Danielle Fosler-Lussier is Professor of Music at The Ohio StateUniversity School of Music. She is author of Music Divided: Bartók’s Legacy in Cold War Culture (University of CaliforniaPress, 2007), and Music in America’s ColdWar Diplomacy (University of California Press, 2015).William Cheng is Assistant Professor of Music at Dartmouth College. He is author of Sound Play: Video Games and the Musical Imagination (OUP 2014), Just Vibrations: The Purpose of Sounding Good (University of Michigan Press, 2016). His forthcoming books include Why Listening to Beethoven Makes Me Feel So Respectable (and Other Vices of Musical Judgment) (OUP), Touching Pitch: Dirt, Debt, Color (University of Michigan Press) and, as co-editor, Queering the Field: Sounding Out Ethnomusicology (OUP).

• Edited by William Cheng and Danielle Fosler-LussierIntroduction: The Stories We Hope to Share, William Cheng1. Society: Global Trajectories and the Universal-Particular Paradox, Hyun Kyong Hannah Chang2. Philosophy: Theosophy and Esoteric Musical Modernism, Anna Gawboy3. Politics: Music, Nation States, and the “Small World” in the Long Twentieth Century, Danielle Fosler-Lussier4. Exchange: Modernist Approaches across Oceans and Borders, Marysol Quevedo5. Education: Children’s Music and Visions of Citizenship, Anicia Timberlake6. Popular Culture: Musical Performance as Cultural Activism, Ellie M. Hisama7. Performance: The Changing Norm of Musical Practice in Everyday Life, Stephanie Jensen-Moulton8. Technology: Media, Myths, and Movements, Penny Brandt and Rob Deemer

Danielle Fosler-Lussier is Professor of Music at The Ohio StateUniversity School of Music. She is author of Music Divided: Bartók’s Legacy in Cold War Culture (University of CaliforniaPress, 2007), and Music in America’s ColdWar Diplomacy (University of California Press, 2015).William Cheng is Assistant Professor of Music at Dartmouth College. He is author of Sound Play: Video Games and the Musical Imagination (OUP 2014), Just Vibrations: The Purpose of Sounding Good (University of Michigan Press, 2016). His forthcoming books include Why Listening to Beethoven Makes Me Feel So Respectable (and Other Vices of Musical Judgment) (OUP), Touching Pitch: Dirt, Debt, Color (University of Michigan Press) and, as co-editor, Queering the Field: Sounding Out Ethnomusicology (OUP).

• Edited by William Cheng and Danielle Fosler-LussierIntroduction: The Stories We Hope to Share, William Cheng1. Society: Global Trajectories and the Universal-Particular Paradox, Hyun Kyong Hannah Chang2. Philosophy: Theosophy and Esoteric Musical Modernism, Anna Gawboy3. Politics: Music, Nation States, and the “Small World” in the Long Twentieth Century, Danielle Fosler-Lussier4. Exchange: Modernist Approaches across Oceans and Borders, Marysol Quevedo5. Education: Children’s Music and Visions of Citizenship, Anicia Timberlake6. Popular Culture: Musical Performance as Cultural Activism, Ellie M. Hisama7. Performance: The Changing Norm of Musical Practice in Everyday Life, Stephanie Jensen-Moulton8. Technology: Media, Myths, and Movements, Penny Brandt and Rob Deemer

Danielle Fosler-Lussier is Professor of Music at The Ohio StateUniversity School of Music. She is author of Music Divided: Bartók’s Legacy in Cold War Culture (University of CaliforniaPress, 2007), and Music in America’s ColdWar Diplomacy (University of California Press, 2015).William Cheng is Assistant Professor of Music at Dartmouth College. He is author of Sound Play: Video Games and the Musical Imagination (OUP 2014), Just Vibrations: The Purpose of Sounding Good (University of Michigan Press, 2016). His forthcoming books include Why Listening to Beethoven Makes Me Feel So Respectable (and Other Vices of Musical Judgment) (OUP), Touching Pitch: Dirt, Debt, Color (University of Michigan Press) and, as co-editor, Queering the Field: Sounding Out Ethnomusicology (OUP).

• Edited by William Cheng and Danielle Fosler-LussierIntroduction: The Stories We Hope to Share, William Cheng1. Society: Global Trajectories and the Universal-Particular Paradox, Hyun Kyong Hannah Chang2. Philosophy: Theosophy and Esoteric Musical Modernism, Anna Gawboy3. Politics: Music, Nation States, and the “Small World” in the Long Twentieth Century, Danielle Fosler-Lussier4. Exchange: Modernist Approaches across Oceans and Borders, Marysol Quevedo5. Education: Children’s Music and Visions of Citizenship, Anicia Timberlake6. Popular Culture: Musical Performance as Cultural Activism, Ellie M. Hisama7. Performance: The Changing Norm of Musical Practice in Everyday Life, Stephanie Jensen-Moulton8. Technology: Media, Myths, and Movements, Penny Brandt and Rob Deemer