CV

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.) Music and Piano Lovran, Croatia Pedagogy (Cum Laude) 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

2017 – Leverhulme Trust Early Career Fellow University of Huddersfield ‘Performance’ modules; ‘Aural Skills’, ‘Early Music’, ‘Historical Performance’ (all teaching in class, tutorials, and exams)

2011 – 2017 Visiting Lecturer The University of Sheffield ‘Performance’ modules, BMus, MA (performance techniques, various instruments); Cantatas and Analytical Listening; Fugues (lectures as part of ‘Musicianship’ module, 1st year Bmus)
Teaching Fellow in Performance ‘Special Study in Performance – Historically Informed Performance Through Centuries’, MA in Performance
Module Coordinator ‘Ensemble Class’ module, 2nd and 3rd year BMus (performance and repertoire in ensemble setting)
Instrumental Tutor (instrumental teaching, chamber ensembles)
Graduate Teaching Assistant ‘Musicianship’ module, 1st year BMus (listening skills, harmony, counterpoint, theory, analysis) Lead Performance Mentor ‘Practical Skills’ module, 2nd year BMus (performance and repertoire studies, all periods)

2016 – Piano Tutor Sheffield Music Academy (individual piano lessons to students with outstanding abilities, aged 8 to 18)

2015 – 2017 Visiting Lecturer Royal Birmingham Conservatoire ‘Contextual Studies’ module, 2nd year BMus (musicological research module)  ‘Performance Practice 3’ module, 3rd year BMus (issues in historical performance practice, relationship between notation and performance)

2012 – 2013 Visiting Research Fellow Sydney Conservatorium (researching on expressional techniques in nineteenth-century pianism) 2009 – 2010 Piano Tutor Boston Conservatory (individual piano lessons to conservatory students aged 18 to 21)

2008 – 2010 Lead Piano Instructor Boston Public Library (Boston Public Library Outreach Programme) 2008 – 2010 Concert Services Boston Conservatory (concert organisation)

SCHOLARSHIPS, GRANTS and AWARDS

2020 RMA Conference Affiliation Grant For organising the second edition of the ‘Early Recordings’ conference. Value: £300.

2020 MHM Internationalisation Fund, University of Huddersfield Support for international travel. Value: £1000.

2019 Institute of Musical Research, London Conference Grant Scheme – for organising second edition of ‘Early recordings’ conference. Value: £400.

2019 RMA Conference Affiliation Grant For organising the first ‘Early Recordings’ conference. Value: £300.

2018 The City of London Phonograph & Gramophone Society, Richard Taylor Bursary Research trip to Pushkinsky Dom, St. Petersburg. Value: £500.

2017 Leverhulme Trust Early Career Fellowship and University of Huddersfield Research project “(Re)constructing Early Recordings: a guide for historically-informed performance”. Value: £108,000

2016 Widening Participation Funding for Developmental and Responsive Activities: Trio Con Moto “Music and Images” Musical outreach project in primary schools. Value: £2000

2016 Petrie Watson Exhibitions Award Faculty of Arts and Humanities, The University of Sheffield Grant for CD recording.Value: £1000.

2015 Widening Participation Funding for Developmental and Responsive Activities: Trio Con Moto “Music and Images” – A Musical outreach project in primary schools. Value: £2000

2015 Petrie Watson Exhibitions Award, Faculty of Arts and Humanities, The University of Sheffield. Fortepiano masterclass attendance. Value: £200

2013 Gladys Hall Scholarship, The University of Sheffield Postgraduate scholarship. Value: £2000

2013 Frankopan Award Postgraduate scholarship for international studies. Value: £2000

2012 Australian Government: Endeavour Award High-achievements grant for doctoral studies. Value: $AUD 25,000

2011 Frankopan Award Postgraduate scholarship for international studies. Value: £2000

2010 Frankopan Award Postgraduate scholarship for international studies. Value: £2000

2010 Julian Payne Award, The University of Sheffield Postgraduate scholarship. Value: £3000

2009 Frankopan Award Postgraduate scholarship for international studies. Value: £2000

2009 City of Zagreb Grant Postgraduate scholarship. Value: £2000

2008 Ministry of Science, Education and Sports Scholarship for International Postgraduate Studies, Croatia Value: £5000

2008 Full Merit Scholarship for Master of Music degree Boston Conservatory, USA. Value: $70,000

2007 Ministry of Science, Education and Sports Scholarship for International Postgraduate Studies, Croatia Value: £5000 2007 International Keyboard Institute & Festival, New York Full merit scholarship for attendance. Value: $2000

2006 French Government Scholarship Postgraduate scholarship. Value: £10,000

PUBLICATIONS

In review “Remember me, Remember me not (Part II): Chopin’s Reception in Great Britain, 1849 to 1899” Musica Iagellonica

In review “(Re)constructing Early Recordings: understanding mechanical recording processes through the use of contemporary digital technologies” Article in review: Sounds of Science. Methods and Aesthetics in Auditory Research Practices

Forthcoming “The Early Sound Recordings as Primary Evidence: late nineteenth-century expressive techniques relating to Chopin’s Nocturnes” Proceedings of ‘Doctors in Performance’ Conference, Vilnius

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

2019, December “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

2019, December ‘(Re)constructing Early Recordings: a guide for historicallyinformed performance’ Proceedings of ‘Research Hands on Piano: International Conference on Music Performance’; University of Aveiro Publications

2019, December ‘The Early Classical Recordings of First World War England: Process, preoccupation and performance’ Book chapter in: The Great War 1914-1918 and Music. Compositional Strategies, Performing Practices, and Social Impacts (Hrvatsko Muzikološko Društvo; Zagreb)

2018, March ‘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

2017, December ‘Masculine and Feminine Compositions: Frederic Chopin and his body (of work)’ Article in: HARTS & Minds Journal, Vol. 3, Issue 2 (Embodied Masculinities)

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

2015, June 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

2020, November University of York, UK 2020, March University of Bristol, UK 2020, February RIAM; Dublin, Ireland

2020, January University of Edinburgh, UK 2020, January University of Huddersfield, UK

2019, December University of Leeds, UK 2019, November University of Aberdeen, UK

2019, November Goldsmiths; University of London, UK 2019, March Cardiff University, UK 2018, October Royal Birmingham Conservatoire, Birmingham, UK 2018, August Monash University; Melbourne, Australia 2018, August Melbourne Conservatorium of Music, Australia 2018, August Sydney Conservatorium of Music; Sydney, Australia 2018, July University of New South Wales; Sydney, Australia

2018, April Zagreb Academy of Music and Zagreb, Musicological Society, Zagreb, Croatia

2017, November University of Edinburgh, UK 2017, October University of Huddersfield, UK

2017, May Keynote – Musical Materiality and Digitisation; Royal Academy of Sweden, Stockholm. ’Back to the past: Reproducing piano rolls and acoustic sound recordings, their digitisation and contemporary use’

MASTERCLASSES/RESIDENCES

2018, August HuCPeR 19th Century Salon Workshop; Huddersfield

2018, August Piano Masterclass: Monash University; Melbourne, Australia

2018, November Jury member: Leeds College of Music/Besbrode Pianos Piano Competition (semifinals); Leeds, UK

2017, May Piano Masterclass: Hong Kong Baptist University, Hong Kong 2016, June Pianist in residence, CMMAS. Morelia, Mexico

2018, March Pianist in residence, Ensemble Mise-en. New York, USA

ORGANISED CONFERENCES

2020, July Early Recordings: Methodologies in Research and Practice; online event

2019, June Early Recordings: Past Performing Practices in Contemporary Research; Pushkin House, London

CONFERENCE PAPERS AND LECTURE-RECITALS

2021, July Performance Studies Network Conference; Huddersfield, 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

2020, September The 10th European Music Analysis Congress (EuroMAC-10) Panel member: Performing Bodies, Sounding Machines: Musical analysis and/as performance

2020, September 2nd Global Piano Roll Meeting; Bern, Switzerland Paper: The Musical Museum’s Hidden Treasures: Duo-Art Audiographic Rolls

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’