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Murray Bradshaw (PhD, Chicago), former Chair of Musicology at UCLA, is the author of several books and scholarly editions of music, including The Origin of the Toccata (1972), The Falsobordone: A Study in Renaissance and Baroque Music (1978), and Early Sacred Monody (4 vols; 1985-). His translation and study of Giovanni Luca Conforti's Breve et facile maniera s'essercitarsi(1593) appeared in 1998, and an earlier facsimile edition and translation, with Edward J. Sohnlen, of Girolamo Diruta's Il Transilvano (1593, 1603) appeared in 1983 and 1984. Cavalieri's Rappresentatione di anima e di corpo (1600), the first dramatic composition sung throughout, appeared in 2007 as the fourth volume of his series on "Early Sacred Monody." He has published numerous articles in many scholarly journals as well as compositions for the organ. He also served as the general editor of "Musicological Studies and Documents" and the "Miscellanea" series for the American Institute of Musicology.
Philip Brett was distinguished professor of musicology at the University of California, Los Angeles from 2001-2002, where, although he transferred only a year before his death, he and his work were already well known, and where several of his former students teach. He was an iconic figure in American musicology at large for his pioneering work on gay/lesbian issues.
His first publications were revisions, with Dart, of volumes from E. H. Fellowes' complete edition of English madrigals. When Dart died, leaving the old Byrd edition in an incomplete and unsatisfactory state of revision, Brett took on the general editorship of a new Gesamtausgabe.
Brett's "Britten and Grimes" (1977) was the first scholarly article to consider the influence of a composer's sexual identity on the music itself, and his study of Britten's most famous opera, Peter Grimes (1983) became an instant landmark. He later expanded his interests in a more interdisciplinary manner, not only elaborating his arguments concerning Britten but also developing influential theoretical models for the study of sexuality in culture. His many publications in this area include several pathbreaking, coauthored collections: Queering the Pitch (1994), Cruising the Performative (1995), and Decomposition: Post-Disciplinary Performance (2000).
Brett did not restrict his political energies to his scholarship. He worked tirelessly and courageously to make sexuality an acceptable area of study within musicology. The year 1989 saw the founding of the AMS Gay and Lesbian Study Group, which instituted the Philip Brett Award in 1999 for an "exceptional musicological work in the field of gay, lesbian, bisexual, or transgender/transsexual studies." In addition to his brilliant scholarship, his generous mentoring, and his courageous interventions, Philip Brett brought to the academy unusual qualities of compassion, grace, and gallantry. Few who ever encountered him failed to be affected by his deeply humane spirit.
Malcolm Cole (PhD, Princeton) joined the UCLA Musicology faculty in 1967. His principal research areas are the Classic period, opera, performance practice, and émigré studies (in particular, the Austrian-American composer Eric Zeisl). He has authored books, articles, and reviews for presses both scholarly and commercial in America and abroad. He appears frequently throughout Southern California as lecturer, pianist, organist, and conductor of annual musical retreats. Following retirement from the Department of Musicology in 2001, Professor Cole continued to teach for several years in the UCLA Department of Music.
Marie Louise Göllner (PhD, University of Munich), former Chair of Musicology at UCLA. Prior to joining the faculty at UCLA in 1970 she was employed by the Bavarian State Library in Munich to catalogue their extensive collection of early manuscripts (the official published catalogue of Music Manuscripts, Vol. I and II, 1979 and 1989). She has studied the music and theory of 14th-century France and Italy, and the music of the later Renaissance. Her writings constitute some of the more extensive investigations of the music of the Ars Nova, particularly her book on the early Trecento (Die Musik des frühen Trecento, 1963), which examines the musical genres of the period, their styles and sources, and the theoretical writings, primarily the Pomerium of Marchetto da Padova. Her more recent books include the edition of Orlando di Lasso's hymns (Vol. 18 of theCollected Works II, 1980), The Manuscript Cod. Lat. 5539 of the Bavarian State Library(1993), Essays on Music and Poetry in the Late Middle Ages (especially the 13th-century motet and the chansons of Guillaume de Machaut, 2003), The Early Symphony: 18th-Century views on Composition and Analysis (2004). A festschrift in her honor appeared in 2004: The Echo of Music: Essays in Honor of Marie Louise Göllner.
Richard Hudson (PhD, UCLA) taught music history at UCLA from 1967-91, serving from 1967-71 also as Music Librarian at UCLA. His articles have appeared in Acta musicologica, Musica disciplina,Musical Quarterly, Journal of the Lute Society of America, andJournal of the American Musicological Society, and in both editions of the New Grove Dictionary of Music and Musicians (1980 and 2001). His books include The Folia, the Saraband, the Passacaglia, and the Chaconne, 4 vols. (l982), The Allemande, the Balletto, and the Tanz, 2 vols.(1986), Stolen Time: The History of Tempo Rubato(1994, paperback 1997), and Jumping to Conclusions: The Falling-Third Cadences in Chant, Polyphony, and Recitative (2006). He edited the keyboard works of Benedict Schultheiss in the Corpus of Early Keyboard Music (1993). He has also published music for pipe organ such as Trios for Organ, 2 vols. (1971-72, reprinted 1997), Suite of Organ Carols (1976), Hymn Trios for the New Organist, 4 vols. (1994-95), The Time of Christmas (1997), and The Time of Easter (2006).
Robert Stevenson, even in retirement, remains one of the most productive scholars now working in musicology. His numerous advanced degrees include the MM (Yale), PhD in composition (University of Rochester), STB (Harvard), ThM (Princeton Theological Seminary), and BLitt (Oxford). His teachers included Schrade and Westrup (musicology), Hutcheson and Schnabel (piano), and Hanson and Stravinsky (composition). He taught at UCLA from 1949 into the 1990s, well into his retirement. Among his many honors are the Gabriela Mistral prize (1985), the Award of the Lifetime Achievement Citation by the Sonneck Society for American Music (1999), the Constantine Panunzio Distinguished Emeritus Award (UCLA, 2004), and honorary memberships in the American Musciological Society (2002), the International Musicological Society (2006), and the Society for Ethnomusicology (2007), a unique achievement.Professor Stevenson's best-known contribution has been to the study of Latin American colonial music, in which his work is outstanding; in his archival research in Mexico, Guatemala, Colombia, Ecuador, Peru, Bolivia and Chile, he discovered and published essential documents for the reconstruction of cathedral music history, and made known many colonial music manuscripts. He has also contributed substantially to the history of Iberian music and of American church music. His extensive publications reveal an impressive command of bibliographical tools and of the literature. The Music of Peru(1960), Renaissance and Baroque Musical Sources in the Americas (1970) and Foundations of New World Opera (1973) provide new information and understanding for a wealth of Latin American colonial music; Spanish Music in the Age of Columbus (1960) and Spanish Cathedral Music in the Golden Age (1961) give valuable accounts of a much neglected aspect of Renaissance music. In 1978 he founded and became editor of the Inter-American Music Review. Robert Stevenson has been one of the most prolific American musicologists of the 20th century in American, Iberian and Latin American musical studies. Excluding the several hundred dictionary and encyclopedia articles, his output numbers some 30 books, monographs and musical editions and almost 300 articles on Spanish, Portuguese and North and Latin American music, in addition to numerous articles on various topics of West European music. He has also maintained an active career as a composer and performer, and sponsored many awards and prizes, among them the Robert M. Stevenson Award for outstanding scholarship in Iberian music (American Musicological Society), the Robert M. Stevenson Prize (Society for Ethnomusicology), and, in our department, the annual Robert Stevenson Lecture series.