Barbara Babić earned degrees in musicology at the University of Trento (B.A.), Milan (M.A.), and Vienna (Ph.D.). Her research examines the mobility of European music theatre throughout the nineteenth century, by focusing especially on the Parisian and Viennese boulevard stage (melodrama, parody, operetta) and on opera in Habsburg Croatia. Prior to joining the Transopera team in Leipzig, Barbara was also a Postdoctoral Fellow at the Institute of Musicology at the University of Vienna as well as a Visting Research Fellow at the Centre Georg Simmel at the École des Hautes Etudes en Sciences Sociales in Paris.

Leah Batstone is a musicologist specializing in the music of 20th century Ukraine and fin-de-siecle Austria. She received her PhD in musicology from McGill University in Montreal, Quebec in 2019. Her dissertation research explored the influence of Friedrich Nietzsche's philosophy on the early symphonies of Gustav Mahler by examining Nietzsche's reception amongst Mahler's circle at the University of Vienna. In 2015-2016, she was the recipient of a Fulbright-Mach scholarship to pursue doctoral research in Vienna. Dr. Batstone received her Master's in musicology from the University of Oxford, where she was a student of Peter Franklin. Dr. Batstone is also an experienced pedagogue and has taught at McGill University, in the School of Music at The Ohio State University, and the Baldwin Wallace University Conservatory of Music. She is currently teaching as an adjunct in the department of the music at Hunter College in New York City.

Michael Beckerman is Carroll and Milton Petrie Chair, Collegiate Professor of Music and head of the Department of Music at New York University and a Vice-President of the Dvořák American Heritage Association (DAHA). He has written many studies and several books on Czech music topics, including New Worlds of Dvořák (W.W. Norton, 2003), Dvořák and His World (Princeton University Press, 1993), Janáček and His World (Princeton, 2004), Janáček as Theorist (Pendragon Press, 1994), and Martinů's Mysterious Accident (Pendragon, 2007), as well as articles on subjects such as Mozart, Brahms, film scoring, music of the Roma (Gypsies), exiled composers, and music in the camps.  Dr. Beckerman has been a frequent contributor to The New York Times and was a regular guest on Live from Lincoln Center and other radio and television programs in the United States, Europe, and Japan. He is a recipient of the Dvořák Medal and the Janáček Medal by the Czech Ministry of Culture, and is also a Laureate of the Czech Music Council; he has twice received the Deems Taylor Award.   He served as a Distinguished Professor at Lancaster University (2011–2015) and was The Leonard Bernstein Scholar-in-Residence at the New York Philharmonic (2016-17). In 2014, Michael Beckerman received an honorary doctorate from Palacký University in the Czech Republic, and this year, he was awarded the Gratias Agit Award from the Czech Ministry of Foreign Affairs and the Harrison Medal from the Society of Musicology in Ireland.  In October he will receive an honorary doctorate from Masaryk University in Brno.

David Brodbeck’s research focuses on Central European music and musical culture in the long nineteenth century and Anglo-American popular music of the past fifty years. He has published widely on topics ranging from the dances of Schubert and the sacred vocal music of Mendelssohn to various aspects of Brahms’s music. Much of his work on Brahms, in particular, has explored connections between biography and analysis. His book on the composer’s First Symphony, for example, addresses issues of genesis, extra-compositional allusion, and autobiographical content, concerns that are central, too, to his published essays on Brahms’s youthful studies in counterpoint and later large-scale chamber works. His most recent book, Defining Deutschtum: Liberal Ideology, German Identity, and Music-Critical Discourse in Liberal Vienna (Oxford University Press, 2014), has been described as "an impressive work of scholarship that reconstructs not only a musical but also a political and cultural history" (Times Literary Supplement).
He is the recipient of fellowships and grants from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, the American Council of Learned Societies, and the American Philosophical Society, and is a past President of the American Brahms Society. Prior to joining the faculty at UC Irvine, he taught at the University of Pittsburgh and the University of Southern California.

Brigid Cohen is a historical musicologist who specializes in the historiography of musics and musicians in migration. Her research and teaching examine the mass dislocation of peoples over the last two centuries, addressing conditions of empire, globalization, genocide, exile, and minoritarian citizenship. 
Cohen has published extensively on the politics of 20th-century avant-gardes, archive theory, histories of cosmopolitanism, postcolonial studies, 20th-century German-Jewish diasporic thought, and intersections of music, literature, and the visual arts. Her first book Stefan Wolpe and the Avant-Garde Diaspora (Cambridge University Press, 2012) won the Lewis Lockwood Prize of the American Musicological Society for best monograph of the year by a scholar at an early career stage. He second book Musical Migration and Imperial New York: Early Cold War Scenes (University of Chicago Press, forthcoming) explores questions of displacement and citizenship through a study of New York concert avant-gardes, jazz, electronic music, and performance art in the 1950s and 1960s. Recent articles related to this book project include “Ono in Opera: A Politics of Art and Action, 1960-62” in ASAP/Journal (2018) and “Enigmas of the Third Space: Mingus and Varèse at Greenwich House, 1957” in Journal of the American Musicological Society (2018). Cohen is also the convener of the round table “Edward Said and Musicology Today” in Journal of the Royal Musical Association (2016). In recent years, her research has been supported by the Max Planck Institute for History of Science (2017, 2018), the National Endowment for the Humanities (2014-15), Wellesley College (2014-15), and the American Academy in Berlin (2010).

Christopher Campo-Bowen is Assistant Professor of Musicology in the School of Performing Arts at Virginia Tech. He completed his Ph.D. in musicology at the University of North Carolina at Chapel Hill. He holds a B.A. in Music from Stanford University and an M.M. in Orchestral Conducting from The Catholic University of America in Washington D.C.
Christopher’s research focuses on music in the Habsburg Monarchy in the nineteenth and twentieth centuries, especially on the relationships between music, ethnicity, gender, and empire. He is particularly interested in how conceptions of ruralness in Czech operas structured notions of subjectivity and identity. His current book project, Visions of the Village: Ruralness, Identity, and Czech Opera (under contract with Oxford University Press), investigates how urbanites’ operatic visions of Czech rural cultures were instrumental in creating a coherent sense of ethnonational belonging. He has published articles in the journals Nineteenth-Century Music, Cambridge Opera Journal, and The Musical Quarterly and presented at various national and international conferences, including the annual conference of the American Musicological Society, the Association for Slavic, East European, and Eurasian Studies annual conference, and the biannual Transnational Opera Studies Conference.
Christopher received a Fulbright grant for the Czech Republic to perform dissertation research and held a Howard Mayer Brown Fellowship from the American Musicological Society. He was a member of the UNC Royster Society of Fellows as well as the recipient of a Council for European Studies Mellon Dissertation Completion Grant. Prior to coming to Virginia Tech, he was a Provost’s Postdoctoral Fellow in the Department of Music of the Faculty of Arts and Science at New York University.

David Catchpole is a Lecturer in Music History at Texas State University and a Ph.D. candidate in Historical Musicology at New York University. He also serves as a Trustee on the board of the Dvořák American Heritage Association. David’s dissertation focuses on the role of symphonic radio broadcasts in shaping ideas of citizenship and belonging in the United States during the first half of the twentieth century. He has written program notes for the BBC Proms and Austin Cantorum and presented papers at conferences across the United States and internationally, including the Society for American Music annual meeting. The topics he works on encompass a range of areas, including radio, music and identity formation, twentieth-century opera, Habsburg culture and music around the fin-de-siècle, and Czech-American musical culture in the early twentieth century. His research has been supported by a travel subvention from the American Musicological Society.
David received a Master of Music degree from Texas State University. While at Texas State, David received the 2017-2018 Outstanding Graduate Student Award from the College of Fine Arts and Communications. He also holds a Bachelor of Arts in Music History and Literature from Youngstown State University.

Dietmar Friesenegger studied musicology, French, and Piano in Vienna, Rochester, Madison, and Ithaca (PhD dissertation, Cornell: "Voices among Cultures in the Eastern European Borderlands: Music in Czernowitz, 1862–1918"). He taught at the University of Vienna, the University of Iași, and IES Abroad Vienna. During his dissertation research he unearthed scores of unpublished pieces by Eusebius Mandyczewski and founded an award-winning festival in Ukraine to get this music performed. His editions have recently been published with KnyhyXXI and Breitkopf&Härtel. Last fall, his article "Music for a Metropolis in the Borderlands" appeared in the Musical Quarterly.

The Anglo-Austrian Dr. Michael Haas (b.1954) was from 1977-1999 a multi-Grammy award winning recording producer, conceiving and producing the series “Entartete Musik” for Decca Records, the first retrospective by a major recording label of music lost during the Nazi years. From 2002-2010, he was Music Curator at Vienna’s Jewish Museum and in 2013, published Foribidden Music – the Jewish Composers Banned by the Nazis for Yale University Press. In 2016, he and Prof. Gerold Gruber co-founded the exile music research center and archive, Exilarte, based at Vienna’s University for Music and Performing Arts. He is presently writing on the Music of Exile, also to be published by Yale University Press. His blog is www.forbiddenmusic.org, and the Exilarte website is www.exilarte.org

Michael Haider is the director of the Austrian Cultural Forum New York. Having joined the Austrian Foreign Service in 1999, he became an expert in restitution and Holocaust related issues. His previous assignments include positions in press and culture at the Austrian embassies in Belgrade and Prague. From 2007 to 2011 he was director of the Austrian Cultural Forum Tokyo and co-founder of the EUNIC Cluster Japan. He holds a Ph.D. in history from the University of Vienna. In March 2019 he was elected Vice President of EUNIC New York.

Kimberly Hieb joined the faculty of West Texas A&M University’s School of Music in 2016. She completed a Ph.D. in musicology at the University of British Columbia in 2015 and holds a master’s degree in musicology from the University of Iowa and a Bachelor’s of Music from the University of Wisconsin, Madison. Her research has been supported by the Austrian Exchange Agency, a Eugene K. Wolf travel grant from the American Musicological Society, and a Fulbright Research Fellowship to Austria. She has presented her research, which takes up questions of genre and religious and political representation in early modern music, at conferences both nationally and internationally.

Erika Supria Honisch is Associate Professor of Music History and Theory and Graduate Program Director in the Department of Music at Stony Brook University, and co-leads Stony Brook’s Baroque Performance Practice Workshop. She works on music, politics, and religious culture in early modern Europe. Her articles have appeared in Music & Letters, Journal of Musicology, Early Music History, among other journals, and in various edited collections. Her article “On the Trail of a Knight of Santiago: Collecting Music and Mapping Knowledge in Renaissance Europe,” co-authored with Tess Knighton and Ferran Escrivà-Llorca, was awarded the 2020 Westrup Prize from the Music & Letters Trust. Her book manuscript, The Ends of Harmony: Sacred Music and Sound in Prague, 1550–1650, uses sacred music and sound to explain how people of different faiths tried, and failed, to live together in the city that hosted the opening and closing acts of the Thirty Years War.

Pavel Kodýtek is a graduate of the Prague University of Economics. He spent two decades working in various leadership roles in finance and business. Recently, he opted to refocus professionally from finance to music, which had been his passion for as long as he can remember. In 2021 he graduated with a Bachelor's degree in Musicology from Charles University in Prague and is currently pursuing further studies.

Axel Körner is Professor of Modern Cultural and Intellectual History at Leipzig University and Honorary Professor at University College London. He held visiting positions at the Institute of Advanced Study, Princeton, the École Normale Supérieure in Paris and New York University. He published widely in the field of intellectual history, and on the history of opera and music in transnational perspective. His America in Italy. The United States in the Political Thought and Imagination of the Risorgimento, 1763-1865 (Princeton University Press 2017) won the Marraro Prize of the American Historical Association.

Gregor Kokorz is an Austrian musicologist based at the University of Innsbruck. He is the OeAD Visiting Associate Professor at the University of Alberta. His research covers particularly questions of cultural transfer, and music and identity in Central Europe. His present research focuses on music traditions in the city of Trieste in the 19th century.
Gregor Kokorz has received his PhD in musicology in 2008 from the University of Graz with a dissertation on the history of ethnomusicology. He has been a member of the interdisciplinary research project Modernity. Vienna and Central Europe around 1900 at the University of Graz (1996-2004), research assistant at the Wirth Institute for Austrian and Central European Studies of the University of Alberta (2004-2005), a Mellon Visiting Professor at the University of Chicago (2012), and served on the board of the Austrian musicological society (2014-2017).

Benjamin M. Korstvedt is an active researcher and scholar, a committed and enthusiastic teacher, a frequent speaker at national and international conferences, and a productive author and editor. He graduated summa cum laude from Clark University in 1987 with a B.A. in Music and received his Ph.D. from the University of Pennsylvania in 1995. He joined the Clark faculty in 2002, where he is now Professor of Music and currently serves as Chair of the Department of Visual and Performing Arts. Before coming to Clark, Professor Korstvedt held faculty positions at the University of St. Thomas, Ball State University, and the University of Iowa.
Scholarship and Research / Professor Korstvedt publishes widely in several areas. He is a leading scholar of the great Austrian symphonist Anton Bruckner (1824-96). His current book project is Bruckner’s Fourth: The Critical Biography of a Symphony, which explores the long history of the Fourth Symphony starting with its extraordinarily complex compositional history and continuing through its reception by later generations as they performed and interpreted the symphony in their own ways. Korstvedt also works in other areas of critical musicology.  He is the author of a critical study of the musical aesthetics of the German philosopher Ernst Bloch (1885-1977) entitled Listening for Utopia in Ernst Bloch's Musical Philosophy (Cambridge University Press). Other publications cover topics ranging from the role of music criticism in public discourse to the social character of Schubert’s late style, with new work in progress on liberal anxieties surrounding the body as a social text as reflected in musical culture ca. 1900.

Catherine Mayes is associate professor of musicology at the University of Utah. Her research has focused primarily on exoticism and national styles in European music of the late eighteenth and early nineteenth centuries, with particular attention to the cultural perceptions and market forces that shaped Western European engagement with Eastern Europe and its music during this time. Her work has appeared in Eighteenth-Century Music, Music & Letters, The Oxford Handbook of Topic Theory, The Journal of Music History Pedagogy, The Cambridge Haydn Encyclopedia, and Consuming Music: Individuals, Institutions, Communities, 1730–1830, a volume of essays she co-edited with Emily H. Green. Catherine won the Westrup article Prize from Music & Letters in 2015 and the Faculty Excellence Award in Teaching from the University of Utah’s College of Fine Arts in 2018. She is currently completing a book titled Hungarian Dances in Eighteenth-Century Vienna: Gender, Class, and Cross-Cultural Encounters.

Dylan Price is a scholar of (trans)nationalism and the environmental humanities, exploring music, sound, and other forms of culture in Slavonic and Anglo-American contexts. My methods are at once affective, political, and spatial, examining space-place relations in the late-nineteenth and early-twentieth centuries. In my doctoral project, these interests converge upon the figure of Antonín Dvořák, whose output exemplifies shifting notions of space, identity, and belonging that emerged at this time. But I have a wider interest in developing new theoretical apparatuses, using resources derived from the humanities and social sciences more broadly. My doctoral research is supervised by Professor Daniel Grimley.

Dr. Vadym Rakochi is a Ukrainian musicologist and composer. His publications range over the history of orchestra, instrumental concerto, and orchestral styles. Vadym has finished the first volume (the 17thand the18th centuries) of his three-volumes monograph The Evolution of the Instrumental Concerto through the Lens of the Development of the Orchestra. This research links the transformation of the concerto and the orchestra to reveal their mutual influence in different historical, political, and social circumstances. Vadym Rakochi provides lectures on orchestration, composition, and classical harmony in Chubynsky Academy of Arts in Kyiv, Ukraine. Currently, Vadym is a Fulbright fellow at NYU.

Mary Barres Riggs (B.A., art history, Harvard University; M.A., dance history, thesis on Dance/Music Relationships in John Neumeier’s Third Symphony of Gustav Mahler, University of Utah) performed four principal roles under the direction of Bronislava Nijinska, including the “Rag Mazurka” in Poulenc’s Les Biches at Jacob’s Pillow. Coached by Hans Brenna of the Royal Danish Ballet, she performed a solo role in La Sylphide on a tour of Europe with Rudolph Nureyev and understudied his partners Eva Evdokimova and Liliana Cosi in La Sylphide and Flower Festival. She also performed with the Metropolitan Opera Ballet, and, under the direction of Robert Mead, with the Niedersächsische Staatsoper Hannover, Germany. She has presented at national conferences of the Society for Dance History Scholars and the Congress on Research in Dance, and at conferences of the International Musicological Society (London) and the American Musicological Society (Toronto). Her dance poetry has been published by VOX Press and CID UNESCO. 

Robert Riggs (Ph.D. Harvard University) began his career as a violinist, spending five years performing in Germany with the Niedersächsische Staatsorchester Hannover, and, during graduate school, freelancing with the Handel and Haydn Society and other orchestras in Boston. Most of his teaching career for musicology and violin was at the University of Mississippi, where he retired as professor emeritus in 2019. For two years he was a visiting professor at the University of Utah. He has presented at numerous national and international conferences, and his publications include: articles on Mozart, aesthetics, and performance practice (in The Musical Quarterly, Mozart-Jahrbuch, Journal of Musicology, and College Music Society Symposium); two books, Leon Kirchner: Composer, Performer, and Teacher, and The Violin (both with the University of Rochester Press); and two chapters in The Creative Worlds of Joseph Joachim (Boydell and Brewer).

Sarah Sabol, originally from Ovid, New York, began her Ph.D. in musicology at Indiana University Bloomington in Fall 2020. She previously earned an M.A. in musicology from McGill University (Montreal, Quebec) and a B.M. in organ performance from Rice University (Houston, Texas). Sarah is currently interested in cultural aspects of music performance and production during the sixteenth and seventeenth centuries and primarily engages with liturgical polyphony, secular song, and early hymnals. She also is working on the analytical features of this music, namely modal cadence theory in the late sixteenth century. Another topic addressed in her research is the intersection of class structure and music. She enjoys spending time outdoors, as well as cooking, climbing, and attempting puzzles of all kinds. 

Anna Sanda received her Master’s qualification in both Church Music from the Franz Liszt Academy of Music in Budapest (2014) and Musicology, with distinction, from the University of Vienna (2018). During her studies (2013-18), she worked as a Junior Research Fellow at the Hungarian Academy of Sciences as well as collaborating on the research project, financed by the Austrian Science Fund, on “The Church Music Library of Elector Maximilian Franz” at the Institute of Musicology, University of Vienna. She has also worked (2019-20) for the digital edition project “Corpus Monodicum. The Monophonic Music of the Latin Middle Ages” (research project of the Academy of Sciences and Literature Mainz) at the University of Würzburg and as the University Assistant of Birgit Lodes at the University of Vienna. Since August 2020, she has been engaged in doctoral research on “Music and Ritual at the Electoral Court of Bonn in the late 18th century”, supported by a grant from the Austrian Academy of Sciences.

Timur Sijaric studied classical saxophone and composition at the Music and Arts University of the City of Vienna (MUK) and musicology at the University of Vienna. From 2020 PhD-candidate at the University of Music and Performing Arts Vienna (MDW). From 2018 Research Assistant at the Musicology Department (formerly Institute for Art and Music History Research of the Austrian Academy of Sciences, now ACDH-CH). 2020–2021 project lead of the research project “Wien im Kulturfilm. Aspekte der Audiovisuellen Inszenierung der Stadt 1938–1958” at the same institution. From 2021 a fellow of Internationales Forschungszentrum Kulturwissenschaften (IFK) and a Research Assistant at MUK with focus on audio-visuality, mediality of music and historical film music. 

Marie Sumner-Lott is an Associate Professor of music history at Georgia State University in Atlanta, Georgia. She is the author of The Social Worlds of Nineteenth-Century Chamber Music: Composers, Consumers, Communities (University of Illinois Press, 2015), which explores the publication and performance of string chamber music by middle-class music lovers in nineteenth-century Europe. She has also published articles and essays about the music of Johannes Brahms, Clara and Robert Schumann, Carl Czerny, Jan Dussek, and Louise Farrenc. Her 2012 article on Brahms’s Op. 51 string quartets, published in the Journal of the Royal Musical Association (U.K.), won the Deems Taylor Award for outstanding writing about concert music given annually by the American Society of Composers, Artists, and Publishers. Her current research project explores Romantic Medievalism, or evocations of the Middle Ages in art and music during the long nineteenth century.

Claudio Vellutini is Assistant Professor of Musicology at the University of British Columbia, Vancouver. Previously he was a Post-Doctoral Research Scholar and Visiting Assistant Professor at the Jacobs School of Music of Indiana University (Bloomington). He received his PhD in Music History and Theory from the University of Chicago. He is currently working on a book project on opera and cultural exchanges between Vienna and the Italian States in the first half of the nineteenth century with the support of an Insight Development Grant from the Social Sciences and Humanities Research Council of Canada. He is also the recipient of an Ernst-Mach Fellowship from the Österreichischer Austauschdienst, and of an Alvin H. Johnson AMS 50 Dissertation Fellowship from the American Musicological Society (2014-15). His publications have appeared in the Journal of the American Musicological Society, 19th-Century Music,Cambridge Opera Journal, and in a number of edited volumes.

Andrew Weaver is Professor of Musicology at The Catholic University of America. A specialist in music at the Habsburg court in early modern Vienna, he is the author of Sacred Music as Public Image for Holy Roman Emperor Ferdinand III: Representing the Counter-Reformation Monarch at the End of the Thirty Years’ War (Ashgate, 2012) and editor of A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries (Brill, 2020). He has published critical editions of sacred works by Emperor Ferdinand III, Giovanni Felice Sances, and other musicians from the imperial court, and his work also appears in such journals as the Journal of Musicology, Music & Letters, Journal of the Royal Musical Association, Journal of Seventeenth-Century Music, Early Music, Schütz-Jahrbuch, Journal of Musicological Research, Nineteenth-Century Music Review, and more.