∟Permanent network members
- Susanne Binas-Preisendörfer
- Jochen Bonz
- Michael Bull
- Diedrich Diederichsen
- Franco Fabbri
- Golo Föllmer
- Marta García Quiñones
- Rolf Großmann
- Carla Müller-Schulzke
- Carlo Nardi
- Thomas Schopp
- Peter Wicke
- Karin Bijsterveld
- Claudia Bullerjahn
- Thomas Burkhalter
- Mark J. Butler
- Veit Erlmann
- Thomas Hecken
- Anahid Kassabian
- Jonathan Sterne
- Paul Théberge
- Simon Zagorski-Thomas
Susanne Binas-Preisendörfer is professor of music and the media at Carl von Ossietzky Universität Oldenburg, where she pursues her research interests in the history and aesthetics of media-dominated musical forms, music and globalization and youth cultures and popular music. She has previous experience as musician in the late 1980s (der expander des fortschritts, East Berlin), as a cultural manager for projects in Berlin (singuhr-hörgalerie, Club-Commission), a free-lance author, lecturer and research worker for various institutions and a consultant to the German Bundestag in matters of cultural policies.
Binas-Preisendörfer, Susanne (forthcoming 2010) Klänge im Zeitalter ihrer medialen Verfügbarkeit. Ein Beitrag zu Fragen von Popmusik und Globalisierung. Bielefeld: transcript Verlag.
Binas-Preisendörfer, Susanne (2010) Jugend musiziert!?” Wettbewerb, Flow und Empowerment in aktuellen Musikspielen am Beispiel von “Guitar Hero”, in: Ursula Brandtstädter (Ed.), szenenwechsel. Dokumentation der gleichlautenden Tagung an der Universität der Künste Berlin, Uckerland: Schibri-Verlag, 125-139.
Binas-Preisendörfer, Susanne (2008) Rau, süßlich, transparent oder dumpf – Sound als eine ästhetische Kategorie populärer Musikformen. Annäherung an einen populären Begriff, in: Kaspar Maase (Ed.) Die Schönheiten des Populären. Zur Ästhetik der Gegenwart, Frankfurt a.M./New York: Campus, 2008; 192-209.
Jochen Bonz, born 1969 in Stuttgart, wrote his PhD on house music from the perspective of cultural anthropology. During the last years he worked as a freelance lecturer at several universities, e.g. at the institutes for media studies and for sociology at Universität Basel, the department for Popular Music and Media Studies at Universität Paderborn and at the program Pedagogy of Popular Music at Fachholchschule Osnabrück. He spends the summer term of 2010 as a temporary professor for media sociology at Justus-Liebig-Universität Giessen.His research interests concern popular culture, cultural theory and sociology of the acoustic.
Bonz, Jochen (2009) Kulturwissenschaftliche Anmerkungen zum Verhältnis von Schule und Popkultur, in Sohns, Jan-Arne / Utikal, Rüdiger (Hg.: Popkultur trifft Schule. Bausteine für eine neue Medienerziehung (Reihe Medienpädagogik), Weinheim und Basel: Beltz. S. 33-44.
Bonz, Jochen (2008) Subjekte des Tracks. ethnografie einer postmodernen / anderen Subkultur. Berlin: Kadmos
Michael Bull works as Reader in Media and Film Studies (Material Digital Culture) at the University of Sussex in Brighton. His research includes mobile communication technologies and their use, music and sound in urban culture, new directions in Critical Theory (The Frankfurt School), as well as sensory experience and methodologies. He is also the founding and managing editor of the journal Senses and Society published by Berg Publishers. Michael Bull teaches undergraduate courses in Music and Media, Media, Technology and Everyday Life, Media and Power, and gives MA courses in The Political Economy of the New Media and the core course in Media and Cultural Studies. He is on the Advisory Board of Portalplayer. California and consultant at Sound Strategies. London. He is a member of Wired Sussex. He is core member of the Future Trends Forum (European think-tank funded by Bankinter, Spain).
Bull, Michael (2007) Sound Move. iPod Culture and Urban Experience. The International Liberary of Sociology. London. Routledge.
Bull, Michael (2003) The Auditory Culture Reader (edited with Les Back) Oxford: Berg
Bull, Michael (2002) The Seduction of Sound in Consumer Culture. In: Journal of Consumer Culture.
Diedrich Diederichsen is a professor for theory, practice and communication of contemporary art at the Akademie der bildenden Künste Wien. He held an earlier position in cultural theory with the Merz Academie Stuttgart (1998-2006) and has previous experience as editor of music magazines and instructor in art history, musicology and theater studies in idfferent universities in Europe and the US. His research interests include the history of the avantgarde and their strategies, subcultures, modernisms, pop-music and other music, incorporated semiotics, postfordist culture and its discontents.
Diedrich Diederichsen (2008) Drei Type von Klangzeichen. In Schulze, Holger (Hg.) Sound Studies: Traditionen – Methoden – Desiderate. Bielefeld: transcript Verlag
Diedrich Diederichsen (2008) On (Surplus) Value in Art. Mehrwert und Kunst, Rotterdam/New York: Witte de With.
Diedrich Diederichsen (2008) Eigenblutdoping, Köln: Kiepenheuer & Witsch, 2008.
Franco Fabbri teaches ‘Popular music’ and ‘Hermeneutics of media music’ at the Università degli Studi di Torino, ‘Music economy’ at the Università degli Studi di Milano, and ‘Popular music history’ at the Conservatorio di Parma. He served as chairman of IASPM during two terms: 1985-1987 and 2005-2007, and is a member of editorial committees of Musica/Realtà, Popular Music, Radical Musicology, and the book series Le Sfere. Selected essays (also in English) and more biographical/bibliographical information can be found online.
Fabbri, Franco (2007) Browsing Music Spaces: Categories and the Musical Mind, in A. Moore (ed), Critical essays in popular musicology, Ashgate, Aldershot, pp. 49-62.
Fabbri, Franco (2008) Il suono in cui viviamo, il Saggiatore, Milano, 2008, 387 pp. (third edition)
Fabbri, Franco (2007) Entendre écouter, in Rubén Gómez Muns e Rubén López Cano (eds), Música, ciudades, redes. Creación musical e interacción social, Salamanca, 2009
Golo Föllmer studies in musicology, communication science (Berlin) and broadcast communication arts (San Francisco). Audio practice in radio, sound art and tape pieces. Research on sound installation art, contemporary music and audio media. PhD on networked music in 2002. Curatorial work a.o. for sonambiente (Berlin 1996 & 2006), net_condition (Karlsruhe 1999), Networkshop (Dresden/Berlin 2001) and RadioREVOLTEN (Halle 2006). Since 2007 Juniorprofessor for Audio Culture at Martin-Luther-Universität Halle-Wittenberg.
Föllmer, Golo Audio Art, in: Rudolf Frieling, Dieter Daniels (Hg.): Medien Kunst Netz. Medienkunst im Überblick, Wien 2004, S. 80-117.
Föllmer, Golo Relating Radio. Communities, Aesthetics, Access. In: Föllmer, Golo und Thiermann, Sven (Hg.) Beiträge zur Zukunft des Radios. Spector verlag, Leipzig 2006.
Föllmer, Golo Musik im Internet. In: Schramm, Holger (Hg.) Handbuch Musik und Medien. Konstanz 2009, S. 235-275.
Marta García Quiñones is a PhD candidate at the Universitat de Barcelona, where she is preparing a thesis with the title “Figures of the Listener. Historical Models of Musical Attention”, under the supervision of Dr. Josep Martí and strongly encouraged by Prof. Anahid Kassabian, who supervised a significant part of the research during a three-month stay at the University of Liverpool in 2007. In the scope of this thesis, listening is understood as a cultural construction, and thus as a process connected to aesthetic ideals and to a certain understanding of human subjectivity. She is also interested in the transformations of listening in the present mediascape.
Marta García Quiñones (forthcoming) El cuerpo en los discursos sobre la escucha musical. In El cuerpo: objeto y sujeto de las ciencias humanas y sociales. Barcelona: CSIC.
Marta García Quiñones (Ed.) (2008) La música que no se escucha. Aproximaciones a la escucha ambiental. Barcelona: Orquestra de Caos.
Marta García Quiñones (2007) Listening in Shuffle Mode. In: Lied und populäre Kultur / Song and Popular Cultur. Jahrbuch des Deutschen Volksliedarchivs, 52.Jahrgang, pp. 11-22.
Rolf Großmann, born 1955, is currently working at the Leuphana Universität Lüneburg (Germany) as professor and director of the Center of Competence “((audio)) Aesthetic Strategies”. He studied musicology, German, philosophy and physics at the Universities of Bonn, Siegen and Gießen (Germany), and wrote a dissertation on “Music as Communication”. He worked for many years as a freelancer and jazz musician, held lectures on digital production and aesthetics of music and on media art at the Kunsthochschule für Medien Köln, Popakademia Baden-Württemberg, Hochschule der Künste Bern, the Universities of Basel, Siegen, Hamburg and Lüneburg. He is interested in technoculture and aesthetics of music and production and distribution of music in the context of new media.
Großmann, Rolf; Bielefeldt, Christian; Dahmen, Udo (Hgg.) (2008) PopMusicology. Perspektiven der Popmusikwissenschaft. Bielefeld: transcript
Großmann, Rolf (2008) “The tip of the iceberg: Laptop music and the information-technological transformation of music”. In: Organised Sound 13(1): 5–11, Cambridge University Press.
Großmann, Rolf (2006) “Klang – Medium – Material. Über den technikkulturellen Wandel des Materials auditiver Gestaltung”. In: de la Motte-Haber, Helga, Osterwold, Matthias und Weckwerth, Georg (Hg.) Sonambiente Berlin. Klang Kunst Sound Art. Heidelberg: Kehrer-Verlag, S. 310-319.
Email: : grossmann[at]uni-lueneburg.de
Carla Müller-Schulzke is currently writing her PhD thesis on “Transcultural Soundscapes: Sound Practices and Cultural Politics in Bhangra, Asian Underground and Indi-Pop”, supervised by Prof. Frank Schulze-Engler (English Studies, Goethe Universität Frankfurt am Main) and Prof. Holger Schulze (Sound Studies, Universität der Künste Berlin). Her research is on transcultural musical production with a focus on South Asian urban club music from the UK. She is a keen musician and has played in several bands.
Carlo Nardi is a sociologist and musicologist and teaches popular music and sociology of culture at Università degli Studi di Trento (Italy) and the University of Northampton (UK). His areas of interest include the use of technology from a sensorial perspective, copyright legislation in relation to technological change, coercive music, the organisation of labour in music-making and Hindi film music.
Del Grosso Destrieri, Luigi; Nardi, Carlo, et al. (2009) Pratiche, prodotti, eventi musicali e analisi sociologiche [Practices, products, musical events and sociological analysis], Trento: Sedico Editore
Nardi, Carlo (2007) "Fare musica: un processo intersensoriale" [Music-making: an intersensorial process], in Critica Sociologica, Vol. XLI, 162, summer 2007, pp. 79-93.
Nardi, Carlo (2005) "Aural Cultures", in RPM – Review of Popular Music, March 2005, n. 35, pp. 17-20.
Thomas Schopp studied Musicology and History at Humboldt-Universität zu Berlin. He has been research associate and lecturer at the Insitute of Music, Carl von Ossietzky Universität Oldenburg since 2009. He wrote his master thesis about the relationship between sound and body in clubculture. In his theoretical analysis Schopp tried to integrate technological and bodily aspects. Applying concepts developed by Michel Foucault he defined sound as a “power” which operates on the body in clubculture. His current research covers the transformations of music culture in the internet age and the history of music in American radio. The latter project intends to reconstruct the status of the phonograph record in music shows between 1930 and 1970.
Schopp, Thomas (2005) Sonic FX. Klang, Körper, Kontrolle, Magisterarbeit [Sonic FX. Sound, Body, Control, Master Thesis] http://www2.hu-berlin.de/fpm/works/Schopp.PDF
Schopp, Thomas (2000) Tagungsbericht Auditive Medienkulturen. Methoden einer interdisziplinären Klangwissenschaft. 11.02.2010-13.02.2010, Siegen (Conference Report Auditive Media Cultures. Methods of an Interdisciplinary Sound Science), in: H-Soz-u-Kult, 24.03.2010, http://hsozkult.geschichte.hu-berlin.de/tagungsberichte/id=3051
Peter Wicke, is professor for Theory and History of Popular Music and director of the Research Center for Popular Music at Humboldt-Universität zu Berlin, as well as Adjunct Research Professor at the Department of Music of Carleton University, Ottawa. He studied musicology in Berlin, wrote his dissertation on the Aesthetics of Popular Music (1980) and earned the German post-doctoral lecture qualification (Habilitation) in 1986. He is a member of the International Association for the Study of Popular Music and has served as its secretary general in 1987 and 1991, alongside various functions in Cultural and Political Institutions. He is a member of the Editorial Board of Popular Music (Cambridge University Press) and Popular Music History (Equinox London) and the Advisory Board of the International Institute of Popular Culture (University of Turku).
Ziegenrücker, W. und Ziegenrücker K.E. Wicke, Peter (2007) Handbuch der populären Musik. Geschichte, Stile, Praxis, Industrie. Mainz: Schott.
Wicke, Peter (2001) Von Mozart zu Madonna. Kulturgeschichte der Popmusik. Frankfurt am Main: Suhrkamp.
Wicke, Peter & Shepherd, John (1997) Music and Cultural Theory. Cambridge: Polity Press.
Wicke, Peter (1990) Rock Music: Culture, aesthetics and sociology. Cambridge University Press
Karin Bijsterveld is historian and professor in the Department of Technology and Society Studies, Maastricht University. Her recent work focuses on the history of sound, public problems of noise, and the relationships between technology, sound and music. With Trevor Pinch, she is currently editing The Oxford Handbook of Sound Studies (Oxford UP). Bijsterveld is contributing editor of Technology and Culture, and coordinates several NWO- funded projects at the crossroads of Science and Technology Studies (STS) and Sound Studies. One of these is the VICI project Sonic Skills: Sound and Listening in Science, Technology and Medicine, 1920s-now.
Bijsterveld, K. & J. van Dijck (Eds.) (2009). Sound Souvenirs: Audio Technologies, Memory and Cultural Practices. Amsterdam: Amsterdam University Press.
Bijsterveld, K. (2008). Mechanical Sound. Technology, Culture, and Public Problems of Noise in the Twentieth Century. Cambridge, MA: The MIT Press.
Pinch, T. & Bijsterveld, K. (2007). Sound Studies: New Technologies and Music. In Fouché, R. (Ed.). Technology Studies (pp. 299-311). London [etc.]: Sage.
Claudia Bullerjahn studied music pedagogy, biology, philosophy, pedagogical psychology and musicology at the Hochschule für Musik und Theater Hannover, and the Universität Hannover. In 1987 she graduated as a music teacher and as a high-school teacher in 1988, followed by several teaching assignments at higher learning institutions and a dissertation in 1997. From 1992 to 2004 she was research assistant at the Universität Hildesheim, since 2004 professor for systematic musicology and contemporary cultures of music at the Justus-Liebig-Universität Gießen. She has served as board member of the scientific advisory council of the Deutsche Gesellschaft für Musikpsychologie (German Society for the Psychology of Music) and is co-editor of the Jahrbuch Musikpsychologie (Yearbook of Music Psychology) since 2005.
Bullerjahn, Claudia (2008) Musik und Bild. in: Bruhn, Herbert und Kopiez, Reinhard und Lehmann, Andreas C. (Hgg.) Musikpsychologie. Das neue Handbuch. Reinbek S. 205-222
Bullerjahn, Claudia (2004) Musikermythen – Alltagstheorien, Legenden und Medieninszenierungen. Hildesheim
Bullerjahn, Claudia (2001) “Grundlagen der Wirkung von Filmmusik”. In: Bullerjahn, Claudia / Erwe, Hans-Joachim (Hgg.): Das Populäre in der Musik des 20. Jahrhunderts – Wesenszüge und Erscheinungsformen. Hildesheim
Thomas Burkhalter an ethnomusicologist and cultural journalist from Bern (Switzerland), works in the field of cultural globalisation. He wrote reportages on the music and cultural scenes in cities like Beirut, Istanbul, Cairo, Duschanbe, Belgrade , Mumbai for Swiss and international media such as Neue Zürcher Zeitung, Schweizer Radio DRS 2, Zeitschrift für KulturAustausch (Institut fuer Auslandsbeziehungen Berlin), Der Bund, Tageszeitung TAZ, Zenith – (Hamburger “Orient”-Magazin), Blue Rhythm (World Music Magazin) and others. He produced the documentary film “Buy More Incense” (2002) about Indian and Pakistani musicians of second and third generation in the UK and worked as a project manager and consultant for institutions and organisations as British Council Schweiz, Swiss Music Export and Kulturhallen Dampfzentrale Bern. He finished his PhD «Challening the Concept of Cultural Difference – «Locality» and «Place» in the Music of Contemporary Beirut» in 2009 at the Universität Bern. He is trying to gain more and more knowledge about musical and cultural production in a globalized world.
Burkhalter, Thomas (2009) Underground Music in the Arab World. The Continum Encyclopedia of Popular Music of the World. London: Continuum Books
Burkhalter, Thomas (2009) “Sinn aus dem Chaos schöpfen – Neue Sounds und Geräusche aus der arabischen Welt”. Zeitschrift DU. Januar
Burkhalter, Thomas (2005) De l’influence de la presse occidentale sur la musique arabe. In Territoire Méditarranée. Anne Laufer, Cléa Redalié. Mauici Farré. ed. 115 – 119. Genève: Editions Labor et Fides.
Mark J. Butler is Associate Professor in the Bienen School of Music at Northwestern University. He is a music theorist whose research addresses popular music, rhythm, and technologically mediated performance. He is particularly interested in using ethnography as a means of exploring music-theoretical questions; his current book project is based on extensive fieldwork with internationally active DJs and laptop musicians in Berlin. By examining relationships between technology and improvisation, he reveals how these electronic musicians create dynamic, novel performances through the transformation of seemingly “fixed” prerecorded objects.
Mark J. Butler (forthcoming) Playing with Something that Runs: Technology, Improvisation, and Composition in Electronic-Music Performance. Under contract with Oxford University Press.
Mark J. Butler (2006) Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music (Indiana University Press).
Articles in journals such as Music Theory Online, Twentieth-Century Music, Theoria, and Popular Music.
Veit Erlmann is an ethnomusicologist, musicologist, anthropologist and cultural historian who teaches at the University of Texas at Austin. He has published widely on music and popular culture in South Africa, including
African Stars. Studies in Black South African Performance; Nightsong. Performance, Power and Practice in South Africa; and
Music, Modernity and the Global Imagination. South Africa and the West. His current research interests are the history of modern aurality; intellectual property law and music; and music, affect and Sufism in West Sumatra, Indonesia. He has edited
Hearing Cultures: Essays on Sound, Listening and Modernity (Berg 2004) and
Reason and Resonance. A History of Modern Aurality (Zone Books, 2010).
Erlmann, Veit (2010) Reason and Resonance. A History of Modern Aurality (New York: Zone Books)
Erlmann, Veit (Ed.) (2004) Hearing Cultures. Essays on Sound, Listening and Modernity (New York: Berg)
Thomas Hecken, PhD, is Privatdozent for German Philology at Ruhr-Universität Bochum (Germany). Main research interests are the history of avant-garde movements and the theory of popular culture. He is editor of the series „Schriften zur Popkultur“ (Posth Verlag, Bochum).
Hecken, Thomas (2009) Pop. Geschichte eines Konzepts 1955-2009 (Bielefeld).
Hecken, Thomas (2007) Theorien der Populärkultur. Dreißig Positionen von Schiller bis zu den Cultural Studies (Bielefeld);
Hecken, Thomas (2006) Gegenkultur und Avantgarde. Situationisten, Beatniks, 68er (Tübingen).
Anahid Kassabian is James and Constance Alsop Chair of Music at the University of Liverpool. Her research and teaching focus on ubiquitous music; music, sound, and moving images; listening; disciplinarity; music and new technologies, especially games, virtual worlds, and pervasive computing. She also works with feminist and postcolonial theories to write about Armenian diasporan and MENA arts and music.
Anahid Kassabian (2004) Would You Like World Music with Your Latte?: Starbucks, Putumayo, and Distributed Tourism. In: Twentieth Century Music, 1 (2): 209-223. (also appears in Spanish in La Musica Que No Se Escucha, Marta Garcia Quinones, ed.)
Anahid Kassabian (2002) Ubiquitous Listening. In: Hesmondhalgh, David & Negus, Keith (eds). Popular Music Studies. Oxford and New York, Oxford. (also appears in Soundtracce, Francesco D’Amato, ed.)
Anahid Kassabian (2001). Hearing Film: Tracking Identification in Contemporary Hollywood Film Music. Routledge, New York and London.
Jonathan Sterne is Associate Professor in the Departement of Art History and Communication Studies at McGill University, of which he has been Chair from 2007-2010. His work is broadly concerned with the form and the role of communication technologies in large-scale societies. One of his major ongoing projects has been developing an adequate history and theory of sound in modernity. His publication The Audible Past: Cultural origins of Sound Reproduction has been nominated Book of the Year, Critical and Cultural studies Division, by the National Communication Association in 2004 (U.S.).
Sterne, Jonathan (2012 forthcoming) MP3: The Meaning of Format. Durham: Duke University Press
Sterne, Jonathan (2008) Being ‘In the True’ of Sound Studies. In Music, Sound and the Moving Image 2:2 (Autumn 2008): 163-167.
Sterne, Jonathan (2003) The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press, 2003
Paul Théberge is Canada Research Chair in Technological Mediations of Culture and Director of the Institute for Comparative Studies in Literature, Art and Culture, at Carleton University, Ottawa. He teaches courses on technology and culture, sound in film and television, and the history of sound recording. His research interests range from issues relating to music, technology and culture, music and globalization and the uses of sound in film, television and new media. His work has appeared in several encyclopedias of music, in New Formations, Cultural Studies, Social Studies of Science, and The Canadian Journal of Communication, and in edited collections.
Théberge, Paul (2008) “Almost Silent: The Interplay of Sound and Silence in Contemporary Cinema and Television”. In Jay Beck and Anthony Grajeda, eds, Lowering the Boom: Critical Studies in Film Sound. Champaign, IL: University of Illinois Press, 2008, pp 51-67.
Théberge, Paul (2004) “The Network Studio: Historical and Technological Paths to a New Ideal in Music Making”. In: Social Studies of Science, 34, pp. 759-781.
Théberge, Paul (2001) “Plugged in: technology and Popular Music”. In: Frith, Simon, Will Straw and John Street, eds, The Cambridge Companion to Pop and Rock, pp. 3-25.
Simon Zagorski-Thomas is a Senior Lecturer in Music and Music Technology at the London College of Music, TVU. He also runs the annual Art of Record Production Conference and is chairman of the Association for the Study of the Art of Record Production and editor of the on-line Journal on the Art of Record Production (www.artofrecordproduction.com). Before becoming an academic he worked for 25 years as a composer, sound engineer and producer with artists as varied as Phil Collins, Mica Paris, London Community Gospel Choir, Bill Bruford, The Mock Turtles, Courtney Pine and the Balanescu Quartet. He is, at present, conducting research into the musicology of record production and the cognition of rhythm and groove in popular music. He is also currently completing a PhD in Electroacoustic Composition at Goldsmith’s College.
Frith, Simon; Zagorski-Thomas, Simon (Eds.) (forthcoming 2011) The Art of Record Production: an introductory reader for a new academic field Ashgate Press.
Zagorski-Thomas, Simon (forthcoming 2010) ‘The Stadium In The Bedroom: functional staging, authenticity and the audience led aesthetic in record production’ In: Popular Music Journal.
Zagorski-Thomas, Simon (2008) ‘The Musicology of Record Production’ In: 20th Century Music Vol 4(2)