William Kinderman's most recent publication is the three-volume
study Artaria 195: Beethoven's Sketchbook for the Missa solemnis
and the Piano Sonata in E Major, Opus 109 (University of Illinois Press,
2003). His CD recording of Beethoven's last three piano sonatas
appeared with Hyperion/Helios in 2002 (CDH55083). He is Professor of Musicology
at the University of Illinois.
Raymond Knapp is Professor of Musicology at the University of California,
Los Angeles. His Symphonic Metamorphoses: Subjectivity and Alienation
in Mahler's Re-Cycled Songs appeared in summer 2003 (Wesleyan University
Press), and his book The American Musical and the Formation of National
Identity is forthcoming (Princeton University Press). He is working on
a follow-up volume to the latter, relating the American musical to the
performance of personal identity.
Melanie Lowe is Assistant Professor of Musicology at Vanderbilt University
and holds a secondary appointment in Vanderbilt's program in American
and Southern Studies. She has published articles on the music of Joseph
Haydn, classical music in American media, and early adolescent girls and
teen pop. She is currently completing a book on pleasure and meaning in
the late-eighteenth-century symphony.
Katarina Markovi´c-Stokes completed her Ph.D. in musicology at Brandeis
University. Her dissertation interprets the idiosyncratic formal procedures
in Mahler's Symphonies Nos.1–3 in the context of Romantic
criticism and Idealist philosophy; her recent papers consider the notion
of Kunstreligion in the writings and music of Mahler and the tradition
of the female lament in Balkan folk music. A recipient of the Sachar and
Max Kade research grants, she is currently preparing a book on Mahler's
Alexander Rehding is Assistant Professor of Music Theory at Harvard University.
He is coeditor of Music Theory and Natural Order from the Renaissance
to the Early Twentieth Century (2001) and author of Hugo Riemann and the
Birth of Modern Musical Thought (2003). He is currently working on a study
of musical monumentality.
Jane R. Stevens teaches music history at the University of California,
San Diego. Her interest in the musical thought of the eighteenth century
has often focused on the early development of the solo keyboard concerto
and its theorists in the eighteenth through the twentieth centuries. Her
book The Bach Family and the Keyboard Concerto: Evolution of a Genre appeared