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Comment and Chronicle

Comment and Chronicle 19 TH CENTURY MUSIC Comment & Chronicle Cambridge University Press announces editions in their Cambridge Companions to Music series: The Cambridge Companion to Twentieth-Century Opera (paperback), edited by Mervyn Cooke, is a collection of specially commissioned essays investigating the extraordinary diversity of twentieth-century opera; also forthcoming in their Cambridge History of American Theatre series are: The Cambridge History of American Theatre, edited by Don B. Wilmeth and Christopher Bigsby, volume 1 of a unique three-volume history covering all aspects of American theater; and The Provincetown Players and the Culture of Modernity, a study of the most influential theater group of the twentieth century by Brenda Murphy. An essential reference work that provides comprehensive coverage of Mozart's life and works is forthcoming, The Cambridge Mozart Encyclopedia, edited by Cliff Eisen and Simon P. Keefe. Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, edited by Suzannah Clark and Alexander Rehding, is being reissued in Music and Drama; it explores the ways music theory has represented and employed natural order since the scientific revolution (http://www.cambridge.org/us). Contributors to this issue: Francesca Brittan is a Ph.D. candidate at Cornell University, where she is completing her dissertation Berlioz and the Culture of the Fantastic. She has also given papers on Romantic keyboard music and the eighteenth-century gothic ballad and, recently, a series of lecture-recitals on late-eighteenthand early-nineteenth-century melodrama. In the realm of popular music, she is working on a project focused around musical subjectivities and the culture of impersonation; her article "Women Who `Do Elvis': Masculinity as Masquerade" is forthcoming in the Journal of Popular Music Studies. K. M. Knittel teaches at the University of Texas at Austin. Her most recent essay considers the perils of Beethoven's Quartet, op. 135, and appears in the February issue of Music & Letters. Balázs Mikusi studied musicology at the Liszt Academy of Music, Budapest, and is at present a Ph.D. candidate at Cornell University. His dissertation-in-progress investigates the history of the part song in Germany ca. 1780­1815, with special emphasis on the contribution of Johann Friedrich Reichardt. More broadly, he is interested in the (primarily vocal) music of the 1750 to 1850 period and has published articles on Haydn and Mozart. Ryan Minor is assistant professor of music at SUNY Stony Brook. He recently received his Ph.D. from the University of Chicago and has published on Wagner and Liszt. He is currently working on a book exploring the music and politics of the chorus in nineteenthcentury Germany. 19th-Century Music, XXIX/3, p. 322. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2006 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions website, at http://www.ucpress.edu/journals/rights.htm. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Comment and Chronicle

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19th-Century Music , Volume 29 (3) – Apr 1, 2006
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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2006.29.3.322
Publisher site
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Abstract

19 TH CENTURY MUSIC Comment & Chronicle Cambridge University Press announces editions in their Cambridge Companions to Music series: The Cambridge Companion to Twentieth-Century Opera (paperback), edited by Mervyn Cooke, is a collection of specially commissioned essays investigating the extraordinary diversity of twentieth-century opera; also forthcoming in their Cambridge History of American Theatre series are: The Cambridge History of American Theatre, edited by Don B. Wilmeth and Christopher Bigsby, volume 1 of a unique three-volume history covering all aspects of American theater; and The Provincetown Players and the Culture of Modernity, a study of the most influential theater group of the twentieth century by Brenda Murphy. An essential reference work that provides comprehensive coverage of Mozart's life and works is forthcoming, The Cambridge Mozart Encyclopedia, edited by Cliff Eisen and Simon P. Keefe. Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, edited by Suzannah Clark and Alexander Rehding, is being reissued in Music and Drama; it explores the ways music theory has represented and employed natural order since the scientific revolution (http://www.cambridge.org/us). Contributors to this issue: Francesca Brittan is a Ph.D. candidate at Cornell University, where she is completing her dissertation Berlioz and the Culture of the Fantastic. She has also given papers on Romantic keyboard music and the eighteenth-century gothic ballad and, recently, a series of lecture-recitals on late-eighteenthand early-nineteenth-century melodrama. In the realm of popular music, she is working on a project focused around musical subjectivities and the culture of impersonation; her article "Women Who `Do Elvis': Masculinity as Masquerade" is forthcoming in the Journal of Popular Music Studies. K. M. Knittel teaches at the University of Texas at Austin. Her most recent essay considers the perils of Beethoven's Quartet, op. 135, and appears in the February issue of Music & Letters. Balázs Mikusi studied musicology at the Liszt Academy of Music, Budapest, and is at present a Ph.D. candidate at Cornell University. His dissertation-in-progress investigates the history of the part song in Germany ca. 1780­1815, with special emphasis on the contribution of Johann Friedrich Reichardt. More broadly, he is interested in the (primarily vocal) music of the 1750 to 1850 period and has published articles on Haydn and Mozart. Ryan Minor is assistant professor of music at SUNY Stony Brook. He recently received his Ph.D. from the University of Chicago and has published on Wagner and Liszt. He is currently working on a book exploring the music and politics of the chorus in nineteenthcentury Germany. 19th-Century Music, XXIX/3, p. 322. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2006 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions website, at http://www.ucpress.edu/journals/rights.htm.

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19th-Century Music – University of California Press

Published: Apr 1, 2006

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