Born in Boston and raised behind the “Redwood Curtain” of northern California, pianist Ryan MacEvoy McCullough has developed a diverse career as soloist, vocal and instrumental collaborator, composer, recording artist, and pedagogue. Ryan’s music-making encompasses work with historical keyboards, electro-acoustic tools and instruments, and close collaborations with some of today’s foremost composers. His longstanding collaborative (and life) partnership with soprano Lucy Fitz Gibbon has yielded a substantial crop of new art song repertoire, as well as his work in contemporary ensemble and commissioning project HereNowHear, 2017 recipient of a Fromm Foundation award.
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A musicologist, Jordan Musser specializes in popular music, avant-gardism, and politics in the twentieth century, with a secondary focus on aesthetics and criticism in nineteenth-century Europe. His recently completed doctoral dissertation, “Managing the Crisis: Music, Neoliberalism, and the Popular Avant-Garde in Britain, 1975–84,” used four case studies to explore how free jazz musicians, performance artists, punk bands, and dub producers both reacted against and ambivalently drew on burgeoning Thatcherism in the process of traversing fine-arts and mass-popular formations. Research for this project resulted in several conference talks and the article, “The Avant-Garde is in the Audience: On the Popular Avant-Gardism of Linton Kwesi Johnson’s Dub Poetry,” which appeared in Twentieth-Century Music in Fall 2019. Nineteenth-century projects have concentrated on music in central Europe, and research for them led to the article, “Carl Czerny’s Mechanical Reproductions,” which was published in the Journal of the American Musicological Society in Summer 2019.
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