Silke Berdux, studied musicology, history and anthropolgy in Göttingen and Munich, obtaining her M.A. in 1994 and Ph.D. in 2001. From 1994 to 2000 she worked as a free-lance musicologist and software-documentarist in cooperation with broadcast companies, museums, conservators and edition projects. Additionally, she worked on the Schlagwortkatalog at Bavarian State Library from 1999 to 2000. Since 2000, she has been curator of the musical instrument collection at the Deutsches Museum. Her principal research, projects and publications have been in the fields of marine trumpet, fortepiano building around 1800, speaking machines, Theobald Böhm, piano rolls and Oskar Sala, whose estate is part of the musical instrument collection and archive of the Deutsches Museum.
Jankees Braaksma studied recorder in the Netherlands and medieval and early renaissance music at the Schola Cantorum Basiliensis in Switzerland. He is founder of ‘Super Librum’, ensemble for medieval music, extending their repertoire to new music written for the ensemble. Jankees plays diverse organetti and a 13th c. organ, built by Winold van der Putten.
|James Q. Davies is Associate Professor and Henry and Julia Weisman Schutt Chair in Music at the University of California, Berkeley. Most recently, he is author of Romantic Anatomies of Performance (University of California Press, 2014), and co-editor of Sound Knowledge : Music and Science in London, 1789-1851 (University of Chicago Press, 2016). James was born in Cape Town and grew up in Johannesburg, South Africa, where he studied as a pianist. Before landing in California, he completed his Ph.D. dissertation and was a Junior Research Fellow in Music at Gonville and Caius College, University of Cambridge, UK. James is working on two book projects at the moment. The first is a book entitled Global Nineteenth-Century Music. The other is a book on air, breathing, inspiritedness, artificial climates, and musical atmospherics in “the deep nineteenth century” entitled Creatures of the Air.|
Hans Fidom (keynote)
Hans Fidom is Extraordinary Professor of Organ Musicology at the VU University Amsterdam and musicologist for the Orgelpark in Amsterdam. Hans Fidom studied musicology at the University of Amsterdam and organ musicology at the Free University of Amsterdam, completing his studies at the University of Groningen in 1993. In 2002 he graduated as PhD at the VU University Amsterdam, with the dissertation Diversity in Unity, on socio-musicological aspects of the German organ scene between 1880 and 1918. Hans Fidom is a board member of the Royal Association for Music History of the Netherlands, examiner for the Dutch School for Organ Experts and member of the Dutch College of Organ Experts. He was editor-in-chief of the magazine Het Orgel from 1996 until 2006. From 2000 until 2007 he was member of the International Improvisation Competition Foundation Haarlem. He was vice-president of the Music Committee and member of the later Main Committee of the Art Council Groningen (advisory board of the local government of the city and province of Groningen). Furthermore, he was chief editor of the encyclopaedia Het historische orgel in Nederland. His book on Dutch organs in the early 20th Century is widely recognized as a standard work.
|Massimiliano Guido is a Senior Researcher at the Musicology and Cultural Heritage Department of Pavia University, where he teaches courses on History of Musical Instruments and Music Theory. He previously served as Banting Post Doctoral Fellow (2012-14) and PDRF Fellow (2011) at the Schulich School of Music, McGill University, where he worked on historical improvisation at the keyboard. In 2013-14 he was the principal investigator of the international research project Improvisation in Classical Music Education: Rethinking our Future by Learning our Past, funded by the Social Sciences and Humanities Research Council of Canada (www.mentemani.org/Connection). He organized two international conferences on improvisation and he is the editor of Studies in Historical Improvisation: from Cantare super Librum to Partimenti (Routledge, 2017). He holds degrees in musicology (Pavia Univ. Doctorate and Laurea, Göteborg Univ. Master of Music Research), organ (Parma Conservatory) and harpsichord (Como Conservatory). His writings cover a variety of subjects, such as music theory, performance practice, organ building, and art song. He is the chair of the Interest Group on Improvisation of the Society of Music Theory and the artistic director of the Smarano International Organ Academy. He is also active as organist, harpsichordist, and clavichordist. He holds degrees in musicology (Pavia Univ. Doctorate and Laurea, Göteborg Univ. Master of Music Research), organ (Parma Conservatory) and harpsichord (Como Conservatory). His writings cover a variety of subjects, such as music theory, performance practice, organ building, and art song.|
Johannes Keller (born 1984 in Kanton Thurgau, Switzerland) finished his studies 2010 in harpsichord, basso continuo and ensemble direction with Jörg-Andreas Bötticher, Jesper Christensen and Andrea Marcon at the Schola Cantorum Basiliensis. Since then he has been active as a freelance keyboard player, specialist for early opera (regular collaboration with Andrea Marcon as musical assistant) and member of various chamber music groups and orchestras. Since 2013 he has taught Intonation and Temperaments at the Schola Cantorum Basiliensis. From 2015 to 2017 he was member of the research team “Studio31” at the Musikhochschule Basel in collaboration with the Schola Cantorum Basiliensis.
Martin Kirnbauer (born 1963 in Cologne) was trained as a musical instrument maker and worked as a conservator for historical musical instruments at the Germanisches Nationalmuseum in Nuremberg. After studying musicology at the universities in Erlangen and Basel, he obtained his Ph.D. with a work on a late-medieval songbook in 1998 (Hartmann Schedel und sein „Liederbuch“. Studien zu einer spätmittelalterlichen Musikhandschrift (Bayerische Staatsbibliothek München, Cgm 810) und ihrem Kontext; Berne 2001), followed by a second thesis (‘Habilitation’) in 2007 (Vieltönige Musik – Spielarten chromatischer und enharmonischer Musik in Rom in der ersten Hälfte des 17. Jahrhunderts; Basel 2013). Since 2007 he has been Lecturer (‘Privatdozent’) for musicology at the University of Basel. From 2004 to 2017 he was director of the Musicmuseum of the Historical Museum Basel and curator of its collection of musical instruments. Since 2017 he has been head of research at the Schola Cantorum Basiliensis.
His numerous publications concern early music, performance practice, organology and musical iconography. He has been a collaborator for several research projects, most recently ‘Studio31 – Development of a portable organ and a harpsichord with 31 pitches per octave’ at the Hochschule für Musik Basel and the Schola Cantorum Basiliensis (2015-2017).
Franz Körndle is full professor of musicology at the University of Augsburg. He has previously taught at the universities of Munich, Regensburg and at the Institut für Musikwissenschaft Weimar-Jena (University of Jena and School of Music Weimar). His 1990 dissertation was published in 1993 as Das zweistimmige Notre-Dame-Organum “Crucifixum in carne” und sein Weiterleben in Erfurt (Tutzing: Hans Schneider Verlag), and his Habilitationsschrift concerned liturgical music at the Munich court in the sixteenth century. Körndle is a specialist in church music and currently researching historical organs and town musicians of the Renaissance and Baroque. He has published many articles in Germany, England, Italy, USA and Spain on keyboards and their music, on Orlando di Lasso and Jesuit Drama.
Laurence Libin is emeritus curator of musical instruments at The Metropolitan Museum of Art (1972-2006) and editor-in-chief of the Grove Dictionary of Musical Instruments (Oxford University Press). He is honorary curator of Steinway & Sons, past president of the Organ Historical Society, and a Life Fellow of the Royal Society of Arts. The American Musical Instrument Society honored him with the Curt Sachs Award for lifetime achievement in 2009. Other honors include the Anthony Baines Memorial Prize of the Galpin Society, a Likhachev Foundation Cultural Fellowship, and Columbia University’s Armstrong Award for his nationally syndicated radio series, “Instrumental Odyssey.” Libin studied musicology and harpsichord performance at the University of Chicago and with Thurston Dart, and has taught in the graduate schools of Columbia and New York University. As an advocate for historical preservation especially of keyboard instruments, he publishes and lectures internationally.
Roger Moseley (keynote)
Roger Moseley is Associate Professor of Music at Cornell University in Ithaca, NY, USA. After completing his PhD at the University of California, Berkeley, Moseley held a Junior Research Fellowship at University College, Oxford, during which he earned an MMus in Collaborative Piano from the Guildhall School of Music and Drama in London. Prior to his arrival at Cornell, he lectured in music history and theory at the University of Chicago.
Moseley’s recent research focuses on intersections between keyboard music, digital games, and the diverse ways in which they can be played. In 2017, his first book, Keys to Play: Music as a Ludic Medium from Apollo to Nintendo, received the American Musicological Society’s Otto Kinkeldey Award, which recognizes “a musicological book of exceptional merit by a scholar beyond the early stages of his or her career.” The book is available as a free download at https://www.luminosoa.org/site/books/10.1525/luminos.16/.
Moseley has published essays on topics including the music of Brahms (on which he wrote his PhD dissertation), Mozart, eighteenth-century keyboard improvisation, Guitar Hero, and media archaeology. He is also active as a collaborative pianist on modern and historical instruments. He is currently working on his second book, Romantic Artifacts: The Technological Disclosure of Nineteenth-Century Music, which subjects the songs of Schubert, the piano music of Chopin, the chamber music of Fauré, and the orchestral music of Brahms to media-theoretical and music-analytical scrutiny.
Tiffany Ng is Assistant Professor of Carillon and University Carillonist at the University of Michigan, Ann Arbor. She holds a doctorate in musicology and new media studies from the University of California, Berkeley, where her dissertation explored the mutual influences between cold war technology and diplomacy and the contemporaneous historicist revival of organ and carillon building in America and the Netherlands. Her museum work includes curating the current bell exhibit at the Yale University Collection of Musical Instruments and authoring the complete catalog of the Mechelen Carillon Museum in Belgium. Ng’s concert career has taken her to major festivals in a dozen countries in Europe, Asia, and North America. An energetic advocate of contemporary music, she has premiered over two dozen works by emerging and established composers, collaboratively pioneered models for audience-interactive carillon performances and environmental-data-driven sound installations, and through her composer collaborations significantly increased the American repertoire for carillon and electronics. She also holds a master’s degree from the Eastman School of Music in organ performance, a diploma magna cum laude from the Royal Carillon School “Jef Denyn,” and a bachelor’s degree from Yale University in English and music.
Katharina Preller is a Ph.D. candidate in musicology at LMU Munich and member of Dr. Rebecca Wolf’s research group “The Materiality of Musical Instruments” at the Deutsches Museum. Her dissertation examines the impact of acoustic research on musical instrument making from the late eighteenth century onwards. A central case study is an investigation of Hermann von Helmholtz’s “On the Sensations of Tone” and his exchange with Steinway and Sons, especially regarding their invention of the duplex scale.
Winold van der Putten
Winold van der Putten is an organ builder since 1978, and has focused his interested in (re)constructing medieval organs. In 1989 he started his own firm, where his first were portative’s after pictures from Memlinck and Italian sources for Jankees Braaksma. Since then, he is recognized for his work internationally and has built medieval organ for several museums.
Catalina Vicens combines a vibrant international soloist and research career. Having specialized in performing on antique keyboards, she’s been invited to play on the oldest playable harpsichord in the world (Naples, ca.1525), the 15th c. gothic organ of St. Andreas in Ostönnen, and over 60 antique instruments in collections all over the world. She also specialized in the performance of medieval organs and stringed keyboard instruments. Her current PhD research is on 16th century keyboard instruments and music in Naples.
Rebecca Wolf leads the research group “Materiality of Musical Instruments: New Approaches to a Cultural History of Organology” at the Deutsche Museum, Munich. She worked on experiments with materials in musical instrument building as Fellow at the Harvard Music Department and at the Max Planck Institute for the History of Science, Berlin. Her first book, “Friedrich Kaufmanns Trompeterautomat. Ein musikalisches Experiment um 1810” won the Award of Excellence of the Austrian Ministry for Science and Research. She teaches musicology in Munich, and has published on instruments made by glass, musical automata, music in peace and war, cultural history, and musical-instrument makers.
|Daniel Walden is a PhD Candidate in Music and Presidential Scholar at Harvard University whose work examines the intersections between musical theory, technology and media, and political history in Europe and Asia. He received the MPhil in Music Studies with Distinction at University of Cambridge as a Gates Cambridge Scholar. He has presented at conferences including the American Musicological Society, Society for Ethnomusicology, and American Philological Association, and has published in History of the Humanities, Early Music History, Music Theory Online, and Greek and Roman Musical Studies. Daniel is also a pianist and Leonore Annenberg Fellow in the Performing Arts.|
|Ralph Whyte is a sixth-year doctoral student in Historical Musicology at Columbia University, where he is writing a dissertation on color organs, light art, abstract animation, and the concept of “visual music.” He holds a BMus and MMus from King’s College London and teaches “Masterpieces of Western Music” and film music at Columbia.|