SUZANNE ASPDEN is Associate Professor in the Faculty of Music, Oxford, and Fellow of Jesus College, Oxford. Her research interests center on eighteenth-century opera and issues of performance and identity; she has published widely in these areas, including in the Journal of the American Musicological Association, Journal of the Royal Music Association, Musical Quarterly, Cambridge Opera Journal, Music and Letters, and elsewhere. Her recent book, The Rival Sirens, concerns the rivalry of the singers Faustina Bordoni and Francesca Cuzzoni in 1720s London. Her current book project examines opera and national identity in eighteenth-century Britain. She also has edited volumes in progress on the English version of Cavalli’s Erismena (with Michael Burden) and on opera and cultural geography.
LINDA PHYLLIS AUSTERN is Associate Professor of Musicology at Northwestern University where she specializes in the music of early modern Europe, especially in relation to literature, drama, the history of medicine, and the visual arts. Her books include Music in English Children’s Drama of the Later Renaissance as well as the edited/coedited volumes Music of the Sirens (Indiana University Press, 2006), Music, Sensation and Sensuality, and Psalms in the Early Modern World. She has published more than thirty articles on topics ranging from music in the Jacobean theater to musical cures for erotic illness to gendered practices of early modern music in such journals as the Journal of the American Musicological Society, Music and Letters, The Musical Quarterly, and Renaissance Quarterly, and in edited collections.
CANDACE BAILEY is Professor of Music History at North Carolina Central University. She is the author of Music and the Southern Belle: From Accomplished Lady to Confederate Composer, Seventeenth-Century British Keyboard Sources, as well as several articles on and two editions of English keyboard music of the seventeenth century. Bailey has presented numerous papers on keyboard music and gender of both the seventeenth and nineteenth century at scholarly conferences in the United States and Europe. She is active in a number of societies and has previously served as president of the North American British Music Association. Two forthcoming monographs on women and music have been made possible by a Faculty Award from the National Endowment for the Humanities.
KATHERINE STEELE BROKAW is Assistant Professor of English at the University of California, Merced, where she teaches medieval and early modern literature. She is author of Staging Harmony: Music and Religious Change in Late Medieval and Early Modern English Drama and articles on drama and music in Comparative Drama and Shakespeare Bulletin.
MICHAEL BURDEN is Professor in Opera Studies at Oxford University and Chair of the Faculty of Music; he is also Fellow in Music at New College, where he is London dean. His published research is on the stage music of Henry Purcell, and on aspects of dance and theater in the seventeenth, eighteenth, and nineteenth centuries. He is currently completing a volume on the staging of opera in London between 1660 and 1860. He is the author of a five-volume collection of opera documents, London Opera Observed; a study of the London years of the soprano Regina Mingotti; and, edited with Jennifer Thorp, The Works of Monsieur Noverre Translated from the French: Noverre, His Circle, and the English Lettres sur la Danse. He is the past president of the British Society for Eighteenth-Century Studies and Director of Productions of New Chamber Opera (www.newchamberopera.co.uk).
AMANDA EUBANKS WINKLER is Associate Professor of Music History and Cultures and Director of Undergraduate Studies in the Department of Art and Music Histories at Syracuse University. Her research focuses on English theater music from the sixteenth century to the present day. She has published numerous essays and articles on topics ranging from didactic masques in the seventeenth century to Andrew Lloyd Webber’s The Phantom of the Opera and has edited two volumes of music for the Restoration stage—Music for Macbeth and John Eccles, Incidental Music, Part I: Plays A–F. Research for her book, O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage (Indiana University Press, 2006), was supported by a long-term National Endowment for the Humanities fellowship at the Folger Shakespeare Library. Eubanks Winkler is currently completing a book on music, theater, and dance in early modern English schools.
JANE FLYNN is Visiting Fellow in the School of History, University of Leeds, United Kingdom, and a freelance organist and music teacher. Her research focuses on music education during the Tudor period, and her publications include “The Education of Choristers in England during the Sixteenth Century,” in English Choral Practice, c. 1400–c. 1650, ed. J. Morehen, reprinted in Institutions and Patronage in Renaissance Music, ed. T. Schmidt-Beste; “Thomas Mulliner: An Apprentice of John Heywood?” in Young Choristers, 650–1700, ed. S. Boyton and E. Rice; and “Tudor Organ Versets: Echoes of an Improvised Tradition,” Journal of the Royal College of Organists. Her blog “How to play ‘divers ways upon the Plainsong Miserere’” can be found at tudorimprovisation.net.
GRAHAM FREEMAN is an independent scholar and technical writer in Toronto, Canada. He received his PhD in musicology from the University of Toronto in 2008. He has worked on the folksong collections of Percy Grainger, the music of Alfred Schnittke, and theories of organizing systems in music. His work has appeared in Music and Letters, The Folk Music Journal, and Grainger Studies.
REBECCA HERISSONE is Professor of Musicology at the University of Manchester and a coeditor of Music & Letters. She is the author of Music Theory in Seventeenth-Century England and “To Fill, Forbear, or Adorne”: The Organ Accompaniment of Restoration Sacred Music. Her article on the scoring of Purcell’s Come ye Sons of Art won the Westrup Prize for 2007, and she has also written extensively on approaches to composition in late-seventeenth-century English music. Her four-year research project, “Musical Creativity in Restoration England,” was funded by the Arts and Humanities Research Council, and resulted in a monograph, which was awarded the Diana McVeagh Prize by the North American British Music Studies Association in 2015, and a volume of interdisciplinary essays, Concepts of Creativity in Seventeenth-Century England, coedited with Alan Howard.
ALAN HOWARD is Lecturer and Director of Studies in Music at Selwyn College, Cambridge, and Director of Studies in Music at Queens’ College. A committee member of the Purcell Society and general editor of The Works of John Eccles, his research focuses on the music of Henry Purcell and his contemporaries from the perspectives of source studies and contextualized musical analysis. He is currently working on a book on compositional artifice in Purcell’s music, and critical editions for A-R and Musica Britannica; he is also coeditor of the leading Oxford University Press periodical Early Music.
KATHERINE R. LARSON is Associate Professor of English at the University of Toronto. Her research and teaching center on sixteenth- and seventeenth-century English literature and culture, with particular interests in early modern women’s writing, gender and language, rhetoric and embodiment, and music (especially opera and song). She is the author of Early Modern Women in Conversation and the coeditor of Gender and Song in Early Modern England and Re-Reading Mary Wroth. Her work has also appeared in journals including English Literary Renaissance, Milton Studies, Early Modern Women: An Interdisciplinary Journal, the Sidney Journal, and the University of Toronto Quarterly. She is currently writing a monograph that integrates her training as a singer in its exploration of women’s song performance in the early modern context.
BONNY HOUGH MILLER earned her PhD from Washington University in St. Louis. She has performed widely as a pianist and accompanist in addition to teaching piano and music history in universities in Missouri, Georgia, Florida, Virginia, and Louisiana. Her publications have appeared in the Journal of the Society for American Music, Journal of the Arnold Schoenberg Institute, Notes of the Music Library Association, Fontes artes musicae, Bulletin of the Society for American Music, Piano Quarterly, Journal of Singing, and Cecilia Reclaimed: Feminist Perspectives on Gender and Music. Her research focuses on music included in popular press periodicals such as literary journals and household magazines. She received the American Musicological Society Janet Levy Award for independent scholars to support research on British periodicals. Her index of music sheets is planned for the website “The Lady’s Magazine (1770–1818): Understanding the Emergence of a Genre.”
JOHN MILSOM is Professorial Fellow in Music at Liverpool Hope University, United Kingdom. He has published widely on Tudor topics, Josquin Desprez, and the analysis of sixteenth-century vocal polyphony. His interests in the history of the book and in compositional method are especially evident in his critical edition of Thomas Tallis and William Byrd’s Cantiones . . . sacrae (1575). In collaboration with Jessie Ann Owens, he is currently preparing a new critical edition of Thomas Morley’s A Plaine and Easie Introduction to Practicall Musicke (1597). He has created and continues to curate the online Christ Church Library Music Catalogue, a major research resource relating to the contents and provenance history of the internationally important music collections at Christ Church, Oxford.
BRYAN WHITE is Senior Lecturer in Music at the University of Leeds where he is a member of Leeds University Centre for English Music (LUCEM). He is also a member of the Purcell Society for whom he has edited Louis Grabu’s opera Albion and Albanius and G. B. Draghi’s From Harmony, from Heav’nly Harmony. He has published articles on English Restoration music in Music & Letters, The Musical Times, Early Music, and Early Music Performer, along with a number of book chapters. He is currently working on a book exploring music for St. Cecilia’s Day in Britain from Purcell to Handel.
SARAH F. WILLIAMS is Associate Professor of Music History at the University of South Carolina. Her book, Damnable Practises: Witches, Dangerous Women, and Music in Seventeenth-Century English Broadside Ballads (Ashgate, 2015), explores the connections broadside ballads and their music created between various degrees of female crime, the supernatural, and cautionary tales for and about women. Her publications on the seventeenth-century musical representations of female transgression and expressions of masculinity in American punk rock have appeared in the Journal of Musicological Research, the Journal of Seventeenth-Century Music, and a number of essay collections. She is an advisory board member of the English Broadside Ballad Archive (EBBA), and her scholarly work has been supported in part by the National Endowment for the Humanities and the American Musicological Society.
CHRISTOPHER R. WILSON holds the established Chair in Music at the University of Hull. He has published widely on early modern, nineteenth-, and twentieth-century English music with words. He has written two books and a number of articles on Thomas Campion. He is also a specialist in Shakespeare music. He was the UK research associate for the magisterial five-volume Shakespeare Music Catalogue, has published two books and a number of articles and book chapters, and compiled the database www.shakespeare-music.hull.ac.uk with funding from the British Academy. He was a music consultant for the permanent exhibition at The Globe theater in London. www2.hull.ac.uk/fass/music/staff/christopher-r-wilson.aspx.