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Contributors

Contributors COMMUNICATIONS Philip Ross Bullock is university lecturer and fellow in Russian at Wadham College, Oxford. He has published widely on aspects of Soviet Russian prose fiction (including a monograph on Andrei Platonov) and is currently finishing a monograph on Rosa Newmarch and the reception of Russian music in early-twentiethcentury Britain. His longer term projects include a book-length history of art song in Russia from the late eighteenth century to the present. Martin Deasy is research fellow in music at Emmanuel College, Cambridge. His work has appeared in the Cambridge Opera Journal, and he is currently preparing a critical edition of Puccini's Le villi for Ricordi. Jeffrey S. Sposato is assistant professor of musicology at the Moores School of Music, University of Houston. His most recent book, The Price of Assimilation: Felix Mendelssohn and the Nineteenth-Century Anti-Semitic Tradition (Oxford, 2006), was named a Choice Outstanding Academic Title for 2006 and a Royal Philharmonic Society Music Award finalist. David Trippett is completing a dissertation at Harvard University on discourses surrounding Wagner's midcentury aesthetic of melody. He is also a fellow of the Royal Schools of Music and performs as a collaborative pianist and conductor. He recently published an article on modernist perceptions of time in the Journal of Musicology and has given papers on Liszt, Rudolf Kolisch, and recording technologies at the national conferences of the AMS, RMA, and CHARM. Forthcoming publications include a translation of sections from J. C. Lobe's Fliegende Blätter für Musik, and an article contextualizing and comparing Kolisch's and Adorno's theories of musical performance for Musiktheorie. 19th-Century Music invites submissions for a special issue on film music, conceived broadly as music for moving pictures. As our regular readers know, the journal's interests go well beyond the chronological limits of the nineteenth century. The presence of nineteenth-century music in twentieth-century music and culture is a topic we have explored before and would like to explore further. The development of cinema offers an especially rich opportunity because this preeminently twentieth-century medium was deeply engaged from the outset with the previous century's music. Articles submitted for the special issue may have a historical, analytical, or critical focus. The range of topics available includes (but is not limited to) the archeology of film in nineteenth-century dioramas, panoramas, and tableaux vivants; the ongoing influence of late-Romantic music on film scoring; the extradiegetic use of nineteenth-century music in film generally or in specific films; and the diegetic appearance of nineteenth-century works, composers, and performers in motion pictures from the silent era until today. 19th-Century Music, vol. 32, no. 1, p. 129. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2008 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 Web site, at http://www.ucpressjournals.com/ reprintInfo.asp. DOI: 10.1525/ncm.2008.32.1.129. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Contributors

19th-Century Music , Volume 32 (1) – Jul 1, 2008
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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.2008.32.1.129
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Abstract

COMMUNICATIONS Philip Ross Bullock is university lecturer and fellow in Russian at Wadham College, Oxford. He has published widely on aspects of Soviet Russian prose fiction (including a monograph on Andrei Platonov) and is currently finishing a monograph on Rosa Newmarch and the reception of Russian music in early-twentiethcentury Britain. His longer term projects include a book-length history of art song in Russia from the late eighteenth century to the present. Martin Deasy is research fellow in music at Emmanuel College, Cambridge. His work has appeared in the Cambridge Opera Journal, and he is currently preparing a critical edition of Puccini's Le villi for Ricordi. Jeffrey S. Sposato is assistant professor of musicology at the Moores School of Music, University of Houston. His most recent book, The Price of Assimilation: Felix Mendelssohn and the Nineteenth-Century Anti-Semitic Tradition (Oxford, 2006), was named a Choice Outstanding Academic Title for 2006 and a Royal Philharmonic Society Music Award finalist. David Trippett is completing a dissertation at Harvard University on discourses surrounding Wagner's midcentury aesthetic of melody. He is also a fellow of the Royal Schools of Music and performs as a collaborative pianist and conductor. He recently published an article on modernist perceptions of time in the Journal of Musicology and has given papers on Liszt, Rudolf Kolisch, and recording technologies at the national conferences of the AMS, RMA, and CHARM. Forthcoming publications include a translation of sections from J. C. Lobe's Fliegende Blätter für Musik, and an article contextualizing and comparing Kolisch's and Adorno's theories of musical performance for Musiktheorie. 19th-Century Music invites submissions for a special issue on film music, conceived broadly as music for moving pictures. As our regular readers know, the journal's interests go well beyond the chronological limits of the nineteenth century. The presence of nineteenth-century music in twentieth-century music and culture is a topic we have explored before and would like to explore further. The development of cinema offers an especially rich opportunity because this preeminently twentieth-century medium was deeply engaged from the outset with the previous century's music. Articles submitted for the special issue may have a historical, analytical, or critical focus. The range of topics available includes (but is not limited to) the archeology of film in nineteenth-century dioramas, panoramas, and tableaux vivants; the ongoing influence of late-Romantic music on film scoring; the extradiegetic use of nineteenth-century music in film generally or in specific films; and the diegetic appearance of nineteenth-century works, composers, and performers in motion pictures from the silent era until today. 19th-Century Music, vol. 32, no. 1, p. 129. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2008 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 Web site, at http://www.ucpressjournals.com/ reprintInfo.asp. DOI: 10.1525/ncm.2008.32.1.129.

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19th-Century Music – University of California Press

Published: Jul 1, 2008

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