Page 10 - Composing Processes and Artistic Agency

Acknowledgements

This publication and the research project on which it is based would not have
been possible without the financial support of the Jubilee Fund of the City of
Vienna (project no. J 2/12) and the Austrian Science Fund – FWF (project
no. P 27211-G22). The University of Music and Performing Arts Vienna was
the third funding body, since Andreas Holzer, Annegret Huber, Rosa Reitsamer
and Tasos Zembylas are university employees and conducted their research as
part of their official duties. The three organisations are due equal credit.
Due to other commitments, Annegret Huber and Rosa Reitsamer were
unable to prepare a text contribution for this publication. As members of the
project team they achieved much, both in developing theory and in collecting
data. We would like to thank them for their specialist help and collegial support.
Our warmest thanks go to the many composers – and especially those of
the case studies – for their time, interest and confidence in our work: Helga
Arias Parra, Katherine Balch, Marko Ciciliani, Renald Deppe, Christof Dienz,
Karlheinz Essl, Viola Falb, Clemens Gadenstätter, Bernhard Gander, Matthew
Gantt, Michael Kahr, Katharina Klement, Alexandra Karastoyanova-
Hermentin, Johannes Kretz, Hans Lassnig, Mikhail Malt, Veronika Mayer,
Bertl Mütter, Javier Party, Christof Ressi, Veronika Simor, Emiliano Sampaio,
Kristoffer To, Marianna Tscharkwiani, Dan Tramte, Judith Unterpertinger,
Nancy van de Vate, Judit Varga, Antoine Villedieu, Joanna Wozny and
Bärbel Zindler. In addition, we would like to thank Nicolas Misdariis, Markus
Noisternig and Adrien Mamou-Mani of the Institut de Recherche et Coordi-
nation Acoustique/Musique in Paris, who facilitated our understanding of the
collaboration between software developers, composers and sound engineers.
Florian Grote provided guidance on the development and construction of
electronic instruments.
We also owe thanks to other colleagues, whose advice and competence we
benefited from in workshops and discussions: Fritz Böhle, Sarah Chaker,
Nicolas Donin, Michael Huber, Georg Hans Neuweg, Tanja Paulitz,
Katharina Rosenberger, Mihály Szivós, Alfred Smudits and Martin Winter.
Finally, we must also mention the help and support given by the organising
team of the ManiFeste 2015 at the Institut de Recherche et Coordination
Acoustique/Musique in making Martin Niederauer’s research visit possible.