Kofi Agawu is professor of music at Princeton University. His research focuses on analytical issues in selected repertoires of Western Europe and West Africa. He is the author of Playing with Signs: A Semiotic Interpretation of Classic Music and Music as Discourse: Semiotic Adventures in Romantic Music, among other books. He has also published articles in Critical Inquiry, Music Theory Spectrum, Journal of Music Theory, Ethnomusicology, Music Theory Online, Music Analysis, and the Journal of the American Musicological Society. He is a corresponding fellow of the British Academy.
Tom Beghin is associate professor at the Schulich School of Music of McGill University and an internationally active performer on historical keyboards. His recording of Joseph Haydn’s complete solo keyboard music (Naxos) marked a remarkable fusion of historical performance practice with the newest research in recording techniques. With classicist Sander Goldberg he coedited Haydn and the Performance of Rhetoric, winner of the 2009 Ruth Solie Award from the American Musicological Society. His monograph Haydn at the Keyboard: A Performer’s Paradox is forthcoming. He is currently focusing his artistic research on the piano works of Ludwig van Beethoven.
Vasili Byros is assistant professor of music theory and cognition at the Northwestern University. He won the Patricia Carpenter Emerging Scholar Award from the Music Theory Society of New York State in 2006 and the TAGS Essay Prize from the Society for Music Analysis in 2008. His research focuses on the cultural and psychological foundations of style in music of the long eighteenth century. His articles about Beethoven’s “Eroica,” the le–sol–fi–sol schema, historical modes of listening, and the intersections among syntactic and semantic structures have appeared in Music Analysis, Eighteenth-Century Music, Musica Humana, and Theory and Practice.
William E. Caplin is James McGill Professor of Music Theory at the Schulich School of Music, McGill University, specializing in the theory of musical form and the history of harmonic and rhythmic theory in the modern era. His book Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven won the 1999 Wallace Berry Award from the Society for Music Theory and forms the basis of his recent textbook Analyzing Classical Form. A former president of the Society for Music Theory, he has presented many keynote addresses, guest lectures, and workshops in North America and Europe. He recently completed a two-year leave supported by a Killam Research Fellowship from the Canada Council of the Arts on the project “Cadence: A Study of Closure in Tonal Music.” (p. xii)
Keith Chapin is senior lecturer in music at Cardiff University. He has also taught at Fordham University and at the New Zealand School of Music. He specializes in critical theory, music aesthetics, and music theory in the seventeenth through twentieth centuries, focusing on issues of counterpoint and the sublime. He has been coeditor of Eighteenth-Century Music and associate editor of 19th-Century Music. He coedited the essay collections Speaking of Music: Addressing the Sonorous and Musical Meaning and Human Values, and his articles have appeared in such journals as Music and Letters, Eighteenth-Century Music, 19th-Century Music, and The International Review of the Aesthetics and Sociology of Music.
Sarah Day-O’Connell is associate professor in the Department of Music at Knox College and was research fellow at the Institute for Advanced Studies in the Humanities at the University of Edinburgh in 2009–10. Her work focusing on English song and the visual, material, and popular scientific culture of the late eighteenth century has appeared in Eighteenth-Century Music (receiving the 2011 Pauline Alderman Award for outstanding scholarship on women and music), Coll’astuzia, col giudizio: Essays in Honor of Neal Zaslaw, and Zyklus und Prozess: Joseph Haydn und die Zeit. She is coeditor, with Caryl Clark, of the forthcoming Cambridge Haydn Encyclopedia.
Joel Galand is associate professor of music theory and director of graduate studies at Florida International University. He won the Society for Music Theory’s Young Scholar Award in 1996, is a past editor of the Journal of Music Theory, and has contributed articles and reviews pertaining to eighteenth-century music and Schenkerian theory to the Journal of Music Theory, Music Theory Spectrum, Intégral, Notes, Current Musicology, and the Schenkerian Studies book series. He also writes on the music of Kurt Weill. He has been a volume editor for the Kurt Weill Edition and serves on its editorial board.
Sheila Guymer is a fortepianist and chamber musician with research interests in the performance practices of the First Viennese School, Schubert, Schumann, and Brahms. In Australia, she has held academic and performance teaching positions at the Universities of Melbourne, Sydney, Victoria, and New England. In 2011 she was awarded the F.F.I. Freda Bage Fellowship to undertake a Ph.D. in Music, supervised by Nicholas Cook at the Faculty of Music, University of Cambridge.
Andrew Haringer is a teaching fellow in humanities at Quest University, Canada. His research focuses on political and religious issues in the music of Franz Liszt, topic theory, and broader questions relating to Romantic pianism. He has book chapters in Liszt: A Chorus of Voices, “Grandeur et Finesse”: Chopin, Liszt and the Parisian Musical Scene, and Liszt Legacies. He has written book reviews for Current Musicology, L’analyse musicale, and Music and Letters.
Robert S. Hatten is professor of music theory at University of Texas at Austin and author of Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation, which was corecipient of the Wallace Berry Award from the Society for Music Theory in 1997. His second book, Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, (p. xiii) Schubert, helped launch the book series Musical Meaning and Interpretation, for which he serves as general editor. He has completed terms as vice president of the Society for Music Theory and president of the Semiotic Society of America.
Matthew Head is reader in music at King’s College, University of London. His research focuses on music and literature in the German- and English-speaking eighteenth century. He is the author of two books: Orientalism, Masquerade and Mozart’s Turkish Music and Sovereign Feminine: Music and Gender in Eighteenth-Century Germany. His current project explores music, sound, and vibration through notions of “touch,” feeling, and sensation.
Julian Horton is professor of music and head of the Music Department at the University of Durham. His research focuses on the analysis and reception of nineteenth-century instrumental music, with special interests in the music of Anton Bruckner and first-movement form in the early nineteenth-century piano concerto. He is the author of Bruckner’s Symphonies: Analysis, Reception and Cultural Politics and the editor of The Cambridge Companion to the Symphony. His articles have appeared in many publications including Music and Letters, The Musical Quarterly, and Music Analysis. He is the president of the Society for Music Analysis.
Mary Hunter is A. Leroy Greason Professor of Music at Bowdoin College. She is the author of Opera Buffa in Mozart’s Vienna: A Poetics of Entertainment and Mozart’s Operas: A Companion and coeditor, with James Webster, of Opera Buffa in Mozart’s Vienna and, with Richard Will, of Engaging Haydn: Culture, Context, and Criticism. She has contributed articles on opera buffa, Mozart, Haydn, and the history of performance to such journals as Cambridge Opera Journal and The Journal of the American Musicological Society and to many edited collections.
John Irving is an academic and performer specializing in the music of Mozart and in performance practice of the eighteenth century. Formerly professor of music at Bristol University and director of The Institute of Musical Research, School of Advanced Study, University of London, he now divides his time between performance as a fortepianist and academic work as reader in historical performance at Trinity Laban Conservatoire of Music and Dance. His publications on Mozart include Understanding Mozart’s Piano Sonatas, Mozart’s Piano Concertos, and a biography The Treasures of Mozart. His CD recordings include solo and chamber discs of works by Mozart, Beethoven, and their Viennese contemporaries. He is an associate fellow of the Institute of Musical Research and serves as vice president of The Royal Musical Association.
Roman Ivanovitch is associate professor of music theory at Indiana University, Bloomington. His research concerns issues of form, style, and aesthetics in the eighteenth century, particularly with respect to classical-era variation and sonata form. His principal focus is the music of Mozart, on which he has published articles in Music Theory Spectrum, the Journal of Music Theory, and Music Analysis. The Music Analysis article “Mozart’s Art of Retransition” won the Marjorie Weston Emerson Award from the (p. xiv) Mozart Society of America for the best English-language article on Mozart published in 2010–11.
Melanie Lowe is associate professor of musicology at Vanderbilt University’s Blair School of Music. Author of Pleasure and Meaning in the Classical Symphony and coeditor of the forthcoming Rethinking Difference in Musical Scholarship, she has widely published on Haydn and other eighteenth-century subjects, topic theory, music in American media, and music history pedagogy.
Elizabeth Hellmuth Margulis is professor of music and director of the Music Cognition Lab at the University of Arkansas. Her research uses theoretical, behavioral, and neuroimaging methodologies to investigate the dynamic, moment-to-moment experience of listeners without special musical training. She is the author of On Repeat: How Music Plays the Mind. Her articles have appeared in diverse publications ranging from Music Theory Spectrum, Journal of Music Theory, Music Perception, Journal of New Music Research, and Psychology of Music to Human Brain Mapping, Frontiers in Psychology, and Journal of Cognitive Neuroscience.
Catherine Mayes is assistant professor of musicology at the University of Utah. Her research focuses on exoticism and national styles in music of the late eighteenth and early nineteenth centuries, with particular attention to Viennese representations of Hungarian-Gypsy music. Her articles pertaining to this topic have appeared in Eighteenth-Century Music and Music and Letters.
Clive McClelland is associate professor of music at the University of Leeds. His book Ombra: Supernatural Music in the Eighteenth Century is the standard text on the subject. Other recent and forthcoming publications include chapters on Schubert’s supernatural lieder in Schubert the Progressive: History, Performance Practice and Analysis and on Spohr’s Faust in The Oxford Handbook of Faust in Music and an article on Elgar’s “dark saying” for the Musical Times.
Eric McKee is associate professor of music theory at the Penn State University. His book Decorum of the Minuet, Delirium of the Waltz investigates the social contexts and bodily rhythms of the two most important dances of the eighteenth and nineteenth centuries. His current research, for which he was awarded a fellowship from the American Council of Learned Societies, focuses on the influence of the dance in Chopin’s music. His articles have appeared in such journals as Music Theory Spectrum, Music Analysis, In Theory Only, and Theory and Practice.
Danuta Mirka is reader in music at the University of Southampton. She is the coeditor, with Kofi Agawu, of Communication in Eighteenth-Century Music. Her books include The Sonoristic Structuralism of Krzysztof Penderecki and Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791, which won the 2011 Wallace Berry Award from the Society for Music Theory. Her articles have appeared in many publications including The Journal of Musicology, Journal of Music Theory, The American Journal of Semiotics, Musical Quarterly, and Eighteenth-Century Music. (p. xv)
Stephen Rumph is associate professor of music history at the University of Washington. He is the author of Beethoven after Napoleon: Political Romanticism in the Late Works and Mozart and Enlightenment Semiotics, both published by the University of California Press. His articles have appeared in the Journal of the Royal Musical Association, Eighteenth-Century Music, 19th-Century Music, Music and Letters, and Beethoven Forum.
Elaine Sisman is the Anne Parsons Bender Professor of Music at Columbia University. The author of Haydn and the Classical Variation, the Cambridge Handbook Mozart: The “Jupiter” Symphony, and editor of Haydn and His World, she has published numerous essays on music of the eighteenth and nineteenth centuries that interweave history, biography, aesthetics, and analysis. She has been awarded the Alfred Einstein Award of the American Musicological Society for best article by a younger scholar, serves on the boards of international Haydn and Mozart societies as well as The Musical Quarterly and The Journal of Musicology, and completed a term as president of the American Musicological Society, which elected her to Honorary Membership in 2011.
W. Dean Sutcliffe is associate professor in the School of Music at the University of Auckland, and coeditor of Eighteenth-Century Music. His research interests are focused on the eighteenth century, and publications have covered composers such as Domenico Scarlatti, Gyrowetz, Boccherini, Mozart, Scarlatti’s Spanish contemporary Sebastián de Albero, Manuel Blasco de Nebra, and, above all, Haydn. He was awarded the Dent Medal for 2009 by the Royal Musical Association. He is vice president of the Society for Eighteenth-Century Music, a member of the Committee of Honour of the Haydn Society of Great Britain, a member of the Advisory Board of the Haydn Society of North America, and serves on the Council of the American Musicological Society.
Lawrence M. Zbikowski is associate professor of music and the humanities and Deputy Provost for the Arts at the University of Chicago. His principal research interests involve applying recent work in cognitive science to various problems confronted by music scholars, with a particular focus on music theory and analysis. He is the author of Conceptualizing Music: Cognitive Structure, Theory, and Analysis, which won the Society for Music Theory’s 2004 Wallace Berry Award. His articles have appeared in such scholarly journals as Music Perception, Music Analysis, Music Theory Spectrum, Music Theory Online, and Journal of the Royal Musical Association.