Helmut Loos studied Musical Education in Bonn, then Musicology, Art History and Philosophy at the University of Bonn, taking his doctorate in 1980, and senior doctorate (Dr. habil.) in 1989. He was a Research fellow at the University of Bonn, Department of Musicology (1981-1989). After the political events in 1989, he took up the position of Director of the Institute of German Music in the Eastern Regions in Bergisch Gladbach (1989-1993). He has been Professor of Historical Musicology at the Chemnitz University of Technology since April 1993, and at the Leipzig University since October 2001. He was Dean of the Department of History, Art History and Oriental Studies at the Leipzig University between 2003 and 2005. He has been an honorary member of the Gesellschaft für deutsche Musikkultur im südöstlichen Europa in Munich, since 2005. He is a member of international editorial boards of Hudební věda (Prague), Lituvos muzikologija (Vilnius), Ars & Humanitas (Ljubljana), Musicology Today (Bucharest), and Studies in Penderecki (Princeton, New Jersey).
Clemansa Liliana Firca graduated in Musicology from the Bucharest National University of Music, and held various positions in the field of musical research, including senior researcher at the History of Art Institute of the Romanian Academy (1965-75, 1994-2001) and director of the George Enescu Museum, Bucharest (1992-94). In 1999 she obtained a Ph.D in Musicology at the Music Academy “Gheorghe Dima”, Cluj. She has won several awards in musicology, such as Bernier Award of the Académie des Beaux Arts (Paris, 1972), the Prize of the Romanian Academy (1974), and Prizes of the Romanian Composers’ and Musicologists’ Society (1972, 1985, 2002, 2005). Her primary research interests are George Enesco’s music and the musical modernism of the inter-bellum period. She is the author of Trends in Romanian Music: 1900-1930 (Bucharest, 1974), Thematic Catalogue of George Enesco’s Works: 1886-1900 (Bucharest, 1985), Modernity and Avant-garde in the Ante- and Interbellum Music of the 20th century: 1900-1940 (Bucharest, 2002), and Enesco: The Relevance of the “Secondary” (Bucharest, 2005). Her other publications include collaborations (George Enesco: Monograph, Bucharest, 1972; Bucharest in the 1920s-1940s: Between Avant-garde and Modernism, Bucharest, 1994), critical editions of texts and scores, and over 70 studies and papers published in Romania and abroad.
Dorothea Redepenning (1954), studied music, musicology, German and Roman literature in Hamburg. PhD 1984, lecturer of Slavonic musical cultures at the university of Hamburg, habilitation 1993, since 1997 professor of musicology at the University of Heidelberg; 1999-2002 co-editor of the journal Die Musikforschung, adviser for Russian music at the new edition of Musik in Geschichte und Gegenwart (MGG), 2000-2008 dean of studies of the Faculty of philosophy at the University of Heidelberg, member in the cluster of excellence Asia and Europe in a Global Context: Shifting Asymmetries in Cultural Flows (since 2008). Major scientific topics: Eastern European music, in particular Russian, soviet and post-soviet music, history of symphony and opera in 19th and 20th century music, questions of reception (middle ages in the 19th and 20th centuries, J.S. Bach in the 19th and 20th centuries), film music, intercultural processes.
Nicolae Brânduș studied piano and composition at the National University of Music in Bucharest. He attended the summer courses for new music in Darmstadt (1969-1980) and Aix-en-Provence (1979). In 1985 he worked in the Musical Research Department at IRCAM (Paris) and realized electronic music at GMEB (Bourges) in 1996. He was a soloist pianist at the Philharmonic of Ploiești (1960-1969); professor of chamber music at the National University of Music in Bucharest (1969-2005); editor at the Muzica journal; member of the executive committee (1991-1993) and president of the Romanian section of the ISCM (1994-2002). He has received the Honorary Mention at the International Competition Prince Pierre de Monaco, and the George Enescu Prize of the Romanian Academy. Among his compositions, the most known are the opera Tarr & Fether, the Ballad Symphony, the symphonic works as Phtora, SinEuphonia II, two piano concertos. Brânduș wrote the book Interferences, published articles and was on lecture tours as visiting composer in the USA, Germany, Israel, Greece, Hong Kong.
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