- Started in
- Finished PhD in
- Musician type
- Host institution
- Leiden University
Anna Scott is a Canadian pianist and artistic researcher interested in challenging agreed-upon understandings of canonic composers and their works in-and-through provocative acts of musical performance. In December 2014 she was awarded a practice-led PhD in early-recorded Brahms performance practices by Leiden University, NL, and the DocArtes Doctoral Programme in the Musical Arts based at the Orpheus Institute in Ghent, BE. She teaches and supervises Bachelors, Masters, and PhD students at the Royal Conservatory of the Hague, Leiden University, and the Lemmensinstituut LUCA School of the Arts in Leuven; she is on the coordination team of the DocArtes Doctoral Programme at the Orpheus Institute in Ghent; and she is the primary investigator of a research project investigating the reflexivity of artistic research and conservatory training, supported by the Orpheus Institute and based at the Lemmensinstituut in Leuven.
Early Recordings and the Reconstruction of Brahmsian Identity
Though they are generally regarded as invaluable traces of late-Romantic style, early twentieth-century recordings make for uncomfortable bedfellows with modern norms for the performance of certain nineteenth-century repertoires and the canonic identities protected by those norms. Nowhere is this truer than in Brahmsian spheres, where the version of Johannes Brahms communicated by the recordings of the Schumann-Brahms circle of pianists stands in stark contrast to constructions of his 'Classical' identity and its underlying aesthetic ideology of control.
December 11, 2014 (11h15)
On Thursday December 11 at 11h15, at the Academiegebouw Leiden, docARTES-PhD candidate Anna Scott publicly defended her thesis: Romanticizing Brahms: Early Recordings and the Reconstruction of Brahmsian Identity.