David Catalunya (University of Würzburg) As a conductor, keyboard player, and researcher specializing in musical repertoires from the Middle Ages, Dr. Catalunya cultivates a double profile as a performer and scholar. Leading his own group, Canto Coronato, and as a member of other notable ensembles in the field of late-medieval music, he pursues a prolific artistic career mainly focused on musical repertoires from the 13th to the 15th centuries. Parallel to his artistic activity, David Catalunya holds a research position at the University of Würzburg (Germany), where he serves as an editor of individual volumes devoted to the repertoire of 11th- and 12th-century tropes and Latin songs in the monumental series Corpus Monodicum. He is a member of the research board at the Universidad Complutense de Madrid and an Associated Director of DIAMM (Digital Image Archive of Medieval Music, Oxford Faculty of Music). He has conducted several research projects on Gothic organs, bells, and strung keyboard instruments in collaboration with different instrument makers.
Gabriela Currie (Associate Professor of Musicology, University of Minnesota) – Prof. Currie’s research interests and publications concern medieval music theory, the intersection between musical and scientific thought in the early- and pre-modern eras, music iconography in pre-modern Eurasia, and travel accounts as early ethnographies of Byzantine, Balkan, and Ottoman musical traditions. She has received fellowships from the National Endowment for the Humanities, the American Council of Learned Societies, the American Association for University Women, and the Belgian-American Foundation. Her current research project, “Sonic Entanglements and the Gandhāran Nexus,” focuses on Greco-Buddhist music-cultural syntheses manifest in Gandhāran art during the early part of the first millennium CE, which bear witness to the development and dissemination of music instruments and practices along Eurasian trade routes in the aftermath of Alexander of Macedon’s conquest.
Alexander Rehding (Fanny Peabody Professor of Music, Harvard University) – As a music theorist, Prof. Rehding is interested in the question of how music has been understood at different times in history. This has taken his work in a number of different directions from Ancient Greek music to the Eurovision Song Contest. He is interested in the history of music theory, paleo- and neo Riemannian theory, music-aesthetic questions, and issues of sound and media. The wider questions of how ancient music was imagined by theorists and how non-western music was transmitted to Europe led Rehding to an engagement with musical media, including notation but also recording technology. Articles in the field of media aesthetics and music include studies on Edison¹s phonograph, the gramophone, the radio, as well as work on sirens. He is currently working on a series of articles exploring the notion of “music-theoretical instruments,” which take their cue from recent developments in History of Science, Thing Theory, and Critical Organology. Prof. Rehding’s recent article “Instruments of Music Theory,” Music Theory Online (22.4, December 2016) has been a key inspiration for the conference theme.