What makes a Bachelor researcher fantastic

Dr. Thorsten Hindrichs

Phone: 39-20096
Email: [email protected]
Consultation hours and study advice: Tue 2 pm-4pm and by appointment

In order to keep the risk of infection as low as possible for everyone involved and to slow down the spread of the corona virus, from now on all teachers and all employees of the musicology department will work in the 'home office' and are only there during normal business hours reachable by email.

From now on, all office hours of the individual lecturers, the study office, the examinations office for art history & musicology as well as the course advisory service will only be carried out by telephone (by prior arrangement by e-mail).

The secretariat of the musicology department can temporarily only be reached by email!

curriculum vitae

  • born in 1969
  • High school diploma in 1988
  • Community service 1988-1990, then a nursing assistant, barman and taxi driver
  • from 1994 studies in Cologne, Perugia and Mainz (musicology, Italian philology and special education)
  • 2001 Magister Artium: Philipp de Monte - composer and conductor at the Habsburg court (1568-1603)
  • Since January 2002 research assistant at the musicology department at JGU
  • WS 2004 to WS 2006: Lecturer at the University of Applied Sciences for Business Management (WHU), Vallendar
  • 2007 Doctorate to Dr. phil. (Dissertation: Between 'empty Klimperey' and 'real art' - studies of guitar music in Germany around 1800)
  • Since 2012 responsible for the research project "Music and Youth Cultures"
  • Since 2015 member of the "Advisory Network against Right-Wing Extremism" of the State of Rhineland-Palatinate
  • Since 2017 advisory board in the competence center for popular music Rhineland-Palatinate - pop rlp

Research priorities

  • Right: rock, music and youth cultures, guitar music, music and musical life of the Renaissance



  • Schwarz Rot Pop - Pop music in the echo room of right-wing populism, Mainz: Ventil Verlag (= testcard dwarf fruit), in preparation.
  • One Nation Under a Groove - 'Nation' as a category of popular music, Bielefeld: transcript 2020 (= contributions to popular music research 46) [together with Ralf von Appen].
  • Hobsbawm, Newton and Jazz - On the relationship between music and historiography, Paderborn: Schöningh 2016 [together with Andreas Linsenmann].
    Reviewed for H-Soz-Kult by Andrew Wright Hurley on June 2, 2017
  • Between 'empty Klimperey' and 'real art' - guitar music in Germany around 1800, Münster etc .: Waxmann 2012 (= Internationale Hochschulschriften 576).
  • Philipp de Monte (1521–1603) - composer, conductor, correspondent, Göttingen: Hainholz 2002 (= Hainholz Musikwissenschaft 7).


  • "One Day You Will Wish We’d Only Played Music": Some Remarks on Recent Developments of Germany’s RechtsRock Scene, in: Made in Germany - Studies in Popular Music, ed. v. Oliver Seibt, Martin Ringsmut and David-Emil Wickström, London etc .: Routledge 2020 (= Routledge Global Popular Music Series) pp. 145-153.
  • "... it is a lot more enjoyable than going to a political meeting": Why the thought figure of the 'entry drug RechtsRock' is factually wrong and (educational) politically counterproductive, in: Parole (s) - Political dimensions of children's and youth media, ed. v. Caroline Roeder, Stuttgart: Metzler 2020 (= studies on children's and youth literature and media 2), pp. 311-322.
  • [together with Jeanice Brooks] 'Musa Belgica': La musique de Philippe de Monte et le mariage de 1570, in: 1570. Le mariage des arts au coeur des guerres de religion. Actes du colloque de Paris (May 2013), ed. v. Hugues Daussy, Isabelle His and Jean Vignes, Paris 2019, pp. 125-153.
  • Open the hearts of young people with music? A musicological rejection of the continued talk of the 'entry drug music', in: Rechtsrock: Rise and change of neo-Nazi youth culture using the example of Brandenburg, ed. v. Gideon Botsch, Jan Raabe and Christoph Schulze, Berlin: be.bra 2019, pp. 179-193.
  • Forever no home: reflections on 'utopia' and 'home' by Helene Fischer and Frei.Wild, in: Heimat global: Models, practices and media of the construction of home, ed. v. Edoardo Costadura, Klaus Ries and Christiane Wiesenfeldt, Bielefeld: transcript 2019 (= Edition Kulturwissenschaft), pp. 379-397.
  • Notation - writing - image: A musicological perspective on intermediality in the 'Mielich' code, in: Intermediality of image and music, ed. v. Elisabeth Oy-Marra et al., Munich: Fink 2018, pp. 129-138.
  • "Shice on Hiphop". RechtsRap als Crossing ?, in: Crossing - About staging cultural identities and differences, ed. v. Antje Dresen and Florian Freitag, Bielefeld: transcript 2017 (= Edition Kulturwissenschaft 107), pp. 159-176.
  • [together with Andreas Linsenmann] On the relationship between music and historiography - Hobsbawm, Newton and Jazz, in: Hobsbawm, Newton and Jazz - on the relationship between music and historiography, Paderborn: Schöningh 2016, pp. 7-30.
  • On the function of the 'Bond' chord in Conchita Wurst's "Rise Like a Phoenix", in: musica floreat! Jürgen Blume on his 70th birthday, ed. v. Immanuel Ott and Birger Petersen, Mainz: Are 2016 (spectrum music theory 5), pp. 329-341.
  • "Body Count's in the House": Challenging the U.S. Working-Class Metal-Hero, in: Heavy Metal, Gender and Sexuality: Interdisciplinary Approaches, ed. v. Florian Heesch and Niall Scott, London, New York: Routledge 2016 (= Ashgate Popular and Folk Music Series), pp. 109-120.
  • Music and Politics, in: Music in the Culture of the Renaissance, ed. v. Nicole Schwindt, Laaber: Laaber 2015 (= Handbook of the Music of the Renaissance 5), pp. 185-209.
  • Patriots loyal to their homeland and the "land of idiots" - Frei.Wild and the 'new' German rock scene, in: Typically German? (Own) views of popular music in this our country, ed. v. Dietrich Helms and Thomas Phleps, Bielefeld: transcript 2014 (= contributions to popular music research 41), pp. 153-183.
  • Joseph Baumgärtner: A search for traces, in: Mitteilungen der Arbeitsgemeinschaft für Mittelrheinische Musikgeschichte 87 (2013), pp. 99-113.
  • 'Di longa mano apparechiarsi per venir residente' - Reconsidering Filippo di Monte's Longing for Retirement at Cambray, in: Musical Culture of the Bohemian Lands and Central Europe before 1620 (Prague, August 23-26, 2006), ed. v. Jan Baťa, Lenka Hlávková and Jiří K. Kroupa, Prague: KLP 2011 (= Clavis Monumentorum Musicorum Regni Bohemiae, S III), pp. 251-260.
  • Some remarks on Bartolomeo Bortolazzi's guitar school (1805), in: Festschrift Hellmut Federhofer on the 100th birthday, ed. v. Axel Beer in connection with Gernot Gruber and Herbert Schneider, Tutzing: Schneider 2011 (= Mainzer Studien zur Musikwissenschaft 45), pp. 117-129.
  • Towards an Understanding of Filippo di Monte’s Thoughts on Music, in: Journal of the Alamire Foundation 3 (2011), pp. 244-255.
  • Introduction / Guest-Editorial "Philippe de Monte", in: Journal of the Alamire Foundation 3 (2011), pp. 181-183.
  • Orthography, writing style and “science of composition” - Simon Molitor's preface to the “Great Sonata for the guitars alone, as a sample of a better treatment of this instrument”, opus 7 (1807), in: Musiktheorie 23 (2008), pp. 347-360 .
  • Remarks on the political function of the court orchestra in the 16th century using the example of the Habsburg court orchestra under Filippo di Monte, in: Elections and coronations in times of upheaval, ed. v. Ludolf Pelizaeus, Frankfurt am Main etc .: Peter Lang 2008 (= Mainzer Studies on Modern History 23), pp. 89-103.
  • Chasing the 'magic formula' for success - Ralph Siegel and the Grand Prix Eurovision de la Chanson, in: A Song for Europe: Popular Music and Politics in the Eurovision Song Contest, ed. v. Ivan Raykoff and Robert D. Tobin, Aldershot: Ashgate 2007, pp. 49-59.
  • "Vissi d’arte" - Staged inwardness in Puccini's 'Tosca', in: Caecilia - Tosca - Carmen. Breaks and continuities in the relationship between music and world experience, ed. v. Klaus Ley, Tübingen: Francke 2006 (= Mainz research on drama and theater 33), pp. 173-185.
  • The court orchestra of Emperor Maximilian II at the Reichstag in Speyer in 1570 and during his election as Polish king in Vienna in 1576 - On 'musical propaganda' in the early modern period, in: Mitteilungen der Arbeitsgemeinschaft für Mittelrheinische Musikgeschichte 74/75 (2002), p. 191-209.
  • German national tendencies at the beginning of the 20th century. The musicologist Fritz Volbach as an example, in: Music Research - Fascism - National Socialism. Lectures at the Schloss Engers conference (March 8-11, 2000), ed. by Isolde von Foerster, Christoph Hust and Christoph-Hellmut Mahling, Mainz: Are 2001, pp. 65-77.

Lexicon article

  • Hear 'Em All: 150 Metal Records for the Iron Island, ed. v. Frank Schäfer, Mainz: Valve 2018.
    • Body Count (Body Count) «» Uriah Heep (Look At Yourself) «» Steve Vai (Passion and Warfare)
  • Encyclopedia of the Blues, 2 volumes, ed. v. Edward Komara, New York, London: Routledge 2006:
    • Robben Lee Ford, pp. 337f. "" Jonny Lang, p. 583 "" Gary Moore, p. 704.
  • MGG2 (P):
    • Volume 8: Georg Christoph Grosheim, Sp. 77-80 "" Friedrich Hänssler, Sp. 677 "" Günter Henle, Sp. 1298f "" Emil Hertzka, Sp. 1440 "" Max Hesse, Sp. 1483. <> Volume 9: Heinrich Anton and Philipp Carl Hoffmann, Sp. 112f "" Johann Julius, Burchard and Leonard Hummel, Sp. 498-500 "" Friedrich August Kanne [together with Axel Beer], Sp. 1454f. <> Volume 10: František Max Kníže, Col. 346 «» Franz Xaver Cajetan Krebs, Col. 650f. Volume 11: Litolff (Henry Litolff's Verlag), Sp. 314f "" Wenzel Thomas Matiegka, Sp. 1317f. <> Volume 12: Merseburger (music publisher), column 39 "" Simon Molitor, column 312-314 "" Federico Moreno Torroba, column 467f "" Guillaume Morlaye, column 485f. Volume 13: Gian Vincenzo Pinelli, Col. 587f "" Manuel Ponce, Col. 749-751. <> Volume 15: Fernando Sor, Sp. 1072f. Volume 16: Francisco Tárrega Eixea, Sp. 518f "" Antonio de Torres Jurado, Sp. 951f. Volume 17: Robert de Visée, Sp. 44f "" Sylvius Leopold Weiss, Sp. 721-723 "" Narciso Yepes, Sp. 1244 "" Josef Zuth, Sp. 1592f.

Small contributions etc.

  • Right-wing rock in Germany - The Network of Neo-Nazis, documentary film, ZDFinfo 2019 [scientific advice].
  • Between breaking taboos, populism and right-wing rock - the ECHO as a symptom: How the right-wing scene develops its structures through music, in: neue musikzeitung 67, 6/2018, pp. 17-19.
  • The right and their songs, in: School without racism, school with courage - special issue 'right-wing populism', ed. v. Federal coordination SoR-SmC, Berlin 2016, pp. 47-49.
  • An institution between representation and power. The University of Music and Performing Arts Vienna in the cultural life of National Socialism, ed. v. Juri Giannini, Maximilian Haas and Erwin Strouhal, Vienna: MilleTre 2014 (= Musikkontext 7), review, H-Soz-Kult (January 26, 2016).
  • German pop conditions, documentary by Lucía Palacios and Dietmar Post, play loud! Productions & 3sat 2015 [collaboration and scientific advice].
  • "[How] the nice rocker boys next door", Interview with Klaus Farin, in: Klaus Farin: Frei.Wild - South Tyrol's Conservative Antifascists, Berlin: Archive of Youth Cultures Verlag 2015, pp. 228-233; cf. also Klaus Walter, Der Edelweißwäscher, in: Der Freitag (July 28, 2015) and Jonas Engelmann, Unzkrampfte Wurzeldenker, in: Jungle World (July 30, 2015).
  • Pop-cultural identities of Europe, column in "Auf ein Wort ...!" Eurovision Song Contest 2013, eurovision.de (April 5, 2013).
  • Cecilia Luzzi: Poesia e musica nei madrigali a cinque voci di Filippo di Monte (1580-1595), Florence: Olschki 2003 (= Historiae Musicae Cultores 92), review, in: Die Musikforschung 59 (2006), p. 172f.
  • Paul Vernon: Jean 'Django' Reinhardt - A contextual bio-discography 1910-1953, Aldershot, Burlington / VT: Ashgate 2003, review, in: Mitteilungen der Arbeitsgemeinschaft für Mittelrheinische Musikgeschichte 79 (2005), p. 107f.
  • Sabine Brettenthaler: Cavalleria rusticana and Pagliacci: prototypes of veristic opera? - An investigation of their connection lines to literary "verismo" and the question of the meaningfulness of the term in music, Frankfurt am Main etc .: Peter Lang 2003 (= Europäische Hochschulschriften XXXVI, 228), review, in: Die Musikforschung 57 (2004), P. 430f.
  • James Tyler and Paul Sparks: The Guitar and its Music: From the Renaissance to the Classical Era, Oxford, New York: OxfordUP 2002 (= Oxford Early Music Series), review, in: Music & Letters 85 (2004), p. 424 -427.
  • Lieto fine. Dramaturgy of closing in music theater and in music around 1800, Mainz, February 7 and 8, 2003, conference report (together with Peter Niedermüller), in: Die Musikforschung 56 (2003), p. 286f.
  • International Colloquium "Philippus de Monte", Antwerp, August 30 and 31, 2003, conference report, in: Die Musikforschung 57 (2004), p. 59.
  • Musicology in National Socialism and in Fascist Regimes. Cultural Policy - Methods - Effects, Engers Castle (March 8th to 11th, 2000), conference report (together with Christoph Hust), in: Die Musikforschung 53 (2000), pp. 309f.


SoSe 2021

  • PS From Mozart to Madonna, from Herder to Helene Fischer: Pop music history (s)
  • Ü "Music Theory and the White Racial Frame"
  • HS La Bohème

WS 2020/21

  • PS From Mozart to Madonna, from Herder to Helene Fischer: Pop music history (s)
  • Ü Musicking: Doing music, doing musicology
  • HS It ain't over till the mad lady sings: Lucia di Lammermoor

SoSe 2020

  • PS From Mozart to Madonna, from Herder to Helene Fischer: Pop music history (s)
  • Ü "Constructing Musicology"
  • HS Pop 2000: German pop history as a history of liberation?

WS 2019/20

  • PS From Mozart to Madonna, from Herder to Helene Fischer: Pop music history (s)
  • Ü Sound spaces and spatial sounds: What Richard Wagner has to do with Phil Spector

SoSe 2019

  • PS Pop music history (s): "Summer of '69"
  • Ü Musicology in the research discourse: "Constructing Musicology"
  • OS Oberseminar for the bachelor examination

WS 2018/19

  • PS From "Fürstenfeld" to "Delmenhorst": Pop and provincial
  • S "Don't trust anyone over fifty": 1968 in Western European music history
  • OS Oberseminar for the bachelor examination

SoSe 2018

  • PS "roller coaster": On the peculiar relationship between German hits and the international pop world
  • S "More than Words": Introduction to Pop Music Research
  • Ü Fields of practice in musicology: "Music and youth cultures" live on stage in the SchonSchön

WS 2017/18

  • PS "People Live Dancing World": Coming of Age productions by German songwriters
  • S "There used to be more tinsel": glam, glitter, art rock
  • Ü Introduction to musicology

SoSe 2017

  • PS Right music in class
  • S pop and right-wing populism
  • Ü Methods and issues in musicology

WS 2016/17

  • PS Miley Cyrus, Katy Perry, Taylor Swift: "Teenage Girls' 'Bedroom Culture'" 2016?
  • S Philipp de Monte
  • Ü Methods and issues in musicology

SoSe 2016

  • PS Sound and Discourse: Pop Music Theory
  • S Writing of music history with Johann Nikolaus Forkel

WS 2015/16

  • PS "German pop shut up" "- A history of German pop music
  • Ü Introduction to musicology

SoSe 2015

  • PS "Everything is so beautifully colorful here" - Neue Deutsche Welle
  • PS Tosca

WS 2014/15

  • PS Rights music in school lessons
  • Ü "Musicking"

Summer semester 2014

  • PS "Welcome to my Nightmare" - heavy metal and theatricality
  • Ü Introduction to musicology

WS 2013/14

  • PS Wild boys and real guys: reactionary rebels in the current German rock scene
  • OS Oberseminar Musicology

SoSe 2013

  • PS Marilyn Manson
  • Ü Musicology & 'New Musicology'

WS 2012/13

SoSe 2012

  • PS Johann Sebastian Bach's Lute Music

WS 2011/12

  • PS "Hesse is coming!" - German pop music between scene, province and 'Billboard Charts'

SoSe 2011

  • Ü Novamente posto in luce - music printing in the 16th century
  • PS "Germany: 12 points?" - Germany and the Eurovision Song Contest

WS 2010/11

  • PS The 'ridotto' of Count Mario Bevilacqua

SoSe 2010

WS 2009/10

  • Ü Introduction to musicology
  • PS "Between the disturbing force and the Onkelz?" - Music and right-wing extremism

SoSe 2009

  • Ü Introduction to musicology
  • PS "Shut up and Sing!" - Medial (de) constructions of social roles in music from the Middle Ages to the present

WS 2008/09

  • PS Hugo Riemann and Guido Adler. Music historiography around 1900
  • PS Sylvius Leopold Weiss

SoSe 2008

  • Ü Introduction to musicology
  • PS Music historiography with Johann Nikolaus Forkel

WS 2007/08

  • Ü Introduction to musicology
  • Ü Guitar music in Germany around 1800

SoSe 2007

  • PS New Paths in Musicology - Concepts, Theories, Perspectives

WS 2006/07

  • PS PopMusicScience - Concepts and Discourses

SoSe 2006

  • PS Music for guitar and lute in the early modern period

WS 2005/06

  • Ü Introduction to musicology
  • V Italian opera in the 19th century, University of Applied Sciences for Business Management (WHU), Vallendar

SoSe 2005

  • HS Orlando di Lasso (together with Axel Beer)
  • Excursion to Munich (together with Axel Beer)

WS 2004/05

  • Ü Introduction to musicology
  • V Music and Film, University of Applied Sciences for Business Management (WHU), Vallendar

SoSe 2004

  • Ü Introduction to musicology
  • Excursion to the "German Rock-n-Pop Museum" Gronau

WS 2003/04

  • Ü Introduction to musicology
  • PS "Monsters of Rock" - Heavy Metal as a music-cultural phenomenon (together with Peter Niedermüller)

SoSe 2003

  • PS The Italian opera between 'risorgimento' and 'fascismo'
  • Excursion to Kassel (together with Peter Niedermüller)

WS 2002/03

  • Ü Introduction to musicology
  • PS 'Stairway to Heaven' or 'Highway to Hell'? - Pop music in religious education (together with Torsten Wiegmann), Department of Protestant Theology at Johannes Gutenberg University

SoSe 2002

  • Ü Introduction to musicology

Supervised theses (only initial supervision)

  • “That's how you live”: Philipp Dittberner and authenticity - an analysis. Bachelor thesis, WS 2020/21
  • Studies on the shortening of music and its change in the digital age - hyped, celebrated, pushed: TikTok, the home of Generation Z and their understanding of music, Bachelor thesis, WS 2020/21
  • Studies on sampling-based music in the field of tension between authorship and creativity, master's thesis, summer semester 2020
  • The sound of Christian popular music in Germany - a musical map and an attempt to describe a genre, master's thesis, summer semester 2020
  • Investigations into headlining concepts of German rock festivals from “Rock am Ring” to “Wacken”, Bachelor thesis, WS 2019/20
  • Investigations into authenticity debates in the German blues scene in the 1970s and 1980s, master's thesis, WS 2019/20
  • Female power? Reflections on the self-empowerment of contemporary rappers in Germany, master's thesis, WS 2019/20
  • "Pay attention to the lyrics, not to my appearance" - considerations on concepts of the authentic in German-speaking rap using the example of rapper DCVDNS, Bachelor thesis, summer semester 2019
  • "The song is our weapon, we fight for truth, freedom!" - Mainz workers' choirs from the 'Socialist Law' 1878 until its dissolution by the National Socialists in 1933, Bachelor thesis, winter semester 2018/19
  • On the relationship between soul and black power using the example of James Brown, Bachelor thesis, WS 2018/19
  • “Enazeti MCee”: On Nazi rap in Germany as a result of strategic theft and pop cultural dynamics, bachelor thesis, WS 2018/19
  • Investigations into the concept of authenticity in the rockabilly scene, bachelor thesis, summer semester 2018
  • Staging authenticity in Medieval Metal using the example of In Extremos 'Betrothed and Spit on' and Subway to Sallys 'Wedding', Bachelor thesis, winter semester 2017/18
  • "8-Bit Punk"? - Reflections on a punk aesthetic in the chip music scene, bachelor thesis, summer semester 2017
  • Investigations into moments of comedy in modern popular music using the example of the music of Ylvis, master's thesis, summer semester 2017
  • Megaprofessionalization EDM - considerations on the role of the DJ between authenticity and commerce in current electronic dance music, bachelor thesis, summer semester 2017
  • Moulin Rouge - Studies on the use of music in the film adaptation of Baz Luhrmann (2001), Bachelor thesis, summer semester 2017
  • Investigations into sound as part of the AC / DC brand, bachelor thesis, summer semester 2017
  • The entrance exam as a ritual. An ethnography of the entrance examination at a German music college, master's thesis, winter semester 2016/17
  • Considerations on dealing with 'stage fright' and 'fear of performance' in everyday life for German orchestral musicians, Bachelor thesis, winter semester 2016/17
  • The Artist Always Known as Prince - On the staging of reality and myth, Bachelor thesis, WS 2016/17
  • The cultural mandate of public broadcasting - Applicability to private broadcasting? An exemplary analysis based on the 'SWR' and 'Rockland Radio', Bachelor thesis, WS 2015/16
  • 'Swing When You're Winning' & 'Swings Both Ways' - Robbie Williams' Swing albums as cover versions ?, Bachelor thesis, WS 2015/16
  • On the construction of pop music genres using the example of post black metal, master's thesis, winter semester 2015/16
  • Attempt to re-evaluate the concept of virtuosity in a media context - studies on Vai, Paganini, Liszt, van Halen & Malmsteen, Bachelor thesis, WS 2015/16
  • The staging of the East-West conflict in German-German pop music until 1989, bachelor thesis, winter semester 2015/16
  • Investigations into the origins of the Chicago Blues, bachelor thesis, summer semester 2015
  • "Very individual, or hellishly on commerce" - Aspects of HipHop at the Fantastischen Vier, Bachelor thesis, WS 2014/15
  • Gangsta rap in Germany. Between masculinity and macho behavior - an investigation into authenticity in gangsta rap using the example of 'Aggro Berlin', Bachelor thesis, WS 2014/15
  • Studies on the value of music in the 21st century - studies using the example of production music, Bachelor thesis, WS 2014/15
  • Music preferences and patchwork identity in the iPod age, bachelor thesis, WS 2014/15
  • Studies on the interfaces between contemporary real-time music and electronic dance music, master's thesis, WS 2014/15
  • Investigations into the formal design in Felix Mendelssohn Bartholdy's oratorio 'Elias', Bachelor thesis, summer semester 2014
  • “After all, ethno has to be at the ESC, otherwise nobody listens.” - Studies on the relationship between ethno-pop and the Eurovision Song Contest 1994-2014, bachelor thesis, summer semester 2014
  • Progressive Metal 2.0 - On virtuosity in the music of Meshuggah, Bachelor thesis, summer semester 2014
  • Studies on genre determination in post-rock - rock music in the context of postmodernism, bachelor thesis, summer semester 2014
  • Studies of Tipper Gore and Carl A. Raschke's criticism of heavy metal in the 1980s, Bachelor thesis, WS 2013/14
  • Considerations on the value and nature of music in the new media - investigation of three music portals, Bachelor thesis, WS 2013/14
  • Regionality in Pop Music - Investigations into cultural identity and conception of home in the Palatinate music scene, Master's thesis, WS 2013/14
  • "... and then I got the idea of ​​using the 'Dies irae' here." Investigations on intertextuality in Stephen Sondheim's 'Sweeney Todd', state examination thesis, summer semester 2013
  • Investigations into music and movement in adventure film using the example of Zimmer and Horner, state examination thesis, WS 2012/13
  • On the role of Puccini's “La Bohème” in Norman Jewison's “Moonstruck”, Bachelor thesis, WS 2012/13
  • Introducing ... Joss Stone? Investigations into image constructions in pop music, bachelor thesis, winter semester 2012/13
  • On dealing with funk at 'Primus' and 'Red Hot Chili Peppers', Bachelor thesis, summer semester 2012
  • Choral music and political festivals in Bad Kreuznach between ~ 1870 and ~ 1914, Bachelor thesis, summer semester 2012
  • Henry Purcell's 'Dido and Aeneas' as the first English opera, Bachelor thesis, WS 2011/12