Alexander Binns is Director of Graduate Studies in Music at the University of Hull. His primary research deals with music in film and the ways in which musical categories inflect and shape an understanding of culture. Other interests include opera and interdisciplinary studies, especially intersections with space and geography (in particular the city) and with literature and visual culture.
Christa Brüstle completed her PhD thesis (published as Anton Bruckner und die Nachwelt by M & P Verlag für Wissenschaft und Forschung in Stuttgart, 1968) at the Freie Universität Berlin, where in 1999 she became a lecturer and member of the research group Kulturen des Performativen. Her Habilitationsschrift, ‘Konzert-Szenen: Bewegung – Performance – Medien. Musik zwischen performativer Expansion und medialer Integration 1950–2000’, was completed in 2007, and in 2008 she was appointed Professor at the Universität der Künste Berlin. She has also taught at the Hochschule für Musik Hanns Eisler, the Technische Universität Berlin, and the Universität Wien. Current research projects are concerned with performance issues in contemporary music, sound and media art, and relationships between music and theatre. She has co-edited the books Klang and Bewegung (Shaker, 2004), Music as a Bridge (Olms, 2005), and Aus dem Takt: Rhythmus in Kunst, Kultur und Natur (transcript, 2005).
Ian Dickson studied at King's College London and, assisted by an AHRB studentship, with Roger Marsh at the University of York, where he was awarded a PhD in composition. He also attended the composition courses at Appeldoorn and Royaumont. His compositions have been performed by, among others, the BBC Philharmonic, the Nouvel Ensemble Moderne, and the pianists Rika Zayasu, Satoko Inoue, and Richard Whalley.
Ruth Dockwray completed her PhD, ‘Deconstructing the Rock Anthem: Textual Form, Participation and Collectivity’, at the Institute of Popular Music, University of Liverpool, in 2005. From 2006 to 2009 she worked with Professor Allan Moore on two AHRC-funded projects at the University of Surrey and a project on transferable skills in HE for NAMHE. She has presented papers internationally, including at the International Association for the Study of Popular Music biennial conferences, and contributed to the BBC Radio 4 documentary ‘A Three Minute Education’. She was appointed Senior Lecturer in Popular Music at Southampton Solent University in 2009.
Arnulf Christian Mattes studied the cello at the Staatliche Musikhochschule Trossingen and musicology at the University of Oslo, where in 2007 he gained the PhD with a dissertation on Schoenberg's late chamber works. The same year he was a visiting scholar at the Mannes Schoenberg Institute, New York. He has published articles on Schoenberg in the Journal of the Arnold Schönberg Center and Studia Musicologica Norvegica, and has contributed to music history textbooks. Since 2005 he has been a board member of the Norsk Musikkforskerlag. In 2009 he received a three-year grant from the Norwegian Research Council for a postdoctoral project on modernism and expression in twentieth-century performance practice.
Allan Moore is Professor of Popular Music at the University of Surrey and has published widely. He was a founding co-editor of twentieth-century music and is particularly interested in the hermeneutics of popular song.
Clair Rowden gained her PhD from City University, London, and is lecturer in the School of Music, Cardiff University. Her research deals mainly with opera and nineteenth-century France; her book Republican Morality and Catholic Tradition at the Opera: Massenet's Hérodiade and Thaïs was published in 2004 (Weinsberg: Musik-Edition Lucie Galland). Her research activities range from music editing and archival study to microhistory and reception studies. Specific areas of interest include operatic staging and dance, press iconography, and gender. She has published articles in the Revue de musicologie, Music in Art, and Franco-British Studies, and regularly contributes chapters about opera and dance to the Cahiers de l'Esplanade (Saint-Etienne) and programme notes for the Royal Opera House, Covent Garden.
Kailan R. Rubinoff is Assistant Professor of Musicology at the University of North Carolina at Greensboro. She holds a BA from the University of Pennsylvania, a Performance Certificate and Second Phase diploma in historical performance (Baroque and Classical flute) from the Conservatorium van Amsterdam, and a PhD in music from the University of Alberta. Her doctoral research on the Early Music movement in the Netherlands was supported by grants from the Fulbright Program and the Social Sciences and Humanities Research Council of Canada. Her current research projects are centred on eighteenth-century improvisation, the Dutch Early Music scene, and on historical performance and 1960s countercultural movements.
Patricia Schmidt received a PhD in historical musicology from the University of Pennsylvania with the dissertation ‘Thinking Inside the Box: In Search of Music-Video Culture’. She was Lecturer in music at the University of Surrey from 2005 to 2009. She collaborated with Allan Moore on the twenty-month AHRC funded project ‘The Meanings of Spatialization in Popular Music Recordings’ in 2008–9.
Evaggelia Vagopoulou studied music (BA) at Nottingham University and historical musicology (MA) at the University of York before receiving her doctorate from the University of Bristol (2007). Her PhD thesis, ‘Cultural Tradition and Contemporary Thought in Iannis Xenakis's Vocal Works’, examined the influence of ancient Greek culture, contemporary politics, and science on Xenakis's vocal compositions. She is active as an independent researcher in the field of contemporary vocal music and aesthetics.
Arnold Whittall is Professor Emeritus of Music Theory and Analysis at King's College London. His recent writings on music since 1900 include Introduction to Serialism (Cambridge University Press, 2008) and contributions to Maxwell Davies Studies (CUP 2009) and Carter Studies (forthcoming). Recently published essays include ‘New Opera, Old Opera: Perspectives on Critical Interpretation’ (Cambridge Opera Journal 21/2, 2009) and ‘Elegies and Affirmations: John Casken at 60’ (Musical Times, 2009). He also edits the Cambridge University Press Music since 1900 series (formerly Music in the 20th Century). He is currently working on a book called British Music After Britten.
