- Musical form
- Reception of traditional form theories
- Musical analysis and perception
- Music analysis and music education
My research is motivated by experiences I have gained in the field of cultural education with classical orchestras. How the most complex music can become an exciting experience for the listener's ears, how amateurs and professional musicians can interact musically in a way that enriches horizons and artistic experience for both. Since these situations are too complex and metaphoric in a scientific context, I decided to start at a very basic point: how proposed understandings of form in music theory relate to the actual perception of listeners and performers.
Rostock University of Music and Drama, Diploma Music theory
University of Music and Performing Arts Vienna
Longy School of Music, Cambridge (MA)
Rostock University of Music and Drama, Diploma Piano
Max Planck Institute for Empirical Aesthetics, Music Department, research fellow
Deutsche Kammerphilharmonie Bremen, Future Lab - Head of Artistic and Education
Leipzig Gewandhaus Orchestra, Music Education
Fellow 2nd Masterclass on Music Education, Körber Foundation Hamburg
Full scholarship Evangelisches Studienwerks Villigst
- „Schöne Stellen“—Beautiful Passages in Music
If we are asked about music that we especially like or are moved by, and if we then try to describe what this involves, we are very likely to find ourselves using the word “beautiful.” If we wish to very briefly explain our enthusiasm for one ...
- Formenlehre and the Understanding of Musical Form
The form of a piece of music has been regarded as a central category for the evaluation of compositions since the 18th century. The Formenlehre (theory of forms) has developed beyond the theory of composition into an independent subject. ...