جست‌وجوی استاد و پژوهشگر

Rebecca Herissoneمشاهده پروفایل

استاد

• Early Modern Music
• Creativity
• Material Culture
• +۵ مورد دیگر

Rebecca Herissone is Professor of Musicology at the University of Manchester and a leading scholar in early modern English music. She co-edits the peer-reviewed journal Music & Letters and serves on editorial boards for the Purcell Society, Musica Britannica, and the Complete Works of John Eccles. Her research focuses on seventeenth-century creativity, material culture, and the ontological dimensions of music notation. Key research areas: Early Modern Music, Creativity, Source Study, Notation, Reception Major awards: Diana McVeagh Prize (2015), Westrup Prize (2007) Her recent work includes digital humanities projects on music preservation and critical editions of Purcell's operas. She has pioneered interdisciplinary approaches connecting musicology with drama, art, and literature, and currently leads research on Purcell's posthumous reception in the eighteenth and nineteenth centuries. Her teaching spans music historiography, performance practices, and advanced source analysis.

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).

• 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.

Naoko Akutagawaمشاهده پروفایل

مدرس

• Early Music
• Baroque Music
• Chamber Music
• +۳ مورد دیگر

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.

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.

• Choral Conducting
• Music Education
• Early Music
• +۷ مورد دیگر

Dr. David McNeil, Jr. is the Director and Assistant Professor of Choral Studies at the School of Music, Colorado Christian University, part of the College of Undergraduate Studies. He joined the faculty in 2018 and leads choral ensembles across Colorado and the United States. He is also active as the Artistic Director of the Vittoria Ensemble, a Denver-based chamber choir specializing in early music, and serves as Choir Director/Worship Leader at Rockland Community Church in Golden, Colorado. Education: D.M.A. in Choral Conducting, Yale University M.M. in Choral Conducting, Jacobs School of Music, Indiana University B.A. in Music Education (K-12), Trinity International University Dr. McNeil's research and performance interests center on choral music, particularly from the 17th and 18th centuries, continuo realization, and new music. His doctoral thesis explored the musical-political interpretation of Henry Purcell's anthems. He has studied under renowned conductors including Dominick DiOrio, Jeffrey Douma, and Masaaki Suzuki. Although no publications are listed, his professional work reflects deep engagement with historical choral practices and contemporary performance. His career combines academic leadership, artistic direction, and community-based worship music. Professional Affiliations and Roles: Director of Choral Studies, CCU School of Music Artistic Director, Vittoria Ensemble (Denver) Choir Director/Worship Leader, Rockland Community Church, Golden, CO Former Assistant Director, Yale Glee Club Former Co-Conductor, Marquand Chapel Choir Former Principal Assistant Conductor, Yale Camerata Dr. McNeil is an active choral clinician and guest conductor, contributing significantly to both academic and sacred music communities. He resides in Wheat Ridge, Colorado, with his wife Chelsey and their five children.

Catherine Martinمشاهده پروفایل

استاد

• Historical Performance
• Baroque Violin
• Classical Repertoire
• +۴ مورد دیگر

Catherine Martin is a Professor of Historical Performance at the Royal College of Music (RCM), specializing in baroque violin and historical string ensemble techniques. She is also affiliated with the Norwegian Academy of Music in Oslo. St Anne’s College, Oxford (BAHons) Guildhall School of Music and Drama (Advanced Solo Studies with David Takeno) Her research and practice focus on historical performance practices from the early 1600s to the 19th century, with expertise in baroque violin, classical repertoire, and Norwegian folk music. She leads projects ranging from chamber groups to large-scale orchestral works like Handel’s oratorios and Bach’s Passions. Notable recordings include collaborations with the Gabrieli Consort and Players (Deutsche Grammophon), Ensemble Galant (EMI), and I Fagiolini (Chandos). She won the 2019 Helpmann Award for her leadership in Purcell’s King Arthur with Gabrieli Consort. Leader of Gabrieli Consort and Players (since 2005) Concertmaster of Die Kölner Akademie (since 2010) Founding member of Early Opera Company (since 1994) Second violinist in Salomon String Quartet (since 2003) Collaborator with Collegium Musicum 90 She actively coaches amateur musicians and runs workshops on historical performance techniques for both baroque and modern instrument players.

JungHae Kimمشاهده پروفایل

استاد

• Harpsichord Performance
• Historical Keyboard Instruments
• Baroque Music
• +۲ مورد دیگر

JungHae Kim is a Professor of Music Theory and Musicianship at the San Francisco Conservatory of Music, renowned for her harpsichord virtuosity and advocacy of historical performance practices. As director of MusicSources (Center for Historically Informed Performance) and founder of Ensemble Mirable, she actively promotes early music through performances and recordings. Education: Diplomas in harpsichord performance from Peabody Institute, Oberlin Conservatory, and Sweelinck Conservatorium, culminating in studies with Gustav Leonhardt in Amsterdam. Her research and performance focus revolves around Baroque music, French harpsichord repertoire, and historical keyboard techniques. Notable performances include collaborations with Sigiswald Kuijken (2016) and Bart Kuijken (2023), as well as appearances with the San Francisco Symphony. Recordings include D’Anglebert's harpsichord works (2010), Bach suites (2017), and Triemer's cello sonatas (2004). Ensemble Mirable, which she co-founded, has received recognition from Early Music America for its innovative programming.

• Early Music
• Harpsichord Performance
• Baroque Opera
• +۴ مورد دیگر

Lilianna Stawarz serves as Associate Professor and Head of the Department of Early Music at the Fryderyk Chopin University of Music in Warsaw. She is the Co-founder and Artistic Director of the Dramma per Musica Baroque Opera Festival and President of the Association of Baroque Art Lovers Dramma per Musica. Her academic foundation includes a 1988 harpsichord degree with distinction from the Fryderyk Chopin Academy of Music (studying under Władysław Kłosiewicz) and a 1990 diploma from the Conservatoire National de Region de Rueil-Malmaison (with Huguette Dreyfus). Her scholarly work centers on Early Music performance practice , with specialization in harpsichord repertoire , Baroque opera conducting , and chamber music . She pioneers historically informed interpretations of J.S. Bach, Handel, and Vivaldi while reviving Polish Baroque works like Mielczewski's Opera Omnia. Her research integrates performance with musicological analysis of 17th-18th century compositional techniques. Recent recordings demonstrate consistent focus on Baroque masterworks across keyboard, vocal, and chamber genres, particularly Bach's chamber sonatas (2019), Caldara's sacred oratorio (2018), and Handel's suites (2007), establishing her as a leading authority in Central European early music revival. Major recognitions include: Fryderyk Award (2018) for Caldara's Maddalena ai piedi di Cristo Coryphaeus of Polish Music (2015) for Handel's Agrippina Cyprian Kamil Norwid Award (2018) for Vivaldi's Farnace Bronze Cross of Merit (2005) and Merit for Polish Culture (2014) At the university, she teaches figured bass realization and directs opera productions while mentoring students in historical performance. She founded the Dramma per Musica Festival to create performance opportunities for emerging artists in Baroque repertoire. Her 20-year tenure with ensemble Il Tempo (1988-2008) and 26 years with Warsaw Chamber Opera (1991-2017) established her as a core figure in Poland's early music ecosystem, culminating in her current leadership of the Department of Early Music.

• Historical Performance
• Baroque Music
• Keyboard Performance
• +۳ مورد دیگر

James Johnstone is a Lecturer in Historical Performance & Keyboard at the Guildhall School of Music and Drama, City, University of London. He studied with Jill Severs in London and Ton Koopman in The Hague, establishing a career as a harpsichordist, continuo player, and educator. Education: Studied in London with Jill Severs Studied in The Hague with Ton Koopman His research and performance focus on Baroque music , historical keyboard techniques , and continuo realization , collaborating extensively with period instrument ensembles globally. He has performed across Europe, Israel, the Americas, and the United States, with notable affiliations including the Gabrieli Consort and Players (17 years) and Florilegium (10 years). Johnstone currently serves as principal keyboardist with Sir John Eliot Gardiner’s Monteverdi Choir and has released recordings of works by Bach and Couperin with Metronome Recordings since 2016. His career bridges practical performance, pedagogy, and historical authenticity in early music.

Mark Edwardsمشاهده پروفایل

استاد

• Historical Performance
• Harpsichord
• Early Music
• +۴ مورد دیگر

Mark Edwards is a Professor at the Oberlin Conservatory of Music specializing in Historical Performance and Harpsichord, where he has taught since 2016 offering private studio lessons and an extensive curriculum including Bach at the Clavier, Historical Improvisation, and Baroque Ensemble courses. His educational background includes: BMus, highest distinction, Eastman School of Music MM, McGill University and the Hochschule für Musik Freiburg PhD, Leiden University (2021) Professor Edwards is a renowned Canadian harpsichordist and organist whose research focuses on historical performance practices, particularly seventeenth-century French keyboard music, improvisation techniques, and continuo realization. He has performed at major international festivals including Utrecht Early Music Festival and Bozar in Brussels, and collaborated with prestigious ensembles such as Tafelmusik, Il Pomo d'Oro, and the Montreal Symphony Orchestra. His scholarly contributions include his 2021 PhD dissertation from Leiden University titled 'Moving Early Music: Improvisation and the Work-Concept in Seventeenth-Century French Keyboard Performance,' which advances understanding of historical performance authenticity. Professional honors include: First-prize winner at the 2012 Musica Antiqua Bruges International Harpsichord Competition ADISQ award nomination for 'Passaggi' (2013) As artistic director of Poiesis and collaborator with ensembles including Les Boréades de Montréal and Les Délices (Cleveland), Edwards maintains an active performance career alongside his teaching. His recordings, including the debut solo CD 'Orpheus Descending' (2017), have been broadcast internationally by American Public Media, CBC, Klara (Belgium), and Radio 4 (Netherlands). Mentoring the next generation of historical performance specialists, Edwards continues to influence both academic and professional early music communities through his pedagogical approach grounded in authentic performance practice.

Sung-Hwa Parkمشاهده پروفایل

مدرس

• Piano Pedagogy
• Improvisation
• Figured Bass
• +۳ مورد دیگر

Sung-Hwa Park serves as an Adjunct Instructor in Keyboard Studies at the University of Southern California's Thornton School of Music, where she has been faculty since 2002. She currently directs the Functional Skills program for keyboard majors and has extensive international engagement including workshops at the University of Taipei, master classes across Chinese conservatories sponsored by Yamaha-China, and seminars at the Southern University of Science and Technology in Shenzhen. Her educational background includes: Bachelor's degree in Piano Performance from Yonsei University, Korea Doctor of Musical Arts (DMA) in Piano Performance from the University of Southern California specializing in classical repertoire and electronic music Park's research centers on piano pedagogy innovation, particularly in improvisation techniques and historical performance practices. She has developed specialized curricula for keyboard harmony and figured bass realization, bridging Baroque-era practices with contemporary class piano instruction. Her work emphasizes practical application through structured method books and scholarly realizations of early music repertoire. Her publications reveal a dual focus: pedagogical method books for modern piano improvisation and scholarly reconstructions of Bernardo Pasquini's basso continuo works. This combination demonstrates her unique integration of historical musicology with practical teaching methodologies, particularly in the underexplored area of keyboard continuo realization for modern pedagogy. As an educator, Park has directed multiple institutional programs including USC's Functional Skills curriculum and Seoul's Noah Arts Hall keyboard musicianship program. She has supervised teaching assistants, coordinated class piano programs across multiple universities, and conducted international master classes sponsored by Yamaha-China, significantly influencing piano pedagogy standards in Asia and the United States.

Patrice Nicolasمشاهده پروفایل

استاد

• Historical Musicology
• Music Theory
• Counterpoint
• +۳ مورد دیگر

Patrice Nicolas serves as Professor in the Music Department of the Faculty of Arts and Social Sciences at the University of Moncton's Moncton campus. His primary academic appointment focuses on advanced music theory and historical practices within the university's comprehensive arts curriculum. Professor Nicolas's research centers on historical musicology with specialized expertise in medieval counterpoint, composition techniques, and improvisational practices. His scholarly work particularly examines basso continuo realization within Renaissance and Baroque contexts, integrating theoretical analysis with performance practice. This research is publicly accessible through his dedicated resource platform Introduction to Medieval Counterpoint , which provides analytical frameworks and historical documentation for advanced music scholars. As an educator, Professor Nicolas teaches specialized courses in counterpoint and historical composition, with curriculum emphasizing practical application of theoretical concepts. Prospective students may contact him directly via email patrice.nicolas@umoncton.ca , phone (506) 858-4000 ext. 4042, or visit his office at the Arts Pavilion, 11 Arts Alley on the Moncton campus for supervision opportunities in historical musicology and advanced theory.

Marc Bellassaiمشاهده پروفایل

استاد مدعو

• early keyboard performance practice
• basso continuo
• organology
• +۳ مورد دیگر

Marc Bellassai serves as an Adjunct Professor in the Department of Music within Towson University's College of Fine Arts and Communication, specializing in historical performance practices and musicology. Education: Bachelor of Music in Harpsichord, Oberlin Conservatory (1985) Master of Music and Artist Diploma, Indiana University (1989) Fulbright IIE Scholar at Civica Scuola di Musica and Castello Sforzesco, Milan, Italy (1994-1996) Research Focus: His scholarly work centers on early keyboard performance practice, basso continuo realization, organology (study of historical instruments), art history, and the intersection of music and literature in 17th-18th century Italy. He bridges technical performance with cultural context through meticulous examination of historical sources and treatises. Academic Activities: Directs Towson University's Early Music Ensemble while teaching Harpsichord and Art History courses, emphasizing hands-on engagement with period instruments and primary source materials. His pedagogy integrates performance practice with broader artistic movements of the Renaissance and Baroque eras. Professional Recognition: No scientific awards documented in available sources Mentorship & Resources: Current information indicates no formal graduate student advisement or externally funded research grants. His contributions center on undergraduate instruction and ensemble direction within the departmental framework.

Robert Smithمشاهده پروفایل

استاد

• Historical Performance Practice
• Baroque Music
• Viola da Gamba
• +۳ مورد دیگر

Robert Smith serves as Professor of Viola da Gamba and Baroque Cello at the Cologne University of Music and Dance, where he teaches both Bachelor's and Master's students in historical performance practice. His pedagogical approach integrates historical research with artistic experimentation, covering repertoire from the mid-17th century to early Romanticism. His educational foundation was built through studies with renowned mentors: Mieneke van der Velden and Paolo Pandolfo for viola da gamba in Amsterdam and Basel respectively, and Wouter Möller, Jaap ter Linden, and Viola de Hoog for baroque cello. He plays a viola da gamba by Pierre Bohr (Milan) and a baroque cello by Guust Francois on loan from the Nationaal Muziekinstrumentenfonds der Netherlands. Smith's artistic research centers on viola da gamba and baroque cello traditions from the 16th to 18th centuries, with particular focus on improvisation, continuo realization, and reinterpretation of historical sources. He challenges conventional assumptions through experimentation with bow grips, tunings, and chordal accompaniment, often extending into genre-defying collaborations such as performing Metallica arrangements in historical circus productions. His significant recognition includes: Winner of the International Bach-Abel Competition for Viola da Gamba (2013) As an active performer, Smith is a core member of the Amsterdam Baroque Orchestra and co-founder of the ensemble Fantasticus, whose recordings have received critical acclaim. His 2017 recording of Telemann's newly discovered solo fantasias for viola da gamba was praised by The Observer for its "exceptional technical quality". He maintains an active performance schedule with live broadcasts on BBC Radio 3 and Deutschlandfunk Kultur.