جست‌وجوی استاد و پژوهشگر

• 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.

David J. Smithمشاهده پروفایل

استاد

• Early Modern Music
• Keyboard Music
• Scholarly Editing
• +۳ مورد دیگر

David J. Smith is a Professor and Head of Music in the Department of Humanities at Northumbria University, leading the development of its new Music degree program. Previously, he held the position of Head of Music and Master of Chapel and Ceremonial Music at the University of Aberdeen. His research focuses on early modern English instrumental music, particularly keyboard works of the late 16th and early 17th centuries, with expertise in scholarly editing and historical performance practice. Key topics include the cultural context of keyboard music, religious and political influences on composers like Peter Philips and Richard Dering, and the role of networks in musical transmission. David studied at the University of Oxford as an organ scholar and later pursued graduate studies there. His academic contributions include AHRC-funded research on digital editions of early keyboard music and collaborative projects like Networks of Music and Culture in the Late Sixteenth and Early Seventeenth Centuries. He currently supervises PhD students exploring topics such as Tudor organ design, Arts Council policy, and music theory. A performer himself, he co-founded the baroque ensemble AB24 and has recorded works by Philips and Dering. His publications span musicological analyses, editorial methodologies, and performance studies, with recent works including *Editing English Consort Music* (2024) and studies on Byrd's ornamentation (2023). He actively participates in international conferences and editorial boards, contributing to the Taylor & Francis and Scottish Music Review. David’s work bridges academic research, performance, and editorial practice, reshaping understanding of early English music’s cultural and social dimensions.

• Keyboard Instruments
• Conducting
• Composition
• +۸ مورد دیگر

Univ.-Prof. Dr. Bartolo Musil is a Professor at the Music and Arts University of the City of Vienna (MUK), affiliated with the Faculty of Music. He has been active since September 2024 and is involved in academic leadership roles. His professional engagement spans multiple disciplines within music and performing arts. His teaching and research interests include Keyboard Instruments, Conducting, Composition, Jazz (including Jazz-Piano, Jazz-Bass, Jazz-Trumpet, Jazz-Trombone, Jazz-Saxophone, Jazz-Drums, Jazz-Guitar, Jazz-Singing, and Jazz-Composition & Arrangement), Early Music (Harpsichord, Fortepiano, Historical Violin, etc.), Voice and Opera (Solo Singing, Song and Oratorio, Opera, Classical Operetta), Musical Theatre, Drama, Contemporary Dance, and Pedagogical Study Programmes such as Music Education and the Master of Arts Education (MAE). He contributes to the Doctoral Programme at MUK, focusing on artistic-scholarly research and supervision of PhD projects. Bartolo is also involved in international academic relations, including Erasmus+ programmes and other exchange initiatives.

• Piano
• Conducting
• Composition
• +۴ مورد دیگر

Helga Arias, MA, is a Lecturer at the Music and Arts University of the City of Vienna, affiliated with the Faculty of Music since September 2024. Her roles span diverse disciplines, including Piano Accompaniment, Jazz-Piano, Jazz-Bass, and Early Music instruments such as Harpsichord and Historical Violin. She contributes to academic diploma programs like Classical Operetta and the Certificate of Ensemble Playing. Her teaching areas include Jazz, Early Music, and various keyboard and wind instruments. She is involved in the university's international programs, including Erasmus+ exchanges and collaborative initiatives with partner institutions. While no specific doctoral supervision or grants are detailed, her expertise aligns with the university's focus on artistic-scholarly research and performance excellence. Helga Arias actively participates in the university’s pedagogical study programs, such as Music Education and the Master of Arts Education (MAE). Her work emphasizes interdisciplinary approaches to music performance, historic instrument techniques, and contemporary jazz practices.

Wolfgang Kogertمشاهده پروفایل

استاد

• Organ Performance
• Historical Music Interpretation
• Contemporary Music Composition
• +۳ مورد دیگر

Wolfgang Kogert is a Professor of Organ at the Mozarteum University Salzburg since 2015 and holds a concurrent professorship at the Freiburg University of Music since 2020. He serves as organist for the Vienna Hofburgkapelle and has performed globally with orchestras like the Vienna Radio Symphony Orchestra and Sydney Symphony Orchestra. Education includes studies in Vienna, Stuttgart, and Detmold. Notable accolades include winning the 2006 International Wedstrijd Musica Antiqua and a 2013 residency at Paris' Cité Internationale des Arts. His research focuses on bridging early music traditions (medieval to baroque) with contemporary compositions, particularly in electroacoustic and algorithmic domains. Recent work emphasizes premiering new organ works by Cerha, Lang, and Essl, often integrating electronics and spatial soundscapes. Collaborations with composers like Mitterer and Pagh-Paan highlight experimental techniques. Recordings span Hindemith's Sancta Susanna to algorithmic works like ORGANO/LOGICS. Publications include critical editions of Josef Matthias Hauer's organ music and essays on Friedrich Cerha's compositions. He frequently discusses organ pedagogy and 21st-century repertoire expansion in journals like Das Orgelforum.

• Ancient Music
• Music Archaeology
• Classical Philology
• +۴ مورد دیگر

Stefan Hagel serves as Privatdozent and Deputy Head of the Department of Ancient Sciences at the Austrian Academy of Sciences (ÖAW), where he leads the Research Group Ancient Music. His academic appointment is formally affiliated with the University of Vienna, reflecting his dual institutional presence in Austria's scholarly ecosystem. Institution: Austrian Academy of Sciences / University of Vienna Position: Privatdozent, Deputy Department Head, Group Leader Research Focus: Ancient Music Archaeology and Digital Humanities Hagel's research bridges classical philology, archaeology, and computational methods to reconstruct ancient musical practices. His work centers on Greek and Roman music theory, instrument reconstruction (particularly lyres and auloi), and the application of digital tools to analyze ancient musical systems. His methodology combines physical reconstructions with textual analysis and software development, creating interdisciplinary pathways for understanding antiquity's sonic dimensions. Hagel frequently demonstrates his findings through international lecture-concerts, making ancient music tangible for academic and public audiences alike. His recent publications reveal a trajectory toward increasingly sophisticated technological integration, examining water organs, solmisation systems, and cross-cultural musical exchanges across the Mediterranean and Near East. Hagel's scholarship demonstrates how computational approaches can resolve longstanding questions about instrument mechanics, tuning systems, and performance practices that traditional philological methods alone cannot address. Major Projects: 'Ancient Music Beyond Hellenisation', 'DiAGRAM' (Digitising Aspects of Graphical Representation in Ancient Music) Software Development: Classical Text Editor (critical editions platform), MultiKey (keyboard utility) As an active participant in the European Music Archaeology Project, Hagel collaborates internationally to reconstruct ancient soundscapes. His work with physical instrument reconstructions provides empirical data for theoretical models, while his digital humanities initiatives create infrastructure for future research. Though not explicitly mentioned in the materials, his leadership position suggests involvement in mentoring junior researchers and securing research funding for his specialized field.

Friederike Heumannمشاهده پروفایل

استاد

• Early Music
• Viola da gamba performance
• Historical String Chamber Music
• +۵ مورد دیگر

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.

• Musicology
• French Symphony
• 19th Century Music
• +۵ مورد دیگر

Muriel BOULAN is an Associate Professor of Musicology at Sorbonne University and a researcher at the Institute for Research in Musicology (UMR 8223). She holds a Doctorate in Music and Musicology from Paris-Sorbonne University (2011) with her thesis focusing on The French Symphony between 1830 and 1870 . She has been co-editor-in-chief of the music analysis and theory journal Musurgia since 2017 and created the French Symphony Repertoire Database. Her research interests center on French symphonic music of the 19th century, with particular focus on composers such as George Onslow, Félicien David, Louise Farrenc, and Anton Reicha. She has conducted extensive research on symphonic form, cyclic structures, and the historical development of French symphonic traditions. Her work also encompasses Rameau studies, music theory of the 19th century, and women composers in French musical history. Her scholarly output demonstrates consistent focus on French symphonic traditions from the early Romantic period through the late 19th century, with increasing attention to issues of gender in music history (particularly regarding Louise Farrenc) and theoretical approaches to musical form. Her work bridges historical musicology with analytical approaches, often connecting compositional practice with theoretical writings of the period. BOULAN has been actively involved in research valorization through public lectures and concert program notes for institutions including the Musée d'Orsay and the Paris Orchestra. She has delivered numerous "Clefs d'écoute" (listening keys) presentations at venues including the Auditorium de Lyon and Philharmonie de Paris, making scholarly research accessible to general audiences. She is affiliated with multiple research teams at IReMus, including those focused on editing and valorizing musical heritage, writing about music and musicology, analyzing music through theoretical frameworks, and studying historical, cultural, and social contexts of music. Her work particularly emphasizes gender studies within music history and institutional frameworks of musical production.

Dorota Zimnaمشاهده پروفایل

استاد

• Early Music
• Harpsichord Performance
• Musicology
• +۲ مورد دیگر

Dorota Zimna is a university professor and lecturer in the Department of Harpsichord, Organ, and Early Music at the Feliks Nowowiejski Academy of Music in Bydgoszcz since 2005. She holds a PhD in Musical Arts in Instrumental Studies (2015) and is an active performer and researcher in early music. Her educational background includes: Graduate of the Feliks Nowowiejski Academy of Music in Bydgoszcz, harpsichord with Professor Urszula Bartkiewicz (diploma with distinction) Postgraduate Instrumental Studies at the same university PhD in Musical Arts in Instrumental Studies (2015) Professor Zimna's research focuses on Early Music, particularly Baroque repertoire, with an emphasis on harpsichord performance and the reconstruction of historical works. Her work includes the study of François Couperin's instrumental compositions and the preservation of Polish church music heritage. She has participated in numerous master classes and courses for early music ensembles. Her scholarly and creative output centers on Baroque music interpretation and historical reconstruction, demonstrated through publications on Couperin's casting techniques and recordings of Polish Baroque composers. These works bridge academic research with practical performance, highlighting her dual expertise as a musicologist and performer. She has received several prestigious awards, including: Third Prize in the 5th International François Couperin Competition (2015) First Prize at the 12th International Bach Festival in Świdnica (2011) Second Prize and Audience Prize at the 11th International Biagio Marini Competition (2010) Professor Zimna actively mentors through ensemble collaborations and educational initiatives. She has coordinated research projects like "Forgotten Heritage" for digitizing Polish church archives and contributed to publications such as "Polish Keyboard Music" from the Józef Elsner Publishing House. Her leadership extends to directing the Summer Methodical Courses in Early Music in Warsaw and the Early Music Days in Bydgoszcz. She maintains strong affiliations with performance ensembles including Intemperta, Laboratoire de la Musique, and Capella Bydgostiensis, and has served as president of the Academy of Early Music association since 2018, driving institutional support for historical performance practices.

• Early Music Performance
• Harpsichord
• Baroque Music
• +۳ مورد دیگر

Alina Ratkowska is a Professor at the Fryderyk Chopin University of Music in Warsaw, where she leads the Organ and Harpsichord Department and serves on the University Council. She is also the General and Artistic Director of the Wojciech Kilar Polish Philharmonic Sinfonia Baltica in Słupsk since 2022. Education: 1999 - Fryderyk Chopin University of Music, Warsaw; 2002 - Schola Cantorum Basiliensis, Basel; 2020 - Academy of Music in Gdańsk (conducting); 2009 - Gdańsk University of Technology (Public Relations). Her research and performance focus on early music and contemporary harpsichord repertoire , including historical documentation of Gdańsk's musical heritage and the revival of works by Baroque composers like Johann Gottlieb Goldberg and Johann Jeremias du Grain. She has pioneered the expansion of harpsichord use in modern classical compositions . Her recent albums, such as Le Clavecin Moderne and recordings of Goldberg's concertos, highlight her dual expertise in Baroque interpretation and avant-garde experimentation . These works often intersect with interdisciplinary collaborations involving percussion and saxophone. Scientific Awards: Fryderyk Award (2020) Splendor Gedanensis Award (2019, 2020) Sztorm Roku (2009, 2013) Opus Klassik Nominations (2019) Ratkowska has co-founded the Sarton record company, initiated the Goldberg Festival in Gdańsk (2006), and conducted premieres of works by Polish composers like Krzysztof Baculewski and Zygmunt Krauze. Her academic editing includes critical editions of Goldberg's concertos and contemporary Polish harpsichord music.

Robert Parkinsمشاهده پروفایل

استاد

• Music Theory
• Organ Performance
• Harpsichord
• +۳ مورد دیگر

Robert Parkins is a Professor of the Practice in the Department of Music at Duke University, affiliated with Trinity College of Arts & Sciences. He serves as University Organist and has held roles since 1975, including faculty positions at Ithaca College (1982–1985). A Yale University D.M.A. graduate (1980), his expertise spans Baroque and Spanish keyboard music, organ performance, and historical performance practices. He has performed internationally and authored influential works on Iberian and German organ traditions. His teaching focuses on organ, harpsichord, and music theory. Parkins has been honored for his contributions to musicology and performance, with a legacy of over four decades at Duke. Education: Yale University School of Music, D.M.A. in Music (1980) University of Cincinnati College-Conservatory of Music Research Interests: Specializing in early Spanish and German organ music, historical performance practices, keyboard fingering techniques, and the cultural context of Baroque music. His work bridges musicology and performance, emphasizing authenticity in interpretation. Recent Performances: Organ Recitals in Charlotte, Cleveland, and Duke Chapel (2017–2025) Harpsichord Recital at the University of South Dakota (2014) Teaching & Service: Teaches advanced organ and harpsichord courses, and has served as a judge for the William C. Hall Pipe Organ Competition. He co-coordinates workshops on Spanish keyboard music and lectures internationally.

Matthew Bengtsonمشاهده پروفایل

دانشیار

• Piano Performance
• Historical Performance Practice
• Music Composition
• +۳ مورد دیگر

Matthew Bengtson is an Associate Professor of Piano Literature at the University of Michigan School of Music, Theatre, and Dance, specializing in historical performance practice, piano repertoire, and music education. He holds a unique blend of expertise as a performer, scholar, and educator, with a focus on composers like Scriabin, Szymanowski, and Roberto Sierra. His academic journey includes degrees from Harvard University (Computer Science), and Peabody Conservatory (MM and DMA in Piano Performance). Key affiliations: CREES, Weiser Center for Europe and Eurasia, and Steinway Artist. Education: Harvard, Peabody, Cornell University (fortepiano fellowship). Research: Award-winning studies on Szymanowski mazurkas and Scriabin interpretation. His performances span international venues, including Carnegie Hall and festivals in Europe. He teaches fortepiano and leads the University of Michigan Early Keyboard Institute (UMEKI). Bengtson authored a Coursera MOOC on piano literature and co-wrote The Alexander Scriabin Companion .

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.

Daniel Trocmé-Latterمشاهده پروفایل

مدرس

• Early Music
• Reformation History
• Liturgy and Sacred Music
• +۳ مورد دیگر

Dr Daniel Trocmé-Latter holds multiple roles at the University of Cambridge and its colleges, including Affiliated Lecturer in Music at the Faculty of Music , Director of Studies in Music , Director of Music , and Praelector at Homerton College. He is also a College Lecturer in Music at Magdalene College and a Fellow at Homerton. His research focuses on music’s role in liturgy and ceremony during the 16th and 17th centuries, with a particular emphasis on Protestant reformers in Strasbourg and the interplay between sacred music and religious identity during the Reformation. He has recently published The Strasbourg Cantiones of 1539: Protestant City, Catholic Music (2023) and The Singing of the Strasbourg Protestants, 1523–1541 (2015). His film music research includes analyses of pre-existing early music in cinema, such as the 'Dies irae' motif in The Lion King (2022) and chant in Kubrick’s Eyes Wide Shut . Education: Daniel studied at Selwyn College, Magdalene College (both in Cambridge), and the University of Southampton, earning a PhD, MA, and MMus (Soton). His roles include supervising undergraduate modules in Music and History Triposes, overseeing Homerton’s extracurricular music activities, and directing the Charter Choir, which has produced commercial recordings since 2014. He composed pieces featured in these recordings and served as Recording and Digital Media Reviews Editor for Early Music from 2016 to 2021. Research Interests: His work bridges musicology and history, examining how music shaped religious and social transformations during the Reformation. He explores cross-confessional musical exchanges, liturgical practices, and the use of early music in contemporary media. Key themes include the theological significance of psalm-singing, reformers’ musical policies, and the cultural resonance of sacred music in film. Advising & Grants: While no specific grants are noted, his teaching and supervisory roles reflect extensive academic engagement. He advises students on topics ranging from practical musicianship to music history without listed grant support. His work demonstrates commitment to both scholarly research and pedagogical innovation. Labs/Teams: Daniel leads Homerton College’s music program through his directorship, managing the Charter Choir and fostering musical performance opportunities. His academic collaborations include editorial work for Early Music and interdisciplinary research on liturgical practices and film scoring techniques.

William Caplinمشاهده پروفایل

استاد

• Music Theory
• Classical Form
• Musical Rhythm
• +۴ مورد دیگر

William Caplin is the James McGill Professor of Music Theory at McGill University's Schulich School of Music. He has been at McGill since 1978 and holds the prestigious title of James McGill Professor since 2005. His research focuses on musical form, particularly in classical-era instrumental music, with significant contributions to theories of formal functions in Haydn, Mozart, and Beethoven. He has authored landmark works like Classical Form and Analysing Classical Form , which have reshaped music theory pedagogy globally. Caplin's academic work spans form-functional analysis, cadence studies, and the history of music theory. He has held visiting professorships at the University of Rome and the University of Oregon, and served as President of the Society for Music Theory. His awards include the Royal Society of Canada Fellowship and the Killam Research Fellowship. He teaches courses in tonal theory, analysis, and history of music theory, and actively contributes to editorial boards of journals like Eighteenth-Century Music and Indiana Theory Review . His research explores cadence theory, formal structure evolution, and interdisciplinary approaches to music analysis. Recent projects include studies on 'fantastical forms' in classical improvisation and cadential closure in early Romantic music. Caplin’s work bridges historical analysis with contemporary pedagogy, emphasizing practical applications for classroom teaching. Key areas of expertise include: Sonata Form, Cadence Analysis, 18th-century music theory, form-functional classification, and thematic structure analysis. His teaching and research have been supported by SSHRC and Canada Council grants.