Camilla Bork is professor of musicology at the Freie Universität Berlin, where she directs the master’s program “Music, Sound, Performance.” Her research focuses on the aesthetics and politics of musical performance, music and media, and the history of listening. She has published numerous articles and book chapters on twentieth-century avant-gardes, musical modernism and technology in Weimar culture, the aesthetics and politics of virtuoso performances, and contemporary music theater. She is the author of two monographs, on expressionist music theater in the Weimar republic (Im Zeichen des Expressionismus; Schott, 2006) and on virtuosity and voice (forthcoming from Bärenreiter, 2026). Her work has been funded by the German, Swiss, and Flemish research foundations. She also works as a freelance music curator and dramaturg.
Eric Hung is Executive Director of the Music of Asian America Research Center, and Adjunct Lecturer at the University of Maryland’s College of Information. His research focuses on community archives, public musicology, pedagogy, and the relationship between trauma and music. His publications can be found in the Journal of the American Musicological Society, American Music, MusiCultures, Asian Music, and in several edited volumes. He has worked with museums on exhibits and educational materials, organized festivals, and given invited talks at numerous universities and community organizations. Before he joined the nonprofit world full-time, Hung was a tenured professor at Westminster Choir College of Rider University.
Eric Whitmer is a third-year PhD student in musicology at the University of Michigan. Their research draws from the fields of disability studies and digital studies, and seeks to understand how and why people utilize music to make the world “better.” Eric was named a Gutsy Broad Fellow by the Center for the Education of Women+ at the University of Michigan for their research on accessible music education in Australia and Aotearoa/New Zealand. Besides thinking and talking about music, Eric also plays music as a percussionist and carillonist, and is the Resident Carillonist at Grosse Pointe Memorial Church.
Faith Lanam, PhD, is a musicologist, performer, pedagogue, and continuing lecturer at the University of California, Santa Cruz. Her archival research on the Colegio de San Miguel de Belem and Jerusalem y Sisto family deepens our understanding of women’s experiences in colonial Mexico City, eighteenth-century music pedagogy, and the transatlantic transmission of musical knowledge. Dr. Lanam seeks to foster engaging and positive learning environments and to create well-rounded curricula interweaving relevant aspects of performance practice, music history, social and cultural context, music theory, and critical listening skills. She serves as the organist at Saint Ann Chapel, Palo Alto, California.
Gavin S. K. Lee is a multiaward-winning Senior Lecturer at the Sydney Conservatorium of Music. Winner of the American Musicological Society’s 2025 Philip Brett Award, the Society’s 2025 Teaching Award, and a 2024 Outstanding Multiauthor Publication Award from the Society for Music Theory, he was keynoter for the Musicological Society of Australia’s 2023 national conference, editor of the International Musicological Society’s Musicological Brainfood (2023–25), and member of the Society for Ethnomusicology’s Council (elected 2022–25) and 2023 Annual Meeting program committee. He serves on the editorial boards of the Journal of the American Musicological Society, Indiana Theory Review, and Gender Equity.
James Deaville teaches music at Carleton University—his interests in music and screen media range from news music to representations of disability in audiovisual media. He has published books, book chapters, and articles about a variety of topics, most recently tied to audiovisual media. In 2019 he received a five-year Insight Grant from the Social Sciences and Humanities Research Council (SSHRC) for research on sounding disability in audiovisual media, which resulted in an article for The Soundtrack (2024). He has published book chapters on the sounds of madness and muteness in moving images and captioning in streaming television.
John Gabriel is Senior Lecturer and Head of Musicology and Ethnomusicology at the Melbourne Conservatorium of Music, University of Melbourne, where he teaches the nineteenth-century music history survey, the musicology research methods class, and a range of electives. His teaching aims to cultivate students’ critical faculties, including reading, listening, and research, and students’ ability to communicate their critical findings in diverse contexts, whether written, spoken, or multimedial, and whether academic, applied, or public facing. He has previously taught at the University of Hong Kong, the Peabody Conservatory, and Harvard University.
Mathias Hinke is a Berlin-based composer, artist, and educator whose interdisciplinary work operates at the intersection of experimental music, pedagogy, and theater. His background includes composition studies complemented by art history, fine art, and physics. Since 1997, his artistic practice has been intrinsically linked to pedagogical work, as reflected in his work within the educational project QuerKlang, a guest professorship at the Universität der Künste Berlin, and his current fellowship researching somatic knowledge in music theater at the Freie Universität Berlin. His award-winning music theater works, often created with director Carlos Manuel, explore sociopolitical themes from synthetic biology to sci-fi. Hinke also publishes on experimental pedagogy, and his compositions are performed internationally. He currently serves as a juror for the Haupstadtkulturfonds Berlin and as co-artistic director of the Young Euro Classic festival.
Michael Weinstein-Reiman is Assistant Professor of Music Theory at the University of Wisconsin–Madison. He received his PhD in Music Theory from Columbia University in 2021. His research is in the history of music theory, specifically the relationships among musical learning, performance, and perception in the eighteenth and nineteenth centuries. Additional areas of interest include the history of philosophy, critical theory, gender and sexuality studies. His writing appears in Nineteenth-Century Music Review and Theory and Practice among other publications. His current book project, The Art of Touch: Musical Learning, Keyboards, and the Modern Self develops an intellectual history of touch in keyboard pedagogy manuals published between 1700 and 1930.
Reba Wissner is Associate Professor of Musicology, coordinator of the Public Musicology Certificate, and Interim Associate Dean of Interdisciplinary Studies at Columbus State University. She has published on seventeenth-century Venetian opera; Italian American immigrant musical theater; music history pedagogy; and film, video game, and television music. Her book, Universal Design for Learning in Music History Classes: A Teacher’s Guide, is under contract with Routledge.
