- Contributors to This Issue
[End Page 392] RICHARD COHN is Battell Professor of Music Theory at Yale University. In 1994 and again in 1997, he received the Society for Music Theory’s Outstanding Publication Award for his work, respectively, with the transpositional combination of beat-class sets in the music of Steve Reich, and the development of a neo-Riemannian approach to chromatic harmony focusing on voice-leading parsimony. Cohn’s recent work develops geometric models of metric dissonance in music of Brahms and Dvor̂ák and abstract relations among tetrachordal classes.
EHREN FORDYCE is assistant professor in the Drama Department at Stanford University and teaches directing and contemporary performance. His work has appeared in Modern Drama, Theatre Journal, Theatre Survey, Theatre Forum, and the Journal of Beckett Studies. He is currently in Germany on an Alexander von Humboldt grant, preparing a documentary film about contemporary live art in Berlin.
BRIAN HYER is professor of music at the University of Wisconsin–Madison. He has published widely on the anthropology of music and its theories from the eighteenth through the twentieth centuries.
JEONGWON JOE is assistant professor of musicology at the University of Cincinnati. She is co-editor of Between Opera and Cinema (Routledge, 2002) and an associate editor of the Journal of Film Music. Her current projects include Wagner and Cinema (to be edited with Sander Gilman) and a monograph, Opera as a Soundtrack.
LAWRENCE KRAMER is professor of English and music at Fordham University and editor of 19th-Century Music. His recent books include Why Classical Music Still Matters (Berkeley, 2007), Opera and Modern Culture: Wagner and Strauss (Berkeley, 2004), and Musical Meaning: Toward a Critical History (Berkeley, 2001). He is co-editor, with Richard Leppert and Daniel Goldmark, of Beyond the Soundtrack: Representing Music in Cinema (Berkeley, 2007). Nine songs from his The Wanderer and His Shadow (to texts by Nietzsche) were premiered in New York in 2007, and a complete cycle, Five Songs and an Epilogue from “The Wings of the Dove,” premiered in Edinburgh in August 2007.
[End Page 393] RYAN MINOR is assistant professor of music history and theory at SUNY–Stony Brook. Recent publications have appeared in Cambridge Opera Journal, 19th-Century Music, and Franz Liszt and His World (Princeton, 2006), and focus, in particular, on the aesthetic and political trajectories of the chorus within the changing landscapes of German musical culture in the nineteenth century. He is currently working on a book exploring the musical and political resonance of the chorus in nineteenth-century Germany.
MITCHELL MORRIS is associate professor of musicology at UCLA. He has published essays on gay men and opera, disco and progressive rock, musical ethics, and contemporary music. His book, The Persistence of Sentiment: Essays on Pop Music in the 70s, is in preparation, and he is also working on a project entitled, Echo of Wilderness: Music, Nature, and Nation in the United States, 1880–1945.
STEVEN RINGS is assistant professor of music at the University of Chicago. He received his Ph.D. from Yale University in 2006 with a dissertation on the transformational modeling of tonal hearing. Prior to his work as a music theorist, Rings was active as a classical guitarist, performing both in the US and in Portugal, where he taught at the Conservatório de Angra do Heroísmo.
YUVAL SHARON is a New York – based director of opera, theater, and video whose upcoming projects include the US premiere of Salvatore Sciarrino’s Aspern with the Argento Ensemble and a chamber version of Aida for Berkeley Opera. He is also project director of New York City Opera’s VOX festival of new American operas.
ISOLDE VETTER holds degrees in music pedagogy, psychology, and musicology. Since 1991 she has served as a professor of aesthetics and pedagogical psychology at the Staatliche Hochschule für Musik/University of Music in Karlsruhe, Germany. Her scholarly interests include Richard Wagner and nineteenth-century music, focusing on the intersection of music with psychology and psychoanalysis. She has published widely on topics ranging from Wagner to Freud, from conductor Hans von Bülow to the “musical medium” Rosemary Brown. In addition, she has served as editor of the Collected Works of...