جست‌وجوی استاد و پژوهشگر

Naomi Matsumotoمشاهده پروفایل

استاد

• Opera Studies
• Music History
• Baroque Period
• +۴ مورد دیگر

Dr. Naomi Matsumoto is a Reader in Music at Goldsmiths, University of London , specializing in opera studies, music historiography, and Baroque performance practices. She serves as Convenor of the Integrated Degree in Music and International Admissions Tutor, bridging academic administration with research leadership. Key affiliations: Royal Musical Association, Society for Seventeenth-Century Music, Japan Musicological Society Fellowships: Royal Society of Arts, Royal Historical Society Research Interests include: Operatic madness from Monteverdi to Donizetti Baroque performance conventions and manuscript studies Transnational reception of Western opera in Japan Interdisciplinary work with medical history and cultural studies Her publications focus on Lucia di Lammermoor , Carmen , and Madama Butterfly , examining their cultural adaptations and diagnostic representations. Recent projects explore Wagner's influence on Japanese theatre and Bess of Bedlam's identity crisis. Scientific Awards : Overseas Research Scholarship British Federation of Women Graduates Award Gladys Krieble Delmas Foundation Award Daiwa Anglo-Japanese Foundation Award Japan Society for the Promotion of Science Award Royal Musical Association Prize As an educator , she supervises areas in 17th-19th century Italian opera, intercultural reception studies, and Baroque performance. She contributes to critical editions and liner notes for major musical releases.

Ed Hughesمشاهده پروفایل

استاد

• Composition
• Music Technology
• Historical Music Studies
• +۴ مورد دیگر

Ed Hughes is a Professor of Composition in Music at the University of Sussex's School of Media, Arts and Humanities. His roles include Head of Music (2013-2018), Deputy Head of School, and Associate Dean for Education. He holds a BA from Cambridge University (1987-1990), an MPhil (Cambridge), and a PhD in Composition from Southampton (2000-2004). His research focuses on composition techniques, music technology, and interdisciplinary projects like Syncphonia, a notation system aiding ensemble performance. Notable works include operas like States of Innocence (2024) and orchestral pieces inspired by landscape, such as Music for the South Downs (2022). He has received grants from AHRC, Arts Council England, and the South Downs National Park Authority. Hughes has supervised numerous PhD students in composition and music technology. His awards include the British Composer Award (2014) and commissions from Brighton Festival and the Mahogany Opera Group. Collaborations with psychologists and educators highlight his commitment to music education and accessibility.

Paul O’Detteمشاهده پروفایل

استاد

• Baroque Music
• Early Music Performance Practice
• Italian and English Solo Song
• +۳ مورد دیگر

Paul O’Dette is a Professor of Lute and Professor of Conducting & Ensembles at the Eastman School of Music, University of Rochester. He also serves as Director of Early Music and Affiliate Faculty in Musicology and Voice, Opera & Vocal Coaching. His expertise spans Baroque performance practices, Italian/English solo song, and Baroque opera direction. Notable achievements include Grammy wins, Echo Klassik Awards, and leadership in festivals like the Boston Early Music Festival. His recordings, such as Charpentier’s La Descente d’Orphée aux Enfers , have garnered critical acclaim. O’Dette’s research includes publications on historical performance practices and co-authoring the Dowland entry in the New Grove Dictionary. Roles: Artistic Co-Director of Boston Early Music Festival, Director of Collegium Musicum. Awards: Multiple Grammy nominations, Diapason d'Or, Echo Klassik, and Jahrespreis awards. Grants/Advising: Extensive opera productions across Europe and North America, including Cavalli’s Ercole Amante and Monteverdi’s Orfeo .

Stewart Smithمشاهده پروفایل

مدرس ارشد

• Historical musicology
• Early music
• Performance practice
• +۴ مورد دیگر

Stewart Smith is a Senior Lecturer at the Western Australian Academy of Performing Arts (WAAPA), part of Edith Cowan University. He leads the Centre for Keyboard Heritage and Performance Research and serves as assistant organist at St George's Cathedral in Perth. Previously, he held leadership positions as head of department and Dean of Music at WAAPA, but has returned to focus on teaching and research. Master of Music, Royal Academy of Music and London University Certificate IV in Assessment & Workplace Training, TAFE WA (2006) Smith's research spans historical musicology, early music, performance practice, improvisation, and historical keyboard instruments, with particular focus on Baroque repertoire and English music from 1700-1850. His work uniquely bridges scholarly research with practical performance, exploring how historical understanding informs contemporary interpretation. He has developed significant expertise in reception history, examining how musical works have been understood and performed across different eras. Analysis of his recent publications reveals consistent exploration of performance authenticity, particularly regarding Baroque practices. His work demonstrates increasing interdisciplinary approaches, connecting musicology with cultural studies, instrument history, and cross-cultural influences. The research shows particular strength in keyboard performance traditions and their evolution. Solo harpsichord recital for ABC's Sunday Live voted one of the year's best broadcasts Five-CD set of French Baroque music on ABC Classics label received international acclaim Smith has secured substantial research funding, including a major Australian Research Council grant for French Baroque research and recent significant grants from the Feilman Foundation ($350,000) and Wright Burt Foundation ($100,000) for keyboard instrument restoration. He actively supervises 5 current PhD students and has guided numerous completed research projects across musicology, performance practice, and historical instruments. As director of the Centre for Keyboard Heritage and Performance Research, he oversees projects focused on historical keyboard instruments and their performance contexts, including the restoration of a 1786 Kirkman harpsichord. Smith maintains an international performance profile, with recent work including Celtic Baroque interpretations, experimental Vivaldi performances, and Ligeti's Volumina. His performance career spans collaborations with major ensembles including the Orchestra of the Antipodes, Pinchgut Opera, and all Australian state symphony orchestras, alongside international appearances at prestigious venues including Westminster Abbey and St Paul's Cathedral.

AHMET BURAK BASMACIOĞLUمشاهده پروفایل

استاد

• Music Education
• Hermeneutics in Early Music
• Performance Practice
• +۶ مورد دیگر

AHMET BURAK BASMACIOĞLU is a Professor at Anadolu University State Conservatory's Music Department since 2023. He has held academic positions at the same institution since 1992, including Associate Professor (2010-2023) and Lecturer (1992-2010). His work focuses on early music performance , keyboard pedagogy , and hermeneutics in historical performance . 1992: Hacettepe University undergraduate 1994-1996: Postgraduate at Anadolu University 1996-2003: Master's and PhD in Piano at Anadolu University 1998-2006: Specialization in Early Music at Strasbourg Conservatory His research areas include historically informed performance , baroque keyboard , and basso continuo . He has supervised 6 theses on topics like Bach adaptations and ornamentation systems. His recent publications analyze French Baroque ornaments (2022) and microtonal keyboards (2023), while his conference work explores hermeneutics in early music . As an active performer, he has led harpsichord and organ recitals since 1992, including collaborations with Istanbul Symphony Orchestra (2024) and Ankara Music Festival (2024). He also contributes to academic journals as Special Issue Editor for the International Journal of New Trends in Arts, Sports & Science Education (2022-2024).

Gregory J Deckerمشاهده پروفایل

استاد

• Musical Semiotics
• Operatic Characterization
• Baroque Opera Analysis
• +۵ مورد دیگر

Gregory J. Decker is a Professor of Music Theory and Assistant Dean of Graduate Studies at Bowling Green State University's College of Musical Arts. He holds an M.M. and Ph.D. in music theory from Florida State University, where his dissertation won the National Opera Association's biennial prize (2013). His research focuses on musical semiotics, operatic characterization, and the analysis of texted music from madrigals to Broadway musicals. Education: M.M. in Music Theory, Florida State University Ph.D. in Music Theory, Florida State University Decker's work examines musical topics and cultural associations in diverse genres, with notable contributions to Handel studies, Baroque opera analysis, and modern musical theater. His methodologies bridge historical musicology and contemporary semiotic frameworks. Recent publications include Here for the Hearing: Analyzing the Music in Musical Theater (2023) and Singing in Signs: New Semiotic Explorations of Opera (2020), both honored by the Society for Music Theory. His research spans topics like dance music in Handel's operas, Cole Porter's lyric techniques, and madrigal stylistic strategies. Key Awards: National Opera Association Dissertation Prize (2013) Society for Music Theory Citation of Special Merit Multi-Author Collection Award Teaching responsibilities include undergraduate music theory, aural skills, and graduate seminars on Schenkerian analysis, semiotics, and musical topics.

Tim Kuhlmannمشاهده پروفایل

پژوهشگر

• Music Theory
• Instrumentation (Early 20th Century)
• Instrument Science
• +۴ مورد دیگر

Tim Kuhlmann is a researcher and academic affiliated with the Hochschule für Musik und Theater Rostock (hmt Rostock). Since February 2023, he has served as a scientific researcher at the Rostock office of the Erich Wolfgang Korngold Edition . He holds a background in music theory, music education, and German studies from Hanover, and has taught at institutions including the Universities of Hanover, Rostock, and Detmold. At hmt Rostock, he teaches Musiktheorie (music theory), Gehörbildung (aural training), Partiturkunde (score studies), Instrumentenkunde (instrument studies), and Akustik (acoustics). His research focuses on instrumentation (particularly early 20th-century works), instrument science, musical analysis, basso continuo/partimento practices, and editorial philology.

Bernhard Klapprottمشاهده پروفایل

استاد

• Early Music Performance Practice
• Historical Keyboard Instruments
• Baroque Music
• +۳ مورد دیگر

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.

Michael O'Loghlinمشاهده پروفایل

پژوهشگر ارشد

• Baroque Music
• Viola da Gamba Studies
• German Classical Music History
• +۳ مورد دیگر

Dr. Michael O'Loghlin is an Honorary Fellow in the School of Music at the University of Queensland. His academic career focuses on Baroque music, particularly the viola da gamba repertory of the Berlin School (1732–1772). He holds a PhD from the University of Queensland (2002) titled The Viola da Gamba Music of the Berlin School, 1732-1772 . His research explores historical performance practices, German court music, and instrumental developments during the 18th century. Key areas of interest include composers such as Johann Gottlieb Graun, Joseph Benedikt Zyka, and Friedrich II's musical patronage. O'Loghlin has produced critical editions of neglected Baroque works and written extensively on viola da gamba repertory, contributing to scholarly journals like Eighteenth-Century Music and Musicology Australia . As a performer, he collaborates with ensembles like the Badinerie Players, specializing in historically informed performances of early music. His creative works include festival curation (e.g., Carl Philipp Emanuel Bach 300th Anniversary Festival in 2014) and recordings for ABC Classic FM. No academic awards are explicitly stated, though his extensive editorial work and publications reflect significant scholarly contributions. He advises no current students, focusing instead on research and performance initiatives.

Kurt Estermanمشاهده پروفایل

استاد

• Composition
• Sacred Music
• Organ Music
• +۳ مورد دیگر

O.Univ.-Prof. Kurt Esterman is a Professor of Composition (Sacred Music) at the Department of Composition & Music Theory, Mozarteum University in Salzburg. He holds a position at the School of Music & Art Education (SOMA). Born in Innsbruck in 1960, he studied composition, church music, organ, and harpsichord at the University of Music and Performing Arts Vienna under notable teachers like Erich Urbanner and György Ligeti. His work bridges compositional innovation with historical organ traditions, earning awards such as the Tyrolean Music Promotion Prize (1987) and Federal Ministry Prizes (1989, 1995). His research focuses on expanding the organ’s expressive possibilities while preserving its historical context. He edits the series Tiroler Orgelschatz and Studia Wilthinensia Artis Organi , exploring Tyrolean organ heritage. Esterman’s compositions emphasize sacred music, including works for organ, choir, and orchestra, often performed at festivals like Klangspuren Schwaz and Easter Festival Tyrol. He serves as a juror for the Slatkonia Prize and collaborates with Wilten Abbey as a church musician. Key awards include the 1997 Federal Music Promotion Prize and the 1998 Prize for Artistic Creativity from Innsbruck. His compositions blend historical reverence with modern techniques, reflecting a lifelong dedication to sacred and organ music.

• Musicology
• Polyphony
• Choral Conducting
• +۳ مورد دیگر

Prof. Yavor Konov, PhD is a Bulgarian musicologist, professor at New Bulgarian University's Department of Music, and a distinguished scholar in polyphony and Baroque music. He has held academic positions at Sofia University, National Academy for Theatre and Film Arts, and South-West University "Neofit Rilski". Education: Graduated from National Music School "Lyubomir Pipkov" (1983), National Music Academy in Sofia with specializations in musicology (polyphony) and choral conducting (1991). Doctorate in Arts (1998), Doctor of Arts (2006). His research focuses on polyphony, Baroque music theory, historical performance practices, and music lexicography. He has established international recognition through collaborations with institutions like the Center for Baroque Music in Versailles and the Sorbonne's Faculty of Music and Musicology. The 15 most recent publications demonstrate expertise in musicological translations, contrapuntal theory, and Baroque-era treatises. Key works include annotated translations of de Saint-Lambert's harpsichord treatises and studies on Sebastian de Brossard's Dictionary of Music. Scientific Awards: Multiple "Book of the Year" awards from the Union of Bulgarian Composers, Musicologists section. Konov's students benefit from his extensive research background through practical applications in music education, performance, and theoretical studies. He has directed the University Resource Center for Francophone Studies since 2008.

• Historical Performance
• Keyboard Studies
• Music Pedagogy
• +۳ مورد دیگر

Thomas Allery is a Professor of Basso Continuo at the Royal College of Music (RCM), specializing in historical performance practices. Based in London, he combines performing, teaching, and research in early keyboard and organ techniques. Education: University of Oxford, Royal College of Music, Guildhall School of Music and Drama Key collaborations: Ensemble Hesperi (co-founder), The Sixteen Current role: Director of Music at Temple Church, London His research focuses on 17th-18th century music pedagogy, particularly figured bass systems and their modern educational applications. At RCM, he trains continuo students in keyboard harmony and stylistic awareness for professional music roles. Selected publication: Thorough Bass Made Easy (2023) explores historical figured bass pedagogy for contemporary teaching. His performance career spans both solo and ensemble work, including award-winning recordings with Ensemble Hesperi. Contact: historicalperformance@rcm.ac.uk | thomas.allery@rcm.ac.uk

Almut Gatzمشاهده پروفایل

استاد

• Music Theory
• 20th Century Music Analysis
• Historical Vocal Improvisation
• +۲ مورد دیگر

Almut Gatz, born in Heidelberg in 1981, serves as Professor of Music Theory at the University of Music Würzburg since the winter semester 2017/2018. She previously held teaching positions at music academies in Freiburg, Karlsruhe (PreCollege), Nuremberg, Dresden, and the Berlin University of the Arts. From 2014 to 2017, she taught music theory and aural training at the Robert Schumann University of Music in Düsseldorf, and during the winter semester 2016/2017, she held a part-time professorship for methodology of music theory in Freiburg. Gatz studied school music (violin), mathematics, and music theory with Eckehard Kiem in Freiburg. Her academic background combines mathematical precision with musical artistry, creating a distinctive approach to music theory. This interdisciplinary foundation informs her research methodology and teaching philosophy, bridging analytical rigor with creative musical expression. Her primary research focuses on the changing concept of expression in Anton Webern's middle vocal works, with additional expertise in historical vocal improvisation and the didactics of music theory. Gatz examines how theoretical concepts translate into practical musical understanding, particularly in educational contexts. Her scholarship reveals deep engagement with both historical performance practices and contemporary analytical frameworks. Analysis of her publication record from 2013-2023 shows consistent scholarly output centered on music theory and analysis, with particular emphasis on 20th-century composers, especially Webern. Her work demonstrates interdisciplinary connections between historical musicology, theoretical analysis, and pedagogical application. Recent publications increasingly address the integration of theoretical concepts into music education practices. As an active musician, Gatz directs several choirs and performs as a violinist in numerous ensembles specializing in chamber music and early music. This dual expertise in scholarly research and practical musicianship creates a valuable synergy in her academic work, allowing her to approach theoretical questions with performance-based insights.

Karen Hite Jacobمشاهده پروفایل

مدرس

• Early Music
• Historical Performance Practice
• Keyboard Instruments
• +۳ مورد دیگر

Karen Hite Jacob serves as an Instructor in Performing Arts at Belmont Abbey College, where she has been an artist-in-residence since 2001. Founder and director of the nonprofit ensemble Carolina Pro Musica since 1977, she also directs the Gaston Early Music Series (GEMS) funded by the North Carolina Arts Council since 2017. Masters of Arts in Teaching, University of North Carolina Chapel Hill Bachelors of Music, University of North Carolina Greensboro Her scholarly focus centers on Early Music composition and performance practices predating 1800, with specialized expertise in historical keyboard instruments including harpsichord and organ. Jacob actively promotes contextual understanding of music through her philosophy that "Music is never created in a vacuum," emphasizing historical research into performance venues, liturgical functions, and cultural narratives surrounding musical works. Her work bridges academic study with practical performance through period instrument ensembles. Jacob's publications and reviews in journals like Harpsichord & Fortepiano Magazine and the Historical Keyboard Society of North America newsletter demonstrate consistent scholarly engagement with performance practice trends spanning four decades. Her editorial work for the Southeastern Historical Keyboard Society Newsletter (1981-2011) established her as a key contributor to early music discourse. No formal scientific awards are documented in the provided materials, though her sustained leadership in early music preservation through Carolina Pro Musica represents significant professional recognition. Jacob maintains active advising through her ensemble direction, mentoring musicians in historical performance techniques while securing consistent grant funding including North Carolina Arts Council support for GEMS. Her institutional partnership as artist-in-residence since 2001 demonstrates enduring academic integration. As founder and director of Carolina Pro Musica, Jacob leads a dedicated period instrument ensemble specializing in pre-1800 repertoire. The group maintains a concert series in Charlotte and produces educational content through their YouTube channel, creating a comprehensive ecosystem for early music performance, research, and public engagement that extends her classroom teaching into professional practice.

Bettina Pahnمشاهده پروفایل

مدرس

• Historical Vocal Performance
• Baroque Music
• Art Song (Lied)
• +۳ مورد دیگر

Bettina Pahn is a Lecturer in Historical Singing at the University of the Arts Bremen since 2017. She specializes in Early Music performance, Baroque vocal techniques, and historically informed interpretation. Her teaching integrates weekly lessons for Bachelor and Master students, focusing on vocal agility, stylistic expression, and period performance practices. Collaborations with renowned artists like Dame Emma Kirkby and Ton Koopman enrich her pedagogy. Education: Studied cello initially, then voice at the Hanns Eisler School of Music Berlin and Frankfurt/Main under Prof. Elsa Cavelti. Since 2012, trained under Margreet Honig, a leading historical voice pedagogue. Research emphasizes Baroque ornamentation (e.g., Rognoni's diminutions) and Romantic lied interpretation. Her performances with Ton Koopman’s ensemble earned the Echo-Klassik-Preis 2009. Recent projects include recordings of C.P.E. Bach lieder (2017) and Telemann’s moral cantatas (2020). She co-leads student mentorship with Benno Schachtner, guiding participation in competitions like the Bovicelli Competition (student Erika Tandiono won Young Talent Award in 2020). Key collaborations: Duo with Joachim Held (lute), Naxos recordings, and international masterclasses in Holland, Austria, and Italy. Upcoming engagements include a lecture-recital on 19th-century lied ornamentation at the AEC Congress (2021).