Crossing Boundaries in Improvised Music.
Started in 2010 by Tony Roe
Although the space for creativity in regard to performance in improvised music is generally assumed to be greater than e.g. in classical music, I would argue it is restricted in many ways. The aim of…
Barbara Varassi Pega digs into the constituent elements of River Plate tango in order to decode how specific musical materials were organized and combined by four outstanding musicians: Osvaldo…
This research will focus on the relationship between the musical structure and musical time in the performance of 19th century music.
The present examination of Paisiello’s pedagogical work is based primarily on two sources: the Regole, printed in 1782 in St. Petersburg, as well as the autograph manuscript, and forty-one…
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…
Dissonance curves are the starting point for an investigation into a psychoacoustically informed harmony. Its main hypothesis is that harmony consists of two independent but intertwined aspects…
Between 1600 and 1800 countless manuals appeared on the subject: the improvised bass part on the harpsichord, pianoforte or organ. Musician and researcher Kathryn Cok unravels the secrets of the…
The thesis presents a new perspective on Giovanni Girolamo Kapsperger (ca.1580-1651), who is nowadays only famous for his works for theorbo and lute, his remarkable output of vocal music of all…