Authors of Articles in this Issue
- Authors of Articles in this Issue
Kristin M. Franseen is a part-time professor in musicology at the University of Ottawa, where she teaches twentieth-century music and music research methods. Her research examines the speculative use and interpretation of sources at various points in the history of musicology, including queer readings of nineteenth-century symphonic music, the repetition of dubious anecdotes in composer biographies, and music criticism and fiction as early forms of public musicology. She has published articles in Keyboard Perspectives, the Cahiers de la Socíété québécoise de recherche en musique, and Musique et pédagogie.
Eva M. Maschke obtained her doctorate in a bi-national supervision from the universities of Hamburg and Southampton in 2015, where she was a member of the research groups 'Cantum pulcriorem invenire. Thirteenth-Century Latin Poetry and Music' (University of Southampton) and 'Manuscript Culture and Chant Communities' at the Centre for the Study of Manuscript Cultures (University of Hamburg). Her research interests include medieval music and the codicology of medieval manuscripts with a special focus on manuscript fragments, as well as twentieth-century music, focusing on the music of the Weimar Republic (1919–33) and music in Exile (1933–45). Her articles have appeared in Die Musikforschung, manuscript cultures, Musica disciplina, and Studi musicali. She has taught at Heidelberg University and Mannheim University of Music and Performing Arts.
Fabio Morabito works on music and musical life in the century and a half between the birth of Haydn (1732) and the death of Brahms (1897). Recent publications address canon formation and the commercialization of selfhood, technologies of attention, historiography, string quartet culture, musical topics, and the social history of musical scores. He is at work on a monograph entitled Making the Nineteenth-Century Composer and is the principal investigator of the collaborative project 19th-Century Musicians as Annotators in partnership with the British Library. He is the Lord Crewe Junior Research Fellow in Music at the University of Oxford.
Jann Pasler, Distinguished Professor at University of California, San Diego, studies how music connects individuals to community and negotiates complex, fluid identities in national, colonial, and postcolonial contexts, especially in France, North Africa, Senegal, and Vietnam. Among her books are Writing through Music: Essays on Music, [End Page 391] Culture, and Politics (Oxford University Press, 2007) and Composing the Citizen: Music as Public Utility in Third Republic France (University of California Press, 2009) (winner of the ASCAP Deems Taylor Award, 2010). She has published articles in Saint-Saëns and his World (Princeton University Press, 2012) and La République, la musique et le citoyen, 1871– 1914 (Editions Gallimard, 2015) (winner of the Prix de l'essai, Fondation Singer-Polignac, 2016). Currently she is finishing a book on colonial ethnographies of music and new media, 1860s–1960s, and is principal investigator of a major grant from the European Research Council for 'The Sound of Empire in 20th-century Colonial Cultures: Rethinking History through Music' (2019–24), hosted by the ENS, Paris.
Philip Rupprecht is Professor of Music at Duke University. His publications on British music of the twentieth and twenty-first centuries include the books British Musical Modernism: The Manchester Group and their Contemporaries (Cambridge, 2015), Britten's Musical Language (Cambridge, 2001), and the edited volume Rethinking Britten (Oxford, 2013). Recent writings include essays on music by Harrison Birtwistle, James Dillon, Oliver Knussen, and Simon Holt. With Felix Wörner and Ullrich Scheideler he co-edited the paired volumes Tonality 1900–1950: Concept and Practice (Steiner, 2012) and Tonality since 1950 (2017).
Emily Worthington is Senior Lecturer in Music Performance at the University of Huddersfield, where she co-directs the Research Centre in Performance Practices. Emily also works as a period clarinetist with orchestras around the world and leads historical Harmonie Boxwood & Brass, whose latest CD Beethoven Transformed Vol. 1 was released on Resonus Classics in 2019. [End Page 392]
