GRiNM Network Conference 2019 Experiences with Gender and Diversity in New Music

14.-16. Nov 2019

A 3-day conference exploring solutions to gender and diversity issues in European contemporary music institutions. GRiNM Network Conference 2019

The GRINM Network Conference 2019 will bring together a variety of initiatives focusing on diversity and gender issues in contemporary music in Europe. In the course of our activism, we have seen both how such initiatives are crucial to the con- tinued existence of the field, and how large-scale projects in schools, universities, music venues, and festivals are already underway. Despite this wealth of knowledge and experience, The GRiNM Network Support and Cooperation Conference 2019: Experiences OnCurating e.V. there has until now been little examination of the goals or results with Gender and Diversity Mariann Steegmann Stiftung of these projects, something we now intend to change. The fo- in New Music is a cooperation SONART Swiss between Gender Relations in Fachstelle Gleichstellung und cus of our conference will thus be on bringing together people New Music (GRiNM) and the Diversity, Zurich University already working in this field to share their outcomes, experiences, Institute for Critical Theory, of the Arts Department of Cultural Analysis, and insights. Through keynotes, music, presentations, and most Zurich University of the Arts. of all through discussion, our goal is to contribute to establishing © 2019 Zurich University a discourse around these issues across the contemporary music of the Arts community. Printed in Switzerland

Gender Relations in New Music http://conference.grinm.org Graphic Design: Laura Weber

3 TIMETABLE Day 1 / 3 THURSDAY 14.11.19 until 11:00 Arrival of Delegates Q

11:00 Registration, Coffee

12:00 Conceptual Speed-Dating k Aktionsraum (5.K06) (for participants only)

13:00 Introduction/ Keynote 1 k Aktionsraum (5.K06) Welcome: Christoph Weckerle (ZHdK/ DKV)/ Brandon Farnsworth Keynote: Anke Charton (University of Vienna)

14:30 Presentations of Individual Projects (30 minute-slots, 10 minutes for questions/ changing speakers)

Presentation 1 k Room 1 (5.K01) k Room 2 (5.K03) 15:10 Irena Müller-Brozovic, Sandeep Bhagwatti Anja Wernicke (FHNW Basel) (Concordia University Montreal)

Presentation 2 k Room 1 (5.K01) k Room 2 (5.K03) 15:50 Christina Lessiak Elizabeth Treydte (Archiv (KUG Graz) Frau und Musik Frankfurt)

Presentation 3 k Room 1 (5.K01) 16:30 Anna Jackobsson, Rosanna Gunnarsson for Konstmusiksystrar (Installation + Presentation)

17:10 Coffee Break k Kaskadenfoyer

17:45 Presentation by Gender Relations in New Music k Aktionsraum (5.K06) Presentation & Moderated Discussion Session Members of Gender Relations in New Music

18:45 Apero Riche, together with members of SONART SWISS k Jazzklub Mehrspur

20:00 Concert k Jazzklub Mehrspur Neo Hülcker (DE), Stellan Velloce (DE/ IT), Klara Andersson (SE)

4 5 Day 2 / 3 FRIDAY 15.11.19 Day 3 / 3 SATURDAY 16.11.19 09:00 Coffee 10:00 Coffee

10:00 Keynote 2 k Aktionsraum (5.K06) 10:30 Keynote 3 k Aktionsraum (5.K06) Speaker: Susanne van Els in cooperation with Camilla Overgaard Speaker: Christina Scharff (King‘s College London) (Royal Welsh Conservatoire of Music/ Royal Academy of 11:45 Discussion Session 3 Music Aarhus) k Room 1 (5.K01) k Room 2 (5.K03) Discussion Session 1: Speculative Design Discussions “6 Chairs” discussion Discussion: “ways to express session femaleness/ otherness in and 11:00 k Room 1 (5.K01) k Room 2 (5.K03) through music” Thørbjorn Tonder Hansen Serge Vuile (Contrechamps led by Julia Eckhardt (Ultima Festival Oslo) Geneva) 13:15 Lunch 11:45 Dahlia Borsche (DAAD) Julia Eckhardt (Q-02 Brussels) Presentations of Individual Projects 12:30 Lunch Presentation 1 k Room 1 (5.K01) k Room 2 (5.K03) Presentations of Individual Projects 14:30 Gina Emmerson Brian Current (NMC Toronto) Presentation 1 k Room 1 (5.K01) k Room 2 (5.K03) (HfMT Hamburg) 13:50 Sophie Vögele Patricia Felber Rufer Presentation 2 k Room 1 (5.K01) k Room 2 (5.K03) (Zurich University of the Arts) (Zurich University of the Arts) 15:15 Nina Noeske Theresa Beyer (Norient CH) Presentation 2 k Room 1 (5.K01) k Room 2 (5.K03) (HfMT Hamburg) 14:30 Luisa Santacesaria, Monika Żyła (Paris Lodron Presentation 3 k Room 1 (5.K01) k Room 2 (5.K03) Valentina Bertolani University of Salzburg) 15:45 Lona Gaikis (Academy Global Musics Network Initiative (CuratingDiversity.org) of Fine Art Vienna) Presentation 3 k Room 1 (5.K01) k Room 2 (5.K03) 16:30 Final Discussion k Aktionsraum (5.K06) 15:10 AEC Working Group Lucien Danzien, Stellan Velloce, (all participants) on Diversity (EU) Evelyn Saylor (FEM*_MUSIK*_, UdK Berlin) 17:30 Conference Ends, Delegates travel home Q

16:00 Coffee Break k Kaskadenfoyer

16:30 Discussion Session 2 Breakout Groups based on conference themes so far, presentations of group findings to plenum

19:00 Conference Dinner 6 (for participants only) 7 CONNECTIONS & MAPS 0

L Li imm mm at at 1e stra sse 1

Pfin Toni-Areal gstw eid e str k as c se ü r b d r a H

Zürich Hardbrücke

1 Zurich University of the Arts 1c Kaskadenfoyer (ZHdK) 5 Pfingstweidstrasse 96 1d Aktionsraum (5.K06) CH-8005 Zurich Zürich Tram 4 “Toni-Areal” 1e Mehrspur Club Hauptbahnhof1a 1c The Mehrspur Club is located just 1a Room 1 (5.K01) outside the ZHdK, underneath the 1d 1b entrance to the delivery ramp. 1b Room 2 (5.K03)

8 9 PARTICIPANTS

ANJA WERNICKE She studied at the universities of BAPTISTE GRANDGIRARD BRANDON FARNSWORTH Hochschule für Musik FHNW Leipzig, Bologna and Berkeley AEC Diversity, Identity, Zurich University of the Arts i Interdisziplinarität - and holds a PhD in Theatre Studies Inclusiveness Brandon Farnsworth is a music Migration - Forschung & Praxis from Leipzig University. Her work i Student/ Diversity repre- curator and scholar based in is centered at the intersection of sentation in Conservatoires Anja Wernicke studied Cultural Zurich and Berlin. He completed Performance Studies, Musicology across Europe Studies and Aesthetic Practice at his MA in Transdisciplinary and Gender Studies; recent pu- the University of Hildesheim as Baptiste is a saxophone and recorder Studies at the Zurich University blications include papers on well as Cultural Mediation of Art player from France and a student of the Arts in 2015, and his BA migration, agency and queerness at the University of Provence in at the CESMD Pôle Aliénor in in Music Performance in 2013. and the historicity of gendered voice Marseille. Since 2013 she lives in Poitiers. He became involved in the His dissertation in musicology aesthetics. Basel and works among other things AEC Strengthening Music in Society with the title “Curating Festivals as managing director and production project in 2018, as a member of both for Contemporary Music” will manager for the festival ZeitRäume ANNA JAKOBSSON the student working group and the be completed at the Hochschule Basel as well as scientific assistant Konstmusiksystrars (Sisters ‘Diversity, Identity and für Musik Carl Maria von Weber in the research department of the in Contemporary Music) Inclusiveness’ working group. He is Dresden in 2019. University of Music FHNW in Basel. i Gender equality for involved in many ways in the student In 2018 she completed the part- composers representation of his institution, BRIAN CURRENT time continuing education course trying to debate wherever he goes Anna Jakobsson is an artist- NMC Toronto (CA) “curating in the scenic arts” at the across Europe from his subjects of researcher, stage-director, and University of Salzburg. She also predilections. Brian Current studied music at producer based in Stockholm. works as a music theater dramaturge. McGill University and UC Berkeley. Her practice expands over the His music, lauded and broadcast in fields of contemporary per- BASTIAN ZIMMERMANN over 35 countries, has been awarded ANKE CHARTON formance, opera, and theatre and Positionen Magazine a Guggenheim Fellowship, the University of Vienna is distinguished by an interest i Editor, dramaturg and curator Barlow Prize for Orchestral Music i Historiography & (un) in feminine narratives and non- in music and performance (USA), the Italian Premio Fedora gendered vocality hierarchical working methods. Bastian Zimmermann is one of for Chamber Opera and a Selected Since 2017 she is the creative Anke Charton is Assistant Professor the co-editors of the magazine Work (under 30) at the International producer of Konstmusiksystrar of Theatre with the Department of Positionen. He often works as Rostrum of Composers in Paris. (Sisters in Contemporary music). Theatre, Film and Media Studies at a dramaturg for musical-performative Brian Current’s pieces have been the University of Vienna. settings and curates the series Music programmed by all major symphony for Hotel Bars. 10 11 orchestras in Canada and by dozens CHRISTINA LESSIAK CHRISTINA SCHARFF DAHLIA BORSCHE of professional orchestras, ensembles University of Music and King’s College London DAAD Artist-in-Residency and opera companies world-wide. Performing Arts Graz/ i Inequalities and precarious Program, Berlin He is in demand as a guest conductor Centre for Gender Studies labour in the classical music i Head of Music (DAAD Arists- and regularly leads orchestral i Composing, feminism, profession In-Residence Programme) programs of contemporary music. autoethnography, artistic Dr. Christina Scharff is Senior Dahlia Borsche is a musicologist and research Lecturer in Culture, Media and curator. In 2019, she became Head CAMILLA OVERGAARD Christina Lessiak (BA, MA), born in Creative Industries at King’s College of Music at the DAAD Artist-In- AEC/ Royal Academy of Music Klagenfurt, is a musicologist, pop- London. Her research interests are Residence program. Dahlia Borsche Aarhus musician, songwriter, event engineer, in gender, media, and culture with has been active as a promoter, DJ, i Working with songwriting and and cultural worker. She has studied a focus on engagements with fe- coordination manager, and producer social entrepreneurship Musicology and Interdisciplinary minism and the politics of creative (CTM Festival Berlin, Labor Gender Studies at the Karl Franzens work. Christina is the author of Re- Sonor, et al.). From 2014-2019, she Camilla Overgaard is a Danish song- University of Graz, University for pudiating Feminism: Young Women cocurated CTM’s discourse program. writer, guitarist, and entre-preneur, Music and Performing Arts Graz in a Neoliberal World (Ashgate, As a musicologist, her most recent currently studying her master at and Aarhus University/ Denmark. 2012) and, most recently, Gender, engagement was at Humboldt-Uni- The Royal Academy of Music Aar- In her academic work, she focuses Subjectivity, and Cultural Work: versity’s Chair for Trans-Cultural hus/ Aalborg (RAMA) in Denmark. on issues of gender and inequality. The Classical Music Profession Musicology, in the Department In her songwriting, she reflects on Currently, she is working with the (Routledge, 2018). She co-edited of Musicology and Media Studies. society, and has collaborated with compositionist and co-researcher (with Rosalind Gill) the books Her research interests focus on con- musicians from different genres, Pia Palme on the project “On the New Femininities: Postfeminism, temporary and transcultural music actors and architects. As a member of fragility of Sounds” (funded by Neoliberalism and Subjectivity processes, thereby expanding the AEC Entrepreneurship Working the Austrian Science Fund FWF) (Palgrave Macmillan, 2011); traditional discipline boundaries to Group and the AEC Student Working which takes place at the University Aesthetic Labour: Rethinking Beauty the fields of sound/ urban/ cultural Group within the framework of for Music and Performing Arts Politics in Neoliberalism (with studies. the AEC‘s Strengthening Music in Graz. Here she focuses on the Ana Sofia Elias and Rosalind Gill) Society initiative, Camilla seeks to issues of composing, feminism and (Palgrave Macmillan, 2017); and explore new ways of thinking within DÉSIRÉE MEISER autoethnography. Digital Feminisms: Transnational higher music education in order to Gare du Nord, Basel Activism in German protest cultures help bring value to society. i Artistic director (with Carrie Smith-Prei and Maria Stehle). Désirée Meiser is the initiator, co- founder and artistic director of 12 13 Gare du Nord, the new music station Hamburg (2014-2018). Since 2019 ssions from the Stiftung Bauhaus 2016 and is writing her doctoral in Basel.She completed her degree she is a researcher at Archiv Frau Dessau, the Heroines of Sound thesis, ‘Receiving the Contemporary: in acting at the University of Music und Musik Frankfurt/ M., focusing Festival, the Orfeo Duo and the Investigating Audiences for Con- and Theater Hannover. After her on the project “Setting the Tone for Church of the Heavenly Rest in temporary Classical Music’, as in-volvement at the Staatstheater Women in Music! Equal Opportunity New York City, and was the recipient part of the Network’s Audience Darmstadt in 1988, she worked with for Women Composers.” Her Ph.D. of the Mellon Elemental Arts Award. Research project. For this, she is Frank Baumbauer at the Theater Project is on discourses and gender- She received her BA in composition conducting audience surveys at Basel, until 1993. In the following stereotypes about contemporary male from Pomona College in southern twelve contemporary classical music years, she worked as a singer, actress and female composers. California and her MA in electronic concerts from a range of institutions and/ or director, especially in the music composition from the across Europe, including IRCAM, field of music theater. Since the op- Universität der Künste Berlin. the Darmstadt Summer Course for EVELYN SAYLOR ening of the Gare du Nord in 2002, She currently teaches electronic New Music, Snape Maltings and the Archiv Frau und Musik she has worked (until 2008 together music at the Universität der Künste Ultima Festival. FEM*_ MUSIC*_, UdK Berlin with the dramaturg Ute Haferburg) Berlin, and is co-founder and current Prior to this, she was a Research i FEM*_ MUSIC*_ member; as artistic director. Over the past 15 active member of FEM*_ MUSIC*_ Associate with the 3DMIN (Design, composer; teach at Universität years, she has staged several music at UdK Berlin. Evelyn Saylor is also Development, and Dissemination of der Künste Berlin theater productions, and successively active as a singer, performer, pianist, New Musical Instruments) project at established the ‘Gare du Nord’ as Evelyn Saylor is a composer and synth player, and sound technician the Technical University of Berlin. a venue for contemporary music performer living in Berlin, originally for live electronics. She holds an MA in Musicology theater. from New York City. She writes from the Humboldt University of electronic music for the concert, Berlin and a BA in Music from the GINA EMERSON for the theater, for modern dance, University of Oxford. Her research ELISABETH TREYDTE Hamburg University of Music and for film. She finds arresting interests include 20th/ 21st-century Archiv Frau und Musik and Drama (HfMT) sounds in unexpected places and art music, empirical aesthetics, Frankfurt/ M. i Audience research for explores their materiality and sonic audiovisual music perception and the i Music(ology) & gender, contemporary music properties in her compositions reception of contemporary music and research, discourse (women) through close recording and Gina Emerson is a Ph.D. candidate new music technologies. composers today electronic manipulation. Found in Musicology at the Institute for Elisabeth Treydte studied and created instruments, synthesis, Cultural Innovation Research at musicology in Frankfurt/ M. and processing, field recordings, and the Hamburg University of Music and Vienna and she was a researcher at human voice play a large role in Drama. She has been working with Hochschule für Musik und Theater her music. She has received commi- the Ulysses Network since November

14 15 IRENA MÜLLER-BROZOVIC JOCELYNE RUDASIGWA posed and improvised music. KLARA ANDERSSON Hochschule für Musik FHNW SONART Swiss Musicians’ She is a founding member and (AKA FÅGELLE) i Interdisciplinarity - Migration Association artistic director of Q-O2 workspace i Sound art and noise pop - Research & Praxis in Brussels, for which she con- Jocelyne Rudasigwa began the Klara Andersson is a sound artist and ceptualized different thematic Irena Müller-Brozovic, wissen- double bass at the age of 16, and in composer working with questions projects such as Field Fest, Tuned schaftliche Mitarbeiterin Hochschule 2001 obtained a teaching diploma of identity, hierarchies and power. City Brussels, Interpretations., für Musik FHNW in Basel und from the Conservatoire de Lau- Through her art she researches the other the self, //2009//- what do Dozentin für Musikvermittlung sanne, studying with Michel Veillon. unexplored digital materials and you make of what I say, DoUndo/ an der Hochschule der Künste Further studies at the Conservatory human stories like archaeological Recycling G, Abstract Adventures, Bern. Studium der Schulmusik und in Basel in the class of Wolfgang artifacts from her generation; chat De Tijd is Rond, Spelling. As a per- Instrumentalpädagogik (Klavier) Gütter, where she obtained a concert conversations, webcam videos, former of composed and improvised in Basel sowie Musikvermittlung diploma in 2004. forgotten websites which contain music she has collaborated ex- in Detmold. Langjährige Praxis She has since taught for many years information about our times. Text, tensively with composer Eliane als Schulmusikerin (Sekundarstufe at the Conservatoire de Fribourg, sound and the performative presence Radigue, next to other artists such I und II) und als Leiterin inter- enriching her pedagogical approach are all tools which borderless moves as Phill Niblock, Pauline Oliveros, disziplinärer partizipativer Kultur- by attending Virgina Dixon’s the works between different artforms Jennifer Walshe, Wandelweiser- vermittlungsprojekte (u. a. mit dem Suzuki classes in Copenhagen. In and contexts where sound is allowed composers, Rhodri Davies, Sinfonieorchester Basel, dem addition, she performs in various to act more or less musically. Taku Sugimoto, Manfred Werder, Kammerorchester Basel und der contemporary musical genres, Angharad Davies, Lucio Capece, Basel Sinfonietta), 2007 aus- including in classical, jazz, so-called Manu Holterbach, Anne Wellmer, LETIZIA CARIGIET gezeichnet mit dem „Junge Ohren popular music, and improvisation. Carol Robinson, several of them Helvetiarockt Preis“. Vorstandsmitglied von being represented on recordings. i We support women to „Kulturvermittlung Schweiz“ und JULIA ECKHARDT She has been teaching and lecturing confidently go their own way & Mitglied von „Musikvermittlung Q-O2 Brussel at Lemmens Institut (Leuven), Trans- experiment joyfully Schweiz+“. Derzeit Promotion in i Equity in sonic arts curation, media (LUCA Brussel) and La Musikpädagogik an der Universität Letizia Carigiet holds a Master connection between art and its Cambre (Brussels). She is the author für Musik und darstellende Kunst degree in German Literature (focus maker. of The Second Sound, conversations Wien. on Medieval German Literature and on gender and music, together with Julia Eckhardt is a musician and Digital Humanities), and gained Leen De Graeve (Umland), and of curator in the field of the sounding a diverse range of experience in Grounds for Possible Music (Errant arts and at the intersection of com- organisations working on gender Bodies).

16 17 equality and youth policy. LUCIEN DANZEISEN LUISA SANTACESARIA LYDIA RILLING She has been working for Helvetia- FEM*_MUSIC*_, UdK Berlin Curating Diversity Rainy Days Festival rockt for 1.5 years as project i Participatory, feminist project i Gender representation in Luxemburg manager of the Female Band Work- at UdK/ Hanns Eisler Berlin Italian music programming i Artistic Director, rainy shops, which offers young women days festival, Philharmonie Lucien Danzeisen is a composer Luisa Santacesaria is a musician their first band and stage experience. Luxembourg and artist. Lucien took part in and musicologist. She studied piano ‘The Young Composers Project’ at Scuola di Musica di Fiesole and Lydia Rilling, Chief Dramaturg LONA GAIKIS (Künstlerhaus Boswil) and com- graduated at the Department of at Philharmonie Luxembourg, is Academy of Fine Art Vienna pleted their bachelor’s degree in Musicology and Cultural Heritage the Artistic Director of the rainy i Intellectual Muse, Magical composition (Josef Kost, Michel of Cremona (University of Pavia) days festival. She has shaped the Realist Roth, Bettina Skrzypczak) and piano with a MA thesis on the relationship festival as a focused response to (Yvonne Lang, Marc Hunziker) between sound and space in electro- pressing cultural themes, offering Lona Gaikis is a Postdoctoral re- with a minor in harpsichord (Bettina acoustic music. She was music cu- a multiplicity of audiences – new- searcher, author, curator, and lecturer Seeliger) at the Hochschule für rator of the Luigi Pecci Center for comers and specialists alike – in philosophy, music, and art. Her Musik Luzern in the Department of Contemporary Art in Prato (2016- a forum to experience and think research involves the meaning Classical Music. From 2012-2014, 2017). She currently collaborates about concert music in all of its of music in artistic practice and they were based in Basel. They as a musicologist with the Amici diversity. She co-initiated the study of the “new key” in analytic completed their master’s degree della Musica di Firenze concert red bridge project, crossing the philosopher Susanne K. Langer in composition at the Hochschule season, the Centro Studi Luciano boundaries between music, dance, (*1895; †1985). Active as a curator für Musik Hanns Eisler Berlin Berio, and with the research center visual arts and film. and engaged with sub- and club with Hanspeter Kyburz. They are Tempo Reale, where she curates the As a writer, journalist and moderator, cultures in music and the arts, she currently teaching at the UdK Berlin experimental music concert season she has worked for institutions founded the platform czirp czirp – as part of FEM_*MUSIC*_, and are TRK. Sound Club and the web- including Südwestrundfunk (SWR) experimental and sonic arts in 2009. a member of the Insu-bordination site musicaelettronica.it. Since 2015, and Berliner Festspiele. Lona Gaikis holds a master degree in Meta Orchestra in Geneva. Lucien she is a member of the collective of As a musicologist, she has edited Fine Arts and Ph.D. in Philosophy/ has given con-certs in Switzerland, musicians Blutwurst. books on 20th and 21st-century Arts and Cultural Studies. Germany, Finland, Poland, France, music, Gustav Mahler and and the Czech Republic, and fo- American music. Rilling studied cuses on composition and free Musicology and Comparative improvisation. Literature in Berlin, Paris and

18 19 St. Louis, was a Visiting Scholar 2016) for the Munich Biennale for production of shows) with which Since 2006, he is the general director at Columbia University in New York Music Theatre (together with Daniel he has been associated since 1990, of the Festival Archipel in Geneva. and taught musicology at Universität Ott). In the academic year, 2017/ 18 organizing composition courses, Potsdam from 2011 to 2016. Tsangaris is Visiting Professor multidisciplinary workshops (music, MEREDITH NICOLL at the Norwegian Academy of dance, theater, video) and a support Hamburg University of Music Music in Oslo. Tsangaris founded program for artists as part of an MANOS TSANGARIS and Drama (HfMT) the Internationale Institut für international exchange network Munich Biennale for New Kunstermittlung (www.iike.de). (France-Holland-Canada-Japan- Meredith Nicoll is currently Music Theatre He has done research in the field Austria-Germany). studying with Prof. Yvi Jänicke Manos Tsangaris is composer, of scenic anthropology. Since the Producer at France-Musique at the Hochschule für Musik und drummer and installation artist, one 1970s, he has repeatedly taken from 1982 to 1997, he deals Theater Hamburg and is the winner of the most important representatives performance conditions to be an particularly with the diffusion of the of the 2016 Elisa Meyer Vocal of experimental music theatre. His essential theme of his compositional contemporary music and produces Competition. She has also recently compositions are internationally work, expressed in different artistic monographs of composers within the won the 2016 Masefield Competition acclaimed and have been performed formats. framework of Matins des Musiciens: for Innovative Concerts for her at several renowned festivals and Scelsi, Ives, Varese, Ohana, Pablo, concept “TRANSIT” and performs theatres. In 2009 he was appointed Ligeti, Huber, Donatoni. He cont- regularly with renowned ensembles MARC TEXIER a professor of composition at the inued these activities at IRCAM for contemporary music such as Festival Archipel, Genève Hochschule für Musik Carl Maria from 1995 to 2004, where he de- SolistenEnsemble Phønix16 Berlin von Weber Dresden, and, in the After studying medicine in Paris, signed and developed the brahms. (@ashesandglory) and Ambitus same year, elected as a member of epistemology at the École des Hautes ircam.fr documentary database Extended in Vienna. the Akademie der Künste Berlin Etudes en Sciences Sociales with on modern music. Between 1986 (director of the music department in Edgar Morin, and composition at and 1992, he was co-founder and MONIKA ŻYŁA 2012). He has been a member of the the National Conservatory of Music member of the editorial board of the Paris-Lodron University of Sächsische Akademie der Künste of Paris with Pierre Schaeffer and journal EntreTemps, then in 1997- Salzburg since 2010 and a full member of Guy Reibel, Marc Texier works as 1998 part of the committee i I research and write critically the Bavarian Academy of Fine Arts artistic director, radio production, of Musica Falsa. He continues to pu- about contemporary music since 2017. Tsangaris was artist-in- and writing. In 1983, at the request blish texts on music. His journal of festivals. residence at the Zurich University of the Royaumont Foundation, musical creation, Moments Passés- of the Arts (ZHdK) for the 2012-13 he founded the program “Voix Musique Présente, is published by Monika Żyła is a musicologist, academic year; he has, since October Nouvelles” (training of composers Éditions Van Dieren. cultural theorist, author, and pianist. 2012, been the artistic director (from and singers, ensembles in residence, She is working on her Ph.D.

20 21 dissertation “Contemporary Music Żyła is an author and producer “crackles” (2016) and “good dog” Media Hannover. In 2012, she had and Its Others: Female Composers, of the series of podcasts about (2017) for MOCREP, “gib Pfötchen” substitute professorships in Hannover Gender Politics and Constructions contemporary music and sound (2017) for Maulwerker and “Da (HMTM) and Hamburg University of National Identity at the Warsaw art. In the season 2018/ 2019, war ich noch nie in meinem ganzen of Music and Theater. The same year, Autumn Festival” (working title) in she artistically directed a series Leben” (2017), “Musik für tote she worked as Assistant Professor the Department of Musicology and of 24-hour staged performances Tiere” (since 2017) and “tentaculus of Musicology at the University Dance Studies at the University of VEXATIONS: REVISITED based ohri” (2018) with Antonia Baehr. of Salzburg until 2014. Since Salzburg. on Eric Sate’s Vexations from 1893. October 2014, she is a professor at Żyła gives workshops and lectures She is a president of Frankfurter the HfMT Hamburg as well as the NINA NOESKE on gender issues in contemporary Gesellschaft für Neue Musik. spokeswoman for the Department of Hochschule für Musik und music and sound art both in the Musicology, since 2016. Theater Hamburg academic and festival context. She NEO HÜLCKER taught at the University of Vienna, Nina studied musicology, philo- NOMI EPSTEIN Salzburg and Berlin University of Neo Hülcker is a composer- sophy and music practice in Bonn. University of Illinois at Chicago the Arts. She has published articles performer whose work focuses on She completed her master’s degree (UIC) in Glissando, Ruch Muzyczny, music as anthropological research in 2001 and her Ph.D. in 2005 at the Dwutygodnik, Odra, Krytyka in everyday life environments. Their Institute of Musicology Weimar- Nomi Epstein is a Chicago-based Polityczna, Circuit-Musiques compositions evolve as situations, Jena (Musical Deconstruction, New composer, curator/ performer of Contemporaines, and Contemporary performance-installations, actions Instrumental Music in the GDR, experimental music, and educator. Music Review. Her peer-reviewed and interventions, and deal with Böhlau 2007). She completed her Her music centers around her interest article “The Need for Otherness: digital subculture (like ASMR), Habilitation in 2014 at the University in sonic fragility where structure Hispanic Music at ‘Warsaw childhood, human-animal-relations, of Music, Drama and Media Hanover arises out of textural subtleties. Autumn’” was published recently queer practice, and cultural (Liszt’s “Faust”: Aesthetics – Politics Epstein’s compositions have been in Contemporary Music Review, hacking. They are a part of the – Discourse, Böhlau 2017). performed throughout the US and Volume 38 Issue 1-2. Her first peer- Y-E-S collective, who publishes In 2006, she worked as the Research Europe by ensembles such as ICE, reviewed article “Cornelius Carew music dealing with performativity, Associate in the “Die Neudeutsche Ensemble SurPlus, Wet Ink, Mivos behind the Iron Curtain” appeared in temporality, sound as a physical Schule” project at the University of Quartet, Wild Rumpus, counter) the Canadian musicological journal experience and the cultural frames of Music Weimar. Between the years induction, the Southland Ensemble, Circuit — Musiques Contemporaines concerts (y-e-s.org). 2007-2011 she was the Research and Dal Niente. She is the founder/ (Volume 28, Issue 3) published by Neo Hülcker created compositions Associate at the Research Center director of the critically acclaimed, the University of Montreal. and installations such as “ear for Music and Gender at the experimental music ensemble action” (2016) with Stellan Veloce, University of Music, Theater and a•pe•ri•od•ic, and performs as part

22 23 of this ensemble in addition to 2011 she was the assistant at the Pia Palme, Ph.D., born in Vienna, ROSANNA GUNNARSSON the experimental improvisation Department of Geography of the is a performer, researcher, and Konstmusiksystrar (Sisters trio, NbN. University of Bern. From 2010 composer freely roaming between in Contemporary Music) Epstein produced the Chicago area to 2015, she was the president of genres. i Composer, gender equality 2012 centennial John Cage Festival the “Gender Equality” working Listening perception is at the heart Rosanna Gunnarsson (SE) is a and co-produced the 2014 Chicago group of the Swiss Academies of of her work. Her oeuvre includes composer and sound artist based Wandelweiser Festival and the Sciences Switzerland. Rufer has instrumental, vocal, and electronic in Stockholm. Her main fields of 2017 Galina Ustvolskaya Festival. publications on the situation of music, media compositions, and work are contemporary music, both She continues to research, write, junior scientists at Swiss universities. scenic works; she is known as chamber, and larger ensembles/ and lecture on post-Cagean notated From 2013 to 2018, she was the a versatile performer with her orchestras, as well as electronic experimental music. Epstein has ‘Equal Opportunities Officer’ at the contrabass recorder. music and sound installations. served on the faculties of North- Vetsuisse Faculty of the University Pia Palme surrounds her practice One of her latest works is an audio- western University, Roosevelt of Bern. with critical reflections and visual installation at Stockholm University, the University of Illinois Patricia Felber works as a social theoretical explorations. Palme holds Arlanda airport, chronicling at Chicago, DePaul University and scientist on the topics of university a doctorate in composition from the a Swedish surfer’s experiences the University of Iowa. development, university culture University of Huddersfield, UK, of riding waves in the Baltic and career development. Her latest where she conducted artistic research Sea. Since 2018 she is the chair Publication is in 2016: Assessment for her portfolio The Noise of Mind: PATRICIA FELBER RUFER of Konstmusiksystrar (Sisters in of the Career Situation of Young A Feminist Practice in Composition Zurich University of Arts Contemporary Music). Female Scientists in Switzerland. (2017) under Liza Lim. As principal i Supporting gender and Recommendations for gender- investigator of the research project diversity topics in research and appropriate academic career paths. On the Fragility of Sounds (Funded ROSANNA LOVELL teaching Swiss academies communications, by the FWF Austrian Science Fund), M.A. Art in Context, Berlin Patricia Felber Rufer studied Vol 11, No 2, 2016. she currently continues her work University of the Arts Geography and Social Anthropology at the KUG Kunstuniversität Graz, i Feminist perspectives in at the University of Bern and the Austria, with musicologist and co- music education, research, sound, PIA PALME University of Arizona, USA. Rufer researcher Christina Lessiak. radio University of Music and completed her Ph.D. at the Swiss Here, Pia Palme explores sound as Performing Arts Graz/ Centre Rosanna Lovell is a musician, edu- Federal Institute for Forest, Snow a biological occurrence and frames for Gender Studies cator, performer, and radio maker and Landscape Research WSL in her compositional activity as i Composing, listening, from Australia who has been living NRP49 “Landscapes and habitats a feminist discipline. performing, composting, feminist and working in Berlin since 2009. of the Alps”. Between 2007 and practice 24 25 In 2018 she completed a Masters His compositions and com- electronics ensemble, where he Sophie Vögele is a research associate at the Institute for Art in Context, provisations, among them several was the artistic director for five at the Zurich University of the Berlin University of the Arts. Her experimental operas and large scale and ten years respectively. Arts (ZHdK) where she also holds practice focuses on feminist and orchestral works, but also many In April 2018, he took over the teaching assignments. She pursues postcolonial perspectives in classical chambers and vocal compositions artistic direction of l’Ensemble research in the field of Higher Art and new music which she explores for musicians of many cultures are Contrechamps in Geneva. Education with a focus on diversity, through performance, intervention, performed worldwide by leading As a musician, he plays with intersectionality, and politics of sound and research. She develops performers and at prestigious the London Sinfonietta, London participation. She has co-directed workshops and projects and teaches festivals and venues. He leads en- Sinfonietta, Ictus Ensemble, BBC the research project “Art.School. music. She is part of Freien Radio sembles of trans-traditional music in Symphony Orchestra, and the Differences. Researching Inequalities Berlin-Brandenburg, where she Montréal, Berlin, and Pune and has Martin Creed Band as well as solo and Normativities in Higher Art focuses on topics such as music, published widely on transcultural at the Huddersfield HCMF, London Education” in which an ethnography gender, and accessibility in and music. He is also a leading researcher Contemporary Music Festival of the selection process to Swiss art through radio. and developer of music technologies, (LCMF), Les Schubertiades, SMC schools was conducted, providing especially new score formats that Lausanne, Musikpodium der Stadt pertinent results also for the field allow musicians to interact with their Zürich and DruskoManija, Vilnius. of music. She studied in Geneva, SANDEEP BHAGWATI environment and audiences in real He composes concert music as Basel, Heidelberg, and Toronto, matralab, Concordia University time. well as multimedia pieces that are and conducted research in India. Montréal performed in Switzerland, England, Currently, she pursues a Ph.D. at the i Composer/ Founder: Germany, Lithuania, the United Academy of Fine Arts in Vienna. Ensemble Extrakte/ Research- SERGE VUILLE States, Peru, and Brazil. Serge also She has varied teaching experience Creation Ensemble Contrechamps teaches experimental music and and delivered talks and workshops Geneva Sandeep Bhagwati is a composer, coaches the percussion ensemble widely. A major publication i New instrumental music conductor, poet, theatre-maker, and at the Royal College of Music in “Reader Art.School.Differences” is without preconceptions researcher. Born in India, he has London. forthcoming with Peter Lang Verlag. lived in several European countries Serge Vuille is a Swiss programmer, It features an educational debate on before coming to Montréal in 2006 percussionist, and composer engaged core themes of Higher Art Education SOPHIE VÖGELE as a Canada Research Chair in in the stage of contemporary and and theories of social inequality in Zurich University of the Arts Inter-x Art at Concordia University, experimental music. He developed an five volumes and is complemented i Challenges of diversity for where he founded and directs the open and engaged vision of today’s with extensive introductions, participation in Higher Art matralab – a lab for research-creation music with the Kammer Klang series a glossary, and didactical questions. Education in performing arts. and the We Spoke percussion and

26 27 STELLAN VELOCE position at the Universität der Künste and she ran a most entrepreneurial She is a member of the board for FEM*_ MUSIC*_, UdK Berlin Berlin with Elena Mendoza, Mauro life in music; combining her own inno-vative initiatives in the arts and i GRiNM, Fem*_Music*_ Lanza and Daniel Ott and at the ensembles and projects, like she does policy advise coaching and California Institute of the Arts with a series of artistically fresh solo accreditation work. Stellan Veloce is a sardinian Ulrich Krieger. CDs, with traveling the world with Susanne is a member of the Learning composer, performer and cellist They performed or their work the Schönberg Ensemble, doing & Teaching working group of the living and working in Berlin. has been performed at London advisory and policy development Strengthening Music in Society They compose pieces for acoustic Contemporary Music Festival (UK), work whilst undertaking adventurous project of the Association instrumental ensembles as well Signal Festival (IT), Neue Musik collaborations with the other arts. Européenne Conservatoires. She as working on installations or Festival Rummlingen (CH), Dark Significant composers like Louis performed forward-thinking work performance pieces focusing on Music Days and Cycle Festival Andriessen wrote new viola works on assessment and curriculum timbre, repetition and density. (IS), CTM Festival (DE), Sound for Susanne. Her recording of development in higher music ed- Together with Kaj Duncan David, Acts (GR), Inact Festival (FR), Ligeti’s viola sonata for Harmonia ucation – recently she presented Andreas Dzialocha, Laure M. Hiendl BAM! Festival Berlin (DE) and Mundi won both the Diapason a keynote speech at the Centre of and Neo Hülcker they are co-founder at HAU Berlin (DE), Münchener d’Or de l’Année and the Deutsche Excellence in Music Performance of the collective and online platform Kammerspiele (DE), Ufer Studios Schallplattenpreis in 2009. Education: ‘How (not) to teach’ Y-E-S.org. Berlin (DE), the Place (UK), After this truly satisfying inter- Veloce works or has worked Akademie der Kunste Berlin (DE) national career, she started to work with collaborators from different THERESA BEYER and elsewhere. in higher education. She was the disciplines like composer Neo Norient/ SRF head of classical music department Hülcker, dancer/ choreographers i How can collaborative and of the Royal Conservatoire Sheena McGrandles and Julian SUSANNE VAN ELS multi-local curation open new The Hague. She was responsible Weber, visual artist Kyle Bellucci Royal Welsh Conservatoire of perspectives? for the interdisciplinary projects Johanson among others. Music and Drama & Working and joint curriculum at ZUYD Theresa Beyer has studied ethno- Occasionally they work as a touring Group for Learning and Faculty of the Arts. For these musicology in Bern and works as band member or in the studio in the Teaching, SMS project institutions, she developed relations a journalist and editor with Swiss pop music sphere. Collaborations i Learning communities AND with international higher education Public Radio SRF 2 Kultur. She include Peaches, Dear Reader, learning goals must be diverse! partners, a.o. in China. She led the covers topics such as contemporary Kenichi, Kat Frankie and Raz O´hara Susanne van Els (1963) is one of European Opera Academy and is music, digital culture, gender and among others. They are a member of the leading musicians of her ge- currently working in a Strategic electronic music between pop the band Danso Key. neration. She performed as Partnership project for new opera and avant-garde for one-hour After completing a degree in cello a soloist and a chamber musician, making and training. programmes (a.o. „Kontext“, performance, Veloce studied com- 28 29 „Musik unserer Zeit“) and for shorter the artistic director of Ultima Oslo She received the Deep Listening® daily formats. Since 2011, Theresa Contemporary Music Festival. certificate from the Deep Listening Beyer is core team member of the Institute created by Pauline Oliveros. international music research network She taught undergraduate courses VALENTINA BERTOLANI Norient.com, where she works as and seminars at the Uni-versity of Curating Diversity editor and curator, publishes books Calgary (Canada) and University of i Gender representation in about underground music worldwide, Birmingham (UK). Italian music programming co-curates exhibitions and concerts and is involved with the Norient Valentina Bertolani is a musicologist Music Film Festival. In 2016, she specialized in experimental and received the Reinhard-Schulz-Prize electronic music, collective impro- for Contemporary Music Journalism, visation, and cultural diplomacy. She awarded by the International Music is also interested in cultural policy Institute Darmstadt (IMD). and tensions between transnational and local cultural networks. She is one of the co-editors of the book THORBJØRN TØNDER Live-Electronic Music: Composition, HANSEN Performance, Study (Routledge Ultima Festival Oslo 2018). Her work has been published Tønder Hansen has been working in miscellaneous volumes and as the leader of the new music/ in Music Theory Online and sound art organization SNYK, presented at numerous international which arranges the festival G((o))ng conferences. She holds a Ph.D. from Tomorrow in Copenhagen, among the University of Calgary (Canada) others. Tønder Hansen has been where she was the recipient of based in Norway previously, between various awards and scholarships, 2000-2006, when he worked as such as the prestigious Izaak Killam manager and producer for Cikada, Walton Scholarship. She pursued and as a head producer with Ultima. master and bachelor degrees from With his experience in the field the Department of Musicology and of contemporary music and broad Cultural Heritage at the University international network, he is currently of Pavia.

30 31 GRiNM Network Conference 2019