Jutta Antonia Holmberg Young Dramatic Soprano

Total Page:16

File Type:pdf, Size:1020Kb

Jutta Antonia Holmberg Young Dramatic Soprano Jutta Antonia Holmberg Young Dramatic Soprano Email: jutta.holmberg(at)gmail.com / soprano(at)juttaholmberg.com Internetsite: www.juttaholmberg.com OPERAROLES: DONE ON STAGE AND STUDIED RICHARD WAGNER: Elisabeth/Tannhäuser* Sieglinde + Helmwige/Die Walküre* Senta/Der fliegende Holländer* GIUSEPPE VERDI: Leonora / Il Trovatore (in Italian - staged) - September 2005, Teatro Bernardim Ribeiro (Estrémoz, Portugal), conductor José Ferreira Lobo PASI LYYTIKÄINEN: Lotten / Helsinkiin ( Finnish - staged) - WORLD PREMIERE 5th March 2005, Alexander Theatre (Helsinki, Finland) - February–March 2005, Musica Nova Festival (Finland), conductor: Eva Ollikainen 1 GIACOMO PUCCINI: Tosca - September 2004, Turku Opera, Finland, conductor Tibor Boganyi, (in Italian – staged, cover) - May 2002, fragments, Sibelius Academy Opera, Juhani Aho Hall, Järvenpää, Finland (in Italian – staged) PJOTR TCHAIKOWSKY: Tatjana / Eugene Onegin (in Russian - staged) - May 2003, Estonian National Opera/Sibelius Academy Opera (Tallin, Estonia), conductor Hannu Koivula - January 2003, Finnish National Opera, Almihall, Sibelius Academy Opera production conductor Harri Karri - November 2002, Carelia Hall , Sibelius Academy Opera, Joensuu Finland), conductor Hannu Koivula W. A MOZART: Donna Elvira / Don Giovanni (in Italian - staged) - October 2001, Carelia Hall, Sibelius Academy Opera production (Joensuu, Finland) conductor Hannu Koivula - January 2002, Finnish National Opera, Almihall/Sibelius Academy Opera production conductor Hannu Koivula Donna Anna/Don Giovanni* Contessa/Le nozze di Figaro - May 2002, fragments, Sibelius Academy Opera, Juhani Aho Hall, Järvenpää, Finland (in Italian – staged) - April 2004, fragments, Sibelius Academy Opera, Sibelius Academy Hall, Helsinki, Finland (in Italian – concert version) Erste Dame / Die Zauberflöte (in German - staged) - April 2003, Sibelius Academy Hall (Helsinki, Finland) RICHARD STRAUSS: 2nd Maid / Elektra (in German - concert version) - November 2000, Finlandia Hall, Helsinki, Finland Helsinki Philharmonic Orchestra, conductor Leif Segerstam. Ariadne & Primadonna/Ariadne auf Naxos* MARC-ANTOINE CHARPENTIER: La Paix / Les Arts Florissants (in French - staged) - November 2000, Alexander Theatre (Helsinki, Finland) conductor Anssi Mattila GIUSEPPE VERDI: Gilda/Rigoletto (in Italian – staged) Graz Theatre, Graz, Austria *studied/under work CONCERTS: UPCOMING EVENTS: www.juttaholmberg.com PAST EVENTS: Wagner-recital, Aino Ackté concert-series June 13th 2012, Pianist: Kiril Kozlovsky Arias from Richard Wagner’s operas (Die Walküre, Der fliegende Holländer), April 23rd 2012, Sibelius Academy Symphony Orchestra, Temple Church, Helsinki, Finland Soprano soloist, Opera arias, December 6th 2009, VTC-orchestra, Hong Kong Cultural Center, conductor: Henry Shek 2 Debut-recital September 16th 2008, at Sibelius-Academy concerthall, pianist: Kristian Attila, clarinet: Ville Komppa. Songs by, Sibelius, Chaminade, Lyytikäinen and Schubert E. Rautavaara: ”Fünf Sonetten an Orpheus” - October 24, 2007. Der Musikverein/Der Gläsenersal (Wien, Austria), Pianist: Erik T. Tavastsjerna P. Lyytikäinen: Soloist in ”Cantata” for Soprano, Bass-Baryton and Orchestra. WORLD PREMIERE - May 25, 2007. Helsinki University Orchestra, conductor Anne-Marie Helsing R. Wagner: ”Wesendonck-Lieder”, At the Finnish Wagner Society’s 15th Anniversary festivities. Pianist: Hans-Otto Ehrström, October 14, 2006 A. Dvorak: ”Requiem”. At Kuhmo and Haapavesi (Finland) - October 7 and 8, 2006 Lied Recital. At Helmimusiikki Music Festival (Kerava, Finland) Pianist: Kristian Attila - March 12, 2006 M.-A. Charpentier: Soloist in ”Messe de Minuit” - With the Vantaa Chamber Choir and Orchestra. Conductor Sasha Mäkilä. (Myyrmäki, Finland), December, 2005 Lied Recital. Kirpilä Art Gallery. Pianist: Emil Holmström. (Helsinki, Finland) November 6th, 2005 A. Berg: Soloist in ”Sieben frühe Lieder”. Turku Philharmonic Orchestra. Conductor Eva Ollikainen. (Turku, Finland), May 12th, 2005 Soloist of L. van Beethoven’s 9th symphony: - June 2006: Conductor Henry Shek. (Hong Kong) - July 2004: Conductor José Ferreira Lobo (Hong Kong) - December 2004: Orquestra do Norte (Porto, Portugal). Conductor José Ferreira Lobo F. Schubert: Soloist in ”Messe nr. 2 in G-major” (D167). Canzonetta Nova Chorus and Orchestra (Järvenpää, Finland). Conductor Erkki Rajamäki, November 2004 December 2003: Soloist of the Finnish Radio Symphony Orchestra . Conductor Jan Söderblom - The Young Soloists’ Concert, Kulttuuritalo Concert Hall (Helsinki, Finland). February 2001: Soloist of the Kerava Music College Orchestra (Kerava, Finland) EDUCATION 2010 - Classes with Mrs. Sirkku Wahlroos - Kaitila 2007 – 2010 Classes with Mrs. Cynthia Makris 2006 Master of Music (Sibelius Academy) February 24, 2006 Diploma Recital with highest grades, 5/5 2001–2006 Department of Opera (Sibelius Academy) 1999–2006 Department of Vocal Music (Sibelius Academy) Teacher: Mr. Anssi Hirvonen 3 MASTERCLASSES 2007: Betsy Jolas, Academie musicale de Villecroze (France) 2005: Fiorenza Cossotto (Portugal) 2004: Peter Gülke, Sibelius Academy 2003: Larissa Gergieva, Sibelius Academy 2002: Larissa Gergieva, Mariinskij Summer Academy (Mikkeli, Finland) 2001–2002: Alessandro Amoretti, Sibelius Academy AWARDS AND COMPETITIONS: Finnish Wagner Society Bayreuth Scholarship 2006 Special Prize for a Promising Young Singer: Lappeenranta National Singing Competition (Lappeenranta, Finland) January 2004 Finalist: Timo Mustakallio Singing Competition (Savonlinna, Finland) July 2002 SCHOLARSHIPS: Jenny and Antti Wihuri Foundation, Finnish Cultural Foundation, Selim Eskelin Foundation, Alfred Kordelin Foundation, Martin Wegelius Memoriam Foundation, Finnish Art Foundation, Sibelius Academy, Svenska Studiestödskommitén, Oskar Öflunds stiftelse 4 .
Recommended publications
  • New Students' Guide 2018
    New Students' Guide 2018 University of the Arts Student Union PUBLISHER University of the Arts Student Union ArtSU RENEWED EDITION (2018) Riikka Pellinen PHOTOS Mikael Kinanen (cover, ArtSU’s anniversary party 2015) Tiitus Petäjäniemi (p. 17, the capping of Havis Amanda statue 2016) UNIARTS HELSINKI Helsinki 2018 2 DEAR NEW STUDENT, It is my pleasure to welcome you as a member of the University of the Arts Student Union ArtSU! You are currently reading your copy of the New Students’ Guide, a compact data pack- age put together by the Student Union and the organisation of the University of the Arts Helsinki (Uniarts Helsinki). It contains some important things you as a new stu- dent need to know. If you have any questions, you can look for additional information at the Uniarts Helsinki website, intranet Artsi, or ask your department/degree pro- gramme director or your tutor. There is no shame in asking! You, just like any other new student at Uniarts Helsinki, have been appointed a per- sonal student tutor. A tutor is an older student, who wants to direct and guide you dur- ing the coming autumn. Feel free to ask your tutor about anything related to student life, university practices or studies. All tutors have been trained by ArtSU, and your tutor will act as your guide to Uniarts Helsinki, Student Union activities, your own academy and your new fellow students. You will meet your tutor at the beginning of the new students’ orientation period. It is my goal and that of our tutors to make you feel at home in our student community.
    [Show full text]
  • New Student's Guide 2020
    New Student's Guide 2020 University of the Arts Student Union PUBLISHER University of the Arts Student Union (ArtSU) RENEWED EDITION (2020) Hannu Jaakkola, Ville Sinnemäki PHOTOS Mikael Kinanen (cover, ArtSU’s anniversary party 2015) Tiitus Petäjäniemi (p. 16, the capping of Havis Amanda statue 2016) UNIARTS HELSINKI Helsinki 2020 2 TABLE OF CONTENTS 1. What is Uniarts Helsinki? 4 2. Why am I a member of the Student Union? 4 What is ArtSU? 4 Membership and the membership fee 4 Interest organisation of the students 5 Bringing students together in events 5 Benefits and services provided by the Student Union 5 ArtSU administration and communications 6 Academy committees and department clubs 6 3. How can I get started with my studies? 8 University registration i.e. enrollment for the academic year 8 Student card 8 Housing 9 Notification of a change of address 10 4. Where should I be, and how do I know what is happening? 11 The Uniarts Helsinki locations 11 Communications 11 Practical tips for students 11 5. What rights and responsibilities do I have? How can I affect the University? 13 Duration of studies for a university degree 13 Right to study 13 Extending the right to study 14 Assessment of study attainments -- students’ rights 14 Chances of making an impact 14 Subject groups, degree programmes and subject areas 15 6. How can I get by as a student? 17 Student financial aid 17 General housing allowance 18 Income support 19 Grants 20 Working 20 7. How can I use student discounts and enjoy the student life? 21 Student lunches 21 Travelling 21 Short guide to public traffic for students 22 Other discounts and affordable services 23 Parties 23 8.
    [Show full text]
  • The Finnish National Opera and Ballet in 2016
    THE FINNISH NATIONAL OPERA AND BALLET IN 2016 This is a shortened Finnish National Opera and Ballet The Finnish National Opera and Ballet is a national arts version of the institution, offering opera and ballet performances and Annual Report 2016. other events to Finns of all ages. Guest performances, Memorable school operas, TV broadcasts and streaming bring the FNOB to everyone all over the country and even the experiences globe. In terms of personnel, the Finnish National Opera and Ballet is a medium-sized opera and ballet company. for everyone In 2016, there were 538 employees on average, representing 36 nationalities. The Orchestra has 112 members, the Chorus has 50 singers, the Ballet has 78 dancers and the FNB Youth Company 12 dancers. Finnish and foreign guest artists appear alongside the FNOB’s own soloists. The FNOB also employs experts from a wide range of crafts specialities, from shoemakers to metalworkers. Our aim is to create a good and inspiring workplace for all professional groups by being equitable, transparent and fair; by offering opportunities for continuing self-improvement; and by supporting wellbeing at work and work ability. The FNOB generally stages four new opera productions and three new ballet productions each year. Added to these are revivals of old productions, resulting in a programme that is different every week and may include dozens of productions in the course of the year. The FNOB performs both established classics and contemporary opera and dance works, especially new Finnish works. All the opera performances are performed in original language and subtitled in English, Finnish and Swedish.
    [Show full text]
  • Helsinki Music Center Concert Hall Helsinki, Finland 2011
    HELSINKI MUSIC CENTER CONCERT HALL HELSINKI, FINLAND 2011 Acoustic Consultant: Nagata Acoustics Architect: Arkkitehtitoimisto Laiho-Pulkkinen-Raunio Owner: Kiinteistö Oy: State of Finland (48%) City of Helsinki (28%) Finish Broadcasting Company (26%) Main User: Helsinki Philharmonic Orchestra (HPO) Finnish Radio Symphony Orchestra (FRSO) Sibelius Academy (SibA) Construction Cost: 188 million EUR The Helsinki Music Centre was built in the central district of the city of Helsinki, between Finlandia Hall (Alvar Aalto, architect), and the contemporary art museum, Kiasma (Steven Holl, architect). The National Parliament of Finland stands across the street from the Centre. The 1,704-seat concert hall forms the core of the building. In addition to the concert hall, there are six small halls ranging from 140–400 seats and the Sibelius Academy premises. The function and acoustics in each small hall has been designed to serve a different program: orchestra rehearsal, organ, chamber music, vocal music, black box, and lecture. The Centre is owned jointly by the state of Finland, the City of Helsinki, and the Finnish Broadcasting Company (YLE), and the main users of the centre are the Helsinki Philharmonic Orchestra (HPO), the Finnish Radio Symphony Orchestra (FRSO), and the Sibelius Academy. BUILDING DETAILS AND ACOUSTIC DATA Location Mannerheimintie 13a, Helsinki, Finland Building Size 38,600 m2 Concert Hall: Seating Capacity 1,704 Room Volume 24,000 m3 Reverberation Time (Mid-Frequency) Unoccupied 2.5 sec Occupied 2.1 sec Finish Materials Ceiling : Painted fiberglass cloth on concrete. Walls : Wood work with random groove on concrete, Wood grill, Glazing Aud. Floor : Wood flooring on concrete Stage Floor : Finnish pine Canopy : Painted figerglass cloth on concrete Noise Level : NC < 15 PLAN REVERBERATION TIME LONGITUDINAL SECTION HELSINKI MUSIC CENTER CONCERT HALL HELSINKI, FINLAND 2011 Music Facilities 1.
    [Show full text]
  • Esa-Pekka Salonen
    ESA-PEKKA SALONEN Esa-Pekka Salonen, the tenth conductor to head the Los Angeles Philharmonic, has begun his 13th season as Music Director. He made his American debut conducting the Los Angeles Philharmonic in November 1984, and he has conducted the orchestra every season since. His current tenure is the second-longest in Philharmonic history. Alongside his activities as a conductor, Salonen has garnered acclaim for his work as a composer. Among the many highlights of Salonen’s activities with the Philharmonic have been world premieres of works by composers John Adams, Franco Donatoni, Tan Dun, Witold Lutoslawski, Magnus Lindberg, Gabriela Ortíz, Bernard Rands, Rodion Shchedrin, Steven Stucky, and Augusta Read Thomas, as well as his own works. He has led critically acclaimed festivals of music by Ligeti, Schoenberg, Shostakovich, Stravinsky, and Berlioz, and has appeared with the orchestra at the Ojai Music Festival as the Festival’s Music Director. He and the Philharmonic have toured extensively since 1992, including a month-long residency at the Salzburg Festival and at the Theatre du Châtelet in Paris. Highlights of the 2003/2004 season included three gala concerts to inaugurate Walt Disney Concert Hall, nine world premieres, and festivals celebrating Berlioz, the relationship between architecture and music, and the theme of creation. Salonen’s latest orchestral work, Wing on Wing, received its world premiere as part of the Philharmonic’s Building Music Project in June 2004. This season, a series of subscription concerts – 3 x Salonen – and a residency in Cologne, Germany celebrate Salonen’s 20 years of conducting the Los Angeles Philharmonic and the body of his work as a composer.
    [Show full text]
  • Must Be Completed for *Each* ATMI 2003 Session Proposal
    PROPOSAL FORM -- Must be completed for *each* ATMI 2003 session proposal: 1) Proposal Author(s) and Institutional Affiliation(s): Matti Ruippo, senior planning officer, Sibelius Academy, Kuopio Department 2) Proposal Title: Creating new combinations of teaching methods and technologies in music studies and training. 3) Intended Audience: Intermediate 4) Presentation Topic: Creative Pedagogies/Technological Tools Is Internet Connection Desired: No Is Internet Connection Required: No *NOTE: All presenters are advised to prepare an offline version of the presentation in case of connection failures during the conference. 5) Presentation Format: PAPER 6) Presentation Description (300 to 700 words): Background The Ministry of Education of Finland has funded a three year project (2001-2003), which supports the development and research of music distance learning. The project is administrated by university, and it has a partner in rural area. Together these institutions form a so called pilot structure and the strategy behind is to research and develope pedagogy and technology in - more or less - a laboratory they constitute. Music studies are especially demanding when done by distance learning. The infrastructures of these pilots are different, which again is challenging, To overcome those problems we have to make various solutions and combinations - both pedagogial and technical. The presenter is employed by this project and he has developed several structures and models for learning and training by utilizing both synchronous and asynchronous technology. Study plans and material, documentation and evaluation are served via Finnish virtual university project MOVE to students and teachers. Methodology During this project the author has used action research model where he has first developed a course or a curriculum, then guided it thru and finally, evaluated documentations and a series of interviews.
    [Show full text]
  • Esa-Pekka Salonen LA Variations
    PROGRAM NOTES by Phillip Huscher Esa-Pekka Salonen Born June 30, 1958, Helsinki, Finland. Currently resides in Los Angeles, California. LA Variations Esa-Pekka Salonen composed his LA Variations in 1996, on a commission from the Los Angeles Philharmonic, which gave the first performance on Januar y 16, 1997, conducted by the composer. The score calls for two flutes, piccolo and alto flute, two oboes and english horn, three clarinets, E -flat clarinet, bass clarinet and contrabass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, bass drum, vibraphone, tuned gongs, log drums, bongos, marimba, tubular bells, crotales, tom-toms, tam-tams, congas, glockenspiel, roto -toms, mark tree, harp, celesta, synthesizer, and strings. Performance time is approxi mately nineteen minutes. The Chicago Symphony Orchestra’s first s ubscription concert performance of Salonen’s LA Variations was January 12, 2006 . The Orchestra first performed this work at the Ravinia Festival on June 30, 2002, with Christoph Eschenbach conducting. Esa-Pekka Salonen originally considered himself a composer who also conducted. But after leading an acclaimed performance of Mahler’s Third Symphony on short notice in London in 1983, he quickly became an internationally known conductor for who m composing was a sideline . Nearly a decade passed before Salonen found the time to complete another major work. It was with the successful premiere of these LA Variations in 1997, written to showcase the Los Angeles Philharmonic, of which he is music dire ctor, that Salonen at last entered a new and highly productive phase in his composing career.
    [Show full text]
  • Ircs Photo Album Tbilisi 2017
    IRCs Photo Album Tbilisi 2017 1 Austria CIULIAN Victor-Alexandru DE JONG Anita HASENSCHWANDTNER Caroline University of Music and Anton Bruckner Private Maria Performing Arts University Mozarteum Universität Vienna Linz Salzburg KÖNIGSEDER Peter ROTH Sabine Music and Arts University SKÄRBÄCK-SCHLEGEL Elisabeth University of Music and Vienna Performing Arts Mozarteum Universität Vienna Salzburg 2 TESAN Bojana University of Music and Performing Arts Vienna 3 Belgium ENGELEN Kurt D’HAENE Jan GIOVENI Salvatore Arts² Conservatoire of Mons Conservatoire Royal Conservatoire Royal Mons Brussels Brussels Bosnia - Herzegovina TALAM Jasmina ACKAR-ZLATAREVIC Maja Academy of Music Sarajevo Academy of Music Sarajevo Sarajevo Sarajevo 4 Czech Republic RADOK ZÁDNÁ Ingeborg Music and Dance Faculty of the KONARKOVA Petra Academy of Performing Arts (HAMU) Janáček Academy of Music and Prague Performing Arts Brno Denmark ASP Jesper GRANUM Martin HOSBOND Keld SDMK - Danish National Academy RAMA - Royal Academy of RAMA - Royal Academy of Music of Music Music Aalborg Odense Aalborg 5 JACOBSEN Marianne Løkke VENJEN Stine MUNTHE-BRUN Theis The Royal Danish Academy of The Royal Danish Academy of RAMA - Royal Academy of Music Music Music Aalborg Copenhagen Copenhagen Estonia PIHLAK Hanneleen MEIDLA Pilleriin KIIV Kai Estonian Academy of Music Estonian Academy of Music Estonian Academy of Music and and Theatre and Theatre Theatre Tallinn Tallinn Tallinn 6 Finland RAHKO Outi MARTINSEN Tuovi MIETTINEN Mari Oulu University of Applied Sibelius Academy, University of Savonia
    [Show full text]
  • Jean Sibelius's Compositional Style 1899/1903: A
    JEAN SIBELIUS’S COMPOSITIONAL STYLE 1899/1903: A COMPARATIVE ANALYSIS OF THE ORCHESTRAL AND PIANO VERSIONS OF FINLANDIA , B.M., M.M. Proposal Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS Spring 2019 Committee: , Major Professor , Major Professor , Related Field 2 Purpose Jean Sibelius (1865-1957) made a piano transcription of his tone poem, Finlandia (see Appendix A). The purpose of this study is to compare the piano and orchestral versions of this important work written during the years 1899-1900. My aim is to demonstrate how Sibelius transformed the textures and sonorities of the work from one instrumentation to another. As a case in point, the composer applied certain compositional patterns and musical ideas and made use of the piano’s sustain pedal to suggest a kind of orchestral hum and the rich palette of overtones created by a symphony orchestra. He clearly aimed to make the piano transcription function as an independent concert piece. The piano transcription did that, but it also surpassed its initial standing and rose to a level of independent and fully established fantasy on the piano. Sibelius used similar patterns and musical idioms in other compositions from the same time period that included piano. As an example, I offer three piano pieces from op. 24, two songs from op. 37 and the Malinconia op. 20. They demonstrate that a closer look into the transcription process opens up new insights for interpreting Sibelius’s piano works from the point of view of timbre, passagework, and pedaling. Significance and State of Research The piano works of Jean Sibelius are less known to the general public than his orchestral works.
    [Show full text]
  • Soiva International Music Camp June 12-21, 2020
    Soiva International Music Camp 2020 Finnish and American Instruction and Cultural Exchange Friday, June 12 – Sunday, June 21 Concordia College, Moorhead, Minnesota Soiva International Music Camp Finland * Piano Violin Viola Cello Bass Flute Clarinet Saxophone Composition Improv * Minnesota June 12-21, 2020 S O I VA inland has a strong reputation for, In English, soiva loosely translates to F and appreciation of, culture and the arts, including music instruction, “sounding forth” composition and performance. (a joyful noise like the ringing of a bell). Finlandia Foundation National supports that tradition through Soiva A JOYFUL International Music Camp, a learning opportunity and cultural exchange for NOISE! chamber music students ages 11 to 19. Since its founding in 2008, the goal “Music begins where the SOIVA 2020 DETAILS: of Soiva Music Camp has been to possibilities of language · Soiva is for students ages 11 to 19 Tuition: Soiva camp tuition is $700 connect instrumental music students end.” who play piano, violin, viola, cello, through April 30, $800 after April 30. and instructors from the United States bass, flute, clarinet or saxophone, The fee for students who commute Jean Sibelius and Finland. or are interested in composition daily (no housing) is $500. oiva is sponsored by Finlandia In 2016, for the first time, Soiva was or improvisation. Auditions: First-time students must S Foundation National, the largest held in Järvenpää, Finland, at Kallio- · Tuition includes classes, lodging in submit a short audition piece with and oldest network of Finnish- Kuninkala, which is affiliated with The single-gender dormitory rooms and application to American organizations in the U.S., in Sibelius Academy Music Centre.
    [Show full text]
  • It's All About the Song
    SIBELIUS ACADEMY IT’S ALL ABOUT THE SONG The Praxis of Artist Branding In the Finnish Recording Industry Master’s Thesis Tuulikki Haaranen Arts Management Programme September 2005 X Thesis SIBELIUS ACADEMY Essay Name of the Thesis/Essay Number of Pages It’s All About The Song – The Praxis of Artist Branding In the Finnish 118 Recording Industry Author Term Tuulikki Haaranen Autumn 2005 Study Programme Major Subject Arts Management Arts Management Abstract In this thesis I will examine how the major record companies create and manage artists’ images and artist brands for the purposes of selling popular music in the Finnish market. I will define the components of the artist’s image and the artist brand together with the processes of artist image management and artist branding. I will also discuss the role of publicity in the creation and development of artist brands. Because of the lack of tradition and a common language with which the record companies’ personnel would deal with artist brands and image related questions, I have also felt the need to present the conceptions of how the recording industry workers perceive the concepts of ‘artist’s image’ and ‘artist brand’. I will discuss the research questions in the contexts of the Digital Experience Economy and celebrity culture. I will reveal how the digital business environment and Experience Economy principles have affected and are expected to affect artist image management and artist brands. The Digital Experience Economy is defined through the theories of Joseph B. Pine and James H. Gilmore together with David Kusek and Gerd Leonhard.
    [Show full text]
  • To Download the CV
    Juan Carlos Vasquez www.jcvasquez.com [email protected] Composer - Sound Artist - Researcher Composer, performer, sound artist, and researcher with particular interests in electroacoustic music, contemporary classical music composition, new music interfaces, sound interaction design, performance practices, artistic and practice-based research • International recognition received for electroacoustic music works, with concerts in over 30 countries across 4 continents • EDUCATION UNIVERSITY OF VIRGINIA | PHD IN COMPOSITION AND COMPUTER TECHNOLOGIES (JEFFERSON FELLOW) Doctoral Fellow at the McIntire Department of Music, University of Virginia, USA• 5-year Fully-Funded Award - Graduate School of Arts and Sciences Council Research Grant • Recipient of the Jefferson Fellowship, the premier graduate fellowship offered at the University of Virginia • 2018-2023 UNIVERSITY OF VIRGINIA | MA IN MUSIC (COMPOSITION) McIntire Department of Music, University of Virginia, USA • En-route Masters Degree achieved with full marks (GPA 4 out of 4) - Multiple supplementary departmental grants for artistic production and travel • 2018-2020 AALTO UNIVERSITY | MA SOUND IN NEW MEDIA, TAUGHT IN PARTNERSHIP WITH THE SIBELIUS ACADEMY School of Arts, Design and Architecture (7% admission rate • School ranked 7th worldwide in the QS Rankings by Subject 2020 - Art and Design) • Degree taught in partnership with Sibelius Academy, University of the Arts Helsinki (6th worldwide, QS Rankings by Subject 2018 - Performing Arts) Department of Media | 2014 - 2016 | Helsinki, Finland • Thesis: 5/5 - Dean’s Grant for Exceptional Merit - Primus Master (Top award in Finnish Academia upon graduation of a Masters’ Degree) PONTIFICIA UNIVERSIDAD JAVERIANA | STUDIES IN MUSIC COMPOSITION AND PIANO (BACHELORS’ LEVEL) Facultad de Artes | 2005 - 2012 | Bogotá, Colombia • Junior researcher in a project related to composition and performance within the new media, using software as Puredata, Max/MSP and Ableton Live to build interactive installations.
    [Show full text]