Harriet Boyd-Bennett is a junior research fellow at Christ Church, University of Oxford. She has articles in Cambridge Opera Journal, Journal of the Royal Musical Association, Journal of California Italian Studies and The Opera Quarterly, on Luigi Nono's Intolleranza 1960, musical Futurism in Venice in 1924, and three pieces of music theatre premiered in Venice in 1959. She is currently completing a book on opera in Venice during the 1950s, forthcoming with Cambridge University Press. Her new research focuses on music tours around Italy in the 1920s.
Leo Chadburn is a writer, performer and composer of experimental music, pop music and music for the gallery. Recent non-pop works include The Indistinguishables (2014) for Quatuor Bozzini and Freezywater (2016) for Apartment House, and collaborations with visual artists Jennet Thomas and Cerith Wyn Evans. His music has been broadcast on BBC Radio 1, 3 and 6 Music. His writing has appeared in publications including The Wire, the Quietus and Frieze.
Philip Clark is a composer-turned-improviser and music journalist who writes about classical music, jazz, free improvisation and rock music for specialist music magazines including The Wire, Gramophone, The Strad, Jazzwise and MOJO, and for The Guardian, Financial Times and The Spectator. Currently he is writing a biography of the jazz pianist and composer Dave Brubeck. He has interviewed many leading musicians, including Pierre Boulez, Ornette Coleman, Nikolaus Harnoncourt, Ray Davies, Karlheinz Stockhausen and Humphrey Lyttelton (the last two on the same day). As a writer he has become fascinated with the sound of cities, and what happens to urban environments once the music disappears.
William Dougherty is an American composer and current doctoral student at Columbia University. Before that, he studied in Basel, London, and Philadelphia. He has a special interest in the music of Horatiu Radulescu and psychoacoustics and regularly contributes to TEMPO, WKCR-FM Radio New York and Berlin-based independent online music magazine, VAN. He is based in New York City.
With a Masters Degree in Musicology and Music (violin) from the Geneva University and Haute École de Musique, Orane Dourde has worked for several cultural events and festivals in Switzerland. Currently, she is working as a musicologist at the Geneva HEM where she pursues various projects for students as well as research into the fulfilment of new courses of study. Orane is also doing postgraduate studies in Cultural Management at the University of Lausanne and École Polytechnique Fédérale of Lausanne (EPFL).
Mark Dyer is a composer of concert and installation music. His primary artistic focus centres around the ‘musical ruin’: the fragmentation of found musical objects. Mark has written for ensembles such as Psappha and Collective 31, and has had performances at the Royal College of Music, Manchester Art Gallery and the International Anthony Burgess Foundation. He is currently a co-collaborator for the Manchester-based new music forum ~exchange.
Andreas Engström is a Swedish musicologist, critic, editor and curator, living in Berlin. He is editor of Nutida Musik, the Swedish journal about contemporary music and sound art, and former editor of ISCM's journal World New Music Magazine. He has taught twentieth-century music, film music and popular music at Stockholm University and gives regular workshops and teaches in music journalism/criticism. He was curator/producer for Faithful! Festival in Berlin in 2014 and is one of the curators for the monthly concert series for new music Kontraklang in Berlin. He is soon to publish a book about sound art and is curating the sound art programme at Nordic Music Days in Reykjavík in September 2016.
Mezzo soprano Lucy Goddard graduated with distinction for her Masters at the Royal Academy of Music in 2011. She previously read Modern Languages at Cambridge University, and spent a year studying violin at the Scuola di Musica di Fiesole, Italy. She has performed as a soloist with groups including the Academy of Ancient Music, in such venues as the Wigmore Hall and Cadogan Hall. Recent operatic roles include Dorabella, Annio and Zerlina. In addition to her opera and consort work, Lucy is a keen interpreter of contemporary music and is a core member of EXAUDI vocal ensemble.
Sam Hayden is a composer whose commissions include works for the BBC Symphony Orchestra, Christopher Redgate/Cikada, ELISION, Frode Haltli/Oslo Sinfonietta, Mieko Kanno, London Sinfonietta, ensemble mosaik, Quatuor Diotima and RepertorioZero. His compositions have been performed at new music festivals including Huddersfield, MaerzMusik, Tage für Neue Musik Zürich, Ultima and Warsaw Autumn. His Substratum for orchestra was premiered by the BBCSO during the 2007 BBC Proms. His works have been recorded on the Divine Art, GROB, NMC, Oboe Classics, United Phoenix Records and UTS labels. He was appointed Reader in Composition at Trinity Laban Conservatoire of Music and Dance in 2013.
Anna Höstman received a DMA in Composition from the University of Toronto in 2013. Her research focused on the chamber works of Martin Arnold. Her own compositions seek out tactile encounters with the world while also extending into story, history, and landscape. From 2005–2008, she was composer in residence of the Victoria Symphony. In 2012, she collaborated with Continuum on an anthropological concert-installation for soprano and ensemble featuring Kwagiulth singer Marion Newman, a large hung wall of erasure poetry documenting the near extinction of Canada's aboriginal languages, and multiple videos exploring the intertwined history of the Nuxalk and Norwegians in British Columbia.
Evan Johnson is an American composer whose works have been commissioned, premiered and recorded by numerous prominent soloists and ensembles in the US and Europe, and presented at major festivals and venues. His writing on music has appeared in TEMPO, Contemporary Music Review, MusikTexte, Music Theory Spectrum, and in booklet essays for recordings on the Mode, NEOS and Metier labels.
Martin Kaltenecker is associate professor of musicology at Université Paris Diderot (Paris 7). One of the founders of the contemporary music review Entretemps (1985–1992) he has worked for the radio France Musique and has been a fellow of the Wissenschaftskolleg zu Berlin in 2006/07. His publications include La Rumeur des Batailles (Paris, 2000), Avec Helmut Lachenmann (Paris, 2001), and L'Oreille divisée. Les discours sur l'écoute musicale aux XVIIIe et XIXe siècles (2010). He co-edited the volume Penser l'Œuvre musicale au 20e siècle: avec, sans, contre l'histoire? (Paris, 2006), and Pierre Schaeffer. Les Constructions impatientes (Paris, 2011). He is currently preparing a study on melodic writing in twentieth-century music.
Paul Kilbey is a writer and editor based in London, specialising in contemporary and classical music. He works in the Royal Opera House's Publishing and Interpretation department, producing programme books for The Royal Ballet, and has MA and MPhil degrees in music and musicology from Sidney Sussex College, Cambridge.
Claudia Molitor is a composer/artist whose work draws on traditions of music and sound art but also extends to video, performance and fine art practices. Exploring the relationships between listening and seeing as well as embracing collaboration as compositional practice is central to this work. Her work is regularly commissioned, performed and broadcast throughout Europe. Recent work includes Sonorama with Electra Productions, Turner Contemporary and the British Library, Vast White Stillness for Spitalfields Festival and Brighton Festival, and 2TwoLO for NMC’s ‘Objects of an Exhibition’ project with the Science Museum. She is currently working with MusikFabrik, hcmf// and the Totally Thames festival for projects during 2016.
Alastair Putt is a composer and musician from London. He studied at New College, Oxford and the Guildhall School of Music and Drama, and has received commissions from groups including the London Symphony Orchestra, Tanglewood Music Center (where he was a Fellow in 2012), the London Contemporary Orchestra, EXAUDI, the Brinkburn Festival and the Choir of New College, Oxford. In 2013, he was named as one of English National Opera's House Composers, and in April 2016 his orchestral piece Spiral was released on the LSO's ‘Panufnik Legacies II’ album. He is also active as a singer and guitarist.
Lauren Redhead is a composer whose work is published by Material Press (Berlin), a performer of experimental music for organ and electronics, and a musicologist whose work focuses on the aesthetics and sociosemiotics of music. She is Senior Lecturer in Music at Canterbury Christ Church University.
Paul Robinson is a composer, ensemble director and lecturer in music. He studied as both undergraduate and doctoral student at York University and as a Masters student at Mills College California with Robert Ashley in the early 1970s where he first encountered John Adams as a generous promoter of student compositions in his role as director of the San Francisco Conservatory New Music Ensemble. He directs Harmonie Band, an ensemble that specialises in the presentation of new scores for silent film and has been internationally active since its formation in 1985. He is currently a lecturer in music at the Royal College of Music and Goldsmiths College.
Robert Stein has contributed reviews of concerts, books and CDs to TEMPO for over 17 years. Starting off as a literary critic, his first book The Very End of Air was published in 2011 (Oversteps Books). He is the General Manager of The Little Orchestra.
Philip Thomas specialises in performing experimental notated and improvised music as a soloist and with leading experimental music group Apartment House. Recent solo projects have included premiere performances of works by Michael Finnissy, Howard Skempton and Christian Wolff, and programmes of Canadian and British experimental music. CD releases include music by Morton Feldman, Jürg Frey, Christopher Fox, Tim Parkinson, Michael Pisaro, James Saunders and Christian Wolff. He is currently Professor of Performance at the University of Huddersfield, co-Director of CeReNeM, and co-editor of Changing the System: the Music of Christian Wolff (Ashgate Publishing, 2010).
Samuel Vriezen is a composer and writer working and living in Amsterdam. In addition to some 80 compositions for various instrumentations, Vriezen has published poetry and essays in a variety of Dutch and international literary and scholarly reviews, as well as being active as a poetry translator and as a pianist. In 2008, his first poetry collection, 4 Zinnen, was published by Wereldbibliotheek; in 2013, his first solo CD, of original music and work by Tom Johnson, was published by Edition Wandelweiser Records. A book of essays on a variety of artistic, political and theoretical subjects, Netwerk in eclips, is forthcoming.
Ben Zucker is a composer, improviser, sound designer, and performer on brass, vocals, piano, and percussion. His work includes deliberately eclectic music for concerts and media with many nods towards theatre, movement, design, and philosophy; it has taken him recently to premieres and shows at the New York Fringe Festival, Northwestern University New Music Conference, the Banff Centre, and the Audio Branding Academy Congress in Berlin (where he was recognized as a ‘Young Composer Talent’). Ben is a recent graduate of Wesleyan University, and currently resides in London, where he is studying at Brunel University.
