Susanne Moldenhauer is a faculty member at the University of Music Würzburg , specializing in Vocal Music, Opera Performance, and Song Interpretation . She is affiliated with the Department of Vocal Music, Opera School, and Song Interpretation , where she contributes to teaching and advising in classical voice disciplines. Her research and instructional focus centers on classical vocal pedagogy, opera training, and interpretive techniques for art song. She maintains an email contact at susanne.moldenhauer@hfm-wuerzburg.de and offers consultation by appointment.
Enrique Sánchez Lansch is a Professor of Media Dramaturgy at the Institute for Music and Media at Robert Schumann University of Düsseldorf, appointed in 2018. Born in Gijón, northern Spain, and raised in Cologne, he has established himself as a prominent documentary filmmaker with a strong focus on music-related subjects. His educational background includes studies in music with a focus on singing, Romance languages, philosophy, and German studies. He completed his master's thesis on adaptation of literature into music films. After gaining professional experience in fictional series production, he pursued further studies in film and screenwriting at Columbia University and UCLA. Sánchez Lansch's research and creative interests center on the intersection of music and visual media. His work explores how musical experiences can be effectively translated to film, examining the relationship between sound and image. He has particular expertise in documenting musical institutions, historical contexts of music, and the educational aspects of musical performance. His approach combines rigorous historical research with innovative visual storytelling techniques that respect the integrity of musical performance while creating compelling cinematic narratives. His filmography reveals a consistent focus on music documentaries that bridge cultural and historical contexts. Early works focused on major musical institutions and figures, while more recent projects have expanded to examine the relationship between music and broader social, political, and cultural phenomena. His films consistently demonstrate a sophisticated understanding of both musical content and cinematic storytelling. His notable awards include: German Film Award German Documentary Film Award Bavarian Film Award German Critics' Award German Kinogilde Award Franz Hofer Prize Best Documentary Film at Los Angeles Latino International Film Festival Best Documentary Film at SEMINCI Festival de Valladolid Diapason d'Or Emmy nomination for "A Celebration for Gershwin" Sánchez Lansch has served as a mentor to young filmmakers, notably curating and presenting music short films by young talents for the Beethovenfest Bonn from 2006 to 2013. His professional activities extend beyond filmmaking to include teaching at institutions such as the dffb (German Film and Television Academy Berlin) and his current professorship at Robert Schumann University. He is an active member of both the German Film Academy and the European Film Academy, contributing to the broader film community through these organizations. As Professor of Media Dramaturgy, Sánchez Lansch contributes to the academic framework of the Institute for Music and Media, bringing his extensive professional experience to bear on the education of future media creators. His work bridges the gap between academic study and professional practice in the field of music-related visual media.
Irene Albers is a full Professor at Free University of Berlin's Department of Philosophy and Humanities, holding dual appointments at the Peter Szondi Institute for General and Comparative Literature and Institute for Romance Philology since 2004. She chairs both the Examination Board and Doctoral Committee for General and Comparative Literature, serves as Trustee of Studienstiftung des deutschen Volkes since 2004/05, and has been Principal Investigator for the Friedrich-Schlegel Graduate School for Literary Studies and Cluster Languages of Emotion since 2007. Her research bridges comparative literature, anthropology, and visual culture with institutional leadership spanning editorial projects and international conferences. Her educational background includes: Born in Bremen (1967) Romance Studies, Philosophy, and German Studies at Universities of Tübingen, Tours, and Konstanz M.A. from University of Konstanz (1993) Ph.D. from University of Konstanz (1999) on literature and photography in Émile Zola, Proust, and Claude Simon Albers' core research examines literary anthropology through colonial/postcolonial lenses, focusing on French literary engagement with Africa, surrealism, and literature-photography intersections. She pioneered studies on Michel Leiris' ethnological poetics and Claude Simon's photographic techniques, extending to historical emotion research (anatomy of affects, body language) and romance novella traditions. Her work consistently challenges Eurocentric literary canons through primitivism critique and heteronomy aesthetics, emphasizing textual restitution and cultural reclamation. Recent publications (2018-2025) reveal a sharp turn toward colonial restitution ethics, particularly in oral literature provenance. Articles increasingly analyze literature as colonial loot, connecting French modernism with African/Caribbean contexts through collaborative projects with anthropologists like Eléonore Devevey. This trajectory builds from earlier surrealist studies to concrete frameworks for decolonizing literary scholarship, spotlighting institutional complicity in cultural appropriation while advancing symmetrized modernity revisions. Scientific awards include: Senior Fellow and Prize Winner of the Zukunftskolleg, University of Konstanz (2009) Albers supervises master's and doctoral students through dedicated AVL colloquia while securing major research funding as Principal Investigator for Friedrich-Schlegel Graduate School (2007-present) and Cluster Languages of Emotion (2007-2012). Her current DFG-funded project 'Literature as Colonial Loot?' with Andreas Schmid pioneers philological provenance research. Earlier, she contributed to Collaborative Research Center 511 'Literature and Anthropology' (Konstanz, 1999-2002) and DFG-funded conferences on Claude Simon. She leads the DramaNet research project and co-edits the 'machina' series at transcript Verlag since 2010. As board member (2007-2009) and deputy (2008-2012) of Cluster Languages of Emotion, she coordinates Area D 'Cultural Codings of Emotions'. Her Zukunftskolleg fellowship (2012-2013) and Marcel Proust Society collaborations underscore sustained engagement with literary anthropology networks.
Prof. Nicola Jürgensen is a distinguished German clarinetist and Professor of Clarinet at Faculty 1 of Folkwang University of the Arts in Essen, Germany. She also serves as Dean of Faculty 1 and is a Confidential Lecturer for the German Academic Scholarship Foundation. Her career seamlessly integrates performance, education, and artistic leadership. She is the Artistic Director of WDR 3 Campus Concerts and a board member of the Folkwang University Foundation. Professor of Clarinet, Folkwang University of the Arts (2018–present) Dean, Faculty 1 Artistic Director, WDR 3 Campus Concerts Board of Directors, Folkwang University Foundation Principal Clarinet (former), WDR Symphony Orchestra Cologne (2001–2018) Regular coach, German National Youth Orchestra (2020–present) Nicola Jürgensen's research and artistic interests center on clarinet performance, chamber music, and contemporary repertoire. She is deeply committed to historical performance practice, evidenced by her recordings on basset clarinet, and to expanding the global reach of classical music through international masterclasses and festivals. Her work bridges traditional European repertoire and modern experimental works, including performances in avant-garde operatic productions. She has collaborated with leading orchestras and ensembles worldwide, from Berlin and Leipzig to New York, Bangkok, and Auckland. Her recent artistic output reveals a strong focus on rediscovered works (e.g., Wilms' concerto), contemporary compositions (e.g., Kancheli, Zwilich), and cross-cultural collaborations (e.g., German Masters Music Festival in Thailand). She emphasizes pedagogical innovation and performance excellence, mentoring students who now hold principal roles in Germany’s top orchestras. Her recordings and performances consistently highlight expressive depth, technical mastery, and scholarly engagement with historical instruments and arrangements. Scientific and Artistic Awards: Mozart Prize, Wiesbaden Mozart Society German Music Competition Soloists' Prize (1999) Germany Radio Promotion Prize (2002) Nicola Jürgensen has been instrumental in guiding numerous students into prestigious orchestral positions and leads the ensemble 'Folkwang Clarinets' with her students. She holds multiple leadership roles in academic and artistic institutions and continues to perform as a guest principal clarinetist with major orchestras like the Mahler Chamber Orchestra and NDR Elbphilharmonie Orchestra. Her involvement in grants and funding appears indirect through institutional roles and festival organization. She is actively involved with several artistic initiatives, including the 'Spannungen' festival, WDR 3 Campus Concerts, and international masterclass programs. Her ensemble collaborations and educational outreach reflect a sustained commitment to excellence, innovation, and accessibility in classical music.
Hermine May is a Romanian-born mezzo-soprano and faculty member at the University of Music and Drama in Rostock since 2020. She has established herself internationally through performances in dramatic opera repertoire, notably portraying roles like Carmen, Amneris, and Ortrud at prestigious venues such as La Scala di Milano and opera houses in Copenhagen and Shanghai. Her artistic collaborations include work with renowned conductors like Zubin Mehta, Raffael Frühbeck de Burgos, and Teodor Currentzis. She has achieved significant success on the concert platform, performing works by Mahler, Verdi, Brahms, and Wagner. Specializes in dramatic mezzo-soprano roles Active in international opera and concert stages Teaches vocal performance at the university level Collaborated with major orchestras and conductors
Dr. Christine Matzke is a Lecturer in English Literature at the University of Bayreuth's Faculty of Languages and Literatures. She joined in 2011 after teaching at Goethe-University Frankfurt and Humboldt-Universität Berlin. Her research focuses on African theatre (especially Eritrean), postcolonial crime fiction, and medical humanities. She has held editorial roles for African Theatre and Matatu , and is active in academic societies like AfTA and IFTR. Her academic journey includes a PhD from the University of Leeds (2003) and studies at Goethe-University and Queen Mary, University of London. She has authored/co-edited volumes on African theatre history, crime fiction, and diaspora studies. Recent works include entries in Kindlers Literatur Lexikon and co-editing African Theatre 19: Opera & Music Theatre (2020). Research interests span Eritrean performing arts, Shakespeare adaptations, and transnational cultural studies. She collaborates internationally on projects like analyzing a 1960s German-Nigerian TV production. Her publications reflect interdisciplinary engagement with theatre historiography, colonial legacies, and performance in conflict zones.
Christof Weiß is a Professor for Computational Humanities at the CAIDAS / Institute of Computer Science, Julius-Maximilians-Universität Würzburg (JMU), Germany. He serves as Head of the DFG-funded Emmy Noether group on Computational Analysis of Music Audio Recordings: A Cross-Version Approach. His academic journey includes previous positions as Visiting Researcher at University Télécom Paris (2021), Visiting Lecturer at Karlsruhe University of Music (2020, 2021), and Research Assistant at International Audio Laboratories Erlangen (2015-2022) and Fraunhofer Institute for Digital Media Technology (2012-2015). His educational background encompasses a PhD in Media Technology from University of Technology Ilmenau (2017), Concert Diploma in Composition from Würzburg University of Music (2012), Physics Diploma from University of Würzburg (2012), and Music Diploma in Composition from Würzburg University of Music (2011). This unique combination of technical and artistic training forms the foundation of his interdisciplinary research approach. Weiß's research operates at the critical intersection of computer science and musicology, developing novel computational methods for analyzing musical structures in audio recordings. His work bridges technical audio processing with musicological insights, creating methodologies for tonal analysis, key estimation, and cross-version comparison of musical performances. His approach combines deep learning techniques with music theory to extract meaningful patterns from large music corpora, enabling new forms of musicological corpus studies that were previously impossible. His recent publications reveal a clear research trajectory toward integrating advanced machine learning with fundamental musicological questions. The consistent theme across his work involves analyzing classical music structures through computational lenses, with particular emphasis on cross-version consistency in performances, tonal complexity measurement, and developing datasets that support computational musicology. His publications span both highly technical audio processing journals and musicology-focused venues, demonstrating his commitment to bridging these disciplines. Best paper award at the 4th conference on Computational Humanities Research (CHR), 2023 KlarText award for science communication of the Klaus Tschira Foundation, 2018 2nd prize at Festival Pablo Casals composition competition, Prades (France), 2013 Youth Cultural Advancement Award (Kulturförderpreis) of the city of Amberg, Germany, 2011 As principal investigator of the DFG Emmy Noether group, Weiß leads a multidisciplinary research team investigating computational analysis of music audio recordings through a cross-version approach. His research has secured significant funding including the prestigious Emmy Noether program, supporting doctoral and postdoctoral researchers working on various aspects of music information retrieval and computational humanities. His collaborative network spans institutions across Europe, including University Télécom Paris, Queen Mary University of London, and multiple German research centers. Weiß leads the Computational Humanities research group at CAIDAS, which focuses on developing computational methodologies for music analysis with particular emphasis on classical repertoire. The lab creates specialized datasets (including the Wagner Ring Dataset and Schubert Winterreise Dataset), develops algorithms for structural music analysis, and applies these tools to address musicological questions that require computational scale and precision. Their work bridges the gap between technical audio processing capabilities and humanities research questions, creating new pathways for understanding musical structure and evolution.
Prof. Dr. Florian Freitag is a Professor of American Studies at the University of Duisburg-Essen (Germany) since 2019, specializing in Transnational American Studies, Canadian Studies, and Theme Park Studies. His academic journey includes a PhD in North American literatures from the University of Constance (Germany) in 2011, followed by postdoctoral research at the Obama Institute, JGU Mainz. His educational background includes: 1998-2005: Student of English and French, University of Konstanz, Germany 2002-2003: Exchange student, Department of American Studies, Yale University 2006-2011: Doctoral Student, Department of Literature, University of Konstanz 2009: Visiting Scholar, University of British Columbia, Vancouver, Canada 2015-2016: Visiting Scholar, CityTech (CUNY), New York, USA Freitag's research interests span Transnational American Studies, Canadian Studies, Popular Culture, Theme Park Studies, Periodical Studies, Performance Studies, and Hurricane Katrina studies. His work explores the intersections of cultural representation, spatial theory, and transnational flows, with particular attention to how American culture travels and transforms in global contexts. He has made significant contributions to understanding theme parks as cultural spaces that negotiate national identity, transnational influences, and historical narratives through spatial design, narrative construction, and visitor experience. His publications reveal a strong focus on how themed spaces mediate cultural understanding across national boundaries. His scholarship demonstrates how popular culture forms like theme parks serve as important arenas for cultural work that often goes unrecognized in more traditional academic contexts. His work examines the political dimensions of themed environments, the adaptation of classical mythology in global theme parks, and how cities like New Orleans are represented across different media forms. Among his notable scientific contributions are his books The Farm Novel in North America: Genre and Nation in the United States, English Canada, and French Canada, 1845-1945 (Camden House 2013), Popular New Orleans: The Crescent City in Periodicals, Theme Parks, and Opera, 1875-2015 (Routledge 2021), and Key Concepts in Theme Park Studies: Understanding Tourism and Leisure Spaces (Springer 2023), which established him as a leading scholar in interdisciplinary theme park studies. Freitag has also been active in academic service, including co-editing special issues and volumes on intersectionality, Chinese theme parks, and transnational approaches to North American regionalism. His work demonstrates a commitment to interdisciplinary approaches that bridge literary studies, cultural geography, and media studies, with significant contributions to understanding cultural representation in themed environments.
Dr. Chang Bi-Yu is a Researcher at the School of Oriental and African Studies (University of London) and a Visiting Fellow at Ruhr University Bochum. Her work focuses on the interplay of culture and power, particularly in the context of Taiwanese identity formation, cultural policy, and spatial representation. She holds a PhD from an unspecified institution, with her dissertation examining Taiwan's post-war cultural policies (1945-2001). Her research has been funded by grants including the Chiang Ching-kuo Foundation and Taiwan's Ministry of Education. Key projects include analyzing cartographic representations of 'China' in Taiwanese maps and exploring spatial constructs like Chung-hsin New Village. She is co-editing Imaging Taiwan and authoring a monograph on spatial narratives in post-war Taiwan. Her work bridges cultural studies, political history, and geography, emphasizing how state power shapes national identity through cultural and spatial frameworks.
Michael Symmons Roberts is Professor of Poetry at Manchester Metropolitan University, within the Department of English, Faculty of Arts and Humanities. A renowned poet, librettist, and broadcaster, he holds a degree in Philosophy and Theology from Oxford University and was formerly Executive Producer at BBC Religion & Ethics. Full Name: Michael Symmons Roberts Position: Professor of Poetry Institution: Manchester Metropolitan University Department: Department of English Field: Poetry and Creative Writing His research interests center on modern and contemporary poetry, with a particular focus on intersections between poetry and theology, science, music, and broadcast media. He is deeply engaged in exploring how poetic form interacts with spiritual, scientific, and ethical questions, often through collaborative and interdisciplinary projects. Michael’s recent publications and creative works reflect a sustained exploration of spiritual and existential themes. His poetry collections such as Drysalter and Ransom , radio dramas like Paradise Lost and Utopia , and choral works including Quickening and The Birds of Rhiannon demonstrate a consistent engagement with religious symbolism, myth, and the human condition. His works are frequently shortlisted for major literary prizes, highlighting their critical acclaim. Among his many honors are the Forward Poetry Prize (twice), the Costa Poetry Prize, the T.S. Eliot Prize shortlist (five times), the Jerwood Award for Non-Fiction, and the Sandford St. Martin Award. He is a Fellow of the Royal Society of Literature and a trustee of the Royal Literary Fund. Forward Poetry Prize for Best Collection (2013, 2004) Costa Poetry Prize (2013) T.S. Eliot Prize Shortlist (2001, 2004, 2013, 2017, 2021) Fellowship of the Royal Society of Literature (2014) Whitbread Poetry Award (2004) Eric Gregory Award (1988) BBC Audio Drama Awards (2013, 2014) He supervises PhD students in poetry and creative writing, teaches campus and online workshops, and is active in public engagement through performances, radio broadcasts, and commemorative poetry projects. His collaborations with composer James MacMillan have resulted in major commissions for the BBC Proms, Royal Opera House, and Welsh National Opera, underscoring his impact across literature and music. He has not been associated with any formal research lab but leads creative teams in interdisciplinary performance and literary projects.
Prof. Katharina Thoma is a renowned opera director currently serving as Head of the Opera School at the University of Music Würzburg . She also holds the positions of Deputy Chair of the Music Academy and Dean of Studies . With a career spanning major European opera houses including the Royal Opera House Covent Garden and Glyndebourne Festival, she specializes in blending historical accuracy with modern theatrical innovation. Studied piano at Lübeck University of Music Resident director at Dortmund Opera (2011-2014) Visiting professor at Graz University of Music (2018) Freelance director since 2008 Katharina Thoma's research and practice focus on opera stage direction , scenic training for singers , and historical opera interpretation . Her work spans from Baroque masterpieces to contemporary political operas, emphasizing: Contextual authenticity in period-specific productions Modern reinterpretation of classical works Interdisciplinary approaches to staging Integration of visual and musical elements Training of next-generation opera performers Exploration of war-related themes in opera Notable productions include: 2024: Johann Strauss' The Bat (University of Music Würzburg) 2023: De Falla's El retablo de Maese Pedro 2022: Britten's The Rape of Lucretia 2019: Schönberg's Pierrot lunaire 2007: European Opera Directing Competition Finalist Her artistic contributions have been recognized with: Second Prize at the European Opera Directing Competition 'Camerata Nuova' (2007) Katharina Thoma actively mentors young singers and develops innovative opera productions at the University of Music Würzburg's Opera School. Her recent work includes: Wagner operas debut (2019/20 season) Collaboration with composers like Richard Jones and Christof Loy Participation in renowned festivals (Munich Biennale, Glyndebourne) The Opera School under her leadership focuses on comprehensive training combining: Historical performance practices Contemporary staging techniques Technical vocal training Interdisciplinary collaboration
Ann-Katrin Zimmermann is an apl. Professor (non-tenured professor) at the Musicological Institute within the Faculty of Philosophy at the University of Tübingen. She has held this position since 2018, following her time as a private lecturer from 2012-2018. In addition to her academic work, she serves as a dramaturg at the Gewandhaus Leipzig since 2013 and has teaching assignments at LMU Munich, Felix Mendelssohn Bartholdy University of Music and Theatre, and Leipzig University since 2012. Her educational background includes: Habilitation (2012) on "Forms of slow movements in the classical cycle" Promotion/PhD (2006) on "Studies on medieval three-part harmony" Master's degree in musicology, philosophy and art history from University of Tübingen and University of Oxford (1998-2003) Professor Zimmermann's research spans multiple eras and aspects of music history and theory. Her work focuses particularly on polyphony of the 12th and 13th centuries, keyboard music from the 15th-18th centuries, early German-language music terminology, and the works of Heinrich Schütz, composers of the Viennese classics, and Richard Strauss. She has made significant contributions to the fields of organology, instrumentation, music iconography, and 19th-century symphonies, with particular interest in cross-temporal aspects of genre, form, and composition. Her extensive publication record shows a consistent focus on historical music analysis, particularly examining compositional strategies across different periods. Her recent work has increasingly focused on Richard Strauss and Mozart, while maintaining her longstanding interest in early music traditions and terminology. She has published numerous articles in prestigious journals and contributed to important edited volumes in musicology. Professor Zimmermann is actively involved in the academic community: Member of the Society for Music History in Baden-Württemberg since 2009 Member of the DHV since 2012 Throughout her career, Zimmermann has balanced academic research with practical musical experience. She has been a bassoonist and leader of various vocal and instrumental ensembles since 1998, and served as a church musician from 1997-2014. Her work as a dramaturg at the Gewandhaus Leipzig since 2013 demonstrates her commitment to connecting scholarly research with contemporary musical practice.
Prof. Stephan Mösch is a Professor at the Karlsruhe University of Music, specializing in Music Theatre Studies. He holds a dual habilitation in musicology and theatre studies, focusing on music theatre. His career includes chair positions at the University of Bayreuth and teaching roles at institutions like the University of Zurich and Seoul's Korean National University of Arts. He has led international projects such as the FWF-funded 'Opera between Hermeneutics and Performativity'. Education: Dual degrees in music, theatre & literature from Berlin/Stuttgart; masterclasses with renowned figures like Elisabeth Schwarzkopf. Awards include the Domgraf-Fassbaender Prize and Gottlob Frick Medal (for Opernwelt). Scholarships from German National Academic Foundation and Richard Wagner Foundation. Research interests span opera history, Wagnerian studies, and the intersection of performance art & cultural theory. He has curated conferences globally and serves as a jury member for prestigious competitions like Bundeswettbewerb Gesang and Concours Suisse Ernst Haefliger. Published extensively in Opernwelt and Frankfurter Allgemeine Zeitung , he also contributes to radio/TV broadcasts of major opera festivals. Current roles include German Academy of Performing Arts membership and advisory board positions for institutions like the German Historical Museum (2019-2022).
Joachim Held is a Professor of Historical Lute Instruments at the Bremen University of the Arts (Hochschule für Künste Bremen) since 2010. He also teaches at the Royal Conservatory in The Hague since September 2007. Born in Hamburg in 1963, Held received his musical training at the Schola Cantorum Basiliensis under Eugen Dombois and Hopkinson Smith, graduating in 1988 with a Diploma in Early Music. His educational background includes studies with Jürgen Hübscher at the Karlsruhe University of Music from 1988 to 1990, where he completed his artistic final examination. In 1990, he won second prize at the Concours Musica Antiqua of the Flanders Festival in Bruges, launching his international career. Joachim Held is renowned for his expertise in historical lute instruments and early music performance. His research interests span across: Historical Lute Performance Practice Baroque Music Repertoire Renaissance Music Historical Performance Techniques Early Music Instrumentology Lute Musicology Held has built an impressive discography of solo recordings focusing on lute music from various historical periods and regions. His recordings show a particular focus on German, Italian, French, Austrian, Polish, and English lute repertoire from the Renaissance and Baroque periods. His 2006 CD "Erfreuliche Lautenlust" with works by Austrian Baroque composers for Baroque lute earned him the prestigious Echo Klassik 2006 award for the best solo recording in the 17th/18th century category. His notable awards include: Echo Klassik 2006 for the best solo recording in the 17th/18th century category Second prize at the Concours Musica Antiqua of the Flanders Festival in Bruges (1990) As an active performer, Joachim Held has maintained a vibrant international career since the early 1990s. He has performed regularly under the direction of Nikolaus Harnoncourt since 1993 and with Il Giardino Armonico (Milan) since 1992. He has participated in productions of major operas including Francesco Cavalli's "La Calisto" and Monteverdi's "L'Incoronazione di Poppea." His concert activities span across Europe, Africa, Japan, and South America, with performances at major festivals and venues. Held is also involved in academic activities including symposia on early music topics, such as the symposium "John Dowland's Activities on the Continent" held at the HfK Bremen in April 2022. He is scheduled to participate in a Lute Symposium at the Bremen University of the Arts on September 22nd-23rd, 2025.
Prof. Dr. Katelijne Schiltz is a Professor of Musicology at the University of Regensburg and serves as Research Dean of the Faculty of Philosophy, Arts, History, and Social Sciences. She holds a Ph.D. from Katholieke Universiteit Leuven (2001) and a habilitation from LMU Munich (2012). Her research focuses on medieval and Renaissance music, particularly Venetian musical culture, performance practices, and intermediality. Schiltz has led major projects such as the DFG-funded study on German organ sermon prints and is editorial director for Adrian Willaert’s Opera Omnia . Education: Musicology at Katholieke Universiteit Leuven and Early Vocal Music at Brabants Conservatorium Tilburg. Key roles: ERASMUS coordinator, Vice Dean (2015–2017, 2021–2023), and member of national/international academic societies like the Alamire Foundation. Her research interests emphasize musical riddles, liturgical music, and death symbolism in music. Notable awards include the Roland H. Bainton Prize (2016) and the Adrian Willaert Lifetime Achievement Award (2024). Teaching includes courses on music history, notation, and historical performance practices. She advises doctoral students and oversees the Regensburg-based Doctoral College of the Humanities (PUR). Her work bridges historical scholarship with modern interdisciplinary projects, such as virtual exhibitions and collaborations with ensembles like Sourcework and Stimmwerck.
