- Renaissance music, Musicology, Renaissance Studies, Heinrich Faber, music printing, early modern Germany, history of the book, History of Music Education, and 12 moreHistory of Reading, 15th Century Burgundy, Sacred Music, Italian Humanism, History of the Senses, Music Education, Musical culture in Czech lands, Bedrich Smetana, Eötvös Péter, Central-Eastern European music, Musical culture of Central Europe, and Renaissance in Polandedit
- I am a musicologist from Paris, France, specialising in music theory, music teaching and vocal performance in the 16t... moreI am a musicologist from Paris, France, specialising in music theory, music teaching and vocal performance in the 16th century. I am currently pursuing a doctorate on Heinrich Faber's seminal school treatise, the Compendiolum Musicae (ca. 1550) at Sorbonne Université (ex-Paris 4) and Johannes Gutenberg Universität Mainz. I am a graduate of the Paris National Conservatoire in music analysis and musical aesthetics. I also work as a teacher and conductor of children's choirs, and I perform as a singer (tenor) in vocal ensembles.edit
A chapter on music, and the perception of medieval music in the French TV series "Kaamelott". It offers as well a discussion of the symbolic values of music intervals in Medieval and Renaissance thought. Part of "Kaamelott, un livre... more
A chapter on music, and the perception of medieval music in the French TV series "Kaamelott". It offers as well a discussion of the symbolic values of music intervals in Medieval and Renaissance thought. Part of "Kaamelott, un livre d'histoire" (éd. Florian Besson, Justine Breton, Paris, Vendémiaire, 2018).
Research Interests:
"The style of performance is somewhere between Commedia dell'arte and Walt Disney", said Hungarian composer Péter Eötvös of his first "Madrigal comedy" for 12-voice choir (1970). This article is a musical analysis of the piece presenting... more
"The style of performance is somewhere between Commedia dell'arte and Walt Disney", said Hungarian composer Péter Eötvös of his first "Madrigal comedy" for 12-voice choir (1970). This article is a musical analysis of the piece presenting its formal aspects, the treatment of the text, and its relationship to its reference material, Gesualdo's late polyphonic madrigals.
Published in the Belgian journal "Carnets du Forum des Compositeurs" in 2008.
Published in the Belgian journal "Carnets du Forum des Compositeurs" in 2008.
Research Interests:
This is my Master 1 thesis, presenting a commented transcription of Jean de Bournonville's polyphonic mass "Dessus le marché d'Arras" (Douai 1619), and a biographic essay of its composer. This thesis, supervised by Alice Tacaille, was... more
This is my Master 1 thesis, presenting a commented transcription of Jean de Bournonville's polyphonic mass "Dessus le marché d'Arras" (Douai 1619), and a biographic essay of its composer.
This thesis, supervised by Alice Tacaille, was defended in Sep. 2006 at Paris-Sorbonne university.
This thesis, supervised by Alice Tacaille, was defended in Sep. 2006 at Paris-Sorbonne university.
Research Interests:
This is my Master 2 thesis, presenting a new French translation, with critical commentary, of Christoph Bernhard's mid-17th c. singing treatise "Von der Singekunst oder Manier", and a biographic essay of its composer as well as an... more
This is my Master 2 thesis, presenting a new French translation, with critical commentary, of Christoph Bernhard's mid-17th c. singing treatise "Von der Singekunst oder Manier", and a biographic essay of its composer as well as an examination of his relationship to other German theorists such as Michael Praetorius and Johann Andreas Herbst.
This thesis, supervised by Alice Tacaille, was defended in Sep. 2011 at Paris-Sorbonne University.
This thesis, supervised by Alice Tacaille, was defended in Sep. 2011 at Paris-Sorbonne University.
Research Interests: History of Music Theory, Baroque Music, German Baroque Music, Ornamentation (Baroque Music), Historically Informed Performance (HIP), and 9 moreHistory of Music Education, Rhetoric and symbolism in Baroque music, Maniera Moderna, Ornamentacion Baroque Music, Michael Praetorius, Christoph Bernhard, Music in Dresden, Von der Singekunst, and Italienische manier
A paper presented at the "Musik vor 1600" conference in Weimar, Germany, in 2017.
Research Interests:
A paper presented (in German) at Johannes Gutenberg Universität, Mainz, Germany, on July 15 2016. It asks whether music treatises in the 16th c. should be taken as source material for historically informed performance practice (HIP) or... more
A paper presented (in German) at Johannes Gutenberg Universität, Mainz, Germany, on July 15 2016. It asks whether music treatises in the 16th c. should be taken as source material for historically informed performance practice (HIP) or viewed as literary texts, subject to stylistic constraints and perhaps a degree of unreliability.
Research Interests:
A paper presented (in German) at Johannes Gutenberg Universität, Mainz, Germany, on June 2 2015. It asks if and how German music theorist's seminal treatise, the Compendiolum musicae (ca. 1550) can be read as a textbook presenting a... more
A paper presented (in German) at Johannes Gutenberg Universität, Mainz, Germany, on June 2 2015. It asks if and how German music theorist's seminal treatise, the Compendiolum musicae (ca. 1550) can be read as a textbook presenting a studies plan for a music class in German Lateinschulen during the latter half of the 16th c.
Research Interests:
A paper read during the conference "Théorie de l'analyse", held at the Paris National Conservatoire on Feb. 12 2014. It offers an analysis of form and of tonal structures, and their relationship to the process of setting a text to music,... more
A paper read during the conference "Théorie de l'analyse", held at the Paris National Conservatoire on Feb. 12 2014. It offers an analysis of form and of tonal structures, and their relationship to the process of setting a text to music, in Christoph Bernhard's (1628-1691) Easter cantata "Sie haben meinen Herrn hinweggenommen". It shows the importance of a musical-textual motive, repeated in various keys along the circle of fifths throughout the long recitative middle section.
Research Interests:
A paper presented (in German) at Johannes Gutenberg Universität, Mainz, Germany, on December 13 2013. It asks whether the text of the dedication, and the person of the dedicatee, in Nikolaus Listenius' and Heinrich Faber's treatises (1st... more
A paper presented (in German) at Johannes Gutenberg Universität, Mainz, Germany, on December 13 2013. It asks whether the text of the dedication, and the person of the dedicatee, in Nikolaus Listenius' and Heinrich Faber's treatises (1st half of the 16th c.), should be taken into account when studying these works' musical theoretical content.
Research Interests:
A paper presented (in German) at the Forschungskolloquium Musiksoziologie, Centre Marc Bloch, Berlin, on April 14 2013. In it I examine the relationship between the singer-interpret and the musical text in early 17th. Germany, as defined... more
A paper presented (in German) at the Forschungskolloquium Musiksoziologie, Centre Marc Bloch, Berlin, on April 14 2013. In it I examine the relationship between the singer-interpret and the musical text in early 17th. Germany, as defined in the treatises of Michael Praetorius, Christoph Bernhard and their contemporaries. The singer, according to Praetorius, is an orator, carrying a responsibility towards rhetorical intelligibilty at both the textual and musical level.
Research Interests:
A paper read at the conference "Improvisation et autorité" at Université François Rabelais, Tours, Sep 27 2012. It analyses Michael Praetorius' declarations on the singer as orator (Syntagma Musicum, bk. III ch. 9) and confronts them with... more
A paper read at the conference "Improvisation et autorité" at Université François Rabelais, Tours, Sep 27 2012. It analyses Michael Praetorius' declarations on the singer as orator (Syntagma Musicum, bk. III ch. 9) and confronts them with Christoph Bernhard's (1628-1691) and J. A. Herbst's (1588-1666) perspectives on the role and authority of the composer.