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Volume 10 • Number 2

Fall 2003




Leigh Aspin studied performance analysis with Nicholas Cook and José Bowen at the University of Southampton. More recently he has worked on Bach performances by Glenn Gould and Murray Perahia and is an interactive editor at the BBC with responsibility for Classical music.

Michael Beckerman is Professor at New York University. His dialogue partner, also named Michael Beckerman, has just left the University of California, Santa Barbara.

David Breitman performs on modern and period pianos and is director of the historical performance program at Oberlin. He can be heard in the Beethoven sonata cycle recorded for CLAVES, in which seven players use nine different historical instruments, as well as on four CDs with baritone Sanford Sylvan, in repertoire from Schubert's Die schöne Müllerin to Jorge Martin's The Glass Hammer.

Kristi A. Brown is on the music history faculty at the Colburn School of Performing Arts in Los Angeles. She has presented papers on classical music and American film at the Music and Image Conference at New York University, the AMS meeting in Columbus, and Stanford University. Her critical study of the women characters in the Mozart-Da Ponte operas and Die Zauberflöte is forthcoming from the University of California Press.

Elisabeth Le Guin is a founding member of Philharmonia Baroque Orchestra and the Artaria String Quartet and appears on numerous recordings on the Koch and Harmonia Mundi labels. She received a doctorate in historical musicology at University of California, Berkeley in 1997 and currently teaches in that discipline at UCLA. She has published on Luigi Boccherini (online, in Echo); on New Age music (in Repercussions and the New York Times); on Debussy (in a forthcoming collection on postmodern listening); and on the relations between seventeenth-century horsemanship and music-making (in another forthcoming collection on information theory and the arts).

Robynn J. Stilwell, Assistant Professor at Georgetown University, has published in Screen, Music & Letters, Acta Musicologica, Popular Music and Society, Journal of Film Music, and Echo. She is currently coediting the Cambridge Handbook of Film Music and writing two books, on the voices of adolescent girls in recent film culture, and on preexisting music in films, for the University of California Press.

Peter Tregear is a lecturer in music at Fitzwilliam College, Cambridge. He is presently completing a study of the music of Ernst Krenek for Scarecrow Press, and is also active as a conductor and singer.

James Wierzbicki is a member of the faculty of the music department at the University of California, Irvine, where he teaches classes in film music and other twentiethcentury topics.



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