People

Camilla Bork

Visiting Scholar (Nov 2019-Dec 2019)

PhD, Professor, KU Leuven

Camilla Bork studied musicology, violin, comparative literature, and journalism at the University of Mainz and the Humboldt University, Berlin. She completed a diploma in violin and obtained her PhD in 2001 with a dissertation on music theater in the Weimar Republic. Her habilitation at the HU Berlin (Virtuosität – Text – Performance. Perspektiven aufführungsbezogener Musikgeschichtsschreibung) was completed in 2014. Her current research addresses music, knowledge, and radio 1920–1960. After positions at the University of Oldenburg and the Musikhochschule Hannover, she is now professor of musicology at the KU Leuven in Belgium, where she works on music historiography, Weimar musical culture, virtuosity, gender, and performance practice.

Camilla is the author of a monograph on the early operas of Paul Hindemith and modernism (Im Zeichen des Expressionismus, 2006), guest editor of a special issue of Musiktheorie on virtuosity and transcription, and co-editor, with Tobias Bleek, of the collection Musikalische Analyse und kulturelle Kontextualisierung (2010). She has won substantial research grants from the German Research Foundation DFG, the Thyssen Foundation, and the Swiss National Science Foundation SNSF. She serves on the editorial board of Analysis in Context: Leuven Studies in Musicology and Music and Analysis. Camilla also works as a curator and dramaturg for contemporary music theater projects, and is a member of the Jonge Academie België.

Projects

Visions and Experiments of Radiophonic Composing in the Weimar Republic

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Selected Publications

Bork, C. (2017). Der Interpret als Autor: Bemerkungen zum Phänomen multipler Autorschaft am Beispiel von Schönbergs Pierrot lunaire in der Inszenierung Christoph Marthalers. In H. Danuser, M. Kassel, & Paul Sacher Stiftung (Eds.), Wessen Klänge? Interpretation und Autorschaft in neuer Musik (pp. 69-90). Mainz: Schott.

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Bork, C. (2017). Das Hör-Wissen des Musikers im Spiegel ausgewählter Violinschulen des 19. Jahrhunderts. In Hör-Wissen im Wandel (Ed.), Wissensgeschichte des Hörens in der Moderne (pp. 233-252).

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Bork, C. (2018). Die Angst vor dem Geräusch - Zum Verhältnis von Musik und Geräusch im radiophonen Komponieren der Weimarer Republik. In U. Holl (Ed.), Radiophonic Cultures (pp. 39-52). Heidelberg: Kehrer.

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Bork, C. (2013). Text versus Performance – zu einem Dualismus der Musikgeschichtsschreibung. In M. Calella, & N. Urbanek (Eds.), Historische Musikwissenschaft: Grundlagen und Perspektiven (pp. 383-402). Stuttgart: Metzler.

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