Contributors

AAWM JOURNAL VOL. 1 NO. 2 (2011)

Contributors

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Naor Brown is an undergraduate at Harvard University studying Applied Mathematics with Computer Science and Economics. An avid guitarist, Naor is interested in mathematically modeling the qualitative and social sciences in his research.

Henry Burnett is on the ethnomusicology faculty of the Graduate Center of the City University of New York and Professor of Music at Queens College, CUNY, where he is also Associate Director. Professor Burnett is co-author with Roy Nitzberg of Composition, Chromaticism, and the Developmental Process: A New Theory of Tonality (Aldershot, England: Ashgate Publishing Ltd, 2007).

Malcolm Campbell graduated from Harvard University with a Bachelors degree in Chemistry and Physics Summa cum laude in 2010, and earned a Masters degree in Jazz Piano Performance from the New England Conservatory in 2011.  He now works for the Kohane lab at Children’s Hospital Boston studying Autism genetics.

Carl Clements received a B.M. in Jazz Composition and Arranging from the Berklee College of Music, an M.F.A. in Jazz Performance from the California Institute of the Arts, and a Ph.D. in Ethnomusicology at the City University of New York’s Graduate Center. He is active as a scholar, musician, and teacher, with a particular interest in jazz, Indian music, and cross-cultural musical exchange.

Jay Rahn is Professor of Music in the Humanities Department and Faculty of Graduate Studies, York University (Toronto). Best known for his first book, A Theory for All Music, Dr. Rahn has published extensively on topics in systematic musicology, including music theory, comparative musicology, and music cognition.

John Roeder is a professor in the School of Music at the University of British Columbia. He specializes in the theory and analysis of music outside the classical Western canon, focusing especially on rhythmic and pitch processes in recent art music. Grants from the Social Sciences and Humanities Research Council of Canada have supported his research into graphical representations of music, musical transformations, the preservation of digital art, and musical periodicity.  A book he co-edited with Michael Tenzer, Analytical and Cross-Cultural Studies in World Music, will be published later this year by Oxford University Press.

Godfried Toussaint received a Ph.D. in 1972 from the University of British Columbia. Until 2009 he taught and did research at McGill University in the areas of information theory, pattern recognition, textile-pattern analysis and design, computational geometry, instance-based learning, music information retrieval, and computational music theory. Presently he is a research scholar in the Music Department at Harvard University. He is a recipient of numerous awards, a founder of several conferences and workshops, an editor of several journals, and has published more than 360 papers. In 2009 he was awarded a Radcliffe Fellowship by the Radcliffe Institute for Advanced Study at Harvard to do research on the phylogenetic analysis of musical rhythm.