James William Sobaskie is Associate Professor of Music at Mississippi State University and serves on the editorial boards of Nineteenth-Century Music Review and Music Theory Online, as well as the comité scientifique of Œuvres Complètes de Gabriel Fauré. His critical edition of Fauré's Trio pour piano, violon et violoncelle and Quatuor à cordes inaugurated that monument, which is being released by Bärenreiter. In addition to the music of Gabriel Fauré, Dr Sobaskie pursues research on the sacred, chamber, piano and vocal music of Franz Schubert. He co-edited the anthology Drama in the Music of Franz Schubert, published by Boydell, as well as two special issues of Nineteenth-Century Music Review devoted to that composer. His monograph, The Music of Gabriel Fauré: Style, Structure and Allusion, is forthcoming.
Ralph P. Locke is Emeritus Professor of Musicology at the University of Rochester's Eastman School of Music and Senior Editor of the University of Rochester Press's Eastman Studies in Music. His books include Music, Musicians, and the Saint-Simonians (University of Chicago Press, 1986), Cultivating Music in America: Women Patrons and Activists since 1860 (University of California Press, 1997; Open Access at <http://publishing.cdlib.org/ucpressebooks/view?docId=ft838nb58v;brand=eschol>), and, from Cambridge University Press: Musical Exoticism: Images and Reflections (2009), and Music and the Exotic from the Renaissance to Mozart (2015). Locke is an Advisory Editor of the recently launched International Journal of the Study of Music and Musical Performance, https://openmusiclibrary.org/journal/ijsmmp/ or <https://search.proquest.com/resultsol/8E89DA78D1864C14PQ/1>.
Lesley Wright is professor emerita of music at the University of Hawai'i at Manoa. She has written extensively on Bizet, Massenet, and Saint-Saëns, the posthumous reception history of Berlioz, and the musical institutions and press of nineteenth-century France. She has contributed to numerous multi-author volumes, scholarly journals, and important reference works, like Die Musik in Geschichte und Gegenwart, Oxford Bibliographies Online and Dictionnaire de la musique en France au XIXe siècle. She co-edited Perspectives on the Performance of French Piano Music (2014) and has also published editions of Bizet's music and correspondence, as well as an edition of reviews for the first performance of Bizet's Carmen. Dr. Wright serves on the International Steering Committee of France: Musiques, Cultures, 1789-1918 and on the board for the series L'Opéra français (Bärenreiter). For the latter she is presently completing a critical edition of Massenet's Werther.
Heather de Savage is Assistant Professor of Music History at Central Connecticut State University. She holds a PhD in music history and theory from the University of Connecticut, a master's in music history from the University of New Hampshire, and a bachelor's in vocal performance from the Eastman School of Music. Her primary research considers Gabriel Fauré's American reception, with particular attention to activities in Boston. Other topics include performance practice in fifteenth-century Franco-Flemish chanson, biblical exegesis in the motets of Heinrich Schütz, and harmonic text painting in the lieder of Franz Liszt. She has presented her work at various conferences, and has published items in Early Music, Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic, and Nineteenth-Century Music Review. In addition to her own research, she has assisted in the preparation of the Cambridge Companion to Vaughan Williams (eds. Alain Frogley and Aidan Thomson), and the Oxford critical edition of Vaughan Williams's Ninth Symphony (ed. Alain Frogley). As a vocalist she has performed from a diverse repertoire, with a particular fondness for music of the Renaissance and early Baroque, and for modern French and American art song.
Christopher Moore is Associate Professor of Musicology at the University of Ottawa where he teaches undergraduate and graduate courses in both English and French. His research specializes in music in France during the Third Republic. He is the co-editor (with Barbara Kelly and Philip Purvis respectively) of two books both published in 2018: Music Criticism in France 1918-1939: Authority, Advocacy, Legacy and Music & Camp. In 2012 he was the recipient of the Philip Brett Award administered by the LGBTQ study group of the American Musicological Society for an article on Francis Poulenc. Forthcoming articles concern the responses of French critics to interwar technology, critical reactions to interwar French chanson, and the expression of gender and sexuality in twentieth-century French opera.
Estelle Joubert is Associate Professor of Musicology at the Fountain School of Performing Arts, Dalhousie University. Her research interests include computational musicology, especially graph databases and network science, as well as music of the global early modern period, and eighteenth-century opera and political theory. She recently completed a monograph entitled German Opera and the Politics of Sensation, 1750-1815 and, together with David R. M. Irving, she is co-editor of the Enlightenment volume of a 6-volume Cultural History of Western Music (Bloomsbury Press, 2021). Her current research includes a new project to develop a machine-learning model for sentiment analysis in German music criticism.
