Jeremy Lau recently completed a bachelor’s degree in music theory at the University of Toronto, and is currently undertaking an advanced certificate in performance specializing in Baroque harpsichord at the University of Toronto.
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.
Lydia Dillenbeck is pursuing a bachelor of arts degree studying sociology, music, and Christianity and culture at the University of Toronto. She is hoping to be accepted into law school. Lydia is the proud auntie of her niece and nephew, and aims to introduce them to as many genres of music as possible.
Marie Comuzzo, an ACLS/Mellon Innovative Dissertation Fellow and a PhD candidate at Brandeis University, researches how sound mediates the relationship between humans and whales, and the ecological and political consequences of these sonic encounters. Comuzzo also studies the impact of fatphobia on women and genderqueer musicians in the United States. Comuzzo has taught as a primary instructor at Mount Holyoke College and the University of Massachusetts, Amherst; served as the student member of this Journal’s editorial board; and co-led an interdisciplinary pilot writing group at Brandeis University, supported primarily by the Mandel Center for the Humanities.
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.
Nicole Vilkner is associate professor of music at Duquesne University. Her research spans nineteenth-century music, opera, salon, and sound studies. She has published and has forthcoming articles in the Journal of the American Musicological Society, Journal of Musicology, Cambridge Opera Journal, American Music, and Journal of the Royal Musical Association, among others. Her work on The Soundwalk Project, an ongoing initiative in which she leads teams of students to design and launch multimedia soundwalk installations at historic sites in collaboration with community partners, has received substantial institutional support and recognition. This includes Duquesne’s Creative Teaching Award, three John G. Rangos Sr. Prizes, the Catalyst Fellowship, and the Gaultier Fellowship. The next soundwalk installation is slated to launch in spring 2027 at the nineteenth-century historic village at Meadowcroft, a Heinz History Center site and Smithsonian affiliate.
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.
Rena Roussin studies the ways art music reflects and constructs concepts of disability, equity, and gender in late eighteenth- and twenty-first-century contexts, as well as strategies of anticolonial activism in contemporary North American opera. She recently completed her doctorate at the University of Toronto, and is currently a postdoctoral associate at the University of Western Ontario, where she is working on her book project, Positioning Contemporary Opera in Canada: Identities, Indigeneities, Intersectionalities. Additional recent or forthcoming publications appear with Bloomsbury, Cambridge, and Oxford Presses. Rena serves on the current leadership team of the AMS Music and Disability Study Group.
Robert W. Fry is a principal senior lecturer in musicology and ethnomusicology at Vanderbilt University’s Blair School of Music in Nashville, Tennessee, where he teaches courses in global music, jazz, blues, popular music, and music tourism. His research focuses on music tourism and the role of fan culture in the production of a musical place.
