Professor Lydia Goehr (Columbia University)
Lydia Goehr is Professor of Philosophy at Columbia University. Her research interests are in German aesthetic theory and in particular in the relationship between philosophy, politics, history, and music. She is the author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (1992; second edition with a new essay, 2007); The Quest for Voice: Music, Politics, and the Limits of Philosophy [essays on Richard Wagner] (1998); Elective Affinities: Musical Essays on the History of Aesthetic Theory [essays on Adorno and Danto] (2008), and co-editor with Daniel Herwitz of The Don Giovanni Moment. Essays on the legacy of an Opera (2006). She has written many articles, most recently on the work of Theodor W. Adorno, Maurice Merleau-Ponty, and Arthur Danto. With Gregg Horowitz, she is series editor of Columbia Themes in Philosophy, Social Criticism, and the Arts, Columbia University Press. She has received numerous awards, including a 2009-10 Lenfest Distinguished Columbia Faculty Award for exceptional teaching in Arts & Sciences. She has been a recipient of Mellon, Getty, and Guggenheim Fellowships, and held visiting professorships at U. California (Berkeley), Hamburg, and the Freie Universität, Berlin. She is presently writing a book on the contest of the arts.
Professor Gary Tomlinson (Yale University)
Gary Tomlinson is Annenberg Professor in the Humanities at the University of Pennsylvania. He is a specialist in music of the late Renaissance and early Baroque, opera, music and cross-cultural contact, and cultural history and historiography. Tomlinson publishes in a number of fields. In his book Monteverdi and the End of the Renaissance (1987) he deals with the impact of literary forces on changing musical styles around 1600. His work on opera, especially in Metaphysical Song: An Essay on Opera (1999), treats the connections of music drama to changing models of European subjectivity. His book Music in Renaissance Magic: Toward a Historiography of Others (1993) brings poststructuralist historical approaches to bear on sixteenth-century musical magic. Tomlinson was awarded the Alfred Einstein prize of the American Musicological Society in 1982. He has held Guggenheim and MacArthur fellowships and was a Phi Beta Kappa Visiting Scholar in 1997-98. His current work concerns New World song and theories of European colonialism.
Professor Kendall Walton (University of Michigan)
Kendall Walton is Charles L. Stevenson Collegiate Professor of Philosophy at the University of Michigan, where he also holds a professorship in the School of Art and Design. Much of Professor Walton’s work consists in exploring connections between theoretical questions about the arts and issues of philosophy of mind, metaphysics, and philosophy of language. He has written extensively on pictorial representation, fiction and the emotions, the ontological status of fictional entities, the aesthetics of music, metaphor, and aesthetic value. His book Mimesis as Make Believe: On the Foundations of the Representational Arts (1990), develops a theory of make-believe and uses it to understand the nature and varieties of representation in the arts. He is also the author of Marvelous Images: On Values and the Arts (2010) and In Other Shoes: Music, Metaphor, Empathy, Existence (forthcoming). He has held fellowships from the NEH, the ACLS, the Rockefeller Foundation, and the Stanford Humanities Center. He is a Fellow of the American Academy of Arts and Sciences, and past president of the American Society for Aesthetics. He is currently working on a book entitled Aesthetics (a general overview of the field, in a series edited by Scott Soames for Princeton University Press).