Samson Uchenna Eze is a lecturer in Music Department, University of Nigeria Nsukka, where he teaches courses on African music, instrument techniques and performance. He has published thought-provoking journal articles that discuss glocalisation trends, cult of personality, and sexism in the Nigerian popular music scene. He is currently a graduate student at Wesleyan University, Middletown, Connecticut, United States.Ijeoma Iruka Forchu is a research fellow/lecturer at the Institute for Development Studies and Department of Music. She has B.A. (Music) from the University of Nigeria, Nsukka. She obtained M.A (African Studies) from the University of Ibadan, M.A. (Ethnomusicology) from Nnamdi Azikiwe University Awka, M.Sc. (Development Studies) from University of Nigeria Nsukka, and Ph.D. (Ethnomusicology) from NnamdiAzikiwe University, Awka. Her research interests include music in Nigerian development, gender and sexuality in Nigerian popular music and preservation of indigenous music.Kirstin Haag is a PhD candidate in Musicology at Stanford University. Her research explores sacred music practice in colonial-era Guatemalan missions. Her current project examines how a collection of early colonial music manuscripts in the European sacred tradition became the center of an Indigenous religious practice in Western Guatemala missions. Contributing to a growing discourse on colonial-era Central American cultural practices, this project highlights rare evidence of the lived religious experiences and embodied musical practices of the Q'anjob'al and Chuj Maya people. Other research interests include the performance of musical nationalism at sports games in the US and higher education humanities pedagogy.Erol Köymen is a fifth-year PhD candidate in ethnomusicology at the University of Chicago. Through the lens of an ethnographic study of Western art music in Istanbul, he is interested in the relationship among distinction, modes of capital accumulation, and (global) populism, particularly with regard to music infrastructure and secularist elite modes of circulating in and belonging to the city.Toby Wren is a composer, improviser and researcher. His artistic research outcomes include orchestral works, publications of his jazz compositions and seven albums of his original work. His publications in the fields of ethnomusicology and artistic research have investigated Carnatic music and intercultural music-making. His research deals with the ethics of interculturalism, cultural appropriation, and musical hybridity and examines how meaning is negotiated in intercultural contexts through improvisation. The research stems from his involvement and collaboration with South Indian (Carnatic) musicians in India and Australia including Guru Kaaraikkudi Mani, Ghatam Karthik, Ghatam Suresh, and Karthik Mani. Recent outputs include Krithi: Cows at the Beach (Wren and Vaidyanathan 2020) and a co-edited a book with Vanessa Tomlinson on artistic practice, Here and Now (2018). Toby has also released six albums of his original music including the recent, Black Mountain, which was critically acclaimed in national print media. Toby Wren is a Senior Lecturer at SAE Creative Media Institute where he coordinates and writes content for their Media Studies Unit and Music degree.