Gianmario Borio is Professor of Musicology at the University of Pavia. He has published on the music of the twentieth century, the history of music aesthetics, and theory. In 1991–92, he was an Alexander von Humboldt Fellow at the University of Freiburg; in 1999, he received the Dent Medal from the Royal Musical Association. He is the author of Musikalische Avantgarde um 1960 (Laaber, 1993) and co-editor (with Hermann Danuser) of Im Zenit der Moderne: Die Internationalen Ferienkurse für Neue Musik Darmstadt 1946–1966 (Freiburg, 1997).
James Buhler is Associate Professor of Music Theory at the University of Texas at Austin. He has written extensively on the music of Gustav Mahler, the musical writings of Theodor Adorno, and music and film sound. He is currently working on a book, Music and Sound in the Early Cinema.
Keith Chapin is Assistant Professor of Music at Fordham University. His research interests include the histories of music theory and aesthetics, and specifically the aesthetics of counterpoint from the eighteenth to the twentieth centuries. He is currently working on a book on counterpoint and the aesthetics of wonder in the eighteenth and early nineteenth centuries.
Daniel K. L. Chua is Reader in Music at King’s College London. He is the author of The “Galitzin” Quartets of Beethoven and Absolute Music and the Construction of Meaning, and is the recipient of the Royal Musical Association Dent Medal for 2004.
Berthold Hoeckner is Associate Professor of Music and the Humanities at the University of Chicago and recipient of the Einstein Award of the American Musicological Society. His book Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment was published by Princeton University Press in 2002.
Julian Johnson is Reader in Music at the University of Oxford, and Fellow of St Anne’s College. He is the author of Webern and the Transformation of Nature (CUP, 1999) and Who Needs Classical Music? (OUP, 2002) and has published widely on music aesthetics and issues in nineteenth- and twentieth-century music.
Larson Powell is Assistant Professor of German Studies at Texas A&M University. He has recently completed a book on twentieth-century German literature of nature (The Technological Unconscious), and is working on a second book on post-1945 media arts (electronic music, film, radio).
Martin Scherzinger is Assistant Professor of Music at Eastman School of Music. His publications have appeared in books and journals (including Music Analysis, Perspectives of New Music, Yearbook for Traditional Music, Cultural Critique, and the Journal of the American Musicological Society). In 2002–3, he was awarded the Emerging Scholar Award by the Society for Music Theory, and he is currently in residence at the Princeton University Society of Fellows.
Alastair Williams is Reader in Music at Keele University, UK. He is the author of Constructing Musicology (Ashgate, 2001) and also wrote the chapter on modernism since 1975 for The Cambridge History of Twentieth-Century Music. In 2002, he was an Alexander von Humboldt Fellow at the Humboldt University, Berlin.