جست‌وجوی استاد و پژوهشگر

Joyce Chenمشاهده پروفایل

استادیار

• Acoustics
• Musical Instruments
• Performance Practice
• +۴ مورد دیگر

Dr. Joyce Chen is an Assistant Professor of Historical Keyboards at the University of Oregon and a concurrent PhD candidate in Historical Musicology at Princeton University. Her research focuses on the intersection of acoustics, artisanal knowledge, and aesthetics in 17th-century Europe, blending scientific inquiry with musicology. She is also a distinguished harpsichordist, recognized for performances in North America, Europe, and Taiwan, including solo appearances at the Bloomington Early Music Festival and international competitions. Education: PhD candidate (Princeton University), DMA in Harpsichord Performance (Stony Brook University), BSc in Mechanical Engineering (UC Berkeley). Research includes hands-on instrument-building apprenticeships at Zuckermann Harpsichords International and completion of her first harpsichord from a Troubadour Virginal Kit. Awards include the 2018 Delaware Individual Artist Fellowship and 2019 Emerging Artist Showcase recognition. Additional expertise: Baroque organ performance (AGOD Colleague certified), church music leadership, and interdisciplinary studies on music and race. Active in performance and education, offering harpsichord tuning, private lessons, and ensemble direction.

Darlene Catelloمشاهده پروفایل

استادیار مدعو

• Baroque Music
• Historical Performance Practice
• Early Music
• +۲ مورد دیگر

Darlene Catello is an Adjunct Assistant Professor in the Department of Music at the University of Notre Dame, serving as an Adjunct Harpsichord and Fortepiano Instructor. She has been a long-time member of the department and is a distinguished harpsichordist, recognized with awards in her field. She co-founded the Fleur de Lys Baroque Ensemble, contributing to early music performance. Education: MM, University of Michigan MM, University of Notre Dame BA, Denison University Her expertise centers on Baroque-era keyboard instruments, with a focus on historical performance practices and pedagogy. She actively promotes early music through teaching and ensemble collaborations. As an ensemble leader, her work with Fleur de Lys Baroque Ensemble highlights her commitment to reviving and reinterpreting Baroque repertoire. No specific grants or advising roles are detailed in the provided text.

• Historical Performance
• 19th-Century Violin Pedagogy
• Baroque Music
• +۲ مورد دیگر

Shaun Lee-Chen is a Lecturer and Artist in Residence at the University of Western Australia's Conservatorium of Music. He serves as Concertmaster of the Australian Brandenburg Orchestra, a role he has held since 2016. His expertise lies in historical performance practices and 19th-century violin pedagogy, with a focus on Baroque and Classical repertoire. Education: Bachelor of Music (University of Western Australia, 2000), recipient of multiple graduation prizes Research & Performance Interests: Shaun specializes in period instruments, 19th-century pedagogy, and historically informed performance. His work emphasizes collaborative productions, including chamber music ensembles like the Irwin Street Collective and orchestral projects with the Sydney Symphony Orchestra, Tasmanian Symphony Orchestra, and West Australian Symphony Orchestra. Performance Trends: His recent works blend classical repertoire with contemporary reinterpretations, such as the ARIA-nominated Brandenburg Celebrates album (2015) and the pandemic-era Love and Lockdown pastiche opera (2021). Peer-reviewed performances often involve cross-genre collaborations and digital innovation. Awards: ABC Young Performer of the Year (2007) Grants & Labs: Active in UWA's Irwin Street Collective, a period chamber ensemble focused on Australian premieres of neglected classical works. No formal grant details mentioned in text.

Josiah Tayag Catalanمشاهده پروفایل

مدرس

• Contemporary Classical Composition
• Philippine Indigenous Music
• Avant-Garde Music
• +۴ مورد دیگر

Josiah Tayag Catalan is a Lecturer in Music at the University of California, Davis, where he is also a recent Ph.D. graduate (2021). He is affiliated with the Department of Music within the College of Letters and Science. As a Filipino-American composer born in New York City and raised in the San Francisco Bay Area, his work bridges cultural and musical traditions. Ph.D. in Music, University of California at Davis (2021) Bilinski Fellow, UC Davis Fromm Foundation Composer Fellow, Composer’s Conference His research and compositional interests center on the intersections of traditional, avant-garde, popular, and indigenous Philippine musics. He explores cultural hybridity, emotional narrative, and structural complexity in contemporary classical music, often employing extended techniques and interdisciplinary themes such as cosmology, rebirth, and identity. His compositions have evolved toward increasingly sophisticated explorations of timbre, form, and cultural resonance. Recent works like unravel and Night of the South Winds reflect a deep engagement with emotional and sonic landscapes, often performed by leading new music ensembles such as Earplay, Left Coast Chamber Ensemble, and the San Francisco Contemporary Music Players. His awards and recognitions include: First Prize, NACUSA Composition Competition (2017) SFCMP 2021 Awardee for 'SF Search for Scores' Finalist, Thailand International Competition Festival The American Prize Composer’s Awards Fromm Foundation and Bilinski Fellowships Josiah has secured commissions and performances from prominent ensembles and soloists, including the Arditti String Quartet, MANA Saxophone Quartet, and violinist Miranda Cuckson. While there is no explicit mention of grant funding, his commission-based model indicates active project support. He has not advised any students listed in the text. He is not associated with a formal lab or research team but collaborates closely with performing ensembles and co-produces recordings, such as with Richard Festinger.

Marius Bahneanمشاهده پروفایل

دانشیار

• Early Music
• Baroque Music
• Medieval Music
• +۴ مورد دیگر

Marius Bahnean serves as Associate Professor of Music and Director of Choral Activities at The Master's University (TMU). He leads ensembles like the TMU Chorale and University Singers, teaches conducting courses, music history, and aural skills, and advocates for Early and Baroque music. His academic background includes a B. Mus. Honors in Theory from Wilfrid Laurier University, an M.M. in Conducting from the University of Massachusetts Amherst, and a D.M.A. in Conducting from Louisiana State University. Education: B. Mus. Honors Theory (Wilfrid Laurier University), M.M. in Conducting (University of Massachusetts Amherst), D.M.A. in Conducting (Louisiana State University) Bahnean is renowned for his expertise in conducting choirs and orchestras with period instruments, often performing from the keyboard. His research focuses on reconstructing Christoph Graupner’s Passion Cantatas and analyzing Medieval/Renaissance music from England. He has presented at international conferences in Brașov, Romania, and trained under distinguished mentors like Ivars Taurins and Jeanne Lamon of Tafelmusik. The TMU Chorale and University Singers, which he directs, feature students from diverse academic backgrounds and have toured nationally and internationally, including performances at Carnegie Hall and in Israel, Italy, and Texas. As a vocal conductor, Bahnean studied under tenor William Hite and Grammy-nominated mezzo-soprano Laura Pudwell. He is also a member of the Oxbridge C.S. Lewis Institute Choir based at the Universities of Oxford and Cambridge. His family includes his wife, Alina, and their daughter.

• Composition
• Music Performance
• Artistic Research
• +۲ مورد دیگر

John Gormley is a Lecturer in Creative & Contextual Studies at the Royal Conservatoire of Scotland, serving as Joint Head of the BEd (Music) Programme with active research in composition, performance, and artistic research since 2024. His academic qualifications include: PhD in Composition from University of St Andrews (awarded 2015) MSc in Information Technology from University of Glasgow (awarded 1997) MMus in Composition from University of Glasgow (awarded 1997) MA from University of Glasgow (awarded 1996) Gormley specializes in vocal and instrumental composition with emphasis on traditional music adaptation, improvisation, and music education. His work bridges historical traditions (e.g., Burns songs, medieval lullabies) with contemporary performance practices, particularly through choral arrangements for lower voices and organ recitals. Recent projects demonstrate strong engagement with Scottish cultural heritage through artistic reinterpretation. 2023-2024 outputs reveal concentrated activity in vocal arrangement and solo organ performance, showing consistent focus on folk traditions reimagined for modern ensembles. Collaborations with conductors Evans and McTaggart highlight interdisciplinary approaches, while outputs like Lullay, my fader indicate scholarly interest in historical repertoires. As Joint Head of the BEd (Music) Programme, Gormley leads undergraduate music education development. His external teaching roles included piano tutoring at St Aloysius' College (1998-2004) and music theory instruction at Douglas Academy (2004-2006), though no research grants are documented in the source material. Collaborative projects with conductors and performers form the core of his current artistic practice, as evidenced by recent arrangements and recitals, though dedicated research teams or laboratories aren't specified in available records.

Olivia Wahnon de Oliveiraمشاهده پروفایل

مدرس

• Musicology
• Historical Musicology
• Music Archives
• +۵ مورد دیگر

Olivia Wahnon de Oliveira is a graduate of the Université libre de Bruxelles (ULB) with two Master’s degrees in Philosophy and Musicology (History of Art). She began her career at the Opéra Royal de Bruxelles before transitioning to academic research at ULB for seven years, focusing on 18th-century music publishing and merchants in Liège. In 2000, she started teaching as a lecturer at Paul-Henri Spaak College and Leonardo da Vinci College, later becoming a professor at IRSHAAB and an assistant professor at ULB. Since 2008, she has served as Head Librarian and Director of the Conservatoire royal de Bruxelles (2023), where she launched the Pièces inédites score collection and preserved CeBeDeM archives. Education: Master’s in Philosophy and Musicology (ULB), agrégation, CAPAES. Her research centers on historical musicology, archival science, and music publishing, with a focus on 18th- to 20th-century Belgian and European composers. Her publications explore topics like counterfeit opera scores, epistolary exchanges in operatic production, and the role of music merchants in Liège. She also contributes to library science through manuscript preservation and cataloging. The trends in her articles reflect interdisciplinary work bridging music history, archival analysis, and cultural studies. Key areas include 18th-century music trade, wartime institutional histories, and the evolution of music libraries through acquisitions like CeBeDeM’s 350-meter collection. As a librarian and educator, she coordinated master theses methodology and collaborated on concerts, exhibitions, and radio broadcasts. Her leadership in 2015 to integrate CeBeDeM into the Conservatoire’s library ensured the preservation of 20th-century Belgian composers’ works.

• 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.

• Music Education
• Music Performance
• Early Music Studies
• +۳ مورد دیگر

Anna Krzysztofik-Buczyńska is a Vice Dean of the Department of Instrumental and Pedagogical, Music Education and Vocal Studies at the Białystok Branch of the Fryderyk Chopin University of Music. A harpsichordist, pianist, and chamber musician, she specializes in instrumental performance, vocal studies, and early music education. Education: I.J. Paderewski State Primary Music School, General Primary and Secondary Music School in Bytom, MA and postgraduate studies at FCUM Białystok Academic Affiliation: Lecturer at FCUM Białystok Department of Instrumental and Educational Studies Performance Roles: Symphony Orchestra of Podlasie Philharmonic (Białystok), co-founder of Early Music Ensemble 'CONSORT 415' Her research interests span Baroque music performance practices , keyboard instrument pedagogy , chamber ensemble coaching , and historically informed interpretation . She has developed expertise in both piano and harpsichord through mentorship by international artists including Elena Adamczyk, Leonid Stawarz, and Duo Pepicelli. As a performer, she has participated in prestigious events like the Early Music Forum in Warsaw and Bach Days in Kraków, while also contributing to operatic productions ('The Haunted Manor') and musicals ('The Phantom of the Opera'). Her instrumental versatility covers piano, harpsichord, celesta, and organ.

• Accordion
• Accompaniment
• Arrangement
• +۳ مورد دیگر

Povilas Velikis serves as an Associate Professor in the Instrumental Music Department at the Music Academy of Vytautas Magnus University. With expertise spanning accordion performance, accompaniment, and arrangement, he contributes significantly to music education in Lithuania. His research interests focus on accordion technique development, particularly addressing challenges in early music education to prevent physical injuries among young accordionists. He also explores the interpretation of classical keyboard repertoire on the accordion, examining how Baroque works can be authentically rendered on this instrument. His scholarly work bridges traditional accordion performance with classical music interpretation techniques. Professor Velikis has supervised master's research examining specialized topics including the technical challenges faced by beginning accordionists and the interpretation of Domenico Scarlatti's keyboard works on the accordion. His students' research demonstrates his commitment to advancing accordion pedagogy and expanding the instrument's repertoire through creative adaptation of historical works. Fluent in Lithuanian (native), English, and Russian, Professor Velikis operates within both Lithuanian and international music contexts, contributing to the academic discourse on accordion performance and pedagogy.

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

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

• Musicology
• Instrumentology
• Music History
• +۴ مورد دیگر

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

Stephen Hargreavesمشاهده پروفایل

دانشیار

• Vocal Coaching
• Opera Production
• Baroque and Classical Opera
• +۴ مورد دیگر

Stephen Hargreaves is an Associate Professor (Vocal Coaching) at McGill University's Schulich School of Music. He serves as Music Director of Opera McGill and holds the 2021-2022 Schulich School teaching award. His career spans roles as répétiteur, conductor, and collaborative pianist with companies like Chicago Opera Theater, Canadian Opera Company, and Santa Fe Opera. Specializing in baroque/classical operas and contemporary works, he has conducted productions such as Il barbiere di Siviglia , Alcina , and L’amant anonyme . Education: Walnut Hill School for Performing Arts → Indiana University (Horn performance under Myron Bloom; piano with Reiko Neriki). Early inspiration came from a childhood player piano inheritance. His work includes creating performing editions of operas and touring with ensembles like Hudson Shad. Extensive experience in period instrument performances and keyboard conducting (harpsichord/fortepiano). Collaborative highlights include accompaniments for Anita Rachvelishvili and Samuel Ramey, and solo piano album Variations on 1930 . Active in both traditional and innovative operatic productions, blending historical performance practices with contemporary repertoire.

Beate Rölleckeمشاهده پروفایل

مدرس

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

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

Zvi Menikerمشاهده پروفایل

استاد

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

Prof. Zvi Meniker is a Professor of Harpsichord, Fortepiano, and Early Music, and Head of the Institute for Early Music at the Hanover University of Music, Drama and Media. Born in Moscow and raised in Israel, he studied at the Mozarteum Academy of Music in Salzburg, Zurich Conservatory, and Cornell University (USA), where he earned a doctoral thesis on Chopin's piano performance practice (2001). His career includes teaching roles at Duke University (USA), the Academy of Early Music in Jerusalem, and the Felix Mendelssohn Bartholdy Academy in Leipzig. His expertise spans late medieval to 20th-century repertoire, with a focus on harpsichord, organ, and fortepiano. He has performed globally, released CDs of works by Bach, Beethoven, and Chopin, and is noted for his virtuosic and passionate performances. Awards include unspecified prizes from international competitions. Research interests include historical performance practices and early music pedagogy. He advises through his teaching and leads the Institute for Early Music, fostering early music education and performance.