Ingo Müller
PD Dr. phil. habil. Ingo Müller is a musicologist, German philologist and musician. He studied music and German literature at the Universities of Freiburg and Trossingen and completed his doctorate in German Literary History on the aesthetics of the opera libretto as well as Alban Berg and Frank Wedekind with the monograph “Lulu. Literaturbearbeitung und Operndramaturgie”. (“Lulu. Literary Adaption and Opera Dramaturgy”). The dissertation was awarded the Gerhart Baumann Prize for outstanding interdisciplinary literary studies. In 2021 Ingo Müller habilitated at the University of Salzburg with his two-volume monograph on “Maskenspiel und Seelensprache. Zur Ästhetik von Heinrich Heines Buch der Lieder und Robert Schumanns Heine-Vertonungen.” (“Masquerade and the Language of the Soul. On the Aesthetics of Heinrich Heine’s Book of Songs and Robert Schumann’s Heine Settings.”) In addition to his interdisciplinary scholarly activities, he has been pursuing an international career as a baroque oboist and instrumental teacher, performing regularly with leading European and Australian early music ensembles. Numerous CD, DVD and radio productions provide testimony to his rich artistic output. Ingo Müller is also a Research Affiliate and Lecturer in Historical Oboe at the Sydney Conservatorium of Music.    

Monographs:

•  Maskenspiel und Seelensprache. Zur Ästhetik von Heinrich Heines „Buch der Lieder“ und Robert Schumanns Heine-Vertonungen. Bd. 1: Heinrich Heines Dichtungsästhetik und Robert Schumanns Liedästhetik
•  Maskenspiel und Seelensprache. Zur Ästhetik von Heinrich Heines „Buch der Lieder“ und Robert Schumanns Heine-Vertonungen. Bd. 2: Heinrich Heines „Buch der Lieder“ und Robert Schumanns Vertonungen
•  Lulu. Literaturbearbeitung und Operndramaturgie. Eine vergleichende Analyse von Frank Wedekinds Lulu-Dramen und Alban Bergs Oper Lulu im Lichte gattungstheoretischer Reflexionen

Teaching and Research Focus:

• Music and literary history of the 18th-20th century (especially musical and literary aesthetics of Romanticism and Classical Modern Era)

• Comparative intermediality research (especially theory and philosophical aesthetics of the mutual relations between music, poetry and scenic arts)

• Interdisciplinary research in the fields of the aesthetics of the opera libretto, literary opera, literary adaptation and opera dramaturgy, literary and musical aesthetics of folk and art song

• Development of the field of artistic-scientific research (cross-linking of theory- and practice-oriented approaches to music)