STUDENTS
Orpheus Institute has students from all over the world:
Belgium, The Netherlands, U.K., Germany, Austria, Italy, Switzerland, Romania, Greece, South America (Chile, Mexico), Canada and the Middle-East/Asia (Israel)
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Laureate students
Elena ALESSANDRI
Brendel on Schnabel or Do performers do what they say they do?
Diederik GLORIEUX
On the edge of system and intuition: a compositional research.
(tutor: Dhr. Michiel Schuijer)
Hernando Flórez TURRINI
The choreography of hands
docARTES-promovendi
For more information on our doctoral students: docARTES website
Maria Christina CLEARY
The Development of the Harp repertoire from the Arpa Doppia to the Singleaction
Pedal Harp in Europe 1550 - 1850
Miguelángel CLERC
Composing Silence: study of perception and compositional processes on the moments of musical silence
Kathryn COK
A survey of basso continuo sources from the Dutch Republic c. 1650 - c.1780
Juan Parra CANCINO
Towards a performance practice in Computer Music
Alessandro CERVINO
The Piano Sonata in Contemporary Music: an Analytical and Practical Study
Paul CRAENEN
‘Composed performers'.
Thomas DE BAETS
An inquiry into the importance of the artistic-musical component of music teaching
A contribution to the development of a dynamic profile of the music teacher in the field of general education
www.thomasdebaets.be
Arne DEFORCE
The evolution of alienation and reminiscence in late 20th century cello music
www.arnedeforce.be
Anne-Marie DRAGOSITS
Giovanni Girolamo Kapsperger : life and work with special attention to Basso continuo
Claire GENEWEIN
Baldassare Galuppi's flute concertos and sinfonie avanti l'opera: A study of historical performance practice
Yolande HARRIS
Score Spaces: Spatial and Environmental Mappings in Site-Specific Electronic Music
Falk HUEBNER
New forms of Intermedia Theatre
www.falk-heubner.de
Juan Sebastian LACH LAU
Tuning In to Music Cognition Through the Ears of Composition
Perspectives for Computer Aided Composition
Roi NACHSHON
Organic principles in music composition. Contemporary ideas of organicism in contemporary composition.
Nicoleta PARASCHIVESCU
Partimento - eine Praxis für die Praxis. Regole per bene accompagnare il Partimento, o sia il Basso Fondamentale [...] St. Petersburg, 1782 von Giovanni Paisiello, und deren Umsetzung in seinen Kompositionen
Stefan PETROVIC Structural and expressive functions of flexible treatment of musical time, in the performance of 19th century music
Anna SCOTT
performance practice issues in the piano music of Johannes Brahms
Willem TANKE Combining the avant-garde and the historical in composition, improvisation and interpretation
Elske TINBERGEN
Barokmuziek voor cello-achtige instrumenten.
Marlon TITRE
Scoring for the guitar: a study of orchestration
Mark VAN TONGEREN
Overtone Singing
Luk VAES
Extended techniques- towards a performance practice
www.lukvaes.info
Peter VAN BERGEN
Transformaties van Instabiele Improvisatiesconcepten
Hendrik VANDEN ABEELE
Performance Practice of Plainsong in the southern Low Countries (1250-1550), traced in local and contemporary sources
Cathy VAN ECK
Loudspeakers and Microphones as Musical Instruments
Bart VANHECKE Systematisation of dissonant, atonal and amotivic composition based on interval group serialism.
Joost VANMAELE
Motivation, motion & emotion : three aspects of movement determining expressive quality in music performance.
Jed WENTZ
Flexibility of Tempo and the Expression of Emotion in French Baroque MusiC
Laura YOUNG
Max Reger's String Music for Guitar:
Expansion of repertoire and musical technique from bowed string instruments to the classical guitar