Celia Applegate is William R. Kenan Jr Professor of History and Affiliate Professor of Musicology and Ethnomusicology at Vanderbilt University. She is the author of Bach in Berlin: Nation and Culture in Mendelssohn's Revival of the ‘St. Matthew Passion’ (Ithaca: Cornell University Press, 2005) and co-editor, with Pamela Potter, of Music and German National Identity (Chicago: Chicago University Press, 2002). She currently serves as President of the Central European History Society.
Claudio Bacciagaluppi graduated in musicology from the Universität Zürich and completed his DPhil at the Université de Fribourg (Switzerland) with Luca Zoppelli. He works for the Swiss branch of RISM. His field of research is sacred music in seventeenth-century Switzerland and in eighteenth-century Naples.
Geoffrey Burgess combines musicological research with an international career as a baroque oboist. His research focuses on the history of the oboe and French baroque opera, for which he developed a particular affinity through a twenty-year association with Les Arts Florissants in Paris. He teaches at the Eastman School of Music.
David F. Chapman holds a PhD in historical musicology from Rutgers University, 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 the five-string Viennese violon. He appears regularly with various early-music groups in the New York metropolitan area.
Tassilo Erhardt is a baroque violinist as well as Professor of Music at Liverpool Hope University and director of the MA course in sacred music. He is author of the award-winning study Händels Messiah: Text, Musik, Theologie (Bad Reichenhall: Comes, 2007).
Ellen Exner received her PhD from Harvard University in 2010. She is currently Assistant Professor of Music History at the University of South Carolina School of Music. Her research focus is on Berlin in the time of Friedrich II and the era of the ‘Berliner Klassik’. She is a member of the Editorial Board of the American Bach Society and is editor of its newsletter, Bach Notes.
Matthew Gelbart is Associate Professor of Music at Fordham University. He is interested in how we make meaning out of music through constructing different categories and genres, and is the author of The Invention of ‘Folk Music’ and ‘Art Music’: Emerging Categories from Ossian to Wagner (Cambridge: Cambridge University Press, 2007).
Dianne L. Goldman received her PhD in musicology from Northwestern University. Her dissertation, entitled ‘The Matins Responsory at Mexico City Cathedral, 1575–1815’, examines the history and development of musical settings of responsory texts for various occasions. Her primary interests include issues concerning authorship, manuscript study and other aspects of philology, as well as the patronage of sacred music. She currently teaches music history at Columbia College Chicago.
Rosalind Halton is a harpsichordist and researcher, currently Associate Professor at the University of Newcastle, Australia. A graduate of Otago and Oxford Universities, she has devoted many years to researching the cantatas and serenatas of Alessandro Scarlatti through editions and performances. Her recordings include a three-CD set of newly edited works, Venere, Adone e Amore: Serenatas and Cantatas of Alessandro Scarlatti (ABC Classics 2007), and award-winning discs of French harpsichord music.
Katherine Hambridge is Postdoctoral Research Fellow on the AHRC-funded project ‘French Theatre of the Napoleonic Era’ at the University of Warwick. Her research concerns music, politics and theatre in Napoleonic France and Prussia, and her current book project focuses on questions of genre and European exchange. She is co-editing a volume of essays on early melodrama, and has publications forthcoming in the Journal of the American Musicological Society, in the Annales historiques de la Révolution française and in a handbook to the operatic canon for Oxford University Press.
Jonathan Hicks is a postdoctoral researcher on the ERC-funded project ‘Music in London 1800–1851’, based at King's College London. In addition to co-editing a volume of essays on early melodrama, Jonathan is preparing a monograph on performance and public space in mid-nineteenth-century London. He has published in Cambridge Opera Journal, Theatre Notebook and The Routledge Companion to Music and Visual Culture (New York: Routledge, 2014).
Anne M. Hyland is Lecturer in Music at the University of Manchester. Her research focuses on developing a historicist approach to the analysis of nineteenth-century instrumental music, with special interest in the role of parataxis as a formal element. In 2009 she received the Music Analysis Twenty-Fifth Anniversary Prize for her article ‘Rhetorical Closure in the First Movement of Schubert's Quartet in C Major, D. 46: A Dialogue with Deformation’ (28/1). Her work has appeared in the Journal of the Society for Musicology in Ireland and the collection Irish Musical Analysis, and she has chapters forthcoming in Schubert's Late Music in History and Theory (Cambridge University Press), Rethinking Schubert (Oxford University Press) and The String Quartet from 1750 to 1870 (Brepols).
Miguel Ángel Marín is Senior Lecturer at the Universidad de La Rioja and director of the music programme at the Fundación Juan March in Madrid. His research has concentrated on music in eighteenth-century Spain. He is author of Joseph Haydn y el cuarteto de cuerda (Madrid: Alianza, 2009) and editor of the zarzuela Clementina by Boccherini (Bologna: Ut Orpheus, 2013) and, together with Jorge Fonseca, of sixteen quartets by Gaetano Brunetti (Madrid: ICCMU, 2012). His most recent publications are eight chapters for La música en el siglo XVIII, volume 8 of Historia de la Música Española, ed. José Máximo Leza (Madrid: Fondo de Cultura Económica, 2014) and, co-edited with Màrius Bernadó, Instrumental Music in Late Eighteenth-Century Spain (Kassel: Reichenberger, 2014).
Nicholas Mathew is Associate Professor and Weisman Schutt Chair in Music at the University of California Berkeley. He is the author of Political Beethoven and co-editor, with Benjamin Walton, of the volume The Invention of Beethoven and Rossini (both published by Cambridge University Press in 2013). From 2010 to 2013 he was co-editor of Eighteenth-Century Music, and he currently sits on the advisory board of the journal Eighteenth-Century Studies.
Caleb Mutch is a PhD candidate at Columbia University. He focuses his research on the history of music theory, and is completing a dissertation on the development of the concept of the cadence from the medieval period to the nineteenth century.
Carlos Roberto Ramírez is a harpsichordist currently pursuing a PhD in musicology at Cornell University, where he is a Sage Diversity Graduate Fellow. His research focuses on critical performance and on keyboard culture in medieval and renaissance Spain.
Robert G. Rawson is Reader in Musicology and Performance at Canterbury Christ Church University and has published widely on music in the former Habsburg Empire and the British Isles. He is also a founder member of the acclaimed period-instrument group The Harmonious Society of Tickle-Fiddle Gentleman.
Barbara M. Reul is Associate Professor of Musicology at Luther College, University of Regina. With a strong emphasis on archival research, she has published extensively on Johann Friedrich Fasch (1688–1758) and musical life at the court of Anhalt-Zerbst in both English and German.
Nicholas Rheubottom is currently completing postgraduate studies in musicology at the University of Alberta. His research interests are focused on eighteenth-century British vocal literature and its connection to gender identity. He has presented papers on this topic at conferences at various institutions in Canada.
Michael Talbot is Emeritus Professor of Music at the University of Liverpool and a Fellow of the British Academy. He has specialized for nearly fifty years in the music of the late Baroque in Italy, and his books include several studies of Vivaldi, two studies of Albinoni and a study of the Brescian-Venetian composer Benedetto Vinaccesi. He is also active as an editor of Italian music from this period and co-edits the journal Studi vivaldiani.
Andrew Talle is a member of the musicology faculty at the Peabody Conservatory and a Gilman Scholar at Johns Hopkins University. He studied cello performance and linguistics at Northwestern University and musicology at Harvard University, and is the editor of Bach and His German Contemporaries, Bach Perspectives 9 (Champaign: Illinois University Press, 2013).
Wiebke Thormählen is a music historian focused on the eighteenth and early nineteenth centuries and a violinist specializing in historical performance. Her work explores the social relevance and emotional perception of music particularly in the city environments of London and Vienna. She is the Area Leader in History at the Royal College of Music in London.
Alejandro Vera is Professor at the Music Institute of the Pontificia Universidad Católica de Chile, and holds a PhD in musicology from the Universidad Autónoma de Madrid. He has published extensively on various topics, mainly Spanish and Latin American Music of the seventeenth and eighteenth centuries, with articles in such journals as Acta musicologica, Early Music and Latin American Music Review, the book Música vocal profana en el Madrid de Felipe IV: El Libro de Tonos Humanos (1656) (Lleida: Institut d’Estudis Ilerdenses, 2002) and the edition Santiago de Murcia: cifras selectas de guitarra (Middleton: A-R Editions, 2010). He received the Fifteenth ‘Emilio Pujol’ Award for Musical Research in Spain (2002) and the ‘Otto Mayer-Serra’ International Award for Musical Research in Mexico (2008).
Harry White is Professor of Musicology at University College Dublin and a Fellow of the Royal Irish Academy of Music. He is currently writing a book about Fux and Bach in relation to concepts of servitude and autonomy in eighteenth-century music.
