Contributors to This Issue
Daniel Albright teaches English literature and music at Harvard University. He has written on the modern novel and the theory of the lyric, but most of his recent work has been in comparative arts, the study of places where various artistic media touch or intersect one another. Two recent books treating these problems are Untwisting the Serpent: Music, Literature, and the Visual Arts (Chicago, 2000) and Modernism and Music: An Anthology of Sources (Chicago, 2004).
Davinia Caddy is a Junior Research Fellow at the Queen's College, University of Oxford, and a Career Development Fellow at the Faculty of Music, Oxford. She has recently completed a doctoral dissertation on music and dance in belle époque Paris.
George Dorris is co-editor with Jack Anderson of Dance Chronicle: Studies in Dance and the Related Arts and contributes regularly to Ballet Review, Dance Now, and Dancing Times. He was an associate editor of the International Encyclopedia of Dance and a senior researcher on the Popular Balanchine project of the Balanchine Foundation. For many years Dr. Dorris taught English at York College of the City University of New York.
Inger Damsholt is associate professor of dance studies at the Department of Arts and Cultural Studies, University of Copenhagen (Denmark). From 2002–06 she was the chair of NOFOD. She is currently working on a book entitled Choreomusical Discourse. Six essays on the Relationship between Music and Dance.
Wayne Heisler Jr. is assistant professor of Historical and Cultural Studies in Music at the College of New Jersey. He received the Ph.D. in Musicology from Princeton University in 2005. Current projects include a book manuscript on the ballet collaborations of Richard Strauss.
Rebecca Rossen is a Chicago-based dance historian and choreographer. Her current research examines stagings of Jewish identity in American concert dance. Her essay, "The Jewish Man and His Dancing Shtick: Stock Characterization and Jewish Masculinity in Postmodern Dance" was recently published in the anthology You Should See Yourself!: Jewish Identity in Postmodern American Culture (Rutgers University Press, 2006). [End Page 202]
Deborah Mawer is senior lecturer in music at Lancaster University, UK. Her research focuses upon twentieth-century French music, with particular interests in ballet and in French interactions with jazz. She is author of The Ballets of Maurice Ravel: Creation and Interpretation (Ashgate, 2006) and Darius Milhaud: Modality and Structure in Music of the 1920s (Ashgate, 1997), and editor of The Cambridge Companion to Ravel (Cambridge, 2000). She also writes on issues in music education.
Helen Julia Minors is completing her Ph.D. under the supervision of Dr. Deborah Mawer at Lancaster University, where she lectures on subjects ranging from the contexts of music history to Debussy. Her dissertation re-examines the work of Paul Dukas (1865–1935), specifically his ballet La Péri (1911), through an emphasis on his writings on theater in the Parisian press, his approach to the collaborative process, and his use of form and orchestration.
Barbara White is associate professor in the music department at Princeton University, and is a composer, clarinetist and scholar. She has recently received awards and fellowships from the American Academy of Arts and Letters, the Guggenheim Foundation, and the Radcliffe Institute for Advanced Study. Her articles have appeared in Cambridge Opera Journal, Intercultural Music 3, and Open Space Magazine; her CDs include When the Smoke Clears (CRI, 2002) and Apocryphal Stories (Albany, 2004).
