Nina Polaschegg studied musicology, sociology and philosophy in Giessen and Hamburg, where she also completed her doctorate. Her research focus is on the sociology of music, contemporary composed, improvised and electronic music as well as contemporary jazz. She lives in Vienna as a musicologist, music publicist and double bass player, works for various public radio stations in Germany, Austria and Switzerland, presents concerts and writes for various specialist journals. She teaches at the music academies and universities of Hamburg and Klagenfurt. As a double bass player she has played historically informed in baroque orchestras and devotes herself primarily to (free) improvisation.

(Incomplete) reflections on improvisation:
How can concrete sounds be integrated without quoting? How can quoting be understood as a loose context of references? How can something new and different emerge from loose references? How can sounds be transformed into noises and vice versa? What sonic and structural developments and processes can emerge from such transformations? What role do dynamic and energetic changes play?

Continuous processes and breaks, irritating impulses. As a distant (?) background: the sound of "early music".
Music as a dialectical process

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