|Dr Jan Herbst, Germany||Editor in Chief||contact||profile|
|Dr Esa Lilja, Finland||Editor||contact||profile|
|Carlos Regueira, Spain||Review Editor||contact||profile|
|Dr Timothy Wise, United Kingdom||Language Editor||contact||profile|
|Dr Robert Davis, United Kingdom||Language Editor||contact||profile|
Dr Jan Herbst http://www.janherbst.com
Jan Herbst is a popular music scholar, musicologist, music educator, guitar player, and music producer. His first book Network Sound – An Educational Challenge of Popular Music (2014) centres on musical, cultural, social, and aesthetic aspects of music production and electrified sound. In his second book The Guitar Distortion in Rock Music – Studies on Playing and Aesthetics (2016) he investigates the significance of distortion for the electric guitar and its far-reaching implications for the instrument’s aesthetics, playability, and expressiveness in the context of pop, rock, and metal genres. He has published more than 40 books, articles, chapters, encyclopaedia articles, and reviews.
Jan completed a PhD in Popular Music, a MA in Popular Music and Media, a MEd in Music Education, and diplomas in Contemporary Guitar Performance. He has taught popular music studies, music production, music analysis, empirical musicology, music history, and music theory at the Universities of Paderborn, Bielefeld, and Muenster (Germany).
Dr Esa Lilja http://msmjournal.com
Esa Lilja (born 1973) is a researcher, musician and composer in the fields of both euroclassical and popular music. His academic background is in musicology (MA 2002, PhL 2004, PhD 2009, University of Helsinki, Finland), especially in music theory and analysis. Since 1997 Lilja has worked as a teacher/lecturer of e.g. music theory, analysis, transcription, history and ensemble work at all levels of Finnish music education ranging from private music schools to professional music education and universities. His academic publications and presentations have been mainly concerned with music theory and analysis, guitar distortion, heavy metal, and music education.⇑ up
Carlos Regueira (born 1965) has been working as a television producer since 1988. His scholarly efforts started in 2007 and include co-authoring the first public funded research project about the orquestras de verbena (pop cover version bands), a popular music phenomenon in his native Galicia (NW of Spain). His teaching duties include his position as adjunct professor at the university of Santiago de Compostela (USC) and co-ordinator of the first postgraduate course on music industry also at USC (Spain), in which professor Tagg was his first international lecturer. A member of NIMiMS since 2015, his research interests lie mainly in the intersection of media studies and popular music, and he is currently writing his thesis essay on the use of music lip-syncing in television.⇑ up
Dr Timothy Wise https://www.seek.salford.ac.uk/profiles/TWISE.jsp
Tim Wise is a senior lecturer in musicology at the University of Salford, UK. He studied music, English, and linguistics in his native Texas, and received his PhD from the University of Liverpool in 2005. He is the author of Yodeling and Meaning in American Music, published by University Press of Mississippi in 2016.⇑ up
Dr Robert Davis http://www.leedsbeckett.ac.uk/staff/dr-robert-davis
Bob Davis is a musician whose research informs his teaching in music for moving image, music production and performance. His current research explores the transition from student life to the music industry and emotion, feeling, and vibe in recordings. Bob completed his PhD in popular musicology at the Université de Montréal studying with Professor Philip Tagg. His research interests are in the field of semiotics and these are applied to a number of topics across music production and music for film and television. He is research co-ordinator for the school and also a member of NIMiMS, an international body of scholars interested in all aspects of musical sound.⇑ up