C. VanderHart (2025), with K. Kelly, E. Puccinelli: Accompaniment in America, Contextualizing Collaborative Piano. Routledge, ISBN 9781032887975
Piano accompaniment, or collaborative piano, is an invisibilized force driving classical music. This hybrid study, combining text and multimedia, explores its history, evolution, and transformation into a recognized academic discipline through archival research, expert interviews, and digital resources. This hybrid publication delves into the origins and institutionalization of collaborative piano, tracing its development from the early 20th century to the present day. It highlights a profession often overlooked, introduces pioneering figures including Gwendolyn Koldofsky, and maps the establishment of over 100 degree-granting programs across North America. With an interactive data visualization tool, QR codes linking to compelling first-hand accounts, and extensive archival materials, it offers a vivid, multidimensional journey through the field’s past and present. By contextualizing the profession through analysis of its pedagogical, gendered, and institutional dynamics, this work seeks to foster a deeper understanding of collaborative piano’s past, present, and future, while advocating for its recognition and advancement. Accompaniment in America: Contextualizing Collaborative Piano is essential reading and viewing for musicians, music students, educators, scholars, and administrators, as well as anyone interested in the intersection of collaborative piano history, performance practice, and academia. It is a valuable resource for both students and professionals seeking to understand the complexities of a field still broadly misunderstood and its pivotal role in classical music.
C. VanderHart, R. Babb-Nelsen, E. Stokloßa (2025): ‘Found in Translation: The Poet’s Love(r)’, Journal of Artistic Research, vol. 35.
The impossibility of perfect translation is a widely acknowledged trope, yet translation remains a powerful act of meaning-making. This research-creation project investigates not what is lost, but what is gained through translation, by presenting and reflecting on our artistic re-interpretation of Dichterliebe, Robert Schumann’s nineteenth-century song cycle on texts by Heinrich Heine. Drawing on theories of translation by Walter Benjamin, Umberto Eco, and Hans Vermeer, we approach art song translation beyond its conventional linguistic scope, exploring it as a mode of modernization and gendered recontextualization. Our project, The Poet’s Love(r), features a new, singable English translation, alongside newly composed spoken poetry that gives voice to the song cycle’s historically silent female protagonist. In our methodological approach, we consider translation as a generative act within a broader artistic assemblage, incorporating artificial intelligence (AI)-generated images derived from the translated texts. These visuals, created with minimal textual prompts, offer a ‘post-human’ reflection on our hybrid nineteenth-century/twenty-
https://www.jar-online.net/en/exposition/abstract/found-translation-poets-lover
C. VanderHart, K. Kelly, E. Gallagher (2025): ‘Tracking YAP: Professionalism, Amateurism and Exploitation of Emerging Opera Singers’, in Journal of Cultural Management and Cultural Policy, Sage Journals, 1–19.
Tracking YAP: Professionalism, amateurism and exploitation of emerging opera singers
This article examines the institutional landscape of early-career opera training in North America through the lens of cultural policy and labor precarity. Drawing inspiration from the paradox of artistic apprenticeship exemplified in Wagner’s Die Meistersinger von Nürnberg—where professional advancement is inextricably tied to subordination—the study interrogates how Young Artist Programs (YAPs) perpetuate a prolonged liminal status for emerging singers, positioning them between student and professional. Through historical analysis, industry discourse, and original data on career trajectories, we argue that YAPs institutionalize ambiguity, or managed liminality, as a structural feature of operatic labor. This liminality is theorized through three interlocking frameworks: the institutionalization of labor precarity, the legitimization of passion-driven exploitation, and the reproduction of cultural capital hierarchies. Examining programs ranging from tuition-based festivals to salaried residencies, the analysis reveals how YAPs extract artistic labor under the guise of mentorship while embedding economic, gendered, and hierarchical imbalances. Financial burdens, opaque terminology, and exclusionary practices disproportionately burden women, who navigate patriarchal norms within a prestige economy that prioritizes institutional reputation over equitable labor practices. By tracing YAPs’ evolution from postwar initiatives to neoliberal career gatekeepers, this essay critiques their role in sustaining systemic contradictions that defer professional stability for early-career artists. The conclusion calls for institutional accountability, financial transparency, and policy interventions to realign training systems with equitable, sustainable practices. This research contributes to broader debates in music sociology and cultural policy, urging a reckoning with how artistic traditions perpetuate exploitation and how institutions might instead foster accessible, vibrant pathways into the operatic profession.
https://journals.sagepub.com/doi/full/10.1177/27018466251348647
C. VanderHart (2025): ‘Husbands, Mentors & Lovers as Financiers, Gatekeepers & Jailors. The Case of Viennese Composer Ernestine de Bauduin’, in (Wahl-)Verwandtschaften. Gemeinschaftliches kulturelles Handeln, Böhlau, 317-330.
Ernestine de Bauduin (1852–1906), born Esther Neustadtl in Arad on the periphery of the Habsburg Empire, emerged as a figure of considerable intrigue upon her arrival in Vienna during the 1870s. Captivating the attention of the press, she was mentioned in newspapers over 1,700 times. Through the influential circles of Count Otto Chotek—her lover—and Leopold Eder—her mentor—Bauduin gained access to Viennese high society, where she was celebrated and honored for both her sacred and secular compositions. Chotek facilitated her elevation to the rank of baroness and secured for her a lifelong pension. This arrangement would later come to the attention of her second husband, Franz von Buttlar. In 1901, Buttlar had Bauduin placed under legal guardianship, stripping her of all civil rights and effectively erasing her from public life and cultural memory. The case of Ernestine de Bauduin illustrates the profound—both enabling and constraining—impact that elective affinities could exert on the security, livelihood, and agency of women composers in the 19th century.
C. VanderHart (2025): ‘Karl Böhm – Liederkomponist? Zu den 20 Liedern für Singstimme und Klavier’, in Karl Böhm : Biografie, Wirken, Rezeption. Edition Text + Kritik, 67-92.
This essay reevaluates Karl Böhm’s little-known oeuvre as a composer of Lieder, focusing on 21 extant songs for voice and piano composed between 1912 and 1914. Long overshadowed by his illustrious career as a conductor, Böhm’s early compositions—only one of which, Blüthenschnee, was published during his lifetime—offer rare insight into his musical formation and artistic sensibilities. Rediscovered and posthumously published by his son Karlheinz in 2000, these works are examined for their stylistic characteristics, textual choices, dedications, and their pedagogical context, especially in relation to Böhm’s studies with Eusebius Mandyczewski. Böhm’s Lieder are situated here within the broader tradition of late-Romantic song, drawing comparisons to contemporaries such as Richard Strauss, Hugo Wolf, and Joseph Marx. Through analytical readings of selected songs and exploration of their poetic and musical features, Böhm’s youthful compositional voice is revealed as one shaped by personal relationships, literary sensitivity, and technical rigor. Ultimately, the study not only enriches our understanding of Böhm’s early artistic identity but also sheds light on the significance of Lied composition in the early 20th-century education of conductors.
https://www.etk-muenchen.de/search/Details.aspx?sort=1&q=karl+b%C3%B6hm&ISBN=9783967075847
C. VanderHart (2024): ‘Play it Again, Herbert. Die Salzburger Festspiele: Oper, Gender & Medientheater.’ JederMann – Keine Frau? Die Salzburger Festspiele in Diskussion. Elfriede Jelinek-Forschungszentrums / Praesens Verlag, 292-312.
Die Präsenz von Herbert von Karajan bei den Salzburger Festspielen wird durch zahlreiche, manchmal paradoxale Dualitäten geprägt. Gleichzeitig als Diktator und dennoch geliebt, unverzichtbar aber kontrollierend, war er auch in gewisser Weise der “Jedermann” des Festivals: Karajan schien überall zu sein, alles zu tun, jede Rolle zu erfüllen. Dieser Beitrag eröffnet mit einer atmosphärischen Analyse darüber, wie die Salzburger Festspiele und Herbert von Karajan im Diskurs gerahmt sind. Dabei werden zwei Dokumentarfilme, die offizielle Tourismuswebsite von Salzburg und einschlägige Literatur herangezogen, um einen Kontext zu schaffen. Danach werden die Programmgestaltung, Programmatik und die Darstellung innerhalb der Festspiel-Opern während Karajan über vier Jahrzehte dauernder Beteiligung statistisch dargelegt, basierend auf den von den Festspielarchiven digitalisierten Programminformationen. Als Gesamtdatensatz verfügbar gemacht (https://zenodo.org/records/10008717), wird dies durch eine kritische, geschlechtsspezifische Perspektive kontextualisiert, wobei kleine Exkurse folgen um einige der beeindruckenden Frauen zu besuchen, die es geschafft haben, sich in der von Karajan geleiteten Kulturlandschaft zu behaupten.
C. VanderHart (2024). ‘Nineteenth-Century Women in Music: MuGI, Sophie Drinker, Art Song Augmented and BID’. Nineteenth-Century Music Review, Cambridge University Press.
This article focuses on four digital resources for researching nineteenth-century women in music. Two are over two decades old and hail from the German-speaking world: Musik(vermittlung) und Gender(forschung) im Internet (MuGI) and the Sophie Drinker Institut online lexicon. The remaining pair are emerging digital resources based in the United States: Art Song Augmented and the Boulanger Initiative Database (BID).
https://doi.org/10.1017/S147940982400003X
C. VanderHart, (2024). ‘Blaustrumpfwaren… in Gottes Haus? The conflicted international reception of sacred music composer Ernestine de Bauduin.’ Regards croisés franco-allemands sur les musiciennes. Vol. 12.1, p. 157-183).
Ernestine de Bauduin’s activities, output and reception illuminate the tenuous position of the nineteenth century female composer operating within a web of societal expectations, possibilities and constraints. Bauduin’s work in three settings — church, salon and concert — indicate the range of possibilities available to the female composer, as well as their opposing and overlapping aesthetics. Her activities are set both in the complex system of sacred music practices in Vienna, where women participated both as composers and performers, and in broader, international reform dynamics. Critiques of Bauduin mirror trends within the sacred music community during the late nineteenth century, culminating in Pope Pius’ controversial “Motu Proprio” in 1903 which replaced the female voice with boys’ choir and excluded variety in musical production long into the twentieth century. This is juxtaposed with twentieth century musicological discourse of nineteenth century sacred “Trivialmusik,” and with larger societal practices, which both praised and expected female performative participation while advocating for their disembodiment and exclusion.
C. VanderHart, J. Kopecky (2024). ‘CCC at the mdw: Interweaving Artistic and Musicological Exploration at Music University.’ Research Catalogue
Even at one of the world’s oldest and largest music universities, the mdw – University of Music and Performing Arts in Vienna, the siloing of fields is the norm. Thanks to budgetary and organizational structures, it is rare that artistic practice and traditional musicology teaching are actively combined; what conservatory students learn in music history seminars and what they learn from their performance teachers exist largely separately from each other. This exposition documents an ongoing, pragmatic attempt to interweave traditional music research with artistic practice and interventions, thereby introducing students to Artistic Research at bachelor’s and master’s levels. The CCC (Content-Concept-Context) module was initiated by Judith Kopecky at the Antonio Salieri Department of Vocal Studies and Vocal Research in Music Education and has enjoyed cooperation with the Institute for Musicology and Performance Studies (IMI) for the past three years. Here she, Stephen Delaney and Chanda VanderHart reflect on the promises, surprises, limits, and potential for intertwining scholarship and artistic practice in an institutional setting.
W. Goebl, D.M. Weigl, C. VanderHart, L. Churan (2024). ‘Analysing the Iconic Sounds of Vienna – A FAIR Approach to Digital Musicology and Performance Science (解析维也纳的标志性声音 — 数字音乐学与表演科学的FAIR方法).’ Musik in China, 2. Edition (中国音乐（双月刊 2024 年第 2 期), 152–162.
The Department of Music Acoustics-Wiener Klangstil（Institut für musikalische Akustik-Wiener Klangstil, IWK） at the University of Music and Performing Arts Vienna（Universit?t für Musik und darstellende Kunst Wien, mdw） is a transdisciplinary research institute dedicated to basic research in the fields of music acoustics, performance science, psychoacoustics, and music psychology.The institute has completed many internationally influential research projects in recent years. For the Austrian Science Fund project “Signature Sound Vienna: Quantifying the signature sound of the Vienna Philharmonic’s New Year’s Concerts,” the IWK team is gathering, digitizing, and aligning the recordings of the concert series, making them available as a digital corpus of linked open data following the principles of Findable, Accessible, Interoperable, and Reusable（FAIR） research data management.This approach will potentially not only facilitate the further development of musicology and performance science but also provide a useful and reusable dataset for the wider digital music research community,fostering further dialogue in publication practices between these fields.
D. M. Weigl, C. VanderHart, D. Rammler, M. Pescoller, W. Goebl (2023). ‘Listen Here! A Web-native digital musicology environment for machine-assisted close listening.’ Proceedings of the 10th International Conference on Digital Libraries for Musicology (DLfM ’23). Association for Computing Machinery, NY, USA. 09–118.
Close listening is a mainstay of the musicological study of performance recordings, but paying focused, critical attention carries high cognitive overhead, making the application of this approach difficult when dealing with large corpora. In Signature Sound Vienna, a project investigating the Vienna Philharmonic Orchestra’s New Year’s Concert series by means of collected concert recordings and associated information, we have developed a Web-native digital musicology environment to help address this issue. We apply the Music Annotation Ontology, recently proposed in the literature, to capture linked data annotations on abstracted representations of music objects. For the first time, this approach is applied to information in both encoded score and recorded audio modalities, using an extended version of the mei-friend music encoding editor, and the Listen Here close-listening tool newly developed for this purpose. Together, this environment enables scholars to annotate digital music scores and immediately access the corresponding playback positions in collections of performance recordings. All tools are semantic Web applications, applying the Web-native Solid platform for social linked data for authentication and user-controlled data storage. The architecture integrates the different tools on the data level, permitting the future addition of further externally-developed tooling. Here, we motivate the developed environment within our research context, detail its implementation, and report on experiences applying the tooling within our music scholarship.
D.M. Weigl, C. VanderHart, M. Pescoller, D. Rammler, M. Grassl, F. Trümpi, W. Goebl (2022). ‘The Vienna Philharmonic Orchestra’s New Year’s Concerts: Building a FAIR Data Corpus for Musicology.’ DLfM2022: 9th International Conference on Digital Libraries for Musicology. ACM Digital Library, Prague, 36–40.
The Vienna Philharmonic Orchestra’s New Year’s Concert is an annual, live-broadcast New Year’s Day staple for a vast international audience, with an alternating line-up of star conductors and an ever-changing repertoire that incorporates the same favourites – most notably, the Blue Danube Waltz and the Radetzky March – year after year. We are gathering, digitizing, and aligning the concert recordings of this series with audio features, score encodings, records of historical discourse, and other ephemera, interconnecting this multimodal music information and making it available as a digital corpus of linked open data following the principles of Findable, Accessible, Interoperable, and Reusable (FAIR) research data management. Here, we raise musicological research questions motivating our work; describe the approach to assembling our corpus and developing associated editorial and analytical tooling, building on and extending recently established semantic music information workflows; and, provide insight into ongoing digital musicology research incorporating this data. Our work is motivated both by the pursuit of our own research interests in musicology and performance science, but also by a desire to provide a useful and reusable dataset for the wider digital music research community, bringing publication practices between these fields into further dialogue.
C. VanderHart, A. Gower (2022). ‘Two Ivory Towers? Performers, Modern Musicological Thought and Relevance in Higher Education Settings.’ Musicology and its Future in Times of Crises. Conference on the Occasion of the 50th Anniversary of the Department of Musicology. University of Zagreb: Academy of Music Department of Musicology, 29–52.
An implicit assumption in musicology is that musicological thought influences/informs musical practitioners. Through a series of qualitative interviews with performance and musicology faculty in combination with contextualizing structural information, the authors explored to what extent the two fields in their current state intermingle, and how, where and to what extent advances in musicological thought are being transmitted to performance students in tertiary education settings. Four test case study institutions in North America and four in Germany and Austria were selected. The hypothesis that little meaningful interaction existed between performance and musicology faculty and students in terms of shared understanding/work/thought was largely confirmed.
https://pub.mdw.ac.at/pubmdw/publications/97e28a1b-2334-4ffd-9b7a-c0f42b29eab3/
C. VanderHart, A. Gower (2021). ‘Shifting Identities of Feminism to Challenge Classical Music Canon Practices: A Beginners Guide to Guerrilla Gender Musicology’. Under Construction: Performing Critical Identity.
Gender studies in musicology, a development closely linked to the second-wave feminist movement of the 1960s, have actively worked to challenge the near-invisibility of women within classical music historiography, education and repertoire. Though significant advances have been made, canon practices today—as represented by mainstream repertoire, publication and educational norms—remain largely static. This paper reflects briefly on the origins and state of canon practices in terms of their pervasive and problematic gender bias. It then discusses approaches employed by gender studies in musicology since their establishment in the 1980s and 1990s. It examines case studies involving gender interests with respect to persuasion and change—in terms of both feminist aims (ratification of the equal rights amendment and Ruth Bader Ginsburg) and canon concerns (classical music collections and poetry anthologies), juxtaposing more subtle and more overt approaches, and explores the issue of backlash. Findings from research in behavioral psychology are presented, particularly, studies on persuasion focused on relationships between exposure, liking and resistance in regard to new stimuli. Based on these findings, in combination with evidence from the case studies, an alternative approach for rehabilitating canon practices with regard to gender is proposed. This approach, referred to as Guerrilla Gender Musicology, suggests more subtle, subversive, bottom-up methodologies and may be required to enhance and reframe current efforts in order to effectively reshape embedded canon practices with regard to gender bias in the long term.
C. VanderHart (2020). ‘Viennese Songs of Fashion: Heinrich Proch, Ernestine de Bauduin and Hermann Riedel in 19th Century Vienna.’ Populäre Lieder im langen 19. Jahrhundert; Jahrbuch des Zentrums für Populäre Kultur und Musik Albert-Ludwigs-Universität Freiburg. Waxmann, 101–130.
The concept of the “popular” in music seems at first glance to have little to do with late nineteenth century art songs (lieder) in Vienna. This article argues that the use of language commonly applied to popular muisc (as opposed to “art” or “serious” music) is perhpas one element wielded within complex and longreaching canon processes ostensibly aimed to separate music considered worth of study and remembrance from that which is not. Two widely celebrated nineteenth-century lieder composers who disappeared completely from cultural memory, Ernestine de Bauduin (1852-1906) and Hermann Riedel (1847-1913), are examined in terms of their idiosyncratic biographies, output and reception for traces of elements attributed to the “popular.” The language used by their critics — heavily associated in discourse with elements of both popular music, and often closely related to “feminine” production — is likewise explored in detail.
C. VanderHart, S. Schebeck (2020). ‘The Freestyle Orchestra: Questioning Norms in Classical Concert Performance through Ross Edwards’ Maninyas Violin Concerto.’ Research Catalogue
This exposition introduces a 2019 collaboration with Australian composer Ross Edwards which resulted in a choreographed performance in City Recital Hall in Sydney of the composer’s Maninyas violin concerto. It combines audio-visual footage, photos, and texts contextualizing the research process, which included contemplation and re-enactment of Edwards’ own musical journey in creating his Sacred and Maninyas styles, a way out of a personal musical crisis. Edwards’ perspectives on the ecstatic and fundamental connections between nature, dance, ritual, and music/sound fed the physical and stage treatment as well as the processual, experimental research of the Freestyle collective as they constructed their own, interdisciplinary performance of the concerto.
C. VanderHart (2020). ‘”Lied”; Terminology and Usage in the Nineteenth-Century; Evolution and Incongruence Within the German-Speaking World.’ D’un Lied à L’autre? Dynamiques Génériques et Interculturelles du Lied. Revue Musicorum. Paris: EA Reigenn; Sorbonne, Université/Lettres. 21:227–38
In the classical music community, the term “lied” is associated with narrow and highly specific programming practices and general usage largely focused on works from the long 19th century. But during that century, greater variety was common. In the scholarly community since the mid-19th century, the term has long been the source of unease, exemplified today by Danuser’s proposed abandonment of the term in the 2004 Handbuch der musikalischen Gattungen. This article traces various definitions and usages of the term lied over the course of the long 19th century, touching on the aesthetic values, practices and ideologies which have tacitly — and sometimes incongruently — shaped current understanding.
C. VanderHart (2018). ‘Ernestine de Bauduin’ MUGI. Musikvermittlung und Genderforschung: Lexikon und multimediale Präsentationen. Hochschule für Musik und Theater Hamburg, Last edited 15 February, 2018.
Ernestine de Bauduin war die meistaufgeführte Liedkomponistin der Wiener Konzert- und halb-öffenlichen Salonszene in der zweiten Hälfte des 19. Jahrhunderts. Sie war Kirchenkomponistin mit stetiger Präsenz im sakralen Raum Wiens zwischen 1876 und 1903. Darüberhinaus war sie eine medial und gesellschaftlich bekannte Persönlichkeit des Wiener Salon- und Konzertlebens. Es finden sich über eintausend namentliche Erwähnungen in Wiener Zeitschriften der Zeit, sowohl aufgrund der zahlreichen Aufführungen ihrer Kompositionen, als auch ihrer künstlerischen und karitativen Tätigkeiten, sowie auch aufgrund ihres sozialen Engagements.
Conference Presentations & Workshops (selection)
October 2024 ‘“Delia’s Gone, But I’m Settling the Score:” Vocal Aesthetics, Gender & Murder Ballads’. Voices of Women Conference in Stavanger Norway.
September 2024 ‘Historical Musicology Shaping Digital Music Research and Dissemination’ Gesellschaft für Musikforschung Jahrestagung, Köln, with D.M. Weigl.
May 2024 ‘“I would like a great lake of beer for the King of Kings” Holy Drinking (?) in English-Language Songs.’ Ersungener Rausch: Trinklieder von der Antike bis zur Gegenwart, Folkwang Universität der Künste.
November 2023 ‘Listen Here! A Web-native digital musicology environment for machine-assisted close listening.’ 10th International Conference on Digital Libraries for Musicology, Conservatorio di Milano, with D.M. Weigl.
October 2023 ‘The Sacred and the Salon – Strange Bedfellows? The Flexible Aesthetics of 19th-Century Female Composers in Vienna’. The Expertise of the Musical Amateur, Kunstuniversität Graz.
October 2023 ‘A Digital Corpus for a Cultural Tradition: Vienna’s Neujahrskonzert meets Digital Musicology’, GFM Tagung, Saarbrücken, with D.M. Weigl.
September 2023 ‘The Murder Ballad: Gender Violence, Gendered Interventions’. Conference on Politics in Music and Song, Queen’s University Belfast.
July 2023 ‘Hand in Hand; Strauss’ Kaiser Walzer as a case study of interdisciplinary collaboration in digital musicology’. 2023 Digital Humanities Conference in Graz, with T. Nurmikko-Fuller, D.M. Weigl.
July 2023 ‘A Historical Musicologist in the Land of Data Scientists’. Digital Humanities Summer School, Oxford University.
April 2023 ‘Novel Digital Tooling and Music Analysis; Signature Sound Vienna’. International Forum on Musical Performance Studies, Shanghai Conservatory, China, with W. Goebl, D.M. Weigl.
March 2023 ‘Remembering “Madame K”: Pianist and Pedagogue Gwendolyn Koldofsky’s Legacy on North American Accompaniment’. International Conference: Women at the Piano 1848-1970, University of California, Irvine.
November 2022 ‘The Freestyle Orchestra; should we be institutionalized?’ ELIA Biennial Conference 2022, No Stone Unturned, University of the Arts, Helsinki, with S. Schebeck.
July 2022 ‘The Vienna Philharmonic Orchestra’s New Year’s Concerts: Building a FAIR Data Corpus for Musicology’. 9th International Conference on Digital Libraries for Musicology, with D.M. Weigl.
July 2022 ‘Lovers & Husbands as Gatekeepers, Dedicatees, Financiers and Jailors. The Case of Viennese Composer Ernestine de Bauduin’. (Wahl-)Verwandtschaften: Gemeinschaftliches kulturelles Handeln, Forschungszentrum Musik und Gender, Hannover.
September 2021 ‘“Not a Toy?” — Vintage Feminist Burlesque vs. Austrian National Television’. 11th Symposium of the ICTMH. Study Group on Music, Gender and Sexuality, Academy of Music, University of Zagreb, Croatia.
July 2021 ‘A Guerrilla Gender Musicology Approach to Reforming the Classical Music Canon’. IsaScience Conference Heroes, Canons, Cults. Critical Inquiries, with A. Gower.
April 2021 ‘Inclusive approaches, embodied knowledge, and transgressive experimentation; The Freestyle Orchestra’s journey to Sydney with Ross Edwards’ Maninyas violin concerto’. Society of Artistic Research – 12th International Conference, with S. Schebeck.
December 2020 ‘Über das Finden und Vermitteln von außermusikalischer Relevanz in Veranstaltungen; Agency und und der/die ausführende Musiker/in’ Hochschule für Musik und Tanz Köln Ring-Labor Künstlerische Forschung
December 2020 ‘Storytelling: Irresistible Concerts and How to Design Them,’ Classical:Next Encore Presentation, with K. Wyatt, B. Benner, A. Luijten.
November 2020 ‘Two [Ivory] Towers? Performers, Modern Musicological Thought and Relevance in Higher Education Settings’ Musicology and Its Future in Times of Crises; University of Zagreb.
October 2020 ‘Too Many Frocks? Gender in 21st Century Art Song Performance in the USA, UK and Continental Europe’ University of North Texas / CollabFest, with D. Brenner, J. Barr, R. Vignoles, M. Unseld.
June 2019 ‘Analysewiderständig? Lied, Salon und Kanonisierungsprozesse am Beispiel von Ernestine de Bauduin’ Compositrices et interprètes en France et en Allemagne: approches analytiques, historiques et sociologiques (IReMus, CNRS – Université Paris-Sorbonne, CIERA, GEMM)
March 2019 ‘Lied, terminology and usage in the 19th century. Remarks on its evolving and incongruent nature within the German-speaking world’ D’un Lied à l’autre, Dynamiques génériques et interculturelles du Lied, Université Paris-Sorbonne.
Data sets / born-digital publications
C. VanderHart, D. Wögerbauer (2025). ‘Accompaniment in America’ [Digital Platform and Repository]. https://accompanimentinamerica.website/index.html
C. VanderHart, D. Fuchs (2024). ‘50 Years of Art Song & Gender on Major European Stages, Part 1 (Austria): Vienna’s Konzerthaus, Musikverein & Salzburg Festspiele Song Recitals 1970 – 2020′ [Data set]. Zenodo. https://doi.org/10.5281/zenodo.13336396
C. VanderHart, B. Lloyd (2024). ‘Too Many Frocks, Season 2’. (Podcast series) https://doi.org/ 10.5281/zenodo.10625704
C. VanderHart (2023). ‘Gender Representation in Vocal Productions at the Salzburger Festspiele during the Karajan-Era’ [Data set]. https://doi.org/10.5281/zenodo.10008717
C. VanderHart, B. Lloyd (2022). ‘Too Many Frocks, Season 1’. (Podcast series) doi: 10.5281/zenodo.10625704
2016: Dissertation: Die Entwicklung des Kunstliedes im Wiener Konzertleben zwischen 1848 und 1897; Vergessene Komponisten und Komponistinnen (mdw).
Ongoing: 159 opera and concert critiques for the London-based publication Bachtrack,and archival production reviews for MET On Demand of the following Metropolitan Opera productions: Otello (2012), Anna Bolena (2011), La Fille du Régiment (2008), Orfeo ed Euridice (2009), Il Barbiere di Siviglia (2007). https://bachtrack.com/22/270/list-published/11169
2006: Master’s thesis, Music and Arts University of the City of Vienna (MUK): A Musical Interpretation of Icelandic Lyric Poetry Set to Music within the Framework of Otto Steinbauer’s “Klangreihen” Compositional Method
Artistic Publications — Multimedia / Acoustic
E. Stoklossa, C. VanderHart, R. Nelsen (2025, forthcoming). The Poet’s Love(r). English language Dichterliebe including new poetry by Rebecca Nelsen from the female protagonists’s perspective. Supported by Texas Tech University.
C. VanderHart., C. Richter-Ibáñez, F. Völlger, J. Koci, M. Volpert, F. Schaden (2024). 7 Lieder from Op. 7, Op. 8 and Op. 9 by Jeannette Bürde (1797-1875). Supported by Frankfurt University of Music and Performing Arts. Zenodo. https://doi.org/10.5281/zenodo.10643232
L.. Velasco-Pufleau, C. VanderHart, Nick, R., & Gisler, B. (2024). ‘The Fribourg Sessions. Mad Song’ (audio album). Mad Song is an experimental music collective which explores innovative forms of music creation, combining improvised performance with sound art, drone and feedback, live electronics, poetry and mixed media to create captivating experimental post-rock atmospheres which distort space and time. https://doi.org/10.5281/zenodo.11394802. Support Pro Helvetia and MSCA. https://madsong.bandcamp.com/album/the-fribourg-sessions-2
S. Rogers, C. VanderHart, K. Sander, R. Nelsen, F. Schaden (2023) Songs by marginalized 19th century composers Clara Faisst, Marie Vespermann, Marie Franz (née Hindrichs), Mary Wurm (audio-video). Art Song Augmented, University of Oregon School of Music and Dance. https://www.artsongaugmented.org
C. VanderHart G. Burdicek et al. (2022). 30 audio recordings of forgotten 19th century songs on historical keyboard instruments (audio crate). https://repo.mdw.ac.at/projects/datasets/historical-song-recordings/audio/
2020: 70th NATS Conference Artist’s Recital, recorded in the Vienna Konzerthaus, with soprano Rebecca Nelsen
2020: Clara Rogers’ Boston Salon; An Immersive Re-imagining, with Carola Bebermeier https://www.youtube.com/watch?v=xAk9pZtB4a4
2019: Hörbuch (Book & CD) “Der Affe der nach Ärger suchte” (How Monkey Looked for Trouble), based on a folktale from Trinidad, with original music and illustrations. German, English and French versions Der Affe der nach Ärger suchte – Talespin
2016: CD: Jugend Ohne Gott. Im Namen der Liebe song cycle von Árpád Krämer.
2015: Mosaïque concert series trailer: https://vimeo.com/mosaiquewien
2014: Waldgespräch. Fin de siècle Lieder, with baritone Günter Haumer
2012: Thirteen. Songs of Samuel Barber and Dominick Argento, with tenor Jason Bridges
2010: Robert Fuchs: Werke für Violoncello und Klavier double CD of complete compositions for cello and piano on a historical instrument (Steinway, 1904), with cellist Ronald Fuchs
2008: Johannes Brahms: Sonaten für Violoncello und Klavier. Sechs Liedtranskriptionen. With cellist Ronald Fuchs, (first recording on the historical Brahms piano (Streicher, 1880)
2007: Live recordings from Wigmore Hall, with soprano Jennifer O’Loughlin https://soundcloud.com/chanda-vanderhart/sets/jennifer-oloughlin
University Courses Taught
University of Music and Performing Arts Vienna (MDW) www.mdw.ac.at: “The Murder Ballad — Gender, Voice and Agency from Schubert to Dolly Parton”; “Ausgewählte Kapitel der Musikgeschichte: Lied in Wien im 19. Jahrhundert“; “Lied- und Oratorium Geschichte 1, II”
Kunstuniversität Graz (KUG) https://www.kug.ac.at/: Proseminar “Women and the Murder Ballad; Gender, Aesthetics, Voice and Agency from Franz Schubert to Dolly Parton”
Vienna University of Pedagogy (Pädagogische Hochschule Wien) www.phwien.ac.at: “Musik in der Praxis I“
Performing Center Austria www.performingcenter.at “American Musical History”; “Ear Training and Sight Singing I and II“
University of Applied Sciences “Technikum Wien” www.technikum-wien.at: “Technical English”, “Ethical Concerns for Biomedical Engineers”, “Creative English”, “Harvard Negotiation Techniques”, “Effective Presentation”, “Technical Writing in English”, “Business English”
American Institute of Musical Studies (AIMS) Graz www.aimsgraz.com: held vocal studio over 8 weeks with 12 singers and 2 pianists and organized/performed in 2 curated recitals — repertoire focus Gustav and Alma Mahler, Felix and Fanny Mendelssohn, Robert and Clara Schumann