People

Edwin Li is Assistant Professor of Musicology at The Chinese University of Hong Kong. His scholarly work, often straddling disciplinary boundaries, focuses on intercultural philosophies of music, semiotics, aesthetics, affect, Cantonese popular music, and Gustav Mahler. Li's current book project, tentatively titled Border Listening: A Global Hermeneutics of Gustav Mahler and His Music, uses Mahler and his music as a case study to explore techniques of performing a global hermeneutics of Western art music from the perspective of a Hongkonger. In 2021, Li received the Adam Krims Award from the SMT's Popular Music Interest Group for his article, “Cantopop and Speech-Melody Complex,” published in Music Theory Online in the same year. His peer-reviewed writings on concepts of nature in nineteenth-century music theories and on an integrationist perspective on musical topic and affect, can be found in Ecomusicology Review and in an edited volume published by the Semiotic Society of America respectively. He is currently working with Zheng Yan on a Chinese translation of Suzannah Clark's Analyzing Schubert (Cambridge 2011), under contract with the Shanghai People's Publishing House.  Li was a Jockey Club Scholar at The University of Hong Kong, where he obtained his B.A. in Music with First Class Honors, and a Pembroke-King's Scholar at the University of Cambridge. He earned his Ph.D. in Music Theory from Harvard University.

Chris Stover is Senior Lecturer of Music Studies and Research at Queensland Conservatorium, Griffith University, where he heads the Music Theory and Aural Studies area and co-convenes Higher Degree Research. He is the author of Reimagining Music Theory: Contexts, Communities, Creativities (Routledge, 2024) and Timeline Spaces: A Theory of Temporal Processes in African and Afro-diasporic Musics (in contract with Oxford University Press). His work on decolonizing music theory methods and curricula appears in The Oxford Handbook of Public Music Theory, Analytical Approaches to World Music, Engaging Students, Artistic Practice as Research in Jazz, the forthcoming Oxford Handbook of Feminist Music Education, and elsewhere. He is series co-editor of Resonances: Critical Engagements with Music and Philosophy (Edinburgh University Press), co-editor of Rancière and Music, editor of Practice Magazine, Critical Forum editor for Music Analysis, and Associate Editor for Perspectives of New Music. He serves on the Board of Directors for Common Tone Arts, a Seattle-based nonprofit educational and community service organization. He is also internationally active as a composer and improvising musician.

Anna Yu Wang is Assistant Professor of Musicology at Princeton University and a music theorist and ethnographer interested in what it means—and what it takes—to listen across lines of cultural difference. Her current research focuses on how intuitions for meter, form, and tonality in Sinitic opera communities are anchored within local ideological paradigms, which she studies through a combination of ethnographic interview, music analysis, and examination of historical sources. Yu Wang’s work on cross-cultural musical engagement has appeared in Engaging Students, Proceedings of the Future Directions of Music Cognition International Conference, and Music Theory Online. Her research has been supported by the Canadian SSHRC Doctoral Fellowship and the SMT-40 Dissertation Fellowship from the SMT and has been recognized with honors including the Outstanding Multi-Author Publication Award from the Society for Music Theory and the Patricia Carpenter Emerging Scholar Award from the Music Theory Society of New York State. She is Associate Editor of Engaging Students and served for six years as co-chair of the SMT Analysis of World Music Interest Group. She was also a music theory curriculum consultant for the Longy School of Music.