Notes on Contributors
He received his PhD in Musicology in 2009 from the University of Pavia, where he is currently Lecturer in popular music. His teaching and research activities are focused on analytical approaches to music and audiovisual media in Anglo-American and Italian popular culture since the 1960s. He has published on musical and media experimentation in popular music, on the structural relationship between musical form and meaning, and on the trope of authenticity in contemporary media. He currently serves as a member of the Advisory Board of the GATM (Italian Study Group for Music Theory and Analysis) and is the editor of «Analitica: Online Journal of Music Studies».
He teaches General and Transcultural Musicology at the University of Macerata, and Jazz Analysis at the “S. Cecilia” Conservatory in Rome. As a guitarist, he was member of the Italian progressive rock group Pierrot Lunaire, and in the jazz scene he has collaborated for many years, among others, with Tony Scott Quartet; he was also a classical guitar teacher in several Italian musical institutions. As a musicologist, he has published over twenty scientific monographs, mostly dedicated to the Theory of Audiotactile Formativity.
Director of the University of Rochester Institute for Popular Music, and Professor of Theory at the Eastman School of Music. He has published widely on topics dealing with popular music. He is the principal author of the college textbook What’s That Sound? An Introduction to Rock Music (Norton, 2006), and has co-edited Understanding Rock Music: Essays in Musical Analysis (Oxford University Press, 1997) and Sounding Out Pop: Analytical Essays in Popular Music (University of Michigan Press, 2010). As a guitarist, Covach has performed widely in the US and Europe.
Lecturer at the University of Burgundy, composer and arranger, he centres his work on the analysis of popular music. He has authored books on Pink Floyd, Magma and The Cure, and has edited Focus sur le rock en France: analyser les musiques actuelles (Delatour,2014) and Prog Rock in Europe: Overview of a persistent musical style (EUD, 2016). He is a member of the Georges-Chevrier Research Centre (UMR CNRS 7366).
Professor of Music History at the University of Osnabru?ck, and vice dean of the School of Educational and Cultural Studies. He studied Musicology, Sociology and English at the Universities of Mu?nster, Oxford and East Anglia. From 2005 to 2016 he was co-chair of the German Society for Popular Music Studies (formerly ASPM), and from 2001 to 2016 editor of GfPMs yearbook «Beitra?ge zur Popularmusikforschung». His research interests include music as a communication system, iconography of music, music in the context of the First World War, (English) Renaissance music, popular music and popular forms of musical theatre (especially for children and adolescents).
Stefano La Via
He has completed his musicological studies at the Universities “Sapienza” of Rome (Laurea in lettere degree) and Princeton (MFA, PhD in Musicology). He is currently ssociate Professor at the University of Pavia, Department of Musicology, Cremona, where he teaches “Storia della Poesia per musica” and “Storia della Canzone d’autore”. He has carried out research and published many essays on the relationship between poetry and music in various historical periods, from Medieval times to nowadays, with particular reference to 16th-century Italian Madrigal, Baroque Opera, and “Author’s Song” in Europe, USA and Brasil.
He is Professor Emeritus of Music Aesthetics in the Music Department at Durham University (UK) and Associate Member of the Philosophy Department. His research specialisms are in critical theory, aesthetics, and sociology of music. He is the author of Adorno’s Aesthetics of Music (Cambridge University Press, 1993), and Adorno, Modernism and Mass Culture (Kahn & Averill, 1996). He is joint editor (with Ire?ne Delie?ge) of the book Contemporary Music: Theoretical and Philosophical Perspectives (Ashgate, 2010).
Timothy D. Taylor
He is Professor in the Department of Ethnomusicology at the University of California, Los Angeles. He is the author of Global Pop: World Music, World Markets (Routledge, 1997); Strange Sounds: Music, Technology and Culture (Routledge, 2001); Beyond Exoticism: Western Music and the World (Duke University Press, 2007); The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture (University of Chicago Press, 2012); Music and Capitalism: A History of the Present (University of Chicago Press, 2016). Music in the World: Selected Essays, will be published early in 2017.