Board

ROBERTO ILLIANO is General Secretary of the Centro Studi Opera Omnia Luigi Boccherini and President of the Italian National Edition of Muzio Clementi’s Complete Works. General Editor of the series ‘Speculum Musicae’ and ‘Staging and Dramaturgy: Opera and the Performing Arts’ (Brepols Publishers), he is a member of the advisory board of the Italian National Editions of Luigi Boccherini’s and Pietro Antonio Locatelli’s Complete Works. A founder of Ad Parnassum: A Journal on Eighteenth- and Nineteenth-Century Instrumental Music, he has published a variety of writing (edited volumes, articles, editions, and dictionaries entries) on nineteenth- and twentieth-century music. For Brepols Publishers, he has edited, among others, the volumes Italian Music during the Fascist Period (Brepols, 2004), Music and Dictatorship in Europe and Latin America (with M. Sala, Brepols, 2010), Music Criticism 1950-2000 (with M. Locanto, 2019), Sound, Music and Architecture (2024), Music and Institutions in Fascist Italy (with L. L. Sala, 2024), and Luigi Dallapiccola between Politics, Text and Musical Thought: With an Appendix of New Sources (2024).

GALLIANO CILIBERTI is a Professor of Music History at the Conservatory ‘Nino Rota’ of Monopoli. He graduated in Literature from the University of Perugia and obtained a Doctorate in Musicology from the University of Liège and a Post-Doctoral degree from the École Pratique des Hautes Études in Paris. He has received several research grants from the C.N.R. and was a research fellow at the Department of Musicology of the University of Pavia/Cremona. The author of multiple essays and numerous books, he has participated in various conferences in Italy and Europe. He was also the winner of the Bertini Calosso Award (1998-2000 editions). He deals with the musical relationships between Rome and Paris and with Roman sacred music in the seventeenth century.

SIMONE CIOLFI obtained his M.A. (Laurea) with Pierluigi Petrobelli at the University ‘La Sapienza’ and his Ph.D. at the University of Rome ‘Tor Vergata’. He has written articles on early nineteenth-century music and on Dallapiccola, on the programming of nineteenth-century Italian musical organizations and in the contemporary period. His fields of interest are the evolution of the concept of tradition in the music of the eighteenth and nineteenth centuries and the relations between music theory and composition around 1700. Since 2006 he has been Secretary of the Editorial Board of the periodical Rivista Italiana di Musicologia. He writes for various organisations, among them the Accademia di Santa Cecilia, the Accademia Filarmonica Romana, the Associazione Alessandro Scarlatti in Napoli, the Filarmonica della Scala and the Festival Pianistico di Brescia e Bergamo. For many years, he worked on the artistic management of the Accademia Filarmonica Romana and collaborated with the Concerto Italiano, under the direction of Rinaldo Alessandrini. He has taught Music Appreciation at Saint Mary’s College (Notre Dame – Indiana, Rome program) for many years, and he now teaches Music History at the Conservatorio statale ‘Ottorino Respighi’ in Latina (Italy).

MARÍA ENCINA CORTIZO is Professor of Musicology at the University of Oviedo (Spain). She currently coordinates the Erasmush Research Group. She has supervised eighteen Doctoral theses. Her main field of research is zarzuela and Spanish opera in the nineteenth and the early twentieth centuries. She has published the reference monograph on Emilio Arrieta (ICCMU, 1998); she has also edited Spanish zarzuelas by Barbieri, Arrieta, Chueca, Barrios and Torrandell, along with the operas Ildegonda and La Conquista de Granata by Emilio Arrieta, and Il disoluto punito ossia Don Giovanni Tenorio and Elena e Malvina by Ramón Carnicer, in collaboration with Ramón Sobrino.

ARNIE COX was raised in the Pacific Northwest where he attended Humboldt State University and the University of Oregon — the latter being where he came under the influence of Mark Johnson (author of The Body in the Mind). Professor Cox is author of Music & Embodied Cognition: Listening, Moving, Feeling & Thinking (Indiana University Press, 2016), along with various journal articles and book chapters. He taught at the Oberlin Conservatory of Music (Ohio, USA) from 1998 to 2022 before retiring to devote more time to on several large-scale projects. He is currently writing a book on the bodily bases of musical value.

FRANÇOIS DE MÉDICIS is Professor of Music at the Université de Montréal. Author of La maturation artistique de Debussy dans son contexte historique (1884-1902) (Brepols, 2020), he co-edited Debussy’s Resonance (2018) with Steven Huebner, and Musique et modernité en France, 1900-1945 (2006), with Sylvain Caron and Michel Duchesneau. With Fabien Guilloux, he also co-edited a critical edition of Saint-Saëns’s Violin Sonatas (Bärenreiter, 2021). His many articles on French and Russian music from 1880 to 1945 focus on composers such as Bonis, Debussy, Koechlin, Milhaud, Scriabin, and Stravinsky.

MARITA FORNARO BORDOLLI obtained her Doctorate in Musicology from the University of Valladolid, Spain; she has a DEA in Music (2000) and Anthropology (1999) from the University of Salamanca, Spain, and a B.A. in Musicology (1986), in Anthropological Sciences (1978), and in Historical Sciences (1978) from the University of the Republic of Uruguay. Her research covers music, popular culture, musical criticism, music iconography, and theaters; she has worked in Uruguay, Spain, Portugal, Brazil, and Cuba. Currently she is the Coordinator of the Research Center on Musical and Scenic Arts, University of the Republic.

LORENZO FRASSÀ graduated in musicology at the University of Pavia/Cremona in 2003 with a dissertation in opera history entitled Il teatro musicale di G. Rossini, 1810-1823: relazioni con le fonti e varianti d’autore: alcune considerazioni. His fields of research particularly concern the operatic world in the eighteenth-twentieth centuries. He edited the volumes The Opéra-comique in the Eighteenth and Nineteenth Centuries, Turnhout, Brepols (Speculum Musicae, 15) and Verdi Reception with Michela Niccolai (Studies on Italian Music History, 7).

GERMÁN GAN QUESADA obtained his Ph.D. in History of Art-Musicology from the University of Granada in 2003. Currently, he is a tenured Associate Professor in musicology at the Department of Art and Musicology of the Universitat Autònoma de Barcelona and editor-in-chief of the Revista de Musicología. He has received grants from the Archive Manuel de Falla, the Paul Sacher Stiftung and the Government of Catalonia [FIM-CUNY, New York], among other institutions, and contributed essays on his main research topics — twentieth-century Spanish music and contemporary music aesthetics — for publishing houses such as Ashgate, Brepols, Presses Universitaires de France, Peter Lang and Fondo de Cultura Económica.

ROLF INGE GODØY is Professor Emeritus of music theory at the Department of Musicology, University of Oslo. His main interest is in phenomenological approaches to music theory, meaning taking our subjective experiences of music as the point of departure for music theory. This work has been expanded to include research on music-related body motion in performance and listening, using various conceptual and technological tools to explore the relationships between sound and body motion in the experience of music. He directed the «Musical Gestures Project» (2004-2007) and the «Sensing Music-Related Actions Project» (2008-2012), and he participated in several European research projects related to the topic. He published articles and chapters within the area of music-related body motion, including a book edited with Marc Leman on musical gestures: Sound, Movement, and Meaning (Routledge, 2010).

FEDERICO GON, a musicologist and composer, he studied musicology (Masters Degree and Ph.D.) at the University of Padua, and has to his credit numerous participations in conferences as well as the publication of books and essays in academic journals specialising in opera and instrumental music of the XVIII-XIX centuries. He is a winner of the ‘Tesi Rossiniane’ award (Fondazione Rossini, Pesaro, 2013). He is member of the Committee of the Italian National Edition of the Comedies for Music by Domenico Cimarosa and has been a post-doctoral researcher at the University of Vienna (2016-2019). He currently teaches at the Conservatorio ‘G. Tartini’ in Trieste.

MASSIMILIANO LOCANTO is Associate Professor in History of Music at the University of Salerno. In 2000 he received a grant from the Paul Sacher Foundation in Basel and in 2003 he earned a PhD. in Musical Philology, with a dissertation on Igor Stravinsky’s serial compositions. He has taught at the University of Pavia, Faculty of Musicology, as adjunct professor for Musical analysis (2003-2005). He published the monograph Stravinsky and the Musical Body: Creative Process and Meaning (Brepols 2021) and edited the volumes: Igor Stravinsky: Sounds and Gestures of Modernism (Turnhout, Brepols, 2014), Composition and Improvisation in Fifteenth-Century Music (with Julie E. Cumming and Jesse Rodin) (Lucca, LIM, 2017) and (with Sofia Lannutti) Tracce di una tradizione sommersa. I primi testi lirici italiani tra poesia e musica (Firenze, Sismel, 2005). His articles and reviews appeared in various national and international journals such as Music Analysis, Europa Orientalis, Il Saggiatore Musicale, Revue Belge de Musicologie, Musica e Storia, Rivista Internazionale di Musica Sacra, Rivista di Analisi e Teoria Musicale.

MARCELLO MAZZETTI teaches at several Italian institutions, including the Universities of Padua and Turin, the Conservatory of Brescia, and the Academies of Fine Arts of Bologna and Venice. Singer and lute, viola da gamba player, he has conducted concerts, masterclasses, and lectures across Europe, the UK, and the US. Since 2015, he has co-directed the Early Music Department in Brescia at the Italian Institute for Early Music. Since 2016, he has collaborated with the University of Massachusetts, Stanford University and Tasso in Music Project. He also performs and records internationally with Palma Choralis and other prominent ensembles in Europe and the USA.

Fulvia Morabito is currently Vice President of the Centro Studi Opera Omnia Luigi Boccherini and President of the scientific committee of the Italian National Edition of Luigi Boccherini’s Complete Works (Ut Orpheus Edizioni). Graduated in musicology from the University of Pavia, she received a M.Mus in piano from the Conservatory Luigi Boccherini, Lucca). In 1994 she joined the editorial staff of the Stichting-Fondazione Pietro Antonio Locatelli (Amsterdam-Cremona) as editor of the Locatelli Opera Omnia. She is a member of the Advisory Board of the Francesco Geminiani’s Opera Omnia (Ut Orpheus Edizioni) and General Editor of the series ‘Monumenta Musica Europea’ and ‘Studies on Italian Music History’ (Brepols Publishers). She is also a founder of Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music and an editor of the series ‘Ad Parnassum Studies’ (Ut Orpheus Edizioni). She published 2 monographs on P.A. Locatelli (2009 and 2018) and another on La Romanza vocale da camera in Italia (1997), critical editions, edited volumes, articles, and dictionaries entries.

LUCA LÉVI SALA (Ph.D.) is Associate Adjunct Professor at Manhattan University (NYC) and Visiting Scholar at New York University. He was Visiting Teaching Professor at Jagiellonian University in Cracow (2021) and at Adam Mickiewicz University in Poznań (2020-2021), former Professeur associé at Université de Montréal (2017-2020), Visiting Researcher at New York University (2017) and Visiting Research Fellow at Yale University (2015-2016). He has published a range of articles and chapters, reviews and reports in various international books, dictionaries and refereed journals, including Ad Parnassum Journal, Analecta Musicologica, Early Music, Eighteenth-Century Music, Grove Music Online, Journal of Musicological Research, MGG, Notes, Oxford Bibliographies Online, Revue de musicologie, Rivista Italiana di Musicologia, Studi musicali, Studia Chopinowskie. His book Music Criticism, Politics and Eugenics in the Italian Fascist State (1930-1940) is committed for Palgrave Macmillan.

RAMÓN SOBRINO is Professor of Musicology at the University of Oviedo (Spain), where he has directed forty doctoral theses. His main field of research is music analysis, with specialisation in analytical methodologies, and Spanish music. He has published symphonic works by Monasterio, Bretón, Marqués Chapí, Torrandell, Zubiaurre and others, and edited Spanish Lyric works by Barbieri, Arrieta, Gaztambide, Chueca, Serrano and Rodrigo, together with the operas Ildegonda and La Conquista de Granata by Emilio Arrieta, and Il disoluto punito ossia Don Giovanni Tenorio and Elena e Malvina by Ramón Carnicer, in collaboration with María Encina Cortizo.

LIVIO TICLI is a musicologist and performer with expertise in Renaissance Polyphony, Historical Keyboards, Performance Practice, Gregorian Chant and Historical Singing. Since 2006 he has taught at conservatoires and universities, and performed with Palma Choralis and other prestigious ensembles across Europe, the UK, and the USA. He has several scholarly publications and organized international conferences and festivals such as the the Early Music Summer Campus in Tuscany. Since 2015, Ticli has co-directed the Early Music Department in Brescia teaching Singing, Ornamentation, Improvisation, and Basso Continuo at the Italian Institute for Early Music, and has served as an Artist-in-Residence and Visiting Scholar at US institutions.