Frieder von Ammon
(email@example.com) is Professor of German Literature at the University of Leipzig. He is co-editor of Arbitrium, Goethe-Jahrbuch, Mikrokosmos, and Münchner Reden zur Poesie, as well as author of numerous articles and Ungastliche Gaben: Die ‘Xenien’ Goethes und Schillers und ihre literarische Rezeption von 1796 bis in die Gegenwart. His book Fülle des Lauts: Aufführung und Musik in der deutschsprachigen Lyrik seit 1945. Das Werk Ernst Jandls in seinen Kontexten appeared in 2018.
(firstname.lastname@example.org) is director of The State Museum of Musical Culture of Azerbaijan; graduated from Azerbaijan State Conservatoire, Musicology Faculty; got her PhD in musicology. Honoured Culture Worker of Azerbaijan, Assoc. Prof. of Western University, Baku. A member of the International Council of Museums (icom), where she is a member of the board of the International Committee for Literary and Composers Museums (iclm) and a member of the advisory board of the International Committee for Museums of Music and Musical Instruments (cimcim). A member of Word and Music Studies Association (wma). Her postdoctoral research is focused on the interrelationship of music and literature in the Azerbaijani culture, as this field and intermediality on the whole has not been studied enough in Azerbaijan. To fill this gap, Alla Bayramova initiated two international conferences on the problems of intermediality organized in Baku (2014, 2016). She is the author of numerous publications on relations between music and literature, including her monograph Nizami Ganjavi’s Poems in the Context of Interreflection of Arts (2014).
(email@example.com), retired Professor of English Literature at the University of Graz, Austria, is the founding and current president of The International Association for Word and Music Studies (wma) and was the founding director of his university’s Centre for Intermediality Studies in Graz (cimig). His collected Essays on Literature and Music (1985–2013) were published in 2015, and his most recent intermedial publications include “From Orpheus to Bob Dylan: The Story of ‘Words and Music’” (2017) and “Absence of Words and Absence of Music in Opera” (2019). He is executive editor of the book series Studies in Intermediality (sim) and Word and Music Studies (wms), both published by Brill | Rodopi (Leiden, Boston, MA), and has (co)edited numerous individual volumes.
(firstname.lastname@example.org) earned a PhD in Musicology at Catholic University in Washington DC in 2018, having completed his masters in Music Theory at suny Potsdam. He has presented papers at American, Canadian, and British music conferences. His dissertation, titled Preexisting Music in Historical Fiction Film, primarily addresses hermeneutic considerations involving the intersection of music and film as it relates to narrativity and critical theory. He teaches music history at Old Dominion University and is working on several publications relating to film music and cinema studies.
(Peter.Dayan@ed.ac.uk) is Professor of Word and Music Studies at the University of Edinburgh, and Obel Visiting Professor at the University of Aalborg, where he works with the Centre for Research in Contemporary Poetry. He is a regular contributor to wma conferences and publications. His third book on word and music studies, The Music of Dada: A Lesson in Intermediality for Our Times, was published in 2018.
(email@example.com) is a Wallenberg Academy Fellow in Literature at the Department of Culture and Aesthetics, Stockholm University. He is the author of Still Songs: Music In and Around the Poetry of Paul Celan (2012), the first book-length study to approach the topic of Celan and music. Englund’s articles on poetry and musico-literary intermediality have been published in The German Quarterly, German Life & Letters and Perspectives of New Music, as well as in numerous anthologies. Together with Anders Olsson, Englund has also edited Languages of Exile: Migration and Mutilingualism in Twentieth-Century Literature (2013). In 2011, he was an Anna Lindh Fellow at Stanford University, and he has held visiting scholarships at Columbia University and Freie Universität Berlin.
(firstname.lastname@example.org) studied music and literature at the University of the Witwatersrand in Johannesburg, at the London Opera Centre with Otakar Kraus, and in Florence with Tito Gobbi. He was principal baritone with the Netherlands Opera, the Nürnberg Opera, and the Hamburg State Opera, singing over fifty major roles as well as several world premieres and appearances at international festivals. He has published widely on words and music; his books include Opera and the Novel (Rodopi, 2005) and Myths of National Identity in Contemporary Australian Opera (Routledge, 2018). He is currently on the staff of the University of Sydney Conservatorium of Music, serving in a variety
(email@example.com) holds a PhD from Duke University and teaches German and culture courses at Utah State University. She has resently published two monographs, one on Hanns Eisler’s art songs and another on music and the environment in dystopian narrative.
(firstname.lastname@example.org) is a PhD Candidate in Comparative Literature at the University of Edinburgh. Her thesis explores the relationship between music and traumatic memory in the work of Arnold Schoenberg, focusing on his String Trio and A Survivor from Warsaw. She is also interested in the way live performance intersects with academic research and discussion. Most recently, she co-organised a study day as part of the Edge of Words Research Project at the University of Edinburgh titled: “Performing Memory: The Holocaust in Music and Poetry”. At this event she performed Gideon Klein’s String Trio with cellist Gage Ehmann and violist Tom Widdicombe in order to promote a discussion of music’s role in transmitting Holocaust memory.
(email@example.com) is Assistant Professor at the Department of Musicology of the University of Graz. Her research focuses on the history and aesthetics of music in the 20th and 21st centuries, concentrating on audiovisual and intermedial phenomena as well as social and political implications of musical life. She was awarded a doctorate ‘summa cum laude’ at the Free University of Berlin for her PhD thesis on the soundtracks of animated cartoons (Animierte Musik – Beseelte Zeichen: Tonspuren anthropomorpher Tiere in Animated Cartoons, Stuttgart 2013) while working as a research assistant at the Cluster of Excellence ‘Languages of Emotion’.
(firstname.lastname@example.org) is Distinguished Professor of English and Music at Fordham University in New York City. He is the author of many books, most recently The Thought of Music (University of California, 2016) – the third installment, with Expression and Truth (California 2012) and Interpreting Music
(email@example.com) is Professor of Italian Studies at Bucknell University, where he coordinates the Italian Studies Program and teaches Italian language, culture, and cinema. His current areas of research include Italian cinema, intermediality, and, in particular, the relationship between opera and cinema. He is the author of a book entitled Die Oper im italienischen Film (Opera in Italian Cinema) and several articles concerning intermedial aspects of the relationship between stage media and film.
(Emily.Petermann@uni-konstanz.de) is the author of The Musical Novel: Imitation of Musical Structure, Performance, and Reception in Contemporary Fiction (2014) and of several articles dealing with various facets of intermediality studies, such as the Bildgedicht, jazz novels, and film musicals. She is the co-founder of the Word and Music Association Forum (2009) and since 2017 has been a member of the Executive Board of the International Association for Word and Music Studies. Other research interests include children’s literature and forms of nonsense across media.
(firstname.lastname@example.org) is a freelance musicologist and literary critic, who studied musicology, comparative literature, and theatre at Leipzig University, where she received her PhD in 2006. From 2002 to 2004, she was Research Fellow for the project Musikstadt Leipzig at the Institute of Musicology at Leipzig University. She was a Research Associate in comparative literature at Leipzig University’s Institute of Classical Studies and Comparative Literature from 2009 to 2013. Her research interests focus on musical and dramaturgical concepts of opera in the nineteenth and early twentieth centuries, the life and works of Leoš Janáček, nineteenth-century musical aesthetics, and the relationship between music and literature. Her current research project focuses on the history of rhythm and metre in eighteenth-century music and literature.
Jordan Carmalt Stokes
(email@example.com) received his PhD from the cuny Graduate Center, where his dissertation, Music and Genre in Film: Aesthetics and Ideology, was co-recipient of the Barry S. Brook Award. His research and reviews have been published in Music and the Moving Image, The Journal of Musicology, American Music, and
David Francis Urrows
(firstname.lastname@example.org) is a historical musicologist and composer. Between 1989 and 2018 he taught at Hong Kong Baptist University, where he established The Pipe Organ in China Project (www.organcn.org). He has also taught at the University of Massachusetts, the Hong Kong Academy for Performing Arts, and Eastern Mediterranean University. He is editor of the critical edition of the works of Otto Dresel (1826–1890) and has also written on topics ranging from Hildegard of Bingen to nineteenth-century émigré studies to twentieth-century choral music to Andrew Lloyd Webber. His book Keys to the Kingdom: A History of the Pipe Organ in China was published in 2017. He has been a member of wma since 2003 and is Secretary of the Association.
(email@example.com) is Professor and Chair of English and General Literature at the University of Graz, Austria. His main areas of research are literary theory (aesthetic illusion, narratology, and metafiction/metareference in particular), functions of literature, 18th- to 21st-century English fiction, as well as intermediality studies (relations and comparisons between literature and other media, notably music and the visual arts). His publications include, besides numerous essays, reviews and contributions to literary encyclopedias, the monographs Ästhetische Illusion und Illusionsdurchbrechung in der Erzählkunst (Aesthetic Illusion and the Breaking of Illusion in Fiction, 1993) and The Musicalization of Fiction: A Study in the Theory and History of Intermediality (1999). He is also (co-)editor of volumes 1, 3, 5, 11 and 14 of the book series Word and Music Studies (1999–2015) as well as of volumes 1, 2, 4–6 and 11 of the series Studies in Intermediality: Framing Borders in Literature and Other Media (2006); Description in Literature and Other Media (2007); Metareference across Media: Theory and Case Studies (2009); The Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation (2011); Immersion and Distance: Aesthetic Illusion in Literature and Other Media (2013); Meaningful Absence Across Media: The Significance of Missing Signifiers (2019).