A Performer's Guide to Seventeenth-Century Music, Second Edition

List of Contributors

CONTRIBUTORS Julie Andrijeski, full-time lecturer at Case Western Reserve University, is among the leading Baroque violinists and early-music pedagogues in the United States. She holds principal positions with several diverse Baroque and Renaissance groups, including Cleveland’s Apollo’s Fire, New York State Baroque (concertmaster), the Atlanta Baroque Orchestra (music director ), Quicksilver, Cecilia’s Circle, and The King’s Noyse. Her unique performance style is greatly influenced by her knowledge and skilled performance of early dance. Ms. Andrijeski teaches both violin and dance during the year at Case and at summer festivals in Oberlin (BPI), Madison (MEMF), and Vancouver, B.C. (VEMF). Jack Ashworth is professor of music history and director of the Early Music Ensemble at the University of Louisville, where he has taught since 1977. Primarily a harpsichordist, he also plays early string and wind instruments and has taught on workshop faculties in the United States, England, Canada, and Australia. He is past president of the Viola da Gamba Society of America and received the Thomas Binkley Award for Outstanding Achievement by a Collegium Director from Early Music America in 1999. He has published continuo realizations as well as articles concerning it and has performed as continuo accompanist for artists and groups including Wieland Kuijken, Margriet Tindemans, Brent Wissick, Trio Seicento, and Fretwork. Julianne Baird, soprano, has been hailed a “national artistic treasure” (The New York Times) and as a “well-nigh peerless performer in the repertory of the baroque.” With more than 125 recordings to her credit on Decca, Deutsche Grammophon, Dorian, Newport Classics, and MSR Classics, Julianne is one of the world’s ten most recorded classical artists. Julianne Baird is internationally recognized as one whose “virtuosic vocal style is firmly rooted in scholarship .” Her book Introduction to the Art of Singing, is now in its third printing and is used by singers and professional schools internationally; her CD and songbook, The Musical World of Benjamin Franklin is also widely popular. Stewart Carter is executive editor of the Historic Brass Society Journal and general editor of Bucina: The Historic Brass Society Series. He has been awarded the Christopher Monk Award by the Historic Brass Society, the Frances Densmore Prize by the American Musical Instrument Society, and the John Reinhardt Award for Teaching by Wake Forest University. He has published articles in Early Music, The New Grove Dictionary of Music and Musicians, Performance Practice Review, Historic Brass Society Journal, and Alta Musica. Carter served as president of the American Musical Instrument Society from 2007 to 2011 and currently serves as chair of the Department of Music at Wake Forest University. Stuart Cheney currently teaches music history and viol at Texas Christian University; he formerly taught and directed early-music ensembles at the University of Maryland, Vanderbilt 508 Contributors University, Goucher College, and Southern Methodist University. His articles and reviews have appeared in Early Music, The New Grove Dictionary of Music and Musicians (2nd ed.), Notes, Historic Brass Society Journal, and Consort, and he was for seven years editor of the Journal of the Viola da Gamba Society of America. John Michael Cooper is professor of music and Margarett Root Brown Chair in Fine Arts at Southwestern University (Georgetown, Texas). Trained in percussion and musicology, he has worked on percussion performance practices to ca. 1850. He is also the author of Felix Mendelssohn Bartholdy: A Guide to Research (2001), Mendelssohn’s “Italian” Symphony, and Mendelssohn , Goethe, and the Walpurgis Night: The Heathen Muse in European Culture, 1700–1850. He is currently writing two more books: Music and Secular Religion from Mozart to Schoenberg and A Historical Dictionary of Romantic Music. Bruce Dickey is much in demand as a teacher, both of the cornetto and of seventeenthcentury performance practice. In addition to his regular class at the Schola Cantorum, he has taught at the Royal Conservatory in The Hague, the Accademia Chigiana in Siena, and the Early Music Institute at Indiana University, as well as master classes in the United States, Canada, Europe, and Japan. He is also active in research on performance practice and has published, together with Michael Collver, a catalog of the surviving cornetto repertory. In 2000 the Historic Brass Society bestowed on him the prestigious Christopher Monk Award for “his monumental work in cornetto performance, historical performance practice, and musicological scholarship.” David Douglass, a leading figure in the world of early-music performance, he is the founding director of The King’s Noyse—a Renaissance violin band—and a founding member of the...