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Contributors

Contributors 19 TH CENTURY MUSIC Laura Dolp is an assistant professor at the John J. Cali School of Music at Montclair State University. Her interdisciplinary research embraces a variety of topics, including late-nineteenthcentury Austro-German music, the visual arts, and the music of Arvo Pärt. She has published articles on Mahler and Beethoven. Her current research focuses on the historical relationship between cartography and the musical score. Mark Everist is professor of music at the University of Southampton. His research focuses on the music of western Europe in the period 1150­1330, French opera in the first half of the nineteenth century, Mozart, reception theory, and historiography. He is the author of Polyphonic Music in Thirteenth-Century France (1989), French Motets in the Thirteenth Century (1994), Music Drama at the Paris Odéon, 1824­1828 (2002), Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (2005), and the editor of three volumes of the Magnus Liber Organi for Editions de l'OiseauLyre (2001­03). He is currently working on a monograph for Oxford University Press provisionally entitled Mozart's Ghosts: Reception and Renown, 1791 to the Present. William Gibbons will receive a Ph.D. in musicology from the University of North Carolina at Chapel Hill in 2010, with a dissertation entitled "Eighteenth-Century Opera and the Construction of National Identity in France, 1875­ 1918." His major research interests include opera studies, nineteenth- and twentieth-century France, nineteenth-century America, and music in video games. Articles on these subjects have appeared in a number of journals including American Music, Eighteenth-Century Life, Music and the Moving Image, and Journal of the Society for American Music. 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. There is no fixed deadline for submission; articles on this topic are welcome at any time. 19th-Century Music, vol. 33, no. 3, p. 270. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2010 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.2010.33.3.270. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Contributors

19th-Century Music , Volume 33 (3) – Mar 1, 2010
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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.2010.33.3.270
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Abstract

19 TH CENTURY MUSIC Laura Dolp is an assistant professor at the John J. Cali School of Music at Montclair State University. Her interdisciplinary research embraces a variety of topics, including late-nineteenthcentury Austro-German music, the visual arts, and the music of Arvo Pärt. She has published articles on Mahler and Beethoven. Her current research focuses on the historical relationship between cartography and the musical score. Mark Everist is professor of music at the University of Southampton. His research focuses on the music of western Europe in the period 1150­1330, French opera in the first half of the nineteenth century, Mozart, reception theory, and historiography. He is the author of Polyphonic Music in Thirteenth-Century France (1989), French Motets in the Thirteenth Century (1994), Music Drama at the Paris Odéon, 1824­1828 (2002), Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (2005), and the editor of three volumes of the Magnus Liber Organi for Editions de l'OiseauLyre (2001­03). He is currently working on a monograph for Oxford University Press provisionally entitled Mozart's Ghosts: Reception and Renown, 1791 to the Present. William Gibbons will receive a Ph.D. in musicology from the University of North Carolina at Chapel Hill in 2010, with a dissertation entitled "Eighteenth-Century Opera and the Construction of National Identity in France, 1875­ 1918." His major research interests include opera studies, nineteenth- and twentieth-century France, nineteenth-century America, and music in video games. Articles on these subjects have appeared in a number of journals including American Music, Eighteenth-Century Life, Music and the Moving Image, and Journal of the Society for American Music. 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. There is no fixed deadline for submission; articles on this topic are welcome at any time. 19th-Century Music, vol. 33, no. 3, p. 270. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2010 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.2010.33.3.270.

Journal

19th-Century Music – University of California Press

Published: Mar 1, 2010

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