This week I will begin teaching as a visiting professor at the Hochschule für Musik Dresden. For the coming academic year, I will lecture in music theory, aural skills, and music analysis in the artistic bachelor, school music, and composition programmes. Thankful for this opportunity, I look forward to a fruitful exchange with students and colleagues at the Zentrum für Musiktheorie!
Looking forward to participating in the annual conference of the Gesellschaft für Musiktheorie, hosted by the BTU Cottbus-Senftenberg next weekend, 4–6 October. The promising line-up has a particular focus on paradigm chances in music theory, digitalisation and internationalisation in the post-pandemic era, and music theory scholarship in Chopin’s time and the fin de siècle. I will be contributing with a workshop on the possibilities and functionality of the Open Music Academy. See you in Cottbus soon!
I am currently preparing a contribution for a Stravinsky volume that kind of absorbs me. The chapter will focus on analytical examinations of Old Igor’s music, confronting historical writings (starting with Messiaen’s and Boulez’s analyses of the Sacre) with contemporary approaches. Beyond the ubiquitous Taruskin, Kholopov, Straus, Horlacher, et alii: is there anything notable or indispensable in Stravinsky studies that you think I should care about and include in my survey? Any leads and opinions are much appreciated.
There is a new survey issued by the AG Lehrbeauftragte of the Gesellschaft für Musiktheorie, addressed to people who work as adjunct lecturers in music theory and/or ear training at German music universities. The survey examines the working conditions and income of adjuncts, and their integration in the professional structures. If you belong to the abovementioned group, please spare 10–15 minutes and take the anonymous online poll, which helps us collect valuable data on the situation of the largest status group in academic music theory.
My children have both changed their school and now attend the Georg-Friedrich-Händel-Gymnasium Berlin, a high school with an extensive and versatile profile in music education. Ensemble courses and rehearsals are part of the regular timetable, so as students are not required to take extra lessons in the afternoon. My 13-year-old daughter sings in the Rundfunk-Kinderchor Berlin and also continues in the Berliner Mädchenchor, besides studying harp, piano, and music theory at the local music school. My 9-year-old son plays in the school’s youth orchestra, while singing in the Vokalhelden choir and taking guitar and violin lessons at the music school. Both children also compose their own pieces and show a very promising attitude and intrinsic motivation for music, which is a great pleasure to witness!
