Annette Insdorf Ph.D. is the director of undergraduate film studies at Columbia and a professor in the Graduate Film Program of the School of the Arts (which she chaired 1990–95). She is the author of Double Lives, Second Chances: The Cinema of Krzysztof Kieslowski; Francois Truffaut, a study of the French director’s work; Philip Kaufman; and the landmark study Indelible Shadows: Film and the Holocaust. 

Christopher Palmer attended Norwich School before going on to Trinity Hall, Cambridge to read modern languages and in doing so acquired a wide knowledge of European literature which he would draw upon with flair and intelligence to illuminate his writings on music. Later, at Cambridge, he switched to music studying with Peter le Huray and Sir David Willcocks. Early in his career, he struck up a friendship with Bernard Herrmann the celebrated film composer ...

Clifford McCarty was one of the most respected authorities in the field of film music for more than half a century. In 1953, he published Film Composers in America: A Checklist of Their Work, the first attempt at creating a comprehensive list of composers and orchestrators and their credits in American films.  No one was more meticulous in his research than McCarty, so it took more than forty years for the second edition to materialize. 

Ian Lace was a man of many talents and an encyclopaedic knowledge of music, particularly British composers. He was associated with MusicWeb from almost the very beginning when my web site expanded from The William Alwyn website (1995) to include other British composers and became Music on the Web. Ian Lace, Rob Barnett and I were all members of the British Music Society with Rob also acting as their Newsletter Editor. Ian worked for many years in Public Relations...

Jon Newsom, assistant chief of the Music Division, is currently working on the archives of film music in the Library of Congress. He has specialized in nineteenth century popular music, researching and annotating recordings of early American band music and the songs of Stephen Foster and Henry Clay Work. His articles for various anthologies and periodicals have ranged in subject from improvisational jazz to the music of Hans Pfitzner. 

I was born on July 1904 in Duluth, Minnesota, and have often wondered if the chill of my native climate generated my preference for the “coolth" of Classicism in the arts to the excessive warmth of Romanticism. During my freshman year in high school my family moved to Minneapolis where summer heat and humidity reinforced my dislike of climatic-musical “Fahrenheit.” But years later I learned to detest Midwestern winters as heartily as Czerny exercises ...

N. William Snedden retired from a career as an engineering consultant in 2010 and lives in Edinburgh, Scotland. He received his Ph.D from Churchill College, Cambridge in 1982. Now an independent writer on music, he has contributed articles to Oxford Music Online, the British Music Society, The Arthur Bliss Society, The Cue Sheet, The Journal of Film Music and, recently, The Western States Jewish History Association.

Robert Orledge is a leading scholar of late 19th and early 20th century French music, and a Professor Emeritus of the University of Liverpool. Professor Orledge's main interest lies in composers' working methods, and his musicological "detective" work often seeks to trace the genesis of compositions from different versions and sketches, placing them in their historical perspective and evaluating them critically. 

As a longtime music preservationist, Hall has helped preserve music of the Shakers and other music from earlier America. He has written over fifty publications in the PineTree ultimedia Editions series, including music guides on Shaker music, Film music, Christmas music in America, George Gershwin, Old-Time Radio, and Old Stoughton Musical Society. In addition, he has written several memoirs about his songwriting years, "Songs of Survival" and "Free As The Breeze".