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Career Summary

Biography

Harpsichordist and researcher,  Associate Professor at the University of Newcastle, Australia; and an Honorary Fellow of the Australian Academy of the Humanities.

Research areas: Italian baroque music, Alessandro Scarlatti; research and performance; French harpsichord repertoire; historically based performance practice. Central to my work is the concept of implementing ideas developed  during the research and performance processes.

Creative and research outputs. CD Recordings: The French Harpsichord, ABC Classics (winner of Soundscapes award, 1997); Louis Couperin and Friends, 2005;  3 CDs of newly edited works: Venere, Adone e Amore: Serenatas and Cantatas of Alessandro Scarlatti (ABC Classics, 2007).

Many solo and ensemble performances in Europe, Canada, Australia and New Zealand.  Broadcasts for Sunday Live (ABC Classic FM), and in leading Australian Festivals including Barossa, Huntingdon, Melbourne Autumn Festival with ensembles including Elysium, His Majesty's Sagbutts and Cornetts, The Australian Chamber Orchestra, SSO, Sydney Philharmonia, Chacona, and Affetto (NZ).

Editions of Italian baroque music: two major volumes of previously unpublished works by Alessandro Scarlatti by A-R Editions (US). The Web Library of Seventeenth Century Music (WLSCM), a U.S. based peer-reviewed online edition: over 30 editions of individual works.

Published research papers. On music of the Scarlatti family, performance in the 17th-18th centuries, the Italian cantata genre.  Listed in academia.edu

Education: University of Otago (New Zealand); postgraduate studies at Oxford University (British Commonwealth Scholarship 1973-6); D.Phil. Oxford (analysis, music of Haydn) Harpsichord studies with David Ledbetter and Colin Tilney.    

Research supervision: 7 completed Ph.D.s and 12 Masters in a range of topics including pedagogy, baroque performance practice and research with a creative component. I am frequently consulted as Ph.D. and Masters examiner for major Australian universities.

Qualifications

  • Doctor of Philosophy, University of Oxford - UK
  • Bachelor of Arts (Honours), University of Otago - New Zealand

Research

Research keywords

  • Alessandro Scarlatti
  • Imagery in the Italian Baroque Cantata
  • Performance as Research

Research expertise

My field of research is in the combined area of baroque performance and historical source study. I am a researcher/performer who has recorded solo harpsichord CDs, as well as directing newly edited works from the Italian Baroque repertoire, especially the music of Alessandro Scarlatti (1660-1725). Scarlatti's cantatas are said to be little known, thus the research undertaken by me contributes to primary knowledge of this repertoire area. I am widely experienced with source materials of the 17th-18th centuries, including autograph material of Scarlatti and his predecessor Alessandro Stradella. As a solo harpsichordist I have recorded works of the French baroque, from the 17th- first half of the 18th centuries.

Languages

  • French
  • German
  • Italian

Fields of Research

CodeDescriptionPercentage
190407Music Performance50
190409Musicology And Ethnomusicology50

Memberships

Body relevant to professional practice.

  • Member - International Musicological Society (IMS)
  • Member - Musicological Society of Australia (MSA)
  • Member - Society for Seventeenth-Century Music

Editorial Board.

  • Member - Musicology Australia (MA)
  • Member - Journal of Music Research Online (JMRO)
  • Member - Istituto Italiano per la Storia della Musica (Italian Institute for the History of Music)

Learned Academy.

  • Fellow (Australian Academy of the Humanities)

Appointments

Honorary Fellow
Australian Academy of the Humanities (Australia)
01/11/2013

Awards

Other

1997'The French Harpsichord', solo harpsichord cd ABC Classics
Soundscapes Recording Magazine (Australia)
Award for 'Best Instrumental Recording produced in Australia', Soundscapes Recording award

Collaboration

  • 2013-14 Collaborative article on instrumental music of Alessandro Scarlatti with Michael Talbot (Em. Professor of Music, University of Liverpool), to be published in Eighteenth-Century Music (U.K.) March 2015.
  • 2007-2011 Collaborative editorial project 'Solo Serenatas of Alessandro Scarlatti’, A-R Editions) with Dr. Marie-Louise Catsalis, Ph.D graduate of Newcastle University, and a Lecturer at Stanford University, CA. The volume in the series ‘Recent Researches in Music of the Baroque Era’ (Middleton, Wisconsin) comprises the first modern editions of ten works, based on texts concerned with night themes. The work involved performances with students at the University of Newcastle, Stanford and Santa Clara Universities, CA.
  • 1999-2002 3-CD set released by ABC Classics in 2007 ‘Venere, Adone, e Amore’. Over 3 decades of researching unedited works from the Italian baroque cantata repertoire, my work involves collaboration with singers, literary scholars, fellow editors, performer-researchers, and recording producers. This collaborative activity mirrors the origins of the genre, built on the interaction of composer, singer, poet, copyist, player, and patron. Some of our leading graduates of Newcastle Conservatorium, including soprano Miriam Allan and cellist Jamie Hey (Australian Brandenburg Orchestra), have played a key role in this project.

The 3 CD set was recorded over a period of four years from 1999-2002, and involved the formation of the period instrument ensemble Chacona in collaboration with five outstanding Australian solo singers (four sopranos and one countertenor). The equal role of singers and instrumentalists is central to this repertoire.

My paper ‘Explorations around Bass Parts and Key Schemes: Recording the Cantatas of Alessandro Scarlatti’ published in 2012, Performers’ Voices across Centuries and Cultures (ed. Anne Marshman, Imperial College Press) documents aspects of this collaborative process.

2011 New Zealand Musicology Society conference, 'Performance, Creativity, Collaboration' included the first modern performances of cantatas by two cellist-composers Lulier and Colombani with N.Z. soprano Rowena Simpson and cellist Polly Sussex, illustrated the role of collaborative performance in researching this repertoire, in my paper 'Collaboration and the Italian solo cantata'.

Administrative

Administrative expertise

Convenor of B. Music Honours program and Music Research Convenor (RHD) 2006-2011. Member of Research Committee for School of DFAM. Co-ordinator of Music electives, 'Performing Baroque Music', and 'Performing Classical Music' offered at 1st year to 3rd year levels. Previous position Senior Lecturer in Performance at U.N.E. (1986-1999) involved co-ordination of all performance programs to M.Mus.(Hons.) and regular service as Acting Head of Department.

Teaching

Teaching keywords

  • Baroque and classical performance practice
  • Harpsichord and fortepiano
  • Performance research

Teaching expertise

Teaching performance of baroque music to students across a wide range of instruments, from 1st year to Ph.D. level; especially ensembles of instruments and voice (s).

Harpsichord teaching, and continuo playing; coaching singers in music of the 17th-18th centuries; editing from historical sources; history of performance practice and reception history. Music of the 17th-19th centuries (History and analysis). I have supervised numerous Ph.D., Masters and Honours candidates in a wide range of subjects with a creative/performance element, from baroque music to original composition work. Harpsichord tuition at undergraduate and postgraduate levels and examination of Ph.D. and Masters theses, mainly in areas of baroque performance and source studies for universities throughout Australia.

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Highlighted Publications

For publications that are currently unpublished or in-press, details are shown in italics.

YearCitationAltmetricsLink
2009Halton R, Alessandro Scarlatti: Venere, Adone, et Amore: Original Version, Naples 1696 and Revised Version, Rome 1706, A-R Editions, Inc., Middleton, Wisconsin, 139 (2009) [A1]

This is the first edition of both versions of a major work by Alessandro Scarlatti, for the foremost American musicological edition. It has been cited in a number of subsequent publications on the Neapolitan serenata, and on those of A. Scarlatti in particular. I was also the first to direct a commercially released recording of the same work. The Introduction gives insight into the relationship between the two versions composed ten years apart for Naples and Rome respectively - making it a work of unique interest in Scarlatti's output.

2007Halton R, Venere, Adone e Amore: Serenatas and Cantatas by Alessandro Scarlatti, - (2007) [J1]

Venere, Adone e Amore: Serenatas and Cantatas of Alessandro Scarlatti represents the culmination of 20 years performance research and study of primary sources of Scarlattis secular vocal music. Priority was given to use of autograph material so that the performances are based where possible on composers original readings and performance indications. The choice of a wide range of works, covering 30 years of the composers output in this three-disc set, is designed to show how the richness and originality of Scarlattis musical invention bridges seventeenth and eighteenth-century music styles. The evolution of Scarlattis vocal and instrumental writing in his cantatas and serenatas is investigated through performance. Questions of instrumentation and realization of the bass part are particularly addressed. Liner notes give a comprehensive view of Scarlattis contribution to the cantata genre and his exploration of imagery, tonality and textures. The inclusion of the title serenata gave the opportunity to examine this comic work in two complete settings, reflecting the distinct musical idioms of Scarlatti for Naples and Rome across a ten-year span. To make this repertoire available for future performances, editions of all the recorded works have since been published, either online (Cantata Editions.com) or by leading U.S. publisher, A-R Editions (Venere, Adone, e Amore). Two recent U.S. recordings have been based on the editions. The set has been warmly received by leading Australian and British reviewers (Sydney Morning Herald, Music Forum, Early Music Review (U.K.); it is widely acknowledged internationally as a major contribution to the field.

2002Halton R, 'Domenico Scarlatti and his cantabile sonatas', Musicology Australia, 25 22-47 (2002) [C1]

This article in an A1 ranked journal has been cited frequently since publication. It is an original contribution based on my experience as performer and researcher, which examines the concept of 'cantabile' in the 18th century, and with regard to harpsichord playing. It makes a contribution to the debate about whether D. Scarlatti's keyboard idiom can be said to be exclusively for harpsichord or for the new Cristofori piano, concluding that it is compatible with the idiom of both instruments.

2011Catsalis M-L, Halton R, Alessandro Scarlatti: Solo Serenatas, A-R Editions, Middleton, Wisconsin, 191 (2011) [A1]

This collaborative publication is the first edition in modern times of Scarlatti's works in the genre of the solo serenata. A-R Editions series 'Recent Researches in the Music of the Baroque Era', is the major and most respected international scholarly edition in this field. It consists of a critical edition, a historical introduction by each author, and critical notes on the sources. The edition is subscribed to by university library collections worldwide.

2010Halton R, 'Scarlatti father and son: A musical relationship', Domenico Scarlatti Musica E Storia, Turchini Edizioni, Napoli, Italy 1-24 (2010) [B1]

The chapter is based on an invited paper given to the international conference in Naples November 2007, to commemorate the 250th anniversary of the death of Domenico Scarlatti. The volume consists of contributions by nineteen leading scholars on the life and music of D. Scarlatti. This item is my first book chapter in an international Italian publication on the composer, and sums up original observations on parallels between compositional and stylistic characteristics of D. Scarlatti and his father Alessandro - a topic which has not been addressed in literature. The chapter is based on my original research as editor and performer of cantatas and sonatas by Alessandro and Domenico Scarlatti.

2011Halton R, 'Nicola Porpora and the Cantabile Cello', Nicola Porpora: Musicista Europeo: Le Corti, I Teatri, I Cantanti, I Librettisti, Laruffa Editore, Reggio Calabria 303-336 (2011) [B1]

This volume devoted to the study of Neapolitan composer Nicola Porpora is supported by the Italian Musicological Society and the series has high international standing in the study of baroque vocal music with contributors invited for their expertise in specific topics of baroque music. This essay contributes an initial study of Porpora's role in the evolution of cello playing/composing within the framework of vocal music in the early 18th century, putting it in context of cello obbligato arias and bass part scoring from the 1690s (A. Scarlatti and G. Bononcini) to the 1720s (Porpora and Leo).

2012Halton R, 'Edition of Alessandro Scarlatti, L'Orfeo: Cantata for Voice (S), Two Violins, and Basso Continuo', Web Library of Seventeenth Century Music, 23 (2012) [C1]
2013Halton R, 'Birthday tribute or cantata contest: Alessandro Scarlatti's 'A Voi Che L'Accendeste'', Devozione e Passione: Alessandro Scarlatti nel 350 anniversario della nascita, Rubbettino, Reggio Calabria 383-423 (2013) [B1]
2009Halton R, 'Alessandro Scarlatti and the Roman copies of his Neapolitan compositions: A source study of the Serenata Venere, Adone et Amore (1696)', Identity and Locality in Early European Music, 1028-1740, Ashgate Publishing, Surrey 173-190 (2009) [B1]

The chapter appears in a selection of contributions by international scholars on the theme of 'Identity and Locality', published by the reputed firm Ashgate Books. It probes the relationships between sources of a work by A. Scarlatti, entering into a number of issues not raised in my A-R Edition of the work, and illustrating the process of detailed source study. The issue of Scarlatti's simultaneous presence as a force in both Naples and Rome throughout his creative life is discussed with regard to copyists in both music centres. This important topic has not been widely discussed in the literature on Scarlatti.

2012Halton R, 'Explorations around bass parts and key schemes: Recording the cantatas of Alessandro Scarlatti', Performers' Voices across Centuries and Cultures: Selected Proceedings of the 2009 Performer's Voice International Symposium, Yang Siew Toh Conservatory of Music, National University of Singapore, Imperial College Press, London 85-102 (2012) [B1]

The significance of this paper is in the integration of performance research and musicology. It draws upon my experiences of performing and recording newly researched works to form and examine hypotheses about musical expression, and particularly the choice of keys to convey different psychological situations. The paper also examines the use of different bowed bass instruments at a moment in history - Italian practice at the turn of the 18th century - when the use of violoncello, violone and double bass was in flux. The paper is included in a publication ranging widely over performance research topics in terms of culture and period, and highlighting the contribution of performers and performance to understanding musical structures and practice.

2011Halton R, 'Serenata in flux: The two versions of Venere, Adone, et Amore by Alessandro Scarlatti', Il Pasticcio: Responsabilità d'Autore e Collaborazione nell'Opera dell'Età Barocca, Laruffa, Reggio Calabria 31-65 (2011) [B1]

This volume focusing on the theme of Pasticcio, or works of multiple authorship, appears within a significant specialist series of essay collections supported by the Italian Musicological Society on Italian baroque vocal genres. The single-author essay raises questions about stylistic consistency, updating, and the conjectural role of copyists viewed over a ten year period of the two versions of a single work. This example of Scarlatti's process of updating his works has been put in context recently by the discovery by Italian scholars of another possible example (of which only the later version of the music is known to survive); the present essay will be cited in an forthcoming essay on the 1707 work 'Il Giardino di Rose'.

2007Halton R, Quante sete per mi pigri, o momenti!. Cantata for Soprano and Basso Continuo, Duke University College of Arts and Sciences (2007) [J2]

The cantatas of Antonio Cesti (1623-1669) are not yet the subject of a complete edition nor are regularly performed. Substantial work exists on his texts, particularly the relationship with poet Giovanni Apolloni, author of the text of this work. This is the first modern edition of a significant virtuoso cantata. Two questions are addressed authorship of the cantata itself (it is attributed to Carissimi in two sources), and issues of intertextuality between this work and two cantatas by Alessandro Scarlatti, dating from ca. 40 years later than the Cesti work. The coincidence of substantial chunks of cantata text between this work and two separate Scarlatti cantatas on the theme of night (ca. 1704-5) is documented in the Introduction. The Introduction discusses the relationship of three main sources, and notes Cestis innovative harmonic usage and rhythmic notation/phrasing to represent the central image of time dissolving. The sharing of cantata texts between different composers is familiar to scholars but over a much closer time-frame than in this instance, which shows text being adopted and modified by a composer at least four decades after the original setting. The transmission of Cestis cantata in a recently discovered source ca. 1685 is taken into this edition, as evidence of a manuscript that could have been available to A. Scarlatti. Selection of the edition in the rigorously reviewed WLSCM catalogue ensures its accessibility to and acceptance by an international audience of specialist scholars and performers.

2006Halton R, Edition of A. Scarlatti 'Lucretia Romana' 1688, Web Library of Seventeenth Century Music, General Editor Alexander Silbiger, Duke University (Durham) NC USA (2006) [J2]

This single work forms part of my ongoing project aimed at increasing knowledge of and access to the cantatas of Alessandro Scarlatti (1660-1725). This repertoire numbering over 700 works is regarded as under-represented in modern scholarly editions, leading to few recordings and thus little understanding of Scarlatti's evolution in this genre. The area investigated is the early period of Scarlatti's cantata composition (1688). The cantata belongs to a type based upon mythological or historical characters, regarded as making a link with earlier 17th-century cantata composers, Luigi Rossi and Stradella. This first edition of a significant virtuoso work is based on critical comparison of the three extant sources of the work. It is accompanied by a live recording directed from the harpsichord by the editor, the first edition on this specialist 17th-century resource to include a performance through audio streaming. “Editions are selected and reviewed by an Editorial Board of specialists in seventeenth-century music. WLSCM is pioneering the online publication of refereed musical editions” The work illustrates the fusion of earlier seventeenth-century cantata style with Scarlatti’s development of separate recitative and aria components. Edition and recording contribute to knowledge of Scarlatti’s earlier through-composed approach to dramatic narrative structure including arioso and refrain elements. The online peer-reviewed edition process guarantees adherence to scholarly international editorial standards, and access by seventeenth-century music scholars. The edition has been cited in the recent major study Aspects of the Secular Cantata in Late Baroque Italy. The performance derives special significance from the insight into 17th-century Italian declamatory performance of soprano Tessa Miller. Her dramatic recitative from the recording was used by the editor to illustrate an invited Panel Collaboratory on ‘Text, Rhythm, Gesture’.

Publications

For publications that are currently unpublished or in-press, details are shown in italics.

Click on a category title below to expand the list of citations for that specific category.

Book (3 outputs)

YearCitationAltmetricsLink
2011Catsalis M-L, Halton R, Alessandro Scarlatti: Solo Serenatas, A-R Editions, Middleton, Wisconsin, 191 (2011) [A1]

This collaborative publication is the first edition in modern times of Scarlatti's works in the genre of the solo serenata. A-R Editions series 'Recent Researches in the Music of the Baroque Era', is the major and most respected international scholarly edition in this field. It consists of a critical edition, a historical introduction by each author, and critical notes on the sources. The edition is subscribed to by university library collections worldwide.

2009Halton R, Alessandro Scarlatti: Venere, Adone, et Amore: Original Version, Naples 1696 and Revised Version, Rome 1706, A-R Editions, Inc., Middleton, Wisconsin, 139 (2009) [A1]

This is the first edition of both versions of a major work by Alessandro Scarlatti, for the foremost American musicological edition. It has been cited in a number of subsequent publications on the Neapolitan serenata, and on those of A. Scarlatti in particular. I was also the first to direct a commercially released recording of the same work. The Introduction gives insight into the relationship between the two versions composed ten years apart for Naples and Rome respectively - making it a work of unique interest in Scarlatti's output.

2004Ewans MC, Halton R, Phillips JA, Music Research: New Directions for a New Century, Cambridge Scholars Press, Amersham, 451 (2004) [A3]

Co-authors: Michael Ewans

Chapter (9 outputs)

YearCitationAltmetricsLink
2013Halton R, 'Birthday tribute or cantata contest: Alessandro Scarlatti's 'A Voi Che L'Accendeste'', Devozione e Passione: Alessandro Scarlatti nel 350 anniversario della nascita, Rubbettino, Reggio Calabria 383-423 (2013) [B1]
2012Halton R, 'From Hailstones to Hallelujah: The first Handel commemoration', A World of Popular Entertainments: An Edited Volume of Critical Essays, Cambridge Scholars, Newcastle upon Tyne 192-206 (2012) [B1]
2012Halton R, 'Explorations around bass parts and key schemes: Recording the cantatas of Alessandro Scarlatti', Performers' Voices across Centuries and Cultures: Selected Proceedings of the 2009 Performer's Voice International Symposium, Yang Siew Toh Conservatory of Music, National University of Singapore, Imperial College Press, London 85-102 (2012) [B1]

The significance of this paper is in the integration of performance research and musicology. It draws upon my experiences of performing and recording newly researched works to form and examine hypotheses about musical expression, and particularly the choice of keys to convey different psychological situations. The paper also examines the use of different bowed bass instruments at a moment in history - Italian practice at the turn of the 18th century - when the use of violoncello, violone and double bass was in flux. The paper is included in a publication ranging widely over performance research topics in terms of culture and period, and highlighting the contribution of performers and performance to understanding musical structures and practice.

2012Halton R, 'From glee club to concert hall', Singing Emotions: Voices from History, Australian Research Council's Centre of Excellence for the History of Emotions (CHE) with Musica Viva, Sydney, NSW 32-37 (2012) [B2]
2011Halton R, 'Serenata in flux: The two versions of Venere, Adone, et Amore by Alessandro Scarlatti', Il Pasticcio: Responsabilità d'Autore e Collaborazione nell'Opera dell'Età Barocca, Laruffa, Reggio Calabria 31-65 (2011) [B1]

This volume focusing on the theme of Pasticcio, or works of multiple authorship, appears within a significant specialist series of essay collections supported by the Italian Musicological Society on Italian baroque vocal genres. The single-author essay raises questions about stylistic consistency, updating, and the conjectural role of copyists viewed over a ten year period of the two versions of a single work. This example of Scarlatti's process of updating his works has been put in context recently by the discovery by Italian scholars of another possible example (of which only the later version of the music is known to survive); the present essay will be cited in an forthcoming essay on the 1707 work 'Il Giardino di Rose'.

2011Halton R, 'Nicola Porpora and the Cantabile Cello', Nicola Porpora: Musicista Europeo: Le Corti, I Teatri, I Cantanti, I Librettisti, Laruffa Editore, Reggio Calabria 303-336 (2011) [B1]

This volume devoted to the study of Neapolitan composer Nicola Porpora is supported by the Italian Musicological Society and the series has high international standing in the study of baroque vocal music with contributors invited for their expertise in specific topics of baroque music. This essay contributes an initial study of Porpora's role in the evolution of cello playing/composing within the framework of vocal music in the early 18th century, putting it in context of cello obbligato arias and bass part scoring from the 1690s (A. Scarlatti and G. Bononcini) to the 1720s (Porpora and Leo).

2010Halton R, 'Scarlatti father and son: A musical relationship', Domenico Scarlatti Musica E Storia, Turchini Edizioni, Napoli, Italy 1-24 (2010) [B1]

The chapter is based on an invited paper given to the international conference in Naples November 2007, to commemorate the 250th anniversary of the death of Domenico Scarlatti. The volume consists of contributions by nineteen leading scholars on the life and music of D. Scarlatti. This item is my first book chapter in an international Italian publication on the composer, and sums up original observations on parallels between compositional and stylistic characteristics of D. Scarlatti and his father Alessandro - a topic which has not been addressed in literature. The chapter is based on my original research as editor and performer of cantatas and sonatas by Alessandro and Domenico Scarlatti.

2009Halton R, 'Alessandro Scarlatti and the Roman copies of his Neapolitan compositions: A source study of the Serenata Venere, Adone et Amore (1696)', Identity and Locality in Early European Music, 1028-1740, Ashgate Publishing, Surrey 173-190 (2009) [B1]

The chapter appears in a selection of contributions by international scholars on the theme of 'Identity and Locality', published by the reputed firm Ashgate Books. It probes the relationships between sources of a work by A. Scarlatti, entering into a number of issues not raised in my A-R Edition of the work, and illustrating the process of detailed source study. The issue of Scarlatti's simultaneous presence as a force in both Naples and Rome throughout his creative life is discussed with regard to copyists in both music centres. This important topic has not been widely discussed in the literature on Scarlatti.

2004Halton R, 'Night and Dreams: Text, Texture, and Night Themes in Cantatas by Alessandro Scarlatti', Music Research: New Directions for a New Century, Cambridge Scholars Press, Amersham, Bucks, UK 27-39 (2004) [B1]

This book chapter addresses the subject of night themes in cantatas by Alessandro Scarlatti, and is the conceptual basis of a forthcoming A1 publication for A-R Editions (Middleton, WI), 'Solo Serenatas of Alessandro Scarlatti', ed. Marie-Louise Catsalis and Rosalind Halton.

Show 6 more

Journal article (7 outputs)

YearCitationAltmetricsLink
2012Halton R, 'Edition of Alessandro Scarlatti, L'Orfeo: Cantata for Voice (S), Two Violins, and Basso Continuo', Web Library of Seventeenth Century Music, 23 (2012) [C1]
2012Halton R, 'Aspects of the secular cantata in late Baroque Italy', Musicology Australia, 34 121-124 (2012) [C3]
2008Halton R, 'Rhythmic inequality (John Byrt, 'Elements of rhythmic inequality in the arias of Alessandro Scarlatti and Handel')', Early Music, 36 350-351 (2008) [C2]
2008Halton R, 'Thomas Roseingrave: Complete keyboard music', Musicology, 30 97-99 (2008) [C3]
2005Halton R, 'Stradella Serenata in Newcastle, Australia in 17th Century Music', the Newsletter of the Society for Seventeenth Century Music (USA), 15 16-17 (2005) [C3]
2004Halton R, 'New Scarlatti Edition: Hor che graditi horrori, Cantata for soprano and continuo', Society for Seventeenth Century Music Newsletter, 14 12-13 (2004) [C2]
2002Halton R, 'Domenico Scarlatti and his cantabile sonatas', Musicology Australia, 25 22-47 (2002) [C1]

This article in an A1 ranked journal has been cited frequently since publication. It is an original contribution based on my experience as performer and researcher, which examines the concept of 'cantabile' in the 18th century, and with regard to harpsichord playing. It makes a contribution to the debate about whether D. Scarlatti's keyboard idiom can be said to be exclusively for harpsichord or for the new Cristofori piano, concluding that it is compatible with the idiom of both instruments.

Show 4 more

Review (3 outputs)

YearCitationAltmetricsLink
2010Halton R, Scarlatti A, 'Introduction', Alessandro Scarlatti: Il Giardino di Rose. La Santissima Vergine del Rosario: Oratorio for 5 voices and instruments (2010) [D2]
2006Halton R, 'Review of Thomas Tolley, Painting the Cannon's Road: Music, the Visual Arts and the Rise of an Attentive Public in the Age of Haydn, Ashgate Books, 2001', Musicology Australia (2006) [D2]
2006Halton R, 'Review of Edward L Kottick, A History of the Harpsichord (Bloomington, Indiana University Press, 2003)', Musicology Australia (2006) [D2]

Conference (7 outputs)

YearCitationAltmetricsLink
2013Halton R, 'A Renaissance bordering on Pop phenomenon: The Castrato Opera Repertoire recreated by German Soprano Simone Kermes', Another World of Popular Entertainments Proceedings, Newcastle, NSW (2013) [E3]
2009Harper NL, Henriques T, Halton R, 'Performing proportion: Crux awareness in Scarlatti interpretation', Proceedings of the International Symposium on Performance Science 2009, Auckland, NZ (2009) [E1]
2009Halton R, 'Explorations round bass parts & key schemes: Recording the cantatas of Alessandro Scarlatii', The Performer's Voice. An International Forum for Music Performance and Scholarship. Abstracts, Yong Siew Toh Conservatory of Music, Singapore (2009) [E3]
2009Halton R, 'From hailstones to hallelujah: The first Handel commemoration', A World of Popular Entertainments Conference Proceedings, Callaghan, NSW (2009) [E3]
2009Arrighi G, Emeljanow VE, Halton R, 'Conference editors', A World of Popular Entertainments Conference Proceedings, Callaghan, NSW (2009) [E4]
2003Halton R, 'Alessandro Scarlatti's Venus in transit from Naples to Rome: the two versions of the Serenata Venere, Adone & Amore, Naples 1696 and Rome 1706', Combined Conference of the Australian and New Zealand Musicological Societes, New Zealand (2003) [E1]

This paper has been cited in publications on the Serenata in Italy. Though not widely accessible (in CD-Rom form), it has had impact on subsequent research in the area of Scarlatti's serenatas, setting out for the first time the principal differences between the two versions 1696 and 1706 of the work. It forms the basis of my subsequent work on Alessandro Scarlatti's serenata, Venere, Adone & Amore: the first recording of the work directed by me (2007); and my edition of the work for the prestigious U.S.-based A-R Editions, Recent Researches in Music of the Baroque Era, published 2010. Contacts based on this work have led to the formation of an international group of researchers on the serenatas of A. Scarlatti based in the US, Australia, and Italy, which plans a complete collaborative edition of these works.

2001Halton R, 'Seven Angles on the solo cantata."A voi che l'accendeste, ca 1692', MSA Annual Conference, Uni of Melbourne (2001) [E2]
Show 4 more

Creative Work (67 outputs)

YearCitationAltmetricsLink
2013Halton R, Allan C, Hoadley B, Walker S, Concert for a New Era: Monody by Claudio Saracini (1624); Vivaldi, Sonata for flute, bassoon, and basso continuo Christopher Allan (baritone); Sally Walker (flute); Ben Hoadley (bassoon); Rosalind Halton (harpsichord, editor of Saracini pieces), Harold Lobb Concert Hall, Newcastle, Newcastle (2013) [J2]
2013Sandstrom A, Halton R, Sunday Live, Recital of italian Baroque Music, Harold Lobb Concert Hall, Newcastle, Sydney (2013) [J2]
2013Halton R, Allan C, Hoadley B, Walker S, Concert for a New Era: Monody by Claudio Saracini (1624); Vivaldi, Sonata for flute, bassoon, and basso continuo Christopher Allan (baritone); Sally Walker (flute); Ben Hoadley (bassoon); Rosalind Halton (harpsichord, editor of Saracini pieces), Harold Lobb Concert Hall, Newcastle, Newcastle (2013) [J2]
2013Halton R, Allan C, Hoadley B, Walker S, Concert for a New Era: Monody by Claudio Saracini (1624); Vivaldi, Sonata for flute, bassoon, and basso continuo Christopher Allan (baritone); Sally Walker (flute); Ben Hoadley (bassoon); Rosalind Halton (harpsichord, editor of Saracini pieces), Harold Lobb Concert Hall, Newcastle, Newcastle (2013) [J2]
2011Halton R, Simpson R, Sussex P, Collaboration and the Italian Cantata, New Zealand School of Music, Wellington (2011) [J1]
2010Halton R, Scarlatti A, La dove a Mergellina: Cantata for soprano solo and basso continuo, - (2010) [J2]
2010Halton R, Scarlatti A, Tormentatemi pur, furie d'amore: Cantata for soprano solo and basso continuo, - (2010) [J2]
2010McDonald A, Halton R, Sunday Live, Harold Lobb Concert Hall, Newcastle, Sydney (2010)
2009Halton R, Euridice dall'Inferno, A. Scarlatti recorded by Ars Lyrica Houston- edition and translation by R. Halton, Naxos: Classics Online (recorded Houston Texas), USA (2009) [J2]
2008Halton R, The Italian Cello, recital by Jamie Hey (cello) and Rosalind Halton (harpsichord), Harold Lobb Concert Hall, Newcastle (2008)
2008Halton R, Sunday Live, Harold Lobb Concert Hall, Newcastle (2008)
2007Halton R, Venere, Adone e Amore: Serenatas and Cantatas by Alessandro Scarlatti, - (2007) [J1]

Venere, Adone e Amore: Serenatas and Cantatas of Alessandro Scarlatti represents the culmination of 20 years performance research and study of primary sources of Scarlattis secular vocal music. Priority was given to use of autograph material so that the performances are based where possible on composers original readings and performance indications. The choice of a wide range of works, covering 30 years of the composers output in this three-disc set, is designed to show how the richness and originality of Scarlattis musical invention bridges seventeenth and eighteenth-century music styles. The evolution of Scarlattis vocal and instrumental writing in his cantatas and serenatas is investigated through performance. Questions of instrumentation and realization of the bass part are particularly addressed. Liner notes give a comprehensive view of Scarlattis contribution to the cantata genre and his exploration of imagery, tonality and textures. The inclusion of the title serenata gave the opportunity to examine this comic work in two complete settings, reflecting the distinct musical idioms of Scarlatti for Naples and Rome across a ten-year span. To make this repertoire available for future performances, editions of all the recorded works have since been published, either online (Cantata Editions.com) or by leading U.S. publisher, A-R Editions (Venere, Adone, e Amore). Two recent U.S. recordings have been based on the editions. The set has been warmly received by leading Australian and British reviewers (Sydney Morning Herald, Music Forum, Early Music Review (U.K.); it is widely acknowledged internationally as a major contribution to the field.

2007Halton R, Quante sete per mi pigri, o momenti!. Cantata for Soprano and Basso Continuo, Duke University College of Arts and Sciences (2007) [J2]

The cantatas of Antonio Cesti (1623-1669) are not yet the subject of a complete edition nor are regularly performed. Substantial work exists on his texts, particularly the relationship with poet Giovanni Apolloni, author of the text of this work. This is the first modern edition of a significant virtuoso cantata. Two questions are addressed authorship of the cantata itself (it is attributed to Carissimi in two sources), and issues of intertextuality between this work and two cantatas by Alessandro Scarlatti, dating from ca. 40 years later than the Cesti work. The coincidence of substantial chunks of cantata text between this work and two separate Scarlatti cantatas on the theme of night (ca. 1704-5) is documented in the Introduction. The Introduction discusses the relationship of three main sources, and notes Cestis innovative harmonic usage and rhythmic notation/phrasing to represent the central image of time dissolving. The sharing of cantata texts between different composers is familiar to scholars but over a much closer time-frame than in this instance, which shows text being adopted and modified by a composer at least four decades after the original setting. The transmission of Cestis cantata in a recently discovered source ca. 1685 is taken into this edition, as evidence of a manuscript that could have been available to A. Scarlatti. Selection of the edition in the rigorously reviewed WLSCM catalogue ensures its accessibility to and acceptance by an international audience of specialist scholars and performers.

2006Halton R, Edition of A. Scarlatti 'Lucretia Romana' 1688, Web Library of Seventeenth Century Music, General Editor Alexander Silbiger, Duke University (Durham) NC USA (2006) [J2]

This single work forms part of my ongoing project aimed at increasing knowledge of and access to the cantatas of Alessandro Scarlatti (1660-1725). This repertoire numbering over 700 works is regarded as under-represented in modern scholarly editions, leading to few recordings and thus little understanding of Scarlatti's evolution in this genre. The area investigated is the early period of Scarlatti's cantata composition (1688). The cantata belongs to a type based upon mythological or historical characters, regarded as making a link with earlier 17th-century cantata composers, Luigi Rossi and Stradella. This first edition of a significant virtuoso work is based on critical comparison of the three extant sources of the work. It is accompanied by a live recording directed from the harpsichord by the editor, the first edition on this specialist 17th-century resource to include a performance through audio streaming. “Editions are selected and reviewed by an Editorial Board of specialists in seventeenth-century music. WLSCM is pioneering the online publication of refereed musical editions” The work illustrates the fusion of earlier seventeenth-century cantata style with Scarlatti’s development of separate recitative and aria components. Edition and recording contribute to knowledge of Scarlatti’s earlier through-composed approach to dramatic narrative structure including arioso and refrain elements. The online peer-reviewed edition process guarantees adherence to scholarly international editorial standards, and access by seventeenth-century music scholars. The edition has been cited in the recent major study Aspects of the Secular Cantata in Late Baroque Italy. The performance derives special significance from the insight into 17th-century Italian declamatory performance of soprano Tessa Miller. Her dramatic recitative from the recording was used by the editor to illustrate an invited Panel Collaboratory on ‘Text, Rhythm, Gesture’.

2006Halton R, A Scarlatti, 'Cantata Notturna', Cantata Editions.com, London England (2006) [J2]
2005Halton R, Qual'ora io veggio la vezzosa Irene, - (2005) [J1]
2005Halton R, Alesssandro Scarlatti, La Primavera (Clori e Lidia Compagne): Cantata per Camera a due Soprani, - (2005) [J1]
2005Halton R, Alessandro Scarlatti, Qual'ora io veggio la vezzosa Irene: Cantata a voce sola con violini [cantata for high voice and violins], Cantata Editions, UK, London (2005) [J2]
2005Halton R, Colours of Night, Newcastle Conservatorium of Music, Newcastle (2005) [J2]

The performances of serenate by Alessandro Stradella were based on my editions from autograph sources in Venice. They represent probable first performances in modern times of these major works.

2005Halton R, Alessandro Scarlatti, La Fenice, cantata for soprano, 2 violins, and continuo, Cantata Editions, UK, London (2005) [J2]
2005Clarke Z, Downer C, Halton R, Lyrical Passions: music from the French Baroque, Orpheus Music, Armidale (2005) [J2]
2005Halton R, Alessandro Scarlatti, Tu resti o mio bel nume: Cantata for bass, violins I & II & continuo, Cantata Editions, UK, London (2005) [J2]
2005Halton R, Alessandro Scarlatti, Euridice dell'Inferno, Cantata for soprano and continuo1699, Cantata Editions, UK, London (2005) [J2]
2004Halton R, Louis Couperin and Friends, - (2004) [J1]

Louis Couperin and Friends presents 17th-century harpsichord repertoire matched to the instrument, copy of a French harpsichord dated 1684. The program juxtaposes music by two major 17th century harpsichord composers, Louis Couperin and Jacques Chambonnières, suggesting stylistic resonances in pieces of three later composers, Gaspard Le Roux, François Couperin, and Rameau. Far from aiming to establish definitive readings, the recording expresses a flexible concept of 17th century harpsichord style with multiple versions as its defining characteristic. Manuscript versions of Chambonnières pieces normally sourced from printed versions were used, including suggestions for improvised ornamentation. By using an instrument of 17th century bass range, a limitation was placed on possible solutions to one of the principal works, L. Couperins Passacaille.This produced a mix of minor/major tonality at the climax of the piece which I propose as the structural intention. The relationship between refrain and episodes in this piece was re-evaluated, following clues in the manuscript about the linking and ordering of material. Solutions adopted and the basis for choosing specific readings are explained in the liner notes. The choice of pieces together with the sonority of the 17th century French design harpsichord makes a contribution to understanding issues including key choice and affect, the harmonic style of the selected composers, texture and register. The recording has had extensive airplay on ABC Classic FM; it has been well reviewed in Limelight August 2005 and chosen as release of the month, and in Early Music Review (UK).

2004Halton R, 'La Fenice' Su l'ora appunto, - (2004) [J1]
2004Miller T, Halton R, Italian Vocal Music from the 16th-18th centuries, Newcastle Conservatorium Concert Hall, Newcastle (2004) [J2]
2004Allan M, Hey J, Halton R, The Roman Influence, Newcastle Conservatorium Concert Hall, Newcastle (2004) [J2]
2003Halton R, Lidio e Clori, Cantata Editions, London (2003) [J2]
2003Halton R, Nel silentio commune di notte, Cantata Editions, London (2003) [J2]
2003Halton R, Hor che di Febo ascosi, Cantata Editions, London (2003) [J2]
2003Halton R, O che mostro, o che furia, Cantata Editions, London (2003) [J2]
2003Halton R, Su'l margine d'un rio, Cantata Editions, London (2003) [J2]
2003Halton R, 'Dove fuggi, o bella Clori, A. Scarlatti, ed. Halton, Cantata Editions, general editor James Sanderson, U.K. www.baroquecantata.com (2003) [J2]
2003Halton R, Augellin vago e canoro, Cantata Editions, London (2003) [J2]
2003Halton R, Anche i tronchi, Cantata Editions, London (2003) [J2]
2002Halton R, 'Bella Dama di nome Santa', A. Scarlatti, ed. Halton, Sydney (2002) [J1]
2002Halton R, 'Quella pace gradita', A. Scarlatti, Cantata Editions, U.K., www.baroquecantata.com (2002) [J2]
2002Halton R, 'Amica, hora che Aprile', A. Scarlatti, ed. Halton, Cantata Editions, general editor James Sanderson, U.K. [ www.baroquecantata.com] (2002) [J2]
2002Halton R, 'Non so qual piu m?ingombra', Cantata Pastorale (1716), A. Scarlatti, ed. Halton, Cantata Editions, general editor James Sanderson, U.K. www.baroquecantata.com (2002) [J2]
2002Halton R, 'Il genio di Mitilde', A. Scarlatti, ed. Halton, Cantata Editions, U.K. www.baroquecantata.com (2002) [J2]
2002Halton R, 'Imagini d'orrore' (1710) A. Scarlatti, ed. Halton, Cantata Editions, general editor James Sanderson, U.K. www.baroquecantata.com (2002) [J2]
2002Halton R, 'Lontan dall'idol mio' (1699), A. Scarlatti, ed. Halton, Cantata Editions, U.K. www.baroquecantata.com (2002) [J2]
2002Halton R, 'Poiche cessano', A. Scarlatti, ed. Halton, Cantata Editions, U.K. www.baroquecantata.com (2002) [J2]
2002Halton R, 'Augellin vago e canoro', 1699, Cantata Editions, general editor James Sanderson, U.K. (2002) [J2]
2002Halton R, 'Quanto dolce e quell?ardore?, Francesco Mancini, ed. Halton, Cantata Editions, general editor James Sanderson, U.K. www.baroquecantata.com (2002) [J2]
2001Halton R, Olimpia: Cantatas of Alessandro Scarlatti (2001) [J1]
2001Halton R, Piano Studies and Baroque Works, AMEB Publications, Sydney (2001) [J2]
2001Halton R, Scarlatti: Notte cara, Chacona, web site (2001) [J2]
2001Halton R, Scarlatti: Liberta del mio cor, Chacona, Web Site (2001) [J2]
2001Halton R, Scarlatti: Peno,e del mio penar, Chacona, Web Site (2001) [J2]
2001Halton R, Scarlatti: E come Dio, Chacona, web site (2001) [J2]
2001Halton R, Carissimi: Filli non t'amo piu, Chacona, Web Site (2001) [J2]
2001Halton R, Scarlatti: Sotto l'ombra d'un faggio, Chacona, web site (2001) [J2]
2000Halton R, Music by Monteverdi and Purcell, Cathedral Festival, Christ Church Cathedral (2000) [J2]
2000Halton R, Music by Arne, Vivaldi, and A Scarlatti, University, Conservatorium (2000) [J2]
2000Halton R, "Tous les matins du monde", French Consul General, Noumea, Noumea (2000) [J2]
2000Halton R, Music by Saraceni,Porpora, A Scarlatti, University, Conservatorium (2000) [J2]
2000Halton R, Music by various Spanish and South American composers, UNE, NEGS Armidale (2000) [J2]
2000Halton R, Music of Volkhardt,Dikmens, Lacey,, UNE, Lazenby Hall, Armidale (2000) [J2]
2000Halton R, 17th century Spanish Music, University, St John's Church, Cooks Hill (2000) [J2]
2000Halton R, Dido and Anaeas by Purcell, University, Conservatorium (2000) [J2]
2000Halton R, French Baroque Music, Paddington Baroque Series, Sydney (2000) [J2]
2000Halton R, Music of Bach's sons, Historic Houses Trust Concert Series, Sydney (2000) [J2]
1999Halton R, Recital of Bach, Couperin and Handel, International Flute Convention Principal Artist (1999) [J1]
1999Halton R, Music of Bach, Bohm,Coupewrin, Byrd, France Festival of Chateau de Bagnols (1999) [J1]
1999Halton R, Music of Telemann and Mehul, Facultry of Music, University of Newcastle (1999) [J2]
1999Halton R, Figaro's Wedding (Opera), Faculty of Music, University of Newcastle (1999) [J2]
Show 64 more

Other (1 outputs)

YearCitationAltmetricsLink
2004Halton R, 'Alessandro Scrarlatti, Hor che graditi horrori, Cantana for Soprano and Basso Continuo', The Web Library of Seventeenth-Century Music ( issue.5 pp.1-3). World Wide Web: Society of Seventeenth-Century Music (2004) [O1]
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Grants and Funding

Summary

Number of grants12
Total funding$66,013

- Indicates that the researcher may be seeking students for this project.

Click on a grant title below to expand the full details for that specific grant.

2014 (1 grants)

XXI Annual Conference of SIdM, Verona, Italy, 17 - 19 October 2014$2,000
Funding Body: University of Newcastle - Faculty of Education and Arts

Project Team
Associate Professor Rosalind Halton
SchemeRole
Travel GrantChief Investigator
Total AmountFunding StartFunding Finish
$2,00020142014
GNo:G1401149

2013 (1 grants)

Another World of Popular Entertainments, Newcastle, Australia, 12-13 June 2103$275
Funding Body: University of Newcastle - Faculty of Education and Arts

Project Team
Associate Professor Rosalind Halton
SchemeRole
Travel GrantChief Investigator
Total AmountFunding StartFunding Finish
$27520132013
GNo:G1300905

2009 (1 grants)

Responsabilita d'autore e collaborazione nell'opera dell'Eta barocca: il 'Pasticcio, Reggio Calabria, Italy, 2-3 October 2009$1,500
Funding Body: University of Newcastle - Faculty of Education and Arts

Project Team
Associate Professor Rosalind Halton
SchemeRole
Travel GrantChief Investigator
Total AmountFunding StartFunding Finish
$1,50020092009
GNo:G0190516

2008 (1 grants)

Nicola Porpora musicista europeo, Reggio Calabria, 3/10/2008 - 4/10/2008$2,500
Funding Body: University of Newcastle

Project Team
Associate Professor Rosalind Halton
SchemeRole
Travel GrantChief Investigator
Total AmountFunding StartFunding Finish
$2,50020082008
GNo:G0189401

2007 (1 grants)

Performa Conference, Aveiro, Portugal, 10/5/2007 - 12/5/2007$2,500
Funding Body: University of Newcastle

Project Team
Associate Professor Rosalind Halton
SchemeRole
Travel GrantChief Investigator
Total AmountFunding StartFunding Finish
$2,50020072007
GNo:G0187707

2006 (1 grants)

Music as Local tradition and Regional Practice, Armidale, UNE, 27/9/2006 - 1/10/2006$283
Funding Body: University of Newcastle

Project Team
Associate Professor Rosalind Halton
SchemeRole
Travel GrantChief Investigator
Total AmountFunding StartFunding Finish
$28320062006
GNo:G0186997

2005 (1 grants)

Italian influences on the French cantata 1680-1720$4,000
Funding Body: University of Newcastle

Project Team
Associate Professor Rosalind Halton
SchemeRole
Project GrantChief Investigator
Total AmountFunding StartFunding Finish
$4,00020052005
GNo:G0184784

2004 (1 grants)

From the hexachord system to structure tonal designs: Key choice and affect in text based structures of Italian secular music, 1620-1720$10,000
Funding Body: University of Newcastle

Project Team
Associate Professor Rosalind Halton
SchemeRole
Project GrantChief Investigator
Total AmountFunding StartFunding Finish
$10,00020042004
GNo:G0183454

2003 (2 grants)

Instrumental innovation, vocal tradition - rediscovering some late 17th century Roman predecessors of Alessandro Scarlatti:Stradella, Carissimi, Lonati$17,000
Funding Body: University of Newcastle

Project Team
Associate Professor Rosalind Halton
SchemeRole
Project GrantChief Investigator
Total AmountFunding StartFunding Finish
$17,00020032003
GNo:G0182333

Combined Conference of the New Zealand Musicology Society and the Musicology Society of Australia Theme: 'Music and Locality' 27 to 30 November 2003$455
Funding Body: University of Newcastle

Project Team
Associate Professor Rosalind Halton
SchemeRole
Travel GrantChief Investigator
Total AmountFunding StartFunding Finish
$45520032003
GNo:G0183697

2001 (1 grants)

Performance Practice and Imagery in the Secular Cantatas of Alessandro Scarlatti (1660-1725): an editing and recording project.$14,000
Funding Body: University of Newcastle

Project Team
Associate Professor Rosalind Halton
SchemeRole
Project GrantChief Investigator
Total AmountFunding StartFunding Finish
$14,00020012001
GNo:G0180047

2000 (1 grants)

The secular cantatas of Alessandro Scarlatti (1660-1725): from source studies to performance research and CD recording.$11,500
Funding Body: University of Newcastle

Project Team
Associate Professor Rosalind Halton
SchemeRole
New Staff GrantChief Investigator
Total AmountFunding StartFunding Finish
$11,50020002000
GNo:G0179191
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Research Supervision

Number of current supervisions4
Total current UoN Masters EFTSL1.25
Total current UoN PhD EFTSL0.1

For supervisions undertaken at an institution other that the University of Newcastle, the institution name is listed below the program name.

Current Supervision

CommencedProposed
Completion
ProgramSupervisor TypeResearch Title
20112014M Philosophy (Music)Co-SupervisorThe Investigative Cellist and the Informed Audition
20112014M Philosophy (Music)Principal SupervisorA Rhetorical Analysis of Mozart's Opere Serie
20112015M Philosophy (Music)Principal SupervisorMicro Manipulations, Macro Affect: Extending the Paradigm of Emphasis Nuance Beyond Score and Nomenclature
20092012PhD (Education)Co-SupervisorIn Harmony with Nature: Enhancing Health Education Through Empathetic Ecomusication

Past Supervision

YearProgramSupervisor TypeResearch Title
2014PhD (Music)Principal Supervisor"Out of the Shadows": A Biographical Study of William Turner (c.1651-1740), With Critical Editions of His Anthems and Services
2013M Philosophy (Music)Principal SupervisorPerformance Fitness: Physiological Benefits of Aerobic Exercise for Performing Singers
2013M Philosophy (Music)Principal Supervisor"Playing Heavy Metal": A Comparative Study of the Role of the Tuba in the Orchestra, Brass Band and Wind Ensemble
2013PHD Music
University of Queensland
Consultant SupervisorBaroque performance practice pedagogy and the 21st century practitioner: the tenor repertoire of George Frideric Handel
2011PhD (Music)Sole SupervisorExploring the Value of Aural and Kinaesthetic Feedback Using Speech Quality as Catalyst for Vocal Development in the Training of Tertiary Voice Students
2010M Arts (Music) [R]Sole SupervisorPerforming Flute Music of the French Baroque: An Approach for the Modern Flautists
2009M Creative Arts (Music) [R]Principal SupervisorThe Flute and Mythology
2007M Creative Arts (Music) [R]Sole SupervisorFrench Baroque Vocal Music: A Performer's Guide
2006PhD (Music)Sole SupervisorDomenico Scarlatti: A Contribution to Our Understanding of His Sonatas Through Performance and Research
2006PhD (Music)Principal SupervisorImprovisation as a Catalyst for Collaborative Musical Thinking and Composition
2006PhD (Music)Sole SupervisorThe Design and Development of Materials of Music: Four Computer-Based Music Theory Lessons for First Year University Level Music Students
2005M Arts (Music) [R]Sole SupervisorThe Purposeful Flautist: Technique to Interpretation
2005M Arts (Music) [R]Principal SupervisorExtending the Solo Bassoon Repertoire Through Arrangement and Transcription
2005M Arts (Music) [R]Sole SupervisorUnderstanding the Group Violin Program: The early stages, 6-9 years of age
2005PhD (Music)Sole SupervisorThe Serenata and Alessandro Scarlatti: a genre study, with six editions
2003M Arts (Music) [R]Sole Supervisor"MUSIC THEORY IS FUN" A new approach to teaching music theory to beginners
2002M Arts (Music) [R]Sole SupervisorExploring Interpretive Aspects in the Text and in Recorded Performances of Mozart's Piano Sonata K.332: A Pedagogical Perspective.
2002M Arts (Music) [R]Principal Supervisor'William Turner - the fourth man': Critical editions of verse anthems by William Turner (1651-1740)
2001PhD (Music)Sole SupervisorA Description of the Creative Process of Journey to the Otherworld
M Creative Arts (Music) [R]Co-SupervisorThe Sacred Road to Mozart. A Study of Early Music Techniques from East and West and the Transition to Baroque and Classical Period Repertoire
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Associate Professor Rosalind Halton

Work Phone(02) 4921 8950
Fax(02) 4921 8958
Email
PositionAssociate Professor
School of Creative Arts
Faculty of Education and Arts
The University of Newcastle, Australia
Focus AreaMusic
Office
CON101,
The Conservatorium of Music,
The Conservatorium
Cnr Laman and Auckland Street
Newcastle NSW 2300
Australia
URL:www.newcastle.edu.au/profile/r-halton