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Acoustemologies in Contact

Emily Wilbourne
Suzanne G. Cusick

Notes on Contributors

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1 Patricia Akhimie is Associate Professor of English at Rutgers University — Newark. She is the author of Shakespeare and the Cultivation of Difference: Race and Conduct in the Early Modern World (2018), and co-editor of Travel and Travail: Early Modern Women, English Drama, and the Wider World (with Bernadette Andrea, 2019). Her research has been supported by the National Endowment for the Humanities, the Folger Shakespeare Library, the Ford Foundation, the National Sporting Library, and the John Carter Brown Library.

2 Olivia Bloechl is Professor of Music at the University of Pittsburgh, with research interests in the early modern Atlantic world, French Baroque opera, postcolonialism, feminist ethics, and global music history. She is the author of Native American Song at the Frontiers of Early Modern Music (2008) and Opera and the Political Imaginary in Old Regime France (2017), and co-editor of Rethinking Difference in Music Scholarship (with M. Lowe and J. Kallberg, 2015). A longtime advocate of postcolonial and global approaches to music history, she is a founding convener of the Global Music History Study Group of the AMS.

3 Ireri E. Chávez Bárcenas is Assistant Professor of Music at Bowdoin College. She received her doctoral degree in musicology from Princeton University and a master’s degree in religion and music from Yale University. Her work analyzes the performance of villancicos within the institutional and social fabric of Puebla de los Ángeles and develops a new methodology for the study of function, meaning, and transmission of the vernacular song tradition in the Spanish empire. She has published studies on the villancico in early seventeenth-century New Spain and on Vivaldi’s opera Motezuma and the adaptation of conflicting historiographical interpretation about the Conquest of Mexico in Early Modern Italy.

4 Suzanne G. Cusick is Professor of Music on the Faculty of Arts and Science at New York University and Honorary Member of both the American Musicological Society and the Society for Ethnomusicology; she has published extensively on gender and sexuality in relation to the musical cultures of early modern Italy and of contemporary North America. Her 2009 book Francesca Caccini at the Medici Court: Music and the Circulation of Power received the ‘Best Book’ award for 2010 from the Society for the Study of Early Modern Women. More recently, she has studied the use of sound in detention and interrogation of prisoners held during the twenty-first century’s ‘war on terror’, work for which she won the Philip Brett Award of the American Musicological Society. Cusick is currently at work on a monograph on gendered, eroticized, and politicized modes of hearing in Medicean Florence. Cusick served as President of the American Musicological Society from 2018 to 2020.

5 Glenda Goodman is Assistant Professor of Music at the University of Pennsylvania. She works on the history of early American music. Her first book, Cultivated by Hand: Amateur Musicians in the Early American Republic (2020), considers the material and social practice of amateur music-making. She also researches music, Indigeneity, and colonial encounter, and is currently working on a new book about sacred music and Native American Christian conversion in colonial New England and New York. She is also working on a collaborative project, American Contact: Intercultural Encounter and the History of the Book, which will result in a volume and digital project. Her articles have appeared in the Journal of the American Musicological Society, the Journal of the Society for American Music, the William and Mary Quarterly, Eighteenth-Century Studies, and the Journal of the Royal Musical Association.

6 Zhuqing (Lester) S. Hu is Assistant Professor in Musicology at the University of California, Berkeley. He holds a Ph.D. in Music History and Theory from the University of Chicago, where his dissertation was recognized with a Dean’s Distinguished Dissertation Award of the Humanities Division in 2020. He is a former recipient of the Howard Mayer Brown Fellowship from the American Musicological Society, the Mellon Dissertation Research Fellowship from the Council for Library and Information Resources, and the Chateaubriand Fellowship from the French Embassy in the US. His research focuses on global histories of music in the early modern era, particularly intersections between music and empire-building in Eurasia and comparative studies between the Qing Empire (1636–1912) and the European-Atlantic world. His works have appeared in Early Music and Opera Quarterly, and he is currently working on a monograph based on the ‘Phonographic Revolution’ hypothesis he develops in his contribution to this volume.

7 Danielle Skeehan is Associate Professor in English at Oberlin College, where she specializes in early and nineteenth-century American literature. Her work has appeared in The Eighteenth Century: Theory and Interpretation, The Appendix, The Journal of the Early Republic, Commonplace, and Early American Studies. Her first book, The Fabric of Empire: Material and Literary Cultures of the Global Atlantic, 1650–1850 (2020), provides a new model for thinking about the different media, languages, literacies, and textualities in the early Atlantic world.

8 Nina Treadwell is Professor of Music at the University of California, Santa Cruz. She is a music historian and a performer on Renaissance and Baroque plucked-string instruments. She particularly enjoys playing basso continuo in baroque operas, especially those ripe for queer performative interventions. Ironically, her written work often engages with ‘opera’s others’, musico-theatrical works that typically fall outside of the musicological canon and are rarely performed. Her first book — Music and Wonder at the Medici Court: The 1589 Interludes for ‘La pellegrina’ — was published by Indiana University Press in 2008. She is currently completing a monograph on queerness in sixteenth-century Italian music-making.

9 Jane Tylus is Andrew Downey Orrick Professor of Italian Studies and Professor of Comparative Literature at Yale. She is the author of several monographs (Siena, City of Secrets (2015); Reclaiming Catherine of Siena (2009); Writing and Vulnerability in the Late Renaissance (1993)) and has translated the complete poetry of Gaspara Stampa and Lucrezia Tornabuoni de’ Medici. She is currently working on a book manuscript entitled ‘Saying Goodbye in the Renaissance’ and a collection of essays on accompaniment and translation. She is General Editor of I Tatti Studies in the Italian Renaissance.

10 Emily Wilbourne is Associate Professor of Musicology at Queens College and the Graduate Center in the City University of New York, and (since 2017) Editor-in-Chief of Women & Music: A Journal of Gender and Culture. Her first book, Seventeenth-Century Opera and the Sound of the Commedia dell’Arte, was published in 2016 by University of Chicago Press, and an edited collection in honor of Suzanne G. Cusick appeared as a special issue of Women & Music in 2015. Wilbourne’s articles have appeared in the Journal of the American Musicological Society, Women & Music, Recercare, Teatro e storia, Italian Studies, Echo, and Workplace. In 2011, Wilbourne was awarded the Philip Brett Award for excellence in queer music scholarship for her article, ‘Amor nello specchio (1622): Mirroring, Masturbation, and Same-Sex Love’; in 2017–2018, she was the Francesco De Dombrowski Fellowship at the Harvard University Center for Renaissance Studies at Villa I Tatti in Florence.


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