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Contributors

Contributors INDEX Mark Everist is professor of music at the Uni- Mark Seto is associate professor of music at versity of Southampton. His research focuses Connecticut College, where he conducts the on the music of western Europe in the period college orchestra and teaches music history and 1150–1330, opera in France in the nineteenth theory. His research explores issues of influ- century, Mozart, reception theory, and histori- ence, nationalism, and identity in the sym- ography. He is the author of Polyphonic Music phonic culture of fin-de-siècle Paris. He is Ar- in Thirteenth-Century France (1989), French tistic Director of the Chelsea Symphony and Motets in the Thirteenth Century (1994), Mu- was the founding Music Director of Morning- sic Drama at the Paris Odéon, 1824–1828 side Opera, both in New York City. (2002), Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (2005), Mozart’s Rachana Vajjhala completed her PhD in mu- Ghosts: Haunting the Halls of Musical Culture sic history and literature at the University of (2013) as well as editor of three volumes of the California, Berkeley, in 2015. She is currently Magnus Liber Organi for Editions de l’Oiseau- an assistant professor of musicology at Boston Lyre (2001–2003). In addition, he has published University. over sixty articles in peer-reviewed journals and collections of essays. The recipient of the Solie Clinton D. Young is associate professor of his- (2010) and Slim (2011) awards of the American tory at the University of Arkansas at Monticello. Musicological Society, he was elected a fellow He is the author of Music Theater and Popular of the Academia Europaea in 2012. Everist was Nationalism in Spain, 1880–1930 (Louisiana President of the Royal Musical Association State University Press, 2016) and is a specialist (2011–17) and was elected a corresponding mem- in the political and cultural history of modern ber of the American Musicological Society in Spain. His current research deals with the trans- 2014. atlantic development of operatic culture in the nineteenth and twentieth centuries. 19th-Century Music, vol. 41, no. 1, pp. 93–94. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2017 by the Regents of 93 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, http://www.ucpress.edu/ journals.php?p=reprints. https://doi.org/10.1525/ncm.2017.41.1.93. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Contributors

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19th-Century Music , Volume 41 (1): 1 – Jul 1, 2017
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Publisher
University of California Press
Copyright
© 2017 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, http://www.ucpress.edu/journals.php?p=reprints.
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2017.41.1.93
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Abstract

INDEX Mark Everist is professor of music at the Uni- Mark Seto is associate professor of music at versity of Southampton. His research focuses Connecticut College, where he conducts the on the music of western Europe in the period college orchestra and teaches music history and 1150–1330, opera in France in the nineteenth theory. His research explores issues of influ- century, Mozart, reception theory, and histori- ence, nationalism, and identity in the sym- ography. He is the author of Polyphonic Music phonic culture of fin-de-siècle Paris. He is Ar- in Thirteenth-Century France (1989), French tistic Director of the Chelsea Symphony and Motets in the Thirteenth Century (1994), Mu- was the founding Music Director of Morning- sic Drama at the Paris Odéon, 1824–1828 side Opera, both in New York City. (2002), Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (2005), Mozart’s Rachana Vajjhala completed her PhD in mu- Ghosts: Haunting the Halls of Musical Culture sic history and literature at the University of (2013) as well as editor of three volumes of the California, Berkeley, in 2015. She is currently Magnus Liber Organi for Editions de l’Oiseau- an assistant professor of musicology at Boston Lyre (2001–2003). In addition, he has published University. over sixty articles in peer-reviewed journals and collections of essays. The recipient of the Solie Clinton D. Young is associate professor of his- (2010) and Slim (2011) awards of the American tory at the University of Arkansas at Monticello. Musicological Society, he was elected a fellow He is the author of Music Theater and Popular of the Academia Europaea in 2012. Everist was Nationalism in Spain, 1880–1930 (Louisiana President of the Royal Musical Association State University Press, 2016) and is a specialist (2011–17) and was elected a corresponding mem- in the political and cultural history of modern ber of the American Musicological Society in Spain. His current research deals with the trans- 2014. atlantic development of operatic culture in the nineteenth and twentieth centuries. 19th-Century Music, vol. 41, no. 1, pp. 93–94. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2017 by the Regents of 93 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, http://www.ucpress.edu/ journals.php?p=reprints. https://doi.org/10.1525/ncm.2017.41.1.93.

Journal

19th-Century Music – University of California Press

Published: Jul 1, 2017

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