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Contributors

Contributors COMMUNICATIONS Contributors Ewelina Boczkowska is assistant professor of musicology at the Dana School of Music, Youngstown State University. She specializes in film music, with a focus on music as a site of collective memory in films by Polish directors. Her research also includes a study of place, memory, and cultural identity in the music of Chopin and works of Alexandre Tansman. Charles Fisk is the Phyllis H. Carey Professor at Wellesley College, where he is a member of both the academic and performance faculties. As the highest-ranking American in the 1980 J. S. Bach International Competition, he performed at the White house for President Carter. He is the author of Returning Cycles: Contexts for the Interpretation of Schubert’s Impromptus and Last Sonatas (UC Press, 2001) and of articles about the music of Schumann, Chopin, and Rachmaninoff. He is currently working on a memoir entitled Repertoires: Composers of My Life. Michael Klein is associate professor of music studies at Temple University’s Boyer College of Music and Dance. He is the author of Intertextuality in Western Art Music (Indiana University Press) and is working on a book about music and subjectivity. Lawrence Kramer, Distinguished Professor of English and Music at Fordham University, is the editor of this journal. His most recent book is Interpreting Music (2010); since its publication in 2007 his Why Classical Music Still Matters (2007) has been translated into Portuguese and Italian; his Expression and Truth is due out this fall. All are published by the University of California Press. Kramer’s cantata Crossing the Water premiered in August 2011 on the campus of the Sante Fe Opera. James Parakilas is the James L. Moody, Jr. Professor of Performing Arts at Bates College. His textbook The Story of Opera will be published by W. W. Norton later this year, and his essay “The Operatic Canon” will appear in The Oxford Handbook of Opera, edited by Helen Greenwald. l 19th-Century Music, vol. 35, no. 3, p. 261. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2012 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.2012.35.3.261. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Contributors

19th-Century Music , Volume 35 (3) – Mar 1, 2012

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Publisher
University of California Press
Copyright
© 2012 by the Regents of the University of California
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2012.35.3.261
Publisher site
See Article on Publisher Site

Abstract

COMMUNICATIONS Contributors Ewelina Boczkowska is assistant professor of musicology at the Dana School of Music, Youngstown State University. She specializes in film music, with a focus on music as a site of collective memory in films by Polish directors. Her research also includes a study of place, memory, and cultural identity in the music of Chopin and works of Alexandre Tansman. Charles Fisk is the Phyllis H. Carey Professor at Wellesley College, where he is a member of both the academic and performance faculties. As the highest-ranking American in the 1980 J. S. Bach International Competition, he performed at the White house for President Carter. He is the author of Returning Cycles: Contexts for the Interpretation of Schubert’s Impromptus and Last Sonatas (UC Press, 2001) and of articles about the music of Schumann, Chopin, and Rachmaninoff. He is currently working on a memoir entitled Repertoires: Composers of My Life. Michael Klein is associate professor of music studies at Temple University’s Boyer College of Music and Dance. He is the author of Intertextuality in Western Art Music (Indiana University Press) and is working on a book about music and subjectivity. Lawrence Kramer, Distinguished Professor of English and Music at Fordham University, is the editor of this journal. His most recent book is Interpreting Music (2010); since its publication in 2007 his Why Classical Music Still Matters (2007) has been translated into Portuguese and Italian; his Expression and Truth is due out this fall. All are published by the University of California Press. Kramer’s cantata Crossing the Water premiered in August 2011 on the campus of the Sante Fe Opera. James Parakilas is the James L. Moody, Jr. Professor of Performing Arts at Bates College. His textbook The Story of Opera will be published by W. W. Norton later this year, and his essay “The Operatic Canon” will appear in The Oxford Handbook of Opera, edited by Helen Greenwald. l 19th-Century Music, vol. 35, no. 3, p. 261. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2012 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.2012.35.3.261.

Journal

19th-Century MusicUniversity of California Press

Published: Mar 1, 2012

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