Page - 425 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

Autorenverzeichnis/Authors list 425 a doctoral fellow at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut. From 2008–2011 he worked for the historic preservation service of Baden-Württemberg and in 2010 he co-curated an exhibition on architectural drawings from around 1900 at the Muzeul Naţional Brukenthal in Sibiu, Romania. His publications focus mainly on architecture and cultures of remembrance in Central Europe in the 19th and early 20th centuries. Currently, he is a research fellow at the Department of Eastern European History at Heidelberg University. Elisabeth Theresia Hilscher, musicologist, wrote her university thesis on the history of the “Gesellschaft zur Erforschung der Denkmäler der Tonkunst in Österreich” and has been the editor of numerous volumes of “Austrian” music since 1993. She has worked at the Austrian Academy of Sciences (Commission for Music Research, since 2013 IKM) since 1988. Pres- ently concerned with aspects of music and musical life at the Habsburg courts in Austria and Viennese music history, she has written numerous publications on representation and musical symbols at the Baroque court in Vienna and at the imperial court chapel. Thomas Hochradner, musicologist (University of Music and Dramatic Arts Mozarteum, Salzburg), wrote his university thesis on Matthias Siegmund Biechteler, Maestro di Capella at the Salzburg Archiepiscopal Court in the first half of the 18th century. From 1991 he carried out research work for a revised edition of the Catalogue of Works of Johann Joseph Fux (the first volume of which was published in 2016), initially at the Pannonische Forschungsstelle Oberschützen, and since 1993 at the University Mozarteum. Presently, he is mainly concerned with the history of Baroque Music, traditional Music in Austria and Salzburg’s music history. He has written numerous publications on music history topics from the 17th to 20th centu- ries. Nataša Ivanović graduated in Art History (University of Ljubljana) and finished her stud- ies in 2014 with a doctoral dissertation in Historical Anthropology (Alma Mater Europaea, Institutum Studiorum Humanitatis) in Ljubljana. From 2008–2013 she was employed as an assistant researcher at the France Stele Institute of Art History (Slovenian Academy of Sciences and Arts). In 2013 she cofounded RI19+ (Research Institute for Visual Culture from 19th Century to the Present Day), where she is continuing her scientific research work, which fo- cuses on painting in Central Europe from the 19th to 20th centuries, the methodology of art history and the anthropology of art. She is assistant at the Academy of Fine Arts and Design, University of Ljubljana. Herbert Karner, art historian, wrote his doctoral thesis on the perception of Andrea Pozzo in Central Europe at the University of Vienna. From 1990–1995 he worked as a freelance re- searcher at the Austrian Federal Monuments Authority (Bundesdenkmalamt). Since 1995 he