Contributors
- Contributors
Alexandra Coller received her doctorate in 2005 from the Department of Italian Studies at New York University, where she currently teaches early modern drama, the novella, Renaissance women writers, and modern Italian theater. Her publications on women, gender, comic drama, and opera have recently appeared in the Italianist and Italian Studies. Forthcoming articles include “Giulia Bigolina's Dedicatory Letter to Urania: Ideologies of a Metanarrative” as well as “Isabella Andreini's La Mirtilla and the Politics of Amor Maritale.” Other articles, including “Fonte's Poets and the Revisions of Canon: Virgil, Ovid, Dante and Ariosto in Tredici Canti del Floridoro,” are in progress. She is presently at work on her book manuscript, Bella Creanza and Female Destrezza: Women in Italian Renaissance and Baroque Drama, which offers an assessment of the dramatic innovations that preceded the “birth” of opera in the late sixteenth and early seventeenth centuries.
Sophie Fuller is a freelance musicologist who lives in London. She is the author of The Pandora Guide to Women Composers: Britain and the United States, 1629–Present (Pandora, 1994) and coeditor of two collections of essays: with Lloyd Whitesell, Queer Episodes in Music and Modern Identity (University of Illinois Press, 2002) and with Nicky Losseff, The Idea of Music in Victorian Fiction (Ashgate, 2004). Her research interests include many different aspects of music, gender, and sexuality but focus in particular on the role that gender played in the musical life of late-nineteenth- and twentieth-century Britain. Her most recent work in this area has been an essay on the significance of the private musical world in the life and career of Edward Elgar. She is currently, with Jenny Doctor, working on an edition of the correspondence between the twentieth-century British composers Elizabeth Maconchy and Grace Williams.
Elizabeth Gould is associate professor of music education at the University of Toronto, where she teaches courses in music education philosophy, foundations, curriculum, and postmodern perspectives. Her research related to gender and performativity in the context of feminisms and poststructural theories has been published internationally. Currently, she is exploring potentialities of desire and difference in the context of music education literacies and serving as coeditor of a book on social justice in music education.
Judith Halberstam is a professor of English at the University of Southern California, where she teaches courses in media studies, film, queer theory and gender studies, postmodernism, and nineteenth-century British literature. She coedited Post-Human Bodies (with Ira Livingston, Indiana University Press, 1995) and The Drag King Book (with LaGrace Volcano, Serpent's Tail, 1999). She is the author of Skin Shows: Gothic Horror and the Technology of Monsters (University of North Carolina Press, 1995), Female Masculinity (University of North Carolina Press, 1999), and In a Queer Time and Place: Transgendered Bodies, Subcultural Lives (New York, 2004). An earlier form of her essay was presented to the LGBTQ Study Group of the American Musicological Society at its seventy-second annual meeting in Los Angeles in November 2006.
Thomasin LaMay is a professor of music and dance at Goucher College, Baltimore. She recently edited a volume of essays entitled Musical Voices of Early Modern Women: Many-Headed Melodies, published by Ashgate. Her interests range from the early modern to the very modern work of women in all aspects of musical culture.
Kendra Preston Leonard is a musicologist specializing in the music and musical culture of twentieth-century America, France, and Britain; women and music; and music and film. She is the author of The Conservatoire Américain: A History (Scarecrow Press, 2007), and she is at work on two more books on early-twentieth-century female composers and music in Shakespearean film. Leonard also speaks on issues in independent scholarship and publishing culture.
Judy Lochhead, professor of music at Stony Brook University, is a theorist and musicologist whose work focuses on the most recent musical practices in North America and Europe. Utilizing concepts and methodologies from postphenomenological and postmodern thought, she develops modes of thinking about new music that address the uniquely defining features of this repertoire. Some of her recent articles have appeared in Theory and Practice, Engaging Music, Expanding (Post) Phenomenology: A Critical Companion to Ihde, and Music...
