DISTANCE LEARNING FACULTY 2013-2014 THE ROYAL DANISH ACADEMY OF MUSIC September 2013
CONTENT INTRODUCTION FACULTY PRESENTATION WORKING WITH DISTANCE LEARNING CONTACT RDAM 3 4 13 15 2
INTRODUCTION The purpose of this publication is to present the faculty of The Royal Danish Academy of Music who are involved in Distance Learning teaching. In 2010/2011 RDAM worked intensively with the development of a technological platform for Distance Learning practises. During 2012-13 it was accomplished to implement instrumental Distance Learning on the highest level - focusing on the improvement of different pedagogical tools and approaches when teaching through Distance Learning. Over the last years The Royal Danish Academy of Music has collaborated on Distance Learning leading music academies in Europe, USA and Asia. Our partners in Distance Learning are selected for their high artistic and pedagogical level and their continuous focus on sound quality and music performance. Parallel to the development of Distance Learning as a new teaching platform The Royal Danish Academy of Music conducted a research project in collaboration with Aalborg University, New World Symphony in Miami and Cleveland Institute of Music. The project looks into the change of didactic practice when using Distance Learning. Exploring and identifying how Distance Learning differs from traditional class room teaching and the everyday practice and relationship between the student and teacher. This year RDAM is proud to present sixteen of our most significant music teachers from different departments. New to this year is also introducing Distance Learning to the accordion, guitar, trombone and conducting departments. In the future we will continue the development of the technological and didactic platform for Distance Learning and this new form of teaching will be further integrated into our institution. We trust this comprehensive faculty presentation within Distance Learning can further develop our important international relations for both staff and students at our partner institutions. We are interested in teacher exchanges within Distance Learning as well as special projects in relation to joint classes and shared expertise or any other interesting projects which can be supported by the Distance Learning technology. Please do not hesitate to contact us if you are interested in any cooperation The RDAM Distance Learning Group Jesper Andersen, Head of Sound Engineering Studies Thomas Solak, Educational Technology and Distance Learning Marianne Løkke Jakobsen, Head of International Relations Frederiksberg, July 2013. 3
FACULTY PRESENTATION TIM FREDERIKSEN (b.1955) Head of Department for Strings and Professor in Viola and Chamber Music. Tim Frederiksen studied with Gunnar Frederiksen, Erling Bloch in Copenhagen and Professor Max Rostal, Konservatorium für Musik, Switzerland. In 1980 he was appointed Principal Viola in the Danish National Symphony Orchestra - from 1983 to 1996 as concert master. He has appeared as a soloist with most Danish symphony orchestras on both violin and viola. Tim Frederiksen is a much sought-after chamber musician. As primarius in the Danish String Quartet he has given a great many recitals all over Europe and has recorded the collected string quartets by Brahms, Ib Nørholm, Carl Nielsen and Paul Hindemith - this last recording has been awarded with Deutsche Schallplatten Preis 1997. In 1995 Tim Frederiksen was appointed Professor of viola and chamber music at the Royal Danish Academy of Music in Copenhagen. In his capacity as Head of Chamber Music Tim Frederiksen has coached award winning Danish ensembles, like The Danish String Quartet, Nightingale String Quartet, Trio Ismena and many more. Tim Frederiksen is highly in demand as a teacher at international and national master classes and is often invited as jury member in international music competitions, a.o the Max Rostal Competition in Berlin and Trondheim International Chamber Music Competition. Key Areas: Repertoire in viola, Chamber music coach SERGUEI AZIZIAN (b. 1957) is Professor (Violin) at The Royal Danish Academy of Music. Serguei Azizian comleted his studies at the Leningrad Conservatory (Skt Petersburg) graduating with an advanced postgraduate diploma. He has performed as a soloist and chamber musician in Russia, Scandinavia, USA, Japan, Korea and China. Serguei Azizian has taught in St. Petersburg Conservatory (1990-1993) and in 2001 he was appointed professor in violin at The Royal Danish Academy of Music). Serguei Azizian has played in the Leningrad Philharmonic Orchestra (1980-1993) and is former concert master in Copenhagen Phil (1993-2011). 4
Serguei Azizian has recorded numerous CD's with the Copenhagen Phil. Among his recordings are of Britten and Walton's violin concertos and works by Schubert, Bach, Prokovieff, Schnittke, Ravel, Messiaen, Schønberg, Babadjanian Langgaard. In 2009, Serguei Azizian was awarded the Carl Nielsen and Anne-Marie Carl Nielsen Award one of Denmarks most prestigious prizes. Sergui Azizian was awarded the prize for his ability to raise the standards for future Danish violinists. Key Areas: Repertoire in Violin and chamber music MORTEN ZEUTHEN (b.1951) is Professor in Cello at The Royal Danish Academy of Music. Morten Zeuthen studied with Paul Tortelier (FR) and Asger Lund Christian (DK) and for a short period Mstislav Rostropovich and Arto Noras.. He has worked as solo cellist in The Danish National Symphony Orchestra and as a member of the legendary Kontra String Quartet. As soloist, he has performed with all the Danish symphony orchestras. He often gives solo performances and has extensive duo activities with the acclaimed pianist Amalie Malling. Together they have played in Carnegie Hall, New York; Wigmore Hall, London; and Casals Hall, Tokyo. He has made many recordings. His recording of Bach s solo suites received a Danish Grammy for Classical Recording of 1994 and in 2006 the Suzuki Classical Review found Morten Zeuthen s recording the best out of the 110 recordings available. His CD, L Homme Armé with new Danish solo music was awarded the Classical Solo Recording of 2006. Among other awards is the prize given by the Danish Musicians Union. As chamber musician, Morten Zeuthen was a member of the legendary Kontra String Quartet from 1976 to 2000. The quartet toured Europe, Japan and the US during a time when they were an ensemble officially representing the Danish state. The Quartet recorded all the string quartets written by the major Danish composers in total more than 30 CDs. The Quartet have been awarded The Gramophone Record of the Year, have been twice nominated for the Nordic Council Music Prize and they received the special prize for the year s new music recording at the MIDEM festival in Cannes, etc. As professor of cello at The Royal Danish Academy of Music, Morten Zeuthen has led a blooming, international class of cellists since his appointment in 1996. His students have won many prizes and positions in example his students have won first prize in The Danish String Competition three years in a row. Key Areas: Repertoire in cello. 5
NIKLAS SIVELÖV (b.1968) is Head of Piano Department and Professor at The Royal Danish Academy of Music. He has studied in Sweden, Germany and England (London) under Prof. Liisa Pohjola, Prof. Gabriel Amiras and Maria Curcio. Prof. Sivelöv is a very active soloist, chamber musician and dedicated professor. He performs recitals at prestigious venues all around the world, and has performed with leading orchestras in Scandinavia and Europe. Niklas Sivelöv is a active chamber musician. He gives recitals in prestigious venues all over the world and has worked together with artists such as: Mark Peskanov, Leonid Gorokhov, Martin Fröst, Patrick Gallois, Oystein Baadsvik and Szymon Krzesowiec. He has released more than 20 recordings and has received many international awards, including The Diapason d Or, Independent Music Awards, Vox Populis, CIEM in Geneva and The Golden Apple. He is also active as a composer. Key Areas: Repertoire in piano JESPER JUUL WINDAHL (b. 1973) is Head of Brass Department and Professor (trombone) at The Royal Danish Academy of Music. Jesper Juul Windahl was trained as a trombonist at the Royal Academy of Music in Aarhus, followed by studies in Paris, Chicago and London and at the Royal Danish Academy of Music, where he made his debut concert in 1998. Jesper Juul Windahl was only 23 years old when he was appointed principal solo trombonist in The Danish National Symphony Orchestra. Jesper Juul Windahl is a significant performer with an extensive experience as orchestral musician, soloist and chamber musician on an international level. Jesper Juul Windahl has won several international competitions and he has also been a soloist in many contexts, including concerts with internationally renowned orchestras such as Südwestrundfunk Sinfonie-Orchester, Bayerischer Rundfunk, and the Suisse Romande Orchestra. Finally, he has been very active in creating new Danish trombone literature and premiered a large number of works for trombone in Denmark. Prior to his nomination as professor of brass at The Royal Danish Academy of Music, Jesper Juul Windahl obtained extensive teaching experience from the music academies in Aarhus, Copenhagen and Malmö, all the while managing a parallel career as a conductor. He has worked with leading Danish orchestras and ensembles such as the Danish National chamber Orchestra, Athelas Sinfonietta, Danish National Symphony Orchestra and the regional orchestras. Key Areas: Repertoire in trombone and brass ensemble/chamber music 6
NIKOLAJ VILTOFT (b.1977) is part time Faculty (trumpet) at The Royal Danish Academy of Music. He studied at Cologne University of Music and The Royal Danish Academy of Music. In 2003 he won the position as principal trumpet at the Paris Opera becoming the first non-french wind player ever to hold this position. Since 2006, he has occupied the position of principal trumpet at the Royal Danish Orchestra. With the brass quintet Art of Brass Copenhagen he has won the International Brass Quintet Competition in Narbonne in 2000 and the International Jan Koetsier Wettbewerb in Munich in 1999. Key Areas: Repertoire in trumpet, trumpet technique, orchestral excerpts and audition preparations. MAX ARTVED (b.1965) is Head of Woodwind Department and Professor at The Royal Danish Academy of Music. He was trained under Professor Jørgen Hammersgaard (DK) with further studies in Paris under Maurice Bourque (FR). Max Artved has worked as first solo- oboe player in The Danish National Symphony Orchestra. He is also artistic leader of ensemble Diamant Ensemblet orchestra in residence at The Royal Library (DK). During the course of his career Max Artved has been awarded a number of prizes including The Music Critic s Circle s art prize. He has made several recordings of both solo repertoire and chamber music, including performances by the The Danish National Symphony Orchestra s Wind Quintet. Key Areas: Repertoire in oboe and chamber music repertoire for woodwinds 7
JOHN KRUSE (b.1963) is part time Faculty (clarinet) at The Royal Danish Academy of Music. He began his studies in 1980 at The Carl Nielsen Conservatory in Odense, Denmark. In 1984 he continued his studies on the Paris Conservatory with Professor Guy Deplus. From 1987 he began playing in The Royal Danish Orchestra and in 1989. In 2005 he was appointed as solo clarinettist in The Royal Danish Orchestra. John Kruse has recorded several CD s with works by Mozart for basset horn, Messiaen Quatour pour la Fin du Temps, and the clarinet concertos by Mozart and Carl Nielsen and latest the clarinet quintets of Mozart and Brahms. John Kruse awarded the Jacob Gade Award and the Holger Bruusgårds Legat. Key Areas: Repertoire in clarinet. JESPER SIVEBÆK (b. 1962) is Ass. Professor (Guitar) at The Royal Danish Academy of Music. Jesper Sivebak studied at the Carl Nielsen Academy of Music in Odense in the class of Jørgen Bjørslev. Jesper Sivebæk completed further studies at the University of Quebec in Montreal with Prof. Alvaro Pierri. He made his debut from the soloist class at the Music Academy in Malmö with Professor Per-Olof Johnsson During the last years Jesper Sivebæk has been a visiting professor at the Royal Academy of Music in London (UK), Musikhögskolan in Malmö (SE), the Academy of Music in Tallinn (EE)and at the Oberlin Conservatory of Music. (US) He has been a soloist with a number of orchestras, among others Malmö Symphony Orchestra, Symphony Orchestra Kielce (Poland), Aarhus Sinfonietta, Randers Chamber Orchestra. He has had major solo engagements with the Danish National Symphony Orchestra, Copenhagen Phil. and The Danish Royal Orchestra. As a soloist he has performed with conductors such as Jean Thorel, Søren K. Hansen, David Riddell, Paavo Järvi. Key Areas: Repertoire in Guitar ensemble playing for guitarists 8
GEIR DRAUGSVOLL (b. 1967) is Professor of Accordion at The Royal Danish Academy of Music. Geir Draugsvoll earns worldwide recognition as one of the most important musicians on the classical accordion. Through collaborations with many composers, Geir Draugsvoll must also be characterized as one of the pioneers on this young instrument, and he has premiered a large number of works. He has performed as soloist all over the world in festivals and concert-halls like Concertgebouw (Holland), Alte Oper Frankfurt (Germany), Barbican Hall (London), Mariinsky Hall (Skt. Petersburg), Great Hall of Moscow Conservatory (Russia), Gasteig (Munich) and many others. As soloist with orchestra, he has performed with London Symphony Orchestra, Munich Philharmonic, Mariinsky Orchestra, Russian National Orchestra and collaborates frequently with conductors like Valery Gergiev, Vasily Petrenko, David Geringas and many others. Geir Draugsvoll is Norwegian, but now lives in Copenhagen, Denmark, where he is Professor and head of the accordion department at the Royal Danish Academy of Music. Key areas: Repertoire in accordion GERT MORTENSEN (b.1958) is Head of Percussion Department and Professor at The Royal Danish Academy of Music. He was trained in the soloist class at The Royal Danish Academy of Music. For 24 years he held the position as the principal percussionist of The Royal Danish Orchestra. At the same time he became recognized as one of the leading concert percussionists in the world. Gert Mortensen received the Carl Nielsen Grant, the Jacob Gade Award, the Gladsaxe Music Prize as well as the Music Critics Honorary Award. In addition to Per Nørgaard, other leading Scandinavian composers such as Niels Viggo Bentzon, Svend-David Sandström, Pelle Gudmundsen-Holmgreen, Poul Ruders and Askell Masson have written works especially for Gert Mortensen. His career includes solo and symphony concerts with several European orchestras among others The National Polish Symphony Orchestra and The BBC Philharmonic at the Proms, Royal Albert Hall. He has also done a number of television and radio performances in most of Europe, USA, Japan and Australia. Gert Mortensen has been a guest artist at many international events including the ISCM World Music Days, Warzaw Autumn, the festivals in Edinburgh, Bergen, Kuhmo, Portogruaro and The Stockhausen Festival. He also holds master classes at various music colleges in Europe and he has been tutor of The European Community Youth Orchestra conducted by Cladio Abbado. Key Areas: Repertoire in percussion, percussion ensemble coaching 9
BINE BRYNDORF (b.1969) is Head of Organ Department and Professor at The Royal Danish Academy of Music. Bine Bryndorf studied with Michael Radulescu, Daniel Roth and William Porter (organ) and with Gordon Murray (harpsichord). She was a teaching assistant to Prof. Radulescu in Vienna for five years before moving to Copenhagen. Bine Bryndorf has been prize winner in several competitions, among them Innsbruck, Brügge and Odense (organ) and Melk and Copenhagen (chamber music). She was Artist in Residence at the National Danish Radio in 1999/2000 Bine Bryndorf has given concerts and master classes all over Europe, in Japan and in USA. She has recorded the organ works of J.S.Bach, D. Buxtehude and contemporary composers for the Hänssler, Dacapo, and Classico lables. In 2007 she completed a prize-winning recording of all of Buxtehude s organ works for Dacapo Records (see www.dacaporecords.dk). She is President of the Jury for the Odense International Organ Competition and is regularly sought after as a member of international juries. In 2012-13 she is also Guest Professor at the Birmingham Conservatoire, UK. Key Areas: Repertoire in organ including main chamber music repertoire and historical oriented improvisation. HANS DAVIDSSON (b.1958) is Professor of Organ at The Royal Danish Academy of Music. Prior to his nomination at The Royal Danish Academy of Music Hans Davidsson was Professor of Organ at The Eastman School of Music and project director of the Eastman-Rochester Organ Initiative (EROI). Since 2007, he has served also as Professor of Organ at The Bremen Hochschule für Künste in Germany. 1987 2005, he served as Professor of Organ at The School of Music at Göteborg University, and 1994-2009 as The Artistic Director of the Göteborg International Organ Academy (GIOA), and he is also the founder of Göteborg Organ Art Center (GOArt). He performs and teaches at major festivals and academies throughout the world. He has made many recordings, most recently the complete works of Dieterich Buxtehude on the Loft label. Key Areas: Repertoire in organ. 10
KIRSTEN BUHL MØLLER (b.1945) is Head of Vocal Department and Professor of Voice at The Royal Danish Academy of Music. She was trained at The Royal Danish Academy of Music and The Opera Academy in Copenhagen as a soloist with further studies in London and New York. Prof. Møller has had an extensive career as an opera singer and concert performer in Denmark and abroad with a comprehensive repertoire and frequent appearances on radio and television. Parallel to her teaching at the academy and The Opera Academy, she gives master classes and for both students and professional singers. Key Areas: Repertoire in voice and interpretation. CHRISTEN STUBBE TEGLBJÆRG (b. 1956) is Associate Professor specialized in accompaniment and vocal coach) at The Royal Danish Academy of Music and The Opera Academy. He has studied science and music theory at University of Copenhagen before starting his studies at The Royal Danish Academy of Music. He received his diploma from The Royal Danish Academy of Music in Copenhagen in 1985. After this he continued his studies in Vienna and he had his debut as concert pianist in Copenhagen in 1987. He has attended master classes with Irwin Gage, Paul von Schilhawsky, Geoffrey Parsons and Roger Vignoles. He is the accompanist for a number of leading Scandinavian singers with frequent appearances on radio and television. Christen Stubbe Teglbjærg gives master classes on a regular basis for both singers and accompanists. Key Areas: Vocal coaching and accompaniment for pianists 11
JØRGEN FUGLEBÆK (b. 1953) is part time Faculty (ensemble conducting) at The Royal Danish Academy of Music. Jørgen Fuglebæk is M.phil. in musicology from University of Copenhagen in1985 and trained conductor from Royal Academy of Music, London in 1980. Awarded price winner at the Nordic Youth Conducting competition in Norrköping, SE and debut in Tivoli Concert Hall directing Copenhagen Phil in 1981. In 1982, he was rewarded with the Swedish Conductors Association's award and have also been engaged in numerous projects with both Swedish and Danish orchestras together with the Danish National Radio Choir. Furthermore, he has been performing in most parts of Europe. Key Areas: Conducting and working with orchestras/ensembles/choirs including conducting technique, score analysis and instruction of ensemble. 12
WORKING WITH DISTANCE LEARNING When working with Distance Learning the experience is, that teaching using Distance Learning technology requires a slightly different way of instruction. This is due to some of the technological challenges that the new technology still faces in example time delay making it difficult to sing or conduct simultaneously with the student playing. The following is a small description of issues that may be addressed when working with Distance Learning. Time delay The teacher and student will always experience a delay in the reception approximately 0.5-1 seconds. This will of course have an effect on the method of teaching as we know it. The delay is similar to the delay experienced when using a cellular phone. Picture and sound will always be synchronized, but very important communication should not be influenced by this delay. However small the time delay is, it is not possible to play together with the student or to sing and conduct the student. Sound between the two spaces The sound from the space in which the teacher is teaching and the sound from the space in which the student is present cannot be heard simultaneously. The sound from the student will be lowered when the teacher is giving instructions and the teacher has to speak up to interrupt, when the student is playing. It is of course possible to interrupt each other and have a quick conversation. In general, teacher and student will not notice difficulties with cut-outs during normal verbal communication. Practical advice to the teacher 1. Please place yourself at a distance from the screen similar to the distance you usually have when teaching. You are not instructing a movie, but a reproduction of the daily work. 2. Do not be surprised by the fact that the classes will seem more intense, and 30 minutes might be sufficient. 3. Note that you cannot control the rhythm while the student is playing and you will not be able to play along, sing or conduct. 4. When you want to communicate to the student, you have to wait until you have your student's attention. The best way to get the student s attention is to wave your arms. This may affect the communication flow you usually have during your classes. On the other hand you might also enjoy not being interrupted by eager students while instructing. 5. Ignore the eventual image of yourself on the screen. You might view yourself with half a second s delay, which can seem very distracting. 6. Make sure the student is comfortable with the method by giving him/her the opportunity to let you know if the picture and/or the sound are working well enough. Also make sure to inform the student that he/she should let you know if he/she encounters any problems. Practical advice to student 1. Do not place yourself too far away from the screen however the teacher should be able to see your figure. 2. Do not expect any help while playing there will be no applause or accompaniment. You may experience your performance as if it is more of a performance. 3. If you wish to comment on any of the instructions, you should get your teachers attentions by either waving your arms or by facial expressions or wait until the teacher has finished his/her instruction. 13
4. Forget all about being recorded and focus on the music. Ignore it, if you see yourself on the screen the image will be delayed and it will affect both the flow in the teaching and your concentration. 5. If you experience any problems with the sound or image it is important that you inform the teacher right away. Due to these special conditions the classes may take on a different form than the ordinary classes. The rhythm between the student and the teacher will be slowed down, but the Distance Learning method opens up for reflection. Practical advice to the technician 1. In the beginning of every class the camera should be turned to shoot the entire room, so both the teacher and student will know who else are present in the room. This approach will affect both the atmosphere and the mutual understanding of the new method. 2. The technician should start out by welcoming the participants, while trying to make them comfortable with the situation. In this situation relevant questions could be: Are you comfortable?, Does the light bother you?, Do you prefer sitting or standing? It s important that the musicians are comfortable while playing. 3. Make sure to do the sound check before the classes begins. It is important that the technician underlines the significance of the test, so the participants will understand its importance. 4. Another important requirement is that the teacher can see the student s facial expressions. Therefore the setting of the light is important especially for singers. Too much light or not enough light on the face will influence the way the teacher perceives the students facial expressions. The teacher has to be able to see the singer s entire figure, so he can see every movement of the body. 5. The sound image should be genuine (and not manipulated in any way by the technician) 6. Keep an online communication with the other side in order to make continuous adjustments. 14
CONTACT RDAM Distance Learning Project Group Thomas Solak Assoc. Prof., Music Theory, Educational Technology and Distance Learning Email: thomas.solak@dkdm.dk Jesper Andersen Assoc. Prof. Head of Tonmeister Studies, Music Technology and Distance Learning Email: Jesper.Andersen@dkdm.dk Marianne Løkke Jakobsen Head of International Relations and Guidance Email: Marianne.Jakobsen@dkdm.dk International Relations Office Email: international@dkdm.dk The Royal Danish Academy of Music Rosenørns Allé 22 DK-1970 Frederiksberg C Denmark Email: dkdm@dkdm.dk Phone: +45 72 26 72 26 (Mon-Fri: 9.00am- 3.00pm) Fax: +45 72 26 72 72 15
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