Omar Corrado is Docteur en Histoire de la Musique et Musicologie, Université de Paris IV-Sorbonne. He has received fellowships from the French government, the Goethe-Institut, the DAAD, and the Paul Sacher Stiftung (Basel), and has lectured in many countries in Europe and the Americas. His research has appeared in international music journals, dictionaries, and congress proceedings. He is the author of Música y modernidad en Buenos Aires 1920–1940 (2010) and Vanguardias al sur. La música de Juan Carlos Paz (2010, 2nd edn 2012). He is the editor of Estudios sobre la obra musical de Graciela Paraskevaídis (2014) and Recorridos. Diez estudios sobre música culta argentina de los siglos XX y XXI (2019). He has received the Premio de Musicología Casa de las Américas (Cuba, 2008) and the Premio Konex in Musicology (Argentina, 2009 and 2019). He is a member of the National Academy of Arts (Argentina) and a Regular Professor at the Faculty of Philosophie and Letters, Universidad de Buenos Aires.

Max Erwin is a postdoctoral fellow at the Leeds Arts and Humanities Research Institute, having completed his PhD at the University of Leeds in 2020. His research is primarily focused on musical avant-gardes and their institutional networks. He is currently completing a monograph on the advent of ‘total’ serialism at Darmstadt while beginning a new research project exploring the pedagogical use of New Music in the Third Reich. His writing appears in Tempo, Perspectives of New Music, Music & Literature, Revue belge de Musicologie, Nuove Musiche, and Cacophony.

Daniela Fugellie is Assistant Professor at the Instituto de Música of Universidad Alberto Hurtado in Santiago de Chile. Currently she is directing the research project ‘Alternative spaces of contemporary music in Chile, 1945–95 (2017–20)’ funded by the National Agency for Research and Development. She received her PhD at the Universität der Künste Berlin in 2016 (‘Musiker unserer Zeit’. Internationale Avantgarde, Migration und Wiener Schule in Südamerika, Munich: text+kritik, 2018). She was a research assistant at the University of the Arts in Berlin (2012–15) and at the Hochschule für Musik Franz Liszt in Weimar (2010–12). Her research interests include twentieth- and twenty-first-century Latin American art music, the cultural transfers between Latin America and Europe, and the cultural history of music.

Stefano Gavagnin is a Professor of Humanities in Secondary Education in Venice (Italy) and an independent researcher. He received his PhD in Musicology at Sapienza Università di Roma. His research focuses on popular Latin American music, especially on the dissemination of New Chilean Song and Andean music in Italy. He has published research articles on these topics in the journals Rivista Italiana di Musicologia and Literatura chilena: creación y crítica, as well as in edited volumes such as Música y construcción de identidades: poéticas, diálogos y utopías en Latinoamérica y España (2018), Donne in fuga – Mujeres en fuga (2018) and Protest Music in the Twentieth Century (2015). As a musician, he has been a member of several ensembles specializing in the interpretation of traditional and popular music in the Hispano-American area, including the Venetian band Cantolibre.

Madison Heying is a Lecturer at the University of California, Santa Cruz and the Audience Development Director and co-founder of Indexical, a non-profit dedicated to experimentation in music. Her research centres on electronic and experimental music with a particular focus on the work of women. Her dissertation is a study of Carla Scaletti, the Kyma system and the Kyma user community. Her work has been published in Sound American and Tempo, and she has presented papers at the annual meetings of the American Musicological Society, the Society for Ethnomusicology and the Society for American Music.

Martin Liut is Associate Professor of Music History at Universidad Nacional de Quilmes (UNQ) and Adjunct Professor of Latin American and Argentine Music at the Universidad de Buenos Aires (UBA). He is the director of the research project ‘Territories of Argentine Contemporary Music’ at the UNQ. He received his PhD (co-tutelle) in ‘Musique, histoire, societé’ (École des Hautes Études en Sciences Sociales, Paris) and in ‘Ciencias Sociales y humanidades’, UNQ. He is co-editor with Abel Gilbert of Las mil y una vida de las canciones (2019) and author of chapters in several books published in Argentina.

Iván César Morales Flores is a Doctor of Musicology from Universidad de Oviedo, Spain (2015) and since 2017 he has been Assistant Professor of this institution. He has received the Casa de las Américas Musicology Award (Cuba, 2016) and the National Musicology Prize ‘Argeliers León’ from the Unión de Escritores y Artistas de Cuba (2006). From 2005 to 2009 he was professor and chair of the Departmento de Musicología at Havana's Instituto Superior de Artes. He is currently a member of the research group GIMCEL and the ‘Trayectorias’ international research network. He has been a visiting researcher at the Sorbonne Nouvelle, Paris III (2011), Universidad de Buenos Aires (2018) and Università Ca'Foscari Venezia (2019). His articles have been published in Acta Musicologica, Revista de Musicología, Resonancias, Boletín Música, Cuadernos de Etnomusicología and Les Cahiers ALHIM.

Matthias Pasdzierny is a Researcher and Lecturer at Universität der Künste Berlin and is Head of the Berlin office of the complete critical edition of the compositions, writings and letters of Bernd Alois Zimmermann (Zimmermann-Gesamtausgabe). His doctoral dissertation examined the connection of musical life and return migration to Germany after 1945 (Wiederaufnahme? Rückkehr aus dem Exil und das westdeutsche Musikleben nach 1945, München: text + kritik, 2014). His main research areas are critical edition and philology of electronic and recorded music (PostDoc project), German music history after 1945, the history and aesthetics of electronic dance music, and music and migration. He is an elected member of the Arab-German Young Academy of Science and Humanities (AGYA).

Christina Richter-Ibáñez is a Researcher and Lecturer in Musicology at the University of Tübingen. She received her PhD from the Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart in 2013. Her dissertation focused on the youth of Mauricio Kagel and the musical life in Buenos Aires (1946–57), for which she examined archives in Buenos Aires, Berlin, Bonn, and the Paul Sacher Foundation in Basilea (Mauricio Kagels Buenos Aires (1946–1957). Kulturpolitik – Künstlernetzwerk – Kompositionen, Bielefeld: Transcript, 2014). She also took part in the Balzan Research Project, directed by Reinhard Strohm (2016/2017), and worked as a senior scientist at Paris Lodron Universität Salzburg in 2018. She has published articles and books on contemporary music theatre and the voice, Mauricio Kagel, German musicians in Latin America and the history of musicology.

Dörte Schmidt is Full Professor of Musicology at the Universität der Künste Berlin, where she established the Center for the Study of the Musical Culture of the Postwar Period. Previously, she was Full Professor at the Musikhochschule Stuttgart. Since 2017 she has been President of the Gesellschaft für Musikforschung. In additional, she is Vice-President of the Landesmusikrat Berlin and member of the Berlin-Brandenburgische Akademie der Wissenschaften, where she directs the edition of the complete works of Bernd Alois Zimmermann, in collaboration with the Akademie der Wissenschaften und der Literatur Mainz. Her main research areas are musical theatre, twentieth- and twenty-first-century music history, the cultural history of music, the process of musical creation, exile, remigration and the music history of the post-war period.

Alastair Williams is a Professor at Keele University UK, and has research interests in modernism, Austro-German traditions and subjectivity in music. He is the author of New Music and the Claims of Modernity (1997), Constructing Musicology (2001) and Music in Germany since 1968 (2013). He is also a contributor to the Cambridge History of Twentieth-Century Music (2004) and the Routledge Research Companion to Musical Modernism (2019) and has published in a wide range of journals. Furthermore, he wrote an article on the first era of the London Sinfonietta for the ensemble's 50th anniversary concert in January 2018. He has received funding from the Arts and Humanities Research Council and the British Academy, and is on the advisory panel of the journal Music Analysis.