Susanne Schrage

Dr. Susanne Schrage serves as a Part-Time Lecturer in Historical Musicology at Cologne University of Music and Dance's Wuppertal branch, specializing in 18th-century European music with emphasis on Johann Joachim Quantz, Friedrich II of Prussia, and female composers' contributions. Her academic foundation combines practical musicianship with scholarly research, reflecting in both performance and publication.

Her educational trajectory includes flute studies in Aachen and Nuremberg, followed by musicology at HfMT Köln where she completed her 2023 doctorate under Prof. Arnold Jacobshagen. The dissertation Komposition und Vortrag. Die Berliner Flötensonaten von Johann Joachim Quantz established her expertise in Quantz's Berlin-era flute sonatas and performance practices.

Research interests manifest through interdisciplinary lenses: biomusicology examines physiological aspects of historical performance; gender studies recovers marginalized female composers; and wind chamber music analysis connects technical execution with cultural context. Her teaching portfolio spans Idyll und Schrecken (nature representation in music), interpretation practices since 1750, and European music history surveys.

Publication trends reveal consistent engagement with Quantz scholarship, authorship debates, and gendered repertoire recovery. Conference presentations at venues like Berlin's Musikinstrumentenmuseum and Hamburg's Aufklärung! symposium demonstrate active participation in current musicological discourse regarding affect theory, gender connotations in sound ideals, and Enlightenment-era court culture.

Scientific recognition includes:

• National Flute Association Award for Wiener Urtext Edition interpretation notes

As a performer, Schrage maintains dual expertise through chamber music collaborations including Arcadie Quartett, Hinter den Spiegeln von Sanssouci, and KomponistInnenLeben, specializing in 'Gesprächskonzerte' that integrate scholarly commentary with performance. Discographic output spans recordings like Kaleidoskop (1998) and Bazaar (2010), foregrounding historical repertoire and contemporary works by women composers.