Christian Utz studied composition, music theory, and musicology in Vienna and Karlsruhe. He received a doctorate degree (2000) and habilitation (2015) in musicology at the University of Vienna. Since 2004 he has been professor of music theory and music analysis at the University of Music and Performing Arts Graz and since 2015 private lecturer in musicology at the University of Vienna. He lead(s) several research projects funded by the Austrian Science Fund (FWF) including A Context-Sensitive Theory of Post-Tonal Sound Organization (CTPSO, 2012–2014), Performing, Experiencing and Theorizing Augmented Listening: Interpretation and Analysis of Macroform in Cyclic Musical Works (PETAL, 2017–2020), Points of Discontinuity: Theory, Categorization, and Perception of Cadences and Openings in Post-tonal Music (PoD, 2021–2024), and Multiple Dimensions in Performances of Mahler’s Symphonies: Developing Resources on the History and Analysis of Mahler Performance (MMD, 2021–2024). Utz’s monographs include Neue Musik und Interkulturalität: Von John Cage bis Tan Dun (Beihefte zum Archiv für Musikwissneschaft 51, Steiner, 2002); Komponieren im Kontext der Globalisierung: Perspektiven für eine Musikgeschichte des 20. und 21. Jahrhunderts (transcript, 2014; revised and expanded English edition: Musical Composition in the Context of Globalization. New Perspectives on Music History of the 20th and 21st Century, transcript 2021; https://doi.org/10.14361/9783839450956). He has been co-editor among others of the Lexikon Neue Musik (Metzler and Bärenreiter, 2016; https://doi.org/10.1007/978-3-476-05624-5) and the journal of the German-speaking Society for Music Theory (ZGMTH, 2015–2020; https://doi.org/10.31751/zgmth). Utz has been member of the executive board of the German-speaking Society for Music Theory (GMTH, 2014–2018) and the International Gustav Mahler Society (since 2019).
Thomas Glaser studied musicology, contemporary history and comparative literature at Saarland University and Paris-Sorbonne University (Paris IV) and holds a doctoral degree in musicology from the University of Music and Performing Arts Vienna. His research was supported by research grants from the Paul Sacher Foundation Basel (2011), the Austrian Academy of Sciences (2012–2015), the University of Music and Performing Arts Vienna (2015–2016) and the Department of Culture of the City of Vienna (2017). For his dissertation, Glaser received the Josef Krainer Dissertation Award of the Government of Styria (2019). Prior to the MMD project, Glaser was senior scientist at the University of Music and Performing Arts Graz (FWF-funded project Performing, Experiencing and Theorizing Augmented Listening). He regularly teaches at university level, gives papers and publishes on diverse topics in musicology. Recent book publication: Der Interpret als Double. René Leibowitz im Kontext der Aufführungslehre der Wiener Schule, Stuttgart: Steiner, 2020 (= Beihefte zum Archiv für Musikwissenschaft 83).
Majid Motavasseli studied piano at the University of Tehran, and music theory and piano education at the University of Music and Performing Arts Graz (KUG) and the University of the Arts Berlin (UdK). Since 2019, he is a PhD candidate at KUG, writing his dissertation on the topic of Satzmodell- and topos-based investigations into structure, style, and interpretation in Gustav Mahler’s late works. Until 2020, he was doctoral researcher for the KUG-based FWF project Performing, Experiencing and Theorizing Augmented Listening. Currently, Motavasseli is also a research fellow for the UdK-based DFG project Gleitende Tonhöhen auf klingenden Konsonanten (https://www.kiliansprau.de/aktuelle_forschungsprojekte.aspx). His articles on musical analysis and music performance research have been published in the Zeitschrift der Gesellschaft für Musiktheorie, Musik-Konzepte, and Nachrichten zur Mahler-Forschung.