Doctoral studies curricula and information
The seminar DOK060 Doctoral Thesis for artistic branch
The seminar "Doctoral Thesis" for doctoral students (artistic branch) takes place every Tuesday from 2:30 until 4:00 PM in C209. The seminar will not be held during the project weeks. Seminars are conducted by Professors Kristel Pappel, Toomas Siitan and Kerri Kotta. Senior researcher Allan Vurma will join the discussions whenever possible and all supervisors are also welcome to attend.
The doctoral seminar is intended to discuss doctoral projects that are being planned or are in progress. Passages of text to be discussed must be distributed to all participants on Friday of the preceding week at the latest; longer texts must be distributed on Wednesday of the preceding week. The text must have already been discussed with the respective supervisor.
Each doctoral student presents their work once a semester and participates in at least eight doctoral seminars per semester.
In this semester the seminars take place from the 30th of January to the 15fh of May 2018.
Seminars DOK060 in the spring semester:
30.1. information; 6.2. Taavi Kerikmäe; 20.2. Jonathan Henderson, Vlady Bystrov;
project week – special seminar (Oliver Korte)
13.3. conference 14–17.30 (18.30)
20.3. Maria Korepanova, Vlady Bystrov; 27.3. Kirke Karja, Saale Fischer, Anna-Liisa Eller;
10.4. Jonathan Henderson, Giovanni Albini; 17.4. Piret Jaaks, Liis Viira, Kristiina Are;
project week – special seminar (Richard Taruskin)
8.5. Jaak Sikk, Theodore Parker, Tze Yeung Ho, Johan Randvere 15.5. Marie-Helen Aavakivi, Anneli Tohver, Tiiu Sisask, Maila Laidna, Liis Viira.
Since 2014, the third-year doctoral student conference (music and dramatic art) has been held in mid-March. Each third-year doctoral student must make a 20-minute presentation followed by a 10-minute discussion. The presentation is based on one aspect of the doctoral student’s research.
In 2015, one doctoral student from the Sibelius Academy in Helsinki also participated at the conference, while in its third year the conference welcomed three doctoral students from Helsinki with Director of the DocMus Doctoral School Päivi Järviö.
The V. conference of 3. year music and dramatic art doctoral students took place on Tuesday March 13th, 2018. Doctoral students Theodore Parker, Saale Fischer, Kristiina Are, Marie-Helen Aavakivi from EMTA, guests Naiara de la Puente Vadillo and Iryna Gorkun-Silén from the Sibelius Academy presented their research topics. In the audience was also lecturer Anu Vehviläinen (Sibelius Academy, Helsinki).
Consultations on Artistic Research
Peter Dejans, Orpheus Institute, Ghent
On June 12, at 15.30-18.00, in room C209 Peter Dejans, Director of the Orpheus Institute Ghent, will consult doctoral students of artistic branch. He also will attend on the June 13, 11:00 the defence of doctoral thesis, written by Jonathan Henderson.
Muusikateaduse eriseminar / Musicology Special Seminars (MTX771, MTX772, DOK431)
April 23-26, Richard Taruskin 16.15–18.30 A-402
23.04 The History of What? – On music historiography
24.04 How Things Stand Now – On performance practice
25.04 But Aren't All Traditions Invented? – On musical transmission
26.04 Essence or Context – On musical ontology
Opera Singer and Musician Career Seminar
April 16-20, 2018
Muusikateaduse eriseminar / Musicology Special Seminars (MTX771, MTX772, DOK431)
5.–9.03 2018, 16.15–18.30
Prof dr Oliver Korte (Lübecki Muusikakõrgkool)
Carl Friedrich Weitzmann, his theoretical explanations of Liszt's „Music of the future“
– and what Neo-Riemannian theory made of it
Monday, 5.03. C207: „Carl Friedrich Weitzmann, Franz Liszt, and the augmented triad"
Tuesday, 6.03. A402: "Weitzmann-Regions, hexatonic cycles, and their historical emergence. Modulations, sequential models etc."
Wednesday, 7.03. C207: "Boretz-spiders, octatonic cycles, and their historical emergence. Modulations, sequential models etc."
Thursday, 8.03. C207: "Workshop with compositions/musical sketches of the participants"
Friday, 9.03. C207: "Leaving the boundaries of tonality. Principles of evenness and symmetry in the music of the early 20th century“
Special seminar DOK431
April 18–20, 2017
Practical Opera Production. From first draft till opening night
Dr. Boris Kehrmann (Berlin/Karlsruhe)
Dramaturg at the Badisches Staatstheater Karlsruhe
Tuesday, 18.04. 14.30–18.00 C105
Wednesday, 19.04. 14.30–18.00 A103
Thursday, 20.04. 14.30–16.00 C105
Introduction to the seminar (in English): Monday, 17.04. 16.15–18.00 C105 (Kristel Pappel): Verdi’s “Macbeth”, Meyerbeer’s “Le prophète”, Wagner’s “Rheingold” and “Die Walküre” (in English)
Registration: Margit Võsa
The business of staging an opera at German opera houses is a complex process. It involves philosophical, aesthetical, economical and practical aspects as well as aspects of audience response.
About the topic: An opera production is an interpretation of a work of art. It is not the work itself but an artistical creation of its own right. The collective process of creating it involves intentional and non-intentional biases.
The seminar will explore these forces in five sessions as they were in work in four recent productions at the Staatstheater Karlsruhe: Verdi’s “Macbeth” (unabridged Paris version, 1865; dir.: Holger Müller-Brandes, set: Philipp Fürhofer); Meyerbeer’s “Le prophète” (dir.: Tobias Kratzer, set: Rainer Sellmaier); Wagner’s “Rheingold” (dir.: David Hermann, set: Jo Schramm) and “Die Walküre” (dir.: Yuval Sharon, set: Sebastian Hannak).
Excerpts of these productions will be screened. Knowledge of these works is required. Seminar language will be English.
Reading materials: Knowledge of the operas, mentioned above, is required.
Assessment criteria: Active participation, discussing -- 2 ECTS; essay 3000 characters with spaces for BAK and MAG students -- 3 ECTS; 6000 characters with spaces for doctoral students -- 3 ECTS.
Seminar and discussion on artistic research
Peter Dejans, Orpheus institute (Ghent)
A seminar on artistic research and its supervision led by Peter Dejans, director of Orpheus Institute (Ghent), took place on March 13, 2017, at 16.15. All the Supervisors of doctoral theses were welcome to the seminar.
On March, 14, at 10-12, in room C209 Peter Dejans consulted doctoral student of artistic branch. He also took part in discussions at the conference of doctoral students the same day, that started at 14 in the organ hall A404.
Creative Research Project 1 (LUP1)
Composition and improvisation in the 21st century
Coordinator: Professor Kristel Pappel
The project comprises research projects that deal with the relationship between composition and improvisation in the 21st century and the study or creation of new compositional models. In this artistic research project, students analyse their own creative activity within the broader theoretical context. In the course of the project, they work out a model of musical parameters, analyse the Bohlen-Pierce alternative musical scale as well as other individual composition methods and their use. They study the lines between improvisation and aleatoric music in relation to graphic-aleatoric scores and the role of improvisation in music instruction for children 9 to 12 years. The interrelationship of notation, improvisation and composition is also topical in musicology and musical aesthetics (see also IUT12-1 “Performative Aspects in Music”). In the course of the project, the following artistic research projects will be completed: Andrus Kallastu, “The parametric model of music as a tool for the composer”; Marta Hrafnsdóttir, “Free improvisation and its effect on general music instruction for young musicians”; Age Veeroos, “The impact of different playing techniques on the harmonic spectrum of sound in bowed string instruments”; Vlady Bystrov, “Extended perspectives in modern improvisation: From re-interpretation to instant composition”; Maria Korepanova, “The phenomenon of Besermyan krez‘ performance in tradition and on the stage: The problem of improvisation and variation”; Hans-Gunter Lock, “Composing in the Bohlen-Pierce System”; Taavi Kerikmäe, “Indetermination or improvisation? On the interpretation of graphic-aleatoric scores”.
The following artistic research projects have been defended within this project so far: Jorge Gómez Rodríguez, “Constructing Atonality in Molto Adagio” (2015); Christian M. Fischer, “Animated Notation” (2016).
The project is registered at the Estonian Research Portal: LUP1