Dr. Janina Müller (extern)
Institut / Einrichtungen:
Fachgebiet / Arbeitsbereich:
Assoziierte wiss. Mitarbeiterin (extern) am Seminar für Musikwissenschaft
Vita
Janina Müller is a postdoctoral researcher at the Department of Musicology, KU Leuven. She studied musicology, art history, and cultural history and theory at the Humboldt University of Berlin. There she completed her doctorate in 2018 with a thesis on film noir music (published as Musik im klassischen Film noir, Würzburg 2019). Her research focuses on music/sound and media, nineteenth- and twentieth-century music, music theatre, and the history of listening. From 2015–2018, she worked at the Chair for Historical Musicology at Humboldt University. She also held teaching and research positions at the University of Leipzig (2013–2015) and the Berlin University of the Arts (2018/19). She received funding by the German Academic Exchange Service for research stays at KU Leuven (2019/2020) and the University of Southern California, Los Angeles (2011/2012).
She currently holds a junior postdoctoral fellowship from the Research Foundation - Flanders FWO (2020–2023). Her project “Radio Plays Politics: Musical Avant-garde and 1968 Radio Culture” investigates the politicization of radiophonic sound in experimental radio plays by Mauricio Kagel, Dieter Schnebel, and John Cage.
Musik im klassischen Film noir. Würzburg: Königshausen & Neumann, 2019
Felix Mendelssohn Bartholdy. Sämtliche Briefe, Band 11: Juli 1845 bis Januar 1847, ed. and commented by Susanne Tomkoviç, Christoph Koop, and Janina Müller, Bärenreiter 2016
Bohuslav Martinů. Les Fresques de Piero della Francesca (H. 352) and The Parables (H. 367), ed. by Janina Müller and Arne Stollberg (Bohuslav Martinů Complete Edition, Series II: Orchestral Music), Bäreneiter (in print)
“Chronotopische Klangräume. Zu den tönenden Architekturen des Unheimlichen in Roman Polańskis Apartment-Trilogie.“ In: Musik und das Unheimliche, ed. by Ivana Rentsch, Arne Stollberg and Christoph Hust, München: edition text + kritik (forthcoming)
“Performance as Transformation: The Laughing Songs of Death in Venice in Literature, Film, and Opera.” In: Sound, Stage, Screen 1/2 (2021), 69–100 (https://doi.org/10.54103/sss14054)
Art. “Golijov, Osvaldo.” In: MGG Online (forthcoming)
Art. “Seilova, Aigerim.” In: MGG Online, ed. by Laurenz Lütteken, Kassel, Stuttgart, New York
2016ff. (April 2021)
“Wider das zerstreute Hören: Dieter Schnebel und das Radio.” In: Mitteilungen der Paul Sacher Stiftung 34 (April 2021), 22–27
“Der Komponist als Redner: zur radiofonischen Stimmpolitik von Mauricio Kagels Hörspiel Der Tribun (1979)” In: Musiktheorie. Zeitschrift für Musikwissenschaft 35/2 (2020), 141–150
“Decomposing Heroism: Rolf Wilhelm’s Music for Radetzkymarsch (1965).” In: Music, Collective Memory, Nostalgia, and Trauma in European Cinema after the Second World War, ed. by Michael Baumgartner and Ewelina Boczkowska, New York and London: Routledge, 2019, 209–234 (co-author: Tobias Plebuch) (https://doi.org/10.4324/9781315298450)
“Das Opernhafte im Film – eine intermediale Spurensuche.” In: Oper und Film. Geschichten einer Beziehung, ed. by Stephan Ahrens et al., München: edition text + kritik, 2019, 13–46
“Toward a Prehistory of Film Music: Hans Erdmann’s Score for Nosferatu and the Idea of Modular Form.” In: Journal of Film Music 6/1 (2013), 31–48 (co-author: Tobias Plebuch)