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  • Authors of Articles in this Issue

david beard is Reader in musicology at Cardiff University, where he specializes in music since 1945, especially in Britain. He is the author of Harrison Birtwistle's Operas and Music Theatre (Cambridge, 2012), co-editor of and contributor to Harrison Birtwistle Studies (Cambridge, 2015), and co-author of Musicology: The Key Concepts (Routledge, 2005; revised 2016). Recent publications include contributions to The Music of Simon Holt (Boydell & Brewer, 2017) and New Music Theatre in Europe: Transformations between 1955 and 1975 (Routledge 2019).

sarah kirby recently completed a Ph.D. at the Melbourne Conservatorium of Music, where she now lectures in nineteenth-century music history. Her doctoral research explored music at late nineteenth-century international exhibitions in the British Empire, and she has an interest in British and Australian music history, women in music, internationalism, and cosmopolitanism.

jean-paul c. montagnier received his Ph.D. from Duke University in 1994. He is currently professor of musicology at the Université de Lorraine (Nancy) and associate member of the Institut de Recherche en Musicologie (CNRS). He serves on the editorial board of the Oeuvres comple'tes Lully (Olms). His most recent book, The Polyphonic Mass in France, 1600–1780: The Evidence of the Printed Choirbooks, was published by Cambridge University Press in 2017.

juliana m. pistorius is a Leverhulme Early Career Fellow at the University of Huddersfield and Research Fellow at Africa Open Institute, Stellenbosch University, South Africa. Her research engages with the politics of opera production in apartheid and post-apartheid South Africa.

danielle ward-griffin is an assistant professor of musicology at Rice University. Her research focuses on Benjamin Britten, opera on television, and the relationship between opera and the place of performance. Articles on these topics have appeared in the Journal of the American Musicological Society, Cambridge Opera Journal, Opera Quarterly, and the Journal of the Society for American Music. She has also contributed chapters to Rethinking Britten and Benjamin Britten Studies: Essays on an Inexplicit Art. [End Page 593]



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