Short Bios and Abstracts

Gender and Creativity in Music Worlds

Day 1

8. Jan – Central European University (Nádor utca 9., 1051 Budapest)

12:00 – 13:00

Hashtag Ensemble: Sovietica

Hashtag Ensemble – musical cooperative based in Warsaw specializing in contemporary music, improvisation, and musical education. Hashtag Ensemble operates by creating egalitarian structures based on the multi-layered activities of its members and by building programs based on legible and usually non-musical contexts. An important element of the group’s concert practice is the support and presentation of artistic achievements of women – since its beginning the group has cooperated with  many female composers and artists. More at

13:30 – 14:15

Keynote speech

Christa Brüstle

Christa Brüstle, Professor of Musicology and Gender Studies at the University of Music and Performing Arts, Graz. 2008-2011 Visiting Professor at the Berlin University of the Arts and 2014 Visiting Professor at Heidelberg University. She worked as a research fellow at the Freie Universität Berlin and as lecturer as well at the Technische Universität Berlin, the Hanns Eisler School of Music Berlin and the University of Vienna. Her PhD thesis (1996) was concerned with the reception history of Anton Bruckner. She completed her habilitation about aspects of performance in contemporary music at the Freie Universität Berlin in 2007. Her research fields include music history in the 20th century, performance studies, music theatre, and gender studies.

Women in Music – Roles and Identities

The roles of women in music have long been ignored in music historiography, although it can be assumed that there have been singers and instrumentalists at all times. The creative, art-creating roles in particular, were usually reserved for the male ‘geniuses’, although female composers in history and the present are gradually being recognized. It is therefore interesting to see if and how the professional roles in music change when women and men are equally represented in all areas.

14:30 – 15:45

Conference Session 1: Gender and the Music Industries I.

Julia Eckhardt

Julia Eckhardt is a musician and curator in the field of the sonic arts. She is a founding member and artistic director of Q-O2 workspace in Brussels, for which she conceptualized various thematic research projects. As a performer of composed and improvised music she has collaborated with numerous artists, and extensively with Éliane Radigue. She has performed internationally and released a number of recordings. She has been lecturing on topics such as sound, gender and public space, and is (co-)author of The Second Sound, conversation on gender and music, Grounds for Possible Music, The Middle Matter – sound as interstice, and Éliane Radigue – Intermediary Spaces/Espaces intermédiaires.

The Second Sound – Otherness in Music

I will speak about a survey I guided on the influence of gender on music and musical lives, which led to the publication The Second Sound, then continue by holding the results against musicological writing by Marcia Citron and Susan McClary, and finish by speaking about my collaboration with composer Eliane Radigue. In this collaboration I experienced a fundamental change in ideas of collaborating, composing and listening, leading to a possibly Other music. Overall, I am defending the idea that the acceptance of historical context and personal life circumstances of the composer will make the experience of music richer, change paradigms of quality, and will lead to a more diverse musical field.

Dr Martin K. Koszolko

Dr Martin K. Koszolko is a Polish-born, Melbourne-based sound producer and academic known for his creative work under the KOshowKO, Philosophy of Sound and Iubar Project monikers. Martin has extensive experience as a composer, music and video producer and performing musician and is the vice-president of Clan Analogue Recordings, the record label arm of Australia’s longest running electronic music collective. Martin’s academic research explores various aspects of computer sound production, including mobile music making and interactivity in electronic music performance. He has been teaching sound production and other music industry-related disciplines at Melbourne Polytechnic and RMIT University.

Female Agency and Perspectives in the Communities of Mobile Musicians

Mobile music creation tools and developments concerning the battery-powered hardware and software have become one of the most significant advances in music production technologies in recent years. Methodologies of mobile musicians exemplify the various affordances of mobile music technologies in the field of amateur as well as commercial electronic music production. The processes of musical composition and performance have been significantly altered by affordances of mobile tools. However, an investigation of female creativity in this sphere indicates uneven gender participation and representation.  

Emília Barna

Emília Barna, PhD is Assistant Professor at the Department of Sociology and Communication, Budapest University of Technology and Economics. Her doctoral thesis (University of Liverpool, 2011) examined the relationship between music scenes, networks and the internet through a case study of contemporary Liverpool indie rock bands. Her main areas of research include music scenes and technology, the music industries and digitisation, popular music and gender, and cultural labour. She is a founding member of IASPM (International Association for the Study of Popular Music) Hungary, Advisory Board Member of IASPM@Journal, and a member of the Working Group for Public Sociology “Helyzet.”

Women and Invisible Labour in the Hungarian Music Industries 

As part of ongoing qualitative research exploring work in the Hungarian music industries (NKFIH FK 128669), I analyse accounts of working days of musicians to explore the ways in which their experiences are shaped by formal as well as informal, often invisible, divisions of labour. I look at, firstly, how access to, and use of resources  are structured in the field, and how this structuring is related to divisions of labour. And secondly, how divisions of labour are embedded in broader social and economic structures.

Leyre Marinas

Leyre Marinas has a degree in Advertising and Public Relations from the University of Murcia and attended one year of the degree as an Erasmus student at Jönköping University, Sweden. She also holds an MA in Sociocultural Analysis of Knowledge and Communication from the Complutense University of Madrid, where she started her PhD research at the Faculty of Information Sciences with a doctoral thesis on Riot Grrrls, feminism and the cultural industries.

MeToo through the Music: How the MeToo Movement Affected Women in Music.

After the trending topic #MeToo, empowerment and sorority among women  gained visibility. Through an analysis of the discourse on Twitter and Instagram, this paper will show how women from the international music industry are using social networks to make visible their work and the sexism they are suffering. Besides, through panish associations of women in the music industry, we can see some examples of sorority among women of music in Spain.


15:45 – 16:30

Conference Session 2: Gender and Music in Central and East Europe I.

Pavla Jonssonová

Pavla Jonssonová teaches courses in gender studies and subcultures at Anglo-American University in Prague. She has published two monographs and numerous articles, interviews, poetry, and translations. Since 1980 she has performed in various women rock bands e.g. Plyn, Dybbuk, Zuby nehty, who produced seven albums, two books of lyrics, and a film for television.

Contemporary Czech Women Alternative Musicians 

My paper presents the results of interviews with twenty Czech women musicians, discovering the feminine specifics of their musicianship. The novelty of this project is its scope and focus on understanding how these creative voices reflect their femininity and problems and advantages connected with it.

Anna Szemere

Anna Szemere is a cultural sociologist concerned with popular culture, gender, and media with a focus on central and eastern Europe. After working at the Institute for Musicology of the Hungarian Academy of Sciences, she moved to the United States and obtained her PhD at the University of California, San Diego. She has taught at North-American and Hungarian universities including the University of California, Emory University, The Central European University, and Eötvös Loránd University, while publishing in journals like Popular Music, Critical Studies in Communication, ArtMargins, Beiträge der Musikwissenschaft, Slavic Review, Magyar Zene, as well contributed chapters to edited volumes. She is author of the book Up from the Underground: The Culture of Rock Music in Postsocialist Hungary. At present she edits Bloomsbury Popular Music and works on a portrayal of the singer Bea Palya with co-author András Rónai.

2 F-Words: Freedom and Femininity in Bea Palya’s Musical World 

Bea Palya’s one of the most critically acclaimed and popular Hungarian pop singers of the past few decades with an influence far beyond the borders. Addressing a range of female experience with unusual candor and introspection in her music as well as in various media outlets qualifies her as a locally distinctive artist of pop-feminism. In this paper I will explore how Palya’s gender critique is constructed in the lyrical and musical treatment of three of her dominant themes such as freedom, femininity (‘being woman’), and family on her albums (“Woman”) 1, Tovább nő (Still Woman/Still Growing), and Hazatalálok (I’m Finding My Way Home).

Gender and Creativity in Music Worlds

Day 2

9. Jan – Central European University (Nádor utca 9. 1051 Budapest)

09:30 – 10:15

Keynote speech:

Ann Werner

Ann Werner is Associate Professor in Gender Studies at Södertörn University in Sweden. She was on the executive committee of the International Association for the Study of Popular Music 2015-2019. She has written on the subject gender, popular music and media technology within a variety of articles and books including the co-authored monograph Streaming Music (Routledge 2017 with Sofia Johansson, Patrik Åker and Gregory Goldenzwaig) and her recent article “What does gender have to do with music anyway?” (Per Musi 2019).

Feminism and Femininity in Music

Women and other non-cis-male gender subjects are underrepresented in music, and exposed to sexism, sexist exploitation and oppression. In relation to previous scholarship on feminism and music this presentation will ask how sexism is challenged in music today? And who the ‘we’ challenging it are? Further, ideas about ‘feminine music’ are both integral to and shunned by those working to end sexism in music. The presentation will discuss if there could be a feminine music, and what potential or danger this line of though would have for feminist strategies in music practice today.

10:15 – 11:00

Conference session 3: Gender (Studies), Education and Pedagogies

Rosa Reitsamer

Rosa Reitsamer holds a PhD in sociology and is professor of music sociology at University of Music and Performing Arts, Vienna, Austria. Her research interests include career pathways of musicians, higher music education, creative labour, and popular music and gender.

Intersectional Perspective on Classical Music Education 

This paper considers the role of higher music education at conservatories and universities in producing and reproducing social inequalities in the classical music profession. Based on empirical research, I will investigate the role of the body for learning an instrument and acquiring a classical music habitus that is highly gendered and racialised. I will also examine the (e)valuation of student recitals in order to show how differences between students are constructed on the basis of gender, class, age and ethnicity.

Christine Fischer

Christine Fischer is senior research associate at University of Applied Sciences and Arts, Lucerne, School of Music. She earned her PhD in musicology 2004 at the University of Berne. Between 2007-2013 she held a professorship of the Swiss National Foundation at Schola Cantorum Basiliensis; work as freelance musicologist, dramaturg and music journalist followed.

Ending Republican Gender Politics – Vítězslava Kaprálová’s Cantata Ilena, op.15 

Ilena, op. 15 (1937–1939), a four-part cantata for soli, mixed chorus, orchestra and reciter by Czech composer Vítězslava Kaprálová (1915–1940) came down to us “unfinished” as a piano reduction sketch. So far research about the composition focused on musical analysis and a modern instrumentation that enabled a first performance in 2007. The decisively gendered creative choices characterizing the piece stayed unnoticed.

The paper examines Ilena’s notions of female authorship and of the romantic mystique of its sujet, rooted in Slovak folklore traditions. This approach enables a contextualization of the piece in the political and cultural demands of the First Czechoslovak Republic.

11:15 – 13:00

Conference session 4: Gender and the Music Industries II.

Zsófia Hózsa

Zsófia Hózsa graduated in musicology from the Liszt Academy of Music in 2018. In her thesis she dealt with the characters and relationships in the musical Waitress. As a first-year PhD candidate in musicology at the Liszt Academy, Zsofia is researching the representation of gender and women in 21st century Broadway musicals. She works as the editor of the musical periodical Gramofon, regularly publishes in the Hungarian musical press and writes concert brochures for the Liszt Academy Concert Centre.

Women as Products of Women on Broadway 

Although Broadway musical celebrates and provides significant roles for female performers, women had not been able to express themselves in the genre until recent years. But what makes the women-made musicals really revolutionary? Can the female musical characters really break out of their dependence on male characters? In my paper I am looking for answers to these questions through Waitress (2015), the first Broadway show with an all-female creative team.

Chiharu Chujo

Chiharu Chujo holds a PhD in Japanese studies, is a Lecturer at the Université Jean Moulin Lyon III, and member of the research institute at the Institut d’études transtextuelles et transculturelles (IETT). Her thesis focused on politically committed female musicians in Japan, in the period from the 1970s to the present day (the period post-Fukushima). She has also been researching the victims of the Fukushima nuclear power plant accident; and sexism in social movements in Japan. 

Idolising with Intent…: The Fetishisation of Femininity in the J-Pop Scene 

The paper analyses the representation of women in the ‘J-Pop’ environment from a historical and gender studies perspective, which will serve as a lens for highlighting factors that account for the gender power relations entrenched in this music scene. Through a case study of a music group, CHAI, who endeavors to subvert the notion of “kawaii” (conveying the elements of cuteness and naivité) which is considered a feminine attribute by the majority of Japanese women, we will also present the perspective of the gender-critical approach to the issue.

Marie Buscatto

Marie Buscatto is a Full Professor of Sociology at Paris 1 Panthéon-Sorbonne University. Based on her empirical research conducted in the worlds of jazz in France and in Japan, her current thinking focuses on the difficulties women have to get access, to remain and to be promoted in music and art worlds, and the ways in which artistic creation is affected by gendered processes. She is also studying contemporary art practices, trajectories and professionalism in Europe, in the United States and in Japan. Finally, she develops an epistemological reflection on qualitative methods.

“Women’s access to professional jazz playing. From limiting processes to levers for transgression”

All over the world, jazz is “masculine”. The past exclusion and invisibilisation of female jazz musicians is well documented. But no scientific research fully explores the weak presence and recognition of female jazz musicians today as well as the ways in which some female musicians do access the jazz scene. This talk will address this issue based on a comparative analysis of two recent empirical studies conducted in France and in Japan.

Helena Lopes Braga

Helena Lopes Braga is a Doctoral candidate in Comparative Gender Studies at Central European University, Budapest. Helena holds an MA and BA in Musicology from the Faculty of Humanities and Social Sciences of the New University of Lisbon. She is a researcher of the Sociology and Musical Aesthetics Research Center (CESEM, FCSH-NOVA) and served as the vice-President for the Portuguese Society for Music Research (SPIM-PSMR) from 2013 to 2015.

Francine Benoît: Gendered Readings of a Woman Composer in mid-20th Century Portugal

Francine Benoît (1894-1990) was a classical composer and intellectual who actively participated in the Portuguese cultural and political scene, mostly from the 1920s to the 1970s. She was part of and an active aggregator of networks of women artists who were members of feminist organizations and involved in the opposition to Estado Novo (1933-1974). In this paper, I will explore Francine Benoît´s musical activities and the role gender played in her work and in the later historical narratives about her and her friends.

14:15 – 15:15

Conference session 5: Gender and Music in Central and East Europe II.

Yvetta Kajanová

Yvetta Kajanová (b.1964) is a Professor of Musicology at Comenius University in Bratislava, Slovakia, where she gives lectures on jazz and rock history, musical criticism, sociology and management of music. Her recent monograph, The History of Rock Music (2014), was published by Peter Lang academic publishers. Yvetta Kajanová participated in international conferences in Vienna, Prague, Regensburg, Berlin, Warsaw, Krakow, London, Porto, Graz and Marburg. Prof. Kajanová was a member of the International Research Team, Jazz in the Eastern Bloc, in Freie Universität, Berlin between 2008–2010. She is the author of nine monographs on aesthetics and sociology of music, jazz, rock, pop music and gospel music.

Slovakian Female Composers: Status, Success and Perspectives 

The paper will discuss disputes about the gender issue and the situation in Slovakia, a characterisation and comparison of the selected artists, reception and problem of female management, and an evaluation of the Slovak female composers.

Barbara Rose Lange

Barbara Rose Lange, Professor of Musicology, University of Houston, USA. Austrian-Hungarian Fulbright Research Award, 2007. Her recent studies are on world music in Hungary and Central Europe (Oxford, 2018) and ethics of improvised music (2008, 2012).

Modes of Femininity and Power in Hungarian World Music 

This paper discusses experimentation with modes of femininity in Hungary’s world and traditional music scenes during the 2000s. Focusing on the concept of the “lived body” and on the practice of creative leadership, the paper outlines a range of feminine expressions for traditional and world music artists of the period. Choosing traditional music as a starting point meant an association with traditional images of femininity, but artists took different approaches to modernizing feminine and musical expression.

Katarzyna Kułakowska

Katarzyna Kułakowska is Assistant Professor at the Institute of Art at the Polish Academy of Science. She has published two monographies: Gender City. The Lover’s Discourse of Maria Peszek (2010); Jestresses, The Women of Polish Theatrical Counterculture (2017). Her research interests include the specificity of female experience in the Polish theatre; gender, body and sexuality. She is working on expanding Polish theatre studies with a feminist perspective.

“My name is Uncertainty.” The Female Experience in Autoethnographic Texts of Magdalena Sowul, Leader of the Ugla Quartet

In her sung auto-ethnography, feminine carnality and spirituality are intertwined. The patterns of female identity that are preserved in the folk tradition of different cultures of Central and Eastern Europe, are transformed by Ugla through confronting them with her own experiences. Her vision of femininity is incoherent, flickering, allowing herself to be ambiguous, yet not devoid of strength, being fullness.

15:15 – 16:00

Gender, Inspiration and the Creative Process – Roundtable discussion

Andrea Szigetvári

Andrea Szigetvári is an electro-acoustic music composer. Her creative and research work concentrate mainly on the role of the timbre in new music, synchresis in audiovisual art and interactive performance. She studied in Warsaw, and later in the USA as a Fulbright researcher. She also teaches at universities (Liszt Academy of Music – Media Art course, METU – Animation course), and collaborates with various contemporary music festivals as a founder and organiser.

Anna D’Errico

Anna D’Errico is an artist dedicated to the music of our time. She enjoys close working relationships with established and young composers, sharing ideas, premiering new works, and devoting herself to exchanges between art forms and interdisciplinary projects. She has toured worldwide, performing in international venues such as Lucerne Festival, Carnegie Hall, Wien Modern, Konzerthaus Berlin, Heidelberger Frühling among others. A passionate chamber musician, she enjoys collaborations with world-renowned ensembles, and is founding member of Ensemble Interface. She is also committed as an educator, giving piano masterclasses in institutions around the world and leads educational projects embracing contemporary music and the arts.

Ania Karpowicz

Ania Karpowicz is a concert flutist, curator and activist. She is a graduate of the Hochschule für Musik Detmold. Active as a soloist and chamber musician premiered over 40 pieces dedicated to her. Founder and leader of the Hashtag Ensemble cooperative for new music based in Warsaw; the ensemble performs at international music festivals throughout Europe and won several musical prizes (such as PRIX CIME 2019) and released 6 CDs. Founder and curator of the WarszeMuzik festival in the former Warsaw ghetto area. Chairwoman of the board at the „Sphere Harmony” Foundation. Ania lives in Tel-Aviv.

Dániel Péter Biró

Dániel Péter Biró is Associate Professor/Førsteamanuensis at the Grieg Academy, University of Bergen. He studied in the U.S., Hungary, Germany, Switzerland, Austria and Israel before receiving his Ph.D. from Princeton University in 2004. From 2004 -2009 he was Assistant Professor and from 2009-2018 Associate Professor for Composition and Music Theory at the University of Victoria in Victoria, BC, Canada. In 2010 he received the Gigahertz Production Prize from the ZKM-Center for Art and Media. In 2011 he was Visiting Professor at Utrecht University and in 2014-2015 Research Fellow at the Radcliffe Institute for Advanced Study, Harvard University. In 2015 he was elected to the College of New Scholars, Scientists and Artists of the Royal Society of Canada. In 2017 he was awarded a Guggenheim Fellowship. Dániel Péter Biró has been commissioned by prominent musicians, ensembles and festivals and his compositions are performed around the world.

Irene Suchy

Irene Suchy was born in Vienna. She earned her degrees in musicology and music pedagogy, violoncello and German literature in Vienna and in Tokyo. She works as journalist, researcher, university lecturer, curator of exhibitions, curator and author. She is engaged as a speaker and moderator for a wide range of discussions dealing with issues of peace movement, human rights, human trafficking, women rights, feminist culture and politics, European politics and culture. She is hosting panels for the Austrian radio, for European and international institutions, women’s lobbies, for journalistic fields, artists´ institutions and universities. From 2018 her  foundation was the initiator of „MusicaFemina – women made music“, EU Creative Culture cooperation project.

16:00 – 16:45

Increasing the Visibility of Female Artists – Roundtable discussion and best practice presentation

Mirca Lotz

Mirca Lotz is a curator, event organizer and activist with a passion for crossing creative boundaries. She has played a prominent role in the work for gender equality in the music industry – as “music innovator” in the PRS Keychange project and co-founder of the musicBYwomen as well as Music Women* Germany networks. 2017 she created the first showcase festival and conference for women* in music “We Make Waves”.

Tatjana Nikolić

Tatjana Nikolić (1990), based in Belgrade, Serbia, is the leader of the collective FEMIX which supports and promotes young women in music and other fields of culture, arts and creative industries since 2010. Her study „Gender relations in the alternative music scene of Serbia and the region” was published in 2016. Her team initiated the first Girls Rock Camp in the region. Currently, she is employed as a Researcher and Teaching Associate at the Cultural Management department of the University of Arts in Belgrade.

Sophie Ransby

Sophie Ransby is Creative Learning Manager for Music & Courses at the Southbank Centre, London, where she directs the Gamelan Programme, composers’ collective and various vocal and education projects. With Director of Music, Gillian Moore, Sophie assists with the Southbank Centre’s Women in Music Strand comprising regular networking breakfasts, conducting masterclasses with Marin Alsop, and learning opportunities for the Southbank Centre’s Women’s Orchestra.

Flóra Petneházy

Flóra Petneházy is the program director of three Hungarian multi-genre festival held in smaller villages throughout Hungary. Valley of Arts is a 30-year-old multi-genre festival with 35 stages which include a major 5000 capacity venue as well as a small church for classical music with a capacity of 140 people in Kapolcs (Balaton Uplands). Flóra was born in Budapest, Hungary, studied commerce and marketing in Metropolitan University, music management in Zeneipari Hivatal and started her career as the manager of a Hungarian band, called “yesyes”. Since then, apart from her core business in Valley of Arts festival she has been involved in various music projects, such as Fekete Zaj festival.

Bettina Wackernagel, Heroines of Sound Festival, Germany

Bettina Wackernagel studied music theater directing with a focus on contemporary music and electronic media. As a director, she was responsible for world premieres, including the Salzburg Festival and the Ars Electronica in Linz. Since the1990s she produced festival formats on current trends in electronic music and art. In addition, she served on Board of Directors of Berlin Society of New Music (2013-2018). 2014 she founded the festival Heroines of Sound and to this day continues to be responsible for its artistic direction. Her research resulted 2019 in a book, Heroines of Sound. Feminism and Gender in Electronic Music, Wolke Verlag.

Teja Reba

Teja Reba (1978) is a choreographer, performer and dancer. Since 2007, she has collaborated with the choreographer Leja Jurišić in the projects Between Us (2009), Sofa (2011) and The Second Freedom (2013). For their work, which was presented in Slovenia as well as internationally, they received in 2013 the Ksenija Hribar Award for prospective choreographers. Teja Reba’s collaboration with Loup Abramovici resulted in 650 Experiences (History of the body that hasn’t been robbed yet) from 2011, M.1.2. (2012) and Eat-Art (2012). She is currently participating in a new performance by Tim Etchells and the group Forced Entertainment.  Since 2013, Teja Reba has been the President of the Contemporary Dance Association Slovenia.

Hang-nem-váltás? (Changing Tonality?)

8 Jan – Három Holló (Piarista köz 1., 1052 Budapest)

17:00 – 18:30

Gender Relations in the Musical Realm

Gender Relations in the Musical Realm: series of roundtable discussions with eight participants of the Hungarian music world (in Hungarian, with simultaneous interpreting)

Does gender play a role in music? Do gender categories even exist? Do women and men start their career in the music scene with equal opportunities? Does equality make us more productive? Is there a transition currently undergoing in this field? Do we need any change at all?

We believe that answers to the above listed questions  can vary to a great extent. Our goal is to attain a clearer picture as well as understand the sometimes contradictory feelings and opinions as we attempt  to reach some form of agreement on how we approach these recurring questions.

We asked people from the very diverse Hungarian music world to gather, discuss and think together with all of us attending the event.

Judit Varga

Judit Varga (born 1979 in Hungary) lives and works in Vienna. Since 2013 she has been teaching composition and applied and film music at the Franz Liszt Music University in Budapest. From October, 2019 she is Professor of Media Composition at the University of Music and Performing Arts Vienna. Judit Varga works with orchestras and ensembles from all over the world, including Ensemble Modern, BBC Symphony Orchestra, Vienna Radio Symphony Orchestra. In 2014 Judit Varga received the “Best Music” award from the Austrian Film Academy. The Hungarian State Opera performed her opera Szerelem (Love) in 2016/17.

Bea Palya

Bea Palya is one of the most notable figures of the Hungarian music scene, as a well-known songwriter, singer, performer, speaker, trainer and writer. Her main musical language is Hungarian folk music, but her art has been influenced at the same time not only by gypsy, Bulgarian, sephardi and Indian music, but equally by contemporary singer-songwriters, such as Leonard Cohen, Joni Mitchell or Aretha Franklin. Bea usually performs her own songs, opening up a movingly personal world in front of the audience. The process of playing with tradition and modern themes, creating something new on the basis of old, and of following an inner path by merging herself with the songs can be easily observed through her 14 solo albums. Her lyrics are explicit, painfully honest and funny at the same time. With her wonderful voice, suggestive way of performing and strong stage presence she immediately draws in the audience into her magical world.

Anna Novotny

Anna Novotny‘s career has been shaped by her lifelong passion for opera and classical music. She completed a degree in musical aesthetics and musicology with distinction while writing about music and opera in Hungary’s most renowned cultural magazines. She then worked as a dramaturg in several major opera houses in Germany and is currently the PR manager for classical music and opera at Müpa Budapest, Hungary.

Gergely Fazekas

Gergely Fazekas, PhD (1977) is associate professor of musicology at the Liszt Academy (Budapest). Between 2012 and 2017 he was the editor-in-chief of the oldest Hungarian music publisher Rózsavölgyi & Co. He has been publishing scholarly articles in Hungarian, English and French musicological journals on Bach and Debussy since 2007. His book entitled “J. S. Bach and the two cultures of musical form” was published in Hungarian in 2018. As a Fulbright visiting professor, he spent the academic year 2017/2018 at Bard College (NY).

Gergely Vajda

Gergely Vajda is Music Director of the Huntsville Symphony, the Portland Festival Symphony, Artistic Director of Ensemble UMZE, Program Director of the Peter Eötvös Contemporary Music Foundation, Principal Guest Conductor of the Hungarian Radio Symphony. He has received the Gundel Art Prize (2001) and the Bartók-Pásztory Award (2018) and is a member of the Széchenyi Academy of Letters and Arts since2019. His music is published by ECM, BMC, Hungaroton Classic, and Editio Music Budapest, member of Universal Music Group.

Márk Saiid Süveg

Márk Saiid Süveg is a slam poet and a member of Akkezdet Phiai, an underground rap-group fusing contemporary poetry with hip-hop music to such acclaim that their work has become part of the Hungarian high school curriculum. He is an emblematic figure of the Hungarian slam poetry scene, having received recognition for his art internationally as well. He is several-times champion at slam competitions where performers read or recite original work or improvise for a highly engaged audience.

Ferenc László

Ferenc László is a cultural historian, critic. He studied history at the Eötvös Loránd University. Since 2004, he has been working at the Magyar Narancs, writing criticism, articles on history and literary history, and essays. In 2008, he became the editor and managing director of the Revizor, the criticism website. In 2012, he was one of the founders of the Opera magasine, and between 2013 and 2015 worked as an editor at Muzsika. He is also an associate at the Bartók Radio.

Szilvia Artner

Szilvia Artner is a journalist, writer, sociologist. 
She has been working since 1995 for the weekly newspaper Magyar Narancs as publicist and event editor. In 2004 founded a female think tank and movement entitled Anyahajó Egyesület, tű Publishes articles about theater as well as social and gender issues. Her socio-interview book entitled Ápolók – a IV-es osztály was published in 2018 at the AbOvo publisher´s LÉT könyvek series. She is working now on her next book of short stories entitled Temporary Women.

18:30 – 19:00

“SHE writes the song” – How Female Songwriters Emerge? Achieving Professional Acclaim in Hungary and Worldwide.

Péter Benjamin Tóth

Péter Benjamin Tóth, is an expert on copyright, communications and change management. In 2010 he developed and implemented the communication strategy of Hungary’s music CMO, Artisjus. Since 2018 he is Director for Business Transformation at Artisjus, leading the transformation team. He regularly holds lectures for artists on copyright law. He is the founder of the Dal+Szerző magazine and blog, and the DEX Songwriting Expo.

19:00 – 20:30

Gender Relations in the Musical Realm: World Café (collective discussion)

Zsuzsanna Szálka

Zsuzsanna Szálka is an international cultural manager. She is the festival manager of Átlátszó Hang New Music Festival, classical music curator at Ördögkatlan Festival and was the founder and festival manager of the Night of Choirs – Budapest (2013-2016). She is a recurring visiting lecturer in project and operations management of cultural institutions at Cultural Heritage Studies Program at Central European University. Between 2014-2017 she was the head of concert management of the Liszt Academy of Music. Between 2007 and 2013 she worked as manager of International Affairs at Müpa – Budapest.

Ladyfest Budapest Extra

8 Jan – Három Holló (Piarista köz 1., 1052 Budapest)

19:00 – 20:30

Gender Relations in the Musical Realm: World Café (collective discussion)

Ladyfest Budapest came into existence to raise awareness of the inequalities and injustices women have to face, almost on a daily basis, when pursuing a career in the arts or  the music industry. Since 2016, Ladyfest Budapest has been providing a platform in the frames of an annual showcase festival, to help increase the visibility of underground female performers. 

Curators: Dorina Molnár, Lilla Neményi, Kata Benedek, Panni Simai

Rosa Vertov

Rosa Vertov (PL) is a four-piece all-female band (Kasia Dziąg, Olga Gniadzik, Zosia Jakubowska and Julia Szostek) from Warsaw, Poland. Originally starting as a high-school band, they released their debut EP in 2014 on Crunchy Human Children Records. Their first album came out in 2017, the dark shoegaze/dream-pop heavy who would have thought?, and their sound matured as they played numerous shows at  undeground clubs in Warsaw, Poland’s biggest music festivals, as well as touring Ukraine, Germany and South Korea. They are also part of the Polish music export organization Don’t Panic! We’re from Poland Showcase.

At the Transparent Sound Festival, Rosa Vertov is going to present anxious, dreamy, oneiric, garage, post-punk, psychedelic mix of sounds including the new material from an upcoming album. Distorted guitars immersed in delays and modulations, vibrant bass, trance drums enriched with intense floor tom and ethereal vocals. Rosa Vertov’s aim is to combine the tension and sensibility using dissonances and oneiric sounds to create a special way of connection between music and the audience.


Doris (D) is the solo project of Andreya Casablanca (Gurr), her guitar and her laptop. Using it as a direct outlet of emotional outbursts (about anxiety, boys, self-therapy), some songs have never left the state of its demo iphone-recording, others have dipped into the realms of cheesy pop lines and dramatic breaks. Just as one day you cry, one day you laugh, there will be nothing solid about this.

With Doris, her live performance is a symbiosis of live music (her performing with a guitar) and the immediate intimacy of a bedroom recording (featuring the backing tracks from her laptop). The agenda of the project was to immediately capture feelings into songs, without revisiting them multiple times or changing the arrangement of the tracks. Songs that originally were written with audio software stayed „artificial“ and tracks that were written with guitar, will be performed with guitar. The result is a culmination of more experimental and weird sounds in change with proper pop lines. The back and forth of these two extremes create a narrative that has cathartic moments every now and then but can also rest in more repetitive and not easy-to-listen-to quiet moments.


Doris (D) is the solo project of Andreya Casablanca (Gurr), her guitar and her laptop. Using it as a direct outlet of emotional outbursts (about anxiety, boys, self-therapy), some songs have never left the state of its demo iphone-recording, others have dipped into the realms of cheesy pop lines and dramatic breaks. Just as one day you cry, one day you laugh, there will be nothing solid about this.

With Doris, her live performance is a symbiosis of live music (her performing with a guitar) and the immediate intimacy of a bedroom recording (featuring the backing tracks from her laptop). The agenda of the project was to immediately capture feelings into songs, without revisiting them multiple times or changing the arrangement of the tracks. Songs that originally were written with audio software stayed „artificial“ and tracks that were written with guitar, will be performed with guitar. The result is a culmination of more experimental and weird sounds in change with proper pop lines. The back and forth of these two extremes create a narrative that has cathartic moments every now and then but can also rest in more repetitive and not easy-to-listen-to quiet moments.

Musica moralia

Musica moralia’s (Eda Meggyeshazi, H) music bears a distinct atmosphere; a creation in the experimental, post-folk sphere. In her own words she plays silent noise, sometimes on the dulcimer, sometimes on the piano. She started composing on a two-stringed guitar and on the piano, then later  moved on to the cello, in the meantime she feels unexplainably drawn towards 80’s analogue synthesisers. She has been in the music scene for more than ten years in Hungary, often in Germany or the Netherlands. In 2016 Normafa Records launched her debut LP with the title ‘Hell is Coming Home’ which is an intimate and highly personal album consisting of song written and performed on the dulcimer, piano, and electric-organ.

With Doris, her live performance is a symbiosis of live music (her performing with a guitar) and the immediate intimacy of a bedroom recording (featuring the backing tracks from her laptop). The agenda of the project was to immediately capture feelings into songs, without revisiting them multiple times or changing the arrangement of the tracks. Songs that originally were written with audio software stayed „artificial“ and tracks that were written with guitar, will be performed with guitar. The result is a culmination of more experimental and weird sounds in change with proper pop lines. The back and forth of these two extremes create a narrative that has cathartic moments every now and then but can also rest in more repetitive and not easy-to-listen-to quiet moments.