Find Academic Supervisors

• Medieval Music
• Classical Period Music
• Romantic Era Music
• +7 more

Ann-Katrin Zimmermann is an apl. Professor (non-tenured professor) at the Musicological Institute within the Faculty of Philosophy at the University of Tübingen. She has held this position since 2018, following her time as a private lecturer from 2012-2018. In addition to her academic work, she serves as a dramaturg at the Gewandhaus Leipzig since 2013 and has teaching assignments at LMU Munich, Felix Mendelssohn Bartholdy University of Music and Theatre, and Leipzig University since 2012. Her educational background includes: Habilitation (2012) on "Forms of slow movements in the classical cycle" Promotion/PhD (2006) on "Studies on medieval three-part harmony" Master's degree in musicology, philosophy and art history from University of Tübingen and University of Oxford (1998-2003) Professor Zimmermann's research spans multiple eras and aspects of music history and theory. Her work focuses particularly on polyphony of the 12th and 13th centuries, keyboard music from the 15th-18th centuries, early German-language music terminology, and the works of Heinrich Schütz, composers of the Viennese classics, and Richard Strauss. She has made significant contributions to the fields of organology, instrumentation, music iconography, and 19th-century symphonies, with particular interest in cross-temporal aspects of genre, form, and composition. Her extensive publication record shows a consistent focus on historical music analysis, particularly examining compositional strategies across different periods. Her recent work has increasingly focused on Richard Strauss and Mozart, while maintaining her longstanding interest in early music traditions and terminology. She has published numerous articles in prestigious journals and contributed to important edited volumes in musicology. Professor Zimmermann is actively involved in the academic community: Member of the Society for Music History in Baden-Württemberg since 2009 Member of the DHV since 2012 Throughout her career, Zimmermann has balanced academic research with practical musical experience. She has been a bassoonist and leader of various vocal and instrumental ensembles since 1998, and served as a church musician from 1997-2014. Her work as a dramaturg at the Gewandhaus Leipzig since 2013 demonstrates her commitment to connecting scholarly research with contemporary musical practice.

Michael FuerstView profile

Lecturer

• Early Music
• Historical Performance Practice
• Baroque Music
• +3 more

Michael Fuerst is a Lecturer in Historical Performance Practice (Piano) and Early Music Coaching at the University of the Arts Bremen, and also teaches Continuo and Historical Keyboard Instruments at the Musikhochschule Lübeck. Born in the USA, he studied at Eastman School of Music with Arthur Haas and Paul O'Dette, later completing his studies as a Fulbright Scholar under Robert Hill at Freiburg's State Music Academy. His research includes a DFG-funded project on 17th-century German instrumental music. Professionally, he leads the European Hanse Ensemble's international courses and curates a concert series showcasing historical instruments from Hamburg's Museum of History. Since 2021, he serves as Secretary of the International Dietrich Buxtehude Society. His recordings include Echo Klassik-winning albums like Choralvariationen und Choralkonzerte (2010) and Lübecker Virtuosen (2006), featuring works by Telemann, Tunder, and others. He frequently performs internationally and organizes workshops like the International Winter Academy of Early Music. Education: Began studies in Madison, USA Eastman School of Music (USA) Staatliche Hochschule für Musik Freiburg (Germany) Awards: Two Echo Klassik Preises for discographies Key Roles: Dozent, European Hanse Ensemble Schriftführer, Dietrich Buxtehude Gesellschaft His teaching focuses on historical temperaments, baroque keyboard techniques, and collaborative performance practices. Recent performances include concerts at St. Nikolai Kirche and university venues interpreting Venetian influences in Northern European music.

• Historical Musicology
• Editorial Philology
• Musical Interpretation
• +4 more

Dr. Ulrich Bartels is a full-time research associate at the Institute for Music and Musicology, University of Hildesheim, affiliated with the Faculty of Cultural Studies and Aesthetic Communication. He has been associated with the university since 1993 (initially as a lecturer, transitioning to research associate in 2005) and previously taught at the University of Göttingen (2005–2008). His doctorate (1991, University of Göttingen) focused on Wagner's compositional sketches for Tristan und Isolde . Bartels' research centers on historical musicology, editorial philology, and musical interpretation, with emphasis on: Johann Sebastian Bach (critical editions of keyboard works) Ludwig van Beethoven (performance analysis) Richard Wagner (sketch studies, dramaturgy) Piano music and editorial practices His publications include critical editions of Bach's keyboard works (e.g., Italienisches Konzert , French Suites) and extensive scholarly reviews. Bartels' recent reviews (2020–2025) predominantly analyze classical music editions, Wagnerian scholarship, and Beethoven performance, reflecting his expertise in 19th-century repertoire, urtext practices, and music criticism.

Lilo KunkelView profile

Senior Lecturer

• Music Theory
• Jazz Piano
• Choral Music
• +2 more

Lilo Kunkel currently serves as a Senior Lecturer in Music Theory at the University of Music Würzburg. Her academic roles include teaching composition , ear training , and practical piano playing for schools , with specific focus on jazz applications in classical contexts. She holds a doctorate from 2003 with a thesis on Max Reger's piano songs . Doctoral advisor: Prof. Dr. Ulrich Konrad Current affiliation: Fachgruppe Komposition/Musiktheorie Specialization areas: Jazz-oriented choral improvisation, Gershwin's harmonic structures, Mendelssohn/Bach harmonization Her scholarly work combines German Lied traditions with jazz improvisation techniques , particularly evident in her concert series "Jazz on the Pipe Organ." Her publications reveal systematic analysis of: 20th-century tonal developments Impressionist harmonic systems Reger's chromatic language Nystedt's Nordic choral methods Gershwin's Broadway-to-classical transitions

Bernhard KlapprottView profile

Professor

• Early Music Performance Practice
• Historical Keyboard Instruments
• Baroque Music
• +3 more

Bernhard Klapprott is a German harpsichordist, clavichord player, organist, and professor at the Franz Liszt University of Music Weimar, where he leads the Institute for Early Music. He specializes in historical keyboard instruments and early music performance practice, teaching at both undergraduate and graduate levels. His roles include professor of harpsichord/historical keyboard instruments and organ (early music) in the Church Music/Organ program. Education: Studied with Hugo Ruf, Bob van Asperen, and Michael Schneider. Completed concert diplomas in harpsichord and organ in Cologne and Amsterdam. Founded the ensemble Cantus Thuringia & Capella (1999) to promote Central German Baroque repertoire. Initiated the 'Thuringia Music Heritage' project to revive forgotten vocal/instrumental works. Research focuses on clavichord's role in 18th-century vocal style, South German Renaissance keyboard practices, and Silbermann organ performance. Has recorded over 30 CDs on labels like Aeolus and cpo, winning ECHO Klassik and German Record Critics' Awards. Notable recordings include Bach's Complete Organ Works on Silbermann Organs and Thomas Tomkins' complete keyboard music. Teaching emphasizes 16th–18th century repertoires, historically informed performance practices, and contemporary works for early instruments. His students have won major competitions including the International Harpsichord Competition in Bruges and the Telemann Competition in Magdeburg.

Claudia SchweitzerView profile

Lecturer

• Musicology
• Linguistics
• Historical Music Studies
• +3 more

Claudia Schweitzer is a Lecturer at the Université Sorbonne nouvelle – Paris 3 and a research assistant at the Sophie Drinker Institut Bremen and the CNRS-funded project 'Staccato'. She holds dual PhDs: one in Musicology from the University of Oldenburg (2008) and another in Linguistics from the Université Sorbonne nouvelle – Paris 3 (2018). Her research focuses on intersections between music and French language, particularly in the 17th/18th centuries. Education: Studied Historical Keyboard Instruments and Church Music at Universities in Würzburg, Kassel, and Aachen. Taught Harpsichord, Thoroughbass, and Choir Direction at the HMT Leipzig (2003–2014) and Music History (Medieval to Baroque) at the Université Paul Valéry Montpellier 3 (2014–2018). Teaching in Bremen includes Music History (Early Music), Source Studies, and supervision of Master’s theses. She remains active as a harpsichordist, blending scholarly and performance practices. Research emphasizes historical connections between musical and linguistic expression in French contexts, with projects anchored in 17th/18th-century cultural frameworks.

Robert LangView profile

Professor

• Music Education
• Music Theory
• Opera History
• +3 more

Prof. Dr. Robert Lang is a Professor and Dean of the Faculty of Humanities and Natural Sciences at Ludwigsburg University of Education. He holds academic roles in multiple committees including the General Committee for Studies and Teaching, QM Steering Group, and the SPA Bachelor's program in Cultural and Media Education. His research focuses on music education, music theory pedagogy, and interdisciplinary approaches in art and music teaching. He completed his doctorate in musicology at the Berlin University of the Arts, specializing in Neapolitan opera of the 19th century. Lang has extensive teaching experience at institutions like the Berlin University of the Arts and the University of Bielefeld. His work emphasizes empirical studies in music education, digital media integration, and cross-disciplinary projects. Notable awards include the Comenius EduMedia Medal 2007 for his contributions to educational materials. His publications span music theory pedagogy, opera history, and interdisciplinary teaching methods. Key themes include empirical research in music education practices, the role of digital tools, and bridging music with other disciplines such as art and language. He is actively involved in textbook development and curriculum design for music education at various academic levels.

Naoko AkutagawaView profile

Lecturer

• Early Music
• Baroque Music
• Chamber Music
• +3 more

Naoko Akutagawa serves as a repetiteur specializing in harpsichord at the University of Music Würzburg (Hochschule für Musik Würzburg), Germany. Her office is located in the Bibrastraße building (Room B 109), with consultation hours by appointment. She operates within the Department of Chamber Music and Repetiteur under the institution's teaching faculty structure. Her expertise centers on historical performance practices with emphasis on: Baroque-era keyboard repertoire and techniques Vocal and instrumental accompaniment for early music Chamber music coaching across historical periods Harpsichord pedagogy and continuo realization No publications or scientific awards are documented in institutional records. Her role focuses on practical coaching rather than academic research output, with no publicly listed advisees or formal students. She actively supports vocal and instrumental training through collaborative performance practice within the conservatory environment.

Ilia KulikovView profile

Lecturer

• Early Music Performance
• Historical Instruments
• Baroque Music
• +3 more

Ilia Kulikov is a Lecturer in Early Music at the University of the Arts Bremen, specializing in harpsichord, continuo playing, and historical performance practices. His artistic focus includes solo and ensemble performances with renowned groups across Germany, including appearances at Musikfest Bremen, the Greifswalder Bachwoche, and Musicadia Bremen. Master of Arts: Harpsichord and Continuo at Hamburg University of Music and Theatre (2021–2023) Bachelor of Arts: Historical Keyboard Instruments at Bremen University of the Arts (2017–2021) Musicology Diploma: Moscow Conservatory (2012–2017) His research interests center on Baroque performance practices, historical instrument pedagogy, and interdisciplinary approaches to early music interpretation. Notable collaborations include recordings with ensembles like Respiro and NeoBarock Köln. Recent work includes the 2022 chamber music competition victory with Ensemble Caos limitato. He frequently performs in innovative programs such as the 'Schumann 3D: Old music in new ways' event at the University of the Arts Bremen.

Stefan MeyView profile

Professor

• Systematic Music Theory
• Music Analysis
• Music History
• +5 more

Prof. Stefan Mey is a Professor of Music Theory at Hanover University of Music, Drama and Media (HMTMH) since 2001. Previously, he taught at Bismarckschule Hannover (2000-2001) and lectured at HMTMH (1998-2001). He holds a diploma in Music Theory from HMT Hannover and studied music theory, linguistics, and German studies in Hanover and Vienna as a German Academic Scholarship Foundation recipient. His research focuses on systematic music theory, tonality theories, Bach counterpoint, and work analysis methods. He teaches music theory in bachelor's/master's programs and leads interdisciplinary courses on topics like JS Bach’s St. Matthew Passion , Schubert’s Winter Journey , and Gershwin’s compositions. He directs the Bridges of Brass project and supervises the student ensemble FüBrass. Mey also oversees the music theory colloquium, including the podcast Pro and Counterpoint . As a trombonist, he performs with the Norddeutsches BlechbläserCollegium and provides piano/organ accompaniment for chamber and choir concerts. His compositions and arrangements focus on brass ensembles and keyboard instruments.

Vanda AlbotaView profile

Lecturer

• Piano Performance
• Chamber Music
• Historical Performance Practice
• +3 more

Vanda Albota is a Romanian pianist and lecturer at Folkwang University of the Arts, specializing in instrumental training and accompaniment for woodwind performers. Her career spans solo performances, chamber music collaborations, and expertise in historical performance practices on period keyboard instruments. She has held teaching roles at institutions such as the 'Franz Liszt' University of Music in Weimar and the University of the Arts Berlin. Educated in Romania, Weimar, and Berlin under renowned musicians like Paul Badura-Škoda and András Schiff Active in international masterclasses and competitions as a chamber musician and accompanist Recipient of multiple international piano competition prizes and academic scholarships Her research interests focus on piano performance, historical keyboard practices, and collaborative music-making. Albota's artistic work has been documented by major broadcasters including MDR Leipzig, BBC London, and Radio Romania Cultural. Awards and distinctions include: First Prize at the International 'Ella Phillipp' Competition DAAD and Konrad-Adenauer-Stiftung scholarships Multiple international competition placements She maintains active collaborations in music education and performance, with notable appearances at venues like the Berlin Philharmonie and the Sammlung Dohr in Bergheim.

Friederike HeumannView profile

Professor

• Early Music
• Viola da gamba performance
• Historical String Chamber Music
• +5 more

Professor Friederike Heumann is a renowned violist da gamba specializing in historical string chamber music at the University of Music Würzburg. Previously, she taught at the Munich University of Music and Performing Arts, where she continues to maintain teaching responsibilities. She is internationally recognized for her expertise in early music performance. Her educational background includes studies at the Schola Cantorum Basiliensis with Jordi Savall and Paolo Pandolfo, where she completed a soloist diploma in early music. Following her studies, she received a scholarship at the Cité Internationale des Arts in Paris, establishing her career as a freelance musician. Professor Heumann's research interests focus on historical performance practice, particularly the viola da gamba repertoire from the Renaissance and Baroque periods. She has pioneered innovative approaches to 17th-century instrumental music, blending scholarly rigor with artistic expression. Her work explores the intersections between historical techniques and contemporary performance practices, with special emphasis on improvisation within the stylus phantasticus tradition. Her discography reveals a systematic exploration of historical repertoire, progressing from foundational works by Buxtehude and Erlebach to more experimental projects incorporating Mediterranean musical traditions. Her recordings demonstrate increasing sophistication in historical reconstruction while maintaining artistic vitality, with recent projects expanding into cross-cultural musical dialogues. Diapason d'or award for L'Harmonie des Nations 4 clés de Télérama for multiple recordings Choc du Monde de la Musique recognition 10 de Répertoire/Classica distinction 5 Étoiles de Goldberg accolade Premio Bonporti first prize with ensemble Le Nuove Musiche Professor Heumann actively mentors students through her teaching positions at both Würzburg and Munich institutions, while also conducting international masterclasses. She serves on juries for major early music competitions, contributing to the development of the next generation of performers. Her ensemble Stylus Phantasticus functions as both a performance vehicle and pedagogical laboratory for exploring historical chamber music practices. Through her ensemble Stylus Phantasticus, Professor Heumann has created a dynamic performance platform that bridges scholarly research and artistic expression. The ensemble regularly collaborates with leading vocal soloists and instrumentalists, presenting innovative programs that explore the boundaries of historical performance while maintaining rigorous scholarly foundations.

• Early Music
• Baroque Performance Practice
• Harpsichord
• +3 more

Henrike Seitz serves as a Lecturer at the University of Music Würzburg, specializing in harpsichord accompaniment and basso continuo within the Department of Historical Instruments. She is part of the faculty responsible for teaching early music performance practice at this prestigious German conservatory. Her expertise lies in historical keyboard performance, with particular focus on Baroque-era practices. The Department of Historical Instruments at Würzburg offers comprehensive training in period instruments including Baroque violin, cello, trumpet, recorder, double reed instruments, lute, traverso, and viola da gamba. As a specialist in continuo playing, Seitz contributes to the training of instrumentalists and vocalists in authentic performance practices of the 17th and 18th centuries. Her work supports the university's strong emphasis on historically informed performance across various ensembles including the Baroque Orchestra (BaHI).

• Musicology
• Instrumentology
• Music History
• +4 more

Jörg Büchler serves as a Researcher at the Institute of Musicology within the Faculty of Philosophy at the University of Tübingen, a position he has held since 2020. His academic trajectory includes coordinating the "Sacred Sound" Exploration Full Fund project (2018-2021) and contributing to the DFG-funded Besseler-Handschin correspondence project (2017-2018), demonstrating sustained engagement with the university's research infrastructure. His educational background comprises a Master of Arts in Musicology (2014-2017) and a Bachelor of Arts in Musicology and German Studies (2010-2014), both completed at the University of Tübingen. This institutional continuity informs his deep familiarity with Tübingen's academic ecosystem and collections. Büchler's research centers on instrumentology with special emphasis on 19th-20th century instruments, the musical reception of Francis of Assisi, and sacred sound phenomena. His work bridges historical analysis with practical cataloging, particularly through projects involving Tübingen's instrument collections. The exploration of sacred musical manifestations forms a recurring thematic thread, connecting medieval reception studies with modern compositional practices. His publication pattern (2010-2024) reveals consistent focus on German musicology's institutional history, instrument documentation, and sacred music analysis. Recent outputs show increasing specialization in cataloging methodologies and the intersection of historical instruments with theological concepts, particularly regarding Franciscan traditions in 20th-century compositions. Administratively, Büchler has held significant roles including Board membership of the Musicological Institute (2021/22-2023/24, 2025), Deputy Advisory Board membership (since 2022), and involvement with the Society for Music History in Baden-Württemberg (since 2019). His project coordination for the "Sacred Sound" initiative demonstrates active grant management capabilities despite no formal student supervision roles being documented. He contributes to collaborative frameworks through the Musicological Institute's governance structures and the Society for Music History in Baden-Württemberg, where his expertise in instrument collections and sacred music informs regional scholarly networks. His editorial work on the Besseler-Handschin correspondence positions him within critical reappraisals of postwar German musicology.

Beate RölleckeView profile

Lecturer

• Baroque Music
• Historical Performance Practice
• Early Music
• +3 more

Beate Röllecke is a Lecturer (Lehrbeauftragte) in Basso Continuo at the University of the Arts Bremen. She holds roles in the faculty governance, serving as a representative in the Fachbereichsrat (Department Council) and Akademischen Senat (Academic Senate). She previously held the Cembalo-Professur (Harpsichord Professorship) at Folkwang Hochschule in Essen from 2000 to 2004 and is a member of the Bundeskonferenz der Lehrbeauftragten an deutschen Musikhochschulen (Federal Conference of Adjunct Lecturers at German Music Universities). Her education includes studies at the Hochschule für Künste Bremen and Folkwang Hochschule under Prof. Ludger Rémy, complemented by masterclasses with Bob van Asperen, Hermann Max, and Michael Schneider. She has collaborated with renowned artists like Emma Kirkby, Ton Koopmann, and Sir Roger Norrington. Röllecke’s research and performance focus on Baroque music, particularly as a harpsichordist and continuo player. Her solo debut album (2002) featuring works by J.S. Bach and Alessandro Scarlatti, and her work with Ensemble „Les Amis de Philippe“ under Ludger Rémy, earned critical acclaim, including the 2003 German Record Critics’ Prize and Goldberg Magazine’s accolade. Her discography and radio/TV productions highlight her international career as a soloist and continuo performer. While no specific grants or advising details are noted, her teaching and ensemble leadership reflect a commitment to historical performance practice and music education.