Owen Belcher is Assistant Professor of Music Theory at the University of Missouri - Kansas City Conservatory. His research interests include the music of J.S. Bach, the music of Caroline Shaw, and analytical applications of historical music theories. 

Eloise Boisjoli received her Ph.D in Music Theory from the University of Texas at Austin, spring 2018. Her dissertation, Haydn's Aesthetics of Sensibility: Interpretations of Sentimental Figures, Topics, Mode, and Affect in the String Quartet Slow Movements, situates Haydn and his music within the eighteenth-century culture of sensibility. She has presented on Haydn's music at numerous conferences, including Music Theory Midwest, where she won the Komar Award, and most recently at the American Society for Eighteenth-Century Studies, where she presented her paper "The Pamela Paradox; Or, How Arbitrary Signs Evoke Sensations in Haydn's Op. 77 no. 2." Boisjoli's research interests include the music of Joseph Haydn, eighteenth-century aesthetics, musical form, history of music theory, and music theory pedagogy. She holds degrees from St. Olaf College and the University of Minnesota, Twin Cities. 

Evan Cortens is a doctoral candidate in musicology at Cornell University, with a focus on eighteenth-century German music, and is currently completing a dissertation on the sacred cantatas of Christoph Graupner. He holds degrees in musicology from the University of Calgary (2006) and Boston University (2008) and his research interests include the computer-aided analysis of musical manuscripts. He spent the summer of 2012 conducting archival research in Darmstadt, Germany supported by the Deutsche Akademischer Austauschdienst(DAAD). He has published in Eighteenth-Century Music, Notes: Quarterly Journal of the Music Library Association and the Newsletter of the Society for Eighteenth-Century Music and his edition of Johann Samuel Schroeter’s Six Keyboard Concertos, op. 3 was recently published by A-R Editions.

Chad Fothergill is a graduate student in Music Studies at Temple University, Philadelphia, and is primarily interested in social, cultural, and literary aspects of seventeenth- and eighteenth-century musicking. After completing graduate studies in organ performance the University of Iowa, he served on faculties at the University of Delaware, Gustavus Adolphus College (St. Peter, Minnesota), and the Lutheran Summer Music Academy and Festival where he taught a variety of courses in history, theory, organ performance, and church music. Beyond coursework and reading, he remains active as an organist and harpsichordist in solo, collaborative, and liturgical settings in the Philadelphia and New York metropolitan areas.

Trained at the Eastman School of Music (B.Mus. in Theory) and New York University (M.A. and Ph.D. in Musicology), Prof. Floyd Grave serves as co-editor of one of the most widely read, peer-reviewed journals in the field, The Journal of Musicology, published by the University of California Press. A specialist in eighteenth-century instrumental music, theory, and aesthetics, he has written many articles and book reviews for major scholarly journals in the United States and Europe, including the Journal of the American Musicological Society, Music Theory Spectrum, Music Review, Eighteenth-Century Music, and Ad Parnassum. He is also a contributing author for The New Grove Dictionary of Music and Musicians, first and second editions. His books, co-authored with Margaret Grupp Grave, include In Praise of Harmony: The Teachings of Abbé Georg Joseph Vogler(University of Nebraska Press, 1987), Franz Joseph Haydn: A Guide to Research (Garland Publishing, 1990), and, most recently, The String Quartets of Joseph Haydn (Oxford University Press, 2006). His accomplishments as a music editor include editions of Abbé Vogler’s Pièces de clavecin and Zwei und dreisig Präludien (A-R Editions, 1986) and ballet-theater works by Vogler and his Mannheim colleague Christian Cannabich (A-R Editions, 1996).

Matthew J. Hall performs on the harpsichord, organ, and clavichord and holds degrees in musicology, linguistics, and performance practice. His research deals with compositional process, analysis, and aesthetics in music literature from the fifteenth to the eighteenth centuries.

Melissa Hoag is Associate Professor of Music Theory at Oakland University, in Rochester, Michigan, where she has been coordinator of the music theory area since Fall 2007. Melissa received a Ph.D. in music theory with doctoral minors in piano performance and music history from Indiana University. She also holds a bachelor of music degree from Drake University.   Her articles and reviews, many of which focus on music theory pedagogy and voice-leading techniques in the music of Brahms, appear in a variety of publications, including BACH: Journal of the Riemenschneider Bach Institute, Music Theory Online, Engaging Students: Essays in Music Pedagogy, Dutch Journal of Music Theory, Gamut, Journal of Music Theory Pedagogy, Music Theory Pedagogy-Online, College Music Symposium, Notes, and Semiotica, as well as the Routledge Companion of Music Theory Pedagogy, edited by Leigh VanHandel.

Mary Hunter is A. Leroy Greason Professor of Music at Bowdoin College. She is the author of The Culture of Opera Buffa in Mozart’s Vienna (Princeton 1999) and Mozart’s Operas: A Companion (Yale, 2008), and co-editor, with Richard Will, of Engaging Haydn: Culture, Context and Criticism (Yale, 2012). She has published many essays on eighteenth-century opera, Mozart, and Haydn, and is currently engaged in a project on the ideology of performance in classical music culture. (Photograph Copyright Dennis Griggs/Tannery Hill Studios. Used with permission.)

Benjamin M. Korstvedt is Professor of Music at Clark University in Worcester, Massachusetts. He is past Vice-President of the Haydn Society of North America and the author of Listening for Utopia in Ernst Bloch's Musical Philosophy (Cambridge UP, 2010).  He has also worked extensively with the music of Anton Bruckner, having published a monograph on the Eighth Symphony (Cambridge UP, 2000) and articles on formal issues in the symphonies, their textual history, and their reception in both fin-de-siècle Vienna and Nazi Germany.  He edited the first modern edition of the 1888 version of Bruckner’s Fourth Symphony for the Bruckner Gesamtausgabe (Vienna, 2004) and is now completing a comprehensive study of the manuscript sources of this symphony and its complex, fifteen year-long compositional history to be published as part of the Neue Bruckner Ausgabe.  Other current projects include essays on aspects of bourgeois identity as expressed in Schubert’s epic mode, in Brahms’s revisions of the Trio, op. 8, and in the psycho-social drama of Wagner’s Die Meistersinger.

Alexander Ludwig holds a Ph.D. in musicology from Brandeis University. He has taught at a number of colleges throughout New England, including College of the Holy Cross and Worcester Polytechnic Institute. His research focuses on music-theoretical issues of the late eighteenth century, especially Haydn's approach to musical form. His other areas of interest include popular music in the 1950s. He has given papers at local and national meetings of the American Musicological Society, Canadian Society for Eighteenth-Century Studies and Historical Keyboard Societies, and currently serves as the Secretary of the Haydn Society of North America. 

Dr. James S. MacKay is an associate professor of music theory and composition at Loyola University New Orleans. His research interests focus on formal and performance practice issues in the keyboard music of Haydn and Beethoven, form and counterpoint in Haydn’s string quartets, form and counterpoint in William Byrd’s vocal music, and the use of treatise evidence to illuminate 16^th and 18^th century compositional practice. His research has appeared in Haydn-Studien, Indiana Theory Review, Theory and Practice, Theoria, Ad Parnassum, Intersections, and Haydn: The Online Journal of the Haydn Society of North America.

Anthony Martin is violist with the New Esterházy Quartet, and a violinist with the Orchestra of the 18th Century and Philharmonia Baroque Orchestra. He has taught at the San Francisco Conservatory, the University of California, Berkeley, and currently at Stanford University, where he directs the Stanford Baroque Soloists.

Clare McCaldin’s performing career spans the opera stage and concert platform, including Salzburg Easter Festival, Royal Opera, BBC Proms, Radio 3 and Edinburgh International Festival. She has created roles in operas by Errollyn Wallen, and Stephen McNeff, and performed in concert with Oliver Knussen, The Brodsky Quartet, and Iain Burnside. Clare is known for programming innovative recitals in partnership with Andrew West, Paul Turner and Libby Burgess. She has a significant solo discography: her debut disc, Stephen McNeff’s Madrigali dell’Estate, her recording of Hugh Wood’s Laurie Lee Songs and her most recent disc, Notes from the Asylum, all won four stars from BBC Music Magazine. She also produces solo stage work through her company McCaldin Arts, notably Haydn’s London Ladies and the critically-acclaimed Vivienne. The Ubiquitous Woman, a new chamber opera by Martin Ward, and a monodrama about Mary I by Martin Bussey are currently in development. In addition to her performing and producing activities, Clare is involved with TORCH, The Oxford Research Centre in the Humanities, as part of project entitled Transforming the Operatic Voice. This examines the relationship between different singing styles in order to develop an exploratory new vocal style and musical language.

The commemorative blue plaque in London’s Soho district, which marks where Joseph Haydn lived during his first London visit, was fund-raised and overseen by Clare for the Haydn Society of Great Britain. It was unveiled in 2015.

Derek McCulloch studied singing in Stuttgart in the 1960s, and was at that time Germany’s only countertenor. Shortly after his return to England he was appointed alto lay-clerk at St George’s Chapel, Windsor Castle, and appeared regularly on sound radio, television and recordings as soloist with such conductors as Roger Norrington and Helmuth Rilling, including in the Flanders Festival and the Aldeburgh Festival. He wrote his doctoral thesis (1990) on Aristocratic Composers in the 18th Century and continues to explore neglected repertoires of the late 18th century, especially ‘minor’ composers in England and the German-speaking area. In 1985 Dr McCulloch founded Caf€ Mozart, which explores the repertoire of the late 18th century for performances with period instruments. The group performs up and down UK in venues of all shapes and sizes, and also in Austria and Germany. CDs include Goethe & the Guitar, with an award from the British Academy, Hail Windsor, Crown’d with lofty Towers: music written in or for the royal town of Windsor in the 18th century, and Haydn & The Earl of Abingdon for Naxos. Engagements have included a concert tour of Haydn’s Burgenland in Austria and the Early Music Festival in the Old Royal Naval College, Greenwich.

Mary Sue Morrow, Professor of Musicology at the University of Cincinnati, received her Ph.D. in Musicology from Indiana University. Her publications include Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution (1989), German Music Criticism in the Late Eighteenth Century:  Aesthetic Issues in Instrumental Music (1997), and articles in various journals and books, including Oxford Composer Companions: Haydn (2002), and The Cambridge Companion to the Symphony (in press). Currently she is co-editing (with Bathia Churgin) a book entitled The Eighteenth-Century Symphony, which will appear as the first volume of The Symphonic Repertoire published by Indiana University Press.

Nancy November is a senior lecturer in musicology at the University of Auckland. Her research and teaching interests centre on the music of the late eighteenth and early nineteenth centuries. Her recent publications include essays on the early performance of Beethoven’s string quartets, and their performance history in the recording age. She is currently editing a three-volume set of fifteen string quartets by Beethoven’s contemporary Emmanuel Aloys Förster. She recently completed a monograph entitled Beethoven’s Theatrical Quartets: Opp. 59, 74, and 95 (Cambridge University Press, 2013).

Bryan Proksch is assistant professor of music history at Lamar University in Beaumont, Texas. His research centers on the reception and “revival” of Haydn’s music in the early twentieth century, though he also works more generally on Viennese Classicism and the history of the trumpet. His essays have appeared in the Journal of the American Musicological Society (2011), the Journal of Musicological Research (2009), the Journal of the Arnold Schoenberg Center (2012), the Historic Brass Society Journal (2008 and 2011), theInternational Trumpet Guild Journal (2003, 2007, 2009, and 2011) and elsewhere. He has spoken at symposia held by the Haydn Festspiele in Eisenstadt, Austria (2011), by the Arnold Schönberg Center in Vienna (2006), by York University in Toronto, Canada (2009) and at meetings of the American Musicological Society (2005, 2008, 2013) and the Historic Brass Society (2008 and 2010). In 2007 he received grants from the Avenir Foundation for a month’s residence at the Schönberg Center to study that composer’s aesthetics and analytic techniques. In 2010 the Historic Brass Society gave him the Joe Utley Foundation Streitwieser Award for his ongoing work on trumpet history. His service includes working as the creator and editor of the International Trumpet Guild Journal’s “Repertoire Corner” column, as the newsletter/website editor for the Historic Brass Society, and as the organist and music director at St. John’s Lutheran Church in Lake Charles, Louisiana. In 2012 he earned his Service Playing Certificate from the American Guild of Organists.

John A. Rice is a freelance scholar and teacher devoted to the exploration of music as part of eighteenth- and early nineteenth-century society. After studying music history under Daniel Heartz at the University of California, Berkeley (PhD, 1987) he taught at the University of Washington (1987–88), Colby College (1988–90), the University of Houston (1990–97), and the University of Texas at Austin (1999). More recently he has been a visiting professor at the University of Pittsburgh (2010–11) and the University of Michigan (2012–13). He has received grants from the Alexander-von-Humboldt Stiftung, the National Endowment for the Humanities, and the American Philosophical Society. He has written many articles and several books, and has lectured widely in both the United States and Europe. His Antonio Salieri and Viennese Opera received the Kinkeldey Award from the American Musicological Society. He has served as president of the Mozart Society of America and is an elected member of the Akademie für Mozart-Forschung in Salzburg.

Vanessa L. Rogers is Associate Professor of Musicology at Rhodes College. She is also Research Associate at the University of Oxford, where she is one of the Associate Editors of the international London Stage 1800-1900 database and the Principal Researcher for Ballad Operas Online: An Electronic Catalogue. Her primary area of research is 18th-century and early 19th-century English stage music, and her current project is a book entitled Ballad Operas, Burlettas, and Burlesques: Comic Opera in Eighteenth-Century Britain

Rena Roussin is a Master's student in musicology at the University of Victoria, where she has served as the School of Music’s Teaching Assistant Consultant and as Editor of the graduate student-run journal Musicological Explorations. Her research interests include the music of the First Viennese School, as well as constructions of gender and sexuality in Classical and Romantic opera and Lieder. Before arriving at the University of Victoria, Rena completed a BA Honours in Music at Acadia University. Her in-progress Master’s thesis focuses on Haydn’s and van Swieten’s use of sentimental musical language and narrative in Die Jahreszeiten.

Jennifer Salamone is currently a Visiting Assistant Professor of Music Theory and Aural Skills at the Oberlin College Conservatory. Her recent research focuses largely on undergraduate pedagogy, with her students serving as a consistent source of inspiration. Outside of the classroom Jenn is an avid baker, enthusiastic coffee drinker, and mediocre crossfitter. She lives just outside of Cleveland with her husband and their collection of cacti. 

Christine Siegert is a Junior Professor in musicology & gender studies at the University of the Arts in Berlin. After a PhD on the Italian operas of Luigi Cherubini, she held research positions at the University of Würzburg, the Joseph Haydn Institute, Cologne, and the University of Bayreuth. She is co-editor of the Eisenstädter Haydn-Berichte with Walter Reicher and a member of the HAYDN editorial board.

Jess Tyre is Associate Professor of Music History at the Crane School of Music (State University of New York at Potsdam). His research focuses on French music criticism at the turn of the twentieth century. He has given papers on the music and reception of Brahms, Schumann, and the Austro-German orchestral tradition in France at local and national meetings of the American Musicological Society, the American Historical Association, the International Conference on Romanticism, the Haydn Bicentenary, and the North American Conference on Nineteenth-Century Music. His publications include articles in Journal of Musicology, Proceedings of the American Historical Association, Journal of Music Education research, and Library of Essays on Music, Politics, and Society. He also maintains interests in aesthetics and issues of performance practice in the nineteenth century. Dr. Tyre is currently preparing a study of the nexus between performance and the political appropriation of Beethoven's symphonies in France, and is conducting research into the reception of the fin-de-siècle French composers in the United States.

Bertil H. van Boer received his Ph.D. in Musicology from Uppsala University in 1983. An active professional violist and conductor as well, he has performed with orchestras in Austria, Canada, Germany, Sweden, the United States, and Nicaragua. As a musicologist, he focuses his research emphasis on opera and music in Scandinavia with articles appearing in The Journal of Musicology, Svensk tidskrift för musikforskning, Ars Lyrica, Journal of Musicological Research, Historic Brass Society Journal, Journal of Musicology, Eighteenth Century Music, Scandinavian Studies, as well as consulting with the Würtembergische Staatsoper and the Royal Swedish Opera. He is the author of several books on Scandinavian music and Swedish-German composer Joseph Martin Kraus, and has consulted for Naxos Records on music of Scandinavia, Malta, and the United States during the eighteenth century. He is Professor of Musicology-Theory at Western Washington University as well as past President of the Society for Eighteenth Century Music. His latest publications are a Dictionary of Music in the Classical Period published by Scarecrow Press and The Musical Life of Joseph Martin Kraus published by Indiana University Press.

Michael Weiss is currently studying at the University of Auckland, where he is preparing a PhD thesis centering on the use of eighteenth-century compositional patterns in the music of the early nineteenth century. He has received local and national recognition for his work in musicology. Michael has lectured in both music history and music theory, assisted with research into modern editions of Beethoven string quartets and delivered postgraduate seminars on music editing. He has a background in teaching and cello performance, and plays in a range of ensembles across the city.