جست‌وجوی استاد و پژوهشگر

• Classical Music Performance
• Music Education
• Orchestral Conducting
• +۳ مورد دیگر

Claudia Sabitzer is a Professor at the Music and Arts University of the City of Vienna , specifically within the Faculty of Music . Her affiliation has been active since September 2022. She contributes to academic programs in areas such as keyboard instruments (piano, accordion), conducting (orchestral and early music), and composition. Her teaching spans disciplines like song and oratorio, classical operetta, and jazz composition & arrangement through the faculty's diverse departments. Her professional involvement includes supervision and academic leadership within the university's doctoral program, focusing on artistic-scholarly research. She participates in international academic exchanges via Erasmus+ and other programs, fostering collaboration with partner institutions. While no specific grants or awards are listed, her role emphasizes pedagogical innovation and ensemble performance training across historical and contemporary music practices.

Joel Speerstraمشاهده پروفایل

مدرس ارشد

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

Joel Speerstra is a Senior Lecturer at the Department of Classical Music and Church Music within the Academy of Music and Drama at the University of Gothenburg. His academic focus centers on historical keyboard instruments, early music performance practice, and Baroque musicology. He actively participates in international conferences and collaborates with institutions such as the Göteborg International Organ Academy and the Smarano Early Keyboards Academy. Research interests include clavichord and organ repertoires, emblem studies in music, and the intersection of performance practice with historical notation. Recent work explores Johann Kuhnau’s emblematic techniques, Georg Muffat’s organ treatises, and the affordances of early keyboard instruments across periods. Publications span peer-reviewed articles, conference presentations, and contributions to specialized journals like Keyboard Perspectives and The Organ Yearbook . He frequently performs on period instruments, emphasizing interpretation of Baroque and renaissance repertoires through historically informed practices. Key collaborations: Göteborg International Organ Academy, Smarano International Organ Academy Recent projects: Clavichord performance in Christiansfeld (Denmark), lectures on Kuhnau’s emblems

Peter Bennettمشاهده پروفایل

استاد

• Musicology
• Early Modern French History
• Baroque Music
• +۵ مورد دیگر

Peter Bennett is a Professor of Musicology and Coordinator of Graduate Studies in Historical Performance Practice at Case Western Reserve University’s Department of Music (College of Arts and Sciences). He specializes in early-modern French music, focusing on intersections of music, religion, and politics under Louis XIII. Bennett holds degrees from Cambridge (B.A./M.A.), King’s College London (M.Mus.), and Oxford (D.Phil.). His research explores ceremonial music in Louis XIII’s France, with key publications including *Sacred Repertories in Paris under Louis XIII* (2009) and *Music and Power at the Court of Louis XIII* (2021). He led a Le Studium fellowship (2015-16) on royal ceremonial entries, co-editing *Cérémonial politique et cérémonial religieux dans l’Europe modern* (2020). Bennett is an accomplished harpsichordist and organist, founding Ensemble Dumont (1995–2003). The ensemble’s recordings earned critical acclaim (*Gramophone*, *Diapason*), and he currently performs with Apollo’s Fire in Cleveland. Teaching focuses include Baroque Music, Historical Performance Practice, and harpsichord. His awards include the Le Studium Fellowship, and he actively researches provincial French ceremonial music. Bennett’s work bridges scholarly and performance traditions, emphasizing interdisciplinary approaches to early modern musical culture.

Andrzej Mikołaj Szadejkoمشاهده پروفایل

استاد

• Musicology
• Organology
• Historical Performance Practice
• +۳ مورد دیگر

Andrzej Mikołaj Szadejko is a Professor at the Academy of Music in Gdańsk and a visiting professor at institutions in Germany, Finland, and the USA. As a composer, conductor, organist, and musical organizer, he maintains an active international career spanning over three decades with performances across Europe and North America. His academic foundation includes graduate studies at the Academy of Music in Warsaw and the Hochschule für Alte Musik Schola Cantorum Basiliensis in Basel, Switzerland, complemented by 30 master classes across Europe. His scholarly pursuits focus on historical organology, Baroque performance practice, and sacred music, with specialization in Pomeranian composers from the Baltic region. Szadejko's research manifests through premiere recordings of rare Baroque works, particularly in the acclaimed Musica Baltica and Gdańsk Organ Landscape series. These projects bridge musicology and performance, emphasizing historical authenticity in organ construction and vocal interpretation. His output reveals consistent focus on liturgical contexts, Baltic musical heritage, and the intersection of organology with compositional practices. Scientific recognition includes: Winner of multiple international organ competitions Opus Klassik award (2022) for Best World Premiere Nominations for Fryderyk awards As founder and director of the Goldberg Baroque Ensemble, Szadejko mentors musicians in historical performance techniques while securing institutional support through scholarships from Polish and international bodies. His organizational leadership extends to major festivals like ORGANy PLUS+ and Moniuszko initiatives, demonstrating commitment to community engagement. Szadejko serves as curator of the organ at St. John's Center in Gdańsk and consults on organ projects across three countries, maintaining active roles in both academic and public musical spheres.

Natalia Hyżakمشاهده پروفایل

استاد مدعو

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

Natalia Hyżak is an Adjunct Professor at the Institute of Instrumental Studies, Paderewski Academy of Music in Poznań, specializing in harpsichord performance and historical interpretation practices. She has earned a doctorate (2017) and master's degree (2008) in instrumental studies from the Paderewski Academy, complemented by a Master in harpsichord from Haute Ecole de Musique de Genève (2011). Doctorate: Paderewski Academy of Music in Poznań (2017) Master's: Paderewski Academy of Music in Poznań (2008) Master's: Adam Mickiewicz University, Poznań (2008) in Polish philology with specialization in film studies, TV, and media culture Master's: Haute Ecole de Musique, Geneva (2011) Her research focuses on historical performance practices, Baroque music, and chamber ensemble methodologies. She actively collaborates with international institutions like the International Institute of Ancient Music in Vannes (France) and the Canto Fiorito early music ensemble. Hyżak has received prestigious awards including the 2013 Paderewski Academy Rektor's Award and the 2011 Michel et Marinette Extermann Prize in Switzerland. She has coordinated international academic collaborations since 2012. She teaches courses on figured bass, historical music treatises, improvisation, harpsichord techniques, and historical performance practices. Her expertise bridges artistic performance with academic pedagogy.

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.

Jane Chapmanمشاهده پروفایل

استاد

• Harpsichord Performance
• Contemporary Classical Music
• Electroacoustic Music
• +۵ مورد دیگر

Jane Chapman is a Royal College of Music Professor of Harpsichord and Turner Sims Fellow at the University of Southampton, celebrated for her groundbreaking work in expanding the harpsichord's 21st-century relevance. As an Honorary Fellow of Dartington College of Arts and Leverhulme Trust-supported artist-in-residence at King's College London, she bridges baroque traditions with avant-garde innovation through electroacoustic collaborations, cross-cultural transcriptions, and multimedia performances. Academic Affiliation: Royal College of Music (Professor), University of Southampton (Turner Sims Fellow), King's College London (Leverhulme Residency) Education: Royal College of Music (Ruth Dyson), Amsterdam Conservatory (Ton Koopman) Research Focus: Jane Chapman pioneers new performance parameters for the harpsichord through: Electroacoustic integration with artists like Mark Wingfield and Gabriel Prokofiev Rediscovery of obscure sources like the 17th-century Bauyn Manuscript and 1789 Oriental Miscellany Interdisciplinary collaborations with dancers, filmmakers, and computational artists Editorial work on Contemporary Music Review journal Recent Works demonstrate technological experimentation (WIRED's electronic harpsichord), cross-cultural dialogues (ZOJI's fusion with Indian motifs), and multimedia storytelling (Rituals to Mould Her With). Her scientific awards include dual Preis der Deutschen Schallplattenkritik wins for innovative discs. As a mentor, she nurtures emerging composers through projects at RCM, University of Southampton, and Dartington Summer School. Current initiatives explore: 21st-century Indian-occidental musical hybrids in City Symphonies Period instrument innovation with Consort 21 ensemble Digital opera production for Opera Harmony

Alison DeSimoneمشاهده پروفایل

دانشیار

• Musicology
• Renaissance Music
• Baroque Music
• +۵ مورد دیگر

Alison DeSimone serves as Associate Professor of Musicology and Acting Chair of Conservatory Faculty at the University of Missouri-Kansas City Conservatory, where she teaches Renaissance and Baroque music, opera history, and eighteenth-century specialization courses. Her academic leadership extends to Faculty Senate governance and editorial roles for The Eighteenth Century: Theory and Interpretation . Her educational foundation includes a Ph.D. in Historical Musicology from the University of Michigan (2013), underpinning her research on cultural identity formation through musical practices in early eighteenth-century Britain. DeSimone's scholarly focus centers on musical miscellany's role in shaping British cultural identity during London's transformation into a cosmopolitan capital, examining pasticcio operas, public concerts, songbooks, and criticism through interdisciplinary lenses including gender studies and political history. Her work consistently reveals how marginalized voices—particularly female musicians—navigated professional landscapes through musical innovation. Analysis of her publications shows persistent investigation into London's musical ecosystem (1700-1750), with increasing emphasis on intersectional approaches combining reception theory, economic history, and performance studies to decode cultural power dynamics embedded in musical practices. Her scientific recognition includes: Faculty Excellence Award from UMKC Conservatory (2017) Ruth Solie Prize for Outstanding Article on British Music (2018) Research support from the American Musicological Society, American Handel Society, Handel Institute, and University of Missouri Research Board fuels her monograph project on musical miscellany. She actively contributes to academic communities as treasurer of AMS Midwest and board member for the Society for Eighteenth-Century Music, while maintaining performance practice as a harpsichordist in Kansas City's musical landscape.

Daniel-Ben Pienaarمشاهده پروفایل

استاد

• Classical Piano Performance
• Historically Informed Performance Practices
• Early Music on Modern Instruments
• +۳ مورد دیگر

Daniel-Ben Pienaar is a Professor at the University of London and an Extraordinary Professor at the University of Stellenbosch, renowned for his unconventional interpretations of German classical piano repertoire. He holds a Fellowship at the Royal Academy of Music, where he lectures and supervises doctoral students exploring historical recordings, canonical repertoire relevance, and performance practice critiques. His discography includes groundbreaking recordings of pre-Bach keyboard works (e.g., Orlando Gibbons, Gaspard Le Roux) and complete cycles of Haydn, Mozart, Beethoven, and Schubert sonatas. He advocates for early music performed on modern pianos, challenging Historically Informed Performance norms while innovating in recording aesthetics through self-production techniques. Awarded the Queen’s Commendation (1997), Pienaar’s work emphasizes experimental studio practices, technical expressivity, and the interplay between personal artistic identity and performance craft. He critiques pedagogical orthodoxies and reimagines the role of canonical works in contemporary practice.

Elizaveta Millerمشاهده پروفایل

استادیار

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

Elizaveta Miller is an Assistant Professor and Area Coordinator (Early Music & Harpsichord) at McGill University's Schulich School of Music. She specializes in historical keyboard instruments, including harpsichord, fortepiano, clavichord, and organ, with a repertoire spanning six centuries of music. Previously, she held a 9-year teaching position at the Moscow State Conservatory's historical instruments department before leaving Russia in March 2022 in solidarity with Ukraine. Her performances include collaborations with renowned conductors such as Václav Luks and Reinhard Goebel, and appearances at festivals like Bruges MA Festival and Beethovenfest Bonn. She is a recipient of the 2013 Bruges Musica Antiqua Competition first prize. Her research and performance interests focus on Early Music, historical performance practices, and interdisciplinary connections between historical and contemporary music.

• Historical Performance Practice
• 18th-Century Music
• Opera History
• +۶ مورد دیگر

Associate Professor Erin Helyard is a prominent scholar-performer at the University of Sydney's Sydney Conservatorium of Music, specializing in historical performance practice and 18th-century music. He holds an Associate Professorship and is Artistic Director of Pinchgut Opera and Orchestra of the Antipodes, renowned for historically informed performances. His research bridges musicology and performance, focusing on opera history, music-economics intersections, and gender studies in classical music. Educations: Sydney Conservatorium (BMus with honours/medal), McGill University (MMus, PhD) Awards: 3 Helpmann Awards (Best Opera 2015-2017), MAA Achievement Award (2018) Research interests include 17th-19th century opera, Bourdieu's sociological frameworks, music notation history, and feminist musicology. Recent projects include an ARC-funded study on 18th-century print culture and a monograph on Muzio Clementi's piano pedagogy. His performances with leading orchestras and ensembles emphasize interdisciplinary approaches to early music revival. Key grants: ARC Discovery Grant (2017) for transdisciplinary print culture research Collaborations include the Australian Chamber Orchestra and pianist Stephanie McCallum, producing recordings that blend historical scholarship with contemporary performance. He actively supervises HDR students in musicology and performance studies.

Ilia Kulikovمشاهده پروفایل

مدرس

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

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.

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.

• Historical Performance
• Musicology
• Keyboard Instruments
• +۳ مورد دیگر

Terence Charlston is a distinguished Professor of Harpsichord and Chair of Historical Keyboard Instruments at the Royal College of Music (RCM), London. He holds honorary Fellowship status at the RCM (2020) and is a leading expert in early keyboard instruments, specializing in harpsichord, clavichord, and organ performance. His roles include soloist, conductor, academic researcher, and doctoral supervisor. Charlston’s research focuses on 17th- and 18th-century European keyboard music, counterpoint analysis, and historical performance practices. He has pioneered projects involving rare instruments and manuscripts, such as recordings of Carlo Ignazio Monza and William Byrd’s My Ladye Nevell Booke . As a educator, Charlston has shaped historical performance training at institutions like the Royal Academy of Music, founding its Historical Performance Department in 1995. His publications span musicology, performance practice, and instrument studies, with notable works in Early Music and Clavichord International . He actively promotes clavichord revival through recordings (e.g., Froberger: Complete Fantasias ) and collaborations with ensembles like Florilegium. His current research explores counterpoint as an aural experience, bridging historical analysis and contemporary performance. Awards: Honorary Fellowship of the RCM (2020). Students: Supervises Zsombor Toth-Vajna (doctoral candidate). Key Projects: Phylogenetic analysis of Bach’s Well-Tempered Clavier , editions of Locke’s organ music, and clavichord initiatives at RCM. Charlston’s work integrates scholarly rigor with artistic innovation, positioning him as a pivotal figure in early music revival and academic research.

• Music Education
• Technology in Education
• Arts Education
• +۳ مورد دیگر

Michel Hogenes is a Lecturer at The Hague University of Applied Sciences (teacher education department) and Codarts, Rotterdam University of the Arts (Music Education Department). He specializes in integrating technology with music education, particularly through projects like SoundLAB, which combines music instrument design with STEM education. His research focuses on inclusive music education, design-based learning, and pedagogical innovation. Education: Studied Electronic Organ and Music in Education at the Alkmaar Conservatory, with post-HBO certifications in orthopedagogical music practice, keyboards, and early childhood music education. Research Interests: Merging music with science and technology in education, fostering creativity through design, and promoting accessibility in music education. He explores how technology (e.g., Raspberry Pi, micro-controllers) enables children to create musical instruments, enhancing both artistic and technical skills. Organizational Roles: Chair of Gehrels Muziekeducatie and EuNet MERYC (European Network for Music Educators and Researchers of Young Children). TIG leader of the Arts Education Thematic Interest Group in ETEN. Board member of Stichting Toeval Gezocht and MERYC UK. Editor of Applied Research Today (The Hague UAS journal). Amassador for 'Meer Muziek in de Klas' (More Music in the Classroom). Research Group: Leads the Research Group Wicked Arts Education, focusing on interdisciplinary arts education and innovative teaching methods.