Professor Mücke Panja serves as Vice President for Research and Teaching at the University of Music and Performing Arts Mannheim, where she has held the full professorship in Historical Musicology since 2015. Previously, she served as Director of the Institute for Music Research (2017–2019) and held adjunct professorships across German universities, including a one-year term at the University of Vienna (2012/13). She earned her PhD in 2000 (awarded the Marburg University Dissertation Prize) and habilitation in 2008 at Philipps University Marburg. Her research focuses on 18th-century opera, 20th-century theatre/film music, and European court music cultures. She is president of the German Musicological Society (GfM) and co-director of the Hof | Music | City Research Center in Schwetzingen. Panja has authored/co-authored six edited volumes, over 50 articles, and serves on editorial boards for major musicological journals. Education: PhD (2000), Habilitation (2008) from Philipps University Marburg Awards: 2002 Marburg University Dissertation Prize Leadership roles: Vice President (2019–present), President of GfM (2021–present) Key research areas: Opera history, performance practice, music-medial intersections Her recent publications explore topics like Händel's operas, Puccini's late works, and the role of programme sheets in Mannheim opera production. Panja actively engages in academic governance, serving on committees for digitalization, cultural heritage, and diversity in music.
Elena Minetti, Ph.D., is a Research Fellow in Historical Musicology at the Department of Music, University of Kassel, where she has been working since May 2025. Her current research project, "Receiving – Re-constructing – Recomposing. Practices of Completing Opera Fragments from the Mid-19th to the Early 21st Century," is funded by the University's central research funding (ZFF) program "Pilot." Dr. Minetti earned her doctorate in 2024 through a cotutelle arrangement between the University of Music and Performing Arts Vienna and Justus Liebig University Giessen. Her dissertation, "Schrift als Werkzeug: Schriftbildliche Operativität in Kompositionsprozessen früher musique mixte (1949–1959)" received significant recognition. Prior to her doctorate, she studied piano performance at the Istituto di Studi Superiori Musicali in Siena (2014–2019) and Musicology at the University of Bologna (2011–2017), where she completed bachelor's and master's theses focused on Hans Werner Henze's operas. Dr. Minetti's research spans multiple interconnected areas within musicology. Her primary focus is on music history from the 19th to 21st centuries, with particular attention to sketch research and compositional processes, especially in music theater and electroacoustic music. She has developed expertise in letter research and the digital edition of postal documents, which informs her work on artistic networks. Additionally, she investigates the theory and history of musical writing, examining how notation functions as both a practical tool and a conceptual framework in composition. Her work in music education, particularly regarding music theater and piano music, demonstrates her commitment to applying scholarly insights to pedagogical contexts. Her scholarly output reveals a consistent focus on the intersection of musical notation, compositional process, and historical context. Through detailed examinations of works by composers such as Bruno Maderna, Mauricio Kagel, and Daphne Oram, she has illuminated how composers use written forms to conceptualize and realize their musical ideas. Her research particularly emphasizes the period from the 1940s to 1960s, a crucial era for the development of electronic and electroacoustic music, while also connecting these historical practices to contemporary approaches in music composition and notation. Dr. Minetti's exceptional scholarly contributions have been recognized with prestigious awards: The Herta & Kurt Blaukopf Prize of the University of Music and Performing Arts Vienna (2024) The Award of Excellence of the Austrian Federal Ministry of Education, Science and Research (2024) As a postdoctoral researcher, Dr. Minetti has secured significant research funding for her current project through the University of Kassel's competitive "Pilot" program. Her previous research positions include fellowships at the German Historical Institute in Rome and participation in major collaborative projects such as "Henze Digital – Hans Werner Henze's Artistic Network" and the trinational project "Writing Music – Iconic, Performative, Operative and Material Aspects in Musical Notation(s)" funded by DFG, FWF, and SNF. Dr. Minetti is actively involved in the "Henze Digital" project, which focuses on creating a digital edition of Hans Werner Henze's correspondence network. She has also participated in workshops and conferences related to musical notation, digital humanities approaches to music scholarship, and gender studies in music. Her work often bridges traditional musicological methods with digital humanities approaches, reflecting contemporary trends in the field.
Professor Philip Ross Bullock is a Professor of Russian Literature and Music at the University of Oxford's Faculty of Medieval and Modern Languages, associated with Wadham College and Worcester College. He holds a D.Phil. (Oxford) and B.A. (Durham). His research focuses on intersections of Russian literature, music, and cultural history, with expertise in gender studies and translation. Notable roles include Director of TORCH (2017–2020), EURIAS Senior Fellow (2016/17), and scholar-in-residence at the Bard Music Festival. Awards include the Philip Brett Award (2009) and Philip Leverhulme Prize (2009). He teaches Russian language, literature, and interdisciplinary courses, supervising numerous graduate theses on topics like Soviet opera, Dostoevsky's empire politics, and Soviet Shakespeare translations. His publications span monographs on Tchaikovsky and Rachmaninoff, co-edited volumes on Russian music and culture, and contributions to journals like Slavonic and East European Review . Public engagement includes BBC Radio features, collaborations with opera houses, and documentary work on Tchaikovsky. Education: D.Phil. (Oxford), M.St. (Oxford), B.A. (Durham) Affiliations: Fellow of Wadham College, Senior Fellow at Université Grenoble Alpes Research Themes: Russian modernism, gender/sexuality in culture, translation, and transnational cultural exchange Grants: AHRC-funded Creative Multilingualism, TORCH Knowledge Exchange Fellowships His work bridges literature and music, emphasizing interdisciplinary approaches. Recent projects include a study of words/music in Russian culture and co-curation of recitals at Wigmore Hall. Public talks and translations highlight his commitment to accessible scholarship.
Professor Dörte Schmidt holds a chair in Musicology at the Berlin University of the Arts since 2006. Her academic career includes visiting professorships at Stuttgart University of Music (2000–2006) and habilitation from Ruhr University Bochum (1997). She has held leadership roles including presidency of the Society for Music Research (2017–2021), membership in the German Music Council Presidium (2013–present), and directorship of the Bernd Alois Zimmermann Complete Edition (2016–present). Her research focuses on post-war music culture, exile studies, and interdisciplinary arts relationships. She has authored/co-edited over 30 books and 60+ articles across musicology, cultural history, and digital humanities. Central projects include the NFDI4Culture consortium (2021–present) and research on 20th century musical modernism. Education: Studied Viola Performance, Musicology, German Studies, and Philosophy in Hanover, Berlin, and Freiburg (doctorate 1992 under Hermann Danuser). Habilitation in Bochum (1997) with a study on Lully and Gluck's operatic parody traditions. Research interests span musical theatre, post-war creative processes, and the intersections between music and other art forms. Her work analyzes how 20th century composers navigated cultural transitions post-WWII, particularly through the lens of exile returnees and institutional reforms. She pioneered studies on the LaSalle Quartet's role in disseminating modernist music and the textual practices of composers like Elliott Carter and Bernd Alois Zimmermann. Publications highlight transnational musical exchanges, such as Italian influences on German composers and Korean art song developments. Her recent work focuses on digital infrastructure for cultural heritage (NFDI4Culture) and data diplomacy in musicology. Awards include DAAD scholarships and the Alfried Krupp Senior Fellowship (2020–2021). Awards and grants include Paul Sacher Foundation support, DFG habilitation funding, and leadership in Berlin-Brandenburg Academy initiatives. She chairs the 'Academicization of the Arts' project and advises on national cultural policy through the German Cultural Council's digitalization committee.
Elisabeth Gutjahr is the Rector of Mozarteum University since 2018, previously serving as Rector of Staatliche Hochschule für Musik Trossingen (2006–2018). She holds a professorship in Music Theory and Rhythm, with academic training at universities in Stuttgart and Cologne. Her work bridges score interpretation and performance, focusing on libretto writing for opera and music theater. Gutjahr has led key roles in Baden-Württemberg's Music Colleges, German Music Council, and the European Association of Conservatories (AEC). Her creative output includes libretti for acclaimed operas like An der Schönen Blaue Donau (1994 Best Opera) and Styx (Handel Festival 1999/2000), as well as radio plays and philosophical texts. Awards include the 'Best Audio Book' 2001 for Wittgenstein . Her interdisciplinary approach spans music dramaturgy, choreography, and directing, notably staging Peer Gynt in 2021. Gutjahr has authored educational works on creativity and collaborates with institutions like Wiener Festwochen and Deutsches Symphonie-Orchester Berlin. She currently oversees Mozarteum's academic and artistic strategies while maintaining active roles in international music festivals and competitions.
Kremena Angelova is a researcher and academic affiliated with the National Music Academy, specializing in musicology, psychoacoustics, and historical music studies. Her work bridges artistic creation with technical analysis, particularly in music composition, audio production, and pedagogy. Her research interests span ancient music theory (e.g., Aristides Quintilianus), 19th-century instrumental development (cello pedagogy), Bulgarian folk music traditions, and interdisciplinary studies like jazz dance improvisation. She has also explored the intersection of literature and opera through analyses of Verdi’s Falstaff . Angelova’s publications reflect a focus on both practical applications (e.g., psychoacoustic principles in audio production) and historical preservation (e.g., Svishtov’s 19th-century musical life). She has contributed to studies on citation dynamics in academic publications, highlighting her engagement with scholarly methodologies. Her articles emphasize innovative approaches to music education, such as solfège pedagogy and ensemble collaboration. Despite no listed awards, her extensive bibliography underscores her role as a scholar committed to advancing music theory and practice.
Girgina Girginova is a researcher specializing in musicology, opera studies, and pedagogical approaches to music education. Her work focuses on intersections between literature, theater, and music, particularly in operatic composition and historical performance practices. She has contributed significantly to understanding the creative processes behind masterpieces like Verdi's Falstaff , analyzing the synergy between Shakespearean texts and musical innovation. Her research spans diverse areas including ancient Greek music theory (via Aristides Quintilianus), Jewish folk song arrangements by Prof. Nikolay Kaufman, and psychoacoustic principles in audio production. She has explored Bulgarian choral traditions, chamber music pedagogy, and the evolution of cello techniques in 19th-century German schools. Key research themes: operatic libretto analysis, historical musicology, cultural identity in music, and interdisciplinary artistic collaboration. Publications include analyses of Verdi/Boito collaborations, pedagogical frameworks in antiquity, and technical innovations in audio production.
Arnold Jacobshagen is Professor of Historical Musicology at Cologne University of Music and Dance since 2006, with previous appointments at Vienna and Bayreuth universities. He serves as Vice President of the Gesellschaft für Musikforschung, Chairman of the Joseph Haydn-Institut, and holds leadership roles in multiple international musicological organizations including the European Music Theatre Academy and Meyerbeer Institute. PhD (1996) from Freie Universität Berlin Habilitation (2003) from University of Bayreuth Studies in Berlin, Vienna, Tours, and Paris in Musicology, History, Philosophy, and Cultural Management His research centers on opera and music theater from the 17th to 21st centuries, with special focus on French music history (18th-19th centuries), European cultural transfer, and historical performance practices. Jacobshagen's work bridges institutional history with performance studies, examining how social structures shape musical production across eras. His publications reveal particular interest in reception history, examining how composers like Rossini, Verdi, and Wagner have been interpreted across national boundaries. His recent publications demonstrate growing engagement with transcultural performance practices and contemporary opera production, while maintaining strong connections to historical scholarship. Jacobshagen's work shows consistent methodological diversity, combining archival research with theoretical analysis of performance practices. Distinguished Visiting Scholar, Christ's College, University of Cambridge (2019) Ordentliches Mitglied der Academia Europaea Former jury member of Beethoven Foundation Bonn (2008-2011) Former co-editor of "Die Musikforschung" (2012-2017) Jacobshagen has directed major editorial projects including the Haydn Complete Edition and has held significant administrative roles at his institution including Dean (2013-2017) and Pro-Dean (2009-2013) of Department 5. His current research projects examine Haydn's spurious works, 20th-century reception of opera buffa, and critical editions of French opera including Gounod's Roméo et Juliette. He leads the Cologne-based research group on historical musicology that collaborates with international institutions including the German Historical Institute in Rome.
