GMTH

Prof. Hans Aerts

Mail: h.aerts@mh-freiburg.de

Hans Aerts is professor for music theory and ear training at the University of Music Freiburg. He studied musicology at the Katholischen Universität Leuven (Belgium) and at the Technical University of Berlin as well as music theory and ear training at the University of Arts (UdK) Berlin. From 2000 to 2010 he taught music theory and ear training in Berlin. In Freiburg he was lecturer for music theory at the University of Music from 2010 to 2017, and at the Albert Ludwig University from 2013 to 2017. He is primarily working on music theory in the long eighteenth century and on the development of teaching and learning materials. Since 2019 he has been a member of the editorial team of ZGMTH.


Dr. Juliane Brandes

Mail: juliane.brandes@moz.ac.at

Juliane Brandes won youth composition prizes on German state and national levels while she was still in school. She studied music education, German literature, and music theory in Freiburg. She took a Master’s degree at the Schola Cantorum Basiliensis in Early Music Theory/Composition and expanded her education in England, where she studied the violin for two semesters, promoted by a scholarship of Cusanuswerk. Juliane Brandes obtained a PhD from the University of Music Freiburg with a dissertation on the composition practice and teachings of the ‘Munich School’ around Ludwig Thuille and others. Between 2006 and 2012, she held various lectureships and free docentships at the music universities in Freiburg, Karlsruhe, and Basel while working as a freelance musician at the same time. From 2012 onwards, she took on several substitute professorships at the music universities in Freiburg, Dresden, and Hannover. Since fall term 2019, she took on a full senior lectureship for musical écriture/historical composition, analysis, and ear training at the University Mozarteum in Salzburg. Juliane Brandes is publicly present with published works and guest lectures. Furthermore, she acts as jury member of competitions in music theory and practical musical performance. Since 2019 she has been a member of the editorial team of ZGMTH.

Prof. Dr. Florian Edler

Mail: floriedler@aol.com

Florian Edler, born in Kiel in 1969, studied music education, history, and music theory in Berlin. In 2009, he completed his doctoral studies at the Berlin University of the Arts, where he taught music theory from 2002 to 2015 as a lecturer and visiting instructor. In addition, he held positions as a visiting instructor at the University of the Arts Bremen, and from 2004 to 2006 at the University of Music Franz Liszt in Weimar. Subsequently, from 2013 to 2015, he held a professorship at the Osnabrück University of Applied Sciences, and in 2015 he was appointed as a professor for music theory at the University of the Arts Bremen. His dissertation, published in 2013, was entitled Reflexionen über Kunst und Leben. Musikanschauung im Schumann-Kreis 1834 bis 1847 (Reflections on Art and Life. Music Perspectives in the Schumann Circle, 1834 to 1847). Additional publications by Edler address topics of music and music theory in the seventeenth through the twentieth centuries as well as aural training methodology. Together with his colleague Andreas Gürsching, Florian Edler chaired the 18th annual congress of the German-Speaking Society of Music Theory (GMTH), held at the University of the Arts Bremen from 5 to 7 October 2018. Since 2018, Edler has assisted in an advisory capacity on the board of the GMTH, where he is responsible for the Society’s series publications (Zeitschrift der Gesellschaft für Musiktheorie [ZGMTH]; GMTH Proceedings). He is co-editor of the GMTH conference reports for 2015 in Berlin and for 2018 in Bremen. Since 2019 he has been a member of the editorial team of ZGMTH.

Prof. Dr. Ariane Jeßulat

Mail: ajessulat@aol.com

Ariane Jeßulat studied at the University of Arts (UdK) Berlin. From 2000 to 2004 she has been lecturer at the Institute of Musicology at Humboldt University in Berlin, from 2004 to 2015 professor for music theory at the Academy of Music Würzburg and since 2014 member of the Institute of Music Research of the Julius-Maximilians University Würzburg. Since summer 2015 she has been professor for music theory at the University of Arts (UdK) Berlin. She received a doctorate degree at UdK in 1999 and her habilitation at Humboldt University in Berlin in 2011. Her publications focus on questions of music theory, the music of Richard Wagner and music after 1950. Since 1989 she has worked continuously in the group die maulwerker, an ensemble for contemporary and experimental music founded by Dieter Schnebel. Since 2015 she has been a member of the editorial team of ZGMTH.


Dr. Cosima Linke

Mail: cosima.linke@posteo.de

Cosima Linke studied music education, German literature and music theory in Freiburg. 2012 to 2017 assistant lecturer for music theory at the University of Music Freiburg, 2013 to 2018 lecturer for musicology at the University of Freiburg and 2017/18 lecturer for music theory and ear training at the University of Music Karlsruhe. Since summer 2018 substitute professor for musicology with focus on music theory at the University of Music Saar in Saarbrücken (HfM Saar). In 2017 she received her PhD in musicology with a music-philosophical and music-analytical study on the relationship of form in new music and aesthetic experience (Konstellationen – Form in neuer Musik und ästhetische Erfahrung im Ausgang von Adorno), which has been awarded with the PhD prize 2016 of the German Musicological Society (GfM). Since 2018 she has been a member of the editorial team of ZGMTH. 


Dr. Ullrich Scheideler

Tel: +49 (0)30-2093-2065
Mail: ullrich.scheideler@staff.hu-berlin.de

Ullrich Scheideler studied musicology, modern history, and philosophy in Berlin (TU) and London (Royal Holloway, University of London), in addition music theory in Berlin (UdK, formerly HdK). He received his PhD with a study on compositional historicism between 1800 and 1850 in the radius of the Sing-Akademie in Berlin. He was member of research staff of the Arnold Schoenberg complete edition; since 2005 he is lecturer and Head of music theory at the musicology department of Humboldt University in Berlin. He has published on subject such as the Second Viennese School and creating authoritative music editions; recently he has been co-editor of Tonality since 1950 (with Felix Wörner and Philip Rupprecht, Steiner, 2017) and Lexikon Schriften über Musik: Bd. 1: Musiktheorie von der Antike bis zur Gegenwart (with Felix Wörner, Metzler/Bärenreiter, 2017). Since 2015, he has been a member of the editorial team of ZGMTH.

Dr. Kilian Sprau

Mail: kontakt@kiliansprau.de

Kilian Sprau studied music education, music theory, piano and ear training at the Hochschule für Musik und Theater München and at the Mozarteum Salzburg. As a scholar and as an active lied accompanist, he is most interested in the interrelations between words and music; in theory and practice, he is primarily working on art song in the 19th, 20th and 21st centuries. In 2016, he received his PhD with a dissertation on cyclic lied composition in the mid-19th century. He is teaching music theory and ear training at the Augsburg University and the Hochschule für Musik und Theater München. Since 2013 he has been a member of the editorial team of ZGMTH.

Univ.-Prof. Dr. Christian Utz

Mail: cu@christianutz.net

Christian Utz is professor for music theory and music analysis at the University of Music and Dramatic Arts Graz, Austria and associate professor at the University of Vienna. Utz received a PhD degree (2000) and his habilitation at the Institute for Musicology of Vienna University. Utz has been/is acting as director of the research projects A Context-Sensitive Theory of Post-tonal Sound Organization (CT∙PSO) (2012–2014, http://ctpso.kug.ac.at) and Performing, Experiencing and Theorizing Augmented Listening (PETAL) (2017–2020; http://petal.kug.ac.at) (both projects funded by the Austrian Science Fund, FWF). His monographs include Neue Musik und Interkulturalität. Von John Cage bis Tan Dun (Beihefte zum Archiv für Musikwissenschaft 51, Steiner, 2002) and Komponieren im Kontext der Globalisierung. Perspektiven für eine Musikgeschichte des 20. und 21. Jahrhunderts (transcript, 2014). Utz has been co-editor of the book series musik.theorien der gegenwart (6 vols., Pfau, 2007–2013), of Lexikon der Systematischen Musikwissenschaft (with Helga de la Motte-Haber, Heinz von Loesch and Günther Rötter, Laaber, 2010), of Vocal Music and Cultural Identity in Contemporary Music: Unlimited Voices in East Asia and the West (with Frederic Lau, Routledge, 2013) and of Lexikon Neue Musik (with Jörn Peter Hiekel, Metzler/Bärenreiter, 2016). Since 2014 he has been on the executive board of the Gesellschaft für Musiktheorie (GMTH) and since 2015 he has been a member of the editorial team of ZGMTH.

Dr. Felix Wörner

Mail: felix.woerner@unibas.ch

Felix Wörner is lecturer at the Music Department of the University of Basel (Switzerland) and co-ordinator of the joint-project Musikwissen at the University of Basel, Music Academy Basel and Schola Cantorum Basiliensis. He is also Senior Researcher at the Max-Planck-Institute for Empirical Aesthetics (Frankfurt/M). His PhD thesis was titled, »…was die Methode der ›12-Ton-Komposition‹ alles zeitigt…« Anton Weberns Aneignung der Zwölftontechnik 1924–1935 (Bern, 2003). After an AvH-post-doctoral fellowship at Stanford University, he joined the faculty at the Music Department at the University of North Carolina at Chapel Hill (2006–2012). His publications mainly focus on the music of the Second Viennese School as well as music theory and music aesthetics since 1750. His latest publications include Tonality since 1950 (ed. with Ullrich Scheideler and Philip Rupprecht, Steiner, 2017) and Lexikon Schriften über Musik, Vol. 1: Musiktheorie von der Antike bis zur Gegenwart (ed. with Ullrich Scheideler, Metzler/Bärenreiter, 2017). Since 2013 he has been a member of the editorial team of ZGMTH.