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Contributors

Contributors Joanne Cormac is Leverhulme Early Career in Music & Letters, Keyboard Perspectives,and Fellow at the University of Nottingham. She is the Cahiers de la SQRM.Her other interests the author of Liszt and the Symphonic Poem include anecdote and gossip in composer bio- graphies and biographical fiction, depictions of (Cambridge University Press, 2017) and editor female philosophers in eighteenth-century opera of Liszt in Context (Cambridge University buffa, and the early development and promotion Press, forthcoming). Her research has appeared of the metronome. in 19th-Century Music, 19th-Century Music Review, Journal of the Royal Musical Associa- Simon P. Keefe is J. R. Hoyle Chair of Music tion, Musical Quarterly, and Journal of Musico- at the University of Sheffield. He is author logical Research. A member of the Oxford or editor of twelve books, including the mono- Centre for Life-Writing, she was a visiting scholar graphs Mozart’s Requiem: Reception, Work, at Wolfson College, University of Oxford from Completion (Cambridge University Press, 2012), 2017 to 2018. which won the Marjorie Weston Emerson award from the Mozart Society of America, Kristin M. Franseen is a contract instructor at and the 700-page musical biography Mozart Carleton University and has also taught at the in Vienna: The Final Decade (Cambridge University of Ottawa and McGill University. University Press, 2017). He was elected a life She earned her PhD in musicology from McGill member of the Academy for Mozart Research at University in 2019. Her dissertation, supervised the Internationale Stiftung Mozarteum, Salzburg, by Lloyd Whitesell, is entitled “Ghosts in the in 2005. Archives: The Queer Knowledge and Public Musicology of Vernon Lee, Rosa Newmarch, Paul Watt is an associate professor of musicol- and Edward Prime-Stevenson.” She has presen- ogy at Monash University. He is the author of ted her work at meetings of the American The Regulation and Reform of Music Criticism Musicological Society, the Société québécoise in Nineteenth-Century England (Royal Musical de recherche en musique (SQRM), and the Association Monographs/Routledge, 2018) and Society for American Music, as well as at themed Ernest Newman: A Critical Biography (Boydell conferences on public music discourse, word and Press, 2017). With Michael Allis and Sarah music studies, LGBTQ approaches to music Collins, he is the editor of The Oxford Handbook research, suffrage and the arts, and historical of Music and Intellectual Culture in the crime fiction. Her research has been published Nineteenth Century (2020). 19th Century Music, vol. 44, no. 2, pp. 131–132. ISSN: 0148-2076, electronic ISSN: 1533-8606 © 2020 by The Regents of the 131 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 Reprints and Permissions web page, https://www.ucpress.edu/journals/ reprints-permissions. https://doi.org/10.1525/ncm.2020.44.2.131. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Contributors

19th-Century Music , Volume 44 (2): 1 – Nov 1, 2020
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University of California Press
Copyright
© 2020 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 Reprints and Permissions web page, https://www.ucpress.edu/journals/reprints-permissions.
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0148-2076
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1533-8606
DOI
10.1525/ncm.2020.44.2.131
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Abstract

Joanne Cormac is Leverhulme Early Career in Music & Letters, Keyboard Perspectives,and Fellow at the University of Nottingham. She is the Cahiers de la SQRM.Her other interests the author of Liszt and the Symphonic Poem include anecdote and gossip in composer bio- graphies and biographical fiction, depictions of (Cambridge University Press, 2017) and editor female philosophers in eighteenth-century opera of Liszt in Context (Cambridge University buffa, and the early development and promotion Press, forthcoming). Her research has appeared of the metronome. in 19th-Century Music, 19th-Century Music Review, Journal of the Royal Musical Associa- Simon P. Keefe is J. R. Hoyle Chair of Music tion, Musical Quarterly, and Journal of Musico- at the University of Sheffield. He is author logical Research. A member of the Oxford or editor of twelve books, including the mono- Centre for Life-Writing, she was a visiting scholar graphs Mozart’s Requiem: Reception, Work, at Wolfson College, University of Oxford from Completion (Cambridge University Press, 2012), 2017 to 2018. which won the Marjorie Weston Emerson award from the Mozart Society of America, Kristin M. Franseen is a contract instructor at and the 700-page musical biography Mozart Carleton University and has also taught at the in Vienna: The Final Decade (Cambridge University of Ottawa and McGill University. University Press, 2017). He was elected a life She earned her PhD in musicology from McGill member of the Academy for Mozart Research at University in 2019. Her dissertation, supervised the Internationale Stiftung Mozarteum, Salzburg, by Lloyd Whitesell, is entitled “Ghosts in the in 2005. Archives: The Queer Knowledge and Public Musicology of Vernon Lee, Rosa Newmarch, Paul Watt is an associate professor of musicol- and Edward Prime-Stevenson.” She has presen- ogy at Monash University. He is the author of ted her work at meetings of the American The Regulation and Reform of Music Criticism Musicological Society, the Société québécoise in Nineteenth-Century England (Royal Musical de recherche en musique (SQRM), and the Association Monographs/Routledge, 2018) and Society for American Music, as well as at themed Ernest Newman: A Critical Biography (Boydell conferences on public music discourse, word and Press, 2017). With Michael Allis and Sarah music studies, LGBTQ approaches to music Collins, he is the editor of The Oxford Handbook research, suffrage and the arts, and historical of Music and Intellectual Culture in the crime fiction. Her research has been published Nineteenth Century (2020). 19th Century Music, vol. 44, no. 2, pp. 131–132. ISSN: 0148-2076, electronic ISSN: 1533-8606 © 2020 by The Regents of the 131 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 Reprints and Permissions web page, https://www.ucpress.edu/journals/ reprints-permissions. https://doi.org/10.1525/ncm.2020.44.2.131.

Journal

19th-Century Music – University of California Press

Published: Nov 1, 2020

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