Julie Andrijeski, full-time lecturer at Case Western Reserve University, is among the leading Baroque violinists and early-music pedagogues in the United States. She holds principal positions with several diverse Baroque and Renaissance groups, including Cleveland's Apollo's Fire, New York State Baroque (concertmaster), the Atlanta Baroque Orchestra (music director), Quicksilver, Cecilia's Circle, and The King's Noyse. Her unique performance style is greatly influenced by her knowledge and skilled performance of early dance. Ms. Andrijeski teaches both violin and dance during the year at Case and at summer festivals in Oberlin (BPI), Madison (MEMF), and Vancouver, B.C. (VEMF).
Jack Ashworth is professor of music history and director of the Early Music Ensemble at the University of Louisville, where he has taught since 1977. Primarily a harpsichordist, he also plays early string and wind instruments and has taught on workshop faculties in the United States, England, Canada, and Australia. He is past president of the Viola da Gamba Society of America and received the Th—omas Binkley Award for Outstanding Achievement by a Collegium Director from Early Music America in 1999. He has published continuo realizations as well as articles concerning it and has performed as continuo accompanist for artists and groups including Wieland Kuijken, Margriet Tindemans, Brent Wissick, Trio Seicento, and Fretwork.
Julianne Baird, soprano, has been hailed a “national artistic treasure” (The New York Times) and as a “well-nigh peerless performer in the repertory of the baroque.” With more than 125 recordings to her credit on Decca, Deutsche Grammophon, Dorian, Newport Classics, and MSR Classics, Julianne is one of the world's ten most recorded classical artists. Julianne Baird is internationally recognized as one whose “virtuosic vocal style is firmly rooted in scholarship.” Her book Introduction to the Art of Singing, is now in its third printing and is used by singers and professional schools internationally; her CD and songbook, The Musical World of Benjamin Franklin is also widely popular.
Stewart Carter is executive editor of the Historic Brass Society Journal and general editor of Bucina: The Historic Brass Society Series. He has been awarded the Christopher Monk Award by the Historic Brass Society, the Frances Densmore Prize by the American Musical Instrument Society, and the John Reinhardt Award for Teaching by Wake Forest University. He has published articles in Early Music, The New Grove Dictionary of Music and Musicians, Performance Practice Review, Historic Brass Society Journal, and Alta Musica. Carter served as president of the American Musical Instrument Society from 2007 to 2011 and currently serves as chair of the Department of Music at Wake Forest University.
Stuart Cheney currently teaches music history and viol at Texas Christian University; he formerly taught and directed early-music ensembles at the University of Maryland, Vanderbilt University, Goucher College, and Southern Methodist University. His articles and reviews have appeared in Early Music, The New Grove Dictionary of Music and Musicians (2nd ed.), Notes, Historic Brass Society Journal, and Consort, and he was for seven years editor of the Journal of the Viola da Gamba Society of America.
John Michael Cooper is professor of music and Margarett Root Brown Chair in Fine Arts at Southwestern University (Georgetown, Texas). Trained in percussion and musicology, he has worked on percussion performance practices to ca. 1850. He is also the author of Felix Mendelssohn Bartholdy: A Guide to Research (2001), Mendelssohn's “Italian” Symphony, and Mendelssohn, Goethe, and the Walpurgis Night: The Heathen Muse in European Culture, 1700–1850. He is currently writing two more books: Music and Secular Religion from Mozart to Schoenberg and A Historical Dictionary of Romantic Music.
Bruce Dickey is much in demand as a teacher, both of the cornetto and of seventeenth-century performance practice. In addition to his regular class at the Schola Cantorum, he has taught at the Royal Conservatory in The Hague, the Accademia Chigiana in Siena, and the Early Music Institute at Indiana University, as well as master classes in the United States, Canada, Europe, and Japan. He is also active in research on performance practice and has published, together with Michael Collver, a catalog of the surviving cornetto repertory. In 2000 the Historic Brass Society bestowed on him the prestigious Christopher Monk Award for “his monumental work in cornetto performance, historical performance practice, and musicological scholarship.”
David Douglass, a leading figure in the world of early-music performance, he is the founding director of The King's Noyse—a Renaissance violin band—and a founding member of the Newberry Consort; since 2007, he has been the consort's director and musician-in-residence at the Newberry Library. As a writer and lecturer on early violin history, technique, and repertory, David has chapters on the violin in Indiana University Press's Performer's Guides to Early Music (Renaissance and Baroque), and his essays on the early violin can be found in Strings magazine. David has recorded extensively for Harmonia Mundi USA, Deutsche Harmonia Mundi, Virgin, Erato, BMG, Berlin Classics, and Auvidis/Astrée labels.
Anne Harrington Heider is associate professor emerita of Chicago College of Performing Arts, Roosevelt University, and artistic director emerita of Bella Voce (founded as His Majestie's Clerkes), with whom she recorded for Centaur, Harmonia Mundi, Narada, and Cedille. Her research in early music was supported by the Newberry Library, the National Endowment for the Humanities, and Roosevelt University. Her critical editions of music by Claude Le Jeune were published by A-R Editions. Her choral arrangements and compositions are published by GIA Music. She served on the board of Chorus America for nine years and remains active as a guest conductor and choral consultant.
George Houle is an oboist and a scholar interested in the performance of Renaissance and Baroque music. He directed a program in the performance of early music for thirty years at Stanford University as well as directed the New York Pro Musica for two years. His interest in rhythm and meter resulted in Meter in Music, 1600–1800 (Indiana University Press, 1987/2002). He is the editor of numerous editions of music for violas da gamba. He is interested in the rhythmic structure of dance music as experienced by dancers. He is now emeritus professor of music at Stanford and teaches for the Fromm Foundation at the University of San Francisco.
Jeffery Kite-Powell is professor emeritus and former coordinator of music history and musicology at the Florida State University College of Music, where he directed the Early Music Program from 1984 to 2008. He is the editor of and a contributor to A Performer's Guide to Renaissance Music (2007), and he edited and translated Michael Praetorius's Syntagma Musicum III (2004). From 1998 to 2001 he served as president of Early Music America and was honored by that organization in 2003 with the Thomas Binkley Award for Outstanding Achievement by a Collegium Director. A book entitled “Hands-On” Musicology: Essays in Honor of Jeffery Kite-Powell, celebrating the occasion of his retirement in 2008 with contributions by his colleagues and former students, was published in 2011.
Mark Kroll has maintained an equal balance among performing, teaching, and scholarship throughout his career. He performs and teaches worldwide as a harpsichordist and fortepianist and is currently professor emeritus at Boston University and visiting professor at Northeastern University. Kroll's books include Playing the Harpsichord Expressively, The Beethoven Violin Sonatas, and Johann Nepomuk Hummel: A Musician's Life and World. He is currently writing a biography of Ignaz Moscheles. Mr. Kroll has published editions of the music of Hummel, Francesco Scarlatti, and Charles Avison, and he is preparing Francesco Geminiani's Sonatas for Violin and Basso Continuo, op. 4 for the complete edition of the composer's works.
James Middleton, founder and artistic director of Ex Machina Antique Music Theater Company, has been called “the P. T. Barnum of the Baroque” for his re-creations of Baroque stagecraft. His productions have been seen in cities throughout the United States. He is a frequent guest artist at U.S. colleges and universities and has lectured and conducted workshops for Mexico's Instituto Nacional de Bellas Artes. A faculty member of the Amherst Early Music Institute, he was named a fellow of the Aston Magna Academy for his work in the area of Latin American Music.
Herbert Myers is lecturer in Renaissance winds and curator of instruments at Stanford University, from which he holds BA, MA, and DMA degrees. As a member of the New York Pro Musica from 1970 to 1973, he toured extensively throughout North and South America, performing on a variety of early winds and strings; currently he performs with the Whole Noyse and Jubilate. He has published articles in numerous journals, and he has contributed chapters to both the Medieval and Renaissance volumes of this series of performer's guides.
Paul O'Dette, co–artistic director of the Boston Early Music Festival and director of early music activities at Eastman School of Music, has helped define the technical and stylistic standards to which twenty-first-century performers of early music aspire. In doing so, he helped infuse the performance-practice movement with a perfect combination of historical awareness, idiomatic accuracy, and ambitious self-expression. His performances at major international festivals all over the world have been singled out as the highlight of those events. Though best known for his recitals and recordings of virtuoso solo lute music, he maintains an active international career as an ensemble musician, as well, performing with many of the leading early-music soloists and ensembles.
Dorothy Olsson received the MM in musicology from the Manhattan School of Music and the PhD in performance studies from New York University, the latter with a dissertation on early-twentieth-century dance. She is director of the New York Historical Dance Company (www.newyorkhistoricaldance.com) and has given numerous workshops on historical dance, as well as a lecture-demonstration at the Metropolitan Museum of Art. She has choreographed for and performed with Piffaro, the Folger Consort, Parthenia, and many other ensembles. She teaches historical dance at the Amherst Early Music Festival, where she has also directed several historical theatrical productions. She was an assistant professor of dance education at New York University for ten years.
Steven E. Plank is professor of musicology and director of the Collegium Musicum at Oberlin College. He is the author of The Way to Heavens Doore: An Introduction to Liturgical Process and Musical Style (1994) and Choral Performance: A Guide to Historical Practice (2004), as well as many articles devoted to contextual studies of seventeenth-century music. In 2009 Early Music America awarded him the Thomas Binkley Award for Outstanding Achievement in Performance and Scholarship by the Director of a university or college Collegium Musicum.
Sally Sanford, soprano, is internationally recognized as a specialist in historical vocal performance practices. Her repertory ranges from medieval to contemporary music, with particular emphasis on the seventeenth and eighteenth centuries. As a performer, she has appeared with many distinguished ensembles and is a founding member of the trio Ensemble Chanterelle. As a scholar, she has had her pioneering works cited frequently by others working on topics in Baroque and Classic music. She is also active as a voice teacher, master-class coach, choral clinician, recording producer, and concert impresaria. For more information, please visit www.sallysanfordsoprano.com.
Gary Towne, professor of music at the University of North Dakota and former department chair, received the PhD in musicology from the University of California, Santa Barbara, with a dissertation on Gaspar de Albertis and sacred music in sixteenth-century Bergamo. His publication venues include Musica Disciplina, The Journal of Musicology, Historic Brass Society Journal, L'Organo, Archivio Storico Bergamasco, Sixteenth-Century Journal, Plainsong and Medieval Music, and Renaissance Quarterly, plus the collection Music Education in the Middle Ages and the Renaissance. He continues to work on the complete edition of Albertis's music for Corpus Mensurabilis Musicae, as well as a history of music and musical institutions in medieval and Renaissance Bergamo.
Marc Vanscheeuwijck teaches musicology, historical performance practice, and Baroque cello, and he is chair of musicology and ethnomusicology at the School of Music and Dance of the University of Oregon. He has published the book The Cappella Musicale of San Petronio in Bologna under G. P. Colonna (2003) and various articles on music in Bologna and on the Baroque cello (Performance Practice Review, Early Music), as well as critical facsimile editions of Bolognese cello music.