Contributors to this Issue

vi SHOFAR Summer 2000 Vol. 18, No.4 Contributors to this Issue Susan M. Filler received her Ph.D. in Music History and Literature from Northwestern University in 1977, with a dissertation on the source materials of Mahler's Third and Tenth Symphonies. She has published extensive research on the work of both Gustav and Alma Mahler, her most significant achievement in this respect being Gustav and Alma Mahler: A Guide to Research (New York: Garland Publishing, 1989). Currently she is on the Advisory Board ofthe Gustav Mahler Society ofNew York. Responsible for a performing version ofGustav Mahler's unfinished Scherzo in c minor and Presto in F major, she has also co-edited songs of Alma Mahler for publication in the anthology Women Composers: Music Through the Ages and is presently engaged in research for a book of musicological source materials from the Nazi period. Robert Fleisher is Professor of Music Theory and Composition at Northern Illinois University (DeKalb). His works have been performed, broadcast, and exhibited throughout the United States and abroad and are recorded on the Centaur and Capstone labels. He has received grants from the National Endowment for the Humanities, National Foundation for Jewish Culture, Ruttenberg Arts Foundation, and the Illinois Arts Council. His articles and reviews have appeared in the Journal of the Arnold Schoenberg Institute,Notes, Sonus, Musica Domani, Music and Audiophile (Taiwan), and the Middle East Journal. His book, Twenty Israeli Composers: Voices ofa Culture (excerpted in this issue), was published in 1997 by the Wayne State University Press. Judit Frigyesi studied musicology and ethnomusicology on the graduate level at the Franz Liszt Academy of Music in Budapest, at the Sorbonne IV in Paris, and at the University ofPennsylvania. Before herpresent position as an associate professor at BarIlan University, she taught at the University of Pennsylvania, Brown University, and Princeton University, and as a visiting professor at the ELTE University, the Franz Liszt Academy ofMusic, and the Central European University in Budapest. Her background in musicology, theory, and ethnomusicology includes fields such as Gregorian chant, contemporary music, analysis ofrhythm, and various traditions outside of Western art music, including the folk music of Eastern Europe and Jewish liturgical music. Dr. Frigyesi's recent work focuses both on musical-analytical and socio-cultural issues relating to the Romantic period and to the twentieth century, with special emphasis on the music and the cultural context of Bela Bartok. Her book Bela Bartok and Turn-ofthe -Century Budapest appeared in 1998. For the past twenty years she has been carrying out fieldwork and doing reserach on the liturgical music of the East European (especially Hungarian) Jews and has compiled the basic sound archive for this tradition. She is presently working on a book on the Ashkenazi Jewish liturgical chant. Judit Contributors to this Issue vii Frigyesi has published articles and reviews in various volumes as well as in leading scholarly journals, including the Musical Quarterly, Journal of the American Musicological Society, International Journal of Musicology, Asian Music, Musica Judaica, Orbis Musicae, and Studia Musicologica. Schulamith Chava Halevy is a scholar ofcomparative religion who has taught Jewish Studies at the Spertus Institute in Chicago and now resides in Jerusalem. She holds an M.A. in history from the University of Illinois. Her book of Hebrew poetry, Interior Castle, was published in 1998 by Eked in Tel Aviv. Malcolm Miller received his doctorate at King's College London in 1990 with a study of Wagner's Wesendonck Lieder. He is currently an associate Lecturer for the Open University in London, UK, including courses on Beethoven. He is Assistant Editor of the EPTA Piano Journal and editor ofArietta, Journal ofthe Beethoven Piano Society of Europe. He is also Guest Editor of an issue of Musical Performance (Harwood Academic Press) about "The Accordion Worldwide." His reviews and articles appear regularly in journals such as Tempo, Musical Opinion, and Opera Now. He has contributed to the New Groves Dictionary ofMusic and Musicians (7th edition) and MGG, including articles on 20th century British composers and 19th century German music, and to the chapter on Late Romantic Music for the new Collins Encyclopedia of Classical Music. His paper on "The Shofar in 20th Century...