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Olga Kolokytha is a Senior Scientist and Course Director at the Center for Applied Music Research, University for Continuing Education Krems. She holds a PhD in Cultural Institutions Studies (University of Music and Performing Arts Vienna), MA in Arts Management (City University London), and BA in Musicology and Music Education (Aristotle University of Thessaloniki). Her research focuses on cultural policy, creative industries, cultural heritage, and sociology of culture. She leads the Horizon 2020 project CICERONE and the current Composing Change project funded by Bundesländer. She has taught at universities across Europe and serves on editorial and advisory boards including the journal City, Culture and Society and the European Sociological Association’s Sociology of the Arts network. Education : PhD, Cultural Institutions Studies (University of Music and Performing Arts Vienna) MA, Arts Management (City University London) BA, Musicology and Music Education (Aristotle University of Thessaloniki) Research Interests : Cultural policy, creative industries, cultural management Cultural heritage and memory Artistic development and institutional governance Key Awards : Best Publication Award (2016) for her PhD research 7th place in European Cultural Foundation’s Policy Research Award (2006) Professional Roles : Member of European Sociological Association’s Sociology of the Arts Board Advisory roles in EU cultural policy consultations European Opera Centre Projects Manager (2003–present) Labs/Teams : Leading Composing Change project on orchestral impact in European societies Co-leads CICERONE’s work package on cultural production networks Her work bridges theoretical research with practical policy engagement, addressing issues like cultural accessibility, digital transformation, and gender equity in the arts. She has published widely on cultural diplomacy, crisis responses, and grassroots activism in the cultural sector.

• Cultural and Creative Industries
• Cultural Policy
• Cultural Management
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Manfred Aichinger is a Lecturer in Contemporary Dance, Choreography, and Interdisciplinary Performance at the Music and Arts University of the City of Vienna (MUK) , affiliated with the Faculty of Performing Arts since 1990. He founded the tanztheater homunculus in 1981, creating acclaimed choreographies performed across Europe and the Americas. His work explores urban spaces and traditional stages, including collaborations with institutions like the Wiener Staatsoper, Salzburg Landestheater, and Graz Opera. He has held teaching appointments at MUK, the Ballet School of the Vienna State Opera (2004–2009), and led workshops globally. His pedagogical initiatives include establishing tanz.raum.homunculus (2004–2012) as a hub for dance training and experimentation. Aichinger co-curated the Österreich tanzt festival in St. Pölten (2008–2012) and received numerous accolades, including the Christl-Zimmerl-Preis and recognition for innovative choreography. His artistic research emphasizes interdisciplinary performance, urban interventions, and the intersection of dance with theater and opera. Awards include the Adolf-Schärf-Preis and a Special Jury Prize for collaborative work with Nikolaus Selimov.

• Contemporary Dance
• Choreography
• Improvisation
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Marcus Konwallin-Tesch is a Lecturer at the Music and Arts University of the City of Vienna (MUK) since 2004, affiliated with the Faculty of Performing Arts and the Department of Dance. His expertise spans choreography, musical theatre performance, and stage production. He holds extensive training in ballet, singing, and acting from institutions like the Alvin Ailey School in New York and the Austrian Federal Theaters Ballet School. His awards include a federal arts stipendium for studies in the U.S. (1997). Notable choreographic works include productions at MUK (e.g., Frau Luna, Wild Party ), Gärtnerplatz Theater Munich ( The Jungle Book ), and Volksoper Wien ( Die Herzogin aus Chicago ). He has performed in major musicals like The Phantom of the Opera (Pinewood Studios, London) and Rudolf Affaire Mayerling (Vienna). His teaching includes jazz dance classes at beat1060 in Vienna (weekly). Key collaborations span international theaters and institutions, including Lincoln Center NYC and the Wiener Staatsoper Ballet. His creative output blends artistic performance with academic instruction, focusing on interdisciplinary stage arts.

• Dance Choreography
• Musical Theatre Performance
• Jazz Dance
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Gordon Safari is a Lecturer in Oratorio at Mozarteum University's Department of Vocal Studies since 2020. He holds a MMag.art and MA/MA in conducting, music theory, composition, and church music from the HMTMH Hanover. His artistic directorship of Ensemble BachWerkVokal (founded 2015) focuses on historical performance practice, yielding acclaimed albums like Jauchzet & lobet (2024) and Genug (2022), which earned Opus Klassik and German Record Critics' Award nominations. He co-founded the Salzburg Chamber Opera in 2020, producing avant-garde digital operas such as Tag 47 and Im Westen nichts Neues , and initiated the MusiKunsTheater festival. Safari regularly conducts at international festivals including Mozartwoche Salzburg, Bachfest Leipzig, and Telemann-Tage Magdeburg. He also serves as Diözesankantor for the Protestant Superintendenz Salzburg & Tirol since 2014. Research interests include Baroque repertoire revival, avant-garde music theatre, and interdisciplinary performance. His grants include the Lower Saxony Culture Prize and 2023 City of Salzburg Cultural Promotion Prize. Collaborations with the Hanover Symphony Orchestra, Prussian Chamber Orchestra, and cellist Hannah Vinzens highlight his instrumental versatility.

• Historical Performance Practice
• Baroque Music
• Avant-Garde Music
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Dirk D’Ase is a Professor at the Faculty of Music of the University of Music and Performing Arts Vienna. He studied composition under renowned composers Luciano Berio, Friedrich Cerha, and Krzysztof Penderecki. Education: Composition studies under Berio, Cerha, and Penderecki. D’Ase’s research and compositional work is deeply influenced by his extensive travels and research into traditional Southeast African music. His portfolio includes operas, orchestral works, and chamber music that integrate cross-cultural elements. Notable commissions include works for the Vlaamse Opera, the Vienna Musikverein, and the Vienna Symphony Orchestra. His recent articles and compositions focus on contemporary opera , symphonic and instrumental arrangements , and interdisciplinary music blending scientific themes (e.g., Einstein in Amerika ) with avant-garde classical forms. Awards include the Wiener Symphoniker Kompositionsstipendium for his cello concerto. Scientific Awards: Wiener Symphoniker Kompositionsstipendium (2003) D’Ase has held key roles such as Composer-in-Residence at the Wiener Musikverein and contributed to major festivals like the Bregenzer Festspiele. His work bridges modern classical composition with global musical traditions .

• Music Composition
• Orchestral Music
• Traditional African Music

Amélie Niermeyer serves as University Professor of Acting & Directing and Department Head at the Thomas Bernhard Institute, Mozarteum University Salzburg since 2011. Her distinguished career spans theatre and opera direction across major European venues including Residenztheater Munich, Thalia Theater Hamburg, Deutsches Theater Berlin, and Vienna State Opera. Her research interests center on theatrical interpretation of classical and contemporary texts , with specialization in German-language drama, opera direction, and cross-disciplinary performance practices. She has pioneered innovative approaches to Shakespeare, Chekhov, and modern playwrights like Branden Jacobs-Jenkins, consistently collaborating with leading actors including Juliane Köhler. Recent artistic output reveals sustained engagement with Russian literary adaptations (Anna Karenina, Uncle Vanya) Verdi's operatic canon (La Traviata, Otello) European modernist traditions (Chekhov, Ibsen) while maintaining active direction in both German-speaking and international contexts through 2025. Notable honors include: Munich Promotion Prize for Spring Awakening Nestroy Award Nomination (2020) for Cherry Orchard Niermeyer maintains dual practice as academic leader and active director, currently preparing 2025 premieres of Buddenbrooks (Schauspiel Stuttgart) and La Traviata (Opéra de Dijon) while overseeing curriculum development at Mozarteum's Thomas Bernhard Institute. Her work consistently bridges academic training with professional production demands across theatre and opera disciplines.

• Theatre Directing
• Opera Direction
• German-Language Drama
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Vera Schoenberg is a Senior Lecturer in Voice at the Department of Music Education, Mozarteum University, based in Innsbruck. A German soprano, she maintains an active international career in both opera and concert performances across Europe and Israel. Education Robert Schumann University in Düsseldorf Research and Performance Focus Her expertise lies in voice performance, particularly within opera, oratorio, and operetta. Schoenberg specializes in coloratura soprano repertoire spanning Handel, Gluck, Mozart, and Verdi, with recent emphasis on bel canto works by Donizetti and Offenbach. She is recognized for technically demanding roles requiring vocal agility and dramatic interpretation. Professional Highlights Following her debut as Violetta in Verdi's "La Traviata" at Theater Ulm, she has performed at major opera houses including Basel, Karlsruhe, Augsburg, Meiningen, Innsbruck, and Cottbus. Her concert career spans Austria, Italy, Switzerland, France, Germany, Spain, Norway, and Israel, featuring collaborations with artists like Leo Nucci and Klaus Florian Vogt. Notable projects include ORF/BR television productions of "Csárdásfürstin" and the NDR TV series "Musikkontakte" on operetta with conductor Gerd Albrecht. Artistic Development Key mentorship from Edita Gruberova for vocal technique and repertoire expansion Collaborations with Bernd Weikl, Charles Spencer, and Richard Miller Specialization in triple-role performances (e.g., Olympia/Antonia/Giulietta in Offenbach's "Hoffmann's Tales")

• Voice Performance
• Opera
• Classical Singing
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Lidia Baich is a renowned Austrian violin soloist and Professor at the Music and Arts Private University of the City of Vienna (MUK). Born in St. Petersburg, she began violin studies at age four and earned her first international competition victory at eight. A graduate of the Vienna University of Music and Performing Arts under Prof. Boris Kuschnir, she has performed globally with leading orchestras such as the New York Philharmonic and NHK Orchestra. Collaborated with conductors like Lorin Maazel and Vladimir Fedoseyev Active chamber musician with partners including Nobuko Imai and Vienna Philharmonic members Featured at festivals: Vienna Festival, Salzburg Festival, Jerusalem Chamber Music Festival Her research and performance focus spans virtuosic solo violin works, orchestral collaborations, and interdisciplinary projects blending classical music with opera and ballet. Baich’s career highlights include performing at the tenth anniversary of 'Pavarotti and Friends' and a joint production with the Staatsballett Berlin at Komische Oper. Scientific Awards & Recognitions: Eurovision Young Musicians Contest winner European Musician of the Year award Numerous first prizes in international violin competitions

• Violin Performance
• Chamber Music
• Orchestral Performance
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Anneleen Lenaerts has been a lecturer at the Music and Arts Private University of the City of Vienna since September 2023. Her work spans multiple disciplines within music and performing arts, including keyboard instruments, vocal training, and ensemble coordination. She contributes to programs such as piano, composition, orchestral conducting, and historical performance practices. Her role involves teaching, mentoring, and fostering artistic development in both classical and contemporary contexts. As part of the university's faculty, she engages with areas like musicology, pedagogy, and collaborative performance, reflecting the institution's interdisciplinary focus. This aligns with the broader priorities of the university in advancing music and arts education through rigorous academic and practical training.

• Music Performance
• Music Education
• Classical Music
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Simon Frick is a lecturer at JAM MUSIC LAB Private University for Jazz and Popular Music Vienna and the Friedrich Gulda School of Music since 2024. He teaches violin, viola, jazz improvisation, and alternative playing techniques at institutions like Theresianum Vienna (since 2015) and through workshops globally (since 2011). His academic credentials include a Master's degree in Jazz and Improvised Music (2023, with distinction) and multiple Bachelor's degrees in music and pedagogy from Anton Bruckner Private University Linz. Master of Jazz and Improvised Music (2023, with distinction) Bachelor in Jazz and Popular Music (2011, with distinction) Bachelor in Instrumental Violin (2009) Bachelor in Instrumental Pedagogy for Violin (2009) Frick’s research focuses on expanding classical violin techniques for jazz, rock, and pop, as evidenced by his Master's thesis: "Extended violin playing - possibilities for expanding classical violin playing that are relevant for jazz, rock and pop" . His creative work spans composition commissions, interdisciplinary projects in theater and dance, and audio production for cross-genre collaborations. His recent publications (CDs) reflect trends in genre fusion, extended violin techniques, and improvisation-driven compositions. Notable projects include collaborations with Christoph Cech Jazz Orchestra, Michael Mantler, Studio Dan, and Peter Madsen's Seven Sins Ensemble, highlighting his versatility across jazz, rock, and new music. BAWAG PSK Next Generation Jazz Award 2015 (with Gnigler) As a freelance musician since 2011, Frick has performed internationally in diverse ensembles and contributed to interdisciplinary theater, dance, and opera productions since 2018. His work bridges traditional violin pedagogy with contemporary performance practices.

• Jazz Music
• Violin Performance
• Improvisation Techniques
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Tijana Popović Mladjenović is a Full Professor of Musicology and Head of the Department of Musicology at the University of Arts in Belgrade, Faculty of Music. She also holds part-time teaching positions at the University of Kragujevac and previously served as Visiting Professor at institutions including the University of Sarajevo, University of Ljubljana, and Lithuanian Academy of Music and Theatre. Research Interests: European music of the fin de siècle, poetics/stylistics of contemporary music, aesthetics/philosophy of music, interdisciplinary musicology, and fantasy in art. Awards: Pavle Stefanović Award (2020) for music essayistics and critique Publications: Author of 6 books and over 120 research papers, co-editor of 30 books, and contributor to major music encyclopedias including Die Musik in Geschichte und Gegenwart and Grove Music Online. Academic Service: Member of international conference committees, editorial boards, and research projects. Affiliated with the International Musicological Society, Serbian Musicological Society, and Composers’ Association of Serbia.

• Musicology
• Critical analysis of music
• Interdisciplinary Music and Art Studies
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Everist Mark Egerton is a Professor of Music at the University of Southampton and holds leadership roles as Associate Dean (Research) in the Faculty of Humanities and Director of the Humanities Graduate School. His academic career spans over four decades, including previous positions at King’s College London and visiting professorships across Europe and Australia. Specializing in Western European music from the medieval period to the 19th century, his research explores themes like cultural transfer, music historiography, and digital musicology. Key scholarly contributions include works on 19th-century French stage music, Mozart's posthumous reception, and medieval polyphony. He has secured major grants such as the £593,470 AHRC award for his 'Cantum pulcriorem invenire' project. His awards include the American Musicological Society’s prestigious Ruth A. Solie and H. Colin Slim prizes for scholarly excellence. Egerton’s academic leadership includes overseeing research strategy at Southampton and directing interdisciplinary graduate training. His work bridges historical analysis with modern methodologies, reflected in publications like *The Cambridge Companion to Medieval Music* and *Mozart’s Ghosts*. He has collaborated internationally, contributing to musicological encyclopedias and editing critical editions of medieval manuscripts.

• Music of Western Europe (1150-1350)
• 19th-Century French Stage Music
• Cultural Transfer and Music
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Matthias Krebs is a University Assistant (Assistant Professor) at the Department of Music Education Salzburg, Mozarteum University Salzburg. He leads the Berlin-based Appmusik Research Center (founded at the Berlin University of the Arts) and co-founded the DigiEnsemble Berlin, a professional ensemble using smartphone/tablet apps for musical performances. His research focuses on digital technologies' role in music education, teacher professionalization, and cultural education. Education: Opera singing (tenor), vocal pedagogy, and musicology studies at the Berlin University of the Arts. Key Projects: 'app2music_DE' (BMBF-funded), 'MuBiTec_LEKOP', and 'TOUCH:MUSIC' exploring digital music practices. Research interests include technology-mediated music-making, digital tools in early childhood education, and cultural institutions' digital strategies. He has advised regional education initiatives like MSdigital.SH and Musikschule.digital.NRW. His work bridges artistic performance (opera, app-based ensembles) with pedagogical innovation, emphasizing digital transformation in music education. Projects like the DigiEnsemble Berlin showcase creative uses of mobile apps as musical instruments on stages such as the Gewandhaus Leipzig.

• Digital Music Technologies
• Music Education
• Teacher Professionalization
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Jonathan Cross is a Professor of Musicology at the University of Oxford and an Official Student and Tutor in Music at Christ Church, Oxford. He serves as Senior Scholar in Residence at the Oxford Ertegun Graduate Scholarship Programme in the Humanities (2023–2026). Previously, he held roles including Chercheur associé at IRCAM, Paris (2015–2016), Reader in Music at the University of Bristol (1996–2003), and Lecturer in Music at the University of Sussex (1986–1996). His scholarly focus includes music theory, analysis of Stravinsky's works, 20th-century and contemporary music, spectral music, Harrison Birtwistle's compositions, and musical modernism. Cross has authored major studies on Stravinsky and Birtwistle, edited the Cambridge Companion to Stravinsky , and published extensively on modernist aesthetics and compositional techniques. Education: Awarded DLitt (Doctor of Literature) by the University of Oxford in 2013. His awards include Fellowships from the British Academy (2023) and the Royal Society of Arts (2019). Cross's publications explore themes such as Stravinsky's exile narratives, spectral music, and interdisciplinary approaches to opera analysis. Advising and grants: No specific advising records or grant details are provided in the text. Cross's academic contributions emphasize research and editorial work rather than explicitly listed mentorship roles. Labs/Teams: No affiliated research groups or laboratories are mentioned in the provided information.

• Music theory and analysis
• Stravinsky
• Twentieth-century and contemporary music
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Friedrich Geiger is a Professor of Historical Musicology at the Hochschule für Musik und Theater München since 2020. Previously, he held the same position at the Universität Hamburg (2007–2020) and was Research Associate at Freie Universität Berlin (2003–2007). He led the Dresden Center for Contemporary Music’s research initiative on persecuted music (1997–2003). His research focuses on music history from the 19th century to present, emphasizing music in dictatorships, popular music, and geographical influences in music history. Education: Studied historical/systematic musicology and Latin philology in Munich and Hamburg, earning his doctorate in 1997. Completed Habilitation in 2003 at Hamburg University. Professional milestones include leadership roles in collaborative research on aesthetic experience and musicological historiography. Research interests explore intersections of music with political systems, cultural identity, and institutional contexts. Notable work includes studies on Wagner’s operas under Nazi ideology, comparative analysis of musical suppression under Hitler/ Stalin, and the evolving relationship between popular music and religious institutions. Publications span monographs on composers like Wladimir Vogel and Aleksandr Skrjabin, as well as anthologies reinterpreting Carl Dahlhaus’s musicological frameworks. His articles critically examine musical propaganda, intertextuality in composition, and the role of music in post-war societal reconstruction.

• Music History
• Music in Dictatorships
• Popular Music Studies
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