(b San Diego, CA, May 22, 1953). American composer, media artist, performer, and bio-acoustic researcher. After taking violin and viola lessons with Mary Gerard, James Glazebrook, and Howard Hill and pursuing undergraduate studies in music at San Diego State University, Dunn earned the MFA in new media at the Danube University’s Transart Institute in Krems, Austria (2009). He also studied composition with David Ernst, kenneth Gaburo , Norman Lowrey, and Pauline Oliveros, and served as assistant to harry Partch (1970–74), in whose ensemble he performed for a decade. Engaging in both traditional and experimental compositional approaches, Dunn has conceived music for the concert stage, radio, and film, and explored sound art, including sound installations and soundscape recordings. Dunn has also dedicated himself to studies in acoustic ecology and bio-acoustic research. He has taught at the College of Santa Fe and San Diego State University, where he was director of the Electronic Music Studio. He has served as vice-president of the International Synergy Institute in Los Angeles (...
Michael C. Heller
(b Brooklyn, NY, March 21, 1948). American jazz and film critic and historian. After studying English at Grinnell College (BA 1972), he returned to New York and began writing on film for the Hollywood Reporter (1972) and on jazz for Down Beat (1972–3). Citing influence from the writers Martin Williams and Dan Morgenstern, he decided to focus his efforts exclusively on jazz and in 1973 was hired as a music critic by the Village Voice. His regular column “Weather Bird” became highly influential during the next three decades. Unlike critics who concentrated primarily on recent performances, Giddins wrote on a range of topics, including the legacies of historical figures, contemporary developments, and issues relating to jazz advocacy and education. From the 1980s he began publishing collections of his essays as well as book-length monographs, including biographies of Charlie Parker (1987), Louis Armstrong (...
(b Yonkers, NY, May 14, 1948). American film scholar. She received the BA in French, the MA in Romance Languages, and took the doctorate in Romance Languages and Literature, all at the University of Washington (1969, 1971, and 1978). She studied in Paris from 1973–1974 with Christian Metz, Raymond Bellour, Roland Barthes, and Nadia Boulanger. She taught comparative literature and film studies at Indiana University from 1975 to 1990, then joined the founding faculty at the University of Washington, Tacoma, in 1990. Gorbman has written extensively on film music and film sound. She has also translated from French many of Michel Chion’s key theoretical works on the audiovisual, including Audio-Vision: Sound on Screen (1994), The Voice in Cinema (1999), and Film: A Sound Art (2009). Gorbman’s Unheard Melodies (based on her doctoral dissertation) examined the narrative and expressive functions of music in film. It was the first to draw on narrative, semiotic, and psychoanalytic theories that flourished in film studies in the 1970s. Her use of the narrative theory-derived terminology “diegetic/non-diegetic” to assess if and how music, and the soundtrack as a whole, participated in film narration was especially far-reaching, and has since been embraced within film music studies and far beyond to other disciplines....