Heather Platt is a Professor of Music History at Ball State University, is the author of Johannes Brahms A Research and Information Guide, 2nd ed. (Routledge, 2011), and co-editor, with Peter H. Smith, of Expressive Intersections in Brahms: Essays In Meaning and Analysis (Indiana University Press, 2012). Platt's publications on the reception history, societal context, and tonal structures of Brahms's lieder have appeared in such publications as Brahms in the Home and the Concert Hall (Cambridge University Press), The Cambridge Companion to the Lied, Brahms Studies, The Journal of Musicology and Integral. Her articles exploring the performance of lieder in the United States during the nineteenth century have appeared in American Music and German Song Onstage (Indiana University Press). Platt has served as President of the Board of Directors of the American Brahms Society, Co-Editor of Book Reviews for Music Theory Online, the Editorial Board of Music Theory Spectrum. She is the Digital Reviews Editor for Nineteenth Century Music.
Cayenna Ponchione-Bailey holds masters' degrees in orchestral conducting, percussion and musicology and a doctorate in music from the University of Oxford where she wrote her thesis on authorship and creativity in orchestral performance. She is currently a postdoctoral researcher on the AHRC-funded research project Transforming 19 t h-Century Historically Informed Practice and is Director of Performance at St Catherine's College, University of Oxford, as well as the Associate Conductor of the Orchestra of St John's and Director of Research for the Oxford Conducting Institute. A recent book chapter, ‘The Body Orchestral’ in Collaborative and Distributed Processes in Contemporary Music-Making, edited by Lauren Redhead and Richard Glover, explores the cognitive mechanisms that underpin orchestral co-performer communication.
Eric F. Clarke is Heather Professor of Music at the University of Oxford, and a Professorial Fellow of Wadham College. He has published on topics in the psychology of music, ecological approaches to music perception, musical meaning, music and consciousness, musical creativity, and the analysis of pop music. Recent projects include work on music and empathy; and empirical and historical approaches to the performance of C19th music. His books include Empirical Musicology (with Nicholas Cook), Ways of Listening, The Cambridge Companion to Recorded Music, (with Cook, Leech-Wilkinson and Rink), Music and Mind in Everyday Life (with Nicola Dibben and Stephanie Pitts), Music and Consciousness (with David Clarke), Distributed Creativity: Collaboration and Improvisation in Contemporary Music (with Mark Doffman), and Music and Consciousness 2: Worlds, Practices, Modalities (with Ruth Herbert and David Clarke). He is a member of Academia Europaea, and a Fellow of the British Academy.
John Rink is Professor of Musical Performance Studies at the University of Cambridge, where he served as Co-Director of the Digital Humanities Network from 2011 to 2014 and Inaugural Director of Cambridge Digital Humanities from 2017 to 2019. He was Principal Investigator of the three projects on the Chopin Online website (www.chopinonline.ac.uk), including Chopin's First Editions Online and the Online Chopin Variorum Edition, funded respectively by the Arts and Humanities Research Council and the Andrew W. Mellon Foundation. He also directed the £2.3 million AHRC Research Centre for Musical Performance as Creative Practice (www.cmpcp.ac.uk), as well as other collaborative initiatives. His extensive publication list includes six books published with Cambridge University Press; volumes in The Complete Chopin - A New Critical Edition (of which he is General Editor); and a number of other books, including one in a five-volume series which he directed for Oxford University Press.
Elizabeth Monzingo is a PhD student in music theory at The Ohio State University, where she teaches music theory and aural skills. She was previously a research assistant in the Working Memory and Language Laboratory at Boys Town National Research Hospital in Omaha, Nebraska, and she is currently a member of the Center for Cognitive and Brain Sciences at OSU. Her conference talk entitled “Hidden Aural Skills: Implicit Learning through Experience” was awarded an Outstanding Student Presentation award at the 2019 Pedagogy into Practice conference. She currently researches the cognitive strategies that listeners engage to aurally understand music.
Daniel Shanahan is assistant professor of Music Theory and Cognition at The Ohio State University. His work has been published in Music Perception, The Journal of New Music Research, The Journal of Jazz Studies, The Journal of the Acoustical Society of America, Cognition and Emotion, and Musicae Scientiae, among others, and he is the co-editor of Empirical Musicology Review and the forthcoming Oxford Handbook of Music and Corpus Studies. He currently serves on the editorial boards of Musicae Scientiae, Indiana Theory Review, and Music Theory Spectrum.
Sarah Fuchs is Assistant Professor of Music History and Cultures at Syracuse University. Grounded in archival research, her scholarship cuts across disciplinary boundaries, drawing together perspectives from opera, media, and nationalism studies to articulate new understandings of French and British operatic cultures over the long nineteenth century. She is currently working on two books: the first examines how emerging sound technologies shaped operatic culture in Paris and the French provinces around the turn of the nineteenth century, and the second investigates how sheet music mediated the reception of Italian opera (and Italian culture more broadly) in late Georgian Britain. Her research, which has been supported by fellowships from the American Association of University Women, the Presser Foundation, and the Houghton Library at Harvard University, has appeared (or is about to appear) in the Cambridge Opera Journal and the edited collection London Voices, 1820–1840: Vocal Performers, Practices, Histories.
