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Contributors

Contributors 19 TH CENTURY MUSIC Contributors Contributors to this issue: Matt BaileyShea is currently an assistant professor of music theory in the College Music Department at the University of Rochester and the Eastman School of Music. His published work focuses on chromaticism, form, pedagogy, and the music of Wagner and Wolf. Michael Klein is associate professor and Chair of the Department of Music Studies at Temple University. He is the author of Intertextuality in Western Art Music (Indiana University Press). In 2005 his article “Chopin’s Fourth Ballade as Musical Narrative,” Music Theory Spectrum 26/1 (2004) won the publication of the year award from the Society for Music Theory. Seth Monahan is a graduate student in music theory at Yale University. He is currently completing a dissertation that explores issues of musical meaning in Gustav Mahler’s sonataform movements using an Adornian interpretive framework. This gives him less than ample time to explore his other research interests, which include fin-de-siècle aesthetics, uses of narrative and anthropomorphic tropes in music-theoretic discourse, and the development of a renewed kinetic theory of Wagner’s late style. l DIRECTIONS TO CONTRIBUTORS 19th-Century Music welcomes submissions on all aspects of music spanning the “long” century between ca. 1780 and 1920. Our interests are as diverse as the long century itself. They cover music of any type or origin and include, but are not limited to, topics in composition, performance, social and cultural context, analysis, music theory, critical theory, hermeneutics, aesthetics, documentary, archival, and editorial study, gender and sexuality, history, and historiography. We also publish book reviews and welcome suggestions and proposals. Typescripts should be double spaced on 81⁄ 2 X 11-inch bond paper, with ample margins; three copies should be submitted. Endnotes, tables, captions, music examples, and texts for music examples should be written on separate sheets. All endnotes and extracts (citations) must be double-spaced. Typescripts should be sent to the Editorial Office, 19th-Century Music; Music Department, University of California, Davis; Davis, California 95616. Materials for review may be sent to the same address. Please do not submit articles by e-mail. Once an article is accepted and the text has been revised and agreed on in consultation with an editor, an attachment file will be requested by the editorial office. The Word file(s) should include all text (tables, captions, etc.) plus a one-page abstract, with five key words selected at its end. Music examples may be submitted as either hard copies (xeroxes acceptable) or .pdfs; camera-ready art may be sent as black and white glossies, or in electronic files—.tiff, .pdf., or .jpeg. For quotations transcribed from foreign sources, authors are urged to specify in the typescript occurrences of the following characters: ß, É, À, Œ, and œ. Prospective contributors should consult recent issues of 19th-Century Music or Writing About Music, by D. Kern Holoman (Berkeley and Los Angeles, 1988), for matters of style. In most cases, we follow the practices of The Chicago Manual of Style, 15th edn. (Chicago: University of Chicago Press, 2003). 19th-Century Music, vol. 31, no. 1, p. 98. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2007 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.2007.31.1.098. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Contributors

19th-Century Music , Volume 31 (1) – Jul 1, 2007

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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.2007.31.1.098
Publisher site
See Article on Publisher Site

Abstract

19 TH CENTURY MUSIC Contributors Contributors to this issue: Matt BaileyShea is currently an assistant professor of music theory in the College Music Department at the University of Rochester and the Eastman School of Music. His published work focuses on chromaticism, form, pedagogy, and the music of Wagner and Wolf. Michael Klein is associate professor and Chair of the Department of Music Studies at Temple University. He is the author of Intertextuality in Western Art Music (Indiana University Press). In 2005 his article “Chopin’s Fourth Ballade as Musical Narrative,” Music Theory Spectrum 26/1 (2004) won the publication of the year award from the Society for Music Theory. Seth Monahan is a graduate student in music theory at Yale University. He is currently completing a dissertation that explores issues of musical meaning in Gustav Mahler’s sonataform movements using an Adornian interpretive framework. This gives him less than ample time to explore his other research interests, which include fin-de-siècle aesthetics, uses of narrative and anthropomorphic tropes in music-theoretic discourse, and the development of a renewed kinetic theory of Wagner’s late style. l DIRECTIONS TO CONTRIBUTORS 19th-Century Music welcomes submissions on all aspects of music spanning the “long” century between ca. 1780 and 1920. Our interests are as diverse as the long century itself. They cover music of any type or origin and include, but are not limited to, topics in composition, performance, social and cultural context, analysis, music theory, critical theory, hermeneutics, aesthetics, documentary, archival, and editorial study, gender and sexuality, history, and historiography. We also publish book reviews and welcome suggestions and proposals. Typescripts should be double spaced on 81⁄ 2 X 11-inch bond paper, with ample margins; three copies should be submitted. Endnotes, tables, captions, music examples, and texts for music examples should be written on separate sheets. All endnotes and extracts (citations) must be double-spaced. Typescripts should be sent to the Editorial Office, 19th-Century Music; Music Department, University of California, Davis; Davis, California 95616. Materials for review may be sent to the same address. Please do not submit articles by e-mail. Once an article is accepted and the text has been revised and agreed on in consultation with an editor, an attachment file will be requested by the editorial office. The Word file(s) should include all text (tables, captions, etc.) plus a one-page abstract, with five key words selected at its end. Music examples may be submitted as either hard copies (xeroxes acceptable) or .pdfs; camera-ready art may be sent as black and white glossies, or in electronic files—.tiff, .pdf., or .jpeg. For quotations transcribed from foreign sources, authors are urged to specify in the typescript occurrences of the following characters: ß, É, À, Œ, and œ. Prospective contributors should consult recent issues of 19th-Century Music or Writing About Music, by D. Kern Holoman (Berkeley and Los Angeles, 1988), for matters of style. In most cases, we follow the practices of The Chicago Manual of Style, 15th edn. (Chicago: University of Chicago Press, 2003). 19th-Century Music, vol. 31, no. 1, p. 98. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2007 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.2007.31.1.098.

Journal

19th-Century MusicUniversity of California Press

Published: Jul 1, 2007

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