Celia Applegate is Professor of History at the University of Rochester in New York, and teaches European and German history. Her publications include Bach in Berlin: Nation and Culture in Mendelssohn's Revival of the St. Matthew Passion (Cornell University Press, 2005), Music & German National Identity, co-edited with Pamela Potter (University of Chicago Press (2002), and "How German is it? Nationalism and the Origins of Serious Music in Early Nineteenth-Century Germany," in 19th Century Music (Spring 1998). She is currently working on a major study of the musical culture of modern Germany from the 18th century to the present.
Michael Beckerman is Professor of Music at New York University, having previously taught at the University of Washington, St. Louis and the University of California, Santa Barbara. His research has focused in the past on Czech music, and his published works include Dvorak and His World and Janacek and His World, both for Princeton University Press. He received the Janacek Medal from the Czech Republic and is a Laureate of the Czech Music Council, and also writes regularly for the New York Times.
Philip Bohlman serves as Mary Werkman Distinguished Service Professor of Music and the Humanities at the University of Chicago, where he also serves on the Jewish Studies faculty. His published works include Jewish Music and Modernity (Oxford University Press, 2008), The Music of European Nationalism: Cultural Identity and Modern History (2nd ed., revised: Routledge, 2009), World Music: A Very Short Introduction (Oxford University Press, 2002). A pianist, he also is the artistic director of the New Budapest Orpheum Society, a Jewish cabaret ensemble at Chicago.
Leon Botstein has been the president of Bard College since 1975. As a conductor, he serves as the music director of both the American Symphony Orchestra and the Jerusalem Symphony Orchestra. Dr. Botstein is the author of Jefferson's Children: Education and the Promise of American Culture, editor of The Musical Quarterly, co-editor of Jews and the City of Vienna, 1870-1938, and editor of The Compleat Brahms. He has been the recipient of the Carnegie Corporation Academic Leadership Award, the Award for Distinguished Service to the Arts from the American Academy of Arts and Letters, Harvard University's Centennial Award, and the Austrian Cross of Honour for Science and Art.is President
James Borders is the Glenn McGeoch Collegiate Professor of Music and Chair of the Musicology Department at the University of Michigan, Ann Arbor. He is former Associate Dean for Graduate Studies in Music, Theater, and Dance, and former Director of the Stearns Collection of Musical Instruments. He has held Fellowships from the National Endowment for the Humanities and National Endowment for the Arts, was a CIC Leadership Fellow in 1996-97, and was nominated for an Amoco Teaching Award in 1998. He has published on a variety of topics, from plainchant to the music of Frank Zappa, in journals including the Journal of Musicological Research and Perspectives on New Music.
Julie Brown is a Reader in the Music Department at Royal Holloway, University of London. Among her publications are Bartók and the Grotesque (Ashgate, 2007) and the edited collection Western Music and Race (Cambridge, 2007), which was awarded the Ruth A. Solie Award by the American Musicological Society. She is currently working on a book on silent film sound in 1920s Britain.
Andreas Dorschel is head of the Institute of Music Aesthetics at the University of Arts Graz (Austria). He was Visiting Professor at Emory University (1995) and at Stanford University (2006). His most recent publication is a history of the idea of metamorphosis: Verwandlung. Mythologische Ansichten, technologische Absichten (Göttingen: Vandenhoeck & Ruprecht, 2009) (Neue Studien zur Philosophie, ed. Konrad Cramer, Jürgen Stolzenberg u. Reiner Wiehl, 22).
Andy Fry joined the faculty of King's College, London in 2007, having previously taught at the University of California, San Diego and, as a visiting professor, at Berkeley. His principal research areas are Jazz (particularly pre-1950, race, gender, and historiography) and music in twentieth-century France, and his publications include "Re-thinking the Revue nègre: Black Musical Theatre in Interwar Paris" in Western Music and Race, ed. Julie Brown (Cambridge University Press, 2007). He is completing a monograph on African-American Music and Musicians in Paris to 1960.
Jane F. Fulcher is the General Editor of the Oxford New Cultural History of Music Series. She received her MA and Ph.D. from Columbia University and in Professor of Musicology at The University of Michigan. Her books include The Nation's Image: French Grand Opera as Politics and Politicized Art, French Cultural Politics and Music from the Dreyfus Affair to the First World War (OUP) and The Composer as Intellectual: Music and Ideology in France 1914-1940 (OUP). She has received research awards and grants form the ACLS, the National Endowment for the Humanities, the National Humanities Center, the Wissenschaftkollegzu Berlin, the Centre national de la Recherche Scientifique (Paris), the Institute for Advanced Study, Princeton, New Jersey, and has three times been visiting professor at the Ecole des Hautes Etudes en Sciences Sociales, in Paris.
Charles Hiroshi Garrett is Associate Professor of Musicology at the University of Michigan School of Music, Theatre & Dance. His graduate work at the University of California, Los Angeles was supported by an AMS Howard Mayer Brown Fellowship as well as an AMS-50 Fellowship, and his dissertation received the Wiley Housewright Award from the Society for American Music. His book Struggling to Define a Nation: American Music and the Twentieth Century, published by University of California Press in 2008, was awarded the Irving Lowens Memorial Book Award by the Society for American Music. He now serves as editor-in-chief for The Grove Dictionary of American Music, second edition.
James Hepokoski has taught at Oberlin College Conservatory (1978-1988), at the University of Minnesota, Twin Cities (1988-1999), and is currently Professor of Musicology at Yale University. He was the co-editor of the musicological journal 19-Century Music from 1992 to 2005. His publications include "Beyond the Sonata Principle," Journal of the American Musicological Society 55 (2002) and Elements of Sonata Theory (with Warren Darcy, OUP 2006), which was the recipient of the Society for Music Theory's 2008 Wallace Berry Award.
Joseph S.C.Lam is Interim Director of the Confucius Institute at the University of Michigan and Professor of Music (Musicology) at the School of Music, Theater and Dance, University of Michigan, Ann Arbor. He is a former (1997-2009) director of the Stearns Collection of Musical Instruments (UM), and is the author of State Sacrifices and Music in Ming China (SUNY). Lam has also published extensively in academic journals and monographs, which include "Chinese Music and Its Globalized Past and Present" (Macalester International, 2008) and "Imperial Music Agency in Ming (1368-1644) Music Culture," in Culture, Courtiers and Competition: The Ming Court (Harvard, 2008).
Richard Leppert is Regents Professor and Morse Alumni Distinguished Teaching Professor in Department of Cultural Studies and Comparative Literature at the University of Minnesota. The most recent of his ten books are Beyond the Soundtrack: Representing Music in Cinema, co-edited with Daniel Goldmark and Lawrence Kramer, published by the University of California Press; and Sound Judgment, for the Ashgate series Contemporary Thinkers on Critical Musicology.
Edward Muir is the Clarence L. Ver Steeg Professor in the Arts and Sciences and holds a Charles Deering McCormick Professorship of Teaching Excellence at Northwestern University. Besides receiving Guggenheim and NEH fellowships, he has been a fellow at the Harvard University Center for Italian Renaissance Studies at Villa I Tatti, the Institute for Advanced Study, and the National Humanities Center. He is a general editor of the book series "Palgrave Early Modern History: Culture and Society," and the series editor for the "I Tatti Italian Renaissance History" monograph series with Harvard University Press. He is the author of Civic Ritual in Renaissance Venice, which won the Adams and Marraro Prizes, and Mad Blood Stirring: Vendetta in Renaissance Italy, which also won the Marraro Prize.
Leon Plantinga served on the Yale faculty from 1963 until his retirement in 2005. For six years in the 1990s, he was the Director of the Division of the Humanities. After retirement Plantinga spent a year at the Princeton Institute for Advance Study, and is currently Interim Director of the Yale Collection of Musical Instruments. He has written widely on music of the later eighteenth and the nineteenth centuries, including Beethoven's Concertos: History, Style, Performance (W. W. Norton, 1999) and the text book Romantic Music (W.W. Norton, 1984).
Carlotta Sorba is Associate professor of Contemporary History and Cultural History at the University of Padua (Italy). She has worked intensively around theatre, music and society in nineteenth-century Europe. She is the author of Teatri. L'Italia del melodramma nell'età del Risorgimento, Bologna 2001 and the editor of Il secolo del teatro. Spettacoli e spettacolarità nell'Ottocento europeo, "Memoria e ricerca", 29, 2008.
Michael P. Steinberg is Director of the Cogut Center for the Humanities and Professor of History and Music at Brown University. He also serves as Associate Editor of The Musical Quarterly and The Opera Quarterly, and was a member of the Cornell University Department of History between 1988 and 2005. He has received fellowships from the American Council of Learned Societies, the National Endowment for the Humanities, the John Simon Guggenheim Memorial Foundation as well as the Berlin Prize from the American Academy, Berlin, and has published Austria as Theater and Ideology: The Meaning of the Salzburg Festival (Cornell University Press, 2000), and Listening to Reason: Culture, Subjectivity, and 19th- Century Music Princeton University Press, 2004).
Philipp Ther took his PhD in history at Free University in Berlin(1997) and teaches presently European history at the European University Institute in Florence. Among his publications are: In der Mitte der Gesellschaft. Operntheater in Zentraleuropa 1815-1914, Vienna (Oldenbourg, 2006). A revised English version of the book is forthcoming in 2010 under the title Under the Spell of Nations. Opera Theatres in Central Europe, by OUP. He has received numerous awards such as the John F. Kennedy Fellowship at Harvard University (1997/98), at the EHESS in Paris and as a fellow of the Alexander von Humboldt-Foundation.
John Toews is Professor of History and Director of the Comparative History of Ideas Program at the University of Washington. He has been the recipient of the MacArthur "Genius Grant," and his recent book Becoming Historical: Cultural Reformation and Public Memory in Early Nineteenth-Century Berlin (Cambridge University Press, 2004) won the Hans Rosenberg Prize of the American Historical Association for the best book in German and Central European History.
Kate van Orden is Professor of Music at the University of California, Berkeley, and is the Editor-in-Chief of the Journal of the American Musicological Society. She has held fellowships at the Warburg Institute in London and the Columbia Society of Fellows in the Humanities, and serves on the editorial boards of Acta Musicologica and the series The New Cultural History of Music (Oxford University Press). Her recent book, Music, Discipline, and Arms in Early Modern France (Chicago, 2005) won the Lewis Lockwood Award from the American Musicological Society.
Jacqueline Waeber is Associate Professor of Music at Duke University, and studied at the Université de Genève in France. Her publications include Musique et Geste en France: de Lully à la Révolution (Peter Lang, 2009) and "Jean-Jacques Rousseau's "unité de mélodie"," in the Journal of the American Musicological Society 62.1 (2009).
William Weber, Professor Emeritus at California State University Long Beach, wrote Music and the Middle Class (1975/2003), The Rise of Musical Classics in 18th-Century England (1992), and The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (2008). He has arranged conferences for UCLA's William Andrews Clark Memorial Library.
Michael Mauskapf (Technical Assistant) is currently pursuing a Ph.D. in Musicology at the University of Michigan, where his research deals with the American orchestra. A graduate of the University of Pennsylvania, he has published in the University of Chicago's online journal voiceXchange, and has delivered papers at meetings of the Society for American Music and the American Musicological Society. He is also Executive Director of Arts Enterprise, an initiative that explores the intersections between the arts and business.
