Nicole Grimes is Associate Professor of Music at the University of California, Irvine. Her books include Brahms's Elegies: The Poetics of Loss in Nineteenth-Century German Culture, Rethinking Hanslick: Music, Formalism, and Expression (co-edited with Siobhán Donovan and Wolfgang Marx), and Mendelssohn Perspectives (co-edited with Angela Mace), and numerous articles and chapters on the music of Brahms, Clara Schumann, Robert Schumann, Schoenberg, Liszt, Wolfgang Rihm, and Donnacha Dennehy. Her research has been funded by a Marie Curie International Fellowship from the European Commission, the Deutscher Akademischer Austauschdienst, and the Irish Research Council for the Humanities and Social Sciences. She is currently at work on a large-scale analytical project on the music of Emilie Mayer (1812-1883).

Reuben Phillips is a British Academy Postdoctoral Fellow at the Faculty of Music in Oxford. He was a doctoral student at Princeton University and was awarded the Karl Geiringer Scholarship of the American Brahms Society for his PhD dissertation that explored Brahms's engagement with German Romantic literature. He has been the recipient of research grants from the Deutscher Akademischer Austauschdienst, the Staatliches Institut für Musikforschung in Berlin, Edinburgh University's Institute for Advanced Studies in the Humanities, and of an Edison Fellowship from the British Library. In addition to his work on Brahms, he has written articles on the British music scholar Donald Francis Tovey and the exhumation and reburial of composers in late nineteenth-century Vienna.

Styra Avins is a professional cellist with an academic degree from the City College of New York, and was a past Adjunct Professor of Music History at Drew University.
Tekla Babyak is an independent scholar (PhD, Musicology, Cornell University, 2014), currently based in Davis, California.
Daniel Beller-McKenna is Associate Professor of Music at the University of New Hampshire.
David Brodbeck is Professor of Music, History, and European Studies at the University of California, Irvine.
Nicole Grimes is Associate Professor of Music at the University of California, Irvine.
Jane Hines is a PhD candidate in musicology at Princeton University.
Julian Horton is Professor of Music Theory and Analysis at Durham University.
Frankie Perry recently submitted her PhD thesis at Royal Holloway, University of London, where her studies were funded by the Arts and Humanities Research Council.
Reuben Phillips is a British Academy Postdoctoral Fellow at the Faculty of Music of the University of Oxford and a College Lecturer at St Hugh's College.
Frank Samarotto is Associate Professor of Music Theory at Indiana University Bloomington.
Wolfgang Sandberger has been Professor of Musicology and Director of the Brahms-Institut at the Musikhochschule Lübeck since 1999.
Janet Schmalfeldt has taught music theory at McGill University and at Yale; she is now Professor Emeritus at Tufts University.
Anna Scott is a Canadian pianist-researcher who specialises in nineteenth-century performance practices.
Peter H. Smith, author of Expressive Forms in Brahms's Instrumental Music and co-editor of Expressive Intersections in Brahms, is Professor of music at the University of Notre Dame.
Martha Sprigge is an Assistant Professor of Musicology at the University of California, Santa Barbara.
Benedict Taylor is Reader in Music at the University of Edinburgh and co-editor of Music & Letters.
Loretta Terrigno is a faculty member at The Juilliard School.
Katharina Uhde, DMA, PhD, is an Associate Professor of Music at Valparaiso University.
Edward Venn is Professor of Music at the University of Leeds.