Contributors to Issue 8:2
- Contributors to Issue 8:2
Alessandro Cecchi graduated in Philosophy at the University of Florence (2002) and gained his PhD in Musicology at the University of Pavia (2007) with a dissertation on Ernst Kurth’s theory of form. He has held research fellowships from the universities of Siena (2008–10) and Turin (2011–12) with different projects on Mahler’s symphonies and on the role of avant-garde music in Italian industrial films of the 1960s. His main articles have been published in Civiltà musicale, Studi musicali and Il Saggiatore musicale. He has recently contributed an essay to the forthcoming volume Rethinking Mahler (Oxford University Press). Since 2007 he has been a member of the study group Worlds of AudioVision and from 2013 he has served as editorial board member of Analitica: rivista online di studi musicali. He is currently a research fellow at the University of Pavia with a project on the sources of twentieth-century music.
Annette Davison is Senior Lecturer in Music at the Reid School of Music, University of Edinburgh. She has published widely on music for films and has also begun to explore music for television. Her most recent essays have been published in the journals American Music and Sound Effects, and in The Oxford Handbook of New Audiovisual Aesthetics (Oxford University Press) and The Sounds of the Silents in Britain (Oxford University Press), which she also co-edited with Julie Brown. Annette is particularly interested in short-form promotional media: current research projects focus on the history of the television title sequence in Britain, and music and sound for industrial and sponsored films.
James Deaville is Professor in the School for Studies in Art and Culture: Music at Carleton University, Ottawa. He has published in the Journal of the American Musicological Society, Journal of the Society for American Music, and Music and the Moving Image (among others), has contributed to books published by Oxford University Press, Cambridge University Press, Princeton University Press, Ashgate, and Routledge (among others), and is editor of Music in Television: Channels of Listening (Routledge, 2011). In 2012, he received a two-year Insight Development Grant from the Social Sciences and Humanities Research Council of Canada to explore the auralities of film trailers.
Kate Guthrie is a British Academy Postdoctoral Fellow at the University of Southampton. She completed her doctorate, a study of ‘Music and Cultural Values in 1940s Britain’, at King’s College London. Her current research focuses on initiatives to broaden access to elite culture in interwar Britain.
Guido Heldt is Senior Lecturer in Music at the University of Bristol. He has worked on early twentieth-century English orchestral music (PhD on symphonic poems in 1997, published in 2007), on film music and narrative theory (a monograph on Music and Levels of Narration in Film. Steps Across the Border, 2013) and on a range of aspects of music in film and television (with articles in journals such [End Page 245] as MSMI, Screen, the Kieler Beiträge zur Filmmusikforschung and edited collections on jazz and film, music in SF television series, music in Nazi Germany, music in the GDR, composer biopics etc.). He is currently working on music and comedy in film and TV. Since 2006 has been co-editor of the online journal Kieler Beitrge zur Filmmusikforschung. Together with Peter Moormann (Berlin), Tarek Krohn and Willem Strank (Kiel), he is co-editor of the series FilmMusik; a volume on Ennio Morricone was published in 2014, and a volume on music in the films of Martin Scorsese is in press.
Keith M. Johnston is Senior Lecturer in Film & Television at the University of East Anglia. His work on film and TV trailers was published in his monograph Coming Soon: Film Trailers and the Selling of Hollywood Technology (McFarland, 2009), and in the journals Convergence, the Journal of Popular Film & Television, and Media History. He has been guest editor for special issues of Frames Cinema Journal (on promotional materials) and Arts Marketing (on titles, teasers and trailers), and has contributed to a special feature on trailers in Wired magazine. He is currently the lead investigator on the ‘Watching the Trailer’ research project, and is developing an academic study of the...
