Ryan Ebright serves as an Associate Professor of Musicology at Bowling Green State University, where he also leads the DMA in Contemporary Music program. His work, which centers on opera and experimentalism, has appeared in Cambridge Opera Journal, American Music, Contemporary Music Review, and Journal of the Society for American Music, as well as the edited volumes Rethinking Reich and Contemporary Opera in Flux. As a public-facing scholar, he has written for The New York Times, The New Yorker, Opera News, and NewMusicBox; has given talks and provided essays for Opera Philadelphia, the Los Angeles Philharmonic, Detroit Opera, Toledo Opera, and other organizations; and appears in the 2025 documentary Monk in Pieces. His in-progress book is titled Reform: Making American Opera after Einstein.

Andrea Zarafshon Moore is Associate Professor of Music at Smith College. Her current work is centered on new music’s participation in cultures of commemoration, both as a form of monumental response to crisis and as counter- or non-monumental performance. Other work has addressed questions of musical value and prestige, globalization and representation, and contemporary Bach culture. Her book Audible Loss: New Music and the Crisis of Memory, was published in 2025 by Fordham University Press.

Robert Fink is Professor of Musicology and Music Industry, and the director of the Berry Gordy Music Industry Center. Trained as a music theorist and musicologist, his primary areas of interest include musical analysis, avant-garde and minimal music, popular music studies, timbre and rhythm in music, and the history of electronic dance music.

He has published widely on contemporary and popular music in academic journals, and is the author of Repeating Ourselves, a 2005 study of American minimal music as cultural practice; and The Relentless Pursuit of Tone, an interdisciplinary survey of research into the “sound” of popular music, awarded the American Musicological Society’s Ruth Solie Prize for best edited collection in 2018. Professor Fink also has extensive experience as a forensic musicologist in copyright litigation; a list of clients and fee structure is available upon request.

Mark Kligman is the Inaugural holder of the Mickey Katz Endowed Chair in Jewish Music at The UCLA Herb Alpert School of Music where he is a professor of Ethnomusicology and Musicology. He specializes in the liturgical traditions of Middle Eastern Jewish communities and various areas of popular Jewish music. He has published on the liturgical music of Syrian Jews in Brooklyn in journals as well as his book, Maqam and Liturgy: Ritual, Music and Aesthetics of Syrian Jews in Brooklyn (Wayne State University, 2009), which shows the interconnection between the music of Syrian Jews and their cultural way of life. His other publications focus on the intersection of contemporary Jewish life and various liturgical and paraliturgical musical contexts. Orthodox Popular music is the subject of his current work. He is the academic Chair of the Jewish Music Forum and co-editor of the journal MusicaJudaica. From 2014-2016 he was on the board of the Association for Jewish Studies. Presently, he is the Chair of the Jewish Studies and Music Group for the American Musicological Society. Professor Kligman is the Director of the Lowell Milken Center for Music of American Jewish Experience.