Aaron S. Allen is Associate Professor of Musicology at the University of North Carolina at Greensboro, USA, where he is also director of the Environmental and Sustainability Studies Program. A fellow of the American Academy in Rome, he earned a Ph.D. in music from Harvard after earning a B.A. in music and B.S. in environmental studies from Tulane. He has published on campus environmental issues, Beethoven, and ecomusicology.

W. Alice Boyle is both an ecologist and a musician. She was trained in viola performance (B.M., University of British Columbia) and played in symphony orchestras for several years before obtaining a Ph.D. in ecology and evolutionary biology from the University of Arizona. Her primary research focus investigates the ecological factors that shape bird movement behavior and life history. She has published over 20 peer-reviewed scientific articles on behavioral, physiological, and evolutionary ecology. While her academic interests do not currently focus on music or avian vocal communication, she remains active as a performer of traditional and modern fiddle styles. In 2012, she joined the faculty at Kansas State University as an Assistant Professor in the Division of Biology.

Kevin Dawe is Professor of Ethnomusicology and Head of the School of Music and Fine Art at the University of Kent, UK. He has degrees in music, biology, and anthropology. His publications include the single-authored books The New Guitarscape (Ashgate, 2010) and Music and Musicians in Crete (Scarecrow Press, 2007) as well as edited collections.

Eric Drott is Associate Professor of Music Theory at the University of Texas at Austin. He is author of Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981 (University of California, 2011).

James Rhys Edwards is a Ph.D. student in Ethnomusicology at the University of California, Los Angeles. His dissertation is on the concurrent transformation of socioeconomic structures and performing arts traditions in late nineteenth century and early twentieth century Okinawa, Japan. He has also carried out projects in mainland Japan, Indonesia, and Singapore, leading to publications in International Journal of Asia-Pacific Studies, Green Letters, and Ethnomusicology Review. His interests include critical theory, acoustic ecology, historical ethnomusicology, transcultural performing arts, and experimental music and noise.

Sabine Feisst is Professor of Music and Senior Sustainability Scholar at Arizona State University. Focusing on twentieth and twenty-first-century music studies, she published the monographs Ideas of Improvisation in New Music (Studio Verlag, 1997) and Schoenberg’s New World: The American Years (Oxford University Press, 2011), which won the Society for American Music’s Irving Lowens Award for the most outstanding book on American Music. She has published numerous essays in European, American, and Australian professional journals, essay collections, and encyclopedias. She is currently editing the Oxford Handbook of Ecomusicology and working on a book on music and ecology in the twentieth and twenty-first centuries. Together with Denise Von Glahn, she is editing the book series Music, Nature, Place for Indiana University Press.

Margaret Q. Guyette is an ecologist and environmental scientist with training in systems ecology, landscape ecology, wildlife ecology, environmental earth sciences, and environmental education. Her past research includes studying the effects of historical mining activity on stream communities in the Rocky Mountains, the role of migratory fishes in freshwater ecosystems in Maine, vegetation dynamics in response to fire in Okefenokee National Wildlife Refuge, Georgia, and developing decision support tools to assist in restoring migratory fish passage in the Great Lakes basin. She is currently an Environmental Scientist with the St. Johns River Water Management District in northeastern Florida, where she engages in ecological and environmental research informing management of freshwater springs, lakes, and wetlands.

Alexandra Hui is an Associate Professor of History at Mississippi State University, head of the History of Science, Technology, and Medicine field, and Core Faculty of the Center for the History of Agriculture, Science, and the Environment in the South. She has published articles in Annals of Science, Journal for the History of the Behavioral Sciences, and Historische Anthropologie, several chapters in edited collections, and co-edited the 2013 Osiris volume on music, sound, and the laboratory. Her monograph, The Psychophysical Ear: Musical Experiments, Experimental Sounds, 1840–1910 (MIT Press, 2012), explores the relationship between psychophysical studies of sound sensation and music culture. Her current projects examine the co-development of new listening forms and background music technology and the standardization of listening practices among field scientists.

David Ingram is a lecturer in Screen Media at Brunel University, London. He is the author of Green Screen: Environmentalism and Hollywood Cinema (University of Exeter Press, 2000) and The Jukebox in the Garden: Ecocriticism and American Popular Music Since 1960 (Rodopi, 2010), as well as several articles on film and music. He is a member of the Advisory Board of the Association for the Study of Literature and the Environment-UKI.

Adrian Ivakhiv is Professor of Environmental Thought and Culture at the University of Vermont’s Rubenstein School of Environment and Natural Resources. His research focuses at the intersections of culture, ecology, identity, religion, and media. His books include Claiming Sacred Ground: Pilgrims and Politics at Glastonbury and Sedona (Indiana University Press, 2001), Ecologies of the Moving Image: Cinema, Affect, Nature (Wilfrid Laurier University Press, 2013), and the forthcoming Against Objects: A Manifesto for Events. He has been conducting research in Ukraine since the late 1980s. He blogs at Immanence: EcoCulture, GeoPhilosophy, MediaPolitics (http://blog.uvm.edu/aivakhiv).

Andrew Mark received his Ph.D. from the Faculty of Environmental Studies at York University, where he also earned an M.A. in ethnomusicology. As an active musician that ultimately choose the McGill School of Environment to complete his undergraduate degree, his loyalties to environmental thought and performing arts find a home in ecomusicology. His dissertation concerns the importance of musicking for sustaining the rural community of Hornby Island in British Columbia, Canada. Andrew has publications with themes that relate to music and globalization, Gnawa music, mbira music, eco-performance, ecomusicology, mourning and melancholy in the environmental movement, podcasting and ecocriticism, and forthcoming work on North American Zimbabwean music. Andrew is a co-founder of the Society for Ethnomusicology’s Special Interest Group for Ecomusicology, a board member of the Ecomusicology Newsletter, an editorial collective member of Undercurrents: The Journal of Critical Environmental Studies, and a co-producer of the podcast series CoHearence.

Mark Pedelty is a Professor of Communication Studies, a Resident Fellow in the Institute on the Environment, and an affiliate faculty in Anthropology at the University of Minnesota. He received a Ph.D. in Anthropology from the University of California, Berkeley. His books include Musical Ritual in Mexico City: From the Aztec to NAFTA (University of Texas, 2004), Ecomusicology: Rock, Folk and the Environment (Temple University Press, 2012), and Political Rock (edited with Kristine Weglarz, Ashgate, 2013), and a number of journal articles and book chapters. He chaired the Ecomusicology Listening Room (Ecosong.org), an interactive site and session presented at American Musicological Society (AMS) and Society for Ethnomusicology (SEM) annual meetings in 2012 and 2013. Dr. Pedelty is now completing a book for Indiana University’s Music, Nature, Place series, an interview case-based study of environmentalist musicians and movements in Cascadia featuring Dana Lyons, Bobs & Lolo, the Raging Grannies, and the Idle No More movement. Pedelty teaches courses in musical communication, ethnographic methods, and environmental communication.

Jennifer C. Post is an ethnomusicologist who has been affiliated with music programs in the United States, New Zealand, and Australia. She has conducted in-depth fieldwork in India, North America, and Inner Asia. Her current research is on Mongolian Kazakh music in Bayan Ölgii, Mongolia. She has taught at Middlebury College, the New Zealand School of Music at Victoria University in Wellington, and the University of Arizona in Tucson. She is currently Lecturer at the School of Music at the University of Arizona and Honorary Senior Research Fellow at the University of Western Australia.

Robin Ryan studied music at The University of Western Australia and The University of Washington, Seattle, USA. She wrote the first Master’s thesis on urban Aboriginal music at Monash University, Melbourne, where she worked as research assistant to Margaret Kartomi. Robin’s collaborative work with indigenous Australians on leaf music (in her 1999 Ph.D. thesis) led to numerous publications and employment as a specialist adviser/contributor to Currency Companion to Music and Dance in Australia (2003). She was a Research Fellow at Macquarie University, Sydney, 2001–2005, and is currently an adjunct lecturer and member of the Music Research Group at The Western Australian Academy of Performing Arts, Edith Cowan University. Robin works to connect her interest in music to issues facing the Australian environment.

Anthony Seeger is Distinguished Professor of Ethnomusicology Emeritus at the University of California Los Angeles, Director Emeritus of Smithsonian Folkways Recordings, and currently a Research Associate at the Smithsonian Institution. He is the author of three books on the Kĩsêdjê/Suyá Indians of Brazil, among them Why Suyá Sing, A Musical Anthropology of an Amazonian People, and over 120 articles on anthropology, ethnomusicology, audiovisual archiving, music ownership, and intangible cultural heritage. He has served as director of three audiovisual archives, taught at three universities, and been President of the Society for Ethnomusicology and the International Council for Traditional Music. He is a Fellow of the American Academy of Arts and Sciences.

Helena Simonett received her doctoral degree in ethnomusicology at the University of California, Los Angeles, and is currently teaching at Vanderbilt University, Nashville. She conducted extensive research on Mexican popular music and its transnational diffusion, and she currently explores the role of indigenous music and dance in northwestern Mexico. Her publications include Banda: Mexican Musical Life across Borders (2001) and En Sinaloa nací: historia de la música de banda (2004). She was guest-editor (2009) of “Music for Being,” the world of music 51(2) and editor of The Accordion in the Americas: Klezmer, Polka, Tango, Zydeco, and More! (2012). With Bernardo Esquer López, she produced the children’s book, Ca’anáriam—Hombre que no hizo fuego (2012) in Yoreme and Spanish language (with English translation).

Maria Sonevytsky is Assistant Professor of Music at Bard College. She has published articles on critical organology and the accordion, and on ethnographic authority in post-Soviet Ukraine. Her public ethnomusicology work has included a multimedia exhibition on ideologies of home among Crimean Tatar repatriates to Crimea (“No Other Home”), and she was also the organizer of the “Chornobyl Songs Project,” which included a recorded album of traditional songs released on Smithsonian Folkways in April 2015. She is presently at work on a book on Ukrainian popular music and sovereignty.

Travis D. Stimeling is assistant professor of music history at West Virginia University. He is the author of Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin’s Progressive Country Music Scene (Oxford University Press, 2011) and the editor of The Country Music Reader (Oxford University Press, 2015). His ecomusicological studies have been published in the journals American Music and Music & Politics.

Jeff Todd Titon is Emeritus Professor of Music at Brown University, where for twenty-seven years he directed the Ph.D program in ethnomusicology. The author or editor of eight books, numerous essays, recordings, and documentary films, he is known as a pioneer in phenomenological approaches to musical ethnography, digital representations of musical communities and performances, and applied ethnomusicology. He is also a fiction writer, organic gardener and orchardist, and a performing musician (guitar, fiddle, banjo). In the spring semester, 2016, he will hold the Basler Chair of Excellence for the Integration of the Arts, Rhetoric, and the Sciences at East Tennessee State University. His current research on music, sound, and sustainability may be tracked on his blog at http://sustainablemusic.blogspot.com.

Denise Von Glahn is Professor of Musicology and Director of the Center for Music of the Americas at Florida State University. She has published two books on music and nature topics: The Sounds of Place: Music and the American Cultural Landscape (Northeastern University Press, 2003), which won an ASCAP-Deems Taylor Award in 2004, and Music and the Skillful Listener: American Women Compose the Natural World (Indiana University Press, 2013). Her scholarship has appeared in the Journal of the American Musicological Society, the Journal of the Society for American Music, and American Music, as well as numerous other journals and essay collections both in the U.S. and abroad. Von Glahn co-edits the Music, Nature, Place series at Indiana University Press with Sabine Feisst. She is currently completing a biography of Libby Larsen for the University of Illinois Press “Music in American Life” series.

Ellen Waterman is both an ethnomusicologist and a flutist interested in experimental music, improvisation, performance, and acoustic ecology. Her books include Sonic Geography Imagined and Remembered (Penumbra 2002), The Art of Immersive Soundscapes (with Pauline Minevich, Regina 2013), and Negotiated Moments: Improvisation, Sound and Subjectivity (with Gillian Siddall, Duke 2016). In the 1990s, Waterman worked closely with R. Murray Schafer, both as a flutist and as a scholar of his environmental music theatre series Patria, on which she has published several articles. Her current project is a book on the ecology of experimental music performance, based on a large-scale comparative study in Canada. Waterman is Professor of Ethnomusicology at Memorial University of Newfoundland. She is also Memorial Site-Coordinator for the International Institute for Critical Studies in Improvisation, funded by a prestigious SSHRC Partnership Grant.

W. Luke Windsor has been researching and teaching psychological, aesthetic, analytical, and semiotic aspects of music since the mid-1990s. In particular he has published on rhythm and timing in performance, the sources and modeling of musical expression, ecological approaches to the perception and production of musical performances, and musical gesture. He has supervised doctoral work on a range of music-psychological and practice-led topics including musical improvisation. Luke is an Associate Professor of Music Psychology in the School of Music at the University of Leeds in the UK, where is he is also Pro-Dean for Student Education for the Faculty of Performance, Visual Arts and Communications. He has previously worked and studied at City University, London; the University of Sheffield; and at Radboud University, in the Netherlands.