The forum is managed by a collective of scholars, performers, and educators. It is conceived as a collaborative venture.
I am currently at the Research Centre for Music and Gender (FMG) in Hannover, where I teach and study women’s contributions to music culture, and thereby the diversity of music culture itself. My recent book (Favourite Songs. Populäre englische Musikkultur im langen 19. Jahrhundert, 2022) emerged from a collection of women’s songs housed within the research center’s comprehensive archive, and offers a multifaceted portrayal of popular English music culture in the 19th century and women’s participation in it.
I am RP Wollenberg Professor of Music at Reed College, the author of Mahalia Jackson and the Black Gospel Field (2019) which won the Otto Kinkeldey Award from the American Musicological Society for outstanding book. I am also editor of the forthcoming Mahalia Jackson Reader, an anthology of writings on Jackson for Oxford University Press.
I am a classically trained soprano and a scholar interested in vocal performance. I have studied singing at the University of Belgrade Music Faculty and at Royal Academy of Music in London and performed extensively in opera and in concert. After earning a PhD at Goldsmiths, University of London in 2018, I founded The Art Song Platform, an ongoing forum for knowledge-exchange and the enhancement of performance as research in the genre of art song.
I am an ethnomusicology professor at The Juilliard School, having earned my PhD at Indiana University. I have published in the Journal of Popular Music Studies, Billboard Magazine, and other outlets. My research focuses on the musical impact of Historically Black Colleges and Universities and on Shirley Graham DuBois, one of the earliest Black women musicologists and opera composers.
I am a recent PhD from Harvard (2017) who studies the convergence of nationalism and feminism in mid-twentieth-century American opera. My book in progress is tentatively titled Feminist Transformations: Women in American Opera during the 1950s.
My current research interests center on women’s music and women’s organizations. My publications have treated both well-known women composers, such as Fanny Hensel and Amy Beach, as well as women who are largely unknown. My recent book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017), explores the forgotten world of accompanied recitation, a women’s genre that I have been performing for several years as part of the duo, Red Vespa.
My interest in the music of women composers and singers is an important part of my two recent books, Musical Salon Culture in the Long Nineteenth Century (Boydell, 2019) and, with Laura Tunbridge, German Song Onstage: Lieder Performance in the Nineteenth and Early Twentieth Centuries (2020). I perform regularly as a song accompanist in London and broadcast on BBC Radio 3 and review for BBC Music Magazine.
Emily Milius is currently a Visiting Assistant Professor of Music Theory at University of North Carolina – Greensboro. She will finish her PhD in Music Theory at the University of Oregon in June 2024. Some of her research interests include popular music, vocal timbre, trauma, and text/music analysis.
My books include Bernstein Meets Broadway: Collaborative Art in a Time of War (2014), which received the Music in American Culture Award from the American Musicological Society. Currently, I am in the process of writing Civil Rights in the Concert Hall: Marian Anderson and the Racial Desegregation of Classical Music.
A Fulbright award and Harvard research fellow recipient, I completed my postgraduate studies at the Royal College of Music (UK) in 2014. I explore the relationship of text and music in performances, publications, and initiatives that promote international engagement. I am the Artistic Director of The Panizza Dynasty Project, a creative partner of The International Centre for American Music (Florence, Italy) and am Assistant Professor of Music at Coventry University. Further information can be fund on Nicole’s website.
I am an interdisciplinary musician-scholar whose Indigenous-led and Indigeneity-centered work seeks to generate more just futures for Indigenous communities. My first book Sound Relations: Native Ways of Doing Music History in Alaska (Oxford University Press, 2021) won the 2023 Irving Lowens Book Award from the Society for American Music and the 2023 International Council for Traditions of Music and Dance Book Prize. I am an Associate Professor at the University of Washington.
My recent book, Chinatown Opera Theater in North America (2017), tells the story of iconic theater companies and the networks and migrations that made Chinese opera a part of North American cultures. It received the Music in American Culture Award from the American Musicological Society; the Lowens Book Award from the Society for American Music; and the Book Award in Humanities and Cultural Studies, from the Association for Asian American Studies.
I am writing a biography of Carrie Jacobs-Bond and am the donor of the Christopher A. Reynolds Collection of Women’s Song, 1800-1950, which is housed in Shields Library at UC Davis. It contains more than 5000 songs, letters, photos, and related ephemera. I am also curator of the database: “Women Song Composers: A Database of Songs Published in the United States and England, ca. 1890-1930.”
I have long been interested in the relationship between music and poetry, particularly in the songs of Fanny Hensel and Clara Schumann. I have edited a collection of essays, The Songs of Fanny Hensel (Oxford University Press, 2021), and my book on Clara Schumann’s songs is forthcoming from Cambridge University Press. I also host a podcast about poetry and song called Resounding Verse and run a website devoted to songs by underrepresented song composers called Art Song Augmented.
I am a researcher at the Spanish National Research Council (CSIC), Institució Milà i Fontanals, in Barcelona. I am now leading research projects that study the music of the Spanish Renaissance and Spanish folk music. Both document women’s singing.
I earned my PhD from Harvard in 2019 and specialize in the politics of 1960s experimental music and performance art. From the AMS I received the Paul A. Pisk Prize for outstanding graduate student paper presented at the annual conference, for “Ice Music, Ice Cello, Iced Bodies: Reinterpreting Charlotte Moorman’s Avant-Garde (1972–2018).” I have previously blogged for NewMusicBox and Musicology Now.
My interest in women’s voices has resulted in my books She’s So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music (2010); and Women and Music in Sixteenth-Century Ferrara (2018), and my article “White Face, Black Voice: Race, Gender, and Region in the Music of the Boswell Sisters,” JSAM (2008). I also co-direct the early music ensemble Musica Secreta, which has nine acclaimed recordings, including Lucrezia Borgia’s Daughter, winner of the 2016 Noah Greenberg Award from the AMS.
Issues of song, women, and women’s voices have engaged me since the beginning of my career. I am a founding member of the Oxford Song Network, and the author of The Song Cycle (2010), a history of the genre from the 19th to 21st centuries, and Singing in the Age of Anxiety: Lieder Performance in New York and London between the World Wars (2018).
