Musicologist David Crook, as a writer and editor, has focused on European music of the late sixteenth and early seventeenth centuries and the religious and political institutions that shaped its production and reception. He is the recipient of research grants from the National Endowment for the Humanities, the Deutscher Akademischer Austauschdienst, and the Wisconsin Institute for Research in the Humanities. Crook is author of Orlando di Lasso’s Magnificats for Counter-Reformation Munich (1994) and co-editor of Orlando di Lasso: The Complete Motets (1995–2006). He is general editor of the series Recent Researches in the Music of the Renaissance published by A-R Editions. Crook received his Ph.D. from Princeton University, his M.A. from the University of California at Riverside, and his B.M. from the University of Redlands.
Wim Daeleman, the author and webmaster of the De Rore Website, graduated as a medical doctor in 1974 at the Vrije Universiteit Brussel (in Brussels), and was head of the Informatics Department from 1984–2012 in a medical institute. He completed a postgraduate degree in Information and Library Science (with highest distinction) at the UIA in Antwerp in 1994. Daeleman created the De Rore Website because of his admiration for Cipriano De Rore, after discovering that no other website was yet dedicated to this wonderful composer.
Ross W. Duffin is the Fynette H. Kulas Professor of Music at Case Western Reserve University where he directs the undergraduate and graduate programs in early music. His most recent book, How Equal Temperament Ruined Harmony (And Why You Should Care), was published by W. W. Norton in 2006, and his edition of the theoretical works of Thomas Ravenscroft was published by Ashgate in 2014. He lectures widely on tuning and on Shakespeare, and he is currently preparing a follow-up to Shakespeare’s Songbook (2004). He has also taught and lectured at summer early music workshops in Toronto, Vancouver, Amherst, Washington DC, Oberlin, San Francisco, and Los Angeles. Duffin is known for his many years (1981–98) as the lively, informative host and producer of Micrologus: Exploring the World of Early Music, on National Public Radio. A native of London, Canada, he received his bachelor’s degree from the University of Western Ontario and both his master’s degree and DMA from Stanford University.
Giuseppe Gerbino is an associate professor of music at Columbia University. His research interests include the Italian madrigal, the relationship between music and language in the early modern period, early opera, and Renaissance theories of cognition and sense perception. He is the author of Canoni ad Enigmi: Pier Francesco Valentini e l’artificio canonico nella prima meta del Seicento (Rome, 1995), and Music and the Myth of Arcadia in Renaissance Italy (Cambridge, 2009), which won the 2010 Lewis Lockwood Award of the American Musicological Society. He received his PhD from Duke University and a degree in musicology from University of Pavia, Italy.
Bonnie Gordon’s primary interests center on the experiences of sound in Early Modern music making and the affective potential of the human voice. Her first book, Monteverdi’s Unruly Women (Cambridge University Press, 2004), frames the composer’s madrigals and music dramas written between 1600 and 1640 as windows into contemporary notions of sound, body, voice, and sense. She uses vocal music written for sixteenth- and seventeenth- century Italian singers to illuminate our understanding of the music, science, and culture of that period. She co-edited an interdisciplinary and cross cultural volume of essays about courtesans entitled The Courtesan’s Arts, (Oxford University Press, 2006).
Ralph Hexter is a distinguished professor of classics and comparative literature. In addition to his post as Provost and Executive Vice Chancellor at UC Davis, Hexter has continued to teach, lecture, and publish on the interpretation and meaning of classical Greek and Roman literature from antiquity through the Middle Ages to modern times. His most recent work includes a historical survey of Ovid’s exile poetry in Rezeption der antiken Literatur: Kulturhistorisches Werklexikon, Der Neue Paully, Supplemente, vol. 7, edited by Christine Walde (2010); an account of the pseudo-Ovidiana in Ovid in the Middle Ages, edited by James G. Clark, Frank T. Coulson, and Kathryn L. McKinley (2011); The Oxford Handbook of Medieval Latin Literature, co-edited with David Townsend (2012); and “Conquering the Obstacles to Kingdom and Fate: The Ethics of Reading and the University Administrator,” with Craig Buckwald, in The Humanities and Public Life, edited by Peter Brooks with Hilary Jewett (2014).
Jeffrey Levenberg is an assistant professor of music at The Chinese University of Hong Kong. Recently, he was a visiting assistant professor of music at Skidmore College. Levenberg received his PhD from Princeton University, with his dissertation titled ”Giovanni d’Avella’s Regole di Musica: A Defense of Gesualdo’s Chromaticism.” Levenberg has both a bachelor’s and master’s of music degree from the New England Conservatory.
Anthony Newcomb, former humanities dean and distinguished professor emeritus at UC Berkeley, is a leading authority on the Italian madrigal, he is author of The madrigal in Ferrara, 1579–97, a path-breaking study of the concerto delle donne, and editor of the Complete Works of Luzzasco Luzzaschi.
Jessie Ann Owens earned her Ph.D. from Princeton University in 1978 with a dissertation that explored a cultural artifact of the Bavarian court—a lavishly illuminated manuscript of motets by the Flemish composer Cipriano de Rore, with a commentary by humanist Samuel Quickelberg. Her early work focused on archival research about Italian Renaissance music. Fellowships from the Villa I Tatti—the Harvard University Center for Italian Renaissance Studies in Florence—and the American Council of Learned Societies enabled her to explore music at the Este court in Ferrara during the mid-sixteenth century. Owens edited the thirty-volume series The Sixteenth-Century Madrigal with Garland Publishing, the first modern edition of a number of madrigal books. Another interest is historiography, especially as it relates to our understanding of a musical Renaissance. She also served as series editor of Criticism and Analysis of Early Music (Garland, now Routledge). Analytical work on early music led Owens to a study of mode and key as organizing principles in music and the investigation of musical structures through a study of compositional process. Her book Composers at Work: The Craft of Musical Composition 1450–1600 (Oxford University Press, 1997) received the 1998 ASCAP-Deems Taylor Award. It is the first systematic investigation of composers’ autograph manuscripts from before 1600 and offers a view of the conceptual foundations of musical language. She is now continuing her investigation of tonal language by examining English music of the sixteenth and seventeenth centuries. She is making the key texts available as series editor of Critical Editions of Music Theory in Britain 1500–1700 (Ashgate).
Alejandro Planchart is professor of music, emeritus, at the University of California, Santa Barbara. His book The Repertory of Tropes at Winchester won the Gustave Arlt award in the Humanities from the Council of Graduate Schools in the United States in 1979. In 2006 he received the Howard M. Brown Award from Early Music America for his lifetime contribution to the field of early music, and in 2009 he received the Arion Prize from the Cambridge Society for Early Music for his work on Guillaume Du Fay. Born in 1935 in Caracas, Planchart studied composition, piano, and harpsichord at Yale University, where he earned both a bachelor’s and master’s degree in music. He studied musicology at Harvard University, and received his PhD in 1971. In 1963 he founded the early music ensemble Cappella Cordina, which later became the collegium musicum at Yale. Planchart also founded a collegium musicum at UC Santa Barbara.
Christopher Reynolds, professor of musicology at UC Davis, is the author of three books, one on Renaissance music in fifteenth-century Rome, and another on how composers in the nineteenth century influenced each other, called Motives for Allusion: Context and Content in Nineteenth-Century Music (Harvard University Press, 2003). His latest book is Wagner, Schumann and the Lessons of Beethoven’s Ninth. His research has been supported by fellowships from the ACLS, the NEH (twice), the Humboldt Foundation, and two residencies at the Villa I Tatti in Florence. He was a founding editor of Beethoven Forum. Motives for Allusion was a finalist for the Otto Kinkeldey Award by the AMS. His article, “Porgy and Bess: An ‘American Wozzeck’,” in the Journal of the Society for American Music (2007), won the H. Colin Slim Award from the AMS, and also the Kurt Weill Prize from the Kurt Weill Foundation.
Deanna Shemek is a professor of literature at UC Santa Cruz and co-director of the Isabella d’Este Archive (IDEA). A nationally recognized scholar of early modern Italian literature, she has wide-ranging interests in early modern feminism; humanism and gender culture; early modern literacy and non-canonical producers of writing (women, children, marginalized communities); and a host of other provocative topics. In 2013 she served as a convener for the UCHRI residential working group Digital Isabella d’Este: An Open-Access Online Research Forum. She brings the experience of prior collaborations with musicologists to her role as a conference respondent.