Artikel (DE): Das Zeitalter der Seegelboote (Die Deutsche Bühne: 08/20)
Würde die Coronakrise zehn Jahre dauern, wäre das Warten auf die Rückkehr des Status Quo Ante keine Option mehr. Innovation an der Form einer Opernaufführung wäre kein Risiko, sondern gang und gäbe. Wir bekämen einen Schock, der zu einer dezidierten und solidarischen Aktion der beteiligten Parteien führen würde, bis wir uns 2030 in einem fundamental neuen Verständnis der Praxis befänden. Das Publikum der Oper in der Nachcoronazeit bestünde hauptsächlich aus Millenials und das Überleben der Kunstform läge in ihren Händen...
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Dissertation (ENG): Doctor scientiae musicae (HfMT Hamburg)
The dissertation Cross-genre composition: encoding characters in the chamber opera I.th.Ak.A. with semiotic elements derived from commercial music genres. was written between 2015 and 2018 as part of the Doctor scientiae musicae program of the Hamburg University of Music and Theatre. In December 2018 it was successfully defended and awarded summa cum laude (1,0).
The dissertation project was supported by the Opernstipendium of the Claussen-Simon-Stiftung, Hamburg, as part of their program Dissertation Plus.
The defense presentation is available on YouTube:
The dissertation project was supported by the Opernstipendium of the Claussen-Simon-Stiftung, Hamburg, as part of their program Dissertation Plus.
The defense presentation is available on YouTube:
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The text component (50%) of the thesis project is published by Wolke Verlag free and online:
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The score component (50%) is available here, for academic purposes:
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Lecturer for Artistic Research at the University for Music and Theatre, Hamburg
Samuel runs the seminar, colloquium and lecture series on artistic research at the University for Music and Theatre, Hamburg, as well as authoring and maintaining the school's 'Manifesto on Artistic Research', which was developed by the Colloquium on Artistic Research at the school, chaired by Prof. Dr. Georg Hajdu and himself.
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| manifesto_hfmthh_on_artistic_research___05.03.21___transcript.pdf |
Honours Thesis (ENG): Sydney Conservatorium of Music
This thesis seeks to establish the presence of operatic elements in the musical pieces Cool and Tonight from Leonard Bernstein’s score for the musical West Side Story. Analysis is performed through a criteria designed to indicate the presence of operatic elements, which was derived from the author’s synthesis of his own ideas with the ideas of two musicologists, Charles Rosen and Jan LaRue. Furthermore, an analysis using the same methodology is performed on pieces from established works of opera that use similar techniques to achieve similar ends to the corresponding examples from West Side Story, those being the Interlude II from Act 1 of Peter Grimes by Benjamin Britten (as compared to Cool), Cosa Sento! from Act 1 Scene 7 of The Marriage of Figaro by Wolfgang Amadeus Mozart (as compared to Tonight). These comparisons provide a benchmark for assessing the presence of operatic elements in West Side Story.
It is available online here:
academia.edu/30949889/Operatic_Elements_in_Leonard_Bernsteins_score_for_West_Side_Story
It is available online here:
academia.edu/30949889/Operatic_Elements_in_Leonard_Bernsteins_score_for_West_Side_Story
