Asher Tobin Chodos is a composer, pianist and musicologist. He has been named a fellow of the Dave Brubeck Institute, the Asian Cultural Council (for his research into China’s jazz scene), and the Ucross Foundation. He holds a degree in Classical languages from Columbia University and is a doctoral candidate in music at the University of California, San Diego. His dissertation is a quantitative critique of automated music recommendation.
David Yearsley was educated at Harvard College and Stanford University, where he received his PhD in musicology in 1994. David’s first book, Bach and the Meanings of Counterpoint (Cambridge, 2002) explodes long-held notions about the status of counterpoint in the mid-eighteenth century, and illuminates unexpected areas of the musical culture into which Bach’s most obsessive and complicated musical creations were released. Bach’s Feet: the Organ Pedals in European Culture (Cambridge, 2012) presents a new interpretation of the significance of the oldest and richest of European instruments—the organ—by investigating the German origins of the uniquely independent use of the feet in music-making. Delving into a range of musical, literary, and visual sources, Bach’s Feet pursues the wide-ranging cultural importance of this physically demanding art, from the blind German organists of the 15th century, through the central contribution of Bach’s music and legacy, to the newly-pedaling organists of the British Empire, and the sinister visions of Nazi propagandists. His monograph Sex, Death and Minuets: Anna Magdalena Bach and Her Musical Notebooks is forthcoming from University of Chicago Press. In providing a range of literary, social, historical, and musical perspectives on the cherished musical manuscripts of J.S. Bach’s second wife, herself a gifted professional musician, this study radically revises our understanding of women in music in 18th-century Lutheran Germany and within the Bach family. David’s current scholarly project has the working title Bach Laughs, and is a study of the composer as musical humorist.
Inés Thiebaut was born and raised in Madrid, Spain. She is currently an Assistant Professor of Music at Cal State, East Bay. She holds a PhD from the CUNY Graduate Center (New York). Her research interests primarily engage with the music of the 20th century. Her music is rooted in postmodern tradition and influenced by perceptual art and complexity. Before her move to the East Bay, Inés held a 3-year visiting assistant professor position at the University of Utah.
Jocelyne Guilbault is an ethnomusicologist and popular music studies scholar who has been teaching at UC Berkeley since 1999. Stressing a multidisciplinary approach, her research and teaching engages critical theoretical and methodological issues in ethnomusicology and popular music studies. She locates these issues in the scholarly intersections of music, anthropology, cultural studies, and history.
All of my intellectual projects since 1980 have been deeply informed by the distinctive history of the West Indies, where colonial legacies of slavery and of racism have loomed large in all arenas of musical discourse and practice. This has compelled me to focus on diasporic formations, on emergent national identities, and on the politics of representation. And it has compelled me to investigate the postcolonial conditions in which West Indian musicians live and the systemic inequalities they have faced. But my research is not just about oppression, or emancipatory politics, or the status quo. By focusing on creative agency in its multiple forms, I have examined a multitude of ways that musicians, their audiences, and music industry workers confront, enact, deploy, and resist power in its many forms and effects. In this way I have consistently engaged with the politics of aesthetics and with power relations in music production and circulation. These issues inform my earliest fieldwork project on the politics of traditionality and modernity in St. Lucian village music. I developed these issues on a more global scale in a later project on Zouk as a Caribbean “world music.” My last two books draw from a long history of research in Trinidad. In one I explored the ways the calypso music scene became audibly entangled with projects of governing, audience demands, and market incentives. In the most recent publication, an experiment in dialogic co-authorship with a reputed Trinidadian calypso and soca band leader, I engage the audible entanglements of circulation, reputation, and sound.
As our compositional careers progress, it’s good to sometimes reflect on process and productivity, and think about how we arrived at the present moment as a creative individual, composer, and musician. This presentation reflects on my compositional process and and describes how I began composing acoustic music, abandoned it for electroacoustics, and now have come to a “middle ground” where I compose both acoustic and electroacoustic music.
Acclaimed as one of the “contemporary masters of the medium” by MIT Press’s Computer Music Journal, electroacoustic composer Elainie Lillios creates works that reflect her fascination with listening, sound, space, time, immersion and anecdote. Her compositions include stereo, multi channel, and Ambisonic fixed media works, instrument(s) with live interactive electronics, collaborative experimental audio/visual animations, and installations.