The Contributors (Volume 7 Special Edition)

PAUL ATTINELLO is a senior lecturer at Newcastle University who has taught at the University of Hong Kong and as a guest professor at UCLA. He received his PhD from UCLA and certification as a psychoanalyst from the Jung-Institut in Zürich. He is published in in Contemporary Music Review, Radical Musicology, the Journal of Musicological Research, Tempo, Musik-Konzepte, Musica/Realtá, the Revised New Grove, and essay collections and reference works including the groundbreaking Queering the Pitch: The New Lesbian & Gay Musicology. He has written on contemporary musics, music about AIDS, and philosophical and psychological topics, and is co-editor of collections on the Darmstadt avant-garde, the composer Gerhard Stäbler, and music in Buffy the Vampire Slayer. He is now working on archetypal and political psychologies of HIV/AIDS for projected publications by Routledge.

IAN BIDDLE is Senior Lecturer in Music and Cultural Theory at the International Centre for Music Studies, School of Arts and Cultures, Newcastle University. He completed his PhD at Newcastle in 1995 and has taught at UEA, Norwich (1996-7) and at Newcastle University (since 1998). He has published widely on Austro-German music, music gender and sexuality and music and the Holocaust. His works include Cultural Histories of Noise, Sound and Listening in Europe, 1300-1918 (Routledge, 2016) Sound, Music Affect: Theorizing Sonic Experience (Bloomsbury, 2013, with Marie Thompson), Music and Identity Politics (Ashgate 2012), Music, Masculinity and the Claims of History (Routledge, 2011), Masculinity and Western Musical Practice (Ashgate 2009 with Kirsten Gibson) and Music, National Identity and the Politics of Location: Between the Global and the Local (Ashgate, 2006 with Vanessa Knights). 

JACK CURTIS DUBOWSKY is an author, composer, music editor, and filmmaker. He works extensively in film and television, and his experience as a practitioner informs his research and writing. Dubowsky’s monograph Intersecting Film, Music, and Queerness (2016 Palgrave Macmillan) bridges musicology, cinema studies, and queer theory. Easy Listening and Film Scoring: 1948-1978 is forthcoming with Routledge. In the 1980s and 1990s, Dubowsky sang and played in queercore bands Diazepam Nights and Helot Revolt. He produced performance artist Glen Meadmore’s queer cowpunk album, Hot Horny and Born Again. Dubowsky produced and directed the documentary feature Submerged Queer Spaces (2012), which examines architecture and gentrification in San Francisco. Dubowsky’s concert music emphasizes social justice: Harvey Milk: A Cantata has been performed by university, high school, and community choruses nationally. Dubowsky has scored films and documentaries including Steven Arnold: Heavenly Bodies, Redwoods, Rock Haven, That Man: Peter Berlin, and I Always Said Yes: The Many Lives of Wakefield Poole. Dubowsky is a member of the Academy of Television Arts and Sciences, the Recording Academy, the Motion Picture Editors Guild, and a fellow of the Virginia Center for the Creative Arts. He has taught at McNally Smith College of Music, NYU, and Academy of Art University.

KARI KALLIONIEMI has been working as researcher, university lecturer and professor in the Department of History, Culture and Arts Studies at University of Turku. For most of his career, he has been specialising in the study of popular music and culture in the context of cultural history. He has been especially interested in how the different notions of nationality and politics can be seen through the prism of popular culture. His recent publications include Englishness, Pop and Post-War Britain (Intellect, 2016) and the edited special journal (Journal of European Popular Culture, 8:2, 2017) based on the project he was directing from 2014 to 2017, Thatcherism, Popular Culture and the 1980s. His current research interests will deal with the legacy of fascism and the fascination with it in European popular music and culture. Since 2013, he has also been Vice Director of the IIPC (International Institute for Popular Culture) at the University of Turku and, since 2015, President of the EPCA (European Popular Culture Association).

FRED EVERETT MAUS has written about music and narrative, implicit discourses of gender and sexuality in music theory, queer popular music in the 1980s, the relation between analysis and performance, the concept of musical unity, and other topics. He was the first Chair of the Queer Resource Group of the Society for Music Theory. He teaches music at the University of Virginia. In his teaching he has increasingly explored experiential and embodied learning, with support from the Contemplative Sciences Center at the UVa. Some of his recent pedagogical practices are described in an essay, “Teaching Music Slowly” (Chambers and Gerhart, Reversing the Cult of Speed in Higher Education). He is a certified teacher of Deep Listening, as pioneered by Pauline Oliveros, and a certified meditation teacher, offering classes through the Insight Meditation Community of Charlottesville. He previously published an essay,  “What Was Critical Musicology?” in Radical Musicology Vol. 5.

ANNA-ELENA PÄÄKKÖLÄ (PhD, MEd) is a music researcher, fixed-term lecturer at the University of Turku, and a performing musician. Her main interests include issues of music in relation to feminist and queer themes, cultural and political activism, embodiment, sexuality, and technology. She has published on popular music and music videos, opera and musicals, and film music. Her PhD dissertation (2016) discusses sadomasochistic erotica in a variety of audiovisual music performances.

JOHN RICHARDSON is Professor of Musicology at the University of Turku. His main research interests include popular music, avant-garde music, gender studies, and audiovisual research. He is the author of An Eye for Music: Popular Music and the Audiovisual Surreal (Oxford University Press 2012) and Singing Archaeology: Philip Glass’s Akhnaten (Wesleyan University Press 1999). He is additionally co-editor of The Oxford Handbook of New Audiovisual Aesthetics (eds. Richardson, Gorbman & Vernallis 2013), The Oxford Handbook of Sound and Image in Digital Media (eds. Vernallis, Herzog and Richardson 2013), Music, Memory, Space (eds. Brusila, Johnson & Richardson; Intellect 2016), and Einstein on the Beach: Opera beyond Drama (eds. Novak & Richardson; Routledge 2019) Richardson is an active songwriter and composer. His first solo album, The Fold, was released in 2017 (Svart Records); a second, The Pine and the Birch, is forthcoming in 2019. 

SUSANNA VÄLIMÄKI is Senior Lecturer of Musicology at the University of Turku, Finland, and holds the title of docent in musicology at the University of Helsinki. Välimäki is the author of four books: Subject Strategies in Music: A Psychoanalytic Approach to Musical Signification (2005), Miten sota soi? Sotaelokuva, ääni ja musiikki (How Does War Sound? War Films, Sound and Music) (2008), Muutoksen musiikki: Pervoja ja ekologisia utopioita audiovisuaalisessa kulttuurissa (Music of Transformation: Queer and Ecological Utopias in Audiovisual Culture) (2015), and Syötävät sävelet: Vieraana säveltäjien pöydissä (Tasty Tones: A Culinary History of Classical Music) (2017). Välimäki’s current research project deals with Finnish women composers born in the 19th Century. Besides academic activities, Välimäki works as a music critic and produces radio and television programmes on classical music for Finnish Broadcasting Company.

JON MIKKEL BROCH ÅLVIK is senior lecturer in musicology in the School of Music, Theatre and Art at Örebro University, Sweden. He also runs the university’s BA programme in musicology, Music, Culture and the Media. Ålvik holds MA and PhD degrees from the University of Oslo and specialises in critical musicology and popular music research, with popular music and identity in the Nordic region as his chief area of interest. His work appears in The Routledge Research Companion to Popular Music and Gender (2017) and The Routledge Companion to Popular Music Analysis: Expanding Approaches (2019). He is also a music critic for the Norwegian weekly newspaper, Morgenbladet.