Nicole Biamonte is assistant professor of music at the University of Iowa. Her other
work on Beethoven includes her dissertation, The Modes in the Music of Beethoven,
Schumann, and Brahms: Historical Context and Musical Function (Yale, 2000), and an essay
comparing Haydn's and Beethoven's duplicate folk-song settings.
Tim Blanning is professor of modern European history at the University of Cambridge
and a Fellow of Sidney Sussex College. He is also a Fellow of the British Academy.
His most recent book is The Culture of Power and the Power of Culture: Old Regime
William Drabkin, reader in music at the University of Southampton, is the author of
books on Beethoven's Missa solemnis and Haydn's early string quartets. His editions, in
English translation, of the writings of Heinrich Schenker from the 1920s were recently
awarded a Special Citation from the Society for Music Theory. He has transcribed a
hitherto unpublished, long essay by Schenker, áber den Niedergang der Kompositionskunst:
Eine technisch-kritische Untersuchung, and recently published it together with an English
translation and introduction in the journal Music Analysis.
Robert S. Hatten is professor of music theory at Indiana University and author of
Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation (1994, paperback
2004) and Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert(2004), both from Indiana University Press.
Annette Richards is the author of The Free Fantasia and the Musical Picturesque (Cambridge,
2001) and editor of Acting on the Past: Historical Performance across the Disciplines(Wesleyan, 2000) and C. P. E. Bach Studies (Cambridge, 2006). She is associate professor
of music and university organist at Cornell University.
Robin Stowell is professor and head of the Music Department at Cardiff University,
Wales, U.K. Much of his career as an author and editor is reflected in his work as a
violinist/Baroque violinist. His published work includes books and articles on violinists,
stringed instruments, organology and historically informed performance.