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Contributors

Volume 11 • Number 1

Spring 2004


 

 

Contributors

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 Second Symphony.

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 in 2001.

 

 

 
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