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Contributors

Contributors 19 TH CENTURY MUSIC Emily I. Dolan is an assistant professor at the University of Pennsylvania. She specializes in the music and aesthetics of the late eighteenth and early nineteenth centuries, in particular focusing on questions of orchestration and instrumentality. She is also interested in the intersections between the history of music and the histories of science and technology. Currently, she is completing a book entitled The Orchestral Revolution. Her articles have appeared in Current Musicology and Eighteenth-Century Music and are forthcoming from Studia musicologica, Opera Quarterly, and Popular Music. Colin Eatock graduated from the University of Toronto with a PhD in musicology in September 2007. A book derived from his PhD dissertation, entitled Mendelssohn and Victorian England, was published by Ashgate Press in the summer of 2009. He also holds master's degrees in music composition and music criticism. Jacquelyn Sholes completed her PhD in musicology at Brandeis University in 2008, has since held appointments as visiting assistant professor at Williams College and visiting lecturer at Wellesley College, and will join the music faculty of Boston University in the fall of 2010. She is currently working on a book that focuses on the intersections of musical form, narrative, and historical reference in the music of Johannes Brahms. She is a recent recipient of the American Brahms Society's Karl Geiringer Scholarship in Brahms Studies. Mary Ann Smart is Gladyce Arata Terrill Professor of Music at the University of California, Berkeley. She is the author of Mimomania: Music and Gesture in Nineteenth-Century Opera (2004) and is currently completing a book on opera and politics in Italy before 1848. The special film issue of 19th-Century Music is now filled; it is scheduled to appear in Spring 2011 with articles by Marcia Citron, Jeremy Barham, Martin Marks, Nathan Platte, and Tobias Pontara. However, the journal will be happy to consider articles dealing with music of the long nineteenth century in film at any time, as a regular part of what we publish. 19th-Century Music, vol. 34, no. 1, p. 106. 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.2010.34.1.106. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Contributors

19th-Century Music , Volume 34 (1) – Jul 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.2010.34.1.106
Publisher site
See Article on Publisher Site

Abstract

19 TH CENTURY MUSIC Emily I. Dolan is an assistant professor at the University of Pennsylvania. She specializes in the music and aesthetics of the late eighteenth and early nineteenth centuries, in particular focusing on questions of orchestration and instrumentality. She is also interested in the intersections between the history of music and the histories of science and technology. Currently, she is completing a book entitled The Orchestral Revolution. Her articles have appeared in Current Musicology and Eighteenth-Century Music and are forthcoming from Studia musicologica, Opera Quarterly, and Popular Music. Colin Eatock graduated from the University of Toronto with a PhD in musicology in September 2007. A book derived from his PhD dissertation, entitled Mendelssohn and Victorian England, was published by Ashgate Press in the summer of 2009. He also holds master's degrees in music composition and music criticism. Jacquelyn Sholes completed her PhD in musicology at Brandeis University in 2008, has since held appointments as visiting assistant professor at Williams College and visiting lecturer at Wellesley College, and will join the music faculty of Boston University in the fall of 2010. She is currently working on a book that focuses on the intersections of musical form, narrative, and historical reference in the music of Johannes Brahms. She is a recent recipient of the American Brahms Society's Karl Geiringer Scholarship in Brahms Studies. Mary Ann Smart is Gladyce Arata Terrill Professor of Music at the University of California, Berkeley. She is the author of Mimomania: Music and Gesture in Nineteenth-Century Opera (2004) and is currently completing a book on opera and politics in Italy before 1848. The special film issue of 19th-Century Music is now filled; it is scheduled to appear in Spring 2011 with articles by Marcia Citron, Jeremy Barham, Martin Marks, Nathan Platte, and Tobias Pontara. However, the journal will be happy to consider articles dealing with music of the long nineteenth century in film at any time, as a regular part of what we publish. 19th-Century Music, vol. 34, no. 1, p. 106. 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.2010.34.1.106.

Journal

19th-Century MusicUniversity of California Press

Published: Jul 1, 2010

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