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Dr Alexander Kolassa

Profile summary

  • Central Academic Staff
  • Lecturer in Music
  • Faculty of Arts & Social Sciences
  • School of Art His, Class St, Eng&CW, Mus
  • Music
  • alexander.kolassa

Professional biography

I completed my PhD in Music Composition at the University of Nottingham in 2015. Previously, I have worked on research projects at the University College London and the University of Cambridge; I have also been a Visiting Lecturer at the University of Nottingham, where I designed and taught modules in Composition and Musicology. I joined the Open University as a Lecturer in Music in October 2018.

My musical interests have been wide ranging: I have toured Mexico as a conductor of little known local opera, for example, and my own music has been performed by ensembles up and down the country, by both professionals and amateurs (including the Okeanos Ensemble, the Orlando Consort, and the University of Nottingham Philharmonia). My multimedia score for the immersive drama 'The Memory Dealer' contributed to a Royal Television Award in Digital Innovation.

Research interests

My research now concerns the intersections of musical modernism, medievalism (which is to say, the modern medieval imaginary), and popular culture: in the concert hall, on stage, and on screen. I recently co-edited the collection Recomposing the Past: Representations of Early Music on Stage and Screen (Routledge 2018) and contributed, to that, work on British contemporary opera, as well as music in Game of Thrones. My chapter on sound in the Russian art film Hard to Be a God appeared in Studies in Medievalism XXVII in May 2018

I am currently developing a research project on medievalism and musical modernism, from which I hope to publish a monograph, and presenting on that and other subjects at conferences around the world.

Publications

‘The Past is a Different Planet: Sounding Medievalism in Aleksei German’s Hard to Be a God’, in Studies in Medievalism XXVII, ed. Karl Fugelso (Cambridge: Boydell & Brewer), 227-249 

 ‘Introduction’, in Studies in Medievalism XXVII, ed. Karl Fugelso (Cambridge: Boydell & Brewer), 181-182 

 ‘Presentness and the Past in Contemporary British Opera’, in Recomposing the Past: Early Music on Stage and Screen, ed. James Cook, Alexander Kolassa, Adam Whittaker (Abingdon: Routledge, 2018), 155-174 

Northern Innovation and the British Music Collection: Searching for a Musical Modernist North in England’, digital exhibition for the Google Cultural Institute (Jan 2016)

 ‘Composing for The Memory Dealer: New Paradigms for the Immersive Soundtrack’, Journal of Sonic Studies, 9 (May 2015)

As Co-Author

with James Cook, and Adam Whittaker. ‘Introduction: Understanding the Present through the Past; the Past through the Present’, in Recomposing the Past: Early Music on Stage and Screen, ed. James Cook, Alexander Kolassa, Adam Whittaker (Abingdon: Routledge, 2018), 1-14

with James Cook, and Adam Whittaker, ‘Music in Fantasy Pasts: Neomedievalism and Game of Thrones’, in Recomposing the Past: Early Music on Stage and Screen, ed. James Cook, Alexander Kolassa, Adam Whittaker (Abingdon: Routledge, 2018), 229-250

with James Cook, and Adam Whittaker, ‘Representations of Early Music on Stage and Screen’, Early Music Performer, 36 (April 2015), 19-21

As Editor/Co-Editor

with Axel Körner, eds., ‘Opera in Transnational Context: Reading Rousseau’s “Essay on the Origin of Languages”’, on UCL Passionate Politics website

with James Cook, and Adam Whittaker, eds., Recomposing the Past: Early Music on Stage and Screen (Routledge, 2018)

Publications

Recomposing the Past: Representations of Early Music on Stage and Screen (2018-02-01)
Cook, James; Kolassa, Alexander and Whittaker, Adam eds.
Ashgate Screen Music Series
ISBN : 9781138287471 | Publisher : Routledge | Published : Abingdon and New York