Zeitschrift
der Gesellschaft für Musiktheorie

HANS AERTS ist Professor für Musiktheorie und Gehörbildung an der Hochschule für Musik Freiburg. Er studierte Musikwissenschaft an der KU Leuven (Belgien) und an der TU Berlin sowie Musiktheorie und Gehörbildung an der Universität der Künste Berlin und promovierte 2022 an der Hochschule für Musik Freiburg (Die ›Schule‹ des Leonardo Leo (1694–1744). Studien zur Musikausbildung in Neapel im 18. Jahrhundert, Baden-Baden: Olms 2023). Von 2000 bis 2010 unterrichtete er Musiktheorie und Gehörbildung in Berlin, u.a. an der UdK. In Freiburg war er von 2010 bis 2017 als Dozent für Musiktheorie an der Hochschule für Musik und von 2013 bis 2017 als wissenschaftlicher Mitarbeiter am Musikwissenschaftlichen Seminar der Albert-Ludwigs-Universität tätig. Sein Forschungsinteresse gilt insbesondere der Musiktheorie des 18. Jahrhunderts sowie der Entwicklung von Lehr- und Lernmaterialien im Bereich Musiktheorie. Seit 2019 ist er Mitherausgeber der ZGMTH und seit 2020 Mitglied im Vorstand der GMTH.

RALF VON APPEN is a professor of Theory and History of Popular Music and head of the Department of Popular Music at the University of Music and Performing Arts Vienna. He studied musicology, philosophy, and psychology at JLU Giessen and earned his doctorate in musicology. Ralf von Appen has published extensively on the history, psychology, aesthetics, and analysis of popular music. From 2008 to 2020, he chaired the German Society for Popular Music Studies (GFPM) and is currently serving as co-editor of the annual book series Beiträge zur Popularmusikforschung. He has co-edited ten books, among them Song Interpretation in 21st Century Pop Music (2015). Currently he’s working on methods to measure microtiming and tempo variability.

JAKOB BONASERA, geboren 1999, studierte Künstlerisches Lehramt an Gymnasien (Schulmusik), Geographie und Musiktheorie in Karlsruhe (Michael Moriz) und Freiburg (Ludwig Holtmeier, Hans Aerts, Robert Bauer). Nach Lehraufträgen in Karlsruhe und Detmold ist er seit 2024 akademischer Mitarbeiter für Musiktheorie und Gehörbildung an der Hochschule für Musik Karlsruhe und vertritt dort seit dem Wintersemester 2024/25 außerdem eine Professur für Musiktheorie.

TREVOR DE CLERCQ is a Professor of Audio Production in the Department of Recording Industry at Middle Tennessee State University, where he coordinates the musicianship curriculum and teaches coursework in audio theory, sound recording, and music production. He holds a PhD in music theory from the Eastman School of Music as well as degrees in music composition, music technology, electronics engineering, and mathematics with a concentration in statistics. His Nashville Number System Fake Book was published in 2015, and his undergraduate music theory textbook­ The Practice of Popular Music was released in 2024.

ANNE DANIELSEN is Professor of Musicology and Deputy Director of RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo, Norway. She has published widely on theoretical, aesthetic, cultural and perceptual aspects of rhythm, groove and technology in postwar African-American popular music and is author of Presence and Pleasure: The Funk Grooves of James Brown and Parliament (2006) and Digital Signatures: The Impact of Digitization on Popular Music Sound (with Ragnhild Brøvig-Hanssen, 2016), and editor of Musical Rhythm in the Age of Digital Reproduction (2010/2016).

STEPH DOKTOR is Assistant Professor of Music Theory at Temple University, and her current book project, Reconstructing Whiteness: Race in the Early Jazz Marketplace (under contract with University of California Press), examines how white Americans used jazz to rehearse racial privilege. Doktor’s research has appeared in the Journal of the American Musicological Society, the Journal of the Society for American Music, Jazz & Culture, and American Music. She is also Associate Editor of the Journal of Jazz Studies and will be co-authoring all future editions of Jazz and Jazz Essentials (W. W. Norton & Company).

CHRISTOPHER DOLL is Associate Professor in the Music Department at Rutgers, the State University of New Jersey. He writes on tonality, intertextuality, pedagogy, and forensic musicology, and he has published on topics ranging from Milton Babbitt to Hans Zimmer to “Louie Louie.”

JULIA FREUND studierte Musikwissenschaft und Philosophie in Freiburg, Bristol und München. 2014–2017 Visiting Research Assistant an der University of Leeds. Promotion 2017 an der LMU München; die Arbeit erschien im Frühjahr 2020 unter dem Titel Fortschrittsdenken in der Neuen Musik. Konzepte und Debatten in der frühen Bundesrepublik im Wilhelm Fink Verlag. 2018–2021 Wissenschaftliche Mitarbeiterin im D-A-CH-Forschungsprojekt »Writing Music. Iconic, performative, operative, and material aspects in musical notation(s)«, mit einem Schwerpunkt auf den graphischen Notationsformen Sylvano Bussottis. 2019–2021 Wissenschaftliche Mitarbeiterin am Institut für Musikwissenschaft und Musikpädagogik der JLU Gießen. Seit 12/2021 Wissenschaftliche Mitarbeiterin am Institut für Historische Musikwissenschaft der Universität Hamburg. Ihre Forschungsinteressen umfassen die Musik des 19.–21. Jahrhunderts, Musikästhetik, Musikhistoriographie, Theorie der Notation.

MAGDALENA FÜRNKRANZ is a Postdoctoral Fellow and Senior Scientist at the Department of Popular Music at the University of Music and Performing Arts Vienna. As co-leader of the projects “Performing Diversity” and “Female Jazz Musicians in Austria,” her recent research has focused on performativity, gender and intersectionality in pop and rock music, Austrian music scenes, and New Jazz Studies. She is co-author of Aufführungsrituale der Musik. Zur Konstituierung kultureller Vielfalt am Beispiel Österreich (2021), co-editor of the TheMA special issue Yugoslav Disco. Digging into an “excluded” musical culture of late socialism (2024) and Handbuch Jazz (Metzler/Bärenreiter, 2026).

JAN-PETER HERBST is Professor of Music at the University of Huddersfield, UK. He studied Music and English Teaching (State Exam) and Popular Music and Media (MA), followed by doctorates in Music Education (Dr. phil.) and Music (PhD), as well as a post-doctoral qualification (Habilitation, Dr. habil.) in Musicology. His research interests include music production and technology, performance, songwriting and creativity, and the music business, particularly through empirical methods and musical-acoustic analysis. His latest major works are the two-volume monographs, Heaviness in Metal Music Production – How and Why It Works (Vol. 1) and Learn from the Masters (Vol. 2) – (Routledge, 2025), which contain the findings of the eponymous research project funded for four years by the British Arts and Humanities Research Council (AHRC).

ALLAN MOORE is Professor Emeritus in Music at the University of Surrey, U.K. His work has been driven by the problematics of meaningfulness, and the relationship between analysis and interpretation, particularly in recorded song. His books include Rock: the Primary Text, Song Means, and various edited collections. He is completing a study of Recorded English Folk-Song and spends much of his retirement composing orchestral music, painting and woodcarving. And reading. And finally finding time for some thinking.

MARKUS ROTH, geb. 1968. Studium (Gitarre, Musiktheorie) an der Staatlichen Hochschule für Musik Karlsruhe, Promotion ebenda mit einer Arbeit über Hanns Eislers Hollywood-Liederbuch. Seit 2009 Professor für Musiktheorie an der Folkwang Universität der Künste. 2010–2014 Vizepräsident der GMTH; zahlreiche Publikationen und Kompositionen. Derzeitige Arbeitsschwerpunkte: Komponieren im 15.–17. Jahrhundert und heute. https://www.majuroth.de

ERIC SMIALEK is a Marie Skłodowska-Curie Actions (MSCA) Postdoctoral Fellow at the University of Huddersfield where he researches expression, technique, and cultural meaning in extreme metal vocals. His most recent publications appear in the journals Metal Music Studies, SAMPLES, and Volume! as well as The Routledge Handbook to Metal Music Composition, The Cambridge Companion to Metal Music, Heavy Metal Music and Disability, and Musical Scenes and Social Class. His further specialization on Taylor Swift includes an article on LGBTQ allyship in Contemporary Music Review, co-founding the European Taylor Swift Research Network, and co-organization of the 2024 Taylor Swift Unconference in Amsterdam. He serves on the editorial advisory board for the journal Metal Music Studies and as Assistant Editor for IASPM Journal.

BERNHARD STEINBRECHER is a popular music scholar and works as senior scientist at the University of Innsbruck, Austria, in the Department of Music. He holds a PhD in musicology from the University of Music Weimar, Germany, and has received his habilitation in 2024 at Innsbruck University. Steinbrecher’s analytical approach towards popular music is characterized by an integrative perspective on both its aesthetics, practices, and discourses. With a particular focus on contemporary developments, he examines the relation between popular music’s sounds and social, psychological, and aesthetic questions. Steinbrecher was a member of the international as well as the German-speaking board of the International Association for The Study of Popular Music (IASPM) and has been teaching at the Universities of Vienna, Salzburg, and Innsbruck.

JEREMY TATAR is an Assistant Professor of Music at Carleton College in Northfield, Minnesota. At Carleton, he teaches courses in theory, musicianship, and disability studies. Jeremy is originally from Sydney, Australia, and in 2024 he received his PhD from McGill University, in Montreal, Canada, where he studied with Nicole Biamonte and Jon Wild. Jeremy’s work has been published in Music Theory Online and the Journal of Music Theory.