Researcher

Inja’s research focuses upon 19th Century performance practice, combining: 1) musicological research, with emphasis upon 19th Century reception, stylistic tendencies, and performance techniques; and 2) practice-based research, involving historically-informed performance practice. Inja’s research interests include: 1) early sound recordings and mechanical recording processes; 2) performance practice 1780-1930; 3) Frédéric Chopin’s reception, and; 4) topics associated with piano performance and repertoire.

Publications (written)

‘(Re)constructing Early Recordings: understanding mechanical recording processes through the use of contemporary digital technologies’, in: Nineteenth Century Music Review. The Digital Humanities and the Study of Nineteenth-Century Music (forthcoming)

Use and Value of Early Recordings in Contemporary Performance, in Music and Sound Art: Composition, Performance, Philosophy (in press, Cambridge Scholars Press)

The Early Classical Recordings of First World War England: Process, preoccupation and performance, in proceedings of ‘The Great War 1914-1918 and Music. Compositional Strategies, Performing Practices, and Social Impacts’ (forthcoming)

Back to the Future: the digitisation of reproducing piano rolls as a rendering of the past, in Svensk tidskrift for musikforskning: Swedish Journal of Music research (March 2018)

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

Performing Music, Performing Culture: bridging the cleavage   between forms of practice’ (co-authored with Adam Stanovic), in: proceedings of ‘Music, Sound and Culture (MUSICULT 2016)’ (May 2016)

Publications (music)

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)

PhD Thesis

Chopin in Great Britain, 1830 to 1930: reception, performance, recordings. Available to download HERE.

Talks

‘The Philharmonic Society and Instrumental Dance Forms’. International Chopinological Conference; Warsaw, Poland. Paper; November 2019

‘Performing, Recording and (Re)constructing: a guide for historically-informed performance’, Invited talk: University of Aberdeen Music Department Research Seminar; November 2019

‘The Creative Processes in (Re)construction of Early Recordings’, TCPM 2019: Tracking the creative process in music; Lisbon, Portugal. Paper; October 2019

‘Impressions on Wax: (Re)construction of Early Recording Technologies and Performance’, Symposium Correct, but not Beautiful Performance; Vienna, Austria. Lecture-recital, September 2019

‘Performing, Recording and (Re)constructing: a guide for historically-informed performance’, RMA Annual Conference; Manchester. Lecture-recital, September 2019

’Pupils of Leschetizky and Works of Chopin: late nineteenth-century performance practices on record in the twentieth-century’, 11th Biennial International Conference on Music Since 1900; Huddersfield. Lecture-recital, September 2019

’Early Recordings a Posteriori’, PSN Research Forum – New Takes on Recorded Music; Surrey, UK. Paper, September 2019

’Maiden Lane Treasures: G&T piano recordings and their legacy’, 12th Biennial International Conference on Music in 19th-Century Britain; Canterbury, UK. Lecture-recital, July 2019

Early Recordings: Past Performing Practices in Contemporary Research’; Pushkin House, London. Organiser and talk ‘The Usage of Early Sound Recordings in HIP: Moiré patterns between performance and research’, June 2019

‘Performing, Recording and (Re)Constructing: A Guide for Historically-informed Performance’, Invited speaker: John Bird Lecture Series; Cardiff University, Music Department, Cardiff, UK. March, 2019

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

‘The Julius Block project: Mechanical recording processes, digital technologies and performance practice’, Annual Meeting of the New Zealand Musicological Society
Into the unknown; Christchurch, New Zealand; December, 2018

‘The Julius Block project: mechanical recording processes, digital technologies and application on performance’ (lecture-recital), London International Piano Symposium; London, UK; October, 2018

 ‘(Re)constructing Early Recordings: a guide for historically- informed performance’, Invited speaker: Public Research Seminar; Royal Birmingham Conservatoire, Birmingham, UK. Lecture-recital; October, 2018

‘Brilliant but not Difficult”: amateur playing of Chopin in nineteenth-century Britain’, International Chopinological Conference; Warsaw, Poland; September 2018

‘(Re)constructing Early Recordings: stylistic conventions in the context of recording media’, Perspectives on Historically Informed Practices in Music; Oxford, UK, September 2018

‘The Early Sound Recordings as Primary Evidence: late nineteenth-century expressive techniques relating to Chopin’s Nocturnes’, Doctors in Performance; Vilnius, Lithuania; September 2018

‘(Re)constructing Early Recordings: the Julius Block project’, Invited speaker – Monash University; Melbourne, Australia; August 2018

‘(Re)constructing Early Recordings: the Julius Block project’, Invited speaker – Melbourne Conservatorium of Music, Australia; August 2018

‘(Re)constructing Early Recordings: the Julius Block project’, Invited speaker – Sydney Conservatorium of Music; Sydney, Australia; August 2018

‘(Re)constructing Early Recordings: the Julius Block project’, Invited speaker – University if New South Wales; Sydney, Australia; July 2018

‘The Julius Block project: mechanical recording processes, digital technologies and performance practice’, Nineteenth-Century Music Conference; Huddersfield, UK, July 2018

‘(Re)constructing Early Recordings: the Julius Block project’, Performance Studies Network Conference 2018; Oslo, Norway, July 2018

‘The Early Sound Recordings as Primary Evidence: Historically-informed performance practice relating to the music of Chopin’ (lecture-recital), 1st International Conference on Artistic Research in Performance; Manchester; June 2018

‘Composers’ Recordings from the Turn of the Century: changing historical concepts of authorship and intentionality’, International Conference on Historical Keyboard Music; Lisbon, Portugal; June 2018

‘Izvođačke prakse devetnaestog stoljeća: odnos notacije i izvedbe, razvoj stilova i kriteriji prosuđivanja’, Invited speaker – Research Seminar, Zagreb Academy of Music and Zagreb Musicological Society, Zagreb, Croatia; April 2018

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

(Re)constructing Early Recordings: understanding mechanical recording  processes through the use of contemporary digital technologies, ‘Hands on’ PIANO; Aveiro, Portugal, January 2018

Donaldson’s Piano Sonata: analytical, historical and interpretational contexts, Music Research Seminar Series, University of Edinburgh, November 2017

(Re)constructing early recordings: a pilot study in the light of Julius Block cylinders, Research Seminar, University of Huddersfield, October 2017

The Early Classical Recordings of First World War England: Process, preoccupation and performance, World War I and Music; Zagreb, Croatia, October 2017

Back to the past: Reproducing piano rolls and acoustic sound recordings, their digitisation and contemporary use, Musical Materiality and Digitisation; Stockholm, Sweden, May 2017

(Re)discovering Donaldson, Musica Scotica Conference; Stirling, UK, April 2017

Camille Saint-Saëns as Recording Pioneer, The Many Faces of Camille Saint-Saëns; Lucca, Italy, October 2016

Chopin in Victorian Britain: perspectives from within and without, Consuming (the) Victorians: Annual Conference of British Association for Victorian Studies; Cardiff, UK, September 2016

Performing Music, Performing Culture: bridging the cleavage between forms of practice (co-authored with Adam Stanovic), MUSICULT; Istanbul, Turkey, May 2016    

Chopin’s Nocturne Op. 9 No. 2: a style guide in the study of historically – informed performance, Sixth International Symposium on Music/Sonic Art: Practices         and Theories; Karlsruhe, Germany, June 2015                    

Reading the Style: the use of auditory and visual texts in historically-informed performance practice, International Conference on the Multimodal Experience of Music; Sheffield, UK, March 2015                                           

Early Acoustic Recordings in the Historically-Informed Performance Practice, RMA Research Students’ Conference; Bristol, UK, January 2015

Pachmann’s Piano Rolls and Acoustic Recordings: a guide in the study of performance practice, Mechanical Musical Instruments and Historical Performance Conference; London, UK, July 2013

Masterclasses

Masterclass series, HuCPeR 19th Century Salon Workshop; Huddersfield, UK, August 2018

Chopin Masterclass for Postgraduate students, Hong Kong Baptist University, HK, May 2017