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Stephen S. Hudson is an Assistant Professor of Music Theory at Occidental College. He holds a B.A. from the University of California, Davis, and a Ph.D. from Northwestern University. Appointed in 2022, he specializes in metal music studies and R&B/Soul harmony. Education: B.A., University of California, Davis; Ph.D., Northwestern University Hudson’s research focuses on embodied experiences of rhythm, timbre, and song form in metal music, as well as harmonic complexity in R&B and Soul. His work has been featured in Music Theory Spectrum , Metal Music Studies , and Current Musicology . Recent publications include articles on Drake’s harmonic loops and Meshuggah’s groove structures. He is authoring two books: Heaviness in Metal Music (Oxford University Press) and a study of Meshuggah’s riffs (Lever Press). As Vice President of the Pacific Southwest chapter of the American Musicological Society, he advocates for inclusive music theory pedagogy that extends beyond classical traditions. His teaching emphasizes tools for songwriters and producers. Hudson maintains an active interest in classical and baroque cello performance, reflecting his engagement with both historical and contemporary music practices.

• Metal Music Studies
• Music Theory
• Rhythm and Timbre Analysis
• +3 more

Donna Gallo is an Assistant Professor of Music Education at the University of Illinois Urbana-Champaign (UIUC), School of Music. She previously held faculty positions at Westminster Choir College, where she coordinated the Kodály Certification program, and taught K-6 general/choral music in Fairfax County Public Schools (VA) and Simsbury Public Schools (CT). Gallo’s academic background includes a Ph.D. from Northwestern University, an MME from Silver Lake College, a BME from Indiana University, and training at the Kodály Institute in Hungary, where she received the International Kodály Society Scholarship . Her research focuses on: Inservice teacher learning through collaborative professional development structures. Creative music-making and the integration of popular music practices in elementary education. Community partnerships as critical experiences for preservice teacher training. Quantitative research methodologies in music education. Educational equity through culturally responsive teaching and service learning. Teaching strategies for neurodivergent and physically divergent students. Gallo has secured grants for professional development programs and community partnerships with local music educators and school districts. Notably, she collaborated with the School of Music and College of Engineering on a UIUC grant to address systemic racism and social injustice. She has published in leading journals such as the Journal of Research in Music Education , Music Education Research , and International Journal of Music Education , and authored book chapters in The Routledge Companion to Creativities in Music Education and Toward Equity in School Music . Scientific Awards: International Kodály Society Scholarship (Kodály Institute, Hungary). In advising and grants, Gallo emphasizes culturally responsive teaching and first-year teacher support through service learning. Her work bridges music education with interdisciplinary initiatives, leveraging technology and partnerships to drive equity-focused innovation. She is actively involved in editorial roles, including past editor of AOSA Echo (2012–2016) and current editorial board member of the Music Educators Journal . Her collaborations span the UIUC School of Music and College of Engineering, as well as local schools and community artist mentors. Gallo’s efforts aim to transform music education through inclusive curricula, technology integration, and systemic change.

• Music Education
• Teacher Professional Development
• Creative Music Practices
• +8 more

William Lucey is an Associate Professor in the Music Production and Engineering (MP&E) and Songwriting departments at Berklee College of Music, a leading institution in contemporary music education. His academic role is deeply informed by his extensive professional career as a performer, songwriter, and producer. His research and creative interests center on music production, songwriting craft, audio engineering, and the integration of analog and digital technologies in music. He emphasizes practical, real-world applications in his teaching, drawing from decades of experience in the music industry. The body of his recent work—including songs like Home , Haunt Me Again , and All I Want for Christmas is a Christmas No. 1 —demonstrates a broad range across genres such as Americana, pop, rock, electronic, and folk. His production style is hands-on, spanning songwriting, arrangement, performance, engineering, and mixing. He frequently collaborates with emerging and established artists, often playing multiple instruments and overseeing full production. Meteor Award Ireland for Best Hope for the Future Boston Music Awards for Best New Act and Best Vocalist World Peace Award for Best International Act As an educator and mentor, Lucey has taught songwriting and production at Berklee for over 25 years, guiding countless students in developing their artistic voices. He also engages in professional projects that serve as living case studies for his pedagogy. His studio practice blends analog warmth with digital precision, reflecting his philosophy of marrying the best of both worlds. While no formal lab or research team is mentioned, his production house functions as a creative hub for collaboration with session musicians and artists worldwide.

• Music Production
• Songwriting
• Audio Engineering
• +6 more

Mark Tonelli is an Associate Professor of Guitar Studies at the School of Music, Millikin University. He coordinates the guitar studies program, teaching electric guitar ensemble, applied lessons, guitar pedagogy, and masterclasses while also instructing jazz improvisation and founding the student-run Arts Cafe venture for live performance venue management. His educational background includes: B.M. in Jazz Performance from William Paterson College M.M. in Jazz Studies from the University of North Texas Ed.D. in Music Education from Columbia University Tonelli's research integrates jazz performance with entrepreneurial education, emphasizing practical application through venue operations and music pedagogy. His work bridges traditional jazz studies with contemporary music business innovation, evidenced by his Arts Cafe initiative and publications addressing real-world industry challenges for musicians. His accolades include an Emmy nomination for the PBS special 'Marina At West Point,' Billboard Magazine composition competition finalist status, and a USA Songwriting Competition prize. His recordings have received critical acclaim through the MTonal Music label. As guitar studies coordinator, Tonelli mentors students through performance ensembles and the Arts Cafe program, providing hands-on venue management experience. His professional presentations at national conferences focus on jazz studies entrepreneurship, though specific grant details are not documented. Tonelli maintains an active performance career with his ensemble, having completed residencies in New York City, Dallas, and Kansas City while collaborating with jazz legends including Benny Golson, Billy Cobham, and Bobby Watson during his decade with the West Point Band's Jazz Knights.

• Jazz Studies
• Guitar Performance
• Music Education
• +2 more

Stephanie Burt is the Donald P. and Katherine B. Loker Professor of English at Harvard University's Faculty of Arts and Sciences (FAS). Her office is located at Barker 270, and she holds regular office hours. She earned a B.A. from Harvard in 1994 and a Ph.D. from Yale in 2000. Her research focuses on 20th- and 21st-century poetry, science fiction, literature’s relationship with geography, contemporary writing, comics, and intersections between literature and other arts. She hosts the podcast Team-up Moves and teaches a creative writing workshop on poetry. Burt’s publications include critical works like The Poem Is You (2016) and poetry collections such as We are Mermaids (2022). Her writing explores formal innovation, interdisciplinary approaches, and the public role of poetry. She is currently on leave for Spring 2025.

• Poetry
• Literary Criticism
• 20th/21st Century Literature
• +5 more

Robert N. Watson is a Distinguished Professor of English at the University of California, Los Angeles , affiliated with the Department of English within the College of Letters and Science . He has held significant leadership roles including Chair of the Department of English , Chair of the Faculty of the UCLA College of Letters and Science , and Associate Vice-Provost for Educational Innovation . Education : B.A., summa cum laude , Yale University (1975) Ph.D., Highest Honors , Stanford University (1979) Professor Watson’s research focuses on William Shakespeare and Ben Jonson , literature and the environment , cultural evolution , and the U.S. in the 1960s . His work in ecocriticism explores intersections between environmental ethics and early modern literature , while his interdisciplinary research on cultural memeplexes investigates self-replicating cultural systems that parasitize human cognition. His recent publications apply algorithmic analysis to Shakespearean texts, revealing computational patterns in Elizabethan dramatic structure . Scientific Awards : Guggenheim Fellowship NEH Senior Research Fellowship Thomas J. Wilson Prize (1984) Elizabeth Dietz Memorial Prize (2007) ASLE Prize for Ecocriticism (2005-07) UCLA Distinguished Teaching Prize (2001) Gold Shield Prize (2006-08) As a humanities educator , he has created interdisciplinary courses on the 1960s cultural era and served as Head Scholar at the Teaching Shakespeare Summer Institute . His editorial work includes New Mermaids Series editions of Jonson’s plays and the forthcoming Arden edition of Measure for Measure . With publications spanning Shakespearean fear of death to Japanese cinema analysis , he remains a prominent figure in humanistic responses to cultural crises .

• Renaissance & Early Modern Studies
• Ecocriticism
• Environmental Humanities
• +3 more

Erik Santos is an Associate Professor and Chair of Composition within the University of Michigan's School of Music, Theatre & Dance. He holds DMA and MM degrees in Composition from the University of Michigan and a BM in Voice from Indiana University of Pennsylvania. His research spans acoustic/electronic music, dance-theater production, and interdisciplinary collaborations. Notable projects include scores for the Japanese butoh company Dairakudakan and the October Babies band's multicultural music. He co-created the Fukushima-inspired documentary series (e.g., Threshold: Whispers of Fukushima) and films exploring post-disaster cultural resilience. Recipient of the 2020 Sousa-ABA-Ostwald Prize Charles Ives Fellowship (American Academy of Arts and Letters) Organized the Fukushima Tribute Concert featuring Yamakiya Taiko ensemble His work emphasizes non-traditional performance spaces (dance clubs, museums, digital platforms) and integrates spontaneous sensory experiences with music. Santos actively collaborates with international artists and organizations, including the Center for Japanese Studies and Willis Sound label.

• Music Composition
• Acoustic and Electronic Music
• Dance/Theater Production
• +3 more

Dr. Jonathan Ottaway is an Assistant Professor of Christian Theology at the Regent University School of Divinity. Born in the UK, he holds a B.A. in Music from Jesus College, Cambridge University; a Master of Divinity from Gordon-Conwell Theological Seminary; and a Th.D. from Duke Divinity School. His doctoral dissertation, 'Worship On Earth As It Is On Earth: Discovering the Liturgical History of Pentecostal-Charismatic Worship,' anchors his research interests in liturgical studies, Pentecostal theology, and contemporary praise practices. His work bridges academic theology with practical church life, focusing on biblical interpretation, American church history, and the intersection of worship and tradition. Notable recent publications include essays on methodology in praise studies, Pentecostal hermeneutics, and liturgical history. Ottaway also serves as an accomplished church musician, worship leader, and songwriter, integrating his scholarly expertise with artistic expression. Education B.A. in Music, Jesus College, Cambridge University M.Div., Gordon-Conwell Theological Seminary Th.D., Duke Divinity School (Dissertation: 'Worship On Earth As It Is On Earth') Research Focus Ottaway explores how liturgical practices shape theological identity in free-church traditions. His work critiques gaps in Pentecostal liturgical historiography while advocating for biblically rooted worship frameworks. Recent articles emphasize methodological rigor in studying contemporary praise, the role of tradition in biblical interpretation, and pedagogical shifts in worship education. Grants & Advising No grants or formal advisees listed in current materials. Labs/Teams No formal research labs mentioned, though his church music collaborations suggest active involvement in worship ministry networks.

• Liturgical Studies
• Pentecostal and Evangelical Theology
• Contemporary Praise and Worship
• +3 more

Amy N. Melton is an Assistant Instructor in Music & Human Learning at the University of Texas at Austin, currently pursuing a Ph.D. in Music and Human Learning. She teaches courses on classroom instruments and children’s musical development. Her research focuses on immigrant students’ experiences in music education and teacher pedagogical approaches, employing qualitative methodologies such as case study and ethnography. Education: B.M. in Music Education (summa cum laude, Columbus State University, 2016). Awards include University System of Georgia Scholar of the Year (2016), Spencer Scholar (Oxford University), and Presser Scholar (Schwob School of Music). Previous roles include elementary music teacher at Benefield Elementary (2017–2021), where she co-conducted a 120-member choir serving a diverse student body. Active performer as a hornist and certified First Steps in Music instructor. Current interests include improvisational pop music and songwriting.

• Music Education
• Immigrant Student Experiences
• Cultural Responsiveness in Education
• +3 more

Serona Elton is a Professor at the University of Miami within its Frost School of Music , specifically the Music Industry Department . She also holds administrative roles as Interim Vice Dean and Director of the Music Industry Program . Her career bridges academia, music industry practice, and legal expertise, with past senior roles at Warner Music Group and EMI Recorded Music , as well as consulting for Sony Music , Universal Music Group , and Zumba Fitness . Education : B.S.B.A. in Finance, University of Florida M.M. in Music Media and Industry, University of Miami J.D., Brooklyn Law School Her research and professional focus lies in music business , copyright law , digital licensing , mechanical royalties , and artist management . Through her publications and Mechanical Licensing Collective (MLC) role as Head of Educational Partnerships, she has significantly shaped understanding of music licensing reforms like the Music Modernization Act . Her work addresses both foundational and emerging challenges, including AI’s impact on copyright and international anti-piracy strategies . The trends in her 10 publications (2009–2023) span music industry history , digital distribution , copyright enforcement , and artist revenue models . These works emphasize mechanical licensing , graduated response programs to piracy, and contemporary music business practices . Scientific Awards and Recognitions : Recognized as Yamaha Master Educator Served as President of MEIEA (Music and Entertainment Industry Educators Association) Trustee of the Copyright Society of the U.S.A. Active in the Florida Bar Entertainment, Arts, and Sports Law Section Media Appearances include NPR Marketplace , CNN , The New York Times , and Wired , where she comments on concert ticket pricing , music catalog sales , streaming platform negotiations , and copyright issues . She also co-authored the widely cited textbook Music Business Handbook and Career Guide , now in its 13th edition, which serves as a core resource for students and professionals.

• Music Business
• Copyright Law
• Digital Licensing
• +3 more

Jonathan Dillon is an Assistant Professor in General Music Education at the University of Utah, where he teaches undergraduate and graduate courses on music pedagogy, educational theory, and arts integration. He also serves as a Faculty Affiliate for the Office of Undergraduate Research, mentoring students in critical inquiries about music education. Education: DMA in Music Education from Boston University MM in Music Education from University of Montana BM in Music Education from University of Alaska Fairbanks Kodály Certificate from Seattle Pacific University Dillon focuses on reimagining curriculum and pedagogy in general music education to foster student agency and subjectivity. His research explores how music education can empower children as active participants in their lives, emphasizing critical inquiry, creativity, and equity. He also investigates intersections of popular music, technology, and culturally sustaining practices in music pedagogy. His recent scholarship analyzes neoliberal influences in music education, develops world-centered curricula, and critiques traditional part-work pedagogy. These works appear in journals like the International Journal of Education & the Arts and the Journal of Popular Music Education . Scientific Awards: 2017 BP Teacher of Excellence 2016 Alaska Arts Educator Fellowship Dillon offers professional development to in-service educators through workshops and presentations at national events like the Organization of American Kodály Educators. He also teaches courses such as Introduction to Music Education and Creative Connections in Music , and will join the MAT-FA integrative arts education graduate program in Summer 2024.

• Music Education
• Educational Theory
• Curriculum Development
• +5 more

Martha Gonzalez is an Associate Professor in the Intercollegiate Department of Chicana/o-Latina/o Studies at Scripps College, Claremont, where she also serves as the Director of the Scripps Humanities Institute. A scholar, artist, and activist, she is deeply engaged in public scholarship through music, performance, and community organizing. Her work bridges academia and grassroots movements, particularly through her leadership in the Grammy Award-winning band Quetzal and her role in fostering transnational cultural dialogues. PhD in Feminist Studies (Chicana Studies Emphasis), University of Washington, 2013 BA in Ethnomusicology, University of California, Los Angeles, 1999 Transfer, Pasadena City College, 1990-1993 Her research centers on the intersection of Chicana feminist theory , Chican@ music , transnational musical dialogues , and performance studies . She emphasizes collective songwriting and participatory music as tools for social justice and decolonial praxis. Her scholarly work is deeply informed by her lived experience as a musician and community organizer in East Los Angeles and transnational networks with Jarocho communities in Veracruz, Mexico. The 15 most recent publications reflect a consistent engagement with themes of cultural resilience, feminist epistemology, and music as testimony. They span ethnographic analysis, critical reviews, and theoretical explorations, demonstrating her interdisciplinary approach across folklore, ethnomusicology, urban studies, and feminist theory. Her work frequently highlights marginalized voices and practices, from street vendors in Boyle Heights to incarcerated women. Her scientific honors include: MacArthur Fellowship (2022) United States Artist (USA) Fellowship (2021) Grammy Award (2013) Fulbright Garcia-Robles Fellowship (2007-2008) Woodrow Wilson Career Enhancement Fellowship Multiple Scripps College research and teaching awards Gonzalez has advised and co-founded several academic and artistic collectives, including Women Who Rock and The Seattle Fandango Project . She has secured research grants from the Mellon Foundation, California Arts Council, and the 5Cs Creativity and Innovation Initiative. Her leadership extends to board roles at Smithsonian Folkways Records and the American Folklife Center at the Library of Congress . Her personal musical artifacts are housed in the National Museum of American History , underscoring her cultural impact.

• Chicana Feminist Theory
• Chican@ Music
• Transnational Musical Dialogues
• +7 more

Cheng Zhi Huang is the Robert N. Noyce Career Development Professor and Assistant Professor at MIT, holding a shared appointment between the departments of Music and Theater Arts and Electrical Engineering and Computer Science (EECS). His work bridges artificial intelligence, music technology, and computer science to advance human-AI collaboration in musical creativity. Huang leads research in generative models for music composition, real-time interactive systems, and expressive performance synthesis. His contributions include tools like ReaLJam for AI-assisted jamming and the MAESTRO dataset for piano performance modeling. His research interests span AI-driven music generation, human-AI interaction frameworks, and culturally-aware music technologies. Notable projects include The Bach Doodle—an accessible web-based composition tool—and MIDI-DDSP for detailed performance control. Huang’s work emphasizes ethical and creative applications of AI in arts, fostering collaborations between musicians, engineers, and computer scientists. His publications highlight advancements in hierarchical generative modeling, source separation techniques, and co-creation interfaces for novices. Huang’s research has been showcased in venues like TISMIR and IEEE conferences, reflecting his interdisciplinary impact on music technology and machine learning.

• Artificial Intelligence
• Music Technology
• Computer Science
• +4 more

Pablo Martín Ruiz is an Associate Professor in Romance Studies at Tufts University's School of Arts and Sciences. His research examines 20th century Latin American fiction, poetry, songwriting, and experimental translation practices. Research specialties include: Borges studies Oulipo constraints Songwriting poetics Potential translation Literary composition Publications analyze musical dimensions of Argentine rock and narrative strategies in detective fiction. Creative projects include founding Outranspo collective exploring experimental translation and Holobiente platform examining human-nonhuman relationships. Teaching covers Latin American literature from colonial times to contemporary works, with courses on Borges, translation theory, and songwriting poetics.

• Latin American Fiction
• Songwriting Studies
• Poetry and Poetics
• +3 more

Fred Maus is a Professor in Critical & Comparative Studies at the University of Virginia, specializing in interdisciplinary research that bridges music theory, gender and sexuality studies, and narrative theory. His work explores the intersection of identity, trauma, and musical expression. Ph.D. in Music Theory, Princeton University M.Litt. in Philosophy, Oxford University His research spans queer popular music, embodiment in musical performance, and the narrative dimensions of instrumental music. Recent projects examine LGBTQ+ identities in professional music theory, queer listening practices, and trauma-informed approaches to music analysis. Dr. Maus co-edited The Oxford Handbook of Music and Queerness (2022) and has published influential essays on topics such as queer sexuality in classical concert music, AIDS-related narratives in songwriting, and the somatic experience of musical performance. His work often engages with feminist and critical frameworks. Scientific awards and roles include: Founding member and first Book Review Editor of Women and Music First Chair of the Queer Resource Group of the Society for Music Theory First Chair of SMT’s Standing Committee on LGBTQ+ Issues Co-editor of foundational texts in queer music studies His teaching emphasizes slow, reflective approaches to music analysis and the philosophical underpinnings of musical experience.

• Music Theory
• Gender and Sexuality Studies
• Queer Musicology
• +5 more