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Contributors

Contributors TH CENTURY MUSIC Christopher Campo-Bowen is a PhD candidate Daniel M. Grimley is professor of music at the in musicology at the University of North Caro- University of Oxford and tutorial fellow at lina at Chapel Hill. His dissertation focuses on Merton College. His books include Grieg: Mu- how myths and ideologies of ruralness influ- sic, Landscape and Norwegian Identity (Boydell enced the expression of gender, class, and na- & Brewer, 2006), and Carl Nielsen and the Idea tionalism in Czech comic opera of the late of Modernism (Boydell, 2010). In 2011 he was nineteenth and early twentieth centuries. He scholar-in-residence at the Bard Festival, for holds degrees in orchestra conducting from which he edited Jean Sibelius and His World Stanford University and the Catholic Univer- (Princeton University Press). He has recently sity of America. A recipient of a Fulbright U.S. led the Leverhulme International Network Students Grant to the Czech Republic for the “Hearing Landscape Critically” and is finish- academic year 2015–16, he is currently sup- ing a monograph entitled Delius and the Sound ported by a Howard Mayer Brown Fellowship of Place. from the American Musicological Society. A former fellow of the Mahindra Humanities Gabriela Cruz teaches music history and opera Center at Harvard University, Damien Mahiet at the University of Michigan, Ann Arbor. She received a PhD in musicology from Cornell is currently completing a book titled Spectacu- University and a MA in political thought from lar Song: On the Modernity of Grand Opera. Sciences Po Paris. He studies the cultural and Her work on nineteenth-century opera, early political history of music in Europe and the sound recording, and Portuguese film has ap- United States, with a particular focus on the peared in Cambridge Opera Journal, Opera eighteenth and nineteenth centuries. With Quarterly, Current Musicology, Revista Rebekah Ahrendt and Mark Ferraguto, he is Portuguesa de Musicologia, and most recently the co-editor of Music and Diplomacy from the in Opera and Video: Spectatorship and Tech- Early Modern Era to the Present nology (Bern, 2012) and Music in Print and (Palgrave Macmillan, 2014). Beyond: From Hildegard von Bingen to the Beatles (Rochester, 2013). 182 19th-Century Music, vol. 40, no. 2, pp. 182–183. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2016 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. DOI: 10.1525/ncm.2016.40.2.182. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

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Publisher
University of California Press
Copyright
© 2016 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.2016.40.2.182
Publisher site
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Abstract

TH CENTURY MUSIC Christopher Campo-Bowen is a PhD candidate Daniel M. Grimley is professor of music at the in musicology at the University of North Caro- University of Oxford and tutorial fellow at lina at Chapel Hill. His dissertation focuses on Merton College. His books include Grieg: Mu- how myths and ideologies of ruralness influ- sic, Landscape and Norwegian Identity (Boydell enced the expression of gender, class, and na- & Brewer, 2006), and Carl Nielsen and the Idea tionalism in Czech comic opera of the late of Modernism (Boydell, 2010). In 2011 he was nineteenth and early twentieth centuries. He scholar-in-residence at the Bard Festival, for holds degrees in orchestra conducting from which he edited Jean Sibelius and His World Stanford University and the Catholic Univer- (Princeton University Press). He has recently sity of America. A recipient of a Fulbright U.S. led the Leverhulme International Network Students Grant to the Czech Republic for the “Hearing Landscape Critically” and is finish- academic year 2015–16, he is currently sup- ing a monograph entitled Delius and the Sound ported by a Howard Mayer Brown Fellowship of Place. from the American Musicological Society. A former fellow of the Mahindra Humanities Gabriela Cruz teaches music history and opera Center at Harvard University, Damien Mahiet at the University of Michigan, Ann Arbor. She received a PhD in musicology from Cornell is currently completing a book titled Spectacu- University and a MA in political thought from lar Song: On the Modernity of Grand Opera. Sciences Po Paris. He studies the cultural and Her work on nineteenth-century opera, early political history of music in Europe and the sound recording, and Portuguese film has ap- United States, with a particular focus on the peared in Cambridge Opera Journal, Opera eighteenth and nineteenth centuries. With Quarterly, Current Musicology, Revista Rebekah Ahrendt and Mark Ferraguto, he is Portuguesa de Musicologia, and most recently the co-editor of Music and Diplomacy from the in Opera and Video: Spectatorship and Tech- Early Modern Era to the Present nology (Bern, 2012) and Music in Print and (Palgrave Macmillan, 2014). Beyond: From Hildegard von Bingen to the Beatles (Rochester, 2013). 182 19th-Century Music, vol. 40, no. 2, pp. 182–183. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2016 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. DOI: 10.1525/ncm.2016.40.2.182.

Journal

19th-Century MusicUniversity of California Press

Published: Nov 1, 2016

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