Curriculum vitæ (English)

the Full Activity Report

Márta Grabócz 

Born in 1952 in BUDAPEST (Hungary)

Nationality: French, Hungarian

Single (one child born in 1999)

Position: Professor

University of Strasbourg

EA 3402 ACCRA  (Approches contemporaines de la création et de la réflexion artistiques) and GREAM


Email address Work address Université de STRASBOURG
Faculté des Arts, 14 rue Descartes67084 STRASBOURG cedex

I/ Education, qualification, career

1979: Musicology degree from the F. Liszt Academy of Music, Budapest

1977-1990: Trainee assistant, then research scholar at the Institute of Musicology at the Hungarian Academy of Sciences (Budapest). Worked in the Esthétique et de Théorie Musicales department and the 20e siècle department, under József Ujfalussy.

1980-1982: Eighteen month residency in France as part of doctoral research after obtaining a musicology degree from the F. Liszt Academy, Budapest in 1980 (enrolled on the doctorate programme in Paris I and Paris VIII); courses taken: Daniel Charles; M. Guiomar, I. Xenakis; M. Battier; F-B. Mâche. Courses/conferences taken at IRCAM.

1984-1989: Numerous invitations to present papers at academic seminars in international symposiums in France (Paris, Lyon, Rouen), Finland and Italy.

24 May 1985: Defense of the PHD degree at the University of Paris I, supervised by M. Michel Guiomar. Thesis title: « Influence du programme dur l’évolution des formes instrumentales. Morphologie des œuvres pour piano de F. Liszt » [Specialism "esthétique et sciences de l’art"].

1986‑1989*: Organiser and director of the first digital music workshop in Hungary on research, education and composition for the new generation of Hungarian composers within the Institute of Musicology. From 1990, the funding for the workshop was withdrawn. From 1992 the workshop was incorporated into the digital music education programme at the Ferenc Liszt Academy/University.

December 1989: Hungarian academic qualification awarded by the Hungarian Academy of Sciences, entitled « Doctoral candidacy ». This Hungarian degree stands between a university degree and a doctorate, currently replaced by another degree equivalent to European categories.

March-July 1990: visiting lecturer at the University of Paris VIII, undertaking seminars (in contemporary music and musical signification/semiotics) in DEA, at the invitation of Professor Daniel Charles.

November 1990-July 1991: visiting researcher at CIREM (9 month grant from the Ministry of Culture and Large Scale Works), to compile a study on questions of the aesthetics of electro-acoustic music produced in France.

September 1991: appointed Senior Lecturer (probationer until the academic year 1993, awarded tenure from October 1993) at the University of Social Sciences, Strasbourg (II).

1992-1997: Junior Lecturer in musical analysis and an introduction to musical semiotics at the University of Paris VIII;

13 December 1993: Supervised research viva, University of Paris I, supervised by M. Costin Miereanu. Title: « Les trois modes d’existence de la narrativité en musique  ». Members of the examining board: M. BIGET-MAINFROY, F. ESCAL, M. GUIOMAR, D. CHARLES, F.-B. MÂCHE, C. MIEREANU.

September 1995: appointed lecturer at USHS (Strasbourg II), from 2001: Marc Bloch University, Strasbourg; currently: University of Strasbourg.

December 1997: became a French citizen.

From 1997-2001: organiser and director of the JE 2004 (UFR, ARTS, UMB Strasbourg) research team entitled New methods in musicology.

1997-1999: lecturer in the IRCAM-EHESS doctoral training programme, supervised by Hugues Dufourt (20th Century doctoral training).

September 2000-August 2002: on secondment to CNRS, part of UMR 8592. Director: Costin Miereanu.

2001-2002*: in charge of the Music branch of the UMB Arts EA 3402 Contemporary Approaches to music and musicology team.

Between October 2002 and 2005: participated in teaching at the EHESS-IRCAM Doctoral College (member of the 20th Century doctoral training education team; provided seminars until 2005).

2003-2011*: director of all three branches (Music; Visual Arts; Performing Arts) of EA 3402 Contemporary approaches to music and musicology at UMB, Strasbourg (36 members and 75 doctoral students). The programme had financial aid but was run entirely without administrative support.

October 2009: appointed as senior member of the Institute Universitaire de France.

From 2011*: director of the LABEX GREAM (University of Strasbourg) branch n°2: Approches sémiotiques et esthétiques de l’acte musical.

Research work supervision:

Supervised research projects (HDR): 3 (+1 in progress)

Supervised theses: 9 (10th in 2014)

Participation in supervision examining boards: 32 examining boards France or abroad;

Number of registered candidates in 2013: 7 doctoral students


II/ Prizes, honours

From October 2009: senior member of the IUF (University Institute of France) for five years.

15 March 2010: received the Szabolcsi prize from the Hungarian Ministry of Culture (the top level of distinction from the Hungarian Ministry of Culture).

May 2011: Appointed chevalier of the Order for Services to Education (Ministry of Higher Education and Research, France).

III/ Influence : activities and academic responsibilit at national and international level

1/ National and International academic committees:

From 1986: member of the Projet International de la Signification musicale (ICMS Conference held in Europe biennially), a project initiated by E. Tarasti at the University of Helsinki.

From 1994: permanent member of the academic committee of the European biennial ICMS [the International Congress on Musical Signification] conference.

From 2010: key-note speaker at the ICMS conference.

1998-2003: appointed member of the Academic Committee of UMR 9912 IRCAM‑CNRS.

From 1999: member of the IASS [the International Association for Semiotic Studies].

1999-2008: member of the IASS executive committee.

From 1992: occasional participation at the Paris Inter-semiotic seminars.

1992- present: member of the APMESU [the Association of higher education lecturers in music and musicology] director from 1994-97).

From 2012: member of the ENN [European Narratology Network].

From 2013: founder member of the IASS Working Group of Theoretical Semiotics.


2/ Responsibility at international conferences – Organiser of several thematic sessions at international conferences:

(half days or full days). 2001: ICMS 7, Helsinki: « Narrativity and Instrumental interpretation » (6 colleagues from 5 countries); 2002: IMS 17 Louvain, Belgium [International Musicological Society]: « Narrativity, Signification and Performance in Music » (6 colleagues from 4 countries); 2007:  IMS 18, Zürich, « Narrativity and Music. Tools for a Transdisciplinary Analysis »; 2007: IASS, conference N°9, Helsinki, « Recent Theories in Musical Narratology ».


3/ Co-organiser of international colloquia:

2004: IRCAM – Univ. of Strasbourg, « Le travail de l’interprétation »; 2006: Strasbourg and Paris VIII: « La musique de Gy. Kurtàg », Paris, Hungarian Institute; 2010 Paris: International Exchanges on Music Theory and Performance N°1, with Zelia Chueke (Brazil) and Strasbourg, on Performance and Analysis; 2013 Paris:  « Music Workshop », as part of the 3rd Conference of ENN [European Narratology Network]: “Emerging Vectors of Narratology”, IUF, in collaboration with CRAL, EHESS, John Pier. Event title: “What Kind of Narrative Theory for Musical Narratology?


4/ Organiser of international colloquia:

1/ 26-27 Sept. 2011 – International F. Liszt colloquium, Strasbourg, Sept. 2011 (within the context of the F. Liszt triple conference, France, 2011); (2 days, 37 participants).

2/ 6-7 Dec. 2012 – 1st International Narratology and the Arts Convention, Paris (2 days; 26 participants from 12 countries). Title: « Approches  narratologiques, sémiotiques et trans-médiatiques« .

3/ 23-24 March 2012, CDMC, Paris, « Modèles naturels et scénarios imaginaires dans la musique de P. Eôtvôs, F -B. Mâche, J-C. Risset ».

4/ 26 April 2013, CDMC Paris, « Les œuvres de Kaija Saariaho –  entre inspiration visuelle et influence littéraire ».

5/ 5-7 Dec. 2013: 2nd International Narratology and the Arts Convention; Strasbourg, European Doctoral College; (35 colleagues from 15 countries). [Subject: see the full 48 page report].


5/ Member of numerous learned societies overseas and in France:

Musicological Society of Hungary; Member of the IASS; the International Musicological Society (IMS); the European Society for Cognitive Sciences in Music (ESCOM); the Semioticians Association in Hungary; the ILW and the ILS: International Liszt Workshop (set up in preparation for the bicentennial of the birth of F. Liszt) and from 2011: the International Liszt Society, Weimar; committee member of the French F. Liszt Society; French Musicological Society (SFM); European Network of Narratology (ENN); from 2013: member of the International Working Group of Theoretical Semiotics of IASS.


6/ Invitations from foreign institutions (universities):

Numerous invitations since 1995, for example, to lecture on the specialist areas of  » narratologie et sémiotique musicale » and/or:  » signification musicale », and also French and Hungarian contemporary music.

In Finland: 1990, 2001, 2004, 2010; at the International Doctoral and Post-Doctoral Seminar on Musical Semiotics, University of Helsinki).

In Hungary/1: 1995, 1998, 1999, [2014 in preparation]: Doctoral College of Musicology, F. Liszt Academy/University.

In Hungary/2: 2013: Moholy-Nagy University of Art and Design, Budapest: Doctoral College.

In Spain: 2008, 2009: visiting professor at the VIth and VIIth Musical Analysis Course and International Conference on Musical Signification at the University of Menendez Pelayo in Cuenca.

In Colombia [2013: Universidad Pedagógica Nacional de Colombia  (in Bogotà) (visit postponed to Sept. 2014)]


7/ Expertise – numerous commitments (several examples – see also the full report p.39-40)

From 1997-2002: member of the experts committee of the Research Ministry (DGS6) in France, responsible for the assessment of other EAs [RG] of French universities.

In 2007-2009: member of the panel of judges for the International Interdisciplinary Musicology Conferences (international CIM networks).

From Dec. 2009, also 2010, 2013: member of the international experts committee created by the Hungarian Academy of Sciences responsible for the annual or biennial assessment of the work of the Musicological Institute in Hungary. (unpaid).

From 2010: thesis assessment expert (reporter) at the University of Helsinki (PISM network: International Musical Signification Project);

2010: expert’s report on the « Cognition and Semiotics » collection of the Walter de Gruyter family, Berlin.

From 2009: Prix Hungarica, (France).

From 2013: Research in Paris.

Others, see Activity report, p. 39-41.


8/ Theses examining boards and specialist committees:

Participation in 32 thesis and supervised research examining boards;

Participation in numerous academic and specialist boards (see the full report: p. 40-41).

Supervision of theses and supervised research: 13 [supervised research: 3 (4th in preparation for 2014)].


9/Editorial responsibilities

 From 2011: editor of the new « Musique/Music Studies » series for Éditions des Archives Contemporaines, Paris.

Joint-editor of the « Perspectives musicologiques contemporaines » series for éditions l’Harmattan.

Member of journal editorial boards: Studia Musicologica, (trilingual international journal, Hungary);

Cahiers de F. Schubert, Strasbourg (until 2005); Paon dHéra Journal, Dijon; « Y obra » Journal, Universidad Pedagogica, Bogotà, Colombia; Filigrane Journal, France; TACET Journal for contemporary music; Consultant on the Analyse Musicale Journal (Liszt, Chopin, etc. issues).


IV/ Academic activity


1/ Research unit and research group supervision

1986-1990: initiator and director the first digital music workshop in Hungary (for research, education and composition) in the context of the Academy of Science (corresponding to the French CNRS), Musicology Institute;

1997-2001: initiator and Head of Department the USHE University Youth Team JE 2114 (Strasbourg). Title of the JE:  » Méthodes nouvelles en musicologie »;

2002: creation of EA 3402 « Approches contemporaines de la création et de la réflexion artistiques » (ACCRA), in Strasbourg. Director of the Music team;

2003-2011, Head of Department for EA 3402 ACCRA « Approches contemporaines de la création et de la réflexion artistiques » of Marc Bloch University, Strasbourg. (From 2006: the team had 35 researchers and 65-70 doctoral students). The work as Head of Department was carried out without administrative support (Secretarial support for financial management only).

2011: creation of LABEX GREAM at the University of Strasbourg (dir.: Pierre Michel) following the appointment of Marta Grabocz to the IUF and the awarding of an ANR funded Ethomusicology project run by Mondher Ayari.

From 2011: responsibilities within LABEX GREAM: A/ responsible for LABEX group n°2: « Approches sémiotiques et esthétiques de l’acte musical »; B/responsible for the publication –  with the aid of the IUF and a contribution from its budget! – of the texts of contemporary composers (see the following entry: V/C, explained at VI/2).


2/ Responsibilities within the University of Strasbourg (a selection)

Director of  the DEA, then the Music Master’s degree programme from 1993-2008; member of the UFR Arts Board (Arts, Literature, Language) from 2009-2013; member of the UDS  Humanities Doctoral College: 2004-2010; from 1998, ongoing: responsible for organising conferences on music-musicology as part of JE 2114, then EA 3402 and the UFR Arts Inter-Arts seminar for the UDS, a number (14) of conferences and conventions, organised events (see the full activity report, p. 43-44).


V/ National and international activity initiated by Marta Grabocz since being appointed to the IUF (from 2009-2010)

A/ International annual (or biennial) conventions devoted to the question of the relationships between « narratology and the arts ».

Conventions entitled:  » L’art comme texte. Approches narratologiques, sémiotiques, trans-médiatiques »:

1st convention: 7-8 December 2012, Hungarian Institute, Paris (Paris 6th) – 24 participants from 11 countries.

2nd convention: 5-7 December 2013, European Doctoral College, University of Strasbourg – 36 participants from 13 countries.

B/ Annual international conventions dedicated to an absent and unexplored aspect of contemporary music; that of the extra-musical influences and patterns on contemporary works; events at the CDMC (Centre de Documentation de la Musique Contemporaines, Paris, Cité de la Musique).

1/ First colloquium: 23-24 March 2012: « Modèles naturels et scénarios imaginaires dans les œuvres de P. Eötvös, F.-B. Mâche et J.-C. Risset » (25 participants).

2/ Second colloquium: 26 April 2013: « Les œuvres de Kaija Saariaho entre inspiration visuelle et influence littéraire » (13 participants and the composer).

3/ Third colloquium to come in 2014: 28-29 Nov. 2014: « Influence des théories scientifiques sur le renouvellement des formes musicales contemporaines » (event in the presence of composers and academics).


C/ Series of books (collection) devoted to the texts of contemporary composers:

    (See VI/2 above)


VI/ Work, Books, and Articles: (see the separate 18 page list of publications [global CV])


A/Books written:

1/ Morphologie des œuvres pour piano de F. Liszt, Paris, Ed. KIME, 1996; (1st edition: 1987, Budapest, MTA Institut de Musicologie de l’Académie des sciences de Hongrie)

2/ Zene és narrativitàs [Music and narrativity], Jelenkor, Pécs, 2004, (250 pages)

3/ Musique, narrativité, signification, L’Harmattan, Paris, 2009, (380 pages)

4/ Entre naturalisme sonore et synthèse en temps réel : images et expression dans la musique contemporaine, (300 pages), Editions des Archives Contemporaines, December 2013

B/Editorship of collective works: (+4 in preparation)

1/ Les Modèles dans lart (Musique, peinture, cinéma). Presses Universitaires de Strasbourg, 1997 (230 pages)

2/ Méthodes nouvelles ‑ musiques nouvelles. Musicologie et création. Presses Universitaires de Strasbourg, January 2000, 320 pages

3/ Sens et signification en musique, Ed. Hermann, Sept.2007, (300 pages)

4/ Co-edited with Jean-Paul Olive: Gestes, fragments et timbres : la musique de György Kurtág, Actes du colloque « Kurtág » de 2006, L’Harmattan, 2009, (300 pages)

5/ Les opéras de Peter Eötvös entre Orient et Occident, edited by Marta Grabocz, Editions des Archives contemporaines, 2012, (200 pages)

6/ Des temporalités multiples aux bruissements du silence. Daniel Charles in memoriam. Edited by Márta Grabócz and Geneviève Mathon, Hermann, November 2013, (440 pages)

7/ Festschrift (Tanulmànykötet: [Collection of texts]) à la mémoire de Jozsef Ujfalussy ; edited by M. Berlàsz and M. Grabocz, Budapest, L’Harmattan, Hungary, February 2014, (400 pages) (book deposited in December 2013)

8/ Pre-publication in April 2014: Théorie et pratique de la narratologie musicale, ed./ Marta Grabocz, collection of 24 articles by international and French authors, Paris, EAC, 2014

To come in 2014-2015:

(1) Les topiques littéraires du XIXe siècle et la musique de F. Liszt. Proceedings of the colloquium organised at the University of Strasbourg, 26-27 Sept. 2011. To come: Hermann, 2014

(2) Modèles naturels et scénarios imaginaires dans les œuvres de P. Eötvös, F. -B. Mâche et J.-C. Risset, proceedings of the CDMC events, 23-24 March 2014, to come in 2014

(3) Les œuvres de Kaija Saariaho entre inspiration visuelle et influence littéraire, proceedings of the colloquium organised at the CDMC on 26 April 2013, to come in 2014

C/ Co-editor of journal issues

1/ Co-editor of N°11 of the journal Filigrane « New Musicology. Critical perspectives « , Paris, Delatour, 2010 (Co-editor: Makis Solomos)

2/ Joint responsibility for the journal Analyse Musicale, N°65, special issue 200th Anniversary of F. Liszt, September 2011

2/ Collection of books initiated and edited by Marta Grabócz with the aid of the IUF: Texts by contemporary composers (with various editors)

1/ François-Bernard Mâche: Cent opus et leurs échos, L’Harmattan, Paris

2/ Jean-Claude Risset: Composer le son. Repères dune exploration du monde sonore numérique, Écrits, Volume 1, Paris, Hermann, March 2014 (book deposited)

To come:

3/ Péter Eötvös and Pedro Amaral: Parlando rubato…Entretiens, monologues et autres déambulations (250 pages), Editions des Archives contemporaines, 2014

4/ Texts by Marco Stroppa: Les conférences du séminaire Bartók, [Szombathely, Hongrie] (Hermann, Paris 2014)

5/ Texts by Philippe Manoury (2014-2015)

6/ Texts by Hugues Dufourt (2015)

3/ Academic articles: 150 articles in total; (see the description in the 48 page activity report)

VII/ Validation: conferences recorded from 2011 (video and/or audio) see pages 47-48 of the full activity report.

the Full Activity Report