Dr. Joshua Neumann

Akademische Tätigkeiten

• seit 2021: Wissenschaftlicher Mitarbeiter im Centre for Digital Music Documentation (CDMD) an der Akademie der Wissenschaften und der Literatur | Mainz
• 2018–2021: Lecturer (Innovation Academy) & Affiliate Faculty (Informatics Institute), University of Florida
• 2018–2020: Musicology Colloquium Co-Director, Vienna Summer Music Festival
• 2017–2018: Visiting Assistant Professor of Musicology, University of Florida
• 2017–2018: Adjunct Assistant Professor of Musicology, Shenandoah University
• 2017: Adjunct Professor of Music, Santa Fe College
• 2015–2016: Visiting Assistant Professor of Musicology, University of Florida
• 2012–2014: Humanities Teaching Fellow, University of Florida
• 2011–2012: Graduate Assistant, University of Florida
• 2008–2011: Assistant Conductor & Chorus Master, Center City Opera Theater
• 2009–2011: Music Teacher & Boys Lacrosse Coach, Delaware Valley Charter High School
• 2008–2009: Music Teacher, LEAP Academy University Charter High School
   

Akademische Ausbildung

• 2016: PhD in Historical Musicology (University of Florida) zum Thema: “Toward Defining Tradition: A Statistical and Network Analysis of Giacomo Puccini’s Turandot at the Metropolitan Opera,” https://ufdc.ufl.edu/UFE0049920/00001/pdf
• 2016: Graduate Certificate in Digital Humanities an der University of Florida
• 2015: Digital Humanities at Oxford Summer School, Digital Musicology
• 2008: Master of Music (University of Nebraska – Lincoln) zum Thema “Performance Practices in Four Puccini Arias: Tempo Choices and Choosers,” https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1014&context=musicstudent
• 2005: Bachelor of Music in Percussion Performance (Gordon College)
   

Projektleitung

• seit 2024: Creating Schubert's Die Winterreise in Performance with Dietrich Fischer-Dieskau (Fritz Thyssen Stiftung)
   

Mitgliedschaften in Vereinen, Verbänden, Beiräten, Gremien

• Digital Libraries for Musicology
  • 2027: General Chair
  • 2026: Programme Chair
  • seit 2017: Programme Committee
• Early Muse (E-Cost)
  • seit 2024
• Theatrical Voice Research Center
  • seit 2024
• Music Encoding Initiative
  • seit 2023: Co-Chair Digital Pedagogy Interest Group
  • seit 2020
• American Musicological Society
  • 2026–2029: Publications Committee (Chair, 2029)
  • 2025–2028: AMS-MLA Joint RISM Committee
  • 2024: National Meeting Panel Chair, “Copyright Controversies: Evolutions and Legacies,” 2024
  • 2021–2024: Committee on Communications
  • 2018–2021: Committee on Technology
  • 2015–2017: Committee on Communications
  • 2013–2015: Committee on Membership and Professional Development

• 2024: EarlyMuse (eCOST Action) Short Term Scientific Mission
• 2019: American Musicological Society Thomas Hampson Award for Research and Publication in Classic Song
• 2015: University of Florida, Doctoral Research Fellowship
• 2015: University of Florida School of Music John D’Albora Scholarship for Excellence in Music Scholarship
• 2015: University of Florida Presidential Service Award
• 2013: University of Florida School of Music John D’Albora Scholarship for Excellence in Music Scholarship
• 2013: United States Department of Education Language and Area Studies Fellowship, Italy

Articles

• “Operatic Fandom and Recordings: Some Socio-Philological Perspectives.” The Opera Journal 58, no. 2 (2025).
• “(Digital) Philology for/of Multiple Creative Processes: Considering Notation, Recordings, and Digital Editions.” Proceedings of the 12th International Conference on Digital Libraries for Musicology, September 26, 2025. doi.org/10.1145/3748336.3748338
• “Building an Interpretations-Edition.” In Music Encoding Conference Proceedings 2025, edited by David Lewis, Anna Plaksin, and Sophie Stremel. Knowledge Commons, 2025.  https://doi.org/10.17613/3FH8X-QTM65
• “Musicology, Mind Palaces and Machines.” Performance Research 29, no. 6 (2024): 138–44. https://doi.org/10.1080/13528165.2024.2537581.
• “Toward a Community Model of Scholarly Editing: FAIR/CARE, Research Ethics, & Labour Visibility.” Journal of New Music Research 53, nos. 3–4 (2024): 189–207. https://doi.org/10.1080/09298215.2024.2373049.
• “Modelling Performance – Conceptual Realities vs. Practical Limitations in MEI,” with Richts-Matthaei, Kristina. In Music Encoding Conference Proceedings 2024, edited by Anna Kijas and Margrethe Støkken Bue. Knowledge Commons, 2024. https://works.hcommons.org/records/mb7px-jtd86
• “FAIR/CARE Principles as Normative Ethics in Digital Musicology.” In Book of Abstracts - Dhd2024, edited by Joëlle Weis, Thomas Haider, and Estelle Bunout. Zenodo, 2024. 190-3.  https://doi.org/10.5281/zenodo.10686565
• “Joseph Haydn Werke Metadata: MEI Way.” In Music Encoding Conference Proceedings 2022, edited by Ailynn Ang, Jennifer Bain, and David Weigl, 2022. https://doi.org/10.17613/7hsv-ha95
• “Phenomena, Poiēsis, and Performance Profiling: Creative Process Analysis in Turandot at the Metropolitan Opera.” Empirical Musicology Review 12, no. 3-4 (2017): 248-268. DOI: dx.doi.org/10.18061/emr.v12i3-4.5827
• "Data Generation and Multi-Modal Analysis for Recorded Operatic Performance." Proceedings of the 3rd International Workshop on Digital Libraries for Musicology. New York: ACM International Conference Proceedings Series, ACM Press, 2016. 49-52. DOI: http://dl.acm.org/citation.cfm?id=2970044
   

Editorships

• Proceedings of the 13^th International Conference on Digital Libraries for Musicology. 2026, forthcoming.
• Past Executive Editor. The Opera Journal. National Opera Association. 2024 – 2025.
  • Autumn/Winter 2024: Vol. 57, no. 2.
  • Spring/Summer 2024: Vol. 57, no. 1.
• Executive Editor. The Opera Journal. National Opera Association. 2022 – 2024.
  • Autumn/Winter 2023: Vol. 56, no. 2.
  • Spring/Summer 2023: Vol. 56, no. 1.
  • Autumn/Winter 2022: Vol. 55, no. 2.
  • Spring/Summer 2022: Vol. 55, no. 1.
     

Book Chapters

• "Whatever Will Be, Will Be": Gender Equality and the Music of Alfred Hitchcock's
  The Man Who Knew Too Much (1956).” In Anxiety Muted: American Film Music in a Suburban Age, edited by Stanley C. Pelkey and Anthony Bushard. Oxford: Oxford University Press, 2014.
   

Datasets

• Tempo Data from Broadcast Performances of Giacomo Puccini’s Turandot at the Metropolitan Opera, 1961 – 2009. Dryad, Dataset. 2020. DOI: https://doi.org/10.5061/dryad.nk98sf7r3
   

Reviews

• Weihs, Claus, Dietmar Jannach, Igor Vatolkin, and Günter Rudolph. Music Data Analysis: Foundations and Applications. Boca Raton, FL: CRC Press, Taylor & Francis Group, 2017. Music & Letters, 99, no. 3 (August 2018).  https://doi.org/10.1093/ml/gcy060
• Evans, Mark, and Mary Fogarty. Movies, Moves and Music: The Sonic World of Dance Films. Bristol, CT: Equinox Publishing, 2016. Music Reference Services Quarterly 20, no. 1 (March 2017).  https://doi.org/10.1080/10588167.2017.1269592
• Jones, Meg Leta. Ctrl + Z: The Right to Be Forgotten. New York, NY: New York University Press, 2016. Published with the Humanities, Arts, Sciences, and Technology Alliance and Collaboratory, 2016.
• Seaman, Christopher. Inside Conducting. Rochester, NY: University of Rochester Press, 2013. Music Reference Services Quarterly 16, no. 1 (March 2014).  https://doi.org/10.1080/10588167.2014.871963
• Link, Dorothea. Arias for Vincenzo Calvesi: Mozart’s First Ferrando. Middleton, WI: A-R Editions, 2011. "Arias for a Tenor from Mozart's Vienna.” Notes. 70, no. 2: 321-325.
   

Peer Review Reports

• McGinn, Claire. Expressive timing and mechanical instruments: exploring temporal idiomaticity in some music box performances [version 1; peer review: 1 approved with reservations, 2 not approved]. Open Res Europe 2022, 2:113.  https://doi.org/10.21956/openreseurope.16113.r32764

ORCID iD: https://orcid.org/0000-0001-7970-5553