Notes on Contributing Authors:

Stuart Paul DUNCAN, born in Dover, England in 1983, recently received his doctorate in Composition from Cornell University where he completed his dissertation entitled “The Concept of New Complexity: Notation, Interpretation and Analysis.” Prior to his doctorate, he studied with Roger Redgate at Goldsmiths College, University of London earning a MMus in composition and with Dr. Roderick Watkins at Canterbury Christ Church University (UK) completing a BMus in music. Dr. Duncan is currently pursuing a further doctorate in Music Theory at Yale University where his research interests include the cross section of twentieth-century aesthetics, philosophy, and music, the role that notation plays in the concept of ‘the work,’ and multivalent approaches to Haydn’s string quartets. Dr. Duncan spent a semester teaching music theory and appreciation at Auburn Maximum Security Prison (NY) in 2010, an experience which will feed further research into reformative justice and educational pedagogy. Dr. Duncan’s compositions have been performed across the US, UK and Continental Europe.

Harry LEHMANN is a philosopher currently living and working in Berlin, Germany. His area of theoretical work lies in the fields of aesthetics, art philosophy, systems theory, and social theory. His writings also include critical articles and catalogue essays on contemporary art, literature and New Music.

Ole LÜTZOW-HOLM studied composition with Klaus Huber and Brian Ferneyhough and early achieved international recognition for his music. Lützow-Holm is professor of composition at the Academy of Music and Drama, University of Gothenburg, where he has also engaged in the development of the Faculty of Fine, Applied and Performing Arts.

Larson POWELL is Assistant Professor of German at the University of Missouri-Kansas City. Professor Powell specializes in 20th century literature and film (especially DEFA and film music). His first book on modern German poetry (The Technological Unconscious) will be published by Camden House in 2008; a second book on post-1945 media art (electronic music, radio plays, film soundtracks) is in preparation. He has published and lectured in German, French and English, on German film and literature as well as on musicology, psychoanalysis, systems theory and philosophical aesthetics. Among his recent publications are “Allegories of Management. Norbert Schulze’s Soundtrack for Das Mädchen Rosemarie,” in Framing the Fifties: Cinema in a Divided Germany. ed. Sabine Hake and John Davidson (Berghahn 2007), 180-193, and “The War with Other Media: Ingeborg Bachmann’s Der gute Gott von Manhattan.”

Alexander SIGMAN (1980) is currently completing his doctorate in Music Composition at Stanford University, having studied primarily with Brian Ferneyhough.  He has pursued further postgraduate study with Chaya Czernowin at the University for Music and Performing Arts Vienna and attended the one-year intensive course of the Institute of Sonology at the Royal Conservatoire in The Hague (Netherlands) in 2007-2008. Prior to Stanford, Sigman obtained a BM in Music Composition and a BA in Cognitive Sciences from Rice University. He has held residencies at Festival Musiques Démesurées (Clermont-Ferrand, France) Akademie Schloss Solitude (Stuttgart, Germany), and the Djerassi Foundation.  Since 2007, Sigman has been Managing Director of Ensemble Modelo62 (www.modelo62.com).  His music has been performed throughout the US and Europe by such ensembles as Ensemble SurPlus, Ensemble Ascolta, Les Percussions de Strasbourg, and the Arditti Quartet, as well as soloists Magnus Andersson, Françoise Rivalland, and Kranichsteiner Musikpreis recipient Eliot Gattegno. Since his undergraduate studies, Sigman has received numerous awards, honors, and fellowships.