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date: 21 October 2021

(p. xxv) Contributors

(p. xxv) Contributors

Jacques Amblard is Associate Professor in the Department of Music at the University of Provence (Aix-en-Provence, France). His publications concern aesthetics, music of the twentieth and twenty-first centuries, music and intonation (Pascal Dusapin, l’intonation ou le secret, Musica Falsa, 2002), musical pedagogy (L’harmonie expliquée aux enfants, Musica Falsa, 2006), and music and sociology (Vingt regards sur Messiaen: une étiologie de la méditation, Presses universitaires de Provence, 2015).

Rolf Bäcker is Professor in the Department of Musicology at the Escola Superior de Música de Catalunya. His interests include the interrelation of music and literature, the history of fifteenth- and sixteenth-century music, and ethnomusicology. He is the author of Symbol Gitarre: Bedeutung und Wandel im kulturellen Gedächtnis Spaniens vom Mittelalter bis zum Ende des Siglo de Oro (Lang, 2012). He has contributed to Early Music. Context and Ideas II (Jagiellonian, 2008) and Fascinantes étrangetés. La découverte de l’altérité musicale en Europe au XIXesiècle (L’Harmattan, 2014).

André Brégégère is Assistant Professor at Queensborough Community College in New York. While Chancellor’s Fellow in the Department of Music of the Graduate Center at the City University of New York, he composed his doctoral thesis on the music and theoretical writings of Henri Pousseur under the direction of Joseph N. Straus. He is co-director of Dr. Faustus, an organization dedicated to the commission and performance of new musical works by emerging composers.

Joy H. Calico is Cornelius Vanderbilt Professor of Musicology at Vanderbilt University and Editor-in-Chief of the Journal of the American Musicological Society. She is the author of Arnold Schoenberg’s “A Survivor from Warsaw” in Postwar Europe (2014) and Brecht at the Opera (2008), both from the University of California Press.

Maureen A. Carr is Distinguished Professor of Music Theory at the Pennsylvania State University. She is a recipient of the Faculty Scholar Medal for Outstanding Achievement in the Arts and Humanities. Her works examining Stravinsky’s use of neo-classicism include Multiple Masks: Neoclassicism in Stravinsky’s Dramatic Works on Greek Subjects (Nebraska, 2002) and After the Rite: Stravinsky’s Path to Neoclassicism (1914–1925) (Oxford, 2014). She is also the author of Stravinsky’s Histoire du soldat: A Facsimile of the Sketches (A-R Editions, 2005) and Stravinsky’s Pulcinella: A Facsimile of the Sources and Sketches (A-R Editions, 2010), for which she won the Citation of Special Merit from the Society for Music Theory. She is currently writing After Apollo: Stravinsky’s Path through the Models of Bach (1929–1965) (forthcoming, Oxford).

(p. xxvi) Mark Carroll is Professor at the Elder Conservatorium of Music, University of Adelaide. An active classical and pop music performer, his research activities range from music and politics (Music and Ideology in Cold War Europe [Cambridge, 2003]) to Percy Grainger (Self-Portrait of Percy Grainger, with Malcolm Gillies and David Pear [Oxford, 2006]), to Jean-Paul Sartre’s literary and ideological use of music. He publishes regularly in Music & Letters, and is series editor of the Ashgate Library of Essays on Music, Politics and Society (2012).

David Conway is Honorary Research Fellow at the Department of Hebrew and Jewish Studies, University College London. He is the author of Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner (Cambridge, 2012), and a contributor to The Cambridge Companion to Jewish Music (2015).

Rebecca Cypess is Assistant Professor of Music at the Mason Gross School of the Arts at Rutgers University. She is the author of Curious and Modern Inventions: Instrumental Music as Discovery in Galileo’s Italy (Chicago, 2016).

Lorna Fitzsimmons is Professor of Humanities at California State University, Dominguez Hills, in Los Angeles. She has taught an interdisciplinary Lives of Faust course for over a decade. She is the editor of Lives of Faust. The Faust Theme in Literature and Music. A Reader (De Gruyter, 2008), International Faust Studies: Adaptation, Reception, Translation (Continuum, 2008), Goethe’s Faust and Cultural Memory: Comparatist Interfaces (Lehigh, 2012), and Faust Adaptations from Marlowe to Aboudoma and Markland (Purdue, 2016). She has work on the Faust theme in Angermion: Yearbook for Anglo-German Literary Criticism, Intellectual History and Cultural Transfers 10 (2017). Her forthcoming book, Faust on the Early Screen (Amsterdam), examines Faust music, particularly Gounod’s opera Faust, but also Faust works by Berlioz, Spohr, Liszt, and Boito, as a source of early film. She has also published on the musical demonic compact in American culture, including blues musician Robert Johnson, and on the Terpsichore theme in Klaus Mann’s novel Mephisto.

Martin Flašar is Assistant Professor in the Department of Musicology at Masaryk University, Brno. His research interests include contemporary music and media, multimedia, and electro-acoustic music. He is a contributor to sound exchange: Experimentelle Musikkulturen in Mitteleuropa (Pfau, 2012). He is a member of the Czech Ministry of Culture Board for Live Arts (Classical Music).

Michele Girardi is Associate Professor of Music at the University of Venice, Ca’ Foscari. He is the co-editor of Messa per Rossini: la storia, il testo, la musica (Ricordi, 1988), author of Puccini: His International Art (Chicago, 2000), editor of La Fenice prima dell'opera (2002–2015), co-author of La Fenice, 1792–1996: Theatre, Music and History (Marsilio, 2003), author of Pavarotti: La bohème (FMR, 2008), and editor of Madame Butterfly, mise en scène (EDT, 2012).

(p. xxvii) Vincent Giroud is Professor of English and Comparative Literature at the University of Franche-Comté in Besançon. His recent publications include Picasso and Gertrude Stein (Metropolitan Museum of Art and Yale, 2007), French Opera: A Short History (Yale, 2010), Massenet aujourd’hui: héritage et postérité, co-edited by Jean-Christophe Branger (PUSE, 2014), and Nicolas Nabokov: A Life in Freedom and Music (Oxford, 2015). He is a contributor to The Oxford Handbook of Opera (2014).

Thomas S. Grey is Professor of Music at Stanford University. He is the author of Wagner’s Musical Prose: Texts and Contexts (Cambridge, 1995), as well as editor of Richard Wagner, Der fliegende Holländer (Cambridge, 2000), The Cambridge Companion to Wagner (2008), and Wagner and His World (Princeton, 2009). He has also written on Beethoven, Mendelssohn, and the history of nineteenth-century opera.

Marjorie Hirsch is Professor of Music at Williams College in Williamstown, Massachusetts. She is the author of Schubert’s Dramatic Lieder (Cambridge, 1993), Romantic Lieder and the Search for Lost Paradise (Cambridge, 2007), and other writings on nineteenth-century music.

Raymond Knapp is Professor of Musicology at the University of California at Los Angeles. His publications include Symphonic Metamorphoses: Subjectivity and Alienation in Mahler’s Re-Cycled Songs (Wesleyan, 2003), The American Musical and the Formation of National Identity (Princeton, 2005; winner of the George Jean Nathan Award for Dramatic Criticism), The American Musical and the Performance of Personal Identity (Princeton, 2006), The Oxford Handbook of the American Musical (2011, with Mitchell Morris and Stacy Wolf), and Making Light: Haydn, Musical Camp, and the Long Shadow of German Idealism (Duke, 2018). His interests include Beethoven, Wagner, Brahms, Tchaikovsky, Mahler, nationalism, musical allusion, music and identity, camp, and film music.

Jonathan Kregor is Professor of Musicology at the University of Cincinnati, College-Conservatory of Music. He is the author of Liszt as Transcriber (Cambridge, 2010; winner of the inaugural Alan Walker Book Award from the American Liszt Society), and Program Music (Cambridge, 2015). His articles and reviews on Franz Liszt, virtuosity, transcriptions, and other topics in nineteenth-century music have been complemented by critical editions of works by C. P. E. Bach and Clara Schumann. Since 2012 he has been editor of the Journal of the American Liszt Society.

Clive McClelland is Associate Professor in the School of Music at the University of Leeds, where he teaches harmony, counterpoint, and analysis. He is the author of Ombra: Supernatural Music in the Eighteenth Century (Lexington, 2012) and Tempesta: Stormy Music in the Eighteenth Century (Lexington, 2017). Other publications include “Death and the Composer: The Context of Schubert’s Supernatural Lieder,” in Schubert the Progressive: History, Performance Practice, and Analysis (Ashgate, 2003), and “Ombra and Tempesta” in The Oxford Handbook of Topic Theory (2014).

(p. xxviii) Charles McKnight is Emeritus Associate Professor of Music at the University of North Carolina at Asheville. He holds a PhD in Music from Cornell University and specializes in Russian music. A professional trombonist in New York City for eighteen years, he performed with ballet orchestras such as the American Ballet Theatre, New York City Ballet, and the Joffrey Ballet. As an academic he teaches music history, music theory, and Russian studies. Faust has been a lifelong interest, and he has regularly taught an interdisciplinary course on Faust in the arts.

Alberto Rizzuti is Professor of Music at the University of Turin. His areas of interest are, among others, Bach, Beethoven, the German Lied, and Italian opera. His publications include Giovanna d’Arco: dramma lirico (in Four Acts) (Chicago, 2008), Fra Kantor e Canticum. Bach e il “Magnificat” (dell’Orso, 2011), Sotto la volta celeste: Beethoven e l’immaginario pastorale (Aracne, 2014), and Musica sull’acqua: fiumi sonori, mari in tempesta, fontane magiche da Händel a Stravinskij (Carocci, 2017).

Marc-André Roberge is Professor of Musicology at Laval University, Quebec. He is the author of Ferruccio Busoni: A Bio-Bibliography (Greenwood, 1991), as well as several articles on Busoni and reviews of relevant publications in the Canadian University Music Review, American Music, The Music Review, The Musical Quarterly, and the Revue de musicologie. He contributed the Busoni chapter to Larry Sitsky’s Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Greenwood, 2002) and a biographical study of Busoni’s disciple Gisella Selden-Goth in Busoni in Berlin: Facetten eines kosmopolitischen Komponisten (Franz Steiner, 2004). In addition to preparing more than twenty-five critical editions of works by Kaikhosru Shapurji Sorabji (Sorabji Archive), he created the Sorabji Resource Site in 2010 and is the author of Opus sorabjianum: The Life and Works of Kaikhosru Shapurji Sorabji (Sorabji Archive, 2013).

Zoltan Roman was Professor Emeritus of Musicology at the University of Calgary, Canada. His publications include Anton Von Webern: An Annotated Bibliography (Information Coordinators, 1983), Gustav Mahler’s American Years, 1907–11: A Documentary History (Pendragon, 1989), and Gustav Mahler and Hungary (Pendragon, 1991). He contributed to On the Music of Stefan Wolpe (Pendragon, 2003), Perspectives on Gustav Mahler (Ashgate, 2005), and The Cambridge Companion to Mahler (2007). He was a member of the Executive Committee of the International Gustav Mahler Society and served as President of the Northwest Chapter of the American Musicological Society. His performance history as oboist includes the Vancouver Symphony Orchestra.

Julian Rushton is Emeritus Professor of Music at the University of Leeds. He has published mainly on Gluck, Mozart, Berlioz, and Elgar. His books include The Musical Language of Berlioz (Cambridge, 1983) and The Music of Berlioz (Oxford, 2001), and he edited several volumes of the New Edition of the Complete Works of Berlioz (Bärenreiter, 1970, 1979/86, 1991/93). He was President of the Royal Musical Association, 1994–99, and has been chairman of the Editorial Committee of Musica Britannica since 1993.

(p. xxix) Kristin Rygg is Professor of Musicology at the Inland Norway University of Applied Sciences. Her research focuses on music in interplay with other arts, especially music theater. Her publications include Masqued Mysteries Unmasked: Early Modern Music Theater and Its Pythagorean Subtext (Pendragon, 2000), “When Angels Dance for Kings: The Beginning of Scandinavian Music Theatre,” Danish Yearbook of Musicology 39 (2012), and “The Broken Hallelujah: The Super Hit as Sacred Space,” in Transcendence and Sensoriness: Perceptions, Revelation, and the Arts (Brill, 2015). She is currently completing a book on early music theater in Nordic countries.

Jürgen Schaarwächter is Senior Research Assistant to the Max Reger Institute, Karlsruhe. Among his publications are Richard Strauss und die Sinfonie (Dohr, 1994), as well as numerous articles for Archiv für Musikwissenschaft, Die Musikforschung, The Musical Times, and other journals. He is the editor of HB: Aspects of Havergal Brian (Ashgate, 1997).

Laura Tunbridge is Professor in Music at the University of Oxford. She gained her PhD from Princeton in 2002, with a dissertation on Schumann’s music to Byron’s Manfred and the Scenen aus Goethe’s Faust. Subsequent publications have included Schumann’s Late Style (Cambridge, 2007), The Song Cycle (Cambridge, 2010), the co-edited volume Rethinking Schumann (Oxford, 2011), and Singing in the Age of Anxiety: Lieder Performances in New York and London between the World Wars (Chicago, 2018).

Elizabeth L. Wollman is Associate Professor of Music at Baruch College, City University of New York. She specializes in the contemporary American stage musical. She is the author of The Theater Will Rock: A History of the Rock Musical from Hair to Hedwig (Michigan, 2006) and Hard Times: The Adult Musical in 1970s New York City (Oxford, 2012), and editor of A Critical Companion to the American Stage Musical (Methuen, 2016).

James L. Zychowicz is a scholar in residence at the Newberry Library, Chicago. His publications include Mahler’s Fourth Symphony (Oxford, 2000), as well as articles and reviews in the Journal of the American Musicological Society, Notes: Quarterly Journal of the Music Library Association, and the Journal of Musicology. He contributed to The Cambridge Companion to the Lied (2004), Perspectives on Gustav Mahler (Ashgate, 2005), and Genetic Criticism and the Creative Process: Essays from Music, Literature, and Theater (Rochester, 2009). He serves on the editorial board of Oxford Bibliographies in Music.

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