Tim Carter (firstname.lastname@example.org) is David G. Frey Distinguished Professor of Music at the University of North Carolina at Chapel Hill. His books include the Cambridge Opera Handbook on Mozart’s Le nozze di Figaro (1987), Jacopo Peri (1561–1633): His Life and Works (1989), Music in Late Renaissance and Early Baroque Italy (1992), Music, Patronage and Printing in Late Renaissance Florence and Monteverdi and his Contemporaries (both 2000), Monteverdi’s Musical Theatre (2002), “Oklahoma!” The Making of an American Musical (2007), Understanding Italian Opera (2015), and (with Richard Goldthwaite) Orpheus in the Marketplace: Jacopo Peri and the Economy of Late Renaissance Florence (2013). He was also the co-editor, with John Butt, of The Cambridge History of Seventeenth-Century Music (2005).
Sabine Ehrmann-Herfort (email@example.com) studied musicology, classical philology, and philosophy at the German universities of Tübingen and Freiburg im Breisgau, earning a doctoral degree in the field of musicology (Claudio Monteverdi. Die Grundbegriffe seines musiktheoretischen Denkens). She has held a fellowship at the German Historical Institute in Rome (Musicological Department) and positions in the musicological institutes of the Albert-Ludwigs-University in Freiburg and the University of Karlsruhe, and she is a scientific collaborator in the series “Handwörterbuch der musikalischen Terminologie” (published by Hans Heinrich Eggebrecht, afterward by Albrecht Riethmüller) for which she has written numerous monographs in the subject area “terminology of vocal music.” At present she serves as scientific collaborator and vice chair in the Musicological Department of the German Historical Institute in Rome. Her publications include Opera / Oper (1999); and “Claudio Monteverdis “tempo del’affetto del animo” und seine Folgen,” in Aspekte der Musik des Barock. Aufführungspraxis und Stil. Bericht über die Symposien der Internationalen Händel-Akademie Karlsruhe 2001 bis 2004, ed. Siegfried Schmalzriedt (2006). She has co-edited the following volumes: with Matthias Schnettger, Georg Friedrich Händel in Rom, Analecta musicologica 44 (2010); and with Silke Leopold, Migration und Identität. Wanderbewegungen und Kulturkontakte in der Musikgeschichte, Analecta musicologica 49 (2013).
Paolo Fabbri (firstname.lastname@example.org) is a professor of music history at Ferrara University and music coordinator in the Istituto di Studi Rinascimentali (Ferrara). From 1992 to 2001 he represented Italy on the Executive Committee of the International Musicological Society. A member of the Editorial Board for the critical edition of Rossini’s operas, from 1994 to 1998 he was also vice-director of the Rossini Foundation in Pesaro. He serves as academic director of the Fondazione Donizetti in Bergamo and president of the National Edition of the Operas of Gaetano Donizetti. He is a member of the academic committees for the critical opera omnia editions of Vincenzo Bellini and Andrea Gabrieli as well as of the European project “Opera” (Bärenreiter). He has served on the editorial boards of numerous scholarly journals, including Musicalia. Annuario internazionale di studi musicologici, which he founded in 2004. He is the recipient of numerous honors: in 1989 he was awarded the Dent Medal by the Royal Musical Association, in 2001 he was named an honorary member of the American Musicological Society, and in 2015 he received the Glarean Award from the Société Suisse de Musicologie.
Prof. Dr. Linda Maria Koldau (Linda.Koldau@gmx.de) worked as Chair of Historical Musicology at Goethe University Frankfurt am Main and was Knud Jeppesen Chair of Musicology at Aarhus University in Denmark. In 2012 she founded the Baltic Coast Academy (Akademie an der Steilkueste). As director of this academy and as a research professor affiliated to Utrecht University, she has been teaching seminars on efficient working methods and administration in German companies. Prof. Koldau has published widely in the field of musicology and cultural history.
Jeffrey Kurtzman (email@example.com) earned his Ph.D. in musicology from the University of Illinois at Urbana-Champaign. His research, supported by fellowships and grants from the Guggenheim Foundation, the National Endowment for the Humanities, the American Council of Learned Societies, the Deutscher Akademischer Austauschdienst, and the Martha Baird Rockefeller Fund for Music, is centered on Italian music of the sixteenth and seventeenth centuries, aesthetics, and criticism. Professor Kurtzman has published a book of essays on Monteverdi, a book of studies in sixteenth- and seventeenth-century Italian sacred music, two books on the Monteverdi Vespers, critical editions of the Monteverdi Vespers and Monteverdi Masses, a 10-volume series of Seventeenth-Century Italian Music for Vespers and Compline, and numerous articles on sixteenth- and seventeenth-century Italian music. He is the General Editor of the Opera Omnia of Alessandro Grandi, published by the American Institute of Musicology, and General Editor of an anthology of seventeenth-century Italian instrumental music published by the Web Library of Seventeenth-Century Music. Together with Anne Schnoebelen, he has published a detailed catalogue of some 2,000 Italian prints of music for the Mass, Office, and Holy Week, 1516–1770, in the Instrumenta series of The Journal of Seventeenth-Century Music. The founder of the international Society for Seventeenth-Century Music, he currently serves on the editorial boards of the Society’s Web Library of Seventeenth-Century Music and the Journal of Seventeenth-Century Music, and he is an Honorary Life Member of the Society.
Massimo Ossi (firstname.lastname@example.org) is the author of Divining the Oracle: Claudio Monteverdi’s Seconda Prattica (2003) and of articles on Monteverdi’s music and other Renaissance topics in Journal of the American Musicological Society, Music and Letters, Journal of Musicology, and other journals and edited books. Much of this work focuses on text-music relations and on the cultural and aesthetic context of early modern secular music. His secondary interests focus on Baroque historiography, the music of Antonio Vivaldi, especially the concertos, and mid-eighteenth-century opera, particularly the librettos of Goldoni, in their Venetian cultural context. He was the recipient of the 1993 Einstein Award from the American Musicological Society, has been a fellow of the Harvard University Center for Renaissance Studies at the Villa I Tatti in Florence, and has held a Summer Fellowship from the NEH. He edits the series “Music and the Early Modern Imagination” for Indiana University Press. Ossi has served as vice-president of the Society for Seventeenth-Century Music and as a board member of the American Musicological Society. He is on the faculty at Indiana University.
Ulrich Siegele (email@example.com) was born in Stuttgart (Germany). He studied musicology, classics, and history mainly at Tübingen University, where he taught musicology as a professor until 1995. His main research interests are the history of compositional techniques, especially the construction of form with regard to duration and functional differentiation (in J. S. Bach, Monteverdi, Schütz, Beethoven, Wagner, and the serial music of the last century) and biography in its historical and political context (J. S. Bach, Telemann). During the last decade he has edited and commented on the two seminal publications of the Stuttgart organist Johann Ulrich Steigleder (1593–1635).
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