- Started in
- Musician type
- Host institution
- Antwerp University
The Israeli pianist Nadav Katan was born in 1991. He started his piano studies at the Karmiel Conservatory (Israel) in the class of Mrs. Diana Bucur. In 2010, he started his military service with the status of an 'Outstanding musician', during which he pursued his Bachelor degree in piano performance at the Buchman- Mehta school of music, Tel Aviv University, class of Prof. Asaf Zohar. During his Bachelor studies, Nadav was awarded excellence scholarships from the Buchman Mehta school of music and the America Israel cultural foundation.
In 2015, after graduating the Bachelor program, Nadav started his Master's studies at the Conservatorium van Amsterdam, in the class of Prof. Naum Grubert. During his Master's studies, Nadav was awarded numerous scholarships such as the 'Holland scholarship', the 'Talent Grant' and many more.
As a performing pianist, Nadav won prizes in piano competitions such as the 'competition for soloist Sharon Tabor Pintz', 1st prize (Jerusalem 2010) which subsequently Nadav performed as a soloist with 'Sinfoniette Be'er Sheva', the 'Arianne Katz piano competition' 1st prize (Tel Aviv 2015), the 'Piano Forever competition' honorary mention (Ashdod 2017). Performed in concerts and festivals such as 'Hvide Sande' music festival (Denmark), 'Tel Hai masterclasses' (Israel) and 'ClasClas' music festival (Spain). Participated in masterclass with world-famous pianists such as Emanuel Ax, Robert Levin, Oxana Yablonskaya, Hung-Kuan Chen, Boris Berman, Matti Raekalio and many others.
Informed Phrasing will suggest a new way to incorporate analytical findings into musical performance. Focusing on phrasing, as one of the most important aspects of musical performance, the research will explore the influence of both the Schenkerian method of music analysis and the Temporal Gestalt Theory on the human perception of the phrase and subsequently, on the performance of the phrase. The general adjustment of musical performance according to a Schenkerian view on a piece of music has been discussed already by Heinrich Schenker himself, and later on by his successors. Nonetheless, the possibility and benefits of integrating the Temporal Gestalt Perception in this 'Schenkerian informed practice', so to say, is almost entirely unexplored. For that intent, my research will include side by side, the theoretical approach and the practical experience.