Search Journal for New Music and Culture



Notes on Contributing Authors:

Luciano CHESSA received a Ph.D. in musicology from the UCDavis; at Bologna's Conservatory he earned a D.M.A. in piano and a M.A. in composition. His research focuses on twentieth-century and experimental music and can be found in Musica e Storia (Levi Foundation, Venice). He is the author of Luigi Russolo, Futurist (UCPress), the first English monograph dedicated the Art of Noises. Chessa is active as a composer, performer, and conductor. His scores are published by RAI TRADE and Carrara and performed in Europe, U.S., and Australia.

Franklin COX received B.M. degrees in cello and composition from Indiana University, as well as composition degrees from Columbia University (M.A.), and the University of California, San Diego (PhD). He studied cello with Gary Hoffman, Janos Starker, and Peter Wiley, and composition with Fred Lerdahl, Brian Ferneyhough, and Harvey Sollberger.  Dr. Cox has received numerous fellowships, prizes, and commissions from leading institutions and festivals of new music, including the highest awards from the Darmstadt Festival for both composition and cello performance.  Since 1993, he has presented  a solo  recital entitled  "The New Cello,"  focusing on original works for the cello,  more than a hundred times throughout  Europe and North America. In January 2006 he formed the duo C-squared with flautist Lisa Cella. Together they have commissioned numerous new works from composers and have performed throughout the United States and in Mexico. In 2002 he began teaching on the faculty of the University of Maryland, Baltimore County, and in 2007 he joined the faculty of Wright State University. He is founding co-editor of the international book series,  New Music and Aesthetics in the 21st Century, and is also founding co-editor of Search, a peer-reviewed on-line/print journal focused on new music and culture.In 2008 he founded the annual American Innovators series with a colloquium and concert in honor of Elliott Carter's 100th birthday. His works are published by Rugginenti Editions and Sylvia Smith Publications, and they can be heard on Rusty Classica,  Neuma Records, Solitude Edition, and Centaur Records.

Martin IDDON is Associate Professor of Music at the University of Leeds.He previously lectured at University College Cork and Lancaster University, and studied composition and musicology at the Universities of Durham and Cambridge. His musicological research largely focuses on post-war music in Germany and the United States of America, and has been published in numerous leading journals, including Musical Quarterly, twentieth-century music and the Contemporary Music Review. His music has been performed in Europe, North America and Australasia, and has been featured on BBC Radio 3, Radio New Zealand and the Österreichischer Rundfunk.

Claus-Steffen MAHNKOPF was born in 1962 in Mannheim, Germany. Starting in 1984, he studied musicology, philosophy, and sociology at the Universities of Heidelberg, Freiburg, and Frankfurt am Main, also studying composition with Brian Ferneyhough. Beginning in 1987, he studied composition with Klaus Huber and Emmanuel Nunes, music theory with Peter Foertig, and piano with James Avery at the Staatliche Hochschule für Musik Freiburg. In 1989 he received an M.A. degree with faculty advisors Jürgen Habermas and Ludwig von Friedburg; in 1993 received a Ph.D. in Musicology from the University Frankfurt am Main. Dr. Mahnkopf has served on the faculty of the Darmstädter Ferienkurse (1988-1994), the University of Freiburg (1990-1995), the Staatliche Hochschule für Musik Freiburg (1992-1996), and the Staatliche Hochschule für Musik Freiburg (2002-2003), and since 2005 has been tenured professor for composition at the Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig. Dr. Mahnkopf has won numerous leading international prizes for his compositions. In 2000 his music-theatrical work Angelus Novus was performed at the Munich Biennale. Dr. Mahnkopf's works have been performed at international festivals in Europe and the USA, including numerous portrait concerts. In 1991 he was Composer-in-Residence at the Hamburg Staatsoper. From 1998-2000 he served as artistic/musicological advisor at the Staatsoper Stuttgart, and from 2004-2006 served as artistic/musicological advisor of the ISCM-Festival 2006. In 1995 he became founding member of the Gesellschaft für Musik & Aesthetik, and has served as co-editor of Musik & Aesthetik since 1997. In 2002 he became founding co-editor of the book series New Music and Aesthetics in the 21st Century. Since 2005 he has co-edited the book series sinefonia. Dr. Mahnkopf has written numerous articles and books, including Kritische Theorie der Musik (2006).

Matt MALSKY is George N. & Selma U. Jeppson Professor of Music and chair of the Department of Visual & Performing Arts at Clark University in Worcester, MA. His compositions have been performed and acclaimed internationally. His virtuosic compositions for acoustic instruments with live computer processing have attracted the interest of outstanding soloists. A CD of his music with QX string quartet was recently released on Centaur Records. He studied composition with Conrad Pope, Harold Shapero, Ralph Shapey, Shulamit Ran and Howard Sandroff. His work has been recognized with awards and grants from ASCAP, Brandeis University, Kurt Weill Gesellschaft, the Hillery Family Charitable Trust, NSF/Chicago Materials Research Center, Hultgren Solo Cello Works Biennial, American Composer's Forum, and others.As a scholar, his research examines from a psychoanalytic perspective the intersections of music, technology and culture in the post-World War II period. His articles are published in the areas of ethnomusicology, cultural studies, and film studies by Wesleyan University Press, the online journal Reconstructions, and University of Illinois Press. He has participated in national meetings as diverse as Feminist Theory and Music, the Music/Image in Film and Media conference at NYU, the Society of Cinema and Media Studies, the Society for Electroacoustic Music in the US (SEAMUS), the International Computer Music Conference, the International Association for the Study of Popular Music-US and the Society of American Music. Most recently his article “Being Heard: Listening In—Sound & Our Dystopian Present” was published by World Picture Journal <>.

Canadian composer Marc SABAT (*1965) has been based in Berlin since 1999. His work with acoustic instruments and electronics draws inspiration from investigations of the sounding and perception of Just Intonation, American folk and experimental musics, and the relations between musical and visual art forms. His pieces have been presented internationally in radio broadcasts and at festivals of new music including the Donaueschinger Musiktage, MaerzMusik, Darmstadt, and Carnegie Hall. Recordings and scores are available from Plainsound Music Edition. The CD wave piano scenery player was recently released by World Edition (Köln) and a new album is planned from mode records (New York). Sabat studied at the University of Toronto, at the Juilliard School in New York, as well as working privately with Malcolm Goldstein, James Tenney, and Walter Zimmermann. He teaches at the Universität der Künste Berlin, and has been a guest artist at the California Institute of the Arts, at the Escola Superior in Barcelona and the Paris Conservatoire. In 2010, he was an artist-in-residence of the Villa Aurora in Los Angeles, followed in 2011 by a one year residency at the German Academy in Rome, Villa Massimo.






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