Since March 2026, Professor of Systematic Musicology at the Institute for Music and Musicology at TU Dortmund University.

2024–2026: Ernst von Siemens Music Foundation Professorship at the Institute for Theater Studies, Department of Musicology, Free University of Berlin

2019–2024: Assistant Professor of Empirical Musicology at the Technical University of Dresden

2023 Habilitation in Musicology at the University of Bayreuth

2015–2019 TemporaryAcademic Advisor, specializing in “Sound,” at the Chair of Digital and Audiovisual Media, Media Studies, University of Bayreuth

Since August 2018: Main Editor of Array, the journal of the International Computer Music Association (ICMA).

June–November 2015: DAAD fellow in the postdoctoral program for early-career researchers with a Ph.D. (Hanyang University, Seoul, South Korea, and IRCAM, Paris, France)

2015 Postdoctoral researcher at the Research Training Group “The Knowledge of the Arts,” Berlin University of the Arts (UdK), Berlin

2014 Ph.D. in Musicology from the Berlin University of the Arts

2011–2013 Elsa Naumann Fellowship from the State of Berlin (doctoral fellowship)

June–October 2011: DAAD short-term fellowship for doctoral candidates for short-term research stays

Oct. – Nov. 2011 CNMAT, UC Berkeley (USA); June–July 2011 IRCAM, Paris (France)

2009–2010 Bachelor’s degree in Audio Communication, Technical University of Berlin

2008 MA in Music and New Technologies, C. Monteverdi Conservatory, Bolzano (I)

2006 Diploma in Flute; C. Monteverdi Conservatory, Bolzano (I)

2005 BA in Advanced Design, Free University of Bolzano, Department of Design and Arts (I)

Doctoral Network “LullabyteDN,” Marie Sklodowska-Curie Actions (EU), network coordination and subproject leadership (Nov. 2022 – June 2027); more information at www.lullabyte.org

“Performance Notes as a Reflection of Musical Performance Practices” (2019 – ongoing); Selected aspects of the project will be presented in the monograph “New Practice of Past Ideals? A Multiperspective Approach to the Conceptual Model of Musical Performance Practice” (2023).

“Berlin Falls Asleep,” a project to collect lullabies; in collaboration with the Berlin State Music Council, the Ethnological Museum Berlin, and the Archive for Endangered Languages at the BBAW (2025–2026).

“EsMUS” Project, in collaboration with Endel Music (Aug. 2022 – Aug. 2023)

Visiting Group Workshop “The Future of Musical Knowledge in the Age of Machine Learning,” at the Center for Interdisciplinary Research (ZIF), Bielefeld, in collaboration with Dr. N. Braguinski (HU Berlin) and Prof. Dr. E. Bell (Durham University, UK) (April 2023).

“LullabytePRE” Project, kickoff to investigate the effects of music on sleep, in collaboration with M. Dresler, Radboud University (NL) and Dirk Pflüger (University of Stuttgart) (Jan. 2021 – Feb. 2023)

Upcoming: Symposium on Archiving and Reperforming Electroacoustic Music (AREM 2026) on November 27 and 28, 2026. More information to follow.

January 27 and 30, 2026: Lecture and concert by Sote (aka Ata Ebtekar) in cooperation with CTM2026.

December 6 and 7, 2025: “Anonymous Interactions”concert in collaboration with the Singakademie Dresden and Brazilian composer José Padovani.

July 4, 2025: Lullabyte Sleep Concert, ZKU Berlin

June 30–July 4, 2025: Lullabyte Summer School at the FUB Berlin

June 29, 2025: Concert at the Kontakte Festival, Academy of Arts Berlin, in cooperation with AdK Berlin and DEGEM.

November 29 and 20, 2024: Symposium“Archiving and Reperforming Electroacoustic Music (AREM),”Berlin

September 28, 2024: Symposium “Futurisms. Perspectives on Emerging Forms of Experimental Music,” in collaboration with Prof. N. Hein, MH Lübeck, funded by DEGEM.

July 17–18, 2024: Symposium “(Virtual) Presence!? Musical Performances in Hybrid Spaces,”Berlin

December 2023: Symposium “Artistic and Artificial? – Current Perspectives on Artificial Intelligence and Music,” in collaboration with Prof. N. Hein, ZKM Karlsruhe, funded by DEGEM.

December 2022:“AREM2022,”Dresden/online, TU Dresden in cooperation with SLUB Dresden.

September 2024 “Music and Tacit Knowledge” in collaboration with Chrysie Nanou (University of Cambridge), TEDA Conference: Tacit Engagement in the Digital Age 2024, Cambridge (UK);
Panelists: Steve Benford (University of Nottingham), Rebekka Fiebrink (University of the Arts, London), Eammonn Bell (Durham University).

July 2021 “Diversity in Computer Music”—Organized the panel in collaboration with Dr. Christopher Haworth (University of Birmingham) and Prof. PerMagnus Lindborg (City University of Hong Kong), ICMC2020/2021, online/Santiago de Chile (CHL).

Monographs:

• Akkermann, M. New Practice of Past Ideals? A Multiperspective Approach to the Conceptual Model of “Musical Performance Practice, ” habilitation thesis, publication in preparation.
• Akkermann, M. Between Improvisation and Algorithm: David Wessel, Karlheinz Essl, and Georg Hajdu, Forum Musikwissenschaft series, vol. 10, Edition Argus, Schliengen 2017.

Book chapters (selection):

• Akkermann, M. “Computer Music,” in: Wißmann, F., B. Alge, and W. Auhagen (eds.), Series: Kompendien Musik, Vol. 1, Laaber-Verlag 2026, pp. 338–347.
• Akkermann, M. “From Analog to Digital—Early Music on New Paths,” in: Veronika Keller, Corinna Herr, and Wolfgang Fuhrmann (eds.), Roles and Functions of Music in the Digital Age, Nomos , 2025, pp. 271–284.
• Akkermann, M. “Composing Music Inside Out: Concepts between Instrument and Composition,” in: G. Toro-Perez et al. (Eds.),Performing Live Electronic Music, Wolke 2024, pp. 137–150.
• Akkermann, M.“Tech-talk in Oral History: Tracing, Catching, and Capturing Information on Music Technology,”in: Carsten Junker (ed.), *Inspecting the Interview*, series : *Diskursmuster/Discourse Pattern*, vol. 25, De Gruyter, Berlin 2024, pp. 249–266; https://doi.org/10.1515/9783111086484.
• Akkermann, M. “Analyzing Mixed Music—Analysis as a Link Between Source and Performance,” in: Asmus, B. (ed.),Analysis & Interpretation, Stuttgart Musicological Writings, vol. 7, Schott, Mainz 2024, pp. 133–143.
• Akkermann, M. “Musical Agents: Programs as Musical Co-Actors on Stage,” in: Catani, S. and J. Pfeiffer (eds.), Handbook of AI and the Arts, De Gruyter 2023, DOI: 10.1515/9783110656978-029.
• Akkermann, M. “Composing AI: Forms of Expression, Ideas, Visions,” in: R. Jordan and R. Gross (eds.) , AI Realities,transcript 2023, DOI: 10.1515/9783839466605; and in Oh, Hee Sook (ed.), Music and Technology in the Age of AI, Taerim Score, Seoul 2024, pp. 302–319.
• Akkermann, M. “Archiving Music—Preserving (Digital) Musical Instruments,” in: Brillmayer, B. (ed.), Electronic Musical Instruments in Collection Context, “Klang und Begriff” series, Schott 2022, pp. 83–98.
• Akkermann, M. “(Musical) Instrument (in) the Computer,” in: Münzmay, A. et al. (eds.), Building Bridges Between Computer Science and Musicology. Theoretical and Practical Aspects of Cooperation, musiconn. publish, Detmold 2020, pp. 125–140, DOI: 10.25366/2020.102.
• Akkermann, M. “New Versions, New Authors: Archive Growth Through Technological Development,” in: Schrör, S., et al. (eds.), Tipping Points. Interdisciplinary Approaches to New Issues in Copyright Law, Nomos , Baden-Baden 2020, pp. 241–252 , DOI: 10.5771/9783748910664.
• Dang, S.-M. and M. Akkermann,“Intersectionality, Music, and Sound in Film: The Case of *Watermelon Woman*,” in: Knaus, K. et al. (eds.), Marginalization—Empowerment. Intersectionality and Mediality in the Contemporary Music Industry, Society for Music Research Yearbook: Music and Gender, Vol. 12, Olms, Hildesheim 2020, pp. 119–138.
• Akkermann, M., “Sounding Gestures: Sonification Between Art and Research,” in: Julia Schröder (ed.), Sonification: Transfer into the Musical. Program Book for the Festival “Sonifications—Sounding Data Streams,” Wolke 2017, pp. 87–89.
• Akkermann, M. “Composing an Instrument—Improvising a Composition. David Wessel’s *Contacts Turbulents*,” in: Alain Bonardi et al. (eds.), *Analyser la musique mixte*, Delatour, Paris 2017, pp. 121–134.

Articles in scholarly journals (selection):

• Akkermann, M. “Then and Now. Musical Needs and Intelligent Tools,” in: Proceedings of the International Computer Music Conference ICMC 2025, Boston (USA).
• Akkermann, M.“A Matter of Sources,” MAP – Media, Archive, Performance #14 (2024), guest editors : A. Dekker and G. Giannachi.
• Akkermann, M. “A Moment in Experience: On the Installation Works of Franz Martin Olbrisch,” in: Musik-Konzepte. Franz Martin Olbrisch 203 (1/2024), pp. 52–67.
• Akkermann, M. “Music is in the air. Sounding performances in hybrid and virtual space,” in: Array 2022,
  pp. 46–51. DOI: 10.25370/array.v2022.
• Akkermann, M.“Systematizing (at) the present for the future. Reflections on archiving electroacoustic music,”in: Archival notes 6 (2021), pp. 77–85.
• Akkermann, M. et al., Commentary “Sound sleep: lullabies as a test case to study biological vs. cultural aspects of music,” Behavior and Brain Sciences 44, 2021, e96, DOI: 10.1017/S0140525X20001259; preprint.
• Akkermann, M. and D. Heßler.“From Rhythm to Rule to Space and Back—On Rhythm and Entrainment in the Gameplay of Donkey Konga, Vib-Ribbon, and Rayman Legends,”in: PAIDIA, Special Issue “The Ear Plays Along! Sound in Computer Games,” 2019.
• Akkermann, M.“Historic (informed) performance practice in computer music: Necessity or outrage?” in: Emille Journal, 14 (2016), pp. 7–12.
• Akkermann, M. “(Re-)Performing Early Mixed Music from the 1980s at IRCAM: Pierre Boulez’s *Dialogue de l’ombre double*,” in: *Circuit*, 26/2, Montreal 2016, pp. 51–62; DOI: 10.7202/1037303ar.

Conference Papers (Selection):

• Akkermann, M. “Making Music in hybrid performance settings,” in Proceedings of the International Electroacoustic Music Studies Network Conference EMS, Paris, November 2025; Permalink: https://zenodo.org/communities/electroacoustic-music-studies-network
• Akkermann, M. “Changing terms – naming categories. A systematic approach to performance information,” in: Proceedings of the International Computer Music Conference ICMC 2024, Seoul 2024, e-book, Ann Arbor, Michigan Publishing Services, 2024, https://hdl.handle.net/2027/fulcrum.2227ms73r, pp. 198–201.
• Akkermann, M. “Sounds under control – interacting with technology,” in: Proceedings of the International Computer Music Conference ICMC 2023, Shenzhen 2023, https://hdl.handle.net/2027/fulcrum.tx31qm85s, pp. 92–95.
• Akkermann, M. “Performance Information in Mixed Music—Systematic Challenges as Indicators of Trends in Musical Practice.” DHD2022, Potsdam/online, 2022.
• Akkermann, M. “Vocabulary Ruts in Mixed Music—Multifarious Terms with Many Ascriptions,” in: Proceedings of the International Computer Music Conference ICMC 2020/2021. 10.5281/zenodo.4161673.
• Akkermann, M. “What is saved? Considerations on documenting, archiving, and (re-)performing computer music,” in: Proceedings of the International Computer Music Conference (ICMC), New York 2019, 10.5281/zenodo.3484546.
• Akkermann, M. “Is this how it sounded? The idea of ‘historically informed performance practice’ in early mixed music,” in: Proceedings of the International Computer Music Conference (ICMC), Daegu 2018, hdl.handle.net/2027/spo.bbp2372.2018.008.
• Akkermann, M.“Beyond Practice? Tracing cultural preferences in mixed music performances,”in: EMSProceedings 2017.
• Akkermann, M. “This hardware is now obsolete. Marc-Andre Dalbavie’s Diadèmes, ”in: Proceedings of the International Computer Music Conference (ICMC), Shanghai 2017, hdl.handle.net/2027/spo.bbp2372.2017.021.

Preprint Papers:

• Bell, E., Braguinski, N., CASINI, L., Hardjowirogo, S.-I., Huang, S. R., White, C., and Akkermann, M. “The Future of Musical Knowledge in the Age of Machine Learning. Zenodo.” Preprint, Zenodo 2024. DOI: 10.5281/zenodo.14537184.

Co-Authored Papers and Other Publications:

• Akkaya, U. C., P. Petrenko, and M. Akkermann, “Guidelines for Setting Up an EEG Device in a Home Environment: Instructional Videos,” OSF, October 22, 2024, osf.io/q9wra/ (November 3, 2024).
• Cagatay Demirel, Ugur Can Akkaya, Marc Schwartz-Palleja, Miriam Akkermann, Dirk Pflueger, Martin Dresler, “Enhanced cortical sensitivity to musical transitions in theta and sigma bands across vast cortical parcels during SWS and REM sleep: Evidence from source-level EEG,” Journal of Sleep Research 33 (2024), Wiley.

Editors (selection):

• Akkermann, M. (Ed.), Array2025. 50 Years ICMC, (upcoming).
• Akkermann, M. (Ed.), Array2024. (Virtual) Presence in Hybrid Spaces, DOI: 10.25370/array.v2024.
• Akkermann, M. and S. Deal (eds.), Array2023. Flux. Computer Music in the Anthropocene, DOI : 10.25370/array.v2023.
• Akkermann, M. (Ed.), Array2022. Space – a frontier, musiconn .publish, DOI: 10.25370/array.v2022.
• Akkermann, M., C. Haworth, and P.-M. Lindborg (eds.), Array2021. Diversity, Pluralism – Equity? musiconn.publish, DOI: 10.25370/array.v2021.1.
• Akkermann, M. (ed.), Array2020. Archiving, musiconn.publish, DOI: 10.25370/array.v2020.
• Gottfried, R., and Akkermann, M. (eds.), Array2019. Agency, DOI: 10.25532/OPARA-46.
• Akkermann, M., U. Endesfelder, P. Kanske, and K. Wiegandt (eds.), Special issue, Interdisciplinary Science Review, 34/2 (2018),“Empathy and Understanding Others.”

Program notes:

• Mehner, T., in an interview with M. Akkermann. “Closing the Gaps in Knowledge,” catalog of the rainy days festival, Philharmonie Luxembourg, 2023, pp. 144–146
• Akkermann, M.“Experiencing Sounds—Beyond Hearing,”text for the catalog of the rainy days festival, Philharmonie Luxembourg, 2022, pp. 194–197.
• Akkermann, M. “Spatial Compositions,” text for the program booklet of the concert “Heldendämmerung—A Twilight Over Iridescent Acoustic Landscapes” as part of the Bern Music Festival 2022.

Blogs/Newspaper Articles:

• Pflüger, D., Akkermann, M., and R. Winkelmann. “Down to the Smallest Detail,” blog “Expedition Anthropocene,” Frankfurter Allgemeine Zeitung, March 28, 2020, blogs.faz.net/expedition/2020/03/28/bis-ins-kleinste-detail-71/ ( March 2, 2021).
• Akkermann, M., and R. Winkelmann. “Hearing What’s There,” Expedition Anthropocene blog, Frankfurter Allgemeine Zeitung, February 28, 2020, blogs.faz.net/expedition/2020/02/28/hoeren-was-da-ist-37/ (March 2, 2021).

Science Communication (Selection):

• The Young Academy (ed.), Expedition Anthropocene, 2024.
• Esche, B., and Akkermann, M. (eds.), The Good in the Bad, Calendar, Mitte-Rand, Berlin 2020.
• Akkermann, M. and Kanske, P. (eds.), Changing Perspectives, calendar, Thorbecke 2019.
• Battegay, C. and Akkermann, M. (eds.), JAM 25, Academic Freedom, Young Academy Magazine, 2018.

Essays (selection):

• Akkermann, M. “Art Lies in Between,” Young Academy Magazine 27 “Role Reversal,” Berlin 2020, magazin.diejungeakademie.de/?page_id=1738 (Nov. 17, 2020).
• M. Akkermann. “Sound of Paper,” MAP - Media, Archive, Performance: Research on Media, Art, and Performance 9 (2018), https://nbn-resolving.org/urn:nbn:de:bsz:14-qucosa2-751194.
  
  

• Miriam Akkermann in conversation with Axel Dorloff about music and sleep, RBB Inforadio, (Feb. 2, 2025), 35 min.
• WDR5: Quarks (starting at 1:14:30) (January 13, 2025)
• Tagesspiegel (November 27, 2024)
• Björn Gottstein in conversation with Miriam Akkermann for the Ernst von Siemens Music Foundation, www.evs-musikstiftung.ch/de/miriam-akkermann-im-interview.html (November 3, 2024).
• ScienceNotes @ Silbersalz (November 1, 2024, Halle)
• Monika Voithofer in conversation with Miriam Akkermann. “Every Change of Perspective Is Good,” Neue Zeitschrift für Musik 3 (2024), pp. 10–12. https://musikderzeit.de/artikel/jeder-perspektivwechsel-ist-gut/ (October 3, 2024)
• Guest on ArtHistoCast with Jacqueline Klusik-Eckert: Generative AI Models and Research Data (June 6, 2024)