David Cooper is Professor of Music and Technology in the School of Music, and Dean of the Faculty of Performance, Visual Arts and Communications, at the University of Leeds. He is a composer and musicologist and has published extensively on film music, the music of Bartók, and the traditional music of Ireland. He is author of the Cambridge Handbook on Bartók'e(tm)s Concerto for Orchestra (1996), monographs on Bernard Herrmann'e(tm)s scores for the films Vertigo (2001) and The Ghost and Mrs. Muir (2005), and the study The Musical Traditions of Northern Ireland and its Diaspora: Community and Conflict (2009). He edited the first modern edition of George Petrie'e(tm)s seminal The Petrie Collection of the Ancient Music of Ireland (2002, 2005). He is the co-editor with Kevin Dawe of The Mediterranean in Music: Critical Perspectives, Common Concerns, Cultural Differences (2005); with Christopher Fox and Ian Sapiro of Cinemusic? Constructing the Film Score (2008); and with Rachel Cowgill and Clive Brown of Art and Ideology in European Opera: Essays in Honour of Julian Rushton (2010). He has recently completed a large-scale study of Bartók for Yale University Press. Ian Sapiro is Senior Research Fellow in the Faculty of Performance, Visual Arts and Communications, and Lecturer in Music at the University of Leeds.

His research interests include film music, particularly the processes of film-score creation and production, musical theatre, and orchestration, and the crossovers between these areas. He is author of a monograph on Ilan Eshkeri'e(tm)s score for the film Stardust (Lanham: Scarecrow Press, 2013), and 'e~The Filmmaker'e(tm)s Contract: Controlling Sonic Space in the Films of Peter Greenaway'e(tm) in Music, Sound and Filmmakers: Sonic Style in Cinema (edited by James Wierzbicki, 2012), and co-editor of Cinemusic? Constructing the Film Score (2008) with David Cooper and Christopher Fox. He is currently writing a monographScoring the Score: The Role of the Orchestrator in the Contemporary Film Industry, for which he is interviewing leading US- and UK-based film-score orchestrators and composers, and is also working on chapters for a number of handbooks. Laura Anderson is the Research Fellow on the Arts and Humanities Research Council-funded research project, The Professional Career and Output of Trevor Jones, at the University of Leeds. She was awarded her PhD from Royal Holloway, University of London in 2013. Her doctoral research focused on Jean Cocteau'e(tm)s creative involvement with music and sound in his cinematic work, tracing the development of his approach throughout his career and exploring his importance in the history of French film sound. Her research interests include film music, film sound design, and twentieth-century French music.