Harvestehuder Weg 12, 20148 Hamburg, Germany
Siglind Bruhn was a student in the piano class of Professor Eckart Besch at the Musikhochschule Hamburg.
Urbanstraße 25, 70182 Stuttgart, Germany
Siglind Bruhn studied at Musikhochschule Stuttgart.
Geschwister-Scholl-Platz 1, 80539 Munich, Germany
In 1976, Bruhn received a Master of Arts in Comparative Literature and Philosophy at Munich University.
Universitätsring 1, 1010 Wien, Austria
Bruhn received a Doctor of Philosophy at the University of Vienna.
(This interdisciplinary work, which is based on music anal...)
This interdisciplinary work, which is based on music analysis as well as psychological / literary studies, aims to investigate a hitherto largely unresearched aspect of musical composition: the text-interpretative significance of musical components in relation to a given literary model.
(This comprehensive work book on Bach's Well-tempered Clav...)
This comprehensive work book on Bach's Well-tempered Clavier should be part of every pianist's, piano teacher's, and advanced piano amateur's library. The introduction covers topics like the origins of the WTC, the "well-tempered" scale, the clavier at Bach's time, the history of the prelude, and the background of fugue composition.
(In our visually-oriented society, music appears to stand ...)
In our visually-oriented society, music appears to stand apart from other arts. Yet just as a poet can write a poem whose focus is a painting, so musicians have composed scores based on poems, paintings, and other non-musical art forms. In instrumental music such reinterpretations are especially intriguing as the verbal or visual stimulus does not appear in performance but is rendered in musical form.
(This ground-breaking interdisciplinary study of Paul Hind...)
This ground-breaking interdisciplinary study of Paul Hindemith's important opera Mathis der Maler draws together the three major sources that inspired the composition. Siglind Bruhn shows that only a recognition of the significant parallel in the lives of the composer, the Renaissance painter Grünewald on whom the operatic Mathis is modeled, and the main character depicted in Grünewald's masterpiece, Saint Antony, will open the doors to a full understanding of the composer's musical testimony.
(With increasing frequency, composers of instrumental musi...)
With increasing frequency, composers of instrumental music claim to be specifically inspired by a poem or painting, a drama or sculpture, transforming the essence of this art work's features and message into their own medium, the musical language.
(In the small list of scholarly works on music after World...)
In the small list of scholarly works on music after World War II, there are few studies of the operatic repertory and none at all on the surprisingly large number of operas on religious themes. In this interdisciplinary study of thirty-eight music dramatic works on saintly subjects, Siglind Bruhn, distinguished author of such seminal studies as The Temptation of Paul Hindemith and Musical Ekphrasis, asks why this phenomenon occurred in the last half of the previous century and investigates how contemporary composers express spiritual mysteries.
Siglind Bruhn was a student in the piano class of Professor Eckart Besch at the Musikhochschule Hamburg. She completed her studies in the master class of Vladimir Horbowski at the Musikhochschule Stuttgart. In 1976, she received a Master of Arts in Comparative Literature and Philosophy at Munich University. She also received a Doctor of Philosophy at the University of Vienna.
From 1975 to 1976, Bruhn was a piano teacher at Music School in Stuttgart, Baden-Wurttemberg, and then, from 1977 to 1978, she was also a piano teacher at Conservatoire de Musique in Geneva, Switzerland. From 1978 to 1982, she was a music director at Community Music School in Unterhaching, Germany.
From 1984 to 1987, Bruhn was a founding director at Pianisten-Akademie in Ansbach, Germany and then at the University of Hong Kong, in Hong Kong, as a director of studies for Program in Piano Performance Pedagogy from 1987 to 1993. In 1997, she was a visiting scholar in German literature and music at the University of Michigan, in Ann Arbor. Bruhn was also a visiting professor at Central Conservatory, in Beijing, China.
Currently, Bruhn works as music analyst, musicologist, and concert pianist; visiting artist throughout Europe, Asia, Africa, Australia, Central America, and the United States. During her first sabbatical (1993–1994), which she spent at the University of Michigan, USA, she was invited to join the University's Institute for the Humanities, where she is currently a Life Research Associate for Music and Modern Literature, Music in Interdisciplinary Dialogue.
(This interdisciplinary work, which is based on music anal...)1986
(With increasing frequency, composers of instrumental musi...)2000
(In the small list of scholarly works on music after World...)2003
(This ground-breaking interdisciplinary study of Paul Hind...)1998
(This comprehensive work book on Bach's Well-tempered Clav...)1993
(In our visually-oriented society, music appears to stand ...)1997
Bruhn is a member of executive board of the International Society for the Interdisciplinary Study of Symmetry and a member of executive board of the International Interdisciplinary Network on Religious Experiences in the Arts.
Bruhn is married Gerhold Becker, a philosopher of religion.