Aliya Lynden recently graduated from Victoria College at the University of Toronto with an honors bachelor of arts with high distinction. She is currently working as a public relations intern at Earnscliffe. Aliya is thrilled to have her first paper published by the American Musicological Society and thanks Professor Ellen Lockhart for making this possible. In university, Aliya completed a double major in English and music, and this paper means a lot to her because it falls at the intersection of her two passions.
Anastacia Zavgorodniy is currently completing a bachelor of music, with a comprehensive studies specialization in piano, alongside a major in political science with a focus in quantitative political analysis, at the University of Toronto.
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.
Charles Zhu is a fourth-year student at the University of Toronto pursuing a dual degree in music and economics. Within the faculty of music, Charles is enrolled in the comprehensive studies program, with academic interests centered on the emergence, development, and decline of Romanticism in music, as well as the broader transformation of music as an art form at the turn of the nineteenth century.
Ellen Lockhart has been a member of the musicology faculty at the University of Toronto since 2014. Her articles have appeared in Representations, Eighteenth-Century Music, and the Cambridge Opera Journal. Her book Animation, Plasticity, and Music in Italy, 1770–1830 (2017) was published by the University of California Press. With James Davies (UC Berkeley) she coedited Sound Knowledge: Music and Science in London, 1789–1851, published by the University of Chicago Press. She coedited (with Michael Burden, Wendy Heller, and Jonathan Hicks) a volume on Staging History, 1780–1840 (Oxford University Press, 2016), to accompany an exhibition on London theater history at the Bodleian Library in Oxford. Her critical edition of Puccini’s La fanciulla del West had its premiere at La Scala in 2016 under the baton of Riccardo Chailly. With Sarah Hibberd, she is general editor of the Cambridge Opera Journal.
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.
