Paul Watt is a senior lecturer in musicology at Monash University. His major publications are Ernest Newman: A Critical Biography (2017); The Regulation and Reform of Music Criticism in Nineteenth-Century England (Routledge, 2017); Cheap Print and Popular Song in the Nineteenth Century, edited with Derek B. Scott and Patrick Spedding (Cambridge University Press, 2017); Joseph Holbrooke: Composer, Critic, and Musical Patriot, edited with Anne-Marie Forbes (Rowman and Littlefield, 2015) and Bawdy Songbooks of the Romantic Period (4 vols.), edited with Patrick Spedding (Pickering & Chatto, 2011).

Michael Christoforidis is an associate professor in musiclogy at the University of Melbourne. He has been a research associate at the Instituto Complutense de Ciencias Musicales (Madrid) and at the Archivo Manuel de Falla (Granada), where he was responsible for classifying the composer’s annotations to his library. He has published extensively on aspects of twentieth-century Hispanic music and is currently completing a monograph on Spanish music in Belle-Epoque Paris. His next major research project examines Bizet’s Carmen, Spain and the emergence of popular culture. Other research interests include the music of Igor Stravinsky and Percy Grainger.

Samantha Owens is Associate Professor at Te Kōkī New Zealand School of Music, where she teaches papers on European art music of the seventeenth and eighteenth centuries. Her research centres on historical performance practices and performance cultures, particularly early modern German court music, the musical life of early eighteenth-century Dublin, and the reception of German music and musicians in New Zealand and Australia, 1850–1950 (including itinerant ‘German bands’). Samantha’s current major project is a monograph entitled The Well-Travelled Musician: John Sigismond Cousser and Cultures of Musical Exchange in Baroque Europe, supported by an Australian Research Council Discovery Project grant (2013–2015).

John Whiteoak is an adjunct professor of music in the Sir Zelman Cowen School of Music at Monash University. He is the author of dozens of articles on nineteenth- and twentieth-century music on a range of issue from brass bands to contemporary jazz. He is the author of the critically acclaimed Playing Ad Lib: Improvisatory Music in Australia, 1836–1970 (1999) and is editor, with Aline Scott Maxwell, of the Currency Companion to Music and Dance in Australia (2003).

Bruce Johnson is an adjunct professor of music at Macquarie University, Sydney. He was formerly a professor in the School of English, University of New South Wales (UNSW), during which period he also held numerous visiting lectureships and professorships including at the Birmingham Centre for Contemporary Cultural Studies, Edinburgh’s Centre for Advanced Studies in the Humanities, and Liverpool’s Institute for Popular Music. His books include The Inaudible Music: Jazz, Gender and Australian Modernity (2000) and he is the editor of The Oxford Companion to Australian Jazz (1987) and, with Martin Cloonan, Dark Side of the Tune: Popular Music and Violence (2008).