About the Authors
Skip other details (including permanent urls, DOI, citation information)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Please contact email@example.com to use this work in a way not covered by the license. :
For more information, read Michigan Publishing's access and usage policy.
Michael Beckerman, Guest Editor
Michael Beckerman is Carroll and Milton Petrie Professor and Chair of Music at New York University and Distinguished Professor of History at Lancaster University. He has written books on Janáček, Dvořák and Martinů and is currently completing a study on Gideon Klein’s final Terezin composition and working on musical middles.
Anna Harwell Celenza is the Thomas E. Caestecker Professor of Music at Georgetown University and the author of several scholarly books. Her research has also appeared in The Hopkins Review, Musical Quarterly, Nineteenth-Century Music, Notes, The Cambridge Companion to Liszt (2005), and Franz Liszt and His World (2006). She has authored a series of award-winning children’s books with Charlesbridge Publishing, the most recent being Duke Ellington’s Nutcracker Suite (2011), and her work has been featured on nationally syndicated radio and TV programs, including NPR’s “Performance Today,” the BBC’s “Music Matters” and “Proms Broadcasts,” and C-Span’s “Book-TV.”
Lily E. Hirsch (PhD, Duke University, 2006) was most recently Assistant Professor of Music at Cleveland State University. Her book A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League was published by the University of Michigan Press in 2010. Her research has also appeared in Musical Quarterly, Philomusica, the Journal of Popular Music Studies, American Music, and Popular Music & Society. Hirsch is currently at work on a book project concerning music’s roles in American crime prevention and punishment, to be published by the University of Michigan Press, as well as a volume focused on Jewish music in Germany after the Holocaust, co-edited with Tina Frühauf.
Karen Painter is Associate Professor in Music at the University of Minnesota. She writes on the history of musical listening, especially in the context of aesthetics, ideology and social history. The framework for her research has involved early bourgeois musical culture, fin-de-siècle cultural debates, World War I, Austro-German socialism, and Nazism. Author of Symphonic Aspirations: German Music and Politics, 1900-1945, she has also edited Late Thoughts: Reflections on Artists and Composers at Work (with Thomas Crow) and Mahler and His World.