EDITORIAL BOARD

Alper Maral is a composer and musicologist focusing rather on social and political connotations in music. He has teaching and administrative posts in several universities; either as a composer, performer or lecturer, he contributed numerous international events—festivals, conferences, etc., co-founded and directed academic or artistic associations, and published extensively on social science.He was a member of ISCM executive committee, co-founder and vice-president of New Music Cooperative, delegate for ISCM and IAMIC Turkey, general secretary for Cultural Studies Foundation, a.o. He has founded and still runs the Yıldız Electronic Music Festival and Yıldız New Music Festivals.

Caroline Bithell (MA Oxford, PhD Wales) is Professor of Ethnomusicology at the University of Manchester. Her research specialisms include polyphony in oral traditions, music revivals, the politics and aesthetics of world music, music and political activism, intangible cultural heritage, and cultural tourism. She is the author of two monographs,Transported by Song: Corsican Voices from Oral Tradition to World Stage(Scarecrow Press, 2007) andA Different Voice, A Different Song: Reclaiming Community Through the Natural Voice and World Song(Oxford University Press, 2014), andco-editor ofThe Oxford Handbook of Music Revival (2014). Hercurrent research focuses on Georgia (Caucasus).

Ekaterine Diasamidze (Tbilisi, Georgia) received her Ph.D in Anthropology of Music at Tbilisi State University, and holds a masters degree in Musicology of Sacred Music from the Saint-Petersburg State Conservatory, and a bachelor's degree in Musicology and Ethnomusicology from the Tbilisi State Conservatory. Diasamidze was programme manager and on-air host at the only 24 hour classical music radio station in Georgia. In that capacity, she also represented the country of Georgia at more than six international annual meetings of music experts (EBU, AMPPR). As a scholar, she has participated in various international conferences and symposiums, and published in several international journals. As a singer and choir director, she has performed with many ensembles both in Georgia and abroad, and has led singing workshops on Georgian traditional music.

Elif Damla Yavuz studied musicology at MimarSinan Fine Arts University (BA), Dr. ErolÜçer Advanced Studies in Music (MA). In 2009, she began her PhD at Social Sciences Institute of Istanbul Technical University focusing on people from Turkey in Germany, and received a DAAD scholarship in 2011. In 2014, she completed her PhD study with her dissertation "Community within an Individual in a Transcultural Work: Ali Baba und 40 Räuber" under the supervisions of SongülKarahasanoğlu and Ralf Martin Jäger. Her dissertation was granted "The Most Successful Dissertation Award of 2014" by Istanbul Technical University. Currently, she is teaching as associate professor in musicology at MimarSinan Fine Arts University. Her research interests encompass the musical life during the Republican period in Turkey, with a focus on Paul Hindemith and German refugees; migration with a focus on the musical production of people from Turkey in Germany, and studies of German ethnomusicologists in Anatolia with a focus on Kurt and Ursula Reinhard.

Erol Köymen is a PhD student in Ethnomusicology at the University of Chicago interested in sound studies, the urban land/soundscape, and nationalism, with a particular focus on the Ottoman Empire/Turkey and connections with Central European German-speaking lands. Erol completed his master’s degree in musicology at the University of Texas at Austin in May 2016 with a thesis titled “Conservative Progressivism: Hasan Ferid Alnar and Symbolic Power in the Turkish Music Revolution” based on archival research conducted in Turkey and Austria. As part of this project, Erol organized the United States premiere of Alnar’s 1946 concerto for kanun and orchestra. Over the course of his graduate studies, Erol has been awarded summer and academic year FLAS grants and an ARIT grant for study of modern and Ottoman Turkish. He has most recently presented his work at the 2015 SEM conference in Austin. During Fall 2017, he will present at the “Techniques of Listening” conference at the University of Minnesota and at SEM in Denver. Before beginning graduate study, Erol held a Fulbright English Teaching Assistantship in Austria for two years. He completed undergraduate studies in music and philosophy at Vanderbilt University.

Gözde Çolakoğlu Sarı is a associate professor in Musicology Department in Turkish Music State Conservatory in Istanbul Technical University. She is the author of “Anadolu’dan Balkanlara Kemençe” and teaches Ottoman-Turkish Music History, Organology and Turkish Makam Theory. She continues her research and publications in the area of Turkish Makam Music, Organology, and The Pear Shaped Fiddles: Kemençe, Lyra, Gadulka, Kemane, etc. She also continues to takes part in national and international concerts and workshops as a kemençe player.

Hande Sağlam got her Bachelor Degree in Composition in Ankara – Bilkent University, Magister in music theory from the mdw Vienna and received her doctoral degree in Ethnomusicology from the Department of Folk Music Research and Ethnomusicology (IVE), at the same University with the thesis “Differences among Alevi and Sunni Âşıks in Sivas”.Between 2005 and 2015 she has been working at the mdw on different research projects on music and minorities. Since July 2015 she works as head of the Archive deputy director of IVE. Her research interest: Music and minorities, Anatolian  Âşık tradition, bi- and multimusicality, archiving.

Henry Stobart is Reader in Music/Ethnomusicology in the Music Department of Royal Holloway, he is the founder and co-ordinator of the UK Latin American Music Seminar. His books include Music and the Poetics of Production in the Bolivian Andes (2006), the edited volumeThe New (Ethno)musicologies (2008), and several co-edited collections: Music, Indigeneity, Digital Media (2017), Knowledge and Learning in the Andes: Ethnographic Perspectives (2002), Sound (2000). His collaborative work with the anthropologist Michelle Bigenho (Colgate University), focused on intellectual property and heritage issues in Bolivia, includes the website Rethinking Creativity, Recognition and Indigenous Heritage and various works in press.

Irene Markoff is an ethnomusicologist who teaches studies courses and directs a Balkan Music ensemble at York University in Toronto where she also advises students in the Graduate Programs in Music and Anthropology. Her research and publications center on Bulgarian and Turkish traditional and popular music in addition to aspects of Alevi/Bektashi expressive culture in Turkey, Bulgaria and Canada. A consulting editor for the Middle East volume of The Garland Encyclopedia of World Music, her forthcoming book chapter (University of Texas Press) addresses the articulation of otherness in the construction of Alevi-Bektashi rituals and ritual space in transnational perspective.

Ivanka Vlaeva graduated from the National Academy of Music “PanchoVladigerov” – Sofia; completed a degree in Cultural Studies at Sofia University “St. KlimentOhridski”; PhD at Moscow State Conservatory. Currently is an Assoc. Prof., South-West University “NeofitRilski”; an associated member, Institute of Art Studies – BulgarianAcademy of Sciences; a lecturer, Sofia University. Interests: music in Bulgaria, Southeastern Europe, World music and music of Asia. She’s participated in various conferences and projects in Bulgaria and abroad;published a hundred of academic articles and books about the composer LyubomirDenev and music of Asia. Membership: Union of Bulgarian Composers and ICTM.

János Sipos is Senior research fellow of the Institute for Musicology of the Hungarian Academy of Sciences, Professor of the Franz Liszt Music Academy, Member of the Hungarian Academy of Arts and Hungarian Representative of the ICTM (International Council for Traditional Music). From 1987 he has been doing research in areas inhabited by different Turkic people and collected more then 10.000 songs in Turkey, Kazakhstan, Azerbaijan, Kyrgyzstan, Turkmenistan, Karachay-Balkars and American Indians (2004-2005). Based on his field works he published 16 books and several articles.

Jim Samson joined the staff at Royal Holloway, University of London in 2002 as Professor of Music, having previously been Professor at the Universities of Exeter and Bristol. He became Emeritus Professor in 2011, and is currently an Editor-in-Chief forGrove Music Online and a Series Editors of The Complete Chopin: A New Critical Edition (Peters Edition). He has published widely on analytical and aesthetic topics in twentieth-century music, on Chopin and Liszt, and on music in east central and southeastern Europe.

John Rink is Professor of Musical Performance Studies at the University of Cambridge and Director of Cambridge Digital Humanities. He works in the fields of Chopin studies, performance studies, music analysis, and digital musicology. His books include The Practice of Performance(1995), Chopin: The Piano Concertos (1997), Musical Performance (2002) and Annotated Catalogue of Chopin’s First Editions (with Christophe Grabowski; 2010); the last of these received the Oldman Prize in 2011 and the Duckles Award in 2012. John Rink is General Editor of a series of books on musical performance which OUP published in 2017. He is also Editor in Chief of The Complete Chopin – A New Critical Edition, in addition to directing the projects at Chopin Online (www.chopinonline.ac.uk). He also directed the AHRC Research Centre for Musical Performance as Creative Practice from 2009 to 2015. He performs regularly as a pianist and lecture-recitalist.

Marija Dumnić is Research Associate at the Institute of Musicology SASA. She completed MA and PhD in ethnomusicology at the Faculty of Music of the University of Arts (Belgrade). She is participating at digitisation projects (especially for reel tapes and gramophone records) and does ethnomusicological field recording (music, soundscape, interviews). Marija is publishing in numerous national and international peer-reviewed journals and edited books. She was Teaching Assistant at the Faculty of Music (2014/2015). Her research interests are: music in the Balkans, methodologies in ethnomusicology and popular music studies, applied ethnomusicology, sound archiving, soundscape.

Marina Frolova-Walker FBA is Professor of Music History at the Faculty of Music, University of Cambridge, and Fellow of Clare College. She is the author of Russian Music and Nationalism from Glinka to Stalin (Yale, 2007), Stalin's Music Prize: Soviet Culture and Politics (Yale, 2016), and co-author (with Jonathan Walker) of Music and Soviet Power, 1917–32 (Boydell, 2012).  In 2015 she was awarded the Edward J. Dent Medal by the Royal Musical Association for ‘outstanding contribution to musicology’.

Mojca Kovačič is a researcher fellow at the Institute of Ethnomusicology of the Scientific Research Center of the Slovenian Academy of Science and Arts.  She is interested in various topics related to music such as: music and gender, music and nationalism, cultural politics and folk music, instrumental folk and folk-pop music. Lately she was involved in projects that dealt with urban soundscape with the focus on religious soundscape in urban and socio political context. She is a lecturer at Ljubljana’s Academy of music, national representative for International council of traditional music, involved in organization of different ethnomusicological conferences.

Razia Sultanova growing up in Uzbekistan studied and consequently worked at both the Tashkent and Moscow State Conservatories. She worked at the Union of the Soviet Composers and the Russian Institute of Art Studies in Moscow, and having moved to reside in the UK in 1994 at the University of London, and has since 2008 worked at the University of Cambridge. She is the author of four books and four edited volumes (in Russian, French and English) on musics of Central Asia, Turkic speaking world, and music and society. Her next monograph entitled “Popular culture in Afghanistan” is currently being published by IBTauris. She has been a Visiting Professor at Moscow State Conservatory, at the Kazakh National University of Arts (Astana) and at the Khoja Ahmet Yassawi Kazakh-Turkish University (Turkistan, Kazakhstan). Razia Sultanova was elected Vice-President of the International Council for Traditional Music.

Saida Daukeyeva is a Georg Forster Research Fellow at Humboldt University in Berlin. She holds a doctoral degree in historical musicology from the Moscow Tchaikovsky Conservatory and a PhD in ethnomusicology from the School of Oriental and African Studies, University of London. She publishedPhilosophy of Music by Abu Nasr Muhammad al-Farabi (Soros Foundation–Kazakhstan, 2002) and coedited The Music of Central Asia (Indiana University Press, 2016). Her current research explores the intersection of music and sound with political, social and cultural geographies in Central Asia, focusing on Kazakh narrative instrumental performance and ritual practice in western Mongolia and Kazakhstan.

Dr. Sanubar Baghirova, a Merited Art Worker of Azerbaijan, is the author of UNESCO nominations on Azerbaijani mugham (in co-authorship with Jean During) (2003), on the art of Azerbaijani ashiqs (2009), and on Azerbaijani tar (2012), inscribed on the Lists of the world`s intangible cultural heritage, the books Azerbaijani Mugham (2007), Azerbaijani music and musicians (2011), more than 50 scholarly articles, and the documentary film The Ancient Arts of Mugham and Ashiqin the XXI Century (2013, UK).  She recorded and released 27 CDs on Azerbaijani traditional music including such important editions as Azerbaijan: Anthology of Ashiq (2 CD, INEDIT, France, 2008), and Traditional music of Azerbaijan (7 CD, Felmay Records, Italy, 2011-2013).

Terada Yoshitaka (PhD in ethnomusicology, University of Washington, 1992) is Professor of ethnomusicology in the Center for Cultural Resource Studies at the National Museum of Ethnology in Osaka, Japan. He specializes in music cultures of Asia and Asian America, and has conducted fieldwork in the India, Philippines, Cambodia, Japan and North America. Since 1999, he has produced ethnographic films on music from diverse locations, many of which deal with the music culture of marginalized communities. He is currently the editor of Film/Video Review section of Yearbook for Traditional Music.

Velika Stojkova Serafimovska, born 1973, graduated ethnomusicology at the Faculty of Music Art, University “St. Cyril and Methodius” in Skopje and received her Ph.D at the Institute for folklore at the same University. She received her MA at the Faculty of Music Art, University of Arts in Belgrade. She researches traditional music of Macedonia in relation to contemporary social transitional processes, politics, multi ethnicity and identity. Her main specialties includes traditional Macedonian multipart singing, ritual music, festivalization, changes and continuity of traditional music and dance, state policy and ICH, and many others, as seen in her writings published in Macedonia, Bulgaria, Serbia, Turkey, Albania, Slovenia, Austria, Poland, Georgia and USA. She is actively involved in safeguarding of the intangible cultural heritage of Republic of Macedonia and in the implementation of the UNESCO ICH Convention on national level. As a member of ICTM, she is also active in the scholarly and academic network of ethnomusicological researching in the Southeastern European region and wider. She is Chair of the ICTM Study Group on Music and Dance in Southeastern Europe and Chair of the ICTM National Committee for Macedonia. Currently she is working as a researcher and Asst. Professor at the Institute of Folklore “Marko Cepenkov” and at the Faculty of Music Art of the University “St. Cyril and Methodius” in Skopje, Republic of Macedonia.

Wai Ling Cheong is Professor and Chairperson at the Music Department, The Chinese University of Hong Kong. She received the PhD from Cambridge University, where she studied with Derrick Puffett. Her scholarly works on music composed in the twentieth century have been published as articles and book chapters and are accessible through JSTOR and ProQuest. The latest publications include: ‘Reading Schoenberg, Hindemith, and Kurth in Sang Tong: Modernist Harmonic Approaches in China’, ActaMusicologica 88/1 (2016), 98–108.‘“Mirroirfluide”: Messiaen, Debussy and Cyrano’s “Synaesthetic” Bird’, Music and Letter 95/4 (2014), 603–647.