Category: Uncategorized

Sophie Vögele is a research associate at the Zurich University of the Arts (ZHdK) where she also holds teaching assignments. She pursues research in the field of Higher Art Education with a focus on diversity, intersectionality, and politics of participation. She has co-directed the research project “Art.School.Differences. Researching Inequalities and Normativities in Higher Art Education” in which an ethnography of the selection process to Swiss art schools was conducted, providing pertinent results also for the field of music. She studied in Geneva, Basel, Heidelberg, and Toronto, and conducted research in India.

Currently, she pursues a Ph.D. at the Academy of fine arts in Vienna. She has varied teaching experience and delivered talks and workshops widely. A major publication “Reader Art.School.Differences” is forthcoming with Peter Lang Verlag. It features an educational debate on core themes of Higher Art Education and theories of social inequality in five volumes and is complemented with extensive introductions, a glossary, and didactical questions.

Sandeep Bhagwati is a composer, conductor, poet, theatre-maker, and researcher. Born in India, he has lived in several European countries before coming to Montréal in 2006 as a Canada Research Chair in Inter-x Art at Concordia University, where he founded and directs the matralab – a lab for research-creation in performing arts. His compositions and comprovisations, among them several experimental operas and large scale orchestral works, but also many chambers and vocal compositions for musicians of many cultures are performed worldwide by leading performers and at prestigious festivals and venues. He leads ensembles of trans-traditional music in Montréal, Berlin, and Pune and has published widely on transcultural music. He is also a leading researcher and developer of music technologies, especially new score formats that allow musicians to interact with their environment and audiences in real time.

Rosanna Gunnarsson (SE) is a composer and sound artist based in Stockholm. Her main fields of work are contemporary music, both chamber, and larger ensembles/orchestras, as well as electronic music and sound installations. One of her latest works is an audiovisual installation at Stockholm Arlanda airport, chronicling a Swedish surfer’s experiences of riding waves in the Baltic Sea.

Since 2018 she is the chair of Konstmusiksystrar (Sisters in Contemporary Music).

Rosanna Lovell is a musician, educator, performer, and radio maker from Australia who has been living and working in Berlin since 2009. In 2018 she completed a Masters at the Institute for Art in Context, Berlin University of the Arts. Her practice focuses on feminist and postcolonial perspectives in classical and new music which she explores through performance, intervention, sound and research. She develops workshops and projects and teaches music. She is part of Freien Radio Berlin-Brandenburg, where she focuses on topics such as music, gender, and accessibility in and through radio.

Pia Palme, Ph.D., born in Vienna, is a performer, researcher, and composer freely roaming between genres. Listening perception is at the heart of her work. Her oeuvre includes instrumental, vocal, and electronic music, media compositions, and scenic works; she is known as a versatile performer with her contrabass recorder. Pia Palme surrounds her practice with critical reflections and theoretical explorations.

Palme holds a doctorate in composition from the University of Huddersfield, UK, where she conducted artistic research for her portfolio The Noise of Mind: A Feminist Practice in Composition (2017) under Liza Lim. As principal investigator of the research project On the Fragility of Sounds (Funded by the FWF Austrian Science Fund), she currently continues her work at the KUG Kunstuniversität Graz, Austria, with musicologist and co-researcher Christina Lessiak. Here, Pia Palme explores sound as a biological occurrence and frames her compositional activity as a feminist discipline.

Nomi Epstein is a Chicago-based composer, curator/performer of experimental music, and educator. Her music centers around her interest in sonic fragility where structure arises out of textural subtleties. Epstein’s compositions have been performed throughout the US and Europe by ensembles such as ICE, Ensemble SurPlus, Wet Ink, Mivos Quartet, Wild Rumpus, counter)induction, the Southland Ensemble, and Dal Niente. She is the founder/director of the critically acclaimed, experimental music ensemble a•pe•ri•od•ic, and performs as part of this ensemble in addition to the experimental improvisation trio, NbN.

Epstein produced the Chicago area 2012 centennial John Cage Festival and co-produced the 2014 Chicago Wandelweiser Festival and the 2017 Galina Ustvolskaya Festival. She continues to research, write, and lecture on post-Cagean notated experimental music. Epstein has served on the faculties of Northwestern University, Roosevelt University, the University of Illinois at Chicago, DePaul University and the University of Iowa.

Nina studied musicology, philosophy and music practice in Bonn. She completed her master’s degree in 2001 and her Ph. D. in 2005 at the Institute of Musicology Weimar-Jena (Musical Deconstruction, New Instrumental Music in the GDR, Böhlau 2007). She completed her Habilitation in 2014 at the University of Music, Drama and Media Hanover (Liszt’s “Faust”: Aesthetics – Politics – Discourse, Böhlau 2017).

In 2006, she worked as the Research Associate in the “Die Neudeutsche Schule” project at the University of Music Weimar. Between the years 2007-2011 she was the Research Associate at the Research Center for Music and Gender at the University of Music, Theater and Media Hannover. In 2012, she had substitute professorships in Hannover (HMTM) and Hamburg University of Music and Theater. The same year, she worked as Assistant Professor of Musicology at the University of Salzburg until 2014. Since October 2014, she is a professor at the HfMT Hamburg as well as the spokeswoman for the Department of Musicology, since 2016.

Neo Hülcker is a composer-performer whose work focuses on music as anthropological research in everyday life environments. Their compositions evolve as situations, performance-installations, actions and interventions, and deal with digital subculture (like ASMR), childhood, human-animal-relations, queer practice, and cultural hacking. They are a part of the Y-E-S collective, who publishes music dealing with performativity, temporality, sound as a physical experience and the cultural frames of concerts (y-e-s.org).

Neo Hülcker created compositions and installations such as „ear action“ (2016) with Stellan Veloce, „crackles“ (2016) and „good dog“ (2017) for MOCREP, „gib Pfötchen“ (2017) for Maulwerker and „Da war ich noch nie in meinem ganzen Leben“ (2017), „Musik für tote Tiere“ (since 2017) and „tentaculus ohri“ (2018) with Antonia Baehr.

www.neohuelcker.de

Monika Żyła is a musicologist, cultural theorist, author, and pianist. She is working on her Ph.D. dissertation “Contemporary Music and Its Others: Female Composers, Gender Politics and Constructions of National Identity at the Warsaw Autumn Festival” (working title) in the Department of Musicology and Dance Studies at the University of Salzburg.

Żyła gives workshops and lectures on gender issues in contemporary music and sound art both in the academic and festival context. She taught at the University of Vienna, Salzburg and Berlin University of the Arts. She has published articles in Glissando, Ruch Muzyczny, Dwutygodnik, Odra, Krytyka Polityczna, Circuit-Musiques Contemporaines, and Contemporary Music Review. Her peer-reviewed article “The Need for Otherness: Hispanic Music at ‘Warsaw Autumn’” was published recently in Contemporary Music Review, Volume 38 Issue 1-2. Her first peer-reviewed article “Cornelius Carew behind the Iron Curtain” appeared in the Canadian musicological journal Circuit — Musiques Contemporaines (Volume 28, Issue 3) published by the University of Montreal.

Żyła is an author and producer of the series of podcasts about contemporary music and sound art. In the season 2018/2019, she artistically directed a series of 24-hour staged performances VEXATIONS: REVISITED based on Eric Sate’s Vexations from 1893. She is a president of Frankfurter Gesellschaft für Neue Musik.

After studying medicine in Paris, epistemology at the École des Hautes Etudes en Sciences Sociales with Edgar Morin, and composition at the National Conservatory of Music of Paris with Pierre Schaeffer and Guy Reibel, Marc Texier works as artistic director, radio production, and writing.

In 1983, at the request of the Royaumont Foundation, he founded the program “Voix Nouvelles” (training of composers and singers, ensembles in residence, production of shows) with which he has been associated since 1990, organizing composition courses, multidisciplinary workshops (music, dance, theater, video) and a support program for artists as part of an international exchange network (France-Holland-Canada-Japan-Austria-Germany).

Producer at France-Musique from 1982 to 1997, he deals particularly with the diffusion of the contemporary music and produces monographs of composers within the framework of Matins des Musiciens: Scelsi, Ives, Varese, Ohana, Pablo, Ligeti, Huber, Donatoni. He continued these activities at IRCAM from 1995 to 2004, where he designed and developed the brahms.ircam.fr documentary database on modern music. Between 1986 and 1992, he was co-founder and member of the editorial board of the journal EntreTemps, then in 1997-1998 part of the committee of Musica Falsa. He continues to publish texts on music. His journal of musical creation, Moments Passés-Musique Présente, is published by Éditions Van Dieren. Since 2006, he is the general director of the Festival Archipel in Geneva.