James Melo has written extensively for scholarly journals and music magazines in Brazil, Uruguay, United States, and Austria, and has been invited to participate as a panel discussant in conferences in Indiana, New York, and Canada. He has written program notes for several concerts at Carnegie Hall and Lincoln Center, and for over 70 recordings on the Chesky, Naxos, Paulus, and Musikus labels, among others. He is the New York correspondent for the magazine Sinfonica in Uruguay, reviewer of music iconography for the journal Music in Art, and the musicologist in residence for the Ensemble for the Romantic Century in New York. In March 2005, he chaired a session in the conference Music and Intellectual History, organized by the Barry Brook Center for Music Research and Documentation (CUNY), and presented a paper on the history of musicological research in Brazil. He received a grant from the Paul Sacher Stiftung in Basel, Switzerland, where he conducted research on the manuscripts of Anton Webern. Mr. Melo is the program annotator for the recording on Villa-Lobos’s complete piano music and Camargo Guarnieri’s complete piano concertos on Naxos. In 2006, he began collaborating with the Montréal Chamber Music Festival as musicologist and program notes writer. In March 2008 he chaired a session on music iconography in Brazil and Portugal in the conference Music, Body, and Stage: The Iconography of Music Theater and Opera at CUNY Graduate Center. As a senior editor at RILM, Mr. Melo works with material in Portuguese, Spanish, Catalan, and Italian, and focuses on topics such as musicology as discipline, theories of musical form, style analysis, 19th-century music, the history of piano and piano literature, performance practices of the Romantic period, historiography, and the history of music in the 19th and 20th centuries. He works directly with the Brazilian committee to cover scholarly publications in that country, and oversees materials submitted from Spain.