| Date | Speaker | Talk |
|---|---|---|
| 2 March 2026 | Anna E. Kijas | Socially Responsible Digital Humanities During Precarious Times |
| 9 March 2026 | Chanda VanderHart and David M. Weigl | Hand in Hand: Adventures in Interdisciplinary Digital Musicology |
| 16 March 2026 | Frauke Jürgensen | Reconstructing Renaissance Improvisation Pedagogy using Symbolic Music Analysis Tools and Practice-Informed Analysis |
| 23 March 2026 | Andrew Hankinson | Tool or Toy? The tension between infrastructure and innovation |
| 13 April 2026 | Mark Gotham | Wherever I Lay My Hat is Home?: A Complex Case Study of Crowd-Sourcing, Coordination, and Cross-Platform Integration for Hosting Open Humanities Data |
| 27 April 2026 | Alíz Horváth | Multilingual DH featuring Digital Musicology? An Unexpected Match |
| 4 May 2026 | Frans Wiering | Musicology and computing: A very short history |
| 11 May 2026 | Terhi Nurmikko-Fuller | Bridging Datasets: Linked Data for Digital Musicologists |
| 18 May 2026 | David De Roure | AI and Creativity in Music |
| 1 June 2026 | Christof Weiß | Computational Analysis of Music Audio Recordings: Corpora, Concepts, and Algorithms |
| 22 June 2026 Panel: Digital Editions |
Christoph Steindl | Spotlight on Digital Editions at the Austrian National Library |
| Kateryna Schöning | An Offstage View of the E-LAUTE Project | |
| Iacopo Cividini | Beyond Open Access: The Digital Mozart Edition as an 'Open Edition' | |
| 29 June 2026 | Artemi-Maria Gioti | Autoethnography of a Data-making Practice |
Anna E. Kijas (Tufts University)
Socially Responsible Digital Humanities During Precarious Times
This lecture explores what socially responsible digital humanities can look like in the face of environmental crisis, technological inequity, and evolving relationships between academia and the public. Drawing inspiration from Bethany Nowviskie’s 2014 Digital Humanities keynote, "Digital Humanities in the Anthropocene," it takes up her central question, "What are our best, shared hopes for DH?," as an opportunity to explore how digital humanities practitioners might critically examine their own infrastructures, engage meaningfully with communities, and imagine more ethical futures. Organized around three interrelated modes of practice: Critique + Interrogate, Engage + Empower, and Imagine + Speculate, the lecture provides examples from and examines how digital humanities as a field has become increasingly attuned to the material, social, and ecological conditions that underlie digital humanities work today.
Anna E. Kijas is Assistant Director of Digital Scholarship and Lilly Music Library at Tufts University. She co-founded Saving Ukrainian Cultural Heritage Online (SUCHO), an initiative focused on safeguarding and preserving the digital cultural heritage of Ukraine during the Russo-Ukrainian War. SUCHO received the 2025 Karl Preusker medal from Bibliothek & Information Deutschland (BID) for demonstrating “courage, solidarity, professional excellence, and the central role of libraries, archives, and digital infrastructures in the resilience of democratic societies.”
Anna's work is centered on principles of social justice, access, and sustainability in relation to digital humanities, historical (music) research, cultural heritage, and information studies. Her recent publications include a co-authored chapter, "Nimble Tents and Bunkers: The Role of Libraries in Rapid-Response DH," in The Routledge Companion to Libraries, Archives, and the Digital Humanities, a book entitled The Life and Music of Teresa Carreño (1853-1917): A Guide to Research, and open-access digital projects, including Documenting Teresa Carreño and Rebalancing the Music Canon. She has several forthcoming co-edited publications, including a volume entitled Performing Arts and Digital Humanities: Debates for an Evolving Field in the Debates in the Digital Humanities series, Digital Pedagogy in Music & Sound Studies, a DLF Digital Library Pedagogy Toolkit, and is co-editing a special issue, "Cultural Heritage in Crisis," for the journal Library Trends.
Since 2022, Anna has served as the Administrative Chair of the Music Encoding Initiative (MEI) Board. She also served on the Executive Council for the Association for Computers and the Humanities (ACH) (2019-2023), as founding co-chair of the MEI Digital Pedagogy Interest Group (2020-2024), Editor for the Technical Reports & Monographs in Music Librarianship series (2021-2025), and founding coordinator of the Digital Humanities Interest Group for the Music Library Association (2013-2018).
Chanda VanderHart (mdw Vienna; UWK Krems) and David M. Weigl (mdw Vienna)
Hand in Hand: Adventures in Interdisciplinary Digital Musicology
In 1999 David Huron hailed the dawning of a new, data-rich era and proliferation of systematic tooling, a “new empiricism”, ushering in a paradigm shift for musicology, uniting the musical sciences and the humanities. A quarter century later, algorithms and tools for working with music information have proliferated, yet remain largely disregarded by (historical) musicologists. Overcoming the siloing of disciplines is difficult; per Fleck, scientific communities tend to resist ideas and methods that contradict their shared intellectual framework, assumptions, and conventions. Addressing this gap effectively requires an intentional approach to interdisciplinary collaboration where domain experts meet at eye-level. Interdisciplinary design must be structural, not cosmetic, with research questions formulated from varied perspectives. Tool development must incorporate user needs into the design process. Institutional proximity matters – with experts across the divide communicating on a daily, rather than quarterly, basis. Finally, in true cross-domain collaboration, participants must be willing to become novices again. This requires tolerating uncertainty, asking basic questions, and occasionally appearing uninformed in front of one’s peers. Without a shared willingness to speak imperfectly across disciplinary lines, to not know, and to (re)learn, interdisciplinary projects risk becoming either dominated by one field or paralyzed by mutual defensiveness. Against this backdrop, this lecture reports on digital music research conducted at our institute over several recent research projects, in dialogue with the wider digital musicology community. It lays out the research questions that motivated our projects, introduces tools developed and implemented within them, and demonstrates their application for both research and dissemination, centering musicological data in visible, sharable, citable structures.
Chanda VanderHart, PhD, is Senior Researcher at the Center for Applied Music Research at the University in Krems and a Postdoctoral Research Associate at the mdw. Her current work sits at the intersection of musicology, gender studies, and cultural sociology. A certified Data Steward, she publishes extensively on gender, music history, and cultural institutions, often employing digital methods to challenge androcentric histories.
David M. Weigl, PhD, is a Senior Scientist at the mdw, specialised in digital music research. His work focuses on the modelling of information behaviour and on the application of Web technologies and Linked Data approaches to support digital scholarship. He has led several research projects in this area, including ‘Signature Sound Vienna,’ an interdisciplinary investigation of the Vienna Philharmonic’s New Year’s Concert series, and ‘Let’s Encode!,’ establishing a Citizen-Science infrastructure for the encoding and validation of music scores.
Frauke Jürgensen (mdw Vienna)
Reconstructing Renaissance Improvisation Pedagogy using Symbolic Music Analysis Tools and Practice-Informed Analysis
Symbolic analysis involves representing music through symbols such as letters and numbers, which can then be processed by a computer using the same type of pattern matching tools that one might use to process plain text-based data sets. This approach has a long history within computer-aided music analysis, and Renaissance music has been central since the 1970s and earlier (see Trowbridge et al.). More lately, machine learning approaches have been a natural expansion. The types of questions that are asked in such studies tend to involve identifying patterns of repetition, for example of compositional structures, musica ficta, ornamental patterns. In recent years, within the field of Early Music performance and compositional practice, the reconstruction of improvisation techniques has been an important area, transforming our understanding of the importance of improvisation pedagogy to the development of compositional technique and style. Treatises and collections of exercises are essential sources, as is analysis of composed pieces for the identification of improvisational models. Unfortunately, the largest collection of exercises for keyboard improvisation of the fifteenth century, the fundamenta and associated pieces of the Buxheim Organ Book, is not accompanied by written instructions for their use. From sixteenth-century sources such as Buchner's Fundamentum, we have an idea how to begin, but the intervening decades and structural differences mean that we cannot simply transplant the later set of instructions onto the earlier exercises. I approach this problem from two directions: through conventional and computer-aided analysis, I search for patterns of repetition that might suggest underlying schemata, while systematic practicing at the keyboard helps me both identify which analytic questions might be the most useful, and allows me to test hypotheses about the pedagogical process that emerge through the analyses.
Frauke Jürgensen, Professor of Music Theory in the Institute for Composition Studies and Music Production at the mdw, is a musician and musicologist. One of her main research areas is the performance and compositional practice of Renaissance music, using digital tools for music analysis. She has also translated a number of treatises, and is active as a singer and historical keyboard player.
Andrew Hankinson (RISM Digital Center)
Tool or Toy? The tension between infrastructure and innovation
This lecture explores the tension in Digital Humanities between building resources that are long-lasting and widely used, and the need (and desire) to be constantly pushing the envelope with new research programmes, new technology, and new methodologies. With the former, the risk is stagnation as social inertia forces you to maintain something that carries the weight of entire disciplines; with the latter, the risk is half-baked, undocumented, and complex tools that promise new insights but are unusable by all but a select few and left unmaintained as you move on to new things.
This talk explores what it means to be intentional about what you build, from the perspective of several real-world case studies: running large websites such as the Digital Image Archive of Medieval Music (DIAMM) and RISM Online, and maintaining software, such as Diva.js and libmei, that was never imagined would be in use decades later. It discusses what you need to know before you start, and what you can do when a project needs to end.
Andrew Hankinson is a software developer with the RISM Digital Center in Bern, Switzerland. He has been the technical lead on a number of widely used systems and services, including Digital Bodleian at the University of Oxford, the Digital Image Archive of Medieval Music (DIAMM), and, most recently, RISM Online. He is also part of several large research projects, including LinkedMusic, the Single Interface for Music Score Searching and Analysis (SIMSSA), and Digital Analysis of Chant Transmission (DACT).
Mark Gotham (King's College London)
Wherever I Lay My Hat is Home?: A Complex Case Study of Crowd-Sourcing, Coordination, and Cross-Platform Integration for Hosting Open Humanities Data
It is well known that creating high quality datasets can be a complex business; what's less often recognised is how difficult it is "simply" to disseminate that data meaningfully, particularly where the goal is to serve different use cases.
This talk focuses on our experience with the ‘OpenScore’ initiative which creates digital encodings of musical scores under the CC0 licence for all use cases (musical, academic, and more). These corpora have traced a complex journey from crowd-sourcing to a multi-platform offering as they seek to serve those multiple use cases as effectively and openly as possible. This talk tells the full story of how platform choice interacts with those stakeholders and use cases, culminating in the announcement of a new series of bespoke websites at ‘Four Score and More’ (https://fourscoreandmore.org/score/).
The talk focuses on this specific story both for depth and detail, and with the conviction that this case study has wider significance for other projects involved in the meaningful development of open cultural data. While focussing on our experiences with OpenScore, the talk also draws on some other major, long-term and related projects including the "Open Music Theory" textbook (http://viva.pressbooks.pub/openmusictheory/), the social initiative "Four Score and More" (https://fourscoreandmore.org/), and a nascent effort to coordinate Algorithms for Music Analysis and Data Science ("AMADS", https://github.com/music-computing/amads/).
Alíz Horváth (Central European University)
Multilingual DH featuring Digital Musicology? An Unexpected Match
Abstract: What do non-Latin scripts and music have in common in the context of digital humanities? This talk opens up a space for discussion on potential shared characteristics and challenges in advancing digital scholarship in these areas. The rapid development of digital humanities has led to the diversification of the field with a wide array of tools and methods. However, linguistic aspects remain a problem in DH practice because most languages beyond English, and particularly non-Latin scripts, are still significantly under-represented and under-resourced. The talk considers the complexities of what the term multilingual DH refers to through my individual and data-driven collaborative research projects focusing on both conceptual perspectives on language inclusivity in digital scholarship and more pragmatic considerations regarding its “users” through UX methods. In addition, it discusses the realities and specific challenges of the lifecycle of a multilingual DH project through case studies pointing at broader issues that multilingual DH as a phenomenon reveals about the importance of language diversity towards equal access to digital tools. Arguing for a need for a more multifaceted understanding of the realities of those involved in multilingual DH, the talk also showcases concrete examples of initiatives to enhance language diversity towards a more inclusive DH field which could also be expanded to digital musicology.
Bio: Alíz Horváth has a PhD in East Asian Languages and Civilizations from the University of Chicago and currently works as assistant professor of East Asian history and Digital Humanities at Central European University. She is an avid advocate of linguistic diversity in digital humanities and serves as co-founder and chair of the DARIAH Multilingual DH Working Group. She is a key researcher and DH coordinator in the FWF Cluster of Excellence EurAsian Transformations, member of the editorial board for Asia Pacific Perspectives, a topic editor of the Asian and Asian Diaspora studies section of Reviews in DH, member of the Scientific Advisory Committee of OPERAS, member of the Scientific Committee of the overlay journal Transformations, and former contributor to the pioneering New Languages for NLP project, organized by Princeton University.
Frans Wiering (Utrecht University)
Musicology and computing: A very short history
Abstract: Frans Wiering has spent most of his professional life working in the exciting interdisciplinary area between musicology and computing known (among others) as computing in musicology, computational musicology, digital musicology, or music information computing. Each of these terms suggests a different focus, but they also indicate that the field hasn't quite settled, despite its over 70 years of existence. Musicological computing (to use yet another expression) has much in common with other forms of humanities computing, except for one thing: the processing of musical information, in the form of music notation and musical audio. This is also the main topic of this talk.
The first, promising experiments in music processing date from the 1950s. The 1960s and 1970s witnessed a period of grand ambitions for computer-supported inventorying, publication, and analysis of musical heritage. In practice, however, the need for technological groundwork was so strong that these ambitions could only be realised to a limited extent, if at all. Furthermore, both computer science and musicology experienced a paradigm shift in the 1980s. Consequently, computational musicology, with its ‘scientific’ nature, became largely separated from mainstream musicology. Since around 2015, this landscape has changed again for a variety of reasons, including the ready availability of digital resources, access to (free or cheap) software, mobile internet, online communication, and finally the pandemic. Doing musicology in the digital environment has become commonplace.
Bio: Frans Wiering was an Associate Professor at the Music Information Computing group of the Department of Information and Computing Sciences of Utrecht University (Netherlands). He retired in 2024, but remains associated with Utrecht University. He received his PhD in musicology from the University of Amsterdam (Netherlands) in 1995 for his dissertation ‘The Language of the Modes’ on the richness and variety of modality in 16th- and 17th-century polyphonic music. His current research is in computational musicology, music information retrieval and interactive technologies, which he combines in his ongoing work on the use and acceptance of new technologies in music research in the project ‘What Do Musicologists Do All Day.’
Terhi Nurmikko-Fuller (RMIT University)
Bridging Datasets: Linked Data for Digital Musicologists
Abstract: As an information publication paradigm, Linked Data has a great deal to offer researchers in the areas of Digital Musicology and the Digital Humanities more broadly. This talk introduces the basics of the Linked Data methodology, including its potential and limitations, as applied in the context of broader interdisciplinary spaces that bridge the Humanities and Computer Science. My case study example, JazzCats, illustrates how musicological data in different formats from different sources can be successfully bridged, and queried for answers to questions that go far beyond what can be asked of a single dataset. The project aggregates three different kinds of information, namely a discography, performance metadata, and prosopographical information about musicians. These datasets come in three different formats; tabular data, in the form of a spreadsheet; relational data, as exported from a MySQL Lite database; and, graph data as RDF (.ttl). Although the value of this aggregation, and in particular the benefit it has for researchers, is undisputed, the project itself has fallen victim to challenges of institutional change and policy regarding legacy projects. This talk highlights how these challenges in academia are particularly disruptive to projects in the Digital Humanities, and have far-reaching consequences for Linked Data projects across disciplines and jurisdictions.
Bio: Terhi Nurmikko-Fuller is an Associate Professor, Information Interaction at the School of Computing Technologies at RMIT University in Melbourne, Australia. Her interdisciplinary research examines different methods for data linking and integration, and how digital technologies support and diversify research. She is the author of Linked Data for Digital Humanities (2023, Routledge), and has publications that cover a range of topics from the use, development, and critical evaluation of Linked Data to gamification and informal online environments in education. She has also created 3D digital models for the British Museum (cuneiform tablets), the National Museum of Australia (carved boab nuts), and UNESCO (Fels Cave in Vanuatu). Terhi is an Honorary Associate Professor at POLIS, the Centre for Social Policy and Research at the Australian National University; a member of the Territory Records Advisory Council, Policy and Cabinet Division, of the Chief Minister Australian Capital Territory Government; and a co-chair of the Australian Government Linked Data Working Group.
David De Roure (University of Oxford)
AI and Creativity in Music
Abstract: It may feel like the AI world has just discovered music, but there have been decades of research in music and AI. When we look at humans improvising live with AI we are asking fundamental questions about what it means to be a creative human interacting in a world infused by AI, and this is a question that transcends music. This talk presents some explorations of this question through projects with the Centre for Practice & Research in Science & Music (PRiSM) at the Royal Northern College of Music, featuring AI in both composition and performance.
Bio: David De Roure is Academic Director of Digital Scholarship and Professor of e-Research at the University of Oxford. He has co-founded multiple interdisciplinary centres, including the Centre for Practice and Research in Science and Music (PRiSM) at the Royal Northern College of Music in Manchester and the UK Software Sustainability Institute. David's research is at the intersection of music, maths, machines and AI, empowering the creative human in music composition and performance. David is also an advisor on digital research infrastructures, and has been involved in running the Digital Humanities at Oxford Summer School since 2011.
Christof Weiß, Julius-Maximilians-Universität Würzburg (JMU)
Computational Analysis of Music Audio Recordings: Corpora, Concepts, and Algorithms
Abstract: Due to their wide availability and the relatively low effort required for data preparation, audio data offers significant opportunities for musical corpus studies. Moreover, they allow for considering improvised, electronically generated, or graphically notated music. Extracting explicit information such as pitches, chords, or (local) keys from audio recordings poses a major challenge. This talk focuses on datasets and methods for extracting such information and presents strategies for exploiting the potential of deep learning while preserving interpretability of the methods. The developed methods build the basis for in-depth analyses of major works such as Wagner's Ring and comprehensive corpus studies of vocal and instrumental music across several centuries of music history.
Bio: Christof Weiß received the Ph.D. degree (2017) in media technology from Technische Universität Ilmenau, Germany. He also holds degrees in physics (University of Würzburg) and composition (Würzburg University of Music). Since 2022, he has been a professor for Computational Humanities at the Julius-Maximilians-Universität Würzburg (JMU), where he leads a DFG-funded Emmy Noether research group on computational music analysis. Previously, he worked at the International Audio Laboratories Erlangen and the Fraunhofer Institute for Digital Media Technology (IDMT) and was a visiting researcher at Télécom Paris. His research lies at the intersection of music information retrieval, audio signal processing, and computational musicology, with a focus on harmonic and tonal analysis and corpus-based approaches. He has received several awards, including the Baldwin and Inge Knauf Award (2026) and a Best Paper Award at CHR (2023). He served as a member of the Board of Directors of the International Society for Music Information Retrieval (ISMIR, 2022–2023) and has been a member of the Editorial Board of the ACM Journal on Computing and Cultural Heritage (JOCCH) since 2022.
Panel: Digital Editions
Christoph Steindl (Austrian National Library)
Spotlight on Digital Editions at the Austrian National Library
Abstract: Digital scholarly editions make a significant contribution to the deeper exploration of the extensive collections of the Austrian National Library. For this reason, a core infrastructure for digital editions has been available to researchers since 2018, which is continuously further developed through the diversity of new projects. The technical implementation of these edition projects goes hand in hand with scholarly research questions. Therefore, editions at the Austrian National Library are conceived holistically and are not offered just as a service. The ability to provide an edition in a long-term and sustainable way requires intensive discussion already during project runtime; this includes, among other things, the digitization process of the edited material, consistent data modeling, as well as questions of use and interface design.
Biography: Christoph Steindl heads the Department Research and Data Services at the Austrian National Library. He is involved in the technical support and conceptual development in the field of digital humanities at the library, which includes, among other things, the sustainable infrastructure for digital editions and the ÖNB Labs. In addition, he is deeply engaged with topics such as data modeling and data provision, with a strong focus on GLAM institutions. Currently, the Austrian National Library is also participating in the development of the European Collaborative Cloud for Cultural Heritage (ECCCH). He studied media informatics at the University of Vienna and also worked there as a software developer and system administrator.
Kateryna Schöning (University of Vienna)
An Offstage View of the E-LAUTE Project
Abstract: E-LAUTE (Electronic Linked Annotated Unified Tablature Edition) is an open-access, comprehensive, and interactive digital edition of the lute tablatures (special notation for lutes) of the German-speaking area between 1450 and 1550: www.e-laute.info. Comprising roughly 2,000 pages, this vast corpus had not been investigated as a whole before E-LAUTE and was previously barely accessible to scholars, professional musicians, and the wider public alike; it had not been deciphered and had therefore been evaluated only selectively. This presentation briefly outlines the history of the project, its core conception, its current status, key findings, and the remaining 'work in progress' of this major edition. The subsequent discussion offers a look behind the scenes, exploring both the hurdles faced and the insights gained throughout the project's lifespan.
Biography: Kateryna Schöning, PD Dr, studied and completed her PhD in Kharkiv (Ukraine), worked 2008-2016 in Leipzig, Mannheim, and since 2016 in Vienna, where she carried out numerous research projects on music before and around 1600. She is currently a Senior Scientist at the Department of Musicology at the University of Vienna and head of the E-LAUTE project (http://www.e-laute.info). She mainly focuses on the interdisciplinary research on the music in the 16th century, i.a. the relationships between music and humanism, music and texts, as well as the topics of digital humanities and music editing. In 2024 she finished her second book Loci Communes and Tablatures in the German Area in the 16th Century (Hollitzer, 2025) - https://www.jstor.org/content/oa_book_monograph/jj.34829427. More: https://www.katerynaschoening.at
Iacopo Cividini (International Mozarteum Foundation)
Beyond Open Access: The Digital Mozart Edition as an 'Open Edition'
Abstract: The Digital Mozart Edition (DME) aims to digitally edit the complete works of Wolfgang Amadé Mozart and provide them free of charge worldwide via the Internet for research, teaching, and performance. Beyond this purely technical open-access approach, the project defines itself as an "open edition" in the broadest sense: medially open through the integration of diverse source types such as libretti, letters, digital reproductions, and audio/video recordings; text-critically open through the choice between various historical versions and variants; methodologically open through the transparent presentation of editorial decisions; and performatively open through new, application-oriented tools designed for musical practice. Availability under a Creative Commons license ensures the sustainable and free reuse of all editorial data.
Biography: Iacopo Cividini, born in Bergamo in 1975, studied musicology at the Università degli Studi di Pavia and the Johannes Gutenberg University Mainz. In 2005, he received his PhD from the Ludwig Maximilian University of Munich with a dissertation on Dvořák's solo concertos. Since 2007, he has managed the online catalog and the online edition of the libretti for Mozart’s operas as part of the Digital Mozart Edition (DME) at the Salzburg Mozarteum Foundation. Since 2017, he has worked on the musical text edition of the DME, initially as a research associate, and since 2023 as its team leader. His research interests include 18th- and 19th-century music editing, musical analysis, Mozart's operas, libretti, and the philosophy of the Enlightenment.
Artemi-Maria Gioti (Mozarteum University Salzburg)
Autoethnography of a Data-making Practice
Abstract: This talk draws on autoethnographic notes from the compositional process, rehearsals, and performances of my work Bias II for piano and interactive music system to examine the critical insights that artistic research in composition can offer into machine learning and data practices. It focuses specifically on the critical perspectives that emerged through the creation of datasets, the training of machine learning models, and their deployment in live performance settings. Bringing an autoethnography of the data-making practices involved in the work into dialogue with theoretical frameworks from critical data studies, the talk proposes a deconstructive critique of data as material, processual, and relational, and foreground the aesthetic decisions embedded in them. Finally, a speculative error analysis of one of the machine learning models deployed in the piece serves as a site of critical inquiry into the epistemological assumptions underlying machine learning systems.
Biography: Artemi-Maria Gioti is a composer and artistic researcher conducting critical research at the intersection of music and artificial intelligence (AI). She is Professor of Artistic Research in Music at Mozarteum University Salzburg. Her compositional work focuses on interactive works involving reciprocal, real-time interaction between human performers and computer music systems incorporating machine learning (ML). Through this practice, she explores how technology reconfigures musical practices and ontologies, such as authorship and the musical work. Her research brings autoethnographies of the compositional process into dialogue with theoretical frameworks from critical AI and critical data studies, to investigate questions of data materiality, data semiotics and ML epistemology. Gioti is a core team member of the ERC-funded project MusAI (Music and Artificial Intelligence: Building Critical Interdisciplinary Studies), led by Georgina Born. She previously served as the Principal Investigator of the FWF-funded research project Inter_agency. She holds a doctoral degree in Music Composition from the University of Music and Performing Arts Graz with previous studies in Composition, Electroacoustic Composition and Computer Music at the University of Macedonia (Thessaloniki, Greece), the University of Music and Performing Arts Vienna and the University of Music and Performing Arts Graz (Austria). Her previous academic appointments include positions at the University of Music "Carl Maria von Weber" Dresden (Germany), UCL's Anthropology Department (UK) and the Institute of Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts Graz (Austria).