Doctorate with highest distinction
Raphael has earned his Dr. Artium degree from the Kunstuniversität Graz. His dissertation "Musical Invention and Vocal Idiom: Exploring Expressive Agency and Empathy through Composition" was supervised by Tom Cipullo, Michael Edgerton, Ulf Bästlein, and Andreas Dorschel and received highest distinction.
Abstract
AbstractFor centuries, composers and singers have pushed each other’s horizons to create a rich repertoire of vocal works at the heart of the classical music canon. In contemporary music, however, a tension is increasingly felt between the composer’s desire to be inventive and the physical limitations set by the singer’s body. Today the conservative nature of operatic tradition is often misunderstood by composers as old-fashioned and an obstacle to musical innovation whereas many new, experimental works dismiss the very techniques singers spend their careers trying to master. As a composer, coach, and conductor of opera, I see this dichotomy as a fruitful challenge. My question remains: How can a holistic understanding of the vocal idiom enable composers to invent and organize musical material in new ways? How can composers andperformers work together to create new works which challenge conventions and push the expressive limits of singing? In short, how can we look back to move forward?
This artistic research project explores the conventions of classical singing to create innovative compositions rooted in the vocal idiom. Through collaborating directly with singers and examining the composer-performer relationship, I investigate expressive agencies of lyric diction, bel canto vocal techniques, and the role empathy plays in compositional processes. This artistic research project seeks to bridge classical vocal traditions with contemporary composition practices while unraveling the complexities of vocal music, integrating expressive techniques, and understanding empathic processes. By addressing key research questions and employing interdisciplinary methodologies, this dissertation aims to illuminate the emotive power of the human voice and its implications for musical creation, setting the stage for an in-depth exploration of musical invention and the vocal idiom.
Doctorate with highest distinction
Raphael has earned his Dr. Artium degree from the Kunstuniversität Graz. His dissertation "Musical Invention and Vocal Idiom: Exploring Expressive Agency and Empathy through Composition" was supervised by Tom Cipullo, Michael Edgerton, Ulf Bästlein, and Andreas Dorschel and received highest distinction.
Abstract
AbstractFor centuries, composers and singers have pushed each other’s horizons to create a rich repertoire of vocal works at the heart of the classical music canon. In contemporary music, however, a tension is increasingly felt between the composer’s desire to be inventive and the physical limitations set by the singer’s body. Today the conservative nature of operatic tradition is often misunderstood by composers as old-fashioned and an obstacle to musical innovation whereas many new, experimental works dismiss the very techniques singers spend their careers trying to master. As a composer, coach, and conductor of opera, I see this dichotomy as a fruitful challenge. My question remains: How can a holistic understanding of the vocal idiom enable composers to invent and organize musical material in new ways? How can composers andperformers work together to create new works which challenge conventions and push the expressive limits of singing? In short, how can we look back to move forward?
This artistic research project explores the conventions of classical singing to create innovative compositions rooted in the vocal idiom. Through collaborating directly with singers and examining the composer-performer relationship, I investigate expressive agencies of lyric diction, bel canto vocal techniques, and the role empathy plays in compositional processes. This artistic research project seeks to bridge classical vocal traditions with contemporary composition practices while unraveling the complexities of vocal music, integrating expressive techniques, and understanding empathic processes. By addressing key research questions and employing interdisciplinary methodologies, this dissertation aims to illuminate the emotive power of the human voice and its implications for musical creation, setting the stage for an in-depth exploration of musical invention and the vocal idiom.
Doctorate with highest distinction
Raphael has earned his Dr. Artium degree from the Kunstuniversität Graz. His dissertation "Musical Invention and Vocal Idiom: Exploring Expressive Agency and Empathy through Composition" was supervised by Tom Cipullo, Michael Edgerton, Ulf Bästlein, and Andreas Dorschel and received highest distinction.
Abstract
AbstractFor centuries, composers and singers have pushed each other’s horizons to create a rich repertoire of vocal works at the heart of the classical music canon. In contemporary music, however, a tension is increasingly felt between the composer’s desire to be inventive and the physical limitations set by the singer’s body. Today the conservative nature of operatic tradition is often misunderstood by composers as old-fashioned and an obstacle to musical innovation whereas many new, experimental works dismiss the very techniques singers spend their careers trying to master. As a composer, coach, and conductor of opera, I see this dichotomy as a fruitful challenge. My question remains: How can a holistic understanding of the vocal idiom enable composers to invent and organize musical material in new ways? How can composers andperformers work together to create new works which challenge conventions and push the expressive limits of singing? In short, how can we look back to move forward?
This artistic research project explores the conventions of classical singing to create innovative compositions rooted in the vocal idiom. Through collaborating directly with singers and examining the composer-performer relationship, I investigate expressive agencies of lyric diction, bel canto vocal techniques, and the role empathy plays in compositional processes. This artistic research project seeks to bridge classical vocal traditions with contemporary composition practices while unraveling the complexities of vocal music, integrating expressive techniques, and understanding empathic processes. By addressing key research questions and employing interdisciplinary methodologies, this dissertation aims to illuminate the emotive power of the human voice and its implications for musical creation, setting the stage for an in-depth exploration of musical invention and the vocal idiom.
Doctorate with highest distinction
Raphael has earned his Dr. Artium degree from the Kunstuniversität Graz. His dissertation "Musical Invention and Vocal Idiom: Exploring Expressive Agency and Empathy through Composition" was supervised by Tom Cipullo, Michael Edgerton, Ulf Bästlein, and Andreas Dorschel and received highest distinction.
Abstract
AbstractFor centuries, composers and singers have pushed each other’s horizons to create a rich repertoire of vocal works at the heart of the classical music canon. In contemporary music, however, a tension is increasingly felt between the composer’s desire to be inventive and the physical limitations set by the singer’s body. Today the conservative nature of operatic tradition is often misunderstood by composers as old-fashioned and an obstacle to musical innovation whereas many new, experimental works dismiss the very techniques singers spend their careers trying to master. As a composer, coach, and conductor of opera, I see this dichotomy as a fruitful challenge. My question remains: How can a holistic understanding of the vocal idiom enable composers to invent and organize musical material in new ways? How can composers andperformers work together to create new works which challenge conventions and push the expressive limits of singing? In short, how can we look back to move forward?
This artistic research project explores the conventions of classical singing to create innovative compositions rooted in the vocal idiom. Through collaborating directly with singers and examining the composer-performer relationship, I investigate expressive agencies of lyric diction, bel canto vocal techniques, and the role empathy plays in compositional processes. This artistic research project seeks to bridge classical vocal traditions with contemporary composition practices while unraveling the complexities of vocal music, integrating expressive techniques, and understanding empathic processes. By addressing key research questions and employing interdisciplinary methodologies, this dissertation aims to illuminate the emotive power of the human voice and its implications for musical creation, setting the stage for an in-depth exploration of musical invention and the vocal idiom.
Doctorate with highest distinction
Raphael has earned his Dr. Artium degree from the Kunstuniversität Graz. His dissertation "Musical Invention and Vocal Idiom: Exploring Expressive Agency and Empathy through Composition" was supervised by Tom Cipullo, Michael Edgerton, Ulf Bästlein, and Andreas Dorschel and received highest distinction.
Abstract
AbstractFor centuries, composers and singers have pushed each other’s horizons to create a rich repertoire of vocal works at the heart of the classical music canon. In contemporary music, however, a tension is increasingly felt between the composer’s desire to be inventive and the physical limitations set by the singer’s body. Today the conservative nature of operatic tradition is often misunderstood by composers as old-fashioned and an obstacle to musical innovation whereas many new, experimental works dismiss the very techniques singers spend their careers trying to master. As a composer, coach, and conductor of opera, I see this dichotomy as a fruitful challenge. My question remains: How can a holistic understanding of the vocal idiom enable composers to invent and organize musical material in new ways? How can composers andperformers work together to create new works which challenge conventions and push the expressive limits of singing? In short, how can we look back to move forward?
This artistic research project explores the conventions of classical singing to create innovative compositions rooted in the vocal idiom. Through collaborating directly with singers and examining the composer-performer relationship, I investigate expressive agencies of lyric diction, bel canto vocal techniques, and the role empathy plays in compositional processes. This artistic research project seeks to bridge classical vocal traditions with contemporary composition practices while unraveling the complexities of vocal music, integrating expressive techniques, and understanding empathic processes. By addressing key research questions and employing interdisciplinary methodologies, this dissertation aims to illuminate the emotive power of the human voice and its implications for musical creation, setting the stage for an in-depth exploration of musical invention and the vocal idiom.
Doctorate with highest distinction
Raphael has earned his Dr. Artium degree from the Kunstuniversität Graz. His dissertation "Musical Invention and Vocal Idiom: Exploring Expressive Agency and Empathy through Composition" was supervised by Tom Cipullo, Michael Edgerton, Ulf Bästlein, and Andreas Dorschel and received highest distinction.
Abstract
AbstractFor centuries, composers and singers have pushed each other’s horizons to create a rich repertoire of vocal works at the heart of the classical music canon. In contemporary music, however, a tension is increasingly felt between the composer’s desire to be inventive and the physical limitations set by the singer’s body. Today the conservative nature of operatic tradition is often misunderstood by composers as old-fashioned and an obstacle to musical innovation whereas many new, experimental works dismiss the very techniques singers spend their careers trying to master. As a composer, coach, and conductor of opera, I see this dichotomy as a fruitful challenge. My question remains: How can a holistic understanding of the vocal idiom enable composers to invent and organize musical material in new ways? How can composers andperformers work together to create new works which challenge conventions and push the expressive limits of singing? In short, how can we look back to move forward?
This artistic research project explores the conventions of classical singing to create innovative compositions rooted in the vocal idiom. Through collaborating directly with singers and examining the composer-performer relationship, I investigate expressive agencies of lyric diction, bel canto vocal techniques, and the role empathy plays in compositional processes. This artistic research project seeks to bridge classical vocal traditions with contemporary composition practices while unraveling the complexities of vocal music, integrating expressive techniques, and understanding empathic processes. By addressing key research questions and employing interdisciplinary methodologies, this dissertation aims to illuminate the emotive power of the human voice and its implications for musical creation, setting the stage for an in-depth exploration of musical invention and the vocal idiom.
