{"id":542,"date":"2017-10-03T18:30:55","date_gmt":"2017-10-03T16:30:55","guid":{"rendered":"https:\/\/www.katjasteinhaeuser.com\/?page_id=542"},"modified":"2025-01-28T17:46:08","modified_gmt":"2025-01-28T16:46:08","slug":"publikationen","status":"publish","type":"page","link":"https:\/\/www.katjasteinhaeuser.com\/fr\/publikationen\/","title":{"rendered":"Publications"},"content":{"rendered":"

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text]<\/p>\n

Publications<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]<\/p>\n

CD’s<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nChiquil\u00edn, Galileo 2021.<\/h4>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

\"\"<\/a>
\nLuz y Sombra, Skycap 2012.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

\"\"<\/a>
\nMilonga Loca, Skycap 2016.<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text]<\/p>\n

\u00c9crits<\/h2>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eZwischen Stiladaption und Individualisierung: Bach-Referenzen und modales Denken in \u0160ostakovi\u010ds op. 87\u201c, in: Kreativit\u00e4t – Struktur und Emotion<\/em>, hrsg. von Andreas Lehmann, Ariane Je\u00dfulat und Christoph W\u00fcnsch, K\u00f6nigshausen & Neumann 2013, S. 456-464.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHispanismen in Debussys Klaviermusik\u201c<\/a>, in: UdK Kreativit\u00e4tsportal,<\/em> 2014.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eHenry Purcells full anthems \u2013 Obsolete Gattung oder Vollendung der Vokalpolyphonie?\u201c, in: Musiktheorie und Komposition<\/em>, hrsg. von Markus Roth und Matthias Schlothfeldt, Georg Olms Verlag 2015, S. 327-336.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eTranskription, Imitation, Komposition \u2013 Zur Klaviertranskription von Bachs Orgelwerken im 19. und 20. Jahrhundert\u201c<\/a>, in: \u203aKlang\u2039: Wundert\u00fcte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft f\u00fcr Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), hg. von Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe und S\u00f6ren S\u00f6nksen, 323\u2012338.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eVerzerrte Wirklichkeit \u2013 Verzerrte Tonalit\u00e4t. Analytische Reflexionen zur Harmonik in Mahlers Fischpredigt und dem 3. Satz seiner 2. Symphonie\u201c, in: Am Rand der Tonalit\u00e4t. Br\u00fcche \u2013 Rekonstruktionen \u2013 Nachleben<\/em>, hrsg. von Ariane Je\u00dfulat, Volker Helbing, Michael Polth, K\u00f6nigshausen & Neumann 2020, S. 407-427.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]Artikel \u201eArgentinien\u201c, \u201eBach, Johann Christian\u201c, \u201eHolst, Gustav\u201c, \u201ePurcell, Henry\u201c, \u201eStamitz, Carl\u201c, \u201eTangoorchester\u201c und \u201eVaughan Williams, Ralph\u201c, in: Lexikon des Orchesters<\/em>, hrsg. von Frank Heidlberger, Gesine Schr\u00f6der und Christoph W\u00fcnsch, Laaber-Verlag 2021.[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text]\u201eUnfassbar sch\u00f6n. Musikalische \u00c4sthetik im Tonsatzunterricht\u201c<\/a>, in: Kombinatorik und Spiel. Wege musikalischen Denkens. Festschrift f\u00fcr Stefan Prey<\/em>, hrsg. Thomas Fesefeldt,<\/span> Andreas Ickstadt,<\/span> Ariane Je\u00dfulat,<\/span> Kilian Sprau,<\/span> Katja Steinh\u00e4user, <\/span>Berthold Tuercke,<\/span> Lilia Ushakova<\/span> und<\/span> Emmanouil Vlitakis, Universit\u00e4t der K\u00fcnste Berlin 2022<\/span><\/span>.<\/p>\n

\"\"<\/a>[\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=\u00a0\u00bb\u00a0\u00bb row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbyes\u00a0\u00bb type=\u00a0\u00bbgrid\u00a0\u00bb angled_section=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbcenter\u00a0\u00bb background_image_as_pattern=\u00a0\u00bbwithout_pattern\u00a0\u00bb][vc_column offset=\u00a0\u00bbvc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-2 vc_col-md-8″][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text] Publications [\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_column_text] CD’s [\/vc_column_text][vc_empty_space height=\u00a0\u00bb40px\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text] Chiquil\u00edn, Galileo 2021. [\/vc_column_text][vc_empty_space][vc_column_text] Luz y Sombra, Skycap 2012. [\/vc_column_text][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/2″][vc_column_text] Milonga Loca, Skycap…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"_links":{"self":[{"href":"https:\/\/www.katjasteinhaeuser.com\/fr\/wp-json\/wp\/v2\/pages\/542"}],"collection":[{"href":"https:\/\/www.katjasteinhaeuser.com\/fr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.katjasteinhaeuser.com\/fr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.katjasteinhaeuser.com\/fr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.katjasteinhaeuser.com\/fr\/wp-json\/wp\/v2\/comments?post=542"}],"version-history":[{"count":5,"href":"https:\/\/www.katjasteinhaeuser.com\/fr\/wp-json\/wp\/v2\/pages\/542\/revisions"}],"predecessor-version":[{"id":1326,"href":"https:\/\/www.katjasteinhaeuser.com\/fr\/wp-json\/wp\/v2\/pages\/542\/revisions\/1326"}],"wp:attachment":[{"href":"https:\/\/www.katjasteinhaeuser.com\/fr\/wp-json\/wp\/v2\/media?parent=542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}