About

DE

Maria Fuchs studied musicology, comparative literature and gender studies at the University of Vienna and the Freie University of Berlin. She graduated in 2009 with the master thesis Die Ordnung der Affekte: Eine Annäherung an das Fundament der musikalischen Affektenlehre des 17. und 18. Jahrhunderts.

She was a doctoral fellow at the University of Vienna and the German Academic Exchange Service (DAAD) with a research stay at the Humboldt University in Berlin. In 2015 she received her doctorate from the University of Vienna with a dissertation on the theory and practice of silent film music in the Weimar Republic.

During her diploma and doctoral studies, she worked as a dramaturg and assistant in the field of music theatre and performance for the Wiener Mozartjahr 2006, HAU-Berlin, Tanztage Berlin, Gessnerallee Zurich, among others, and realized her own radio works e.g. for "Klangkunst" (Deutschlandradio Kultur).

In 2007 she was coordinator of the International Ensemble Modern Academy (IEMA) at the festival Klangspuren in Schwaz in Tyrol. From 2006 to 2011 she worked as a freelance journalist in the experimental and pop-cultural music field.

From 2015 to 2020 she was a lecturer at the University of Music and Performing Arts Vienna, teaching music history and music and media culture. In 2021 lecturer at the Berlin University of the Arts and in 2022 at the University of Salzburg.

From 2020 to 2022 she was a postdoctoral scholar at the Center of Popular Culture and Music at the University of Freiburg, leading the FWF project "Soundscapes of 'Heimat': Mapping Musical Signatures in Heimatfilme and Bergfilme (1930-1970)". Since 2022 she is working as a Senior Postdoc at the University of Music and Performing Arts Vienna.

Maria Fuchs

Photo by Carolina Frank

Publications

Book

World Music through a Postcolonial Lense:   Current Debates in Research and Practice, ed. by Maria Fuchs, Knut Holtsträter and Johannes Müske, Freiburg: Waxmann 2023 (= Yearbook “Lied und Populäre Kultur“ / “Song and Popular Culture“ 67), in Vorbereitung.

Stummfilmmusik. Theorie und Praxis im "Allgemeinen Handbuch der Film-Musik" (1927), Schüren: Marburg 2016 (= Marburger Schriften zur Medienforschung 68).

Reviews
WDR3, Magazin Tonart, 21.9.2017 (Stefan Keim)
http://www.hhprinzler.de/2017/10/stummfilmmusik (Hans Helmut Prinzler)
Filmblatt 22, 64/65, spring 2018 (Eunice Martins)
35 Milimeter Retro Filmmagazin, no. 26, April 2018 (Burkhard Götze)
Professional Production 7–8/ 2018 (Philippe Dériaz)
MEDIENwissenschaft 4, 2018 (Sebastian Richter)


Selected Articles

Peer-reviewed

Journal article
"Pastoral Music as Sentimentality of Modernity: Composed Feelings of Heimat in German Cinema", 19th-Century Music, Special Issue on Film Music, ed. Berthold Hoeckner, in review. 

"Transculturality of the Alps. A comparative analyses of image and sound in 'multiple Bergfilme' of the early 30s" (with Maria Adorno), in: Cinema & Cie. International Film Studies Journal, accepted.

"Hermann Kretzschmar’s forgotten heirs: ‘Silent’ Film Music as Applied Musical Hermeneutics", in: Gillian Anderson/ Ron Sadoff (ed.), Music and the Moving Image, 12 (3), 2019, 3–24.

Book-chapter
"Cultural Mobility, Ernö Rapée and 'American Showmanship Scores in German Picture Theatres'", in: Eli Rodríguez, Victoria, Marín-López and Vega Pichaco Belén (ed.), En, desde y hacia las Américas. Músicas y migraciones transoceánicas, Madrid: Dykinson, 2021, 607–619. 

"The Kinotheken and Giuseppe Becce’s Scoring Practices in Germany’s Early Sound Film", in: Jeremy Barham (ed.), Routledge Companion to the Music and Sound of World Cinema from the First ‘Talkies’ to the 1940s, New York & London: Routledge, forthcoming.

"The hermeneutic framing of film illustration practice. The 'Allgemeine Handbuch der Film-Musik' in the context of a historico-musicological tradition", in: Claus Tieber/ Anna Windisch (ed.), The Sounds of Silent Films. New Perspectives on History, Theory and Practice, Palgrave Macmillian: Hampshire, 2014, 156–171.

Lemmata

"Erdmann, Hans und Becce, Giuseppe, Allgemeines Handbuch der Film-Musik", in: Hartmut Grimm (†)/ Melanie Wald-Fuhrmann/ Felix Wörner (hrsg.), Lexikon der Schriften der Musik, Band 2: Schriften zur Musikästhetik, Bärenreiter: Kassel, forthcoming.




Editor-reviewed

Book-chapter
"Intermediales Verhältnis von bewegtem Bild, Ton und Affekt: Zur frühen Theorie und Ästhetik von Filmmusik", in: Carola Bebermeier und Sabine Meine (hrsg.), Musik im Blick. Visuelle Perspektiven auf auditive Kulturen, Wien: Böhlau 2023 (= Musik – Kultur – Gender), 200–216. 

"Musical Branding of the Alps: Aural Dimension and Transhistorical Remembrence of Luis Trenker’s Mountain Films", in: Simone Dotto (et.al), Retuning the Screen Sound Methods and the Aural Dimension of Film & Media History (= XXVII International Film Studies Conference Proceedings), im Druck.

"Plurimedialität des Schlagers. Genrekino, populäres Lied und kulturelle Erinnerung der Alpen", in: Michael Fischer / Johannes Müske (hrsg.), Schlager erforschen. Kulturwissenschaftliche Perspektiven auf ein marginalisiertes Forschungsthema, Münster: Waxmann (= Populäre Kultur und Musik), 183–200.

"'Silent Film' Music in the Weimar Republic: Its Reception in Contemporary Criticism and by Modernist Composers", in: Jordi Ballester/ Gérman Gan Quesada (ed.), Music Criticism 1900-1950, Prepols Publishers: Turnhout, 2018 (= Music, Criticism, & Politics), 399–421.

"Kunst oder Nichtkunst. Zur Kritik der Musik für den Stummfilm im Deutschland der 1920er Jahre", in: Fritz Trümpi/ Simon Obert (hrsg.), Musikkritik. Historische Zugänge und systematische Perspektiven, Mille Tre: Wien, 2015 (= Anklänge 2015 – Wiener Jahrbuch für Musikwissenschaft), 111–133.

Journal article
"Screen Music and Multiple Versions: Transdisciplinary Perspectives, methodological approaches and challenges" (with Maria Adorno), ffk Journal. Film- und Fernsehwissenschaftliches Kolloquium, im Druck.

Varia

"Neues Filmerleben durch Musik. Die Soundtracks zu Paul Wegeners Der Golem, wie er in die Welt kam", Universum Film, 13–17, 2019.

Mit Sophie Schasiepen: "Ausweichmanöver a lá Poor-is-sexy-Attitüde. Ein paar Aspekte zu popästhetischer Intervention anhand des Interviews mit dem Musik-Performance-Projekt Crazy Bitch in A Cave", in: skug – Journal für Musik, Vol. 89, 1–3/2012.

"web 2.0 als virtuelle hausmusikszene. annelie gahl über melanzane und identität", in: Spuren – Musikzeitung für Gegenwart (= Zeitung des Musikfestivals Klangspuren Schwaz), Sep. 2009, 5.

"Rotating Identities. Ignaz Schick zwischen (Harsh) Noise, Free Jazz, Lower Case und Neue Musik", in: skug– Journal für Musik, Vol. 70, 3–5/2007.


Contact

Maria Fuchs
mail@mariafuchs.org

Maria Fuchs
Musicologist