Danielle Sofer (she/her/they/them) is a lecturer in music at Maynooth University, researching themes related to electroacoustic music and gender, sexuality, social justice, philosophy, aesthetics, 20th- and 21st-century sound studies, sociotechnical ethics and bias in music, and a range of subjects under the umbrella of music theory and analysis. Such topics feature extensively in a forthcoming monograph, Making Sex Sound: Intersections of Sexuality, Race, and Gender in Electronic Music(Cambridge, MA: MIT Press, 2020), the first book to explore sexuality in electronic music. Co-founder of the LGBTQ+ Music Study Groups, Dr. Sofer also serves on the committees of the MU Sexualities and Gender Network and MU’s LGBTIQ+ Staff Network. In 2018, Dr. Sofer joined the SMI Council for a three-year term as Education Officer working toward the fair and equitable representation of individuals from a wide variety of backgrounds.
Her volume Elizabeth Maconchy: Music as Impassioned Argument (Universal Edition, 2018), edited with Christa Brüstle, features contributions from the composer’s two daughters, family photos, and a complete list of the composer’s works presented for the first time. Recent articles include an analysis of gender and sexuality in music by Barry Truax (Organised Sound, 2018), and ‘Breaking Silence, Breaching Censorship: “Ongoing Interculturality’” in Alice Shields’s Electronic Opera Apocalypse’, forthcoming in American Music journal, awarded subventions from the Society for Music Theory and the American Musicological Society’s AMS 75 Publication Awards for Young Scholars Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
Danielle graduated summa cum laude from the State University of New York at New Paltz with a BA in music performance (viola and piano) and honours. She holds Master’s degrees from Binghamton University (New York) in piano performance and Stony Brook University (New York) in music history and theory, with a thesis on Prokofiev’s opera The Gambler, a project that brought her to St. Petersburg, Russia as an Erasmus student. Prior to joining the faculty of the Institute for Musical Criticism and Aesthetical Research at the Kunstuniversität Graz, Danielle studied music theory at the University of Wisconsin-Madison, where she was an assistant to Brian Hyer. She has presented on sexuality and electronic music on several occasions, including conferences of the International Computer Music Association, The Society for Music Theory, The Society for Musicology in Ireland, and the Feminist Theory and Music conference.
Studien zur Wertungsforschung Band 59
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