Name, Study Programme | Title |
---|---|
Erik Alalooga |
Application of bricolage as a process method in postdramatic theatre |
Kristiina Are |
Possibilities to make dynamics in thorough-bass realization |
Peter Bajetta |
Context-based collaborative composition as a method to spread and incorporate in its practice and fruition ecological issues |
Marcelo Chacur Politano |
Contrasting landscapes: rhythmical dissociation as a tool in textural music composition |
Tuuri Dede |
Tekstiesituse kujundamine soolovokaalmuusikas kui laulja vokaaltehniline meetod |
Vittoria Ecclesia |
Iwan Müller’s legacy: a reflection on virtuosity based on his quartets for clarinet and strings |
Anna-Liisa Eller |
Arrangements from 17th and 18th century instrumental music to Estonian chromatic kannel |
Ana Falcon |
The 360° screenplay – VR screenwriting format based on immersive storytelling |
Sten Heinoja |
Pianisti mänguvõtetest Mart Saare klaveriprelüüdide faktuuri väljakujundamisel |
Kadi Kaja |
Muusikaõpetus eesti õppekeelega eesti üldhariduskoolis 1917–2024. Ajaloolis-analüütiline käsitlus |
Saale Konsap |
Rhetorical trajectories of teleological forms in music |
Vambola Krigul |
Practical percussion: are we up-do-date? |
Alisson Kruusmaa |
Helilooja töömeetoditest koostöös koreograafiga balleti loomisel |
Maila Laidna |
Analysis of piano duo Anna Klas-Bruno Lukk performance style |
Ilana Lode |
Unsuk Chin’s piano concerto: the pianist’s creative processes in relation to the preparation of the piano score |
Riho Esko Maimets |
Prayer and music: the synthesizing of temporality and atemporality in Composition |
Maarja Mitt-Pichen |
Room as a psycho-technical tool of an actor |
Meeta Morozov |
Musicological Activity in the Musicology Department of the Tallinn State Conservatory and in the Estonian Composers’ Union in 1944–1991 |
Jüri Nael |
Undoing the patterns: Somatic approach to psychophysical phenomenon in acting |
Fabrizio Nastari |
Irony as Creative Element for Music Composition |
Tiit Ojasoo |
Applying psychophysical gestures to enrich the artistic fabric of a production in the context of the European city theatre system |
Ene Oltre |
Basics in the music theory teaching for beginners in music schools of Estonia |
Johan Randvere |
The work progress of a pianist in performing musical form of Jaan Rääts’s piano music |
Heigo Rosin |
Soloist role in forming the sound picture in Erkki-Sven Tüür’s 4th symphony “Magma” |
Ksenia Rossar |
The behaviour of the soprano voice in a partnership with different instruments in the context of a chamber music duet |
Inna Rüü |
Singing repertoire in elementary school from the perspective of children voice range profiles |
Karl Saks |
Auditory and visual theatre from the point of view of cognitive and ecological perception |
Mai Simson |
Rudolf Tobias’ oratorio “Jona”: different interpretations of the manuscript |
Tiiu Sisask |
Performance-related Issues in Piano Duo Performance of 20 and 21 Century Works |
Mantas Šernius |
Interpretational strategies concerning the performing of solo piano music by Stasys Vainiūnas |
Elo Tepp |
Edition by Ferdinand David of the works for violin solo by Johann Sebastian Bach as their earliest documented performance |
Giacomo Veronesi |
The Practice of Etude
|
June 2022 |