String Quartet in AI major

This is a first movement exposition from a classical string quartet of undisclosed origin. How would you rate it under the following premises? (choose one or more)

  • as an excerpt from a work by Anton Ferdinand Titz (1742–1810)
  • as a composition study by a music theory major student
  • as a product created by artificial intelligence

Please note that the origin and authorship of the piece is irrelevant, and you are not expected to attribute it (I might disclose this later). The question is how you would assess the quality of the music in terms of style and compositional proficiency.

Diversity Survey for Music Students

Dear music students, lecturers, and scholars! I am conducting a survey on diversity in music business and professional music education. If you are a student, you are cordially invited to participate. If you are teaching at a German university or conservatory, please forward the survey link to your students. Your help is much appreciated! The survey is in German language, will take around 20 minutes and is subdivided into five sections:

  • General questions of diversity in music
  • Composers
  • Researchers and teachers
  • Academic subjects and topics
  • Personal information

Symphonies of Light

While mostly appreciated for his innovative piano music, Alexander Scriabin also was a prolific orchestral composer. My latest essay for VAN Magazin, entitled »Shining Visions, Flourishing Forms«, focuses on his seven symphonic works, commenting on their stylistic and aesthetic features in reverse chronology, and contextualising the mutual appreciation of Scriabin and his friend, the poet Konstantin Balmont. Hope you enjoy the read!

Types and Prototypes: Study Day in Hamburg

This month is already bursting with music conferences and symposia, but the following event could indeed be worthwile to experience: Together with Patrick Becker and Roberta Vidic I am co-organising a hybrid study day, titled Types and Prototypes: Towards a Theory of Compositional Models in East-European Music, which will focus on theories of Satzmodelle and schemata in the repertoire in question. It is hosted by Hochschule für Musik und Theater Hamburg and will take place both on-site and remotely via Zoom next Saturday, 18 February, 3–8 pm.

We are glad to have a promising line-up of presenters, including musicologists and music theorists from four different countries: Bart de Graaf (Amsterdam), Inna Klause (Hannover), Olha Kushniruk (Cambridge), Rebecca Mitchell (Vermont), and Jeff Yunek (Georgia). The study day will be chaired by Christoph Flamm (Heidelberg). Everybody interested is cordially invited to participate—please see this website for information on how to register.