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  • Contributors to Issue 15:1

Michael Baumgartner teaches at Cleveland State University in Ohio. His research focuses on music in relation to the other arts (cinema, theatre, and visual arts), music of the twentieth and twenty-first centuries (Kurt Weill, Alfred Schnittke, and Duke Ellington), and the exploration of the narrative capacity of music. He is the author of the monographs Metafilm Music in Jean-Luc Godard's Cinema (Oxford University Press, forthcoming) and Exilierte Göttinnen: Frauenstatuen im Bühnenwerk von Kurt Weill, Thea Musgrave und Othmar Schoeck (Olms Verlag, 2012). Together with Ewelina Boczkowska, he is also the co-editor of Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War (Routledge, 2020) and Music, Ideology, and Production Conditions in European Cinema of the Cold War Era (Routledge, forthcoming). m.baumgartner29@csuohio.edu

Donald Greig is a professional singer with a specialisation in early music. He is a co-founder and current member of The Orlando Consort, and was a member of The Tallis Scholars for over twenty-five years. He is a former lecturer in film studies and semiology, and received his doctorate in music from the University of Nottingham where he is an Honorary Research Fellow. His monograph on baroque music in post-war cinema was recently published by Cambridge University Press and he is currently writing a book on the intersections of early music and cinema. dongreig@gmail.com

Harriet Matthews is a recent Music Graduate from the University of Leeds. Throughout her time as a student, she was involved in the AHRC-funded project, 'The Professional Career and Output of Trevor Jones', presenting her findings at the international Music and the Moving Image conference in New York. Harriet's final year research sparked her particular fascination with the role of music within non-fiction film and TV, and the synthesis of creative practices with factual journalism. She is particularly interested in how the evolving documentary aesthetic for more creative factual broadcasting has highlighted the subsequent need for broadening discussions of ethics within this sphere. harrietrmatthews@gmail.com

Cassie Pontone is a PhD student of Italian Studies at the University of Illinois at Urbana-Champaign, where she specialises in Italian Film and Sound Studies. Her research focuses on the use of sound technologies as represented in film, particularly from the late 1950s to 1960s, and their relation to biopolitics. She is also interested in how film's audio soundtrack informs the visible narrative, shaping a lineage of alternative identities in contemporary Italian cinema. Pontone draws from her background in anthropology and museum representations of cultural heritage to inform her current endeavours. pontone1@illinois.edu

Ian Sapiro is an Associate Professor of Music at the University of Leeds, specialising in film music, musical theatre, orchestration, adaptation, production processes, and the overlaps between them. He is the author of Scoring the Score: the Role of the Orchestrator in the Contemporary Film Industry (Routledge, 2016) and co-author of The Screen Music of Trevor Jones: Technology, Process, Production (Routledge, 2019) with David Cooper and Laura Anderson. Ian's other publications include work on the film-musical adaptations of Les Misérables and Annie, Ilan Eshkeri's score for Stardust, and the role of orchestration in the sound of John Williams's film music. I.P.Sapiro@leeds.ac.uk

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