About

DE

Maria Fuchs, born in 1981 in Lienz /Austria, 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) and received her doctorate from the University of Vienna in 2015 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.

Since 2020 she is a a postdoctoral scholar at the Center of Popular Culture at the Albert-Ludwigs-University Freiburg, leading the FWF project "Soundscapes of 'Heimat': Mapping Musical Signatures in Heimatfilme and Bergfilme (1930-1970)".

Maria Fuchs

Photo by Carolina Frank

Publications

Book

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
"Musical Meaning within the Interplay of Moving Image and Linguistic Semantics", in: 19th Century Music (special issue on film music, ed. Berthold Hoeckner), in preparation.

Book-chapter
"'American Showmanship' in German Picture Theatres. Transnational and Transcultural Circulations of 'Silent' Film Sound Practice", in: In, From And Towards The Americas. Musical Migrations: Transnational Communities, Oral History and Cultural Memory, Ediciones Complutense Madrid, in preparation. 

Book-chapter
"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.

Journal-Article
"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
"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
"'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.

Book-chapter
"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.

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