Contributors / Collaborateurs All Rights Reserved © Canadian University Music Society / Société de musique des universités canadiennes, 1998 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Document généré le 5 avr. 2021 21:45 Canadian University Music Review Revue de musique des universités canadiennes Contributors Collaborateurs Volume 18, numéro 2, 1998 URI : https://id.erudit.org/iderudit/1014667ar DOI : https://doi.org/10.7202/1014667ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer ce document (1998). Contributors / Collaborateurs. Canadian University Music Review / Revue de musique des universités canadiennes, 18(2), 133–134. https://doi.org/10.7202/1014667ar https://apropos.erudit.org/fr/usagers/politique-dutilisation/ https://www.erudit.org/fr/ https://www.erudit.org/fr/ https://www.erudit.org/fr/revues/cumr/ https://id.erudit.org/iderudit/1014667ar https://doi.org/10.7202/1014667ar https://www.erudit.org/fr/revues/cumr/1998-v18-n2-cumr0484/ https://www.erudit.org/fr/revues/cumr/ CONTRIBUTORS/COLLABORATEURS Lynn Cavanagh is assistant professor of music at the University of Regina and received her Ph.D. from the University of British Columbia. Her doctoral disserta- tion was an analysis of tonal techniques in Schoenberg's First String Quartet, op. 7. She has published in Fermata and taught at Memorial University of Newfound- land. Beverley Diamond is currently director of the graduate program in ethno- musicology and musicology at York University. She has published widely on the music cultures of First Nations communities, on Canadian historiography, and on issues relating to gender and music. Her publications include Visions of Sound: Musical Instruments of First Nations Communities in Northeastern America (Uni- versity of Chicago Press, 1994). With York colleague, Robert Witmer, she has co-edited Canadian Music: Issues of Hegemony and Identity (Canadian Scholars' Press, 1994). Michel Duchesneau a soutenu en 1994 une thèse de doctorat en musicologie à l'Université Laval sur la Société Nationale et la Société Musicale Indépendante. Boursier postdoctoral du CRSH et du FCAR, il est l'auteur de plusieurs articles sur la musique française ainsi que du livre L'avant-garde musicale et ses sociétés à Paris de 1871 à 1939 (Pierre Mardaga, 1997). Il est aujourd'hui directeur général de la Société de musique contemporaine du Québec. Harold E. Fiske is a professor of music at the University of Western Ontario where he teaches and conducts research in the psychology of music. His research specialty is music perception and cognition. He serves on the boards of the journal of Psychomusicology and the Bulletin of the Council for Research in Music Education. He is a past chair of the Research Commission of the International Society for Music Education. His most recent book is entitled Selected Theories of Music Cognition (Edwin Mellen, 1996). Rebecca Green received a Ph.D. in musicology from the University of Toronto in 1995 on the Goldoni operas of Joseph Haydn. She has taught music and cultural studies at Trent University, and held a Killam Postdoctoral Fellowship at Dalhousie University in 1995-96. She has contributed articles to the New Grove Dictionary of Opera and the Encyclopedia of Music in Canada. Her articles on Haydn's operas have appeared in Goldoni and the Musical Theatre (Legas, 1995) and Haydn and His World (Princeton University Press, 1997). Jacinthe Harbec est professeure adjointe à l'École de musique de l'Université de Sherbrooke. Titulaire d'un doctorat en analyse musicale de l'Université McGill, elle mène ses travaux de recherche dans le domaine du langage et de l'esthétique de la musique française du début du XXe siècle. Ses travaux analytiques sur les œuvres de Germaine Tailleferre et son étude interdisciplinaire axée sur le cubisme et la musique d'Erik Satie dans le ballet Parade l'ont amenée à prononcer plusieurs conférences au Canada et aux États-Unis. 134 CUMR/RMUC Ken McLeod is a SSHRC post-doctoral fellow and visiting scholar at MIT' s School of Music and Theatre Arts. He recently completed his Ph.D. in historical musicology at McGill University with a dissertation entitled "The Ideology of the Aesthetic in Early Eighteenth-Century Masques." He has several forthcoming articles on topics pertaining to the aesthetics and ideology of both popular and seventeenth- and eighteenth-century theatre music. Carl Morey occupies the Jean A. Chalmers Chair in Canadian Music at the Faculty of Music, University of Toronto. He has been professor of musicology there since 1970 and was Dean of the Faculty, 1984-90. His recent publications include Music in Canada: A Research and Information Guide (Garland, 1997), an edition of essays by Sir Ernest MacMillan, MacMillan on Music (Dundurn Press, 1997), and three volumes of the musical works of Glenn Gould (Schott, 1995, 1996, 1997). Marc-André Roberge is an associate professor of musicology at the Faculty of Music at Laval University. He has published extensively on twentieth-century music and musical life in German-speaking countries, with special emphasis on Ferruccio Busoni and musical journalism. He is currently writing the first biography of Kaikhosru Shapurji Sorabji. Erich Schwandt, who teaches at the University of Victoria, is recognized for his contribution to the history of music in New France. He is also active as a performer, both as harpsichordist and organist. Howard Spring is an assistant professor at the University of Guelph and an adjunct professor in the graduate program in music at York University. He is the author of "The Use of Formulas in the Improvisation of Charlie Christian," Jazzforschung 22 (1990) and "Swing and the Lindy Hop: Dance, Venue, Media, and Tradition," American Music 15 (1997). He teaches jazz history, popular music, ethnomusicol- ogy, and music of the twentieth century. Pierre Vachon prépare une thèse de doctorat en musicologie à l'Université de Montréal sous la direction de Marcelle Guertin et qui s'intitule « Le pouvoir symbolique du titre : étude titrologique d'œuvres pour piano seul de Robert Schumann ». Ellen Waterman received the Ph.D. in Critical Studies and Experimental Practice from the University of California, San Diego, in 1997. Her dissertation was an ethnographic analysis of R. Murray Schafer's environmental music drama P atria the Epilogue: And Wolf Shall Inherit the Moon. She is a professional flutist and has performed with Schafer for the past ten years, participating in several Patria works. Her analysis of Brian Ferneyhough's flute piece Cassandra's Dream Song appeared in Perspectives of New Music 32, no. 2 (1994), and as a chapter in the first Spanish book of feminist music criticism, Mujer y musica: genera y poder. Currently, she teaches in the Cultural Studies Program at Trent University.