for two years as an Assistant Professor of Music History and Cultures at Syracuse University. She has lectured at various colleges and universities, and has also worked with elementary, middle, and high school students; she is certified in the Kodály method of music education. Danielle is an active vocalist and cuatro player, and she composes and performs jazz and Latin American and Caribbean-based music. A member of SEM since 2002, Danielle has presented several times at the annual meeting. She is a member of the Robinson Network Group.
Monique Desroches is Honorary Professor at the Faculty of Music of the University of Montreal, where she has taught for nearly 30 years in Ethnomusicology, and the Director of the Ethnomusicogy and Organology Laboratory (http://leo.oicrm.org/fr). Her main research interest is on the processes involved in the staging of musical heritage (Tamil ritual and touristic performances in Creole countries) and the inherent dialectics between musical tradition and individual creation (signature). In that perspective, she has been carrying out extensive fieldwork in Martinique and in Reunion Island since 1978. She has published several articles, CDs, CDROMs and books on aesthetics, theory and methods, music and tourism (Territoires musicaux mis en scène, 2011), music and ritual (Tambours des dieux, 1996), and more recently, on the role of the body in defining musical style (Quand la musique prend corps, 2014). She has read papers at various international and SEM meetings and took part in the local organization of the SEM meeting in Montreal (1979).
Kate Galloway is an Adjunct Assistant Professor and Postdoctoral Research Fellow at Memorial University of Newfoundland. Her current research blends musicological and ethnomusicological inquiry into the study of music of the 20th and 21st centuries, particularly popular music and experimental music practice and theory that engages environmental and energy issues. Her research addresses experimental music practices, radio, music and global environmental change, sound studies, music and geography, technology and media studies, visual culture, ethnographic approaches to musical avant-gardes, the spatiality of unconventional performance spaces, and digital humanities. In 2012, she received the SSHRC Postdoctoral Prize and was awarded the Society for American Music’s Cambridge University Press Award (2016; 2013), Adrienne Fried Block Fellowship (2014), and Judith Tick Fellowship (2015). She is the current co-chair of the American Musicological Society’s Ecocriticism Study Group and the Society for Ethnomusicology’s Ecomusicology Special Interest Group, and a member of the Sound Studies Special Interest Group. She received her Ph.D. from the University of Toronto in 2010. She has published on issues of place, ritual performance, and community in the environmental operas of R. Murray Schafer, soundscapes of environmental advocacy, experimental music, everyday technologies, and aural memory in the Harbour Symphony in peer-reviewed journals and contributed reviews to Yearbook for Traditional Music, Twentieth Century Music, ISLE, and Journal of Popular Music Studies.
Luis-Manuel Garcia is a Lecturer in ethnomusicology and popular music studies at the University of Birmingham (UK). His research focuses on urban electronic dance music scenes in Europe and North America (especially Berlin, Germany), with a particular focus on musical mobility & migration, creative industries, stranger-sociability, affect, intimacy, embodiment, and sexuality. He has been a member of SEM since 2004, having served on the Crossroads Project on Diversity, Difference, and Underrepresentation in 2006–2007.
Nancy Groce, a Senior Folklife Specialist at the Library of Congress’s American Folklife Center, is an ethnomusicologist, folklorist, and historian specializing in the study of American music, folklore, oral history, and urban culture. She holds a Ph.D. in American Studies from the University of Michigan as well as an M.A./American Studies, an M.M./Ethnomusicology, and a B.A./Music Performance. Groce has spent her career as a public sector scholar. Prior to joining the Library in 2007, she worked at the Smithsonian Center for Folklife and Cultural Heritage, where she served as the curator of Smithsonian Folklife Festivals on New York City (2001), Scotland (2003), Alberta (2006), and Northern Ireland (2007). She was the Senior Program Officer for the New York Council for the Humanities; the borough folklorist for Brooklyn and Staten Island; and held fellowships at the Metropolitan Museum of Art and the Smithsonian National Museum of American History. Author of five books—most recently Lox, Stocks, and Backstage Broadway: Iconic Trades of New York City (Smithsonian: 2010)—she produced several well-received Smithsonian Folkways CDs, and has consulted on enumerable exhibits, concerts, documentary films, radio projects, and festivals. Board experiences include Sing Out! Corporation (1994-2001) and the Center for Traditional Music and Dance (2002- ).
Dr. Anna Hoefnagels is an Associate Professor in Ethnomusicology at Carleton University in Ottawa, Canada, where she is also co-Director of the Centre for Indigenous Research, Culture, Language and Education. Her research is focused on Indigenous women’s music-making and political activism for Indigenous issues and rights in Canada, with a particular interest in women’s leadership in cultural renewal and decolonization. Aboriginal Music in Canada: Echoes and Exchanges (2012) is an award-winning anthology that Anna co-edited with Dr. Beverley Diamond, which won a Choice Book Award. Anna has been an active member of SEM since the early 1990s, presenting papers, and organizing and chairing panels at its Annual Meeting. She is a long-term member of the Section on the Status of Women and the Indigenous Music Section of SEM, and she is chairing the 2015-2016 Charlotte Frisbie Student Paper Prize committee. Anna is involved in other national and international scholarly music societies, presenting her research, serving on various committees and taking on leadership roles. She is a past President of the Canadian Society for Traditional Music, and has assisted with conference programming for the International Council of Traditional Music and the Music & Gender Study Group of ICTM.
Julie E. Hunter is an Assistant Professor of Ethnomusicology at the Crane School of Music at SUNY Potsdam, where she teaches music and liberal arts majors in a range of courses and directs the West African Drum and Dance Ensemble. She received her Ph.D. and M.A. from Brown University and a B.M. with High Honors from Vanderbilt University. Julie’s doctoral research explores the rise of women’s drumming in West Africa through the lens of Ewe female drummers, dancers, singers, and composers, and their unique expressions of gender and musical innovations within their music associations, or habobo. Her primary academic interests and areas of research include music in West Africa, Ewe music, Ghanaian dance-drumming, music and gender, Afropop, highlife, music of the African diaspora, musical ethnography, Russian music and culture, and music in the North Country. Julie has been an active member of the Society for Ethnomusicology since 2000. From 2002 to 2005, she served as a student representative on the SEM Council. Julie has presented at regional and national conferences, and is a member of the African Music, Applied Ethnomusicology, and Gender and Sexualities Taskforce Sections of SEM.
Birgitta J. Johnson is an Assistant Professor of Ethnomusicology at the University of South Carolina in the School of Music and in the African American Studies Program. Her research areas include African American and African music; music and worship in African American Protestant churches; musical change and identity in Black popular music; music in African American megachurches; sacred music in the African diaspora, women in music, and gospel music archiving. She has been a member of the Society for Ethnomusicology for thirteen years, affiliated through the Southern California and Hawaii (SCHC) and the Southeast and Caribbean (SEC) regional chapters. Her sectional memberships include Religion, Music and Sound; Popular Music; and African Music. Her service to the Society includes the Crossroads Section on Diversity and Difference (2010—2012), program committee for SEC regional conference (2015), Gertrude Robinson Memorial Fund in the Sound Futures campaign (2013—present), and co-coordinator and interim secretary for the Gertrude Robinson Network (2013—present).
Alisha Lola Jones is an assistant professor of ethnomusicology in the Department of Folklore and Ethnomusicology at Indiana University (Bloomington). Jones' ethnomusicological research breaks ground by analyzing the role of gospel music making in constructing and renegotiating gender identity among black men. Her research interests include musical masculinities, music and theology, the music industry, musics of the African diaspora, performing arts entrepreneurship, and emerging research on music and future foodways. Jones has received academic acclaim and support for her research with fellowships from the Andrew W. Mellon Foundation; the Center for the Study of Race, Politics, and Culture and the Center for the Study of Gender and Sexuality; the Martin Marty Center; and the Franke Institute for the Humanities, among others. She has served on the board of the Center for Black Music Research (CBMR) and the advisory council for the Black Sacred Music Institute at Garrett-Evangelical Theological Seminary in Chicago, IL. Presently, Jones is SEM liaison to the music and religion section of the American Academy of Religion. This year, she is serving on the Washington, DC planning committee as a local music specialist for the SEM 2016 Annual Meeting.
Meryl Krieger is a Career Advisor at the Jacobs School of Music at Indiana University (Bloomington) and Adjunct Lecturer in Sociology at Indiana University and Purdue University (Indianapolis). Her specialization is the study of the construction of musical performances in digital space. Meryl is currently working on the dynamics between performers and audiences in crowdfunding campaigns, and the role of voice in political protests as they are presented in digital spaces. She is both an administrator and an independent scholar, and is well positioned to help the SEM Council articulate a vision for supporting fulfilling non-faculty career paths for ethnomusicologists. Meryl has been involved with SEM since 2006, and has served with the Popular Music Section in various leadership positions between 2006 and 2015, the Gender and Sexuality Taskforce from 2008 to the present, and was the founding Secretary of the Sound Studies Interest Group from 2009 to 2011. She also presents regularly on her research at SEM.
Jennifer W. Kyker is assistant professor of ethnomusicology at Eastman School of Music and the University of Rochester’s College of Arts, Sciences, and Engineering. With a long history of studying Zimbabwean mbira dzavadzimu performance in ritual contexts, her research interests also encompass Zimbabwean popular music, music and gender, musical bows, and ethnomusicology in the anthropocene. Jennifer has served as co-chair of SEM’s African Music Section, and on the program committee of SEM’s Niagara Chapter. In addition, she has chaired several panels at SEM, spoken on the President’s Roundtable, and served as a reviewer for the journal Ethnomusicology.
Kathryn Metz (Ph.D., University of Texas at Austin, 2010) is the Manager of Community Outreach at the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio. She specializes in Latin American popular music with emphasis on cumbia and cosmopolitanism in the urban Amazon of Peru, as well as pop music pedagogy. Kathryn served on the SEM Program Committee for the 2015 Annual Meeting and has been the chair of the Keynote Committee for the Popular Music Section since 2012. She has participated in the SSW mentoring program since 2014. Kathryn was a student member on the Council from 2008 to 2010 and she has regularly presented papers and participated in roundtables at SEM since 2003.
Dr. Katherine Palmer is currently the Museum Educator at the Musical Instrument Museum in Phoenix, Arizona, where she is in charge of creating and teaching educational programs. Katherine earned a Doctorate of Musical Arts (clarinet) and a Master of Arts (ethnomusicology) from Arizona State University. Her master’s thesis focused on the Venezuelan music education program (El Sistema), and her doctoral research was centered on the Peruvian composer, Armando Guevara Ochoa, and his works for wind instruments. Committed to both research and performance, Katherine has presented papers, presentations, and performances throughout the United States and abroad on topics including ethnomusicology and music education, innovative arts curriculum development, and world music compositions. Active in SEM at the regional and national level, she was recently elected to serve as Co-Chair of the SEM Education Section. An active performing musician in the Phoenix area, Katherine is an adjunct instructor at Maricopa Community Colleges, a Faculty Associate in the Herberger Institute of Design and the Arts at ASU, and maintains a private teaching schedule. Katherine is the Executive Director of Daraja Music Initiative, a non-profit organization that provides music and conservation education in Moshi, Tanzania during the summer months to primary and secondary students.
Dwandalyn (Dwan) Reece is Curator of Music and Performing Arts at the Smithsonian’s new National Museum of African American History and Culture (NMAAHC), where she collects, researches, publishes, lectures, and develops exhibitions and programs for public audiences. She is curating the museum’s permanent music exhibition, Musical Crossroads, which opens in September 2016. She collaborates with other Smithsonian units, including the Center for Folklife and Cultural Heritage on the Festival program, Rhythm & Blues: Tell it Like It Is, and NMAAHC’s Grand Opening Festival, Freedom Sounds: The Social Power of Music, and sits on the executive committee of the pan-institutional group, Smithsonian Music. Before joining the Smithsonian, she was a senior program officer at the National Endowment for the Humanities, and worked at several museums, including the Brooklyn Historical Society, where she directed the West Indian Carnival Documentation Project, the Motown Museum, and the Louis Armstrong House and Archives. She received her Ph.D. in Performance Studies from New York University and has research interests in African American performance, constructions of race and identity, voice studies, the social role of music, and music museums as cultural markers and sites of community engagement.
Dylan Robinson is Assistant Professor at Queen’s University and the Canada Research Chair in Indigenous Arts. His areas of specialization include Indigenous music and sound art, Indigenous methodologies, and ontologies of listening in Pacific Northwest Indigenous communities. Uniting these areas of research is Robinson’s theoretical interest in the sensory and affective politics of sound. His publications include the collection Opera Indigene: Re/Presenting First Nations and Indigenous Cultures (2011), which examines operatic representations of First Peoples and the lesser-known history of opera created by Indigenous composers and artists, and the collection Arts of Engagement, Taking Aesthetic Action at the Truth and Reconciliation Commission of Canada (2016). He has served twice on SEM’s Ida Halpern Prize Committee, and has had the good fortune of giving presentations at SEM Annual Meetings each year since 2009, including on the presidential roundtable in 2015.
Matt Sakakeeny is Associate Professor of Music at Tulane University. He is the author of Roll With It: Brass Bands in the Streets of New Orleans (Duke University Press, 2013) and articles in several edited collections and journals, including Ethnomusicology, Black Music Research Journal, and Souls: A Critical Journal of Black Politics, Culture, and Society. His research on music, race, and power intersects with recent developments in political ethnomusicology and economic ethnomusicology. He is also co-editor of Keywords in Sound (Duke University Press, 2015) and his work has consistently brought an ethnomusicological perspective to sound studies. He has received grants from the National Science Foundation, Awards to Louisiana Artists and Scholars, and the New Orleans Center for the Gulf South, and awards from the Society for Ethnomusicology, the Popular Music Section of SEM, and Tulane University’s Center for Public Service. As part of his community-engaged research, Matt is a board member for Roots of Music and the Dinerral Shavers Educational Fund, and has published in media outlets such as Oxford American and NPR’s All Things Considered. He is also the guitarist and bandleader of Los Po-Boy-Citos.
Benjamin R. Teitelbaum is Instructor and Head of Nordic Studies and incoming Assistant Professor of Ethnomusicology at the University of Colorado, Boulder. A scholar of Nordic and Arctic musics as well as neofascism and organized racism, he has written and presented on topics ranging from folk-tune collecting in 1800s Sweden, to white nationalist hip hop and reggae, to the listening habits of Norwegian terrorist Anders Behring Breivik. His 2013 dissertation won the Joukowsky Family Foundation Outstanding Dissertation Award at Brown University and the Applied Research Award from Germany's Institute for the Study of Radical Movements. His first manuscript, Lions of the North: Sounds of the New Nordic Radical Nationalism, is forthcoming from Oxford University Press. Teitelbaum's commentary on music and politics have appeared, not only in scholarly venues, but also in major European and American media outlets, including Aftonbladet, Dagbladet, Dagens Nyheter, Helsinge Sanomat, Berlingske, Sveriges Radio, NRK Radio, Foreign Policy, and in multiple New York Times op-eds. And as a musician he specializes in Swedish folk music and Sweden’s unofficial national instrument, the nyckelharpa. Having earned the first degree in nyckelharpa performance awarded outside Sweden, he tours nationally and internationally as a performer and teacher.
Dr. Alan Williams is Professor of Music and Chair of the Department of Music and Coordinator of Music Business at the University of Massachusetts in Lowell. His research is concerned with the human at the center of the popular music industry, and has focused on recording studio practice, and its related areas. In addition to several journal articles, he has published chapters in the Art of Record Production (Ashgate), and the Oxford Handbook of Applied Ethnomusicology. Alan has presented at several SEM Annual Meetings, and is a member of the Popular Music Section and the Applied Ethnomusicology Section. He is the co-instructor for two sections of traditional Cambodian music ensembles at UMass Lowell, and is a frequent partner with the Angkor Dance Troupe, including taking a lead authoring role as a grant writer for developing Cambodian cultural arts in the Lowell Public School system. When not immersed in academic work, Alan can be found performing original compositions as the leader of the contemporary chamber pop ensemble Birdsong At Morning.
Louise Wrazen is Associate Professor in the Department of Music at York University, Toronto. Her research interests involve gender, identity and place, diaspora and transnationalism, and her areas of research include Poland (Tatra region), music and (dis)ability, urban cultural politics. Wrazen is a member of the Section on the Status of Women and Special Interest Groups (Disability and Deaf Studies, European Music, Voice Studies), and has presented many papers at SEM. She is currently chair of the 21st Century Fellowship Committee, and her past Niagara Chapter activities include serving as chair of the program committee and local arrangements committee. Wrazen is also a member of ICTM and CSTM. Her publications include Performing Gender, Place, and Emotion (co-edited with Fiona Magowan), a chapter in Women Singers in Global Contexts, and articles in Ethnomusicology, Yearbook for Traditional Music, Intersections, and Asian Music.