Siebe Bluijs
(s.v.bluijs@tilburguniversity.edu) is an Assistant Professor at the Tilburg Center of the Learning Sciences (Tilburg University, the Netherlands). He holds a PhD in Dutch Literature from Ghent University (Belgium). His research interests concern literature education and the relations between media and meaning making in literary works. In his PhD project he analysed the form and functioning of the postwar literary radio play in the Low Countries, focusing on innovations in narrative and semiotic composition. His current research focuses on the relevance of ‘digital literature’ (e.g., computer-generated poetry, literary smartphone applications and narratives in virtual reality) for the development of digital literacies. Additionally, Bluijs has a background in graphic design, with a specialisation in book design and typography.
Emilie Capulet
(e.capulet@trinitylaban.ac.uk) is an international award-winning concert pianist, musicologist and lecturer. As well as a Master of Music in Performance from the Guildhall School of Music and Drama, her interest in the arts as a whole has earned her an MA on Shakespeare and a PhD on musical aesthetic in modernist literature. She has published on many aspects of music history and contemporary music performance practices, as well as on music in healthcare. Her research is at the interface of historical enquiry, musicology, performance and intermedial/transmedial cultural studies and has been funded by the Arts and Humanities Research Council and the Arts Council UK. Her research on the French composer Henri Tomasi (1901–1971) in particular has led her to an investigation into how early radiophonic techniques contributed to shaping early musical radiophonic compositions and broadcasting, as well as cinema and film scores. Emilie is a Fellow of the Higher Education Academy, and she has lectured at the University of Surrey and the London College of Music, University of West London, where she was Head of Classical Performance. She is currently Programme Leader for the undergraduate music degree at Trinity Laban Conservatoire of Music and Dance.
Tim Carter
(cartert@email.unc.edu) is the author of books on opera and musical theatre ranging from the late sixteenth century through Mozart to Rodgers and Hammerstein. He has held fellowships at the Harvard Center for Italian Renaissance Studies in Florence, the Newberry Library in Chicago, and at the National Humanities Center. In 2013 he was awarded by the American
Troy Cummings
(troyacummings@gmail.com) holds a Master’s of Musicology from the University of Missouri-Kansas City Conservatory of Music. His 2013 thesis, ‘Mood-Stuff and Metaphoric Utterance: Norman Corwin’s Radio Art’, is a pilot study in musicology and radio art. He contributed the chapter, ‘Media Primer: Norman Corwin’s Radio Juvenilia’, to the 2017 Kraszna-Krausz Best Moving Image Book Award winner, Anatomy of Sound: Norman Corwin and Media Authorship, edited by Jacob Smith and Neil Verma.
Angela Ida De Benedictis
(aidadebenedictis@gmail.com) studied musicology and musical philology at the University of Pavia (Cremona). In 2001, she graduated in musicology with a thesis on the radio play and radiophonic art. In 2005–2007, she received a Postdoctoral Fellowship from the Alexander von Humboldt Foundation for a research project on music and technology in Berlin. After teaching at various universities (Padua, Salerno, Pavia), she joined the scientific board of the Paul Sacher Foundation (Basel) in 2014 as musicologist and curator for music manuscripts, where at present she is responsible for about thirty collections, among them those of Berio, Berberian, Boulez, Grisey, Lachenmann, and Maderna. She is Scientific Director of the Centro Studi Luciano Berio and member of the Scientific Committee of the Nono Foundation in Venice. Her main research interests are electronic music, music and media technology, the study of creative processes, new musical theatre, authorship and radio studies. Her main publications include Utopia, Tradition, Innovation: Bruno Maderna’s Cosmos (2022); La musica alla radio 1924–1954 (2015), Imagination at Play: The Prix Italia and Radiophonic Experimentation (2012), Radiodramma e arte radiofonica (2004).
Michael Fjeldsøe
(fjeldsoe@hum.ku.dk): his research has focused on art music and applied music in the nineteenth and twentieth centuries, especially in Central and Eastern Europe and Denmark. Research questions are concerned with relations of music and politics, music and society, music and nationalism; in short, how music impacts society. Since his PhD (1999) on the reception of modernist art music in Denmark (1920–1940), a major interest has been Danish musical culture in
John Gabriel
(john.gabriel@unimelb.edu.au) is a Lecturer in Musicology at the University of Melbourne. His research focuses on, but is by no means limited to, German and Czech speaking Central Europe from the fin de siècle to the early Cold War. He is currently completing a monograph on the music theatre of the New Objectivity in Weimar Republic Germany, with recent and forthcoming publications on representations of China in German opera, the Communist propaganda music of Hanns Eisler, and the relationship of the New Objectivity to the ‘middlebrow’. Before coming to Melbourne, he held academic appointments at the University of Hong Kong and the Peabody Conservatory at Johns Hopkins University.
Peter Graff
(peteralangraff@gmail.com) is a Visiting Assistant Professor at Denison University (Granville, OH) and holds a PhD in musicology from Case Western Reserve University (Cleveland, OH). His research primarily examines music in American popular culture, particularly in film, theatre and radio. Peter served as a contributing editor for The Grove Music Guide to American Film Music, and his articles in Film History and Notes: Quarterly Journal of the Music Library Association trace film scoring models and exhibition practices from the silent era to today.
Caroline A. Kita
(ckita@wustl.edu) is Associate Professor of German and Comparative Literature at Washington University in St. Louis. Her research examines German and Austrian literature and culture in the nineteenth and twentieth centuries, with a special focus on German Jewish culture, music and the German language radio drama (Hörspiel). She is the author of Jewish Difference and the Arts: Composing Compassion in Music and Biblical Theater (Indiana University Press, 2019) and the co-editor of The Arts of Democratization: Styling Political Sensibilities in Postwar West Germany (University of Michigan Press, 2021).
(phillelie@live.nl) is a musicologist and was Assistant Professor at the Department of Media and Culture Studies, Faculty of Humanities, Utrecht University, in the Netherlands. Her research and teaching activities cover art and media policies, music radio programming and artists’ careers. In 2017–2018, she worked as a research fellow at Sound and Vision, Institute for Media Culture in Hilversum to prepare a chapter on the dynamics between the music world and radio broadcasting in the Netherlands for Hundred Years of Radio in the Netherlands 1919–2019, edited by H. Wijfjes (Boom, 2019).
Virginia M. Madsen
(virginia.madsen@mq.edu.au) is a Senior Lecturer and Director of the Centre for Media History at Macquarie University, Sydney. She has written extensively on sound and radio culture and history in all aspects. She was formerly a producer with the ABC in Australia, and also a founding member of its renowned audio arts programme, The Listening Room. Currently, she has two major projects underway: she leads the ARC funded Discovery project ‘Cultural Conversations: A History of ABC Radio National’, a history of the Australian public broadcaster’s culture and ideas network. She is also writing an account of the ‘documentary imagination’ in radio from the 1920s to the present. This project is both international and transnational in scope.
Leslie McMurtry
(leslie.mcmurtry@gmail.com) is Lecturer in Radio Studies at the University of Salford. She has written on radio drama for The Journal of Radio and Audio Media, Palgrave Communications and The Journal of Popular Culture, and contributed to collections such as The Routledge Companion to Radio and Podcast Studies (2022) and The Oxford Handbook of Radio Studies (forthcoming). In 2017, she was the Artist in Residence at the Badlands National Park. Her first book, Revolution in the Echo Chamber: Audio Drama’s Past, Present, and Future (Intellect, 2019), is a historical and critical analysis of audio drama in the US and the UK.
Jarmila Mildorf
(jarmila.mildorf@uni-paderborn.de) teaches English language and literature at the University of Paderborn (Germany). Her research interests are audionarratology, socionarratology and conversational storytelling, autobiography, oral history, dialogue, literature and medicine/the medical humanities. She is the author of Storying Domestic Violence: Constructions and Stereotypes of Abuse in the Discourse of General Practitioners (University of Nebraska Press, 2007) and Life Storying in Oral History: Fictional Contamination and Literary Complexity
Pim Verhulst
(pim.verhulst@uantwerpen.be) is a postdoctoral researcher at the University of Oxford and a teaching assistant at the University of Antwerp. His research combines genetic criticism, intermediality and audionarratology to study the work of (late) modernist and postwar authors from the British Isles. His articles have been published in Variants, Genetic Joyce Studies, The Harold Pinter Review, Samuel Beckett Today/Aujourd’hui and the Journal of Beckett Studies, of which he is an editorial board member. He has published book chapters in Beckett and BBC Radio (Palgrave 2017), Beckett and Modernism (Palgrave 2018, co-edited), Pop Beckett (Ibidem 2019), Beckett and Technology (Edinburgh UP 2021), Beckett and Media (Manchester UP 2022) and Audionarratology: Lessons from Radio Drama (Ohio State UP 2021). His recent co-edited collections include Radio Art and Music (Lexington 2020), Tuning in to the Neo-Avant-Garde (Manchester UP 2021) and Beckett’s Afterlives (Manchester UP 2023). His monograph The Making of Samuel Beckett’s Radio Plays is forthcoming with Bloomsbury.
Alan E. Williams
(A.E.Williams@salford.ac.uk) is a composer and writer on contemporary music and culture. He studied at the Universities of Edinburgh and Manchester and at the Liszt Academy, Budapest. His music has been performed by world leading ensembles such as the BBC Philharmonic, the BBC Singers, the Philharmonia, and Psappha, and has been broadcast on BBC Radio 3, BBC Radio 4, MDR (Germany), NEC (Brazil) and Bartók Rádió (Hungary). He is Professor of Collaborative Composition at the University of Salford. His Recent opera with Ian McMillan, The Arsonists, was featured widely on UK TV, including ITV News, BBC News Channel, and Sky News.