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Contributors

Contributors TH CENTURY MUSIC Philip Ross Bullock is Professor of Russian Lit- Oxford in 2014 and has taught at the Universi- erature and Music at the University of Oxford, ties of Oxford (as Stipendiary Lecturer at and Fellow and Tutor in Russian at Wadham Magdalen College) and Cambridge, as well as College, Oxford. In 2007 he was Edward T. at the Guildhall School of Music and Drama, Cone Member in Music Studies at the Institute London. Her work has appeared in Twentieth- for Advanced Study, Princeton, and in 2009 he Century Music and is forthcoming in Music & received the Philip Brett Award of the Ameri- Letters. She is currently writing a study of early- can Musicological Society. He is currently a twentieth-century British song and song per- fellow of the Institute for Advanced Study, Paris. formance. Scott Burnham is Distinguished Professor of Benedict Taylor is Chancellor’s Fellow and Lec- Music at the CUNY Graduate Center in New turer in Music at the University of Edinburgh. York City and Scheide Professor of Music His- The 2011 recipient of the Jerome Roche Prize tory Emeritus at Princeton University, where of the Royal Musical Association, he is the he taught from 1989 to 2016. In 2014 he re- author of Mendelssohn, Time and Memory: The ceived the Otto Kinkeldey Award from the Romantic Conception of Cyclic Form (Cam- American Musicological Society for his book bridge, 2011) and The Melody of Time: Music Mozart’s Grace (Princeton, 2013). and Temporality in the Romantic Era (Oxford, 2016). His most recent book, Towards a Har- Julian Johnson is Regius Professor of Music at monic Grammar of Grieg’s Late Piano Music: Royal Holloway, University of London. He was Nature and Nationalism, has just been pub- formerly Reader in Music at the University of lished by RMA Monographs. Oxford and a Fellow of St. Anne’s College (2001– 2007), and a Lecturer at the University of Sus- Laura Tunbridge is associate professor of Mu- sex (1994–2001). Originally a composer, his re- sic at the University of Oxford and editor of the search explores aesthetic and historical issues Journal of the Royal Musical Association. Re- in music from the eighteenth century to the cent publications have appeared in the Journal present day. He is the author of five books, of the American Musicological Society, Repre- most recently, Out of Time: Music and the sentations, Twentieth-Century Music, Cam- Making of Modernity (Oxford: OUP, 2015). bridge Opera Journal, and Opera Quarterly. Her book on Lieder singing in New York and Ceri Owen is a Junior Research Fellow in Mu- London between the World Wars is forthcom- sic at Sidney Sussex College, Cambridge. She ing from the University of was awarded her DPhil by the University of Chicago Press. 306 19th-Century Music, vol. 40, no. 3, pp. 306–307. ISSN: 0148-2076, electronic ISSN 1533-8606. © 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. https://doi.org/10.1525/ncm.2017.40.3.306. 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
© 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.2017.40.3.306
Publisher site
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Abstract

TH CENTURY MUSIC Philip Ross Bullock is Professor of Russian Lit- Oxford in 2014 and has taught at the Universi- erature and Music at the University of Oxford, ties of Oxford (as Stipendiary Lecturer at and Fellow and Tutor in Russian at Wadham Magdalen College) and Cambridge, as well as College, Oxford. In 2007 he was Edward T. at the Guildhall School of Music and Drama, Cone Member in Music Studies at the Institute London. Her work has appeared in Twentieth- for Advanced Study, Princeton, and in 2009 he Century Music and is forthcoming in Music & received the Philip Brett Award of the Ameri- Letters. She is currently writing a study of early- can Musicological Society. He is currently a twentieth-century British song and song per- fellow of the Institute for Advanced Study, Paris. formance. Scott Burnham is Distinguished Professor of Benedict Taylor is Chancellor’s Fellow and Lec- Music at the CUNY Graduate Center in New turer in Music at the University of Edinburgh. York City and Scheide Professor of Music His- The 2011 recipient of the Jerome Roche Prize tory Emeritus at Princeton University, where of the Royal Musical Association, he is the he taught from 1989 to 2016. In 2014 he re- author of Mendelssohn, Time and Memory: The ceived the Otto Kinkeldey Award from the Romantic Conception of Cyclic Form (Cam- American Musicological Society for his book bridge, 2011) and The Melody of Time: Music Mozart’s Grace (Princeton, 2013). and Temporality in the Romantic Era (Oxford, 2016). His most recent book, Towards a Har- Julian Johnson is Regius Professor of Music at monic Grammar of Grieg’s Late Piano Music: Royal Holloway, University of London. He was Nature and Nationalism, has just been pub- formerly Reader in Music at the University of lished by RMA Monographs. Oxford and a Fellow of St. Anne’s College (2001– 2007), and a Lecturer at the University of Sus- Laura Tunbridge is associate professor of Mu- sex (1994–2001). Originally a composer, his re- sic at the University of Oxford and editor of the search explores aesthetic and historical issues Journal of the Royal Musical Association. Re- in music from the eighteenth century to the cent publications have appeared in the Journal present day. He is the author of five books, of the American Musicological Society, Repre- most recently, Out of Time: Music and the sentations, Twentieth-Century Music, Cam- Making of Modernity (Oxford: OUP, 2015). bridge Opera Journal, and Opera Quarterly. Her book on Lieder singing in New York and Ceri Owen is a Junior Research Fellow in Mu- London between the World Wars is forthcom- sic at Sidney Sussex College, Cambridge. She ing from the University of was awarded her DPhil by the University of Chicago Press. 306 19th-Century Music, vol. 40, no. 3, pp. 306–307. ISSN: 0148-2076, electronic ISSN 1533-8606. © 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. https://doi.org/10.1525/ncm.2017.40.3.306.

Journal

19th-Century MusicUniversity of California Press

Published: Mar 1, 2017

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