Foto_Simone Heilgendorff
Dr. Simone Heilgendorff Project Leader and Researcher on Festival "Wien Modern"
  • Erzabt-Klotzstraße 1, Room 2109
  • 5020 Salzburg
Tel:
+43 (0) 662 / 8044-4674
Fax:
+43 (0) 662 / 8044-4660
simone.heilgendorff@sbg.ac.at ConTempOhr at "Schwerpunkt Wissenschaft und Kunst"

Main focus of research: 

New (art) Music and music of the Baroque period, focusing on musical analysis, analysis of cultural connotations, performance practice, and the culture of musical interpretation.

Curriculum vitae:

Simone Heilgendorff, born in Leverkusen-Opladen, Germany, is a musicologist and an accomplished violist. Currently, she serves as director of the international research project "New Music Festivals as Agorai..." at the University of Salzburg, Austria.

Dr. Heilgendorff studied Musicology, Philosophy, and Psychology (Dr. phil., Humboldt University Berlin/Germany) as well as Viola (Master of Music, Univ. of Michigan Ann Arbor/USA) in Freiburg, Zurich, Ann Arbor, and in Berlin. Her studies were funded by a scholarship from the foundation Evangelisches Studienwerk.

Since 1993, she has taught music at several colleges and universities with an emphasis on the blending of scholarly and artistic practice. From January 2007 to January 2013, she served as a University Professor of Applied Musicology and Head of the Department of Musicology at Klagenfurt University, Austria where she also led the study program in Applied Musicology (BA, MA). Most recently, Dr. Heilgendorff served as guest professor of Musicology at the University of Paderborn and the University of Music Detmold (from March to September 2013), as well as at the University of Music in Stuttgart, Germany.

Simone Heilgendorff is on the advisory board of the John Cage Organ Project in Halberstadt, Germany. In January 2011, she was nominated as member of the scientific board of the Oesterreichische Musikzeitschrift.

As an active violist, she is a founding member of the Berlin based Kairos Quartet which specializes in New Music.

Publications:

„New Music Festivals as Agorai: Their Formation and Impact on Warsaw Autumn, Festival d’Automne in Paris, and Wien Modern Since 1980“ [working title], with Katarzyna Grebosz-Haring, Luis Velasco-Pufleau, Monika Żyła, online publication, Hofheim/Taunus: Wolke Verlag (forthcoming).

Aspects of (Re-)Enactment in Recent Festival Performances of Contemporary Art Music, in: “New Music Theatre – work in/and progress” [working title], Studies in Musical Theatre (special issue), guest ed. David Roesner, LMU Munich (accepted, in preparation).

Projected Resonance: Tonal Dimensions of Microtonal Composition in Music by Georg Friedrich Haas, in: Tonality Since 1950; Felix Wörner, Ullrich Scheideler and Philip Rupprecht (ed.), Stuttgart: Steiner Verlag (in print).

Wien Modern, Festival d’Automne à Paris, and Warsaw Autumn after the year 2000 in a comparative perspective: European or national forums for contemporary art music and culture?, in: Between Universal and Local: From Modernism to Postmodernism, ed. Gregor Pompe, Nejc  Skúkljan, Frankfurt/Main: Peter Lang, 2016, pp. 253–266.

Visuelle Ansätze in der Musikforschung, essay in: Visualität. Kultur. Gesellschaft, ed. Jörg Helbig, Arno Rußegger and Rainer Winter, Cologne: Halem Verlag, 2014, pp. 132–161 (Klagenfurter Beiträge zur visuellen Kultur, Vol. 2).

“Il Vuoto“: Musik an der Schwelle. ) place ( von Giorgio Netti , in: “Ratio und Intuition. Wissen|s|kulturen und Geschlecht in Musik Theater Film” (interdisciplinary gender lecture series, Univ. f. Music a. performing arts, Vienna), ed. Andrea Ellmeier, Doris Ingrisch, and Claudia Walkensteiner-Prechtl, Vienna: Böhlau (mdw gender–wissen, vol. 4), 2013, pp. 59–94.

Neue Musik als populäre Kultur? Zur Interaktion zweier Sphären am Beispiel von John Cage, in: Ereignis und Exegese – Musikalische Interpretation; Interpretation der Musik (Festschrift für Hermann Danuser zum 65. Geburtstag), hg. v. Camilla Bork, Tobias Robert Klein, Burkhard Meischein u.a., Schliengen: Edition Argus, 2011, pp. 708–720.

„Glossolalic Voices. Political Ethos, Self-Awareness, and Play in Dieter Schnebel's Experimental Compositions of the 1960s and '70s“, in: http://searchnewmusic.org/ issue Winter 2009/10.

„Neue Live-Kulturen der westlichen Kunstmusik: für eine Rezeption musikalischer Interpretationen mit Körper und Ort", in: Musikrezeption, Musikdistribution und Musikproduktion. Der Wandel des Wertschöpfungsnetzwerks in der Musikindustrie, hg. v. Gerhard Gensch, Eva-Maria Stöckler, Peter Tschmuck, Wiesbaden: Gabler, 2009, pp. 109–137.

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