Author: gfilinta

Gina Emerson is a Ph.D. candidate in Musicology at the Institute for Cultural Innovation Research at Hamburg University of Music and Drama. She has been working with the Ulysses Network since November 2016 and is writing her doctoral thesis, ‘Receiving the Contemporary: Investigating Audiences for Contemporary Classical Music’, as part of the Network’s Audience Research project. For this, she is conducting audience surveys at twelve contemporary classical music concerts from a range of institutions across Europe, including IRCAM, the Darmstadt Summer Course for New Music, Snape Maltings and the Ultima Festival.

Prior to this, she was a Research Associate with the 3DMIN (Design, Development, and Dissemination of New Musical Instruments) project at the Technical University of Berlin. She holds an MA in Musicology from the Humboldt University of Berlin and a BA in Music from the University of Oxford. Her research interests include 20th/21st-century art music, empirical aesthetics, audiovisual music perception and the reception of contemporary music and new music technologies.

Désirée Meiser is the initiator, co-founder and artistic director of Gare du Nord, the new music station in Basel.

She completed her degree in acting at the University of Music and Theater Hannover. After her involvement at the Staatstheater Darmstadt in 1988, she worked with Frank Baumbauer at the Theater Basel, until 1993. In the following years, she worked as a singer, actress and/or director, especially in the field of music theater. Since the opening of the Gare du Nord in 2002, she (until 2008 together with the dramaturg Ute Haferburg) is the artistic director. Over the past 15 years, she has staged several music theater productions and successively established the ‘Gare du Nord’ as a venue for contemporary music theater with the series of musical theater forms.

Dr. Christina Scharff is Senior Lecturer in Culture, Media and Creative Industries at King’s College London. Her research interests are in gender, media, and culture with a focus on engagements with feminism and the politics of creative work. Christina is the author of Repudiating Feminism: Young Women in a Neoliberal World (Ashgate, 2012) and, most recently, Gender, Subjectivity, and Cultural Work: The Classical Music Profession (Routledge, 2018). She co-edited (with Rosalind Gill) the books New Femininities: Postfeminism, Neoliberalism and Subjectivity (Palgrave Macmillan, 2011); Aesthetic Labour: Rethinking Beauty Politics in Neoliberalism (with Ana Sofia Elias and Rosalind Gill) (Palgrave Macmillan, 2017); and Digital Feminisms: Transnational Activism in German protest cultures (with Carrie Smith-Prei and Maria Stehle).

Christina Lessiak BA MA, born in Klagenfurt, is a musicologist, pop-musician, songwriter, event engineer, and cultural worker. She studied Musicology and Interdisciplinary Gender Studies at the Karl Franzens University of Graz, University for Music and Performing Arts Graz and Aarhus University/Denmark. In her academic work, she focuses on issues of gender and inequality. Currently, she is working with the compositionist and co-researcher Pia Palme on the project “On the fragility of Sounds” (funded by the Austrian Science Fund FWF) which takes place at the University for Music and Performing Arts Graz. Here she focuses on the issues of composing, feminism and autoethnography.

Camilla Overgaard is a Danish songwriter, guitarist, and entrepreneur, currently studying her master at The Royal Academy of Music Aarhus/Aalborg (RAMA) in Denmark. In her songwriting, she reflects on society and has collaborated with musicians from different genres, actors and architects. As a member of the AEC Entrepreneurship Working Group and the AEC Student Working Group within the framework of the project Strengthening Music in Society, Camilla seeks to explore new ways of thinking within higher music education in order to help bring value to society.

Bastian Zimmermann is one of the co-editors of the magazine Positionen. He often works as a dramaturg for musical-performative settings and curates the series Music for Hotel Bars.

Baptiste is a saxophone and recorder player from France and a student at the Pôle Aliénor in Poitiers. He became involved in the AEC-Strengthening Music in Society project in 2018, as a member of both the student working group and the so-called ‘Diversity, Identity and Inclusiveness’. He is involved in many ways in the student representation of his institution, trying to debate wherever he goes across Europe from his subjects of predilections.

Anna Jakobsson (SE) is an artist-researcher, stage-director, and producer based in Stockholm. Her practice expands over the fields of contemporary performance, opera, and theatre and is distinguished by an interest in feminine narratives and non-hierarchical working methods. Since 2017 she is the creative producer of Konstmusiksystrar (Sisters in Contemporary music).

Anke Charton is Assistant Professor of Theatre with the Department of Theatre, Film and Media Studies at the University of Vienna. She studied at the universities of Leipzig, Bologna and Berkeley and holds a PhD in Theatre Studies from Leipzig University. Her work is centered at the intersection of Performance Studies, Musicology and Gender Studies; recent publications include papers on migration, agency and queerness and the historicity of gendered voice aesthetics.

Anja Wernicke studied Cultural Studies and Aesthetic Practice at the University of Hildesheim as well as Cultural Mediation of Art at the University of Provence in Marseille. Since 2013 she lives in Basel and works among other things as managing director and production manager for the festival ZeitRäume Basel as well as scientific assistant in the research department of the University of Music FHNW in Basel. In 2018 she completed the part-time continuing education course “curating in the scenic arts” at the University of Salzburg. She also works as a music theater dramaturge.