short vita

Lecturer | Sound Studies (M.A.)
Faculty | Sound Studies and Sonic Arts (M.A.)

Dr. Julia H. Schröder is a musicologist with research interests in the following fields: contemporary music, experimental composition, electroacoustic music, sound art, music and dance, sound in theater, and sound studies. Her postdoctoral research project at Freie Universität’s Collaborative Research Center 626 “Aesthetic Experience and the Dissolution of Artistic Limits” resulted 2014 in a book on aesthetic experience. She has been teaching at several universities in Berlin and lecturing internationally. Schröder is co-founder and co-editor of “Auditory Perspectives”, a section of kunsttexte.de, an e-journal on visual and art history. 

Links

Sound Studies and Sonic Arts

Theory

German (books)

• “Zur Position der Musikhörenden. Konzeptionen ästhetischer Erfahrung im Konzert” (Hofheim 2014) [On the position of the listeners: Concepts of aesthetic experience in concert situations]

• “Im Hörraum vor der Schaubühne. Theatersound von Hans Peter Kuhn für Robert Wilson und von Leigh Landy für Heiner Müller”, ed. by Julia H. Schröder (Bielefeld 2015) [Theater sound by Hans Peter Kuhn for Robert Wilson and by Leigh Landy for Heiner Müller]

• “Cage & Consequences”, ed. by Julia H. Schröder, Volker Straebel, (Hofheim 2012)

• “Cage & Cunningham Collaboration. In- und Interdependenz von Musik und Tanz” (Hofheim 2011) [Cage & Cunningham Collaboration: In- and interdependency of music and dance]

• “Dokumente zur Musik des 20. Jahrhunderts” 2 vols., ed. by Helga de la Motte-Haber, Lydia Rilling, Julia H. Schröder (Laaber 2011) [Documents of twentieth century music] 

English (selection of articles)

• “‘Compare to other spaces, real or imagined’ (Pauline Oliveros 1969). Acoustic space in North American experimental music of the late 1960s”, in: Martha Brech,  Ralph Paland (eds.), “Compositions for Audible Space. The Early Electroacoustic Music and its Contexts (Bielefeld 2015); pp. 221–233

• “Emergence and Emergency: Theoretical and Practical Considerations in Agostino Di Scipio’s Works”, in: Contemporary Music Review 33/1, Special Issue: “Agostino Di Scipio: Audible Ecosystems”, ed. by Makis Solomos (2014), pp. 31–45 

• “Extended Interdependencies: Cage’s Sound Sculpture, his FOUR3, and Cunningham’s Beach Birds”, in: Julia H. Schröder, Volker Straebel (eds.), “Cage & Consequences” (Hofheim 2012), pp. 233–241 

• “Graphic notation” in: Dieter Daniels, Sandra Naumann (eds.), “See this Sound. Audiovisuology Compendium. An Interdisciplinary Survey of Audiovisual Culture” (Cologne 2010), s. a. beta.see-this-sound.at/kompendium/abstract/78

• “Hearing Velocity: The Doppler-Effect in Mendelssohn’s Song ‘Neue Liebe’”, in: Hewitt, Martin; Rachel Cowgill (eds.) “Victorian Soundscapes Revisited” (Leeds 2007), pp. 121–130

 • www.kunsttexte.de/auditive_perspektiven