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  • Authors of Articles in this Issue

Carlo Cenciarelli is a British Academy Postdoctoral Fellow at Royal Holloway, University of London. His research revolves around the intersection between music and visual culture in the twentieth and early twenty-first centuries, with a particular focus on practices of cultural borrowing, the history of technology, and the afterlife of Western art music. His essays are published or forthcoming in journals including twentieth-century music, the Journal of the Royal Musical Association, and Cambridge Opera Journal.

Seth J. Coluzzi is an assistant professor of musicology at Brandeis University and a scholar of music and culture of the late Renaissance. His research focuses particularly on issues of interpretation and analysis, and on the relationship between music and poetry. He was a fellow at the Villa I Tatti in 2010–11.

Keith Johnston currently teaches music history at Western University, Canada. His research interests include eighteenth-century Italian opera, its reception, and the theory and cultural contexts of humour. He completed his Ph.D. at the University of Toronto in 2011 with support from the Social Sciences and Humanities Research Council of Canada.

Benedict Taylor is Mellon Postdoctoral Fellow in Music Theory at the Faculty of Music and a Senior Research Fellow of New College, University of Oxford. He is the author of Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form (Cambridge, 2011) and has published articles on a wide range of nineteenth- and twentieth-century music.

Christopher Wintle has been a Senior Research Fellow in the Department of Music at King’s College London since 2009, and Director of Plumbago Books and Arts since 2000. He specializes in music theory and opera, and his monograph on Benjamin Britten, All the Gods (2006), proposes a model for the composer’s musical language, including extensive voice-leading analyses. [End Page 204]

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