Adem Merter Birson is a musicologist specializing in history and analysis of both eighteenth-century music and Turkish classical music in the Ottoman tradition. After receiving his Ph.D. in Musicology from Cornell University (2015), Dr. Birson went on to become the Director of the Conservatory at Ipek University, in Ankara, Turkey. While there, he laid the groundwork for a conservatory that offered training in both Western and Turkish music. He also studied oud (lute) performance and makam theory with artists from the Turkish Ministry of Culture and Tourism. Currently an Adjunct Assistant Professor of Music at Hofstra University, in Long Island, New York, Dr. Birson enjoys teaching undergraduate courses in music theory, ear training, and music appreciation. He also founded and directs the Hofstra Turkish Ensemble and performs in the New York City area as a member of the early music ensemble, Eurasia Consort.

Canadian harpsichordist Katelyn Clark is a performing artist specializing in historical repertoire and experimental music on early keyboard instruments. As a soloist and ensemble musician, she has performed across Europe, the USA, and Canada. Originally from Victoria, British Columbia, Katelyn studied with Bob van Asperen at the Amsterdam Conservatory and holds a doctorate in performance studies from McGill University, where she studied with Tom Beghin and Hank Knox. Her artistic practice has been generously supported by Le Conseil des arts et des lettres du Québec, The Banff Centre, the Early Music Society of the Islands, and the Canada Council for the Arts.

Charles T. Downey is a freelance writer on classical music and opera, for the Washington Post and other publications, and the editor of the Internet magazine Ionarts (www.ionarts.org). His scholarly publications include contributions to a critical edition of and volume of essays on La Délivrance de Renaud: Ballet dansé par Louis XIII en 1617, and articles in Études grégoriennes, Comparative Drama, and Studia Musicologica Academiae Scientiarum Hungaricae. He holds a Ph.D. in historical musicology from the Catholic University of America, where he studied with Ruth Steiner, with research centered on Gregorian chant and on French Baroque opera and ballet.

Mark Ferraguto is Assistant Professor of Musicology at the Pennsylvania State University. He received his PhD from Cornell University in 2012. A specialist in the music of the long eighteenth century, he has contributed articles and reviews to journals such as Music and Letters, Journal of the American Musicological Society, Studia Musicologica, and Keyboard Perspectives. He co-edited the multidisciplinary collection Music and Diplomacy from the Early Modern Era to the Present (Palgrave Macmillan, 2014) and is currently preparing a monograph tentatively titled Hearing Beethoven Historically: 1806-1807. An Associate of the American Guild of Organists, he is an active performer on organ and harpsichord.

Michaela Freemanova studied musicology at the Charles University, Prague. She has worked for Supraphon publishers, the Czech Museum of Music as music archivist, head of the musical instruments department, and head of the library, and as music curator of the Prague Castle 1992-1993. Since 2002 Freemanova has served on the music history department of the Academy of Sciences of the Czech Republic. Her main research interests include music life of the 17th to early 19th century, including music societies, music collections, music life of religious communities, music teaching, oratorio and opera performances, and sacred music, 18th century music theory, George Frideric Handel, Joseph and Michael Haydn, Bohemian musicians abroad (especially in England), organology, and watermarks.  Together with her husband, David J. Freeman, since 1989 she has organized a number of early music events.  She is director of the Czech Early Music Society, a member of the Czech Joseph Haydn Society committee, and has overseen programming of the Haydn Festival of Music in the Czech Republic since 2002.

Edward Green, whose NYU doctoral thesis dealt with chromatic completion in Haydn and Mozart, is an award-winning composer. His Piano Concertino was nominated for a Grammy in 2010. Since 1984, he has been on the faculty of Manhattan School of Music. A Fulbright Senior Specialist, who last summer taught a seminar in Buenos Aires on the music of John Cage, Dr. Green’s publications range from Marcabru and Guido d’Arrezo to Prokofiev, Richard Rodgers, and Harry Partch. Along with his writings on chromatic completion in the Classical Era, Dr. Green is best known in musicological circles for his studies of Duke Ellington, and of such contemporary Chinese composers as Zhou Long.

A medical graduate of Cambridge University (MA, MD), Martin Heyworth retired from a 46-year career as a physician at the end of 2017. Dr. Heyworth’s career in medicine emphasized research and administration. He published papers on immunological aspects of the intestinal parasitic infection giardiasis, wrote a chapter on this infection for three editions of the Oxford Textbook of Medicine (Oxford University Press) and, from 1999 to 2009, was Chief of Staff of the Veterans Affairs Medical Center in Philadelphia. Currently, Dr. Heyworth is an Adjunct Professor of Medicine in the University of Pennsylvania. Dr. Heyworth has had a lifelong engagement with music. After piano lessons in childhood, an interest in writing music began at around the age of 17 (in 1964), and has developed since then. Dr. Heyworth’s works include a 4-movement Sinfonia, which was rehearsed by the Chamber Orchestra of Philadelphia in November 2015, and four string quartets, which were read by the Philadelphia-based Wister Quartet during 2017-2018. The most recent of these string quartets, which was completed in 2010, is scheduled for public performance in Philadelphia, by the Wister Quartet, in March 2020. Since retirement from medicine, music (particularly composing) has become Martin Heyworth’s main activity. He has a strong interest in 18th Century music, particularly the works of Joseph Haydn. Dr. Heyworth’s engagement with the music of Haydn started during the late 1950s when, as a schoolboy in Cheltenham, England, he encountered H.C. Robbins Landon’s 1955 book on the Haydn symphonies, and began listening to broadcasts of these works (and of other works by Haydn, as well as music by a wide range of other composers) on the BBC Third Programme. As a clinical medical student and clinical lecturer at Oxford in the late 1960s and the 1970s, Martin Heyworth had access to a 1772 Kirkman harpsichord in the Ashmolean Museum, and used to improvise publicly on this instrument. In his role as faculty advisor for an orchestra largely comprising members of the University of Pennsylvania life sciences community in Philadelphia (the Penn Med Symphony Orchestra; PMSO), Dr. Heyworth writes program notes for PMSO concerts. His article in the current issue of HAYDN is Dr. Heyworth’s first contribution to the professional musicological literature.

Halvor K. Hosar recently finished a PhD on the sacred music of Johann Baptist Waṅhal at the University of Auckland; he has since lectured at the University of Trondheim (NTNU) and been guest lecturer at the Albert-Ludwigs-Universität Freiburg. He is general editor of the new Waṅhal catalog, and editor of the sacred music in the new Ignaz Pleyel Ausgabe. Dr. Hosar is currently working on a monograph on paraliturgical sacred music in the era of Haydn and Mozart. His work on Waṅhal’s early life earned him the prize for best student paper at the 2018 conference of the Society for Eighteenth-Century Musicin Tallahassee.

Samantha Inman is a lecturer of music theory at the University of North Texas, where she also serves as aural skills coordinator. She received a Ph.D. in music theory from the Eastman School of Music with a dissertation entitled “The Nexus of Inner and Outer Form in Joseph Haydn’s Late Instrumental Sonata Movements.” Her research interests include form, Schenkerian analysis, and the music of Haydn, Bach, and Schumann.

Melanie Lowe is Associate Professor of Musicology and Chair of the Department of Musicology and Ethnomusicology at Vanderbilt University’s Blair School of Music.  Author of Pleasure and Meaning in the Classical Symphony (Indiana University Press, 2007) and co-editor of the forthcoming Rethinking Difference in Music Scholarship (Cambridge University Press, 2013), she is widely published on Haydn, Mozart, and other eighteenth-century subjects, Enlightenment aesthetics, topic theory, music in American media, and music history pedagogy.

Bruce C. MacIntyre is Professor Emeritus of Music at the Conservatory of Music of Brooklyn College (CUNY) where from 1984 to 2017 he taught music history, directed choruses, advised theses, and served as deputy chairman (1984-2006; 2015-17) and as the Conservatory’s director (2006-15). He was also a member of the doctoral faculty at The Graduate Center of CUNY. His areas of special expertise include Viennese choral and chamber music of the late eighteenth century. Dr. MacIntyre published Haydn: The Creation (New York, 1998) and The Viennese Concerted Mass of the Early Classic Period (Ann Arbor, 1986). His articles on Mozart’s masses, litanies, motets, offertories, smaller church works, as well as religion and liturgy appeared in Cambridge Mozart Encyclopedia, ed. Cliff Eisen and Simon P. Keefe (Cambridge, 2006). Since 2016 he has served as treasurer for the Haydn Society of North America. He is currently preparing an edition of the Missa solemnis in C (Sanctae Caeciliae) by Florian Leopold Gassmann, the talented Viennese composer who was Hofkapellmeister 1772-1774. The present paper is based upon an unpublished paper he presented at the 1987 International Michael Haydn Festival Conference that celebrated the 250th anniversary of that composer’s birth at the University of Missouri-Columbia and was organized by Professor Charles Sherman.

Dr. MacIntyre was raised in Johnstown, N.Y., received the A.B. degree in music from Hamilton College, and completed graduate studies in musicology at S.U.N.Y./Stony Brook (M.A.), the University of Cologne, and The Graduate Center of C.U.N.Y. (Ph.D.).

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.

Balázs Mikusi holds a PhD from Cornell University (Ithaca, NY), and has been head of the Music Department at the National Széchényi Library, Budapest, since 2009. Previously he studied musicology at the Liszt Academy (now University) of Music, and held Fulbright and DAAD fellowships, among others. His scholarly interests are wide-ranging, but the music of Joseph Haydn plays a special role: he has published on this topic in Eighteenth Century Music, Journal of Musicological Research, Ad Parnassum, Studia Musicologica, and further articles are forthcoming in Haydn-Studien, Eisenstädter Haydn-Berichte, as well as a new collection of essays entitled The Land of Opportunity: Joseph Haydn and Britain. His monograph on The Secular Partsong in Germany 1780–1815 is also forthcoming in the Eastman Studies in Music series of the University of Rochester Press.

Tom Mueller is Assistant Professor of Church Music and University Organist at Concordia University in Irvine, California, where he teaches organ, theory, and composition, and directs programs in keyboard studies and composition. An award-winning church musician, Mueller also serves as the associate organist at St. James’ in the City in Los Angeles. His research interests include the keyboard works of J. S. Bach, the performance practice of organ continuo in the classical period, and the American reception of the nineteenth-century opera star Jenny Lind. Mueller holds degrees from the Eastman School of Music, the University of Notre Dame, and the University of Maine at Augusta. He currently resides in Orange County with his wife and their two daughters.

James K. Palmer’s primary research focuses on instrumental music from the late-eighteenth and early-nineteenth centuries. In a recent article he discussed musical topics, formal functions, and linguistic theories of verbal humor to explain how Classical composers create humor through “script oppositions” and “excess.”  James has presented at many regional meetings of the Society for Music Theory and, at the 2017 national meeting in Arlington, VA, he presented new work discussions metric disruptions in the progressive bluegrass music of Punch Brothers. His other research interests include music pedagogy, performance analysis, and Balinese gamelan.  James is an award-winning teacher who has taught music theory and aural skills at McGill University, the University of British Columbia, and Douglas College, and he is currently a Visiting Assistant Professor at St. Olaf College.

Walter Reicher is the artistic director of the Eisenstadt Haydn Days.

Angela Ripley is Affiliated Scholar of Music Theory at the College of Wooster. Her research focuses on music theory pedagogy, with a specialization in pedagogical games. Other areas of interest include form and contemporary church music. She has a Ph.D. in music theory from The Ohio State University, and she has held faculty appointments at the College of Wooster, the University of Alabama, and Baylor University. She has presented her research at national and regional meetings of the Society for Music Theory and at Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century. Her articles appear and are forthcoming in the Journal of Music Theory Pedagogy and Music Theory Pedagogy Online.

John Rogers is a professor of English at Yale University.  He is the author of The Matter of Revolution: Science, Poetry, and Politics in the Age of Milton, which was awarded the Modern Language Association First Book Prize as well as the Milton Society of America's James Holly Hanford Prize for Best Book.  He is completing a second book on Milton’s antitrinitarianism, titled Milton’s Passion: Heresies of Individualism from the “Nativity Ode” to “Samson Agonistes.”  Rogers is the editor of Relation Stands: Essays on Paradise Regained, a special volume of The Huntington Library Quarterly (April 2013).  In addition to an essay on Isaac Newton’s literary ties to Milton, Rogers has written widely on a range of seventeenth-century English figures and subjects.  A recipient of the Yale College – Sidonie Miskimin Clauss Prize for Teaching Excellence in the Humanities, he has also taped a 13-week online lecture course on Milton, which can be found at http://oyc.yale.edu/english/engl-220. 

Michael Ruhling, is the editorial director of HAYDN: Online Journal of the Haydn Society of North America.  He has taught courses in music history and appreciation at Rochester Institute of Technology, and conducted the RIT Orchestra, since 1998.  He also teaches courses at the Eastman School of Music, and has been on the faculties of Goshen College, Huntington College, and The Catholic University of America.  From 2004 to 2009 Ruhling served on the conducting and lecture faculty of the Classical Music Festival held each August in Eisenstadt, Austria.  Publications include Johann Peter Salomon's Scores of Four Haydn Symphonies: Edition with Commentary, and an essay on the symphonies of Michael Haydn for The Symphonic Repertoire, Vol. 1: The Eighteenth Century Symphony (Indiana University Press, 2012). He was named the 2008-2009 Christopher Hogwood Historically Informed Performance Fellow by the Boston Handel and Haydn Society.  Ruhling is the first president of the Haydn Society of North America, is a member of the Haydn Society of Great Britain's Committee of Honour, and recently served as secretary-treasurer of the Society for Eighteenth Century Music.

Olga Sánchez-Kisielewska is an Assistant Instructional Professor at the University of Chicago and received her PhD in Music Theory and Cognition from Northwestern University. She is a scholar of eighteenth-century music, with special interest in issues of expression, meaning, and historically informed pedagogy. Her research has received several awards —including the 2016 Patricia Carpenter Emerging Scholar Award and the 2014 Otto Mayer-Serra Award for best essay on Latin American Music— and appears in Theory and Practice, Journal of Music Theory Pedagogy, and Singing in Signs: New Semiotic Explorations of Opera (OUP 2020). In 2020 she received the Janel M. Mueller Award for Excellence in Pedagogy.

David Thurmaier is Associate Professor of Music Theory and Chair of the Music Studies Division at the University of Missouri – Kansas City Conservatory. His research focuses on the music of Charles Ives, about whom he has published in a variety of journals, as well as the Beatles.

Dr. Jenny Välitalo has performed as a soloist, chamber and orchestral musician on five continents. Active as a performer and teacher, Jenny’s primary research interests include eighteenth-century German and Swedish music, history and performance practice. Her current research on the Berlin court during the time of Frederick the Great is made possible by generous support from both European and U.S. sources. Following studies at Edsbergs Musikinstitut in her native Sweden, Jenny was awarded a Fulbright grant for graduate studies at the New England Conservatory of Music in Boston. She holds a Doctorate degree from the Eastman School of Music.

Since 1994, William Weinert has served as Professor of Conducting and Director of Choral Activities at the Eastman School of Music of the University of Rochester.   Weinert has also frequently conducted opera and symphonic repertoire, and has performed extensively as a recitalist and oratorio soloist.  He has published articles on the music of Brahms, Bruckner, and Georg Schumann, as well as Geistliche Gesäng und Melodeyen: a Critical Edition with Commentary, an edition of twenty-four motets by the prominent baroque composer Melchior Franck. Between 1998 and 2011 he was editor of The American Choral Review, the journal of the American Choral Foundation.