Dr. Inja Stanović (née Davidović)
Curriculum Vitae
EDUCATION
2010 – 2016: PhD. Sheffield, UK. The University of Sheffield. Supervision under Professor Simon KEEFE.
2008 – 2010: Master of Music. Boston, USA. The Boston Conservatory. Class of Michael LEWIN.
2006 – 2008: Niveau du Concert. Paris, France. La Schola Cantorum. Class of Eugen INDJIC.
2005 – 2006: Niveau de Virtuosite (Cum Laude). Paris, France. La Schola Cantorum. Class of Eugen INDJIC.
1999 – 2004: BA (Hons.) in Piano Performance and Pedagogy (Cum Laude). Lovran, Croatia. Music Academy “Ino Mirkovic”. Licensed by the Moscow State Conservatory “P. I. Tchaikovsky”. Class of Marina AMBOKADZE.
1995 – 1999: Classical Gymnasium. Zagreb, Croatia.
1994 – 1999: Piano Studio Zorić. Zagreb, Croatia.
TEACHING AND PROFESSIONAL EXPERIENCE
2023 – Surrey Future Senior Fellow, University of Surrey. PI on the project ‘Historic Recorded Sound Centre’.
2022 – 2023 Lecturer in Music. City, University of London: Performance, Musicianship, Music Analysis, Materials of Tonal Music, Western Music in Context 1 and 2, Ensembles. Major project supervision (all teaching, tutorials and exams). Programme Director, Ensemble coordinator and Assessment Lead.
2021 – Visiting Research Fellow. University of Huddersfield.
2023 – Research Fellow. 3M Buckley Innovation Centre. PI on the project ‘Sound heritage restored: Developing repair methods for wax cylinders’.
2017 – 2021 Leverhulme Trust Early Career Fellow. University of Huddersfield. PI on the project ‘(Re)constructing Early recordings: a guide in historically-informed performance’. Also teaching: Performance, Aural Skills, Early Music, Historical Performance.
2011 – 2017 Visiting Lecturer. University of Sheffield: Performance, Musicianship, Special Study in Performance – Historically Informed Performance Through Centuries, Ensemble Class, Practical Skills.
2015 – 2017 Visiting Lecturer. Royal Birmingham Conservatoire: Contextual Studies, Performance Practice 3.
2012 – 2013 Visiting Research Fellow. Sydney Conservatorium of Music: researching on expressional techniques in nineteenth-century pianism.
SCHOLARSHIPS, GRANTS and AWARDS
2021: AHRC Research Networking Grant: ‘Redefining Early Recordings as Sources for Performance Practice and History’.
2020: 3M Buckley Innovation Centre. ‘Sound heritage restored: Developing repair methods for wax’.
2020: RMA Conference Affiliation Grant For organising the second edition of the ‘Early Recordings’ conference.
2020: MHM Internationalisation Fund, University of Huddersfield Support for international travel.
2019: Institute of Musical Research, London Conference Grant Scheme – for organising second edition of ‘Early recordings’ conference.
2019: RMA Conference Affiliation Grant For organising the first ‘Early Recordings’ conference.
2018: The City of London Phonograph & Gramophone Society, Richard Taylor Bursary Research trip to Pushkinsky Dom, St. Petersburg.
2017: Leverhulme Trust Early Career Fellowship and University of Huddersfield Research project “(Re)constructing Early Recordings: a guide for historically-informed performance”.
2016: Widening Participation Funding for Developmental and Responsive Activities: Trio Con Moto “Music and Images”. Musical outreach project in primary schools.
2016: Petrie Watson Exhibitions Award. Faculty of Arts and Humanities, the University of Sheffield. Grant for CD recording.
2015: Widening Participation Funding for Developmental and Responsive Activities: Trio Con Moto “Music and Images”. Musical outreach project in primary schools.
2015: Petrie Watson Exhibitions Award. Faculty of Arts and Humanities, the University of Sheffield.
2013: Gladys Hall Scholarship, the University of Sheffield Postgraduate scholarship.
2013: Frankopan Award. Postgraduate scholarship for international studies.
2012: Australian Government. Endeavour Award. High-achievements grant for doctoral studies.
2011: Frankopan Award. Postgraduate scholarship for international studies.
2010: Frankopan Award. Postgraduate scholarship for international studies.
2010: Julian Payne Award, the University of Sheffield Postgraduate scholarship.
2009: Frankopan Award. Postgraduate scholarship for international studies.
2009: City of Zagreb. Postgraduate scholarship.
2008: Ministry of Science, Education and Sports Scholarship for International Postgraduate Studies, Croatia.
2008: Full Merit Scholarship for Master of Music degree Boston Conservatory, USA.
2007: Ministry of Science, Education and Sports Scholarship for International Postgraduate Studies, Croatia.
2006; French Government Scholarship. Postgraduate scholarship.
PUBLICATIONS
Reviving the Brave Belgians: Mechanical recording practices as a guide in historical performance (co-authored with Jeroen Billiet, Royal Brussels Conservatoire, Belgium) Article accepted in Music & Practice (forthcoming).
Pachmann on Record: Digital analysis as a method for understanding early recordings. Book chapter in: Softwaregestützte Interpretationsforschung: Grundsätze, Desiderate und Grenzen, ed. Julian Caskel, Frithjof Vollmer, Thomas Wozonig (Würzburg: Königshausen & Neumann, December 2022).
Julius Block’s Cylinder Collection: Masterpieces of music networking. Chapter in: Musical Networking in the ‘Long 19th Century’, ed. Vjera Katalinić (Croatian Musicological Society, forthcoming).
Early Sound Recordings: Academic Research and Practice. Co-editor with Dr. Eva Moreda Rodriguez (Routledge, forthcoming).
‘‘Brilliant but not Difficult’: amateur playing of Chopin in nineteenth-century Britain’. Book chapter in: The integration of a work: from miniature to large scale, Research and Publishing Department of The Fryderyk Chopin Institute (September, 2022).
The Early Sound Recordings as Primary Evidence: late nineteenth-century expressive techniques relating to Chopin’s Nocturnes (https://dipproceedings.lmta.lt). Proceedings of ‘Doctors in Performance’ Conference, Vilnius (January, 2021).
A Chip Off the Old Block? introducing the practice of historically-informed recording (co-authored with Dr. AdamStanović). Seismograf. Sounds of Science. Methods and Aesthetics in Auditory Research Practices (April, 2021).
Remember me, Remember me not (Part II): Chopin’s Reception in Great Britain, 1849 to 1899. Article in: Musica Iagellonica, Vol. 11, 2020. ISSN 1233–9679 (December, 2020).
Love me, Love me not (Part I): Chopin’s reception in Great Britain, 1830-1849. Article in: Musica Iagellonica, Vol. 10, 2019. ISSN 1233–9679 (December, 2019).
(Re)constructing Early Recordings: a guide for historically- informed performance. Proceedings of ‘Research Hands on Piano: International Conference on Music Performance’; University of Aveiro Publications (December, 2019).
‘The Early Classical Recordings of First World War England: Process, preoccupation and performance’. Chapter in: The Great War 1914-1918 and Music. Compositional Strategies, Performing Practices, and Social Impacts (Hrvatsko Muzikološko Društvo; Zagreb, December 2019).
Back to the Future: the digitisation of reproducing piano rolls as a rendering of the past’ Article in: Swedish Journal of Musical Research/Svensk tidskrift för musikforskning, Vol. 99 (March, 2018).
Masculine and Feminine Compositions: Frederic Chopin and his body (of work)’ Article in: HARTS & Minds Journal, Vol. 3, Issue 2. Embodied Masculinities (December, 2017).
2016, May ‘Performing Music, Performing Culture: bridging the cleavage between forms of practice’ (co-authored with Adam Stanovic) Proceedings of ‘Music, Sound and Culture (MUSICULT 2016)’; Istanbul, Turkey.
MUSIC
Austro-German Revivals: (Re)constructing Acoustic Recordings. Inja Stanović, piano and David Milsom, violin. (Huddersfield: University of Huddersfield Press, 2022)
CD with works of John Donaldson, J. S. Bach and J. Field (recorded on 1804 Broadwood Square Piano and Steinway B) CD accompanies the book: Michael Hannon, Mrs. Findlay’s Broadwood Square Piano (Ranmoor Publications, 2015.)
INVITED TALKS/LECTURE-RECITALS
2022: Royal Conservatory of Brussels: keynote at ‘19th Century Salon – les Salons Bruxello-Gantoises’; City, University of London; The City of London Phonograph and Gramophone Society, London branch; Guildhall School of Music and Drama, AHRC Research Networking Symposium: Using early recordings in practice-led research; City of London Phonograph and Gramophone Society – Annual Conference, invited speaker
2021: Sibelius Academy; Helsinki, Finland; Tempo Rubato: Use, Flexibility, and Modification of Time, an online event organised by Helsinki Baroque Orchestra and Research Centre of the Slovenian Academy of Sciences and Arts.
2017: University of Edinburgh; University of Huddersfield.
2017: Royal Academy of Sweden, Stockholm. ’Back to the past: Reproducing piano rolls and acoustic sound recordings, their digitisation and contemporary use’ (keynote).
MASTERCLASSES/RESIDENCES
2022: Piano masterclass in the 19th century performance practice – 19th Century Salon – les Salons Bruxello-Gantoises (Ghent University)
2022: Piano masterclass in the 19th century performance practice – 19th Century Salon – les Salons Bruxello-Gantoises (Royal Conservatory of Brussels)
2018: HuCPeR 19th Century Salon Workshop; Huddersfield
2018: Piano Masterclass: Monash University; Melbourne, Australia
2018: Jury member: Leeds College of Music/Besbrode Pianos Piano Competition (semifinals); Leeds, UK
2017: Piano Masterclass: Hong Kong Baptist University, Hong Kong 2016, June Pianist in residence, CMMAS. Morelia, Mexico
2018: Pianist in residence, Ensemble Mise-en. New York, USA
ORGANISED CONFERENCES
2023: Early Recordings in Performance and Musicology: What next? (City, University of London)
2022: Phonograph Sessions Revealed: Using Early Recording Technologies in Practice-Led Research (Guildhall School of Music and Drama)
2022: Interpreting Early Recordings: Critical and Contextual Perspectives (University of Glasgow)
2021: Redefining Early Recordings as Sources for Performance Practice and History: Using early recordings in practice-led research (University of Huddersfield)
2021: Early Recordings: Diversity in Practice; three online events
2020: Early Recordings: Methodologies in Research and Practice; online event
2019: Early Recordings: Past Performing Practices in Contemporary Research (Pushkin House, London)
CONFERENCE PAPERS AND LECTURE-RECITALS
2022, October. RISM Musical Sources: Past and Future: ‘Early Recordings have RISM: Redefining Early Recordings as Sources for Performance Practice and History’
2022, August. The 21st Quinquennial Congress of the International Musicological Society (IMS2022). ‘Investigating Mediatization in Early Recorded Artefacts’. With Prof. Dr Andreas Fickers (University of Luxembourg), Dr Karin Martensen (Technische Universität Berlin), Dr. Daniele Palma (Università di Firenze) and Prof. Dr Annie van den Oever (University of Gronigen).
2022, June. 2nd Global Piano Roll Meeting; Bern, Switzerland. Paper: The Musical Museum’s Hidden Treasures: Duo-Art Audiographic Rolls
2022, July. Performance Studies Network Conference; Surrey, UK. 1) Lecture-recital: Reconstruction of Mechanical Recording Technologies: Cylinders vs. Records. 2) Themed session (with Drs. Kennaway, Milsom, Moreda Rodriguez, Worthington): Practice-led Methodologies in Early Recording Research.
2021, October. Field Sound Recordings: Music, Speech, Landscape; Saint Petersburg, Russia. Lecture: New Takes on the Old Machines: Mechanical recording processes and historically informed performance practice
2021, September. The 10th European Music Analysis Congress (EuroMAC-10) Panel member: Performing Bodies, Sounding Machines: Musical analysis and/as performance
2021, July. Early Recordings: Impacts of a Transformative Technology; RAM, London. Lecture-recital: ‘New Takes on Old Machines’
2021, July. Gesellschaft für Historische Tonträger – Diskografentag. Paper: Practice-led Early Recording Research: reconstructing, relearning, reflecting
2021, June. Musical Networking in the Long Nineteenth Century, online event. Paper: Julius Block’s Cylinder Collection: Masterpieces of Music Networking
2020, December. Sound Instruments and Sonic Cultures: An Interdisciplinary Conference; Bradford, UK. Paper: (Re)creating Sonic Pasts and Cultures: Mechanical recording technologies as a tool in understanding early sound recordings
2020, May 54th annual conference of the Association for Recorded Sound Collections; Montréal, Canada Paper: ‘New Takes on the Old Machines: (Re)construction of mechanical recording processes’
2020, April Early Recordings: the Impacts of a Transformative Technology; RAM, (postponed) London Lecture-recital: ‘New Takes on Old Machines’
2019, October TCPM 2019: Tracking the creative process in music; Lisbon, Portugal Paper: ‘The Creative Processes in (Re)construction of Early Recordings’
2019, September Symposium Correct, but not Beautiful Performance; Vienna, Austria Lecture-recital: ‘Impressions on Wax: (Re)construction of Early Recording
Technologies and Performance’
2019, September RMA Annual Conference; Manchester Lecture-recital: ‘Performing, Recording and (Re)constructing: a guide for historically-informed performance’
2019, September 11th Biennial International Conference on Music Since 1900; Huddersfield Lecture-recital: ’Pupils of Leschetizky and Works of Chopin: late nineteenth- century performance practices on record in the twentieth-century’
2019, September PSN Research Forum – New Takes on Recorded Music; Surrey, UK Paper: ’Early Recordings a Posteriori’
2019, July 12th Biennial International Conference on Music in 19th-Century Britain; Canterbury, UK Lecture-recital: ’Maiden Lane Treasures: G&T piano recordings and their legacy’
2019, June Early Recordings: Past Performing Practices in Contemporary Research’; Pushkin House, London Paper: ’The Usage of Early Sound Recordings in HIP: Moiré patterns between performance and research’
2018, December 2018 Annual Meeting of the New Zealand Musicological Society Into the unknown; Christchurch, New Zealand Paper: ’The Julius Block project: Mechanical
recording processes, digital technologies and performance practice’
2018, October London International Piano Symposium; London, UK Lecture-recital: ‘The Julius Block project: mechanical recording processes, digital technologies and application on performance’
2018, September International Chopinological Conference; Warsaw, Poland Paper: ‘Brilliant but not Difficult”: amateur playing of Chopin in nineteenth- century Britain’
2018, September Perspectives on Historically Informed Practices in Music; Oxford, UK Paper: ‘(Re)constructing Early Recordings: stylistic conventions in the context of recording media’
2018, September Doctors in Performance; Vilnius, Lithuania Lecture-recital: ‘The Early Sound Recordings as Primary Evidence: late nineteenth-century expressive techniques relating to Chopin’s Nocturnes’
2018, July Nineteenth-Century Music Conference; Huddersfield, UK Paper: ’The Julius Block project: mechanical recording processes, digital technologies and performance practice’
2018, July Performance Studies Network Conference 2018; Oslo, Norway Paper: ‘(Re)constructing Early Recordings: the Julius Block project’
2018, June 1st International Conference on Artistic Research in Performance; Manchester, UK Lecture-recital : ’The Early Sound Recordings as Primary Evidence: Historically-informed performance practice relating to the music of Chopin’ 2018, June International Conference on Historical Keyboard Music; Lisbon, Portugal Paper: ’Composers’ Recordings from the Turn of the Century: changing historical concepts of authorship and intentionality’
2018, January ‘Hands on’ PIANO; Aveiro, Portugal Paper: ‘(Re)constructing Early Recordings: understanding mechanical recording processes through the use of contemporary digital technologies’
2017, October World War I and Music; Zagreb, Croatia Paper: ’The Early Classical Recordings of First World War England: Process, preoccupation and performance’
2017, April Musica Scotica Conference; Stirling, UK Paper: ’(Re)discovering Donaldson’
2016, October The Many Faces of Camille Saint-Saëns; Lucca, Italy Paper: ‘Camille Saint-Saëns as Recording Pioneer’
2016, September Consuming (the) Victorians: Annual Conference of British Association for Victorian Studies; Cardiff, UK Paper: ‘Chopin in Victorian Britain: perspectives from within and without’
2016, May MUSICULT; Istanbul, Turkey Paper: ‘Performing Music, Performing Culture: bridging the cleavage between forms of practice’ (co-authored with Adam Stanovic)
2015, June Sixth International Symposium on Music/Sonic Art: Practices and Theories; Karlsruhe, Germany Paper: ‘Chopin’s Nocturne Op. 9 No. 2: a style guide in the study of historically – informed performance’
2015, March International Conference on the Multimodal Experience of Music; Sheffield, UK Lecture-recital: ‘Reading the Style: the use of auditory and visual texts in historically-informed performance practice’
2015, January RMA Research Students’ Conference; Bristol, UK
Paper: ‘Early Acoustic Recordings in the Historically-Informed Performance Practice’
Inja Stanović 