In lieu of an abstract, here is a brief excerpt of the content:

  • Contributors

amy brosius is a lecturer at the University of Birmingham, UK. She specializes in seventeenth-century Italian singers, singing culture, vocal music, and early modern gender construction. Dr. Brosius received her PhD in musicology at New York University under Suzanne Cusick. She is currently finishing a monograph on the career of the seventeenth-century Roman court singer Leonora Baroni. At Birmingham Dr. Brosius runs an ensemble where students explore performance issues surrounding modern performances of early modern chamber duets and trios, including period vocal technique, ornamentation, and gesture.

annamaria cecconi is professor of poetry for music and musical dramaturgy at the Conservatorio Statale di Musica “A. Pedrollo,” Vicenza, Italy. Her recent research focuses on representations of masculinity in late nineteenth-century Italian opera, gendered reception and female opera audience, exchanges between actresses and opera singers, and Gemma Bellincioni’s biography. She is the Italian editor and translator of S. McClary, Georges Bizet: Carmen (Rugginenti, 2007). Recent and forthcoming publications include “Knives and Tears: Representations of Masculinity in Late Nineteenth Century Italian Opera,” in Masculinity and Western Musical Practice, ed. Ian Biddle and Kirsten Gibson (Ashgate, 2008); “Il genere del pubblico: Questioni per una storia della ricezione femminile nelle arti della scena. Introduzione,” in Nuove frontiere per la storia di genere, ed. Laura Guidi and Maria Rosaria Pelizzari (Lib. Universitaria, 2013); and “Il tabarro: Maschilità in crisi nell’Italia fin de siècle” (forthcoming in Forum Italicum 49, no. 2 [2015]).

ryan dohoney is an assistant professor of musicology in the Bienen School of Music at Northwestern University. His research and teaching focus on US and European experimentalism, the music of Morton Feldman, philosophies of voice, and music and emotion.

eva j. egolf is a music educator and researcher based in New York City. Her prior research focuses on learning among edm djs. She has been a club patron in New York and abroad for the past thirteen years. As a music educator, she has taught instrumental performance and music technology courses in k–12 settings. She completed a PhD in music education at New York University and currently serves as an adjunct professor at Brooklyn College; she also advises master’s theses at New York University. [End Page 209]

melina esse is associate professor of musicology at the Eastman School of Music. A scholar of opera in the nineteenth and twentieth centuries, she has published widely—on voice and technological mediation, on opera and film, and on gender and the emotive body. Melina has explored the intertwining histories of operatic and poetic improvisation in her Saffo’s Lyre: Improvising Italy’s Past in Nineteenth-Century Opera (forthcoming from Indiana University Press).

kimberly francis is associate professor of music at the University of Guelph, Canada, where she specializes in music post-1900 and feminist musicology, particularly the career of Nadia Boulanger. Dr. Francis’s work has been supported by numerous awards, including most recently a two-year research grant from the Social Sciences and Humanities Research Council of Canada. She has published articles and reviews in the Journal of the Society for American Music, the Musical Quarterly, Women & Music, the Revue de Musicologie, and Music Theory Online. Dr. Francis serves as editor-in-chief for the University of Guelph’s award-winning journal Critical Voices: The University of Guelph Book Review Project. She is the author of Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon (Oxford, 2015).

bonnie gordon teaches at the University of Virginia. Her primary interests center on the experiences of sound in early modern music making and the affective potential of the human voice. Her book Monteverdi’s Unruly Women was published by Cambridge in 2004, and she coedited The Courtesan’s Arts (Oxford, 2006). Dr. Gordon runs the University of Virginia’s arts mentor program, which pairs university students with underresourced children in Charlottesville for a variety of arts experience and works with a number of arts outreach programs in Charlottesville. She plays rock, jazz, and Baroque viola.

julia grella o’connell is a singer and scholar; she teaches in the music program at suny–Broome Community College. Julia holds a doctorate in voice performance from the Graduate Center of the City...

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Additional Information

ISSN
1553-0612
Print ISSN
1090-7505
Pages
pp. 209-214
Launched on MUSE
2015-09-10
Open Access
No
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