Annegret Fauser is Cary C. Boshamer Distinguished Professor of Music at the University of North Carolina at Chapel Hill, where she teaches since July 2001. She was born in Germany, lived in Ghana and Germany, and studied Musicology, Art History, and Philosophy at the Rheinische Friedrich-Wilhelms Universität in Bonn, the École Normale Supérieure in Paris, and the Université Paris IV–Sorbonne. She received her PhD (Dr. phil.) at the University of Bonn in 1992. Before becoming a member of the faculty at UNC, she taught Musicology at the Université François Rabelais in Tours, the Folkwang Hochschule in Essen, the Humboldt Universität zu Berlin, and City University, London.
As a cultural musicologist, she emphasizes in her work how music intersects with its social, political, and artistic contexts. Her research focuses on music of the nineteenth and twentieth centuries, and in particular that of France and the United States. She is author of Musical Encounters at the 1889 Paris World’s Fair (2005), Sounds of War: Music in the United States during World War II (2013), and The Politics of Musical Identity (2015). From 2011 to 2013, she was the editor-in-chief of the Journal of the American Musicological Society.

Luba Kyyanovska is the head of the Department of Music History at the Mykola Lysenko National Music Academy, Lviv. She is a Doctor of Arts and has received a number of awards for her academic work: Honoured Arts Worker of the Ukraine, the Polish Cultural Award, the Lysenko State Prize. Her academic interests focus on the links between Ukrainian musical culture and European centres of culture, the musical life of Galicia, musical pedagogy and psychology. She is the author of a dozen monographs and textbooks in her native country, including Ukrainian Musical Culture (2007), The Evolution of Galician Music in the Nineteenth and Twentieth Centuries (2008), and Myroslav Skoryk: The Man and the Artist (2008). Together with Helmut Loos she edited the volume Ukrainische Musik. Idee und Geschichte einer musikalischen Nationalbewegung in ihrem europäischen Kontext (Leipzig, 2013). She also published more than 400 articles in academic journals in the Ukraine, Poland, Germany, Austria, the United States, Switzerland, and Slovakia.

Helmut Loos studied Musical Education in Bonn, then Musicology, Art History and Philosophy at the University of Bonn, taking his doctorate in 1980, and senior doctorate (Dr. habil.) in 1989. He was a Research fellow at the University of Bonn, Department of Musicology (1981-1989). After the political events in 1989, he took up the position of Director of the Institute of German Music in the Eastern Regions in Bergisch Gladbach (1989-1993). He has been Professor of Historical Musicology at the Chemnitz University of Technology since April 1993, and at the Leipzig University since October 2001. He was Dean of the Department of History, Art History and Oriental Studies at the Leipzig University between 2003 and 2005. He has been an honorary member of the Gesellschaft für deutsche Musikkultur im südöstlichen Europa in Munich, since 2005. He is a member of international editorial boards of Hudební věda (Prague), Lituvos muzikologija (Vilnius), Ars & Humanitas (Ljubljana), Musicology Today (Bucharest), and Studies in Penderecki (Princeton, New Jersey).

Melita Milin is a Senior researcher at the Institute of Musicology in Belgrade. She was awarded a PhD by the University of Ljubljana in 1995. Her main research area is twentieth- century Serbian music in the European context, with an emphasis on musical nationalism, the relationship between music and politics, and the work of Ljubica Marić, a female Serbian composer. She has been a member of three international musicological projects. She was the cofounder and editor of the first five annual issues of the international journal Muzikologija (2001-2005). She is the author of a book on Serbian music since 1945 and numerous articles published in Serbia and abroad. She is also the editor of several collected papers.

After graduating in piano and musicology from the National Music University of Bucharest in 1990, Professor Valentina Sandu-Dediu turned to two main areas of research in the following decades: one interdisciplinary, in which she studied aspects of musical stylistics and rhetoric and proposed a definition of mannerism in musical culture (Stylistic and Symbolic Hypostases of Mannerism in Music, Bucharest, 1997), and another in which she studied the history of post-war music in communist Romania and the ideologies that determined it. The other direction in which Sandu-Dediu is active involves reassessing and reformulating the history of post-war Romanian music: Romanian Music between 1944-2000, printed in Bucharest in 2002, with a German version in 2006 (Pfau, Saarbrücken); New Histories of Romanian Musics (Bucharest, 2020), edited by Sandu-Dediu and Nicolae Gheorghiță, and Histories and Ideologies: the Bucharest Philharmonic (1868-2018), edited by Sandu-Dediu (Bucharest, 2023). Since 2014 she is rector of New Europe College Bucharest, Institute of Advanced Study.