Cathy Ragland (PhD, Ethnomusicology, Graduate Center, City University of New York; MA, Ethnomusicology, University of Washington-Seattle; BA, Liberal Arts (Russian, minor), University of Texas-Austin) is UNT Associate Professor of Ethnomusicology, Ethnomusicology Program Coordinator, and Mariachi Águilas Faculty Coordinator/Advisor.  Before coming to UNT, Dr. Ragland was Assistant Professor of Music at UT-Pan American (now UTRGV) and Empire State College, State University of New York (SUNY).

Specialist in nineteenth-century music, French opera, media history, and critical theory.

Peter Mondelli has taught at UNT since 2012.  His research considers the impact of print culture and bourgeois capitalism on nineteenth-century Parisian opera. Other areas of interest include orality and literacy in late eighteenth-century song, early music and musicology in fin-de-siècle France, and the relationship between music studies and the posthumanities.

BA, Columbia University
PhD, University of Pennsylvania

Justin Lavacek holds a PhD in music theory from the Jacobs School of Music, Indiana University.  Specializing in theory and analysis of European music before 1750, his recent publications include “Hidden Coloration: Deep Metrical Flexibility in Machaut,” Plainsong and Medieval Music 32/1 (2022) and “Contrapuntal Ingenuity in the Motets of Machaut,” Integral 28/29 (2014-15). Dr.

Timothy Jackson is a distinguished university research professor of theory with the music history, theory and ethnomusicology division and joined the faculty in fall 1998. Formerly an assistant professor of music at Connecticut College, Jackson received a National Endowment for the Humanities Grant to College Teachers to complete his book on Tchaikovsky's Symphony No. 6 for the Cambridge Handbook Series (1999).

Bernardo Illari is a specialist in Latin American music from the colonial and early national periods. He received his Ph.D.

Steven Friedson is University Distinguished Research Professor of Music and Anthropology at the University of North Texas. For the past thirty-five years he has been conducting comparative research on music and ritual in Africa.

Diego Cubero’s research interests include Schenkerian analysis, Romantic aesthetics and the music of Brahms. His dissertation expands upon the common notion that Brahms’ music sounds autumnal, bringing an important aspect of the composer’s reception history in dialogue with key tenets of Romantic philosophy and with a close analysis of the music.