FOUNDING EDITORS

Marcel Cobussen
Philosopher and musician. Teaches Music Philosophy and Sound Studies at Leiden University, the Netherlands, Department of Humanities.


Vincent Meelberg
Philosopher, musicologist, and musician. Teaches at Radboud University Nijmegen, the Netherlands, Department of Literary and Cultural Studies.


ASSOCIATE EDITORS

Jan Nieuwenhuis Musicologist and music journalist. Research interest in sound art, contemporary music, and auditory cognition.


Sharon Stewart Musician and educator. She has a private piano practice and guest lectures at the University of Utrecht and University College Utrecht.


EDITORIAL BOARD (alphabetical order)

Nicolas Collins is a composer and author of Handmade Electronic Music: The Art of Hardware Hacking. He is also the editor-in-chief of Leonardo Music Journal. Collins teaches in the Department of Sound at The School of the Art Institute of Chicago


Christoph Cox is Professor of Philosophy (Humanities, Arts, and Cultural Studies). Hampshire College, Amherst MA (USA). He teaches and writes on contemporary European philosophy and contemporary art and music.


Simon Emmerson is a composer of electroacoustic music, mostly working with live electronics. Since November 2004 Emmerson has been Professor in Music Technology and Innovation at De Montfort University, Leicester, following twenty-eight years as Director of the Electroacoustic Music studios at City University, London.


Veit Erlmann is Endowed Chair of Music History at the University of Texas at Austin, and Professor of Ethnomusicology at the Butler School of Music at the University of Texas at Austin, TX (USA). He has won numerous prizes, including the Alan P. Merriam award for the best English monograph in ethnomusicology, the Arnold Rubin Outstanding Publication Award of the Arts Council of the African Studies Association and, most recently, the Mercator Prize of the German Research Foundation DFG. He has published widely on music and popular culture in South Africa, including African Stars. Studies in Black South African Performance ((University of Chicago Press, 1991); Nightsong: Performance, Power and Practice in South Africa (University of Chicago Press, 1996); and Music, Modernity and the Global Imagination. South Africa and the West (Oxford University Press, 1999). His most recent publication is Reason and Resonance. A History of Modern Aurality (Zone Books, 2010).


Aden Evens is Associate Professor and Vice-Chair Department of English. Dartmouth College, Hanover NH (USA). Heresearches across a variety of disciplines, including new media studies, philosophy, mathematics, music, and literature. Evens is author of Sound Ideas. Music, Machines, and Experience (University of Minnesota Press, 2005). His teaching focuses on new media and digital technologies, but also includes forays into composition, post-structuralist theory, music, and literature, especially post-modern literature.


Ruth Herbert is a music psychologist and concert performer (piano) with an international publication track record in the fields of music in everyday life, music psychology, music and consciousness, sound studies, music, health and well-being and music education. She is the author of Everyday Music Listening: Absorption, Dissociation and Trancing (Ashgate, 2011). She currently lectures at the Faculty of Music, University of Oxford (UK).


Douglas Kahn is Professor at the National Institute for Experimental Arts, University of New South Wales, Sydney. He is author or editor of several books, including Wireless Imagination: Sound, Radio and the Avant-garde (MIT Press, 1992), Noise Water Meat: A History of Sound in the Arts (MIT Press, 1999), Source: Music of the Avant-Garde (Univ of California Press, 2011), Mainframe Experimentalism (Univ of California Press, 2012) and Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts (Univ of California Press, 2013). 


Anahid Kassabian has been James and Constance Alsop Chair in Music at the University of Liverpool. Her work focuses on film music, ubiquitous listening, and, most recently, sound and music in smartphones, viral videos, and other digital media forms. She is also involved in Middle East arts, including serving on the board of the Liverpool Arabic Arts Festival. Kassabian is author of several books including Hearing Film (Routledge, 2001) and Ubiquitous Listening (Ashgate, 2013).


Brandon LaBelle is an artist and a writer, and Professor at the Bergen Academy of Art and Design, Bergen (Norway). LaBelle works with sound and the specifics of location. His work explores the space between sound and sociality, using performance and on-site constructions as creative supplements to existing conditions. He is the author of Background Noise: Perspectives on Sound Art (Continuum, 2006) and Acoustic Territories: Sound Culture and Everyday Life (Continuum, 2010).


Francisco Lopez is an internationally recognized major figure of the sound art and experimental music scene, based in Spain and the Netherlands. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in 70 countries. His extensive catalog of sound pieces has been released by more than 350 record labels worldwide, and he has been awarded four times with honorary mentions at the competition of Ars Electronica Festival.


Eduardo Reck Miranda is a composer working at the crossroads of music and science. His music is informed and inspired by his research into Artificial Intelligence and his repertoire includes music for symphonic orchestras, chamber groups, solo instruments - with and without live electronics - and electroacoustic music. Currently, he is Professor of Computer Music in the School of Humanities and Performing Arts at the University of Plymouth (UK) where he is director of the Interdisciplinary Centre for Computer Music Research (ICCMR).


Jonathan Sterne is a scholar who writes on sound and music, history and philosophy of technology, cultural studies and digital media. Author of The Audible Past: Cultural Origins of Sound Reproduction (Duke University Press, 2003), MP3: The Meaning of a Format (Duke University Press, 2012), editor of The Sound Studies Reader (Routledge, 2012). Sterne teaches in the Department of Art History and Communication Studies at McGill University in Montreal (Canada). He also makes sound. http://sterneworks.org

Jean-Paul Thibaud is a sociologist, urban planner, senior researcher at CNRS, and researcher at CRESSON (Centre de Recherche sur l’Espace Sonore et l’Environnement Urbain / Research Center on Sonic Space and the Urban Environment) in Paris, France. His field of research is related to the theory of urban ambiances, the ordinary perception in urban environment, the sensory culture and ethnography of public places. He is the scientific coordinator of the International Ambiances Network (www.ambiances.net).


David Toop is a musician, writer, and sound curator. Among his books are Ocean of Sound (Serpent’s Tail, 1995), Haunted Weather (Serpent’s Tail, 2004) and Sinister Sonorance (Continuum, 2010). He is Professor and Chair of Audio Culture and Improvisation and member of CRISAP (Creative Research into Sound Arts Practice) of the London College of Communication, London (UK).


Stephen Vitiello is an electronic musician and sound artist. Vitiello transforms incidental atmospheric noises into mesmerizing soundscapes that alter our perception of the surrounding environment. As an installation artist, he is particularly interested in the physical aspect of sound and its potential to define the form and atmosphere of a spatial environment. He is Professor of Kinetic Imaging at Virginia Commonwealth University in Richmond, VA (USA).


Salomé Voegelin is an artist and writer engaged in listening and hearing as a socio-political practice. She is the author of Sonic Possible Worlds: Hearing the Continuum of Sound (Bloomsbury, 2014) and Listening to Noise and Silence: Towards a Philosophy of Sound Art (Continuum, 2010). Voegelin is an Associate Professor in Sound Arts at the London College of Communication, UAL.