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Masterclass di Musica Rinascimentale: Anne Smith

Il collegamento tra teoria e prassi esecutiva nella musica rinascimentale vocale e strumentale con particolare riferimento alla pratica dei flauti traversi rinascimentali.
Prof.ssa Anne Smith (Schola Cantorum Basiliensis, CH)

Dipartimento di Musica Antica in collaborazione con l’Accademia Filarmonica di Verona

Salone dei Concerti di Casa Boggian e Accademia Filarmonica, Verona
da martedì 3 a giovedì 5 febbraio 2015

Giovedì 5 febbraio, ore 18.00, presso la Sala Maffeiana, si terrà il concerto finale dei partecipanti.

ISCRIZIONI
Su apposita domanda, entro sabato 31 gennaio 2015

Conservatorio Statale di Musica “Evaristo Felice Dall’Abaco”
Via A. Massalongo, 2 - 37121 Verona - Tel. 045 800 28 14 / 045 800 91 33 - Fax 045 800 90 18
e-mail: ufficioprogetti@conservatorioverona.it - sito web: www.conservatorioverona.it
Il pagamento dovrà essere anticipato tramite bonifico bancario - IBAN: IT39D0760111700000017993379

PER INFORMAZIONI
Prof. Marcello Gatti, e-mail: marcellogatti@yahoo.it

Anne Smith completed her B.A. with honors in music at Brandeis University in 1973. Following this she came to Basel to study recorder and later transverse flute with Hans Martin Linde at the Schola Cantorum Basiliensis. She received her concert diploma in recorder from the SCB in 1977. Since 1979 she has been teaching recorder and renaissance flute there herself. The work she did with Barthold Kuijken in workshops and occasional private lessons was also of great influence on her musical development. Throughout the years she has played regularly with small chamber ensembles. In recent years her course offerings at the Schola have included 16th-century music theory in relation to performance practice, solemnization, and Alexander Technique. In December, 2008, she was asked to join the editorial board of Musica Disciplina.
Her current focus is on bridging the gap between knowledge of the writing of 16th-century musical theorists and its application in performance. To this end she has given workshops on these subjects for the early music departments of the conservatories of Brussels, The Hague, Linz and Graz, as well as presenting the material various musicological conferences. Her recent book The Performance of 16th-Century Music: Learning from the Theorists (OUP New York, 2011) is a reflection of this work.



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