娜塔莎·逻各斯是伦敦的皇家音乐学院研究生课程的负责人。她的研究兴趣包括音乐会历史、19世纪的表演实践、文字音乐关系以及作曲家约翰内斯·勃拉姆斯的生活和音乐，其研究工作由英国艺术及人文研究委员会和英国学院资助。作品有《勃拉姆斯与他的诗人》（2017）和《家中与音乐厅里的勃拉姆斯》（2014）。另外书籍《环境中的勃拉姆斯》（2018）以及关于欧洲沙龙的研究正在准备中。她为《德国浪漫主义音乐与文学》、《剑桥歌手作曲家》、《剑桥音乐演奏史》撰稿，另外还参与《音乐与文学》、《十九世纪音乐评论》和《十九世纪音乐》杂志（即将出版）的撰写工作。娜塔莎曾在霍威尔音乐厅和圣约翰史密斯广场等场馆进行演出，且在BBC广播3台播送节目，为BBC音乐杂志撰写评论，并在节日和音乐会上发表演讲，尤其是牛津民谣音乐节。她曾任博士生导师，指导的课程包括：勃拉姆斯的人声室内乐、指导勋伯格的歌曲演唱、费迪南·里贝的室内乐、罗伯特·舒曼的早期钢琴演奏技巧、卡尔·戈德马克的钢琴作品、肖邦的措辞意涵以及谢尔盖·拉赫马尼诺夫的钢琴演奏技巧。
Natasha Loges is Head of Postgraduate Programmes at the Royal College of Music, London. Her research interests include concert history, 19th-century performance practices, word-music relationships, and the life and music of Johannes Brahms. Her work has been funded by the Arts and Humanities Research Council and the British Academy. Her books are Brahms and his Poets (2017) and Brahms in the Home and the Concert Hall (2014). The books Johannes Brahms in Context (2018) and a study of the European salon are preparation. She has contributed to Music and Literature in German Romanticism, The Cambridge Companion to the Singer-Songwriter, and theCambridge History of Musical Performance; and to the journals Music & Letters, Nineteenth-Century Music Review and 19th-Century Music (forthcoming). Natasha has performed at venues like the Holywell Music Room and St Johns Smith Square. She broadcasts on BBC Radio 3, reviews for BBC Music Magazine and speaks at festivals and concerts, particularly the Oxford Lieder Festival. She has supervised doctorates in: Brahms’s vocal chamber music, Coaching Schoenberg’s songs, the Chamber Music of Ferdinand Rebay, Early Pianism of Robert Schumann, the Piano Works of Karl Goldmark, Chopin’s Worded Indications in Performance and the Pianism of Sergei Rachmaninov.
音乐学院研究生教育中“理论”的变化意义
The Changing Meanings of ‘Theory’ within Conservatoire Postgraduate Education
过去二十年来，不论在音乐学院，还是在大学里，研究生的音乐教育以不可想象的方式得到了多样化的发展。研究生课程现在不仅包括音乐史和音乐分析等传统组成部分，还包括演奏研究、商业研究、音乐与性别、流行音乐、世界音乐以及音乐的文化实践等众多领域。课程选择令人困惑，但研究生音乐研究仍然颇受欢迎；学生还是觉得需要“更多的时间”来提高艺术技巧，以及积累经验。
尤其考虑到在英国，目前存在一些影响研究生音乐学习的问题，这个演讲将对外开放。并将借鉴英国和欧洲的定义和实践，探讨研究生学习与本科学习之间的鲜明对比。它还将会广泛调查近年来研究生课程发生变化的方式，特别会关注就业能力方面。
随后，演讲重点将讲述伦敦的皇家音乐学院2015年至2016年度的硕士课程评估，讨论课程和教师队伍如何达成目前的计划设计。这个最终设计考虑到学生、教授、部门负责人的观点，以及更广泛的制度、愿景和学生不同职业的成果。演讲还将简要讨论被视为特别成功的新型可选模块的三个案例研究。结语将反映在这一景观中“理论”概念的定义不断变化以及什么样的理论能为学生带来成功和有益的成果。
Postgraduate music education has diversified in unimaginable ways during the last two decades, both in conservatoires and universities. Postgraduate study can now include not only traditional components like music history and musical analysis, but a wide range of other topics such as performance research, business studies, music and gender, popular music, world music, music as cultural practice and much more. The choice is bewildering, but postgraduate music study remains as popular as ever; students always feel the need for ‘more time’ to develop their artistry and broaden their experience.
This talk will open with a consideration of some of the issues which currently shape postgraduate music study, particularly within the United Kingdom. It will explore how postgraduate study is shaped distinctly from undergraduate study, drawing on established UK and European definitions and practices. It will then broadly survey the way postgraduate courses have changed in recent years, particularly with the growing emphasis on employability.
The focus will then shift to the recent 2015-16 review of Masters Programmes at the Royal College of Music in London, discussing how the programme and faculty teams arrived at the current programme design. This final design takes into account the views of students, professors, departmental heads, the wider institutional vision, and our students’ diverse career outcomes. Three case studies of new optional modules which have been regarded as particularly successful will be discussed briefly. Concluding thoughts will reflect on the changing definition of the concept of ‘theory’ within this landscape, and what kind of theory leads to successful and rewarding outcomes for students.
