Series Gender Sounds

És doctora en Comunicació (UAB), Màster en Gènere i Comunicació (UAB), Màster en Fashion Retail and Luxury Management (Global Business School Barcelona) i Llicenciada en Periodisme (UAB). La seva recerca està centrada en la representació de la dona en la indústria musical i és autora del llibre Animals de Rock & Roll.

És doctora per la Stanford University i ha escrit nombrosos llibres sobre música, com ara Route 666: On the Road to Nirvana i Half a Million Strong: Rock Crowds and Power at Music Festivals from Woodstock to Coachella“. És coeditora del volum Oxford Handbook of Punk que es publicarà pròximament.

És escriptora acadèmica i locutora. El 2020 va ser coautora del best-seller d’Amazon It Takes Blood and Guts with Skin, the lead singer of Skunk Anansie, i va publicar una edició especial del 25è aniversari del seu llibre She Bop: The Definitive History of Women in Popular Music. És autora de Dusty: The Classic Biography i Madonna: Like an Icon (que va ser traduït a 13 idiomes). Actualment està treballant en una biografia de Karen Carpenter, que es publicarà el 2023. És professora de gestió de la indústria musical i desenvolupament d’artistes a la Universitat de West London. També escriu per a nombrosos periòdics com MOJO, The Sunday Times i The Guardian.

És doctora i professora d’etnomusicologia al Departament d’Història de la Música de The Juilliard School, on imparteix cursos d’etnomusicologia i música afroamericana. La Dra. Hadley ha presentat la seva recerca a universitats i congressos, tant nacionals com internacionals, i ha publicat en nombroses revistes acadèmiques. Ha participat en diversos documentals, com ara la recentment estrenada sèrie documental de PBS, The Black Church, presentada pel professor Henry Louis Gates. El proper llibre de la Dr. Hadley se centra en l’impacte musical dels col·legis i universitats històricament afroamericans.

És professora d’Estudis Americans a la University of Kansas. És l’autora de Dance Floor Democracy: the Social Geography of Memory at the Hollywood Canteen (Duke, 2014), Swing Shift: “All-Girl” Bands of the 1940s (Duke, 2014), 2000) i coeditora, amb Nichole T. Rustin, de Big Ears: Listening for Gender in Jazz Studies (Duke, 2008).
Actualment, forma part del col·lectiu editorial d’un llibre col·laboratiu titulat Improvising across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument. Coedita, amb Randal M. Jelks, American Studies, i és editora de sèries, amb Deborah Wong i Jeremy Wallach, de Music/Culture a Wesleyan University Press.

És catedràtica d’Història de la Música al Conservatori de Música de Colburn. Les seves àrees de recerca inclouen la música al cinema i la televisió, la recepció de postguerra de J.S. Bach en la cultura popular americana, i política de gènere en música clàssica i òpera. El seu llibre Understanding the Women of Mozart’s Operas (UC Press, 2007; edició de butxaca, 2021) ofereix un estudi detallat dels personatges femenins de Les noces de Fígaro, Don Giovanni, Così fan tutte i La flauta màgica. Apassionada en la divulgació, Brown-Montesano imparteix conferències per a organitzacions del sud de Califòrnia, com ara l’Òpera de Los Angeles, la Filharmònica de Los Angeles i la Societat de Música de La Jolla.

She is an interdisciplinary artist, researcher and teacher. After completing her studies in Early Music (BA in Early Music, Scuola Civica di Milano; MA in Musicology, Università degli Studi di Milano; MA in Musicology, University of Valladolid) she specialized in contemporary audiovisual culture. She holds a PhD in Art History and Musicology from the Autonomous University of Barcelona; her present research interests include artistic research and the use of sound in film, video art and performance. She teaches at Taller de Músics College and has been a professor of History of Audiovisual Music at Escola Superior de Música de Catalunya.

BA in musicology from Escola Superior de Música de Catalunya and anthropologist, with gender studies as her academic and vital thread. She is currently completing her Master’s Degree in Women, Gender and Citizenship Studies at the University of Barcelona while devoting herself precariously to the cultural sector and investing the remaining time in feminist and LGBTQ + activism. She is bassist of Roba Estesa music project since its inception and combines her artistic activity with management and dynamization services at Casa Orlandai Civic Center in Sarrià. 

BA in Music education (ESMUC), Master in Public Management (UAB-UB-UPF) and trained in Orff-Schulwerk (San Francisco Orff Course). He is currently a professor of the Department of Education and Artistic Mediation at ESMUC and coordinator of music education at EMMCA in Hospitalet. He has also taught at Taller de Músics ESEM and has collaborated in the fields of cultural and educational policies with Aliança Educació 360, Barcelona Provincial Council, Barcelona City Council, Esparreguera City Council and the Catalan Institute of Cultural Enterprises, the National Council of Arts and Culture, among others.

Considered by international press for her virtuosity, combined with her profound musicality and rigorous stylistic knowledge, Lina Tur Bonet has developed a career as a violinist and conductor that is as versatile as it is personal. She completed her studies at Universities of Freiburg and Vienna. She was awarded, among others, at the international Bonporti competition.  Tur Bonet is a guest concertmaster at Il Complesso Barocco, Orquesta del Liceo de Barcelona, ​​Concerto Köln, Clemencic Consort, OBach Consort de Viena, Hofkapelle Munich, Orquesta del Palau de les Arts de Valencia, Orchester d’Auvergne and Orquesta Nacional de España, and she has conducted the Orquesta Barroca de Sevilla, the Montreal Festival Orchestra, Vigo 430 Orchestra, the Jerusalem Baroque Orchestra and the Camerata Villa Musica, Mainz. Her 14 CDs as soloist and conductor have received international awards such as “Best Version of the work” for BBC Radio3, “Referential Version” for Gramophone, France Musique and Scherzo, “Recommended Version” by Bayerische Rundfunk, SWR or Kulturradio Berlin, and several times 5* DIAPASON. She is currently a violin teacher in the Department of Classical and Contemporary at the ESMUC.

He studied Musicology, Romance Studies and Iberian and Latin American History and the University of Cologne, Germany, where he obtained a PhD in Musicology with a thesis about “The Guitar as a Symbol: Meaning and Change within Spain’s cultural memory from the Middle Ages to the end of the Siglo de Oro“. He received fellowships from the Instituto Camões, the UOC (Open University of Catalonia) and the DAAD (German Academic Interchange Service). He currently works as full professor at the Departments of Classical and Contemporary Music and of Cultural and Musical Studies of the ESMUC (German Phonetics, Esthetics, Flamenco History, History of Musicology, Research Methodology, among others) and is a member of several musicological societies. His main scientific interests, which constantly cross the boundaries between historical musicology and ethnomusicology, include semiotics and the interchange between music and literature.

Researcher and vocal performer. She studied classical singing at Escuela Superior de Música (INBA-Mexico) and ethnomusicology at the Faculty of Music (UNAM-Mexico), where she graduated with a dissertation on traditional polyphonic singing (canto cardenche). She holds the Diploma of Advanced Studies (DEA) from University of Valladolid, with a dissertation on vocal emission, temporality and silence in Cardenche song. As a singer, Montserrat has performed at prestigious festivals in Berlin, Austria, Italy, Prague, Mexico, Spain, etc. The prestigious Contemporary Music Review reviewed her work in 2019. She is co-author with Llorenç Barber of La Mosca tras la oreja. De la música experimental al Arte Sonoro en España (SGAE), and author of Cuando suena una campana, suena un mundo (EuDeba, Buenos Aires, 2010) and Campanas Quisqueyanas (AECID, Sto Domingo, 2012). She is mother of two children.