Dan Wang is a graduate student in musicology at the University of Chicago. He is a recipient of the SSHRC Master’s Award, the FCC François Furet Travel Grant, and the AMS Eileen Southern Travel Fund Grant, and is a student member of the AMS Committee on Cultural Diversity. He has a forthcoming publication, on Richard Strauss and melodrama, in 19th-Century Music.
João Pedro Cachopo studied musicology and philosophy in Lisbon (Universidade Nova de Lisboa), Paris (Université Paris 8) and Berlin (Potsdam Universität and Humboldt-Universität zu Berlin), and received a PhD from the Universidade Nova de Lisboa in 2011 (with a dissertation on the relationship between the concepts of “truth” and “enigma” in Adorno’s aesthetics). His research interests include the fields of contemporary philosophy (aesthetics and politics), musicology, and literature. He co-translated two books by George Didi-Huberman (Ce que nous voyons, ce qui nous regarde, and Images malgré tout) into Portuguese. With a special focus on opera, his postdoctoral project seeks to discuss the “politics of opera” through the specific lens of its relation to other arts.
Ulrich Meurer studied Comparative Literature and Theater Studies in Munich and received his PhD in American and Media Studies at Constance University. He is the author of Topographien. Raumkonzepte in Literatur und Film der Postmoderne, has edited several books on cinema and widely published on media archaeology and the relationship between written words and (moving) images. Currently he holds the position of Visiting Professor for
Film and Media Studies at Vienna University.
Manuel Deniz Silva is research fellow at the Instituto de Etnomusicologia - Centro de Estudos de Música e Dança (INET-MD), Universidade Nova de Lisboa (UNL). Gradueted in musicology from the UNL, he received his PhD in 2005 from Paris 8 University, with a thesis on Portuguese musical life during the first years of Salazar’s dictatorship (1926-1945). He coordinates the INET study group “Western Art Music from the Perspective of Cultural Studies” and the research program “Listening to the moving images”, funded by the FCT. His current research is focused on the Portuguese film music history from the introduction of sound films through the end of Salazar’s dictatorship (1931-1974). He is vice-president of the Portuguese Society for Music Research and, since 2012, the General Editor of the Portuguese Journal of Musicology.
Candida Billie Mantica is completing a PhD in Music at the University of Southampton, within the AHRC funded FICTOS (Franco Italian Cultural Transfer Opera and Song) project. Her thesis explores Gaetano Donizetti’s unknown opera L’Ange de Nisida, of which she is preparing a critical edition. She holds a Bachelor and Master in Musicology from the University of Cremona and she is teaching assistant for the course of Antique Music Roadshow at the University of Southampton. She is currently working on a book on Vincenzo Bellini’s sketches. Further interests include the intersection of Italian opera and film.
Rebecca Dowd Geoffroy-Schwinden is a Ph.D. candidate in musicology in Duke University's department of music, where she received an M.A. in musicology in 2011. She is currently conducting research in Paris, France, through the support of a Duke University fellowship, for her dissertation entitled "A Revolution in Music: Performance, Politics, and the French Revolution." Rebecca's primary research focuses on the intersection of lived experiences of musical performances and French Enlightenment philosophies of music in eighteenth-century France. She also studies late eighteenth and early nineteenth-century French opera.
Stefan Schmidl (b. 1974) studied Musicology and Art History at the University of Vienna (PhD in 2004). Since 2005 he has been research associate at the Institute of Musicology at the Austrian Academy of Sciences. Apart from that he is a permanent lecturer in music history and applied music theory at the Vienna Conservatory Private University and also reads at the University of Vienna and the University of Music and Performing Arts Vienna. He gave talks in France, Germany, Greece, Hungary, Italy, Switzerland, the Czech Republic and Serbia; his books include Medium between cult and capitalism (2008) and the first German-language biography of French opera composer Jules Massenet (2012). Currently he works on his habilitation treatise. His main areas of research include the interplay of film, music and ideologies.
Richard Leppert is Regents Professor and Morse Alumni Distinguished Teaching Professor in the Department of Cultural Studies and Comparative Literature at the University of Minnesota. His Ph.D. is in musicology, with art history as his cognate field. He holds undergraduate degrees in music, English literature, and German literature. Leppert's work is concentrated on the relations of music and imagery to social and cultural construction, principally revolving around issues of gender, class, and race. Most of his work concerns European high culture from early modernity to the present, though he has also published on American music and art and popular culture. He has specific interests in critical theories of the arts and culture from the Frankfurt School to postmodernism, Adorno in particular. The more recent of Leppert's books are The Sight of Sound: Music, Representation, and the History of the Body; Music and Image: Domesticity, Ideology and Socio-Cultural Formation in Eighteenth-Century England; Music and Society: The Politics of Composition, Performance, and Reception (coedited with Susan McClary); an edition of Essays on Music by Theodor W. Adorno; Beyond the Soundtrack: Representing Music in Cinema (coedited with Lawrence Kramer and Daniel Goldmark); Art and the Committed Eye: The Cultural Functions of Imagery; The Nude: The Cultural Rhetoric of the Body in the Art of Western Modernity; and a volume of collected essays, Sound Judgment, for the Ashgate Press series, Contemporary Thinkers on Critical Musicology. Leppert has held senior fellowships from, among others, the John Simon Guggenheim Foundation, the National Endowment for the Humanities, the American Philosophical Society, and the American Council of Learned Societies. He was a Phi Beta Kappa National Scholar in 2004-05.
Katrin Stoeck studied musicology and theatre sciences as well as german literature at the Universities of Halle-Wittenberg and Leipzig. She is working as scientific research assistant for musicology at the University of Leipzig/Germany. Her doctoral thesis Musical
Theatre in the GDR. Scenic Chamber Music and Chamber Opera of the 1970s and 1980s is coming soon at Böhlau-Verlag Weimar. From 1999 to 2012 she also participated in the revision of the Riemann-Musiklexikon, with specialization in musical theatre, dance, German, Russian, and Czech composers. She is leading courses and lectureships, organizing conferences (International GfM-Conference Leipzig 2008), and working as a freelance dramatic advisor and publishing editor. Her special research interests are: musical theatre of the 20th and 21th centuries, musical history and cultural policy of GDR, music and dictatorship, Czech musical history, and applied musicology: concert and theatre dramaturgy,
conference management.
Jelena Novak works as a musicologist, theorist of art and media, researcher, and dramaturg. She is a PhD candidate at Amsterdam School for Cultural Analysis, and her current research is based on voice, corporeality, and new media in postopera. Novak is collaborator of Centre for Studies of Sociology and Aesthetics of Music (CESEM, New University Lisbon), was founding director of CHINCH, Initiative for research and production of live and visual arts, Belgrade, and is collaborator of Walking Theory, Belgrade. She is an author of three books – Wild Analysis: Formalist, Structuralist and Poststructuralist Analysis of Music (Divlja analiza, 2004), Opera in the Age of Media (Opera u doba medija, 2007) and Women and Music in Serbia (2011, co-author).
Martin Knust (b. 1973) studied musicology, theology and philosophy at the E.-M.-Arndt-University in Greifswald, Germany, the Humboldt-University in Berlin and the Technical University in Dresden, attained the grade of a Magister Artium (M.A.) in musicology 2000 in Dresden and the grade of a Dr. phil. 2006 in Greifswald. Doctoral scholarship of the German county Mecklenburg-Vorpommern 2001–2004. Lectureships at the E.-M.-Arndt- University in Greifswald, the Technical University in Berlin, and the Royal College of Music in Stockholm
since 2007. Spring till autumn 2008 Assistant professor in Greifswald, since autumn 2008 Postdoctoral research fellow at the University of Stockholm, Sweden. Since 2001 various printed and broadcasted publications, especially about opera, theatrical performace practice, Northern composers of the 19th – 21st centuries, iconography of music as well as music and media.
Edward R. Haymes is Professor Emeritus in the Department of Modern Languages at Cleveland State University. Publications and research interests include the Nibelungenlied, heroic literature in the Germanic languages, oral epic, and Richard Wagner. He is a member of the board of trustees of the Wagner Society of Ohio and of the Cleveland Chamber Music Society.
Claus Tieber, research assistant and head of research project at the department of musicology of the University of Salzburg. Last publications: Drehbuchdramaturgie. Erzählweisen des amerikanischen Feature Films 1917 – 1927. Münster et al.: Lit Verlag 2011. Schreiben für Hollywood. Das Drehbuch im Studiosystem. Münster et al: Lit Verlag 2008. Articles in Montage A/V, Medienwissenschaft, Film International and others.
James Doering is Professor of Music at Randolph-Macon College in Ashland, Virginia, where he teaches music history, music theory, and organ. He holds a Ph.D. in Musicology from Washington University in St. Louis, a M.M. in Piano Performance from the University of North Carolina-Greensboro, and a B.M. in Piano from The College of Wooster. In 2007, he received the United Methodist Church Award for Excellence in Teaching at Randolph-Macon College. His research, which includes the American orchestra, music management, and film music, has
been presented at numerous scholarly conferences and appeared in American Music and The Musical Quarterly. His book, The Great Orchestrator, on music manager Arthur Judson is forthcoming from University Illinois Press. His work on silent film was featured at the National Gallery in Washington D.C. in 2008 when he reconstructed and performed the original score to Guazzoni's silent classic Antony and Cleopatra.
Hannah Lewis is a PhD candidate in Historical Musicology at Harvard. She received her BA in Music from Brown University in 2007, where she wrote her honors thesis on Erik Satie, John Cage, and Black Mountain College. She is writing her dissertation on music in early sound film in the U.S. and France, and her research interests include film music, early twentieth-century French music, post-war American experimental music, musical theater, and music and technology/mediation.
Beatrice Birardi is a Ph. D. of University of Salento (Puglia, Southern Italy) on “History and analysis of musical works” with a thesis about music soundtracks of Italian documentaries of Fascist period and she graduated in Percussion at the Conservatoire “N. Piccinni” in Bari. She works as a musician in different musical situations, such as classic and popular ones, with various ensembles. As a researcher, she works with the Italian Musicological Society and she took part in various international conferences and seminars. She published transcriptions for percussion instruments and musicological essays about Italian music history of Twentieth century’s music, film music, music and mass media.
Teresa Pedro. The majority of Teresa Pedro’s academic training took place in Paris (University Paris IV - Sorbonne) and in Berlin (Humboldt University Berlin). She was awarded a PhD in Philosophy by the University Paris IV-Sorbonne in 2009 for her thesis entitled ‘Critique and Science: A Study on the Transformation of Criticism in the Early Writings of F. W. J. Schelling’. She is now a post-doctoral researcher at the Institute for Philosophy of Language of the New University of Lisbon, where she is part of the research team Film and Philosophy: Mapping an Encounter, and at the Center for Knowledge Research of the Berlin University of Technology. Her research focuses on classical German philosophy and on philosophy of film. She has published several articles and chapters on these topics.
Miriam Perandones Lozano obtained her graduate degree in Piano (2001), in Musical History and Sciences (2003), and her PhD (2008) at the University of Oviedo. Her area of research is focused on the Spanish Nationalism and Lieder, specifically on the Spanish composer Enrique Granados. Since 2009 she is Lecturer (Profesora Ayundante Doctor) at the Department of Art History and Musicology of the University of Oviedo. Her articles have been published in Inter-American Music Review, Revista de Musicología and Recerca Musicologica, among others.
Brooke McCorkle. Having earned bachelor’s degrees in Japanese and music performance at the University of Oklahoma, Brooke continues to combine these two areas of research. She recently earned a Master’s in Japanese Studies and is continuing with research for a PhD in music at the University of Pennsylvania. Her dissertation addresses the relationship between aesthetics, nationalism, and the reception of Wagner in modern Japan. In the future, she plans to pursue research on Japanese film sound.
Ryszard Daniel Golianek is a polish musicologist, professor at the Department of Musicology of Adam Mickiewicz University in Poznań. His scientific interests are mainly focused on
the history and aesthetics of music of the 19th century, with opera being one of the main topics of his research. After graduating musicology (Adam Mickiewicz University in Poznań, 1988) and cello (Musical Academy in Poznań, 1989), he obtained his Ph.D. in musicology (1993), presenting the dissertation on the dramaturgy of Dmitri Shostakovich’s string quartets (published in 1995). In his postdoctoral career he was involved in research projects on programme music (habilitation, 2000) and on the work of Juliusz Zarębski (Jules Zarembsky), 19th century Polish pianist and composer (publications: catalogue of his works, monograph, edition of his newly found works). In the years 2006-2010 he studied Giuseppe Poniatowski’s life and operatic output (book in print), and since 2011 he works on the Polish threads in the 19th century European music. Since 1999 he also teaches at the Musical Academy in Łódź, having the post of the visiting professor.
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João Pedro Cachopo studied musicology and philosophy in Lisbon (Universidade Nova de Lisboa), Paris (Université Paris 8) and Berlin (Potsdam Universität and Humboldt-Universität zu Berlin), and received a PhD from the Universidade Nova de Lisboa in 2011 (with a dissertation on the relationship between the concepts of “truth” and “enigma” in Adorno’s aesthetics). His research interests include the fields of contemporary philosophy (aesthetics and politics), musicology, and literature. He co-translated two books by George Didi-Huberman (Ce que nous voyons, ce qui nous regarde, and Images malgré tout) into Portuguese. With a special focus on opera, his postdoctoral project seeks to discuss the “politics of opera” through the specific lens of its relation to other arts.
Ulrich Meurer studied Comparative Literature and Theater Studies in Munich and received his PhD in American and Media Studies at Constance University. He is the author of Topographien. Raumkonzepte in Literatur und Film der Postmoderne, has edited several books on cinema and widely published on media archaeology and the relationship between written words and (moving) images. Currently he holds the position of Visiting Professor for
Film and Media Studies at Vienna University.
Manuel Deniz Silva is research fellow at the Instituto de Etnomusicologia - Centro de Estudos de Música e Dança (INET-MD), Universidade Nova de Lisboa (UNL). Gradueted in musicology from the UNL, he received his PhD in 2005 from Paris 8 University, with a thesis on Portuguese musical life during the first years of Salazar’s dictatorship (1926-1945). He coordinates the INET study group “Western Art Music from the Perspective of Cultural Studies” and the research program “Listening to the moving images”, funded by the FCT. His current research is focused on the Portuguese film music history from the introduction of sound films through the end of Salazar’s dictatorship (1931-1974). He is vice-president of the Portuguese Society for Music Research and, since 2012, the General Editor of the Portuguese Journal of Musicology.
Candida Billie Mantica is completing a PhD in Music at the University of Southampton, within the AHRC funded FICTOS (Franco Italian Cultural Transfer Opera and Song) project. Her thesis explores Gaetano Donizetti’s unknown opera L’Ange de Nisida, of which she is preparing a critical edition. She holds a Bachelor and Master in Musicology from the University of Cremona and she is teaching assistant for the course of Antique Music Roadshow at the University of Southampton. She is currently working on a book on Vincenzo Bellini’s sketches. Further interests include the intersection of Italian opera and film.
Rebecca Dowd Geoffroy-Schwinden is a Ph.D. candidate in musicology in Duke University's department of music, where she received an M.A. in musicology in 2011. She is currently conducting research in Paris, France, through the support of a Duke University fellowship, for her dissertation entitled "A Revolution in Music: Performance, Politics, and the French Revolution." Rebecca's primary research focuses on the intersection of lived experiences of musical performances and French Enlightenment philosophies of music in eighteenth-century France. She also studies late eighteenth and early nineteenth-century French opera.
Stefan Schmidl (b. 1974) studied Musicology and Art History at the University of Vienna (PhD in 2004). Since 2005 he has been research associate at the Institute of Musicology at the Austrian Academy of Sciences. Apart from that he is a permanent lecturer in music history and applied music theory at the Vienna Conservatory Private University and also reads at the University of Vienna and the University of Music and Performing Arts Vienna. He gave talks in France, Germany, Greece, Hungary, Italy, Switzerland, the Czech Republic and Serbia; his books include Medium between cult and capitalism (2008) and the first German-language biography of French opera composer Jules Massenet (2012). Currently he works on his habilitation treatise. His main areas of research include the interplay of film, music and ideologies.
Richard Leppert is Regents Professor and Morse Alumni Distinguished Teaching Professor in the Department of Cultural Studies and Comparative Literature at the University of Minnesota. His Ph.D. is in musicology, with art history as his cognate field. He holds undergraduate degrees in music, English literature, and German literature. Leppert's work is concentrated on the relations of music and imagery to social and cultural construction, principally revolving around issues of gender, class, and race. Most of his work concerns European high culture from early modernity to the present, though he has also published on American music and art and popular culture. He has specific interests in critical theories of the arts and culture from the Frankfurt School to postmodernism, Adorno in particular. The more recent of Leppert's books are The Sight of Sound: Music, Representation, and the History of the Body; Music and Image: Domesticity, Ideology and Socio-Cultural Formation in Eighteenth-Century England; Music and Society: The Politics of Composition, Performance, and Reception (coedited with Susan McClary); an edition of Essays on Music by Theodor W. Adorno; Beyond the Soundtrack: Representing Music in Cinema (coedited with Lawrence Kramer and Daniel Goldmark); Art and the Committed Eye: The Cultural Functions of Imagery; The Nude: The Cultural Rhetoric of the Body in the Art of Western Modernity; and a volume of collected essays, Sound Judgment, for the Ashgate Press series, Contemporary Thinkers on Critical Musicology. Leppert has held senior fellowships from, among others, the John Simon Guggenheim Foundation, the National Endowment for the Humanities, the American Philosophical Society, and the American Council of Learned Societies. He was a Phi Beta Kappa National Scholar in 2004-05.
Katrin Stoeck studied musicology and theatre sciences as well as german literature at the Universities of Halle-Wittenberg and Leipzig. She is working as scientific research assistant for musicology at the University of Leipzig/Germany. Her doctoral thesis Musical
Theatre in the GDR. Scenic Chamber Music and Chamber Opera of the 1970s and 1980s is coming soon at Böhlau-Verlag Weimar. From 1999 to 2012 she also participated in the revision of the Riemann-Musiklexikon, with specialization in musical theatre, dance, German, Russian, and Czech composers. She is leading courses and lectureships, organizing conferences (International GfM-Conference Leipzig 2008), and working as a freelance dramatic advisor and publishing editor. Her special research interests are: musical theatre of the 20th and 21th centuries, musical history and cultural policy of GDR, music and dictatorship, Czech musical history, and applied musicology: concert and theatre dramaturgy,
conference management.
Jelena Novak works as a musicologist, theorist of art and media, researcher, and dramaturg. She is a PhD candidate at Amsterdam School for Cultural Analysis, and her current research is based on voice, corporeality, and new media in postopera. Novak is collaborator of Centre for Studies of Sociology and Aesthetics of Music (CESEM, New University Lisbon), was founding director of CHINCH, Initiative for research and production of live and visual arts, Belgrade, and is collaborator of Walking Theory, Belgrade. She is an author of three books – Wild Analysis: Formalist, Structuralist and Poststructuralist Analysis of Music (Divlja analiza, 2004), Opera in the Age of Media (Opera u doba medija, 2007) and Women and Music in Serbia (2011, co-author).
Martin Knust (b. 1973) studied musicology, theology and philosophy at the E.-M.-Arndt-University in Greifswald, Germany, the Humboldt-University in Berlin and the Technical University in Dresden, attained the grade of a Magister Artium (M.A.) in musicology 2000 in Dresden and the grade of a Dr. phil. 2006 in Greifswald. Doctoral scholarship of the German county Mecklenburg-Vorpommern 2001–2004. Lectureships at the E.-M.-Arndt- University in Greifswald, the Technical University in Berlin, and the Royal College of Music in Stockholm
since 2007. Spring till autumn 2008 Assistant professor in Greifswald, since autumn 2008 Postdoctoral research fellow at the University of Stockholm, Sweden. Since 2001 various printed and broadcasted publications, especially about opera, theatrical performace practice, Northern composers of the 19th – 21st centuries, iconography of music as well as music and media.
Edward R. Haymes is Professor Emeritus in the Department of Modern Languages at Cleveland State University. Publications and research interests include the Nibelungenlied, heroic literature in the Germanic languages, oral epic, and Richard Wagner. He is a member of the board of trustees of the Wagner Society of Ohio and of the Cleveland Chamber Music Society.
Claus Tieber, research assistant and head of research project at the department of musicology of the University of Salzburg. Last publications: Drehbuchdramaturgie. Erzählweisen des amerikanischen Feature Films 1917 – 1927. Münster et al.: Lit Verlag 2011. Schreiben für Hollywood. Das Drehbuch im Studiosystem. Münster et al: Lit Verlag 2008. Articles in Montage A/V, Medienwissenschaft, Film International and others.
James Doering is Professor of Music at Randolph-Macon College in Ashland, Virginia, where he teaches music history, music theory, and organ. He holds a Ph.D. in Musicology from Washington University in St. Louis, a M.M. in Piano Performance from the University of North Carolina-Greensboro, and a B.M. in Piano from The College of Wooster. In 2007, he received the United Methodist Church Award for Excellence in Teaching at Randolph-Macon College. His research, which includes the American orchestra, music management, and film music, has
been presented at numerous scholarly conferences and appeared in American Music and The Musical Quarterly. His book, The Great Orchestrator, on music manager Arthur Judson is forthcoming from University Illinois Press. His work on silent film was featured at the National Gallery in Washington D.C. in 2008 when he reconstructed and performed the original score to Guazzoni's silent classic Antony and Cleopatra.
Hannah Lewis is a PhD candidate in Historical Musicology at Harvard. She received her BA in Music from Brown University in 2007, where she wrote her honors thesis on Erik Satie, John Cage, and Black Mountain College. She is writing her dissertation on music in early sound film in the U.S. and France, and her research interests include film music, early twentieth-century French music, post-war American experimental music, musical theater, and music and technology/mediation.
Beatrice Birardi is a Ph. D. of University of Salento (Puglia, Southern Italy) on “History and analysis of musical works” with a thesis about music soundtracks of Italian documentaries of Fascist period and she graduated in Percussion at the Conservatoire “N. Piccinni” in Bari. She works as a musician in different musical situations, such as classic and popular ones, with various ensembles. As a researcher, she works with the Italian Musicological Society and she took part in various international conferences and seminars. She published transcriptions for percussion instruments and musicological essays about Italian music history of Twentieth century’s music, film music, music and mass media.
Teresa Pedro. The majority of Teresa Pedro’s academic training took place in Paris (University Paris IV - Sorbonne) and in Berlin (Humboldt University Berlin). She was awarded a PhD in Philosophy by the University Paris IV-Sorbonne in 2009 for her thesis entitled ‘Critique and Science: A Study on the Transformation of Criticism in the Early Writings of F. W. J. Schelling’. She is now a post-doctoral researcher at the Institute for Philosophy of Language of the New University of Lisbon, where she is part of the research team Film and Philosophy: Mapping an Encounter, and at the Center for Knowledge Research of the Berlin University of Technology. Her research focuses on classical German philosophy and on philosophy of film. She has published several articles and chapters on these topics.
Miriam Perandones Lozano obtained her graduate degree in Piano (2001), in Musical History and Sciences (2003), and her PhD (2008) at the University of Oviedo. Her area of research is focused on the Spanish Nationalism and Lieder, specifically on the Spanish composer Enrique Granados. Since 2009 she is Lecturer (Profesora Ayundante Doctor) at the Department of Art History and Musicology of the University of Oviedo. Her articles have been published in Inter-American Music Review, Revista de Musicología and Recerca Musicologica, among others.
Brooke McCorkle. Having earned bachelor’s degrees in Japanese and music performance at the University of Oklahoma, Brooke continues to combine these two areas of research. She recently earned a Master’s in Japanese Studies and is continuing with research for a PhD in music at the University of Pennsylvania. Her dissertation addresses the relationship between aesthetics, nationalism, and the reception of Wagner in modern Japan. In the future, she plans to pursue research on Japanese film sound.
Ryszard Daniel Golianek is a polish musicologist, professor at the Department of Musicology of Adam Mickiewicz University in Poznań. His scientific interests are mainly focused on
the history and aesthetics of music of the 19th century, with opera being one of the main topics of his research. After graduating musicology (Adam Mickiewicz University in Poznań, 1988) and cello (Musical Academy in Poznań, 1989), he obtained his Ph.D. in musicology (1993), presenting the dissertation on the dramaturgy of Dmitri Shostakovich’s string quartets (published in 1995). In his postdoctoral career he was involved in research projects on programme music (habilitation, 2000) and on the work of Juliusz Zarębski (Jules Zarembsky), 19th century Polish pianist and composer (publications: catalogue of his works, monograph, edition of his newly found works). In the years 2006-2010 he studied Giuseppe Poniatowski’s life and operatic output (book in print), and since 2011 he works on the Polish threads in the 19th century European music. Since 1999 he also teaches at the Musical Academy in Łódź, having the post of the visiting professor.
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