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Contributors

Contributors 19 TH CENTURY MUSIC Marc Brooks is an Early Career Associate at the Institute of Musical Research in London and lectures part time at the University of Vienna. His recently completed PhD explores the relationship between science and religion in the libretto and music of the operas Wozzeck and Arabella. In his continuing research into German opera, as well as his new work on sound and music in American television, he displays a commitment to bridging the gap between humanities and the sciences. Contact: Marc.Brooks@outlook.at. Martin Knust studied musicology, theology, and philosophy in Greifswald, Berlin, and Dresden, earning his Magister Artium (M.A.) in musicology in 2000 and Dr. phil. in 2006. Since 2007 he has held appointments and lectureships at the E.-M.-Arndt-University in Greifswald, the Technical University in Berlin, University of Örebro, and the Royal College of Music in Stockholm. He was a postdoctoral research fellow at the University of Stockholm and since 2013 a senior lecturer in musicology at Linnæus University in Växjö, Sweden. He has written about Richard Wagner, Jean Sibelius, and other northern composers of the nineteenth through the twenty-first centuries, church music of the sixteenth century, and music of Cambodia. Educated at University College Dublin and the University of Cambridge, David Larkin is a lecturer in music at the University of Sydney. His research focuses on issues such as progress, program music, and compositional influence in connection with Liszt, Wagner, Richard Strauss, and similar figures. He has published articles in Musical Quarterly and Music and the Moving Image (forthcoming), and book chapters in The Cambridge Companion to Richard Strauss and Rethinking Hanslick: Music, Formalism and Expression. Karen Leistra-Jones is assistant professor of music at Franklin and Marshall College in Lancaster, Pennsylvania. Her research explores the culture of Werktreue performance in the second half of the nineteenth century, and her work has previously appeared in the Journal of the American Musicological Society. She was recently awarded a summer stipend from the National Endowment for the Humanities for her project entitled Curating the Musical Museum: The Brahms Circle and Modern Performance. She received her PhD from Yale University in 2011. 19th-Century Music, vol. 38, no. 3, pp. 302­304. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2015 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.2015.38.3.302. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Contributors

19th-Century Music , Volume 38 (3) – Apr 1, 2015

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Publisher
University of California Press
Copyright
© 2015 by the Regents of the University of California
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2015.38.3.302
Publisher site
See Article on Publisher Site

Abstract

19 TH CENTURY MUSIC Marc Brooks is an Early Career Associate at the Institute of Musical Research in London and lectures part time at the University of Vienna. His recently completed PhD explores the relationship between science and religion in the libretto and music of the operas Wozzeck and Arabella. In his continuing research into German opera, as well as his new work on sound and music in American television, he displays a commitment to bridging the gap between humanities and the sciences. Contact: Marc.Brooks@outlook.at. Martin Knust studied musicology, theology, and philosophy in Greifswald, Berlin, and Dresden, earning his Magister Artium (M.A.) in musicology in 2000 and Dr. phil. in 2006. Since 2007 he has held appointments and lectureships at the E.-M.-Arndt-University in Greifswald, the Technical University in Berlin, University of Örebro, and the Royal College of Music in Stockholm. He was a postdoctoral research fellow at the University of Stockholm and since 2013 a senior lecturer in musicology at Linnæus University in Växjö, Sweden. He has written about Richard Wagner, Jean Sibelius, and other northern composers of the nineteenth through the twenty-first centuries, church music of the sixteenth century, and music of Cambodia. Educated at University College Dublin and the University of Cambridge, David Larkin is a lecturer in music at the University of Sydney. His research focuses on issues such as progress, program music, and compositional influence in connection with Liszt, Wagner, Richard Strauss, and similar figures. He has published articles in Musical Quarterly and Music and the Moving Image (forthcoming), and book chapters in The Cambridge Companion to Richard Strauss and Rethinking Hanslick: Music, Formalism and Expression. Karen Leistra-Jones is assistant professor of music at Franklin and Marshall College in Lancaster, Pennsylvania. Her research explores the culture of Werktreue performance in the second half of the nineteenth century, and her work has previously appeared in the Journal of the American Musicological Society. She was recently awarded a summer stipend from the National Endowment for the Humanities for her project entitled Curating the Musical Museum: The Brahms Circle and Modern Performance. She received her PhD from Yale University in 2011. 19th-Century Music, vol. 38, no. 3, pp. 302­304. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2015 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.2015.38.3.302.

Journal

19th-Century MusicUniversity of California Press

Published: Apr 1, 2015

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