Erik Stenstadvold is Professor Emeritus at the Norwegian Academy of Music, Oslo, and founding member of the Consortium for Guitar Research at Sidney Sussex College, Cambridge, UK. His research interests focus on the history of the guitar and its players in the late 18th and early 19th century. This has led to the rediscovery of many lost or forgotten guitar works from that period, in particular the music of the French guitarist-composer Antoine de Lhoyer, whose complete guitar duos were published by Chanterelle Edition. Stenstadvold has written for Early Music and Notes in addition to many guitar journals, and his Annotated Bibliography of Guitar Methods, 1760–1860, (Pendragon Press, 2010) has become a standard reference work on early guitar tutors. He has also recorded several CDs devoted to early 19th-century music, played on period guitars. Stenstadvold is presently preparing a new critical edition of Fernando Sor's complete guitar works, scheduled for publication in 2020 by Guitar Heritage.

Sarah Kirby is a PhD Candidate in Musicology at the University of Melbourne, Australia, where she also tutors in nineteenth-century music history. Her doctoral research explores music at International Exhibitions in the British Empire during the late nineteenth-century. Her research interests broadly include late-nineteenth and early-twentieth century British and Australian music, women, and ideas of internationalism and cosmopolitanism in music.

Marie Jorritsma is currently a Senior Lecturer at the University of the Witwatersrand, Johannesburg. She received her doctorate in ethnomusicology from the University of Pennsylvania. Marie's research interests focus particularly on music in the South African Karoo region and its intersections with gender, race, landscape and social/cultural history. Her monograph, Sonic Spaces of the Karoo: The Sacred Music of a South African Coloured Community was co-published in 2011 by Temple University Press and Wits University Press.

Kasper van Kooten is a Research Fellow at the University of Amsterdam. After completing his PhD project “Was deutsch und echt…”: Articulating a German Operatic Identity, 1798–1876 in 2016, he served as a postdoctoral fellow at the same institution. Van Kooten has published on opera and national identity formation, as well as the operas of Wagner and Puccini. He studied musicology and art studies at the University of Amsterdam and the Freie Universitat Berlin and theory of music at the Conservatory of Amsterdam. Outside academia, he has worked as an independent music theatre dramaturg and journalist, and is currently a Product Manager at classical record label Pentatone.