CONTRIBUTORS’ BIOGRAPHIES
lisA bArG
teaches at the Schulich School of Music at McGill University. Her
research and teaching focus on the intersection of race, gender, and sexuality
in twentieth- century music, modernism, jazz, and popular music. She has pub-
lished articles in American Music, Journal of the Society of American Music,
Journal for the American Musicological Society, Musical Quarterly, Black Music
Research Journal, and Women and Music. She is currently finishing a book, Day
Dream: Billy Strayhorn, Queer History and Midcentury Jazz. An article from that
project, “Queer Encounters in the Music of Billy Strayhorn,” was awarded the
Philip Brett Award for excellence in lGbtq musicology in 2015.
GeorGinA born
trained as an anthropologist and performed as an impro-
vising cellist and bass guitarist with groups that include Henry Cow, the Fem-
inist Improvising Group (FiG), Derek Bailey’s Company, and Mike Westbrook’s
Orchestra. She is Professor of Music and Anthropology at Oxford University
and Professorial Fellow of Mansfield College. In 2014, she was the Bloch Visit-
ing Professor in Music at the University of California, Berkeley, and from 2013
to 2015, she was the Schulich Visiting Chair in Music at McGill University. Born
researches cultural production, including major Western cultural institutions.
She has also written on television, software, art- science, and interdisciplinarity.
She directs the research program Music, Digitization, Mediation: Towards Inter-
disciplinary Music Studies, which is funded by the European Research Council.
Her recent books are Interdisciplinarity (with Andrew Barry; 2013) and Music,
Sound and Space (2013). She is a Fellow of the British Academy and of Academia
Europaea.
dAVid brAckett
teaches at the Schulich School of Music of McGill Univer-
sity, where he specializes in the history of popular music, jazz, and contem-
porary classical music. In addition to more than forty journal articles, book
chapters, and book reviews, he has published three books: Interpreting Popular
Music (1995) and The Pop, Rock, and Soul Reader: Histories and Debates (2005).
His latest book, Categorizing Sound: Genre and Twentieth- Century Popular Music
(2016), analyzes the conditions necessary for the emergence and perpetuation
of the categories that are central to the classification of popular music.
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