PoD (Points of Discontinuity)

PoD-Team (Danieli, Utz, Rebrina, 2021)

Theory, Categorization, and Perception of Cadences and Openings in Post-tonal Music

Research Project 01/03/2021–29/02/2024
FWF P 34097-G

Research Team
Christian Utz, principal investigator
Luca Danieli, post-doctoral researcher
Ana Rebrina, doctoral researcher
Thomas Wozonig, doctoral researcher (11/2022–02/2024)
Daniel Ambrosch, student assistant (05–10/2022)

Research Board
Antares Boyle (University of Portland)
Robert Hasegawa (McGill University Montreal)
Robert Höldrich (University of Music and Performing Arts Graz)
Markus Neuwirth (Anton Bruckner University Linz)
Daniel Mayer (University of Music and Performing Arts Graz)

Website: https://pod.kug.ac.at

Christian Utz (principal investigator)

Christian Utz (Portrait, 2021)

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).
https://orcid.org/0000-0002-5528-8780
https://kug.academia.edu/ChristianUtz
https://de.wikipedia.org/wiki/Christian_Utz 

Luca Danieli (post-doctoral researcher)

Luca Danieli (Portrait)

Luca Danieli holds a Ph.D. in instrumental and electroacoustic music composition from the University of Birmingham (UK). His main areas of interest include electroacoustic and mixed-music theory, musical aesthetics (20th- and 21st-century), cognitive musicology, and computer programming. Academic contributions include articles on music composition and artificial intelligence, as well as on music theory and spatial hearing. He has been artist in residence for the Center for Art and Media ZKM Karlsruhe and organizations in Italy (Torino Solitunes Festival, Associazione Progetto Musica). During the years 2015–2018, he has contributed to the development of the open source software for algorithmic composition SuperCollider, under the direction of Scott Wilson.

  • Danieli, Luca, M. Witek, and C. Haworth (2021). “Space, Sonic Trajectories and the Perception of Cadence in Electroacoustic Music.” Journal of New Music Research, forthcoming.
  • Danieli, Luca. 2019. “Arte, innovazione tecnologica, scienza.” Arte Scienza 11: 193–224, https://doi.org/10.30449/AS.v6n11.099 
  • Danieli, Luca. 2018. “Points of Discontinuity and Spatial Cadences: Two Experimental Concepts for the Development of Musical Theory.” In Proceedings of the XXII Colloquium on Music Informatics, Udine, November 2023, 2018, 70–76.
  • Danieli, Luca. 2014. “Musical Synthesis by Means of Cellular Automata and Gestalt Patterns.” International Journal of Unconventional Computing 10 (3): 165–180.

Ana Rebrina (doctoral researcher)

Ana Rebrina (portrait, 2021)

Ana Rebrina is a PhD candidate at the University of Music and Performing Arts Graz. In 2018, she graduated from University of Zagreb, Academy of Music, with a Master’s degree in Music Theory. Her research focuses on relationship between structure, performance, and perception in post-tonal music. In her doctoral project, she is exploring these aspects in the context of piano music from early serialism.

Most important invitations to present at scientific conferences
2018 (May) International Conference Terminology Research in Musicology and the Humanities in Zagreb
2019 (Oct) 1st International Conference Psychology and Music – Interdisciplinary Encounters in Belgrade

Thomas Wozonig (doctoral researcher)

Thomas Wozonig has studied musicology, music theory, and music education at the University of Graz and the University of Music and Performing Arts Graz. From 2018–2021, he was a member of the FWF-funded project Towards Interdisciplinary, Computer-assisted Analysis of Musical Interpretation: Herbert von Karajan at the latter university. From 2021–2022, he has held a post as university assistant at the Arbeitsschwerpunkt Salzburger Muiskgeschichte at the University Mozarteum Salzburg. Besides that, he works on his dissertation on Herbert von Karajan as Jean Sibelius conductor. His research focuses on musical interpretation and performance research, and the music history of Scandinavia. Thomas has been co-editor of Musik im Zusammenhang. Festschrift Peter Revers zum 65. Geburtstag (Vienna 2019), as well as Musikalische Interpretation bei Herbert von Karajan (Hildesheim 2022), Music and Corporeality in 20th and 21st Century Music (Bielefeld 2022), Aspekte softwaregestützter Interpretationsforschung: Grundsätze, Desiderate und Grenzen (Würzburg 2022) and Wie sich Salzburg inszeniert. Vom Werden einer Musiktheaterstadt (Vienna 2023). Some of his papers were published in Österreichische Musikzeitschrift, Zeitschrift der Gesellschaft für Musiktheorie, and Studia Musicologica, among others. He has been member of board of the Gesellschaft für Musiktheorie since 2018 (since 2020 as treasurer), of the advisory board of the journal Kwartalnik Młodych Muzykologów UJ, and is artistic director of the classical concert series Schlosskonzerte Gleinstätten.
https://kug.academia.edu/twozonig
https://orcid.org/0000-0003-1766-8229

Daniel Ambrosch (student assistant)

Daniel Ambrosch has been a student at the University of Music and Performing Arts since 2019, where he studies music theory with Christian Utz and Clemens Gadenstätter and piano pedagogy with Manfred Tausch. From 2018 to 2019, he received composition lessons at the Conservatory in Klagenfurt with Jakob Gruchmann. Since May 2022, he works as a student assistant in the FWF-funded research project Points of Discontinuity: Theory, Categorization, and Perception of Cadences and Openings in Post-tonal Music.