Kelvin Lee holds a PhD from Durham University and is a Postdoctoral Fellow at the University of Leuven. His research focuses on the analysis and history of nineteenth- and twentieth-century symphonic music, with special interests in the analysis of musical form, the theory of tonality, global musical modernism and the intersection between music theory, history and philosophy. Kelvin’s work has been published (or is forthcoming) in Music Analysis, Musurgia and Notes, and he is a contributor to Nikolai Medtner: Music, Aesthetics, and Contexts (Hildesheim: Georg Olms Verlag). His article ‘Rethinking the Symphonic Poem: Dialectical Form, Sequential Dissonances and the Chord of Fate in Schoenberg’s Pelleas und Melisande‘ won the Musurgia 25th Anniversary Prize from Société Française d’Analyse Musicale. He was also awarded the 2018 Theory and Analysis Graduate Student Prize from the Society for Music Analysis. Kelvin is currently writing a monograph, provisionally titled The Sonata Moment: Dialectical Form and Symphonic Modernism in Fin-de-Siècle Vienna, which examines the interrelationship between dialectical thought, chromatic tonality and sonata form.
Philip Gentry is a musicologist specializing in the history of music in the United States during the twentieth century, both popular and classical. He is particularly interested in theoretical questions of history, identity, and politics. His book What Will I Be: American Music and Cold War Identity (Oxford University Press, 2017) traces the changing relationship between music and identity in four diverse musical scenes: the R&B world of doo-wop pioneers the Orioles, the early film musicals of Doris Day, Asian American cabaret in San Francisco, and John Cage’s infamous silent piece 4’33”. He has also published an article on Leonard Bernstein’s second symphony and a review essay of the musical Hamilton. He is currently writing a new book on 20th- and 21-century performances of early American history, analyzing how these creative historiographic practices inform contemporary political culture. Originally from the San Francisco Bay Area, Gentry earned his Ph.D. at UCLA and taught at the College of William & Mary before coming to the University of Delaware. At Delaware he teaches the music history sequence for undergraduates; graduate seminars in research methods and various special topics; literature surveys of symphonic and chamber repertoires, and general interest courses on soul, hip-hop and LGBTQ music history. He has also served a term as an at-large member of the national council of the American Musicological Society, and two terms as president of the society’s mid-Atlantic chapter. He lives in Philadelphia.
Master of Arts (Guanajuato University, 2018). Bachelor in Arts and Cultural Heritage (Havana University, 2016). Performer Diploma in Flute and Chamber Music (National School of Music, 2008). He was Specialist in Analysis of Cultural Activity in the Cabinet of Esteban Salas Musical Heritage at Havana, Cuba; Professor of Flute at the National School of Music of Cuba; Professor of Flute of the Amadeo Roldan Provincial Music Conservatory of Havana; and flutist in various ensembles, instrumental chamber ensembles and Cuban symphonic orchestras. His publications have appeared in refereed journals and collective books of Brazil, Colombia, Costa Rica, Cuba, Spain and Mexico; countries where he has been a speaker at congresses, symposiums and international workshops. His research has been conducted under the tutelage of Dr. Miriam Escudero Suástegui, Dr. Luis Barreiro Pouza and Dr. Hugo Barreiro Lastra. Currently, he is pursuing a PhD Program in Arts [History and Languajes of Music] (2018-2021) at the Guanajuato University. He is a part-time Professor (2018-) in the Department of Music and Performing Arts of the same Mexican university, Coordinator – Chief Editor at El Filarmónico (2018-), and Teacher at the Music School of the Cultural Institute of León (2019-). His fields of work are Latin American Musicology, Popular Musicology, Audiovisual Musicology and Artistic-Musical Practices.
Bryan A. Whitelaw BMus (Hons) MPhil LRSM Bryan is a current PhD Researcher in Musicology at Queen’s University Belfast. His interests lie in the theory and analysis of 19th–century repertoire and works with allusions to literary or narrative figures, particularly in the music of Franz Liszt. Society for Musicology in Ireland Bryan is the current Student Representative and a council member of the Society for Musicology in Ireland: http://www.musicologyireland.com/ Similarly, he is a member of both the Royal Musical Association and the Society for Music Analysis. Master of Philosophy (MPhil) After completing his Bachelor of Music degree in 2015 with first-class honours, Bryan was awarded a School of Arts, English and Languages funding scholarship for his MPhil research project on the Piano Sonata in B minor (1853), by Franz Liszt. The MPhil thesis focuses on the contextual, theoretical, and hermeneutic analysis of the Liszt Sonata, and provides the first Sonata Theory analysis of this work. The thesis additionally explores a hermeneutic reading of the sonata in poetic terms, based on Johann Wolfgang von Goethe’s Faust (1808), and a typological comparison with Liszt’s other Faustian works; the Mephisto Waltzes and A Faust Symphony, for example. Doctor of Philosophy (PhD) Bryan’s PhD research focuses on the interplay between Franz Liszt’s literary and cultural influences, and their impact in his compositional output during the Weimar period; ca. 1848–1861. The research is based on the development of a narratographic music theory which attempts to bridge the divide between historically- and culturally-contextual scholarship, on the one hand, and the theoretically-rigorous application of formal theory on the other. The work thus adopts aspects of narratology, hermeneutics, and semiotics, alongside theoretical interests such as Hepokoski and Darcy’s Sonata Theory, William Caplin’s theory of formal functions, and neo-riemannian theory. The thesis explores a conextual history of Liszt’s time as kappelmeister in the Weimar Court Theatre, while situating his reception history within the lineage of Weimar Classicism. After setting up a theoretical methodology, the thesis chapters provide case-study analyses of several symphonic poems, the Faust Symphony, Dante Sonata, and the Piano Sonata in B Minor. A final chapter outlines the broader strategy Liszt employed as a compositional archetype for sonata-form works, before drawing some conclusions for the future analysis of Liszt’s oeuvre.
I am a PhD student in historical musicology at Florida State University. Broadly conceived, my research interests include 20th and 21st century American music culture, the ethics of historiography, and the overlap between structures of authority, political discourse, and aesthetic significance. My master’s thesis centers on Aaron Copland’s early symphonic jazz in the context of his transnational musical training and unique social position.
I am Professor of Modern European History at the University of Southampton, G.B., where I have worked since 1994. My research has ranged widely over the business, social, and cultural history of the twentieth century; at its core is the project of thinking through the place of the Third Reich in the longer history of Germany and Europe’s twentieth century and, in particular, of embedding histories of the Holocaust in wider narratives of modern German and European history. My most recent project focusses on the cultural history of art music in C20th Germany, in connection with which I am writing a book on the institution of the symphony concert in Nazi Germany.
Donna Arnold is the long-time music research librarian at the University of North Texas Music Library, where she serves a diversity of university, local, national, and international patrons. Her work is informed by her own music research interests, which range from Schubert, 17th-century lute music, and Russian Orthodox choral music to American roots music and early jazz.
Current Doctoral Student at the University of Kansas. Working on Dissertation about the early careers of Ralph Vaughan Williams and George Butterworth, their friendship and collaboration on Vaughan Williams’ A London Symphony.