Notes on the Contributors

Byron Adams, professor of composition and musicology at the University of California, Riverside, has been published widely on English music and has broadcast over the BBC. He is co-editor of Vaughan Williams Essays, and contributed entries on William Walton and Sylvia Townsend Warner to the second edition of the revised New Grove Dictionary of Music and Musicians. His articles, reviews, and essays have appeared in journals such as 19th-Century Music, Music and Letters, and the John Donne Journal and have been included in volumes such as Queer Episodes in Music and Modern Identity (University of Illinois Press, 2002), The Cambridge Companion to Elgar (2004), and Walt Whitman and Modern Music (Garland, 2000). In 2000, he was presented with the Philip Brett Award by the American Musicological Society.

Leon Botstein is president and Leon Levy Professor in the Arts and Humanities at Bard College. He is the author of Judentum und Modernität (1991) and Jefferson’s Children: Education and the Promise of American Culture (1997). He is the editor of The Compleat Brahms (1999) and The Musical Quarterly, as well as coeditor, with Werner Hanak, of Vienna: Jews and the City of Music, 1870–1938 (2004). The music director of the American and the Jerusalem symphony orchestras, he has recorded works by, among others, Szymanowski, Hartmann, Bruch, Toch, Dohnányi, Bruckner, Chausson, Richard Strauss, Mendelssohn, Popov, Shostakovich, and Liszt for Telarc, CRI, Koch, Arabesque, and New World Records.

Rachel Cowgill is senior lecturer in music and deputy director of the Centre for English Music (LUCEM) at the University of Leeds. Her research focuses on British musical cultures; Mozart reception; Italian opera; and gender, music, and performativity. Her work has been published in the Journal of the Royal Musical Association, Early Music, Cambridge Opera Journal, Musical Times, as well as in edited volumes from Ashgate, Berlin Verlag, and Oxford University Press. With Julian Rushton, she co-edited the collection Europe, Empire, and Spectacle in Nineteenth-Century British Music (Ashgate, 2006) and, with Peter Holman, Music in the British Provinces 1690–1914 (Ashgate, forthcoming). With Holman, Cowgill co-edits the book series, Music in Britain, 1600–1900. Cowgill has recently been appointed editor of the Journal of the Royal Musical Association and completed a book entitled Redeeming the Requiem: The Early English Reception of Mozart’s Last Work (Boydell & Brewer, forthcoming).

Sophie Fuller studied music at King’s College, London University, where she completed her doctoral thesis, “Women Composers during the British Musical Renaissance, 1880–1918.” For ten years she was a lecturer in music at the University of Reading and is the author of The Pandora Guide to Women Composers: Britain and the United States, 1629–Present (1994) and co-editor of two collections of essays: with Lloyd Whitesell, Queer Episodes in Music and Modern Identity (University of Illinois Press, 2002); and with Nicky Losseff, The Idea of Music in Victorian Fiction (Ashgate, 2004). She currently teaches at Trinity College of Music, London, and serves on the editorial board of the journal twentieth-Century music.

Nalini Ghuman is an assistant professor of music at Mills College. She was awarded a Ph.D. in musicology from the University of California, Berkeley, where she was a Fellow of the Townsend Center for the Humanities. Ghuman was honored with an AMS 50 Alvin Johnson Dissertation Fellowship by the American Musicological Society. She is currently working on a book titled India in the English Musical Imagination, 1890–1940 and has a chapter in Western Music and Race edited by Julie Brown (Cambridge University Press, 2007).

Daniel M. Grimley is senior lecturer/associate professor in music at the University of Nottingham, and has published widely on Scandinavian music, Finnish music, the music of Edward Elgar, and music and landscape. He is editor of the Cambridge Companion to Sibelius (2004), and co-editor with Julian Rushton of the Cambridge Companion to Elgar (2004). Grimley recently completed a volume titled Grieg: Music, Landscape and Norwegian Identity (Boydell & Brewer, 2006). He was one of the organizers of the Elgar conference at Surrey University in April 2002. Future projects include a book on Nielsen and a study of music and landscape in Nordic music, 1890–1930.

Deborah Heckert was awarded a Ph.D. in musicology from Stony Brook University, where her dissertation explored the British revival of the masque in the nineteenth and early twentieth centuries. Her current research focuses on the Victorian music hall, on which subject Heckert has given papers at such conferences as the Annual Meeting of the American Musicological Society and the Conference of Music in Nineteenth-Century Britain. She has been a recipient of the Ralph Vaughan Williams Fellowship and of a fellowship from the Yale Center for British Art.

Charles Edward McGuire is associate professor of musicology at the Oberlin College Conservatory of Music. His research interests include the music of Edward Elgar and Ralph Vaughn Williams; the oratorio; sight-singing in the nineteenth century (especially the Tonic Sol-fa method); the links between music and politics and philanthropy; music and narrative; and film music. His has published articles in the journals 19th-Century Music and The Elgar Society Journal. McGuire has contributed extended essays to several volumes, including Vaughan Williams Essays (Ashgate, 2003), A Special Flame: The Music of Elgar and Vaughan Williams (Elgar Editions, 2004), The Cambridge Companion to Elgar (2004), Chorus and Community (University of Illinois Press, 2006), and Elgar Studies (Cambridge University Press, 2007). He is the author of Elgar’s Oratorios: The Creation of an Epic Narrative (Ashgate, 2000) and The People’s Music: The Curwens, Tonic Sol-fa and Victorian Moral Philanthropy.

Matthew Riley is lecturer in music at the University of Birmingham, where in 2005 he organized the centenary celebrations of Elgar’s appointment as the University’s first Professor of Music. He is author of Edward Elgar and the Nostalgic Imagination (Cambridge University Press, 2007) and various articles on the composer. His other research interests include music theory and analysis and musical thought in the decades around 1800.

Alison I. Shiel has a degree in music from the University of Aberdeen, Scotland, and a particular interest in the church music of Salzburg in the eighteenth century. She has produced several performing editions of the sacred music of Michael Haydn, and, as research assistant for the celebrated Haydn scholar H. C. Robbins Landon, worked on a complete edition of the Haydn string quartets. In 1996, Shiel’s scholarly investigations of the history of the Aberdeen Bach Choir awakened her interest in Charles Sanford Terry and Terry’s close friendship with Edward Elgar.

Aidan J. Thomson completed his Ph.D. thesis (a study of English and German reception of Elgar’s music before 1914) at Magdalen College, Oxford University, in 2002. He taught at the universities of both Oxford and Leeds before being appointed Lecturer in Music at Queen’s University, Belfast, in 2003. He has published articles and book chapters in 19th-Century Music, The Cambridge Companion to Elgar, and Elgar Studies, and is currently completing a monograph titled Demythologizing Elgar. Besides Elgar, his research interests include the Internationale Musikgesellschaft before 1914 and the music of Arnold Bax.