Professor at the HEM-GE site of Neuchâtel for the following academic subjects :
- Jazz improvisation
- Free improvisation
- Indian music (module d'ouverture - opening module)
- Didactic of improvisation
- Didactic of collectif teaching

Olivier Nussbaum

Der menschliche Kontakt ist das Wichtigste - Emanuele Forni, Musiklehrer bei Matchspace Music

Emanuele Forni

Conservatorio Superior de Música Manuel Castillo  (Sevilla, Spain)

2022 – act
Master’s in Music Performance, Zürcher Hochschule der Künste with Prof. Eduardo Egüez

ZHDK

Bachelor’s Degree in Classical Guitar, Koninklijk Conservatorium Den Haag with Prof. Zoran Dukic

Koninklijk Conservatorium Den Haag 

Universidad de Granada (Granada, Spain) 

Conservatorio Superior de Música Manuel Castillo (Sevilla, Spain) 

Universidad de Granada (Granada, Spain)

Freelance

Allemande Sonata VI. Giovanni Zamboni Romano (archlute)

Giga Sonata VI. Giovanni Zamboni Romano (archlute)

Rafael Arjona Ruz - Tango en Skai (R. Dyens)

Giga por la D - Santiago de Murcia

Rafael Arjona

Ich spiele auf privaten Veranstaltungen. 

Freier Musiker

Kaytağı auf der Bağlama

Emre Kocyigit

FHNW BAM

FHNW

This project is dedicated to two Spanish songbooks of the early 16th century: the Cancionero de Palacio and the Codex Segovia. These manuscripts contain music from Spain, Flandes and Italy, courts that had a close relationship and exchange of repertoires and musicians. The program is supported by concordances with other Italian sources such as the Cancionero de Montecassino, Paris 676, the Thibault lute manuscript, and prints by Petrucci. In addition, new introductions, transitions and arrangements are written by Ailen Monti following models of the time. The performanceinvolves six musicians who play characters and have dialogues in between the songs. The musical pieces return to the theater in a scene that tries to reenact the stage practice of the beginning of the century.


La estameña

During our studies at the Schola Cantorum Basiliensis (CH) we specialized in the instrumental repertoire of the 14th,15th and early 16th centuries. Ailen Monti’s research focuses on evidence for the use and function of the harp and lute duo in the 15th century as well as its connection with organ music and intabulation practices of the time. Carolin extensively researches the bray harp, historical playing techniques associated with it, and its prevalence in ensemble music in continental Europe and the British Isles from the 15th to the 17th century.

In our duo the clear articulation of the plectrum lute is juxtaposed by the hypnotic buzz of the gothic harp with its bray pins, a feature that was common for the construction of harps in the early Renaissance and in some places even into the 18th century. The resulting sound is one that to today’s audiences often appears to be reminiscent of instruments like the sitar and is rarely associated with preconceived ideas of sounds that charact

In Cytharis

Ensemble Parlamento specialises in the music of the late Middle Ages and Renaissance, using historical sources to inform their performance on lutes, flutes, vielles, harps, percussion, and voice. 

Since its founding in 2021, Basel-based Ensemble Parlamento has been invited to participate in music festivals such as Freunde Alter Musik Basel (Switzerland, 2024), Sastamala Gregoriana (Finland, 2023), Medimus (Kosovo, 2023), Basel ReRenaissance Festival (Switzerland, 2023), and the Innsbrucker Festwochen der Alten Musik (Austria, 2022). Parlamento was also awarded the 2022 Schola Cantorum Basiliensis "Vier Jahreszeiten" fall prize, and they have performed other concerts internationally. The ensemble has also sought ways to bring the beauty of early music to their local culture by visiting elementary schools and senior centers in their region.

The members of Ensemble Parlamento met in 2020 while studying at the Schola Cantorum Basiliensis and bonded as they spent Friday evenings studying 

Ensemble Parlamento

I have worked as a teacher since 2007, in different levels of education. Through this experience, I have developed my communication skills.
I have experience giving individual guitar lessons to adults and children from 7 years old. I am aware that the dynamics of the class is very different depending on the age of the student.
I can also handle large groups of children, I have worked for many years with groups of more than 30 children. I would work with them from intonation and percussion ensembles, to choreographed dances or pure collective fun.
At the same time, I really enjoy the music history theory classes I gave at the conservatory to adult music pedagogy students.
My activity as a musician also includes preparing presentations and workshops about music history and historical performance practice.