Annika Forkert

Lecturer in Music

Magistra Artium, PhD, FHEA

Email: annika.forkert@rncm.ac.uk

Annika holds a Magister Artium from Humboldt-Universität Berlin in Musicology and Philosophy, and a PhD in Music from Royal Holloway, University of London (PhD thesis ‘British Musical Modernism Defended against its Devotees’). She also studied at Heidelberg University and Halle/Wittenberg University (Piano Pedagogy).

After her PhD, she worked as a research assistant to Nicholas Baragwanath at the University of Nottingham (AHRC Leadership Fellowship) and as a Visiting Lecturer at Royal Holloway, London (Music Study Skills), Leeds Trinity University (MA Victorian Music), and CityLit London (20th-century Music Appreciation); before moving to the University of Bristol for a post-doctoral Leverhulme Early Career Fellowship with a monograph project on Elisabeth Lutyens and Edward Clark. Before her appointment at the RNCM, Annika was a Lecturer in Musicology at Liverpool Hope University, teaching a full range of music history, analysis, aesthetics at UG and PG level.

Annika is a regular author of programme notes for Bavarian Radio and other German orchestras, and has also worked as a translator, speaker, and consultant for European music festivals and orchestras.

Latest publication: ‘Microtonal Restraint’, Journal of the Royal Musical Association 145.1 (2020), 75-118.

Current and Future Research

  • Monograph in preparation: ‘Elisabeth Lutyens and Edward Clark. Music, Influences, Alliances’
  • History and analysis: microtonal music, British twentieth-century music, women composers, musical modernism
  • Collaboration in the arts

Research Funding

Annika’s research has been funded by Deutscher Akademischer Austauschdienst DAAD, Fazit Trust Germany, and Crosslands Scholarship, Royal Holloway (doctoral grants); and by the Leverhulme Trust (postdoctoral 3-year fellowship). She has also been awarded small grants from the Society for Music Analysis, Bristol Institute for Research in the Humanities and Arts, and the Raymond Williams Library Retreat Grant.

Undergraduate Teaching

  • Music, Culture and Performance 1 (coordinator and tutor)
  • Music, Culture and Performance 2 (coordinator and tutor on late 19th-century and Modern strands)
  • Performing Contemporary Music (tutor)
  • Theory 1 (tutor)
  • Musicology Electives (co-coordinator)

Publications

    Chapters in Books

  • Annika Forkert, ‘Das Biest und die Schöne. Symphonien Nr. 4 & 5’, in MusikKonzepte Ralph Vaughan Williams, ed. by Ulrich Tadday, (Munich: Edition text&kritik, 2018), pp.45-62.
  • Annika Forkert, ‘Beauty among Beasts? From Walton to Maconchy to Britten’, in Elizabeth Maconchy. Music as an Impassioned Argument, ed. by Christa Brüstle and Danielle Sofer, (Vienna, Graz et al.: Universal Edition, 2018), pp.63-85.
  • Annika Forkert, ‘Musical Modernism in the "Land without Music"? The Limits in Elgar and Holst’, in Jahrbuch für euopäische Ethnologie, (Paderborn: Ferdinand Schöningh Wissenschaft, 2012), pp.123-144.
  • Journal Articles

  • Annika Forkert, ‘Microtonal Restraint’, Journal of the Royal Musical Association, 145 (2020), 75-118.
  • Annika Forkert, ‘Lutyens in Liverpool’, The Musical Times, 160 (2019), 91-98.
  • Annika Forkert, ‘"Always a European": Edward Clark’s Musical Work’, The Musical Times, 159 (2018), 55-80.
  • Annika Forkert, ‘Magical Serialism: Modernist Enchantment in Elisabeth Lutyens’s O saisons, ô châteaux!’, Twentieth Century Music, 14 (2017), 271-303.

Professional Activity

Annika is the first dedicated Early-Career Council member of the Royal Musical Assocation (2019-2021), where she serves on the Publications, Search, and Awards Committees. She also serves on the Membership Committee of the North-American British Music Studies Association (NABMSA).

Conference organisation:

  • Conf. Committee, Women’s Work in Music, Bangor 2021
  • Conf. Committee, Women’s Work in Music, Bangor 2019
  • Progr. Committee, Royal Musical Association Conference, Bristol 2018
  • Conf. Committee, Women’s Work in Music, Bangor 2017
  • Convenor, Collaborating Couples in 20th-Century Arts, Bristol 2017
  • Progr. Committee, History and Practice/MAC, Nottingham 2016
  • Progr. Committee, Critical Theory for Musicology, London 2016
  • Progr. Committee, Women in Music Since 1913, Liverpool Hope 2015

Conference presentations (selection):

  • ‘Elisabeth Lutyens’s Horror: Hidden Figures in Screen Music and Sound, Royal Holloway London [virtual], 2020
  • ‘Kollaboration als Herausforderung. Lebensläufe von Kunstpaaren in zwanzigsten Jahrhundert’: Invited paper at Perspektiven der Paarforschung, Research Cluster Kunstpaare, FU Berlin, 2019.
  • ‘The Héloïse Complex in a Modernist Collaboration: Elisabeth Lutyens & Edward Clark’: American Musicological Society, San Antonio, TX, 2018.
  • ‘Women Working in Music: States of Research’: Panel Convenor, Annual Meeting of the Royal Musical Association, Bristol 2018.
  • ‘The Composer’s Voice in Contemporary Music Scholarship’: Roundtable Contributor, Writing about Contemporary Artists, Surrey 2017.
  • ‘Rounding up the Geniuses: Collaborating Couples’: Beyond Genius and Muse: Collaborating Couples in 20th-Century Arts, Bristol 2017.
  • ‘Towards a Critical Biography of Elisabeth Lutyens and Edward Clark’: Music Department Research Seminar: Liverpool Hope 2018, Glasgow 2017, Anglia Ruskin University 2017, Bristol 2015.
  • ‘Modernism’s Missing Link: Elisabeth Lutyens and Edward Clark’s Collaborations’: Royal Musical Association, Liverpool 2017, North American British Music Studies Association Conference, Syracuse 2016.
  • ‘“The Subject of Women’s Music Has Bitched Me All My Life”: Elisabeth Lutyens and Canonicity’: Interdisciplinary Seminar Series Women and the Canon, Oxford 2016 [Podcast on https://podcasts.ox.ac.uk/gender-and-authority-seminar-5-annika-forkert-university-bristol]
  • ‘Serialism Enchanted: The Theosophical Basis of Elisabeth Lutyens’s Serialism’: Theosophy and the Arts, Columbia University 2015.
  • ‘William Walton and/against/beyond the Sitwells’: Poetry and Collaboration in the Age of Modernism, Trinity College Dublin 2015.
  • ‘British Musical Modernism Defended against its Devotees’: The State We’re In: Researching post-1900 British Music, Surrey 2015, RMA Study Day Envisioning Modernity, Durham 2014.
  • ‘Significant Form and Form as a Signifier’: Modernist Musics and Political Aesthetics, Nottingham 2015.
  • ‘The Struggle between British Modernists and the Establishment in Mid-Twentieth Century England’: Dreams of Germany, German, Historical Institute London 2015.
  • ‘Beauty among Beasts? From Walton to Maconchy to Britten’: Passionately Intellectual, Intellectually Passionate: Elizabeth Maconchy, Graz 2014.
  • ‘Eine Moderne wider den guten Geschmack’: Music Department Research Seminar Series, Hannover 2014, Gesellschaft für Musikforschung Annual Meeting, Dresden 2013.
  • ‘British Musical Modernism and Adorno’s Musicological Ideology’: Word and Music Association Forum Annual Conference, Stockholm 2012.
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