Authors of articles in this Issue
- Authors of articles in this Issue
Golan Gur obtained his BA and MA degrees in musicology from Tel-Aviv University. Between 2003 and 2006 he was a Teaching Assistant at the same institution. He is currently in the final stage of his doctoral studies at the Humboldt University of Berlin, where his studies are supported by the German National Academic Foundation. His work has been published in peer-reviewed journals and conference proceedings.
Barbara L. Kelly is Professor of Musicology and Head of Humanities Research at Keele University. Her research is focused on French music and culture (1870–1939). She has published on composers including Debussy, Ravel, Milhaud, and Honegger. She is author of Tradition and Style in the Works of Darius Milhaud (1912–1939) (Ashgate, 2003) and contributing editor of Berlioz and Debussy: Sources, Contexts and Legacies (Ashgate 2007, with Kerry Murphy) and French Music, Culture, and National Identity (Rochester University Press, 2008). She received British Academy funding to work on the Léon Vallas Archives (Lyon) and an Arts and Humanities Research Council Fellowship for her forthcoming monograph, French Musical Modernism in France (1913–1939): A Fragile Consensus (Boydell, 2013).
Natasha Loges completed her doctoral thesis, ‘Text and Context in Brahms’s Lieder’, at the Royal Academy of Music. She is currently Assistant Head of Programmes at the Royal College of Music and also works as a song accompanist, performing in various venues overseas and in the UK. She has published on Brahms’s songs in Nineteenth-Century Music Review, Indiana Theory Review, and Music and Literature in German Romanticism, and was recently awarded an Early Careers Fellowship from the AHRC to undertake research on Brahms’s poets and text–music relationships.
Ian Woodfield is Professor of Historical Musicology at Queen’s University Belfast, where he teaches courses in notation, musical instruments and early repertory. His recent books include Mozart’s Così fan tutte (Boydell, 2008), which received the Mozart Society of America’s second Majorie Weston Emerson Award, The Vienna Don Giovanni (Boydell, 2010), and Performing Operas for Mozart: Singers, Impresarios and Troupes (Cambridge, 2012). [End Page 450]
