{"id":29,"date":"2013-11-16T14:14:39","date_gmt":"2013-11-16T12:14:39","guid":{"rendered":"https:\/\/harps.lmta.lt\/en\/?page_id=29"},"modified":"2021-12-06T21:05:47","modified_gmt":"2021-12-06T19:05:47","slug":"completed-artistic-projects","status":"publish","type":"page","link":"https:\/\/harps.lmta.lt\/en\/artistic-doctorate\/completed-artistic-projects\/","title":{"rendered":"Completed artistic projects"},"content":{"rendered":"

Artistic doctorate in Music<\/h3>\n

Change of the Conception of Tritone and Systemic Constructivism in the Music Compositions of the 20th Century<\/a><\/strong>
\nBo\u017eena \u010ciurlionien\u0117 (Composition)<\/p>\n

Neo-Riemannian Interpretation of Triads and the Perspective of Its Transformation into a Composing System<\/a><\/strong>
\nRaimonda \u017di\u016bkait\u0117\u00a0(Composition)<\/p>\n

Structural Principles of Symphony and Gamelan Orchestras<\/a><\/strong>
\nMarius Baranauskas (Composition)<\/p>\n

Principles of Piano Music Improvisation<\/a><\/strong>
\nMykolas Bazaras (Piano)<\/p>\n

Theories and Practices of Somatics and Their Application to Flute Players<\/a><\/strong>
\nVytenis Gurstis (Flute)<\/p>\n

Principles of Piano Education by Sulamita Aronovsky: Multi-Traditionalism in the Art of Performance<\/a><\/strong>
\nMantautas Katinas (Piano)<\/p>\n

Parallels Between the Songs by Henry Purcell and Benjamin Britten<\/a><\/strong>
\nGiedr\u0117 Muralyt\u0117-Erikson\u0117\u00a0(Accompanying piano)<\/p>\n

The Concept of a Piano School: Interpretational Canons and the Quest for the Creative Freedom<\/a><\/strong>
\nJurgis Aleknavi\u010dius\u00a0(Piano)<\/p>\n

Coherence and Expression in Performance Style of Mixed Ensembles<\/a><\/strong>
\nUgn\u0117 Antanavi\u010di\u016bt\u0117 (Chamber ensemble)<\/p>\n

A Choir in the Catholic Church Liturgy and the Creative Output of Lithuanian Choir Conductors, 1990-2015<\/a><\/strong>
\nLinas Balandis\u00a0(Choral conducting)<\/p>\n

French Clarinet School Reception and Impact on Contemporary Wind Instrument Culture in Lithuania<\/a><\/strong>
\nVytautas Giedraitis (Clarinet)<\/p>\n

Projection of the Phenomenon of Creativity for Musical Composition<\/a><\/strong>
\nSigitas Mickis\u00a0(Composition)<\/p>\n

The Relation between the Fixed and Non-Fixed Musical Texts in the Italian Baroque Vocal Music: Theory and Performance Practice<\/a><\/strong>
\nR\u016bta Vosyli\u016bt\u0117\u00a0(Singing)<\/p>\n

The Change of the Violinist’s Performance Techniques when Playing Solo and in Various Chamber Ensembles<\/a><\/strong>
\nGiedr\u0117 \u017dar\u0117nait\u0117\u00a0(Violin)<\/p>\n

The Role of a Pianist in a Soloist\u2019s Art: Physiological and Psychological Aspects<\/a><\/strong>
\nIndr\u0117 Baik\u0161tyt\u0117\u00a0(Accompanying piano)<\/p>\n

Application of Non-Academic Music Practices in Training of Academic Pianists<\/a><\/strong>
\nMotiejus Bazaras (Piano)<\/p>\n

The Oboe Acoustic Technological Possibilities and Innovations of Modern Expression<\/a><\/strong>
\nRobertas Beinaris (Oboe)<\/p>\n

Changes in the Late 20th and Early 21st Century Concert Kankl\u0117s Repertoire and Contemporary Performance Trends<\/a><\/strong>
\nAist\u0117 Bru\u017eait\u0117 (Kankl\u0117s)<\/p>\n

Sonnet Interpretation in the 20th Century Vocal Chamber Music: Word\u2013Sound, Score\u2013Performance\u00a0<\/a><\/strong>
\nPaul\u0117 Gudinait\u0117 (Accompanying piano)<\/p>\n

The Flute Vibrato in the 18th\u00a0<\/sup>to the 21st<\/sup>\u00a0Century: Contexts and Interpretations<\/a><\/strong>
\nEgl\u0117 Juci\u016bt\u0117 (Flute)<\/p>\n

Lithuanian Viola Art: Pedagogy and Creative Works<\/a><\/strong>
\nJurgis Juozapaitis (Viola)<\/p>\n

On Acousmatism.\u00a0Manifestations of the Invisible Sound in the Contexts of 20th- and 21st-Century Musical Composition\u00a0<\/a><\/strong>
\nJonas Jurk\u016bnas (Composition)<\/p>\n

Lithuanian Schools of Choral Conducting: Identifications, Interactions and Modernisation<\/a><\/strong>
\nEgidijus Kaveckas (Choral conducting)<\/p>\n

Expression of Comic Categories in the Vocal Cycles of the Second Half of the 20th Century<\/b><\/a><\/strong>
\nEgl\u0117 Ki\u017eyt\u0117-Ramonien\u0117 (Accompanying piano)<\/p>\n

F. Chopin and M.K. \u010ciurlionis\u2019 Early Works for Piano: Creative Parallels, Overlapping, Influence<\/a><\/strong>
\nGabriel\u0117 Kondrotait\u0117 (Piano)<\/p>\n

Expression of the Archetype of the Self<\/em> in the New Lithuanian Organ Music<\/a><\/strong>
\nJ\u016brat\u0117 Landsbergyt\u0117-Becher (Organ)<\/p>\n

Composing Methods of Musical Narration in Postdramatic Theatre<\/b><\/a><\/strong>
\nRita Ma\u010dili\u016bnait\u0117-Do\u010dkuvien\u0117 (Composition)<\/p>\n

Structural and Prestructural Compositional Aspects of Sonoristic Music<\/a><\/strong>
\nAndrius Maslekovas (Composition)<\/p>\n

Aspects of the Drone Style and Composition Technique<\/b><\/a><\/strong>
\nMykolas Natalevi\u010dius (Composition)<\/p>\n

Sacredness in Piano Compositions: Signs and Interpretation<\/a><\/strong>
\nGabija Rimkut\u0117 (Piano)<\/p>\n

Buffet versus Heckel: Interactions and Confrontations of Two Bassoon Systems<\/a><\/strong>
\n\u017dilvinas Smalys (Bassoon)<\/p>\n

Ornamentation of Italian and French Baroque Vocal Music: Comparative Analysis of Historical Sources<\/a><\/strong>
\nSaul\u0117 \u0160eryt\u0117 (Singing)<\/p>\n

The Sketches of Variations on Sefaa Esec and Besacas by M. K. \u010ciurlionis: The Theory and Practice of Editing<\/b><\/a><\/strong>
\nVirginija Unguraityt\u0117-Levickien\u0117 (Piano)<\/p>\n

The Phenomenon of Dynamics in Baroque Music for Harpsichord<\/a><\/strong>
\nBalys Vaitkus (Harpsichord)<\/p>\n

Primitivism in Piano Music of the 20th and 21st Centuries: Interpreting the \u201cOtherness\u201d of the Pianistic Canon<\/a><\/strong>
\nVincenzo de Martino\u00a0(Piano)<\/p>\n

The Phenomenon of In-Studio Composition and Perspectives of Its Expression<\/a><\/strong>
\nMarius Salynas\u00a0(Composition)<\/p>\n

Artistic doctorate in Theatre and Cinema<\/h3>\n

Cinematherapy: The Director’s Perspective<\/b><\/a><\/strong>
\nJok\u016bbas Vilius T\u016bras\u00a0(Film directing)<\/p>\n

The Post-Truth<\/em> Phenomenon in Theatre and Cinema: Creative Strategies<\/a><\/strong>
\n\u017divil\u0117 Elena Mi\u010diulyt\u0117\u00a0(Film directing)<\/p>\n

Peiza\u017eas lietuvi\u0173 autorin\u0117s dokumentikos kine<\/a><\/strong>
\nAudrius Stonys\u00a0(Film directing)<\/p>\n

Portraying Children in Cinema: The Aspects of the Director’s Work<\/a><\/strong>
\nGiedr\u0117 Beinori\u016bt\u0117\u00a0(Film directing)<\/p>\n

Ethnic and Cultural Vocal Traditions: Relations and Impact on the Expression of Contemporary Stage Artists<\/a><\/strong>
\nBrigita Bublyt\u0117\u00a0(Acting)<\/p>\n

Improvisation as a Creative Strategy in the Process of Performance Creation<\/a><\/strong>
\nOlga Lapina\u00a0(Theatre directing)<\/p>\n

Documentary Theatre: Methods of Creating Verbatim<\/a><\/strong>
\nLoreta Vaskova\u00a0(Theatre directing)<\/p>\n

The Principles of Gintaras Varnas\u2019 Actor Training: Objectives and Results of the Study Process (2005\u20132009)<\/a><\/strong>
\nElz\u0117 Gudavi\u010di\u016bt\u0117 (Acting)<\/p>\n","protected":false},"excerpt":{"rendered":"

Artistic doctorate in Music Change of the Conception of Tritone and Systemic Constructivism in the Music Compositions of the 20th Century Bo\u017eena \u010ciurlionien\u0117 (Composition) Neo-Riemannian Interpretation of Triads and the Perspective of Its Transformation into a Composing System Raimonda \u017di\u016bkait\u0117\u00a0(Composition) Structural Principles of Symphony and Gamelan Orchestras Marius Baranauskas (Composition) Principles of Piano Music Improvisation […]<\/p>\n","protected":false},"author":2,"featured_media":254,"parent":10,"menu_order":10,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-29","page","type-page","status-publish","has-post-thumbnail","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\t\n\t\t