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Published online by Cambridge University Press:  16 February 2017

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Notes on Contributors
Copyright © Cambridge University Press, 2017 

Allan Badley is Associate Professor of Music at the University of Auckland. He co-founded Artaria Editions in 1995 and has published several hundred editions of works by contemporaries of Haydn, Mozart and Beethoven. In addition to his work on the new Pleyel Gesamtausgabe he is currently preparing a volume of keyboard concertos by Leopold Hofmann for Denkmäler der Tonkunst in Österreich and a thematic catalogue of the composer's complete works for the series Tabulae Musicae Austricae.

Darrell M. Berg has been a member of the music departments of Washington University and Indiana University. She is the author of numerous studies of the life and works of Carl Philipp Emanuel Bach, and is a General Editor of Carl Philipp Emanuel Bach: The Complete Works (Los Altos: Packard Humanities Institute, 2005).

Bruce Alan Brown, Professor of Musicology at the University of Southern California, specializes in later eighteenth-century opera, ballet and instrumental music. His publications include Gluck and the French Theatre in Vienna (Oxford: Clarendon, 1991), critical editions (Kassel: Bärenreiter) of Gluck's Le Diable à quatre (1992) and L'Arbre enchanté (Versailles version 2010, Viennese version 2015), W. A. Mozart: Così fan tutte (Cambridge: Cambridge University Press, 1995), The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World (ed., with Rebecca Harris-Warrick; Madison: University of Wisconsin Press, 2005) and numerous articles. From 2005 to 2007 he was Editor-in-Chief of the Journal of the American Musicological Society. He is a member of the editorial board of the Gluck-Gesamtausgabe (Mainz) and of the Akademie für Mozart-Forschung (Salzburg).

Melania Bucciarelli is Professor of Music History at the Norges teknisk-naturvitenskapelige universitet, where she moved after almost twenty years in the United Kingdom. She has published on the castrato Francesco Bernardi, ‘Il Senesino’ (most recently, ‘Senesino's Negotiations with the Royal Academy of Music’, Cambridge Opera Journal 27/3 (2015)), and on various aspects of eighteenth-century opera, theatre and literature. She is the author of Italian Opera and European Theatre, 1680–1720: Plots, Performers, Dramaturgies (Turnhout: Brepols, 2000), and co-editor of Italian Opera in Central Europe, volume 1: Institutions and Ceremonies (Berlin: Berliner Wissenschafts-Verlag, 2006) and Music as Social and Cultural Practice: Essays in Honour of Reinhard Strohm (Woodbridge: Boydell, 2007).

Rogério Budasz is Associate Professor at the University of California Riverside. His research focuses on early instrumental and stage music in Portugal and Brazil and on the music of the African diaspora in Brazil.

Bethany Cencer is a visiting professor at the Crane School of Music, State University of New York at Potsdam. She researches British music of the Georgian era, with a focus on intersections between vocal music, gender and national identity. She is a recipient of the Kanner Fellowship in British Studies at the William Andrews Clark Memorial Library, University of California Los Angeles, as well as of a research grant from the Huntington Library.

David Chapman holds a PhD in historical musicology from Rutgers University in New Brunswick, New Jersey, where he currently teaches courses in music history, performance practice and ethnomusicology. He is author of the monograph Bruckner and the Generalbass Tradition (Vienna: Musikwissenschaftlicher Verlag, 2010), and has contributed articles and reviews to various scholarly journals, including Ad Parnassum and The Galpin Society Journal. He also performs on modern double bass, violone in contrabasso, violone da gamba and five-string Viennese Violon. He appears regularly with various early-music groups in the New York metropolitan area, including Sinfonia New York, Early Music New York, and the American Classical Orchestra.

Barry Cooper is Professor of Music at the University of Manchester, and is best known for his work on Beethoven, which includes seven books that he has written or edited, the most recent being Beethoven: An Extraordinary Life (London: Associated Board of the Royal Schools of Music, 2013). He has also produced a scholarly performing edition of Beethoven's thirty-five piano sonatas and an edition of the Mass in C major. His other publications include Child Composers and Their Works: A Historical Survey (Lanham: Scarecrow, 2009), monographs on English Baroque keyboard music and on music theory in Britain in the seventeenth and eighteenth centuries, and three catalogues of musical source material.

Paul Corneilson has been managing editor of Carl Philipp Emanuel Bach: The Complete Works since its inception in 1999. He is author of The Essential C. P. E. Bach (Los Altos: Packard Humanities Institute, 2014), and has edited three of the five Passions according to St John by the composer.

Felix Diergarten is Professor of Music Theory and Musicology at the Albert-Ludwigs-Universität Freiburg. After a doctoral thesis in music theory on principles of form in Haydn's symphonies he submitted a Habilitation thesis in musicology on French fourteenth-century song. From 2009 to 2016 he was Professor für Historische Satzlehre at the Schola Cantorum Basiliensis.

Charles Dill is Professor of Music History at the University of Wisconsin-Madison and the author of Monstrous Opera: Rameau and the Tragic Tradition (Princeton: Princeton University Press, 1998). His current projects deal with representations of the listening self in early modern France.

Cheryll Duncan is Lecturer in Music at the Royal Northern College of Music in Manchester. Her primary research interests concern professional music culture in London during the long eighteenth century, with a particular focus on records of the equity and common law courts. She has published articles in Cambridge Opera Journal, Early Music, Journal of the American Musicological Society, Journal of the Society for Musicology in Ireland, Opera Journal and Royal Musical Association Research Chronicle, and also contributed a chapter to Geminiani Studies, ed. Christopher Hogwood (Bologna: Ut Orpheus, 2013).

Angela Fiore graduated cum laude in musicology from the Università di Pavia. She completed her PhD in 2015 at Université de Fribourg with Luca Zoppelli. She has received grants towards her research from the Fondazione Pergolesi Spontini Jesi in 2007, the Swiss National Science Foundation in 2011 and Pôle de recherche of the Université de Fribourg in 2014. In addition, she holds a diploma in violin, and has specialized in the baroque violin repertory on period instruments. She is now Lecturer at the Université de Fribourg.

Austin Glatthorn is Postdoctoral Research Fellow at Dalhousie University. He recently completed his PhD at the University of Southampton, during which time he was a DAAD Doctoral Research Fellow at the Institut für Kunstgeschichte und Musikwissenschaft of the Universität Mainz (2013–2014) as well as a fellow at the Leibniz-Institut für Europäische Geschichte (2015). As a member of the project ‘Opera and the Musical Canon, 1750–1815’, he is currently investigating how the Holy Roman Empire's Nationaltheater provided the political, moral and aesthetic foundations upon which a subsequent canon was cultivated in Central Europe and beyond.

Dianne L. Goldman is a specialist in music from Spain, Mexico and South America during the seventeenth and eighteenth centuries. Her interests include responsories and the matins service, authorship, and liturgy of both the Catholic and the Jewish traditions. She is currently Lecturer in Music History at Columbia College Chicago.

Wolfgang Hirschmann is Professor of Music History at the Martin-Luther-Universität Halle-Wittenberg. He is President of the Georg-Friedrich-Händel-Gesellschaft, and together with Terence Best chief editor of the Hallische Händel-Ausgabe. He is co-editor of Georg Philipp Telemann, Musikalische Werke and Johann Pachelbel, Sämtliche Vokalwerke. His main fields of research are music history of the seventeenth and eighteenth centuries, the history of medieval music theory, and editorial method and practice.

Alan Howard is Lecturer and Director of Studies in Music at Selwyn College Cambridge, and Director of Studies in Music at Queens’ College Cambridge. After many years as reviews editor for Eighteenth-Century Music, he recently took over as co-editor of Early Music. He is currently working on an edition of a symphony anthem, ‘This is the Day that the Lord Hath Made’, by the eighteenth-century composer Samuel Howard, and a book for Cambridge University Press on compositional artifice in the music of Henry Purcell.

Estelle Joubert is Associate Professor of Musicology and Associate Director, Graduate Studies and Research at the Fountain School of Performing Arts, Dalhousie University. Her monograph entitled ‘German Opera and the Politics of Sensation, 1750–1815’ is forthcoming, and she is principal investigator for a large-scale research project, ‘Opera and the Musical Canon, 1750–1815’, funded by the Social Sciences and Humanities Research Council of Canada.

Lily Kass is a PhD candidate in music history at the University of Pennsylvania, where she researches issues of translation in both historical and contemporary opera performance. She is currently completing her dissertation, ‘Translating, Adapting, and Performing Opera in Cosmopolitan Europe: Lorenzo Da Ponte's Librettos for the London Stage, 1780–1800’. In addition to her academic work, Lily is active as a translator of operas and as a singer.

New Zealand pianist/fortepianist Mike Cheng-Yu Lee is Visiting Assistant Professor and Postdoctoral Scholar in Music Theory at the Jacobs School of Music, Indiana University Bloomington. He holds a PhD in musicology from Cornell University.

Alex Ludwig is Assistant Professor of Liberal Arts at Berklee College of Music. He holds a PhD in musicology from Brandeis University and a BM in cello performance from Boston University. His article ‘Hepokoski and Darcy's Haydn’, in the online journal HAYDN (2/2, 2012), examined the marginalization of the composer in Hepokoski and Darcy's sonata theory.

Michael Maul completed his award-winning dissertation, ‘Barockoper in Leipzig’, at the Albert-Ludwigs-Universität Freiburg in 2006, and then in 2013 completed his Habilitation on the history of the Leipzig St Thomas School, which is currently being translated into English. Since 2002 he has been a member of the research staff at the Bach-Archiv Leipzig. In 2014/2015 he was Visiting Professor at the Peabody Institute of the Johns Hopkins University, and in 2015/2016 at the Universität Münster. His publications include a wide range of articles on German baroque music in the seventeenth and eighteenth centuries, especially on J. S. Bach.

Martin Nedbal is Assistant Professor of Musicology at the University of Kansas. His articles on the music of Mozart and Beethoven have appeared in journals such as The Musical Quarterly and Opera Quarterly; he has also contributed to The Oxford Handbook of Music Censorship (‘Sex, Politics, and Censorship in Mozart's Don Giovanni/Don Juan’, already published online) and The New Grove Dictionary of Music and Musicians. His book Morality and Viennese Opera in the Age of Mozart and Beethoven was published by Routledge in 2016.

John Platoff is Professor of Music at Trinity College in Hartford, Connecticut, where he was awarded the 2016 Thomas Church Brownell Prize for Teaching Excellence. His research on the opere buffe of Mozart and his contemporaries has appeared in The Journal of Musicology, Cambridge Opera Journal, Early Music and Music & Letters, among other publications. A member of the Board of Directors of the Mozart Society of America, he is currently working on a study of the Viennese and wider European performance history of Sarti's Fra i due litiganti.

A graduate in Music and French, Julia Prest is Reader in French at the University of St Andrews and has published widely on early modern drama, ballet and opera. Her publications include Theatre under Louis XIV: Cross-Casting and the Performance of Gender in Drama, Ballet and Opera (New York: Palgrave Macmillan, 2006), Controversy in French Drama: Molière's Tartuffe and the Struggle for Influence (New York: Palgrave Macmillan, 2014) and ‘On Stage, in Chapel and in the Bedroom: French Responses to the Italian Castrato’, Seventeenth-Century French Studies 32/2 (2010). She is currently working on the social politics of drama and opera in eighteenth-century Saint-Domingue (now Haiti), and recently prepared a new English translation of Gluck's Iphigénie en Tauride for performance by Byre Opera.

Brianna Robertson-Kirkland completed her PhD in 2016 at the University of Glasgow, funded by the College of Arts scholarship; the thesis examines the eighteenth-century castrato singer Venanzio Rauzzini and the education and career of his operatic students. She is regularly performs in solo recitals and has taken part in masterclasses with Emma Kirkby, Robert Toft and Nicholas Clapton. She was part of a recording project for The Centre for Robert Burns Studies, which was also filmed as part of the BBC documentary Burns, My Dad and Me that aired in 2016.

Luca Lévi Sala has been Visiting Scholar at Yale University. He has published in the Journal of Musicological Research, Notes, Revue de musicologie, Eighteenth-Century Music, Studi Musicali, Rivista italiana di musicologia, Ad Parnassum and Analecta musicologica, and he has been invited to contribute to Oxford Bibliographies: Music and Grove Music Online. A monograph, ‘Luigi Dallapiccola: Politics, Text and the Musical Thought’, is forthcoming.

A graduate in musicology from the Università di Pavia, with a DMA in piano, Massimiliano Sala is on the boards of the Italian National Edition of the Complete Works of Muzio Clementi and Italian National Edition of the Complete Works of Luigi Boccherini. He is also a founder of Ad Parnassum: A Journal of Eighteenth- and Nineteenth-Century Instrumental Music (Ut Orpheus) and serves on the editorial committees of the series Boccherini Studies and Quaderni Clementiani. Publications include articles on eighteenth- to twentieth-century music. He has contributed entries to the second edition of Die Musik in Geschichte und Gegenwart and is contributing the articles ‘Jan Ladislav Dussek’, ‘Giovanni Battista Viotti’ and ‘Ildebrando Pizzetti’ to Oxford Bibliographies: Music.

Ayana Smith is Associate Professor of Musicology at the Jacobs School of Music of Indiana University. Her research focuses on the Accademia degli Arcadi, with an emphasis on the intersections between visual culture, literary aesthetics and opera in the late seventeenth and early eighteenth centuries.

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