Frank Martin's Musical Reflections on Death, Pendragon 2011.Messiaen's Interpretations of Holiness and Trinity: Echoes of Medieval Theology in the Oratorio, Organ Meditations, and Opera, Pendragon, 2008.Messiaen's Explorations of Love and Death: Musical Signification in the Tristan Trilogy and Three related song cycles, Pendragon, 2008. ![]() Messiaen's Contemplations of Covenant and Incarnation: Musical Symbols of Faith in the two great piano cycles of the 1940s, Pendragon, 2007.The Musical Order of the World: Kepler, Hesse, Hindemith, Pendragon, 2005.Saints in the Limelight: Representations of the Religious Quest on the Post-1945 Operatic Stage, Pendragon, 2003.Musical Ekphrasis in Rilke's Marienleben, Rodopi, 2000.Musical Ekphrasis: Composers Responding to Poetry and Painting, Pendragon, 2000.The Temptation of Paul Hindemith: Mathis der Maler as a Spiritual Testimony.Images and Ideas in Modern French Piano Music: The Extra-Musical Subtext in Piano Works by Ravel, Debussy and Messiaen.Bach's Well-Tempered Clavier: In-depth analysis and interpretation. Guidelines to Piano Interpretation, Penerbit Muzikal Malaysia, 1989, ISBN 978-967-985-180-9.2001 Elected Ordinary member of the European Academy of Sciences and Arts.2005-2009 Chercheur invité, Institut d'esthétique des arts contemporains, University of Paris 1–Sorbonne.2002-2010 Distinguished Senior Research Fellow of the Centre for Christianity and the Arts, University of Copenhagen.Since 1997 Life Research Associate, Institute for the Humanities, The University of Michigan, Ann Arbor.1993-1997 Research Associate, Institute for the Humanities, Arbor The University of Michigan, Ann Arbor.1987-1994 Director of Studies in Music, School of Vocational and Continuing Education, The University of Hong Kong.1984-1987 Director and Principal Lecturer, Pianist Academy, Ansbach.1982-1987 Director and Lecturer, Institute of Musical Interpretation, Dinkelsbühl.1978-1982 Music Director, Community Music School, Unterhaching.1977-1978 Piano Teacher, Conservatoire de Musique, Geneva.1975-1976 Piano Teacher, City of Stuttgart Music School.In 1993 her book concerning Bach's Well Tempered Clavicle was published. During her first sabbatical (1993–1994), which she spent at the University of Michigan, USA, she was invited to join the University's Institute for the Humanities, where she is currently a Life Research Associate for Music and Modern Literatures / Music in Interdisciplinary Dialogue. ![]() Two years later she followed her husband, who had accepted a position in Hong Kong, and taught for six years at The University of Hong Kong. summa cum laude with an interdisciplinary dissertation in musical analysis and psychoanalysis. After another four years of teaching she enrolled in the University of Vienna and the University of Music and Performing Arts Vienna for doctoral studies 1985 Dr. In 1976-78 Siglind Bruhn wrote her first book, which links the pedagogical heritage of her teacher Horbowski with first attempts at her own research. During this time she met her future husband, the philosopher Gerhold K. ![]() Concurrently she read Romance studies, Comparative Literature, and Philosophy at Munich University 1976 Magister Artium (M.A.) with a thesis on the drama of Ramón del Valle-Inclán. She completed her studies in the master class of Vladimir Horbowski at the Musikhochschule Stuttgart 1975 State Examen (equivalent to a Master of Music) in piano performance and piano pedagogy. During the last two years before her high school graduation (Abitur 1970), she was a student in the piano class of Professor Eckart Besch at the Musikhochschule Hamburg. Her father was the engineer Ernst Bruhn, her mother the interpreter Leonore Bruhn née Kieberger. Siglind Bruhn (born Octoin Hamburg) is a German musicologist, writer and concert pianist.
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