Contributors
- Contributors
Nándor F. Dreisziger (nandor@kingston.net) has been teaching North American and European history at the Royal Military College of Canada since 1970. His studies on Canadian, Hungarian and other subjects have appeared in various forums including Canadian, American, Hungarian and Australian journals. He has been editing the Hungarian Studies Review since 1974.
Robin Holloway (rgh1000@cam.ac.uk) was born in 1943 and sang as a chorister at St Paul’s Cathedral, whence date his first efforts in composing. As a Cambridge undergraduate in the early 1960s he read first English then Music, two-timing the while for occasional composition sessions with Alexander Goehr in London. A brief encounter with the outer world proved ineffectual. After a doctoral thesis, begun at Oxford, exploring Debussy’s musical indebtedness to Wagner, he gained (in 1975, at the fifth attempt) a lectureship at the Music Faculty of Cambridge, where he has taught, read, listened, written and composed ever since.
Kevin C. Karnes (kkarnes@emory.edu) has edited William Bathe’s A Briefe Introduction to the Skill of Song for the Ashgate series Music Theory in Britain, 1500–1700 (Aldershot, 2005) and authored articles on Brahms, Schenker and Hanslick published in 19th-Century Music, the Journal of Musicological Research and the American Brahms Society Newsletter. He is Assistant Professor of Music History at Emory University.
Stephen Rumph (srumph@u.washington.edu) is Assistant Professor of Musicology at the University of Washington, Seattle. He is the author of Beethoven after Napoleon: Political Romanticism in the Late Works (Berkeley and Los Angeles: University of California Press, 2004), and is working on a second book, Mozart and Enlightenment Semiotics, for the same publisher. He has articles in 19th-Century Music, Journal of Musicology, and Beethoven Forum (forthcoming), and serves as Reviews Editor for Beethoven Forum.
Peter Walls (peterw@nzso.co.nz) is Chief Executive of the New Zealand Symphony Orchestra while on extended leave from Victoria University of Wellington, where he is Professor of Music. His Music in the English Courtly Masque (Oxford, 1996) won the British Academy’s Derek Allen Prize and was included in Choice magazine’s 1997 ‘outstanding academic book’ list. He has published widely on historical performance practice and is the author of History, Imagination and the Performance of Music (Woodbridge, 2003).
David Wright (dwright@rcm.ac.uk) is Reader in the Centre for Performance History at the Royal College of Music. He has written on music and the social history of music in the twentieth and late nineteenth centuries and is co-editing and contributing to a cultural and social history of the Proms to be published in 2007. He is co-convenor of the ‘Music in Britain: A Social History Seminar’ held at the Institute of Historical Research, London University.
