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,
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
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
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.