ESMUC > Departments > Early music
Early music
The Department of Early Music of the ESMUC manages the subjects related with musical execution with historical instruments and certain specific practices in this field, such as improvisation, analysis and theory of interpretation.
The Department aims to be an open space where more specialized studies converge with the additional training chosen by students from other fields, thus providing a broad range of individual options and a level of professional excellence.
The instrumental specialties in the Early Music department of the ESMUC are oriented towards performance of 16th- to early 19th-century western music, although seminars on medieval music are held regularly and there are plans o hold others on the contemporary application of early instruments. In essence, there are two major tracks of study, grouped according to the different contextual features: one covering the 16th and 17th centuries and the other covering 18th- and early 19th-century music. Each specialty has its specific instrumental groups, both small and large, as well as the baroque and classical orchestra.
The Instruments office of the ESMUC has obtained a considerable number of instruments that are reproductions of historical prototypes covering this period, thus facilitating access to them by students in different fields of music.
In addition to the official studies aimed at obtaining the university-level degree in early music instruments, seminars and specialization courses are offered as well, and are addressed to professionals in the music field or graduates who would like to leearn about, or deepen their knowledge of, these specialties.
Teachers of the Department of Early Music
| Surnames | Name | Subjects |
| Ackerman | Andrew | Historical counter-bass Violone Chamber |
| Almajano | Marta | Historical chant Specific repertoire of historical chant Chamber |
| Balssa | Emmanuel | Viola da gamba Chamber |
| Blanch | Xavier | Historical oboe Chamber |
| Bonet | Javier | Natural horn Chamber |
| Borràs | Josep | Historical bassoon main instrument |
| Canhiac | Jean Pierre | Cornet Chamber |
| Casademunt | Sergi | Viola da gamba secondary instrument Specific repertoire of ancient music Chamber |
| Casulleras | Pere | |
| Climent | Lambert | Historical chant Chamber |
| Cocset | Bruno | Historical cello Chamber |
| Coppola | Lorenzo | Historical clarinet Chamber |
| Díaz Latorre | Xavier | Struck string instruments Chamber |
| Estevan | Pedro | Historical percussion Specific percussion instrumental repertoire Chamber |
| Galassi | Mara | Historical harps Improvisation of ancient music (figured bass) Chamber |
| Galduf | Simeon | Sackbut Chamber |
| Garrigosa | Francesc | Historical chant Chamber |
| Gascón | Montserrat | Baroque flute secondary instrument |
| Guerra | Joaquim | Historical bassoon secondary instrument |
| Hantaï | Marc | Baroque flute Chamber |
| Martin | Béatrice | Harpsichord Specific harpsichord instrumental repertoire |
| Martínez Borruel | Eduard | Harpsichord secondary instrument Improvisation of ancient music (figured bass) |
| Memelsdorff | Pedro | Recorder Chamber |
| Molina | Emilio | Improvisation of ancient music |
| Moreno | Emilio | Historical violin Historical viola Chamber Improvisation of ancient music |
| Pustilnik | Mónica | Struck string secondary instrument Improvisation of ancient music (figured bass) Specific instrumental repertoire of struck string instruments Chamber |
| Romaní | Albert | Harpsichord secondary instrument Ancient music choir Theory of performance of ancient music |
| Rubio | Francisco | Improvisation of ancient music Chamber |
| Schoonderwoerd | Arthur | Forte piano Chamber |
| Tizac | Serge | Natural trumpet Chamber |
| Valetti | Pablo | Historical violin Chamber |
Accompanist (harpsichord, fortepiano): Heidi Tsai
