Profile Image

Associate Professor Rosalind Halton

Associate Professor

School of Creative Arts (Music)

A mind for music

Associate Professor Rosalind Halton's passion is unearthing and reinventing great works of the past.

Associate Professor Rosalind Halton has acquired many skills in the course of a 30-year career but perhaps her most important ability as a music researcher is her instinct for recognizing a brilliant work from an historical manuscript.

"There is nothing as exhilarating as getting fine musicians to perform a work that you have imagined in your mind from the time you first saw it," the performance and musicology academic says. "That process of finding a great work, seeing its potential, editing it and being able to turn it into sound - that is where my life's excitement lies."

Halton specialises in bringing to performance little-known and often previously unheard works from the vast catalogue of cantatas and serenatas by Italian Baroque composer Alessandro Scarlatti. As a researcher she must first find, then trace back these works, which have sometimes been written in the hands of several copyists, to come up with an edited edition that is as close as possible to the conjectural text of the composer. It is a process of discovery that she finds highly stimulating.

"A lot of music goes underground due to changes in musical fashion and is not brought back into the repertoire until someone like myself uncovers and edits it," she explains. "It is not just a matter of pulling an old manuscript out of an archive. You have to follow the paper trail to find clues as to how close the manuscript was to the composer, and to what extent it reflects his or her ideas."

Halton's work in recovering buried manuscripts of Scarlatti is recognised internationally, and she estimates she has been responsible for bringing back into the recorded repertoire up to 20 per cent of the composer's rediscovered pieces.

Halton is an accomplished harpsichord player and a foundation member of the baroque ensemble Chacona. Her recorded works include several releases through ABC Classics, including her seminal CD of Scarlatti cantatas and serenatas, recorded in part at the University of Newcastle. She has performed with many leading ensembles, including the Australian Chamber Orchestra, Sydney Philharmonia and Sydney Symphony Orchestra.

Halton worked for many years as a performance artist in Europe, after completing her PhD at Oxford University. Her interest in historical music

was stimulated by her studies and friendships at Oxford and it was there that the piano- and violin-trained musician began to explore the harpsichord.

The New Zealand-born academic credits influential music teachers at the University of Otago, and at Oxford, with venturing beyond rigid concepts of harmony training and developing her creativity through improvisation, a principle that continues to guide her work and teaching.

"Improvisation played an essential role in baroque music at all levels of solo performance and chord accompaniment. So it is equally important today that performers are skilled improvisers in rediscovering music that hasn't been heard before in a contemporary setting," she says.

Halton took an appointment to the University of Newcastle in 1999, attracted by the combined focus on performance and research within the School of Drama, Fine Art and Music. She often works with student musicians to perform new compositions she has edited and says it is enormously rewarding to witness their excitement at reviving historical works, sometimes for the first time.

"Performance has always been the most important part of the process for me," she says. "Bringing music to a new audience is the ultimate goal."

A mind for music

Rosalind Halton's passion is unearthing and reinventing great works of the past.

Read more

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.

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.

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.

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.

Collaborations
- 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'.


Qualifications

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

Keywords

  • Alessandro Scarlatti
  • Baroque and classical performance practice
  • Harpsichord and fortepiano
  • Imagery in the Italian Baroque Cantata
  • Performance as Research
  • Performance research

Languages

  • German (Fluent)
  • French (Fluent)
  • Italian (Fluent)

Fields of Research

CodeDescriptionPercentage
190407Music Performance50
190409Musicology and Ethnomusicology50

Professional Experience

UON Appointment

DatesTitleOrganisation / Department
1/01/2014 - Associate ProfessorUniversity of Newcastle
School of Creative Arts
Australia

Academic appointment

DatesTitleOrganisation / Department
1/11/2013 - Honorary FellowAustralian Academy of the Humanities
1/01/2012 - Membership - International Musicological Society (IMS)International Musicological Society (IMS)
Australia
1/01/2012 - Membership - Society for Seventeenth-Century MusicSociety for Seventeenth-Century Music
Australia
1/06/2010 - Associate ProfessorUniversity of Newcastle
Department of Fine Art and Music
Australia
1/01/2007 - Editorial Board - Istituto Italiano per la Storia della Musica (Italian Institute for the History of Music)Istituto Italiano per la Storia della Musica (Italian Institute for the History of Music)
Italy
1/01/2007 - Editorial Board - Journal of Music Research Online (JMRO)Journal of Music Research Online (JMRO)
Australia
1/01/2006 - Editorial Board - Musicology Australia (MA)Musicology Australia (MA)
Australia
1/05/1999 - 1/06/2010Senior Lecturer
Music
University of Newcastle
School of Drama, Fine Art and Music
Australia
1/03/1991 - 1/04/1999Senior LecturerUniversity of New England
Department of Music
1/01/1987 - Membership - Musicological Society of Australia (MSA)Musicological Society of Australia (MSA)
Australia
1/02/1986 - 1/05/1991Lecturer In Music PerformanceUniversity of New England
Department of Music

Awards

Recipient

YearAward
1997'The French Harpsichord', solo harpsichord cd ABC Classics
Unknown
Edit

Publications

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


Book (3 outputs)

YearCitationAltmetricsLink
2011Catsalis M-L, Halton R, Alessandro Scarlatti: Solo Serenatas, A-R Editions, Middleton, Wisconsin, 191 (2011) [A1]
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]
2004Ewans MC, Halton R, Phillips JA, Music Research: New Directions for a New Century, Cambridge Scholars Press, Amersham, 451 (2004) [A3]
Co-authorsMichael 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 379-420 (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, '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]
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]
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]
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]
2010Halton R, 'Scarlatti father and son: A musical relationship', Domenico Scarlatti Musica E Storia, Turchini Edizioni, Napoli, Italy 1-24 (2010) [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]
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]
Show 6 more chapters

Journal article (8 outputs)

YearCitationAltmetricsLink
2015Halton R, Talbot M, ''Choice things of value': The mysterious genesis and character of the VI concertos in seven parts attributed to Alessandro Scarlatti', Eighteenth-Century Music, 12 9-32 (2015)

The VI Concertos in Seven Parts published by Benjamin Cooke under Alessandro Scarlatti's name in 1740 have long been suspected of being either arrangements or works by a different... [more]

The VI Concertos in Seven Parts published by Benjamin Cooke under Alessandro Scarlatti's name in 1740 have long been suspected of being either arrangements or works by a different composer. Close study of the sources, some of which have only recently come to light, shows them to be arrangements of sonate a quattro, four composed by Alessandro Scarlatti and two by his younger brother Francesco. The unacknowledged compiler and arranger of the set was almost certainly Charles Avison, who in addition made a significant compositional intervention. The publication of the concertos formed part of a pioneering strategy on Cooke's part whereby he acquired, and under the protection of a royal privilege engraved, significant works in manuscript owned (but not composed) by individual musicians within his circle. Among the latter was John Christopher Pepusch, whose role in the first publication of Domenico Scarlatti's sonatas k31-42 is described for the first time.

DOI10.1017/S1478570614000335
2012Halton R, 'Aspects of the secular cantata in late Baroque Italy', Musicology Australia, 34 121-124 (2012) [C3]
2012Halton R, 'Alessandro Scarlatti (1660 - 1725). L'Orfeo: cantata for voice (S), two violins, and basso continuo', Web Library of Seventeenth Century Music, 23 (2012) [C1]
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]
DOI10.1093/em/can043
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]
Show 5 more journal articles

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 Edward L Kottick, A History of the Harpsichord (Bloomington, Indiana University Press, 2003)', Musicology Australia (2006) [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]

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]
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]
Co-authorsGillian Arrighi, Victor Emeljanow
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]
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]
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 conferences

Creative Work (70 outputs)

YearCitationAltmetricsLink
2014Halton R, Halton R, Sandstrom A, Singing with the Nightingale: a Scarlattian allegory of the emotions, Rex Cramphorn Studio, University of Sydney; Mahratta Assembly Room, Warrawee. (2014) [J2]
2014Halton R, Alessandro Scarlatti, Four Sonate a Quattro, Launton, Oxon, U.K., Launton, Oxon, U.K. (2014) [J1]
2014Halton R, Alessandro Scarlatti, Four Sonate a Quattro, Launton, Oxon, U.K., Launton, Oxon, U.K. (2014) [J1]
2013Sandstrom A, Halton R, Sunday Live, Recital of italian Baroque Music, Harold Lobb Concert Hall, Newcastle, Sydney (2013) [J2]
Supanova
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]
Co-authorsSally Walker, Christopher Allan
2013Halton R, Blackburn H, Recorder and Harpsichord Recital by Alana Blackburn and Rosalind Halton At Lunch (University of Newcastle concert series, Conservatorium of Music), Harold Lobb Concert Hall, Newcastle (2013) [J2]
2011Halton R, Simpson R, Sussex P, Collaboration and the Italian Cantata, New Zealand School of Music, Wellington, Wellington, New Zealand (2011) [J1]
2011Halton R, Scarlatti A, Collaboration and the Italian solo cantata. Two works performed for the first time in modern times and edited by Rosalind Halton (also playing harpsichord continuo). 'A voi che l'accendeste' G. L. Lulier (1662-ca. 1700) 'Sul margine d'un rio' Quirino Colombani (1668-ca. 1735), -, Wellington, New Zealand (2011) [J2]
Supanova
2010McDonald A, Halton R, Sunday Live, Harold Lobb Concert Hall, Newcastle, Sydney (2010)
2010Halton R, Scarlatti A, Tormentatemi pur, furie d'amore: Cantata for soprano solo and basso continuo, -, Palermo, Italy (2010) [J2]
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]
2008Walker SKA, English H, Halton R, Trios for Flute, Bassoon, Piano and Harpsichord. Sally Walker - Flute, Melissa Woodroffe -Bassoon, Helen English - Piano and Rosalind Halton - Harpsichord. Works by Vivaldi, Beethoven, Poulenc and Kats-Chernin., Harold Lobb Concert Hall, Newcastle Conservatorium of Music (2008)
Co-authorsSally Walker
2008Halton R, Sunday Live, Harold Lobb Concert Hall, Newcastle (2008)
2008Halton R, The Italian Cello, recital by Jamie Hey (cello) and Rosalind Halton (harpsichord), Harold Lobb Concert Hall, Newcastle (2008)
2007Halton R, Venere, Adone e Amore: Serenatas and Cantatas by Alessandro Scarlatti, - (2007) [J1]
2007Halton R, Quante sete per mi pigri, o momenti!. Cantata for Soprano and Basso Continuo, Duke University College of Arts and Sciences (2007) [J2]
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]
2006Halton R, A Scarlatti, 'Cantata Notturna', Cantata Editions.com, London England (2006) [J2]
2005Halton R, Alesssandro Scarlatti, La Primavera (Clori e Lidia Compagne): Cantata per Camera a due Soprani, - (2005) [J1]
2005Halton R, Qual'ora io veggio la vezzosa Irene, - (2005) [J1]
2005Clarke Z, Downer C, Halton R, Lyrical Passions: music from the French Baroque, Orpheus Music, Armidale (2005) [J2]
2005Halton R, Colours of Night, Newcastle Conservatorium of Music, Newcastle (2005) [J2]
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, 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]
2005Halton R, Alessandro Scarlatti, La Fenice, cantata for soprano, 2 violins, and continuo, Cantata Editions, UK, London (2005) [J2]
2004Halton R, 'La Fenice' Su l'ora appunto, - (2004) [J1]
2004Halton R, Louis Couperin and Friends, - (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, '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, Lidio e Clori, Cantata Editions, London (2003) [J2]
2003Halton R, Nel silentio commune di notte, Cantata Editions, London (2003) [J2]
2003Halton R, Su'l margine d'un rio, Cantata Editions, London (2003) [J2]
2003Halton R, O che mostro, o che furia, Cantata Editions, London (2003) [J2]
2003Halton R, Anche i tronchi, Cantata Editions, London (2003) [J2]
2003Halton R, Hor che di Febo ascosi, Cantata Editions, London (2003) [J2]
2002Halton R, 'Bella Dama di nome Santa', A. Scarlatti, ed. Halton, Sydney (2002) [J1]
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, 'Augellin vago e canoro', 1699, Cantata Editions, general editor James Sanderson, U.K. (2002) [J2]
2002Halton R, 'Quella pace gradita', A. Scarlatti, 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, 'Il genio di Mitilde', A. Scarlatti, ed. Halton, Cantata Editions, 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, '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, 'Poiche cessano', A. Scarlatti, ed. Halton, Cantata Editions, U.K. www.baroquecantata.com (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, Carissimi: Filli non t'amo piu, Chacona, Web Site (2001) [J2]
2001Halton R, Scarlatti: E come Dio, Chacona, web site (2001) [J2]
2001Halton R, Scarlatti: Liberta del mio cor, Chacona, Web Site (2001) [J2]
2001Halton R, Scarlatti: Notte cara, Chacona, web site (2001) [J2]
2001Halton R, Scarlatti: Peno,e del mio penar, Chacona, Web Site (2001) [J2]
2001Halton R, Scarlatti: Sotto l'ombra d'un faggio, Chacona, web site (2001) [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, French Baroque Music, Paddington Baroque Series, Sydney (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 Arne, Vivaldi, and A Scarlatti, University, Conservatorium (2000) [J2]
2000Halton R, Music by Monteverdi and Purcell, Cathedral Festival, Christ Church Cathedral (2000) [J2]
2000Halton R, Dido and Anaeas by Purcell, University, Conservatorium (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 Telemann and Mehul, Facultry of Music, University of Newcastle (1999) [J2]
1999Halton R, Music of Bach, Bohm,Coupewrin, Byrd, France Festival of Chateau de Bagnols (1999) [J1]
1999Halton R, Figaro's Wedding (Opera), Faculty of Music, University of Newcastle (1999) [J2]
Show 67 more creative works

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]
Edit

Grants and Funding

Summary

Number of grants13
Total funding$68,013

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


20151 grants / $2,000

Music in Translation: Changing Styles and Approaches in the Mid-Baroque (1650-1710), Birmingham City UK, 2-3 July 2015$2,000

Funding body: University of Newcastle - Faculty of Education and Arts

Funding bodyUniversity of Newcastle - Faculty of Education and Arts
Project TeamAssociate Professor Rosalind Halton
SchemeTravel Grant
RoleLead
Funding Start2015
Funding Finish2015
GNoG1500696
Type Of FundingInternal
CategoryINTE
UONY

20141 grants / $2,000

XXI Annual Conference of SIdM, Verona, Italy, 17 - 19 October 2014$2,000

Funding body: University of Newcastle - Faculty of Education and Arts

Funding bodyUniversity of Newcastle - Faculty of Education and Arts
Project TeamAssociate Professor Rosalind Halton
SchemeTravel Grant
RoleLead
Funding Start2014
Funding Finish2014
GNoG1401149
Type Of FundingInternal
CategoryINTE
UONY

20131 grants / $275

Another World of Popular Entertainments, Newcastle, Australia, 12-13 June 2103$275

Funding body: University of Newcastle - Faculty of Education and Arts

Funding bodyUniversity of Newcastle - Faculty of Education and Arts
Project TeamAssociate Professor Rosalind Halton
SchemeTravel Grant
RoleLead
Funding Start2013
Funding Finish2013
GNoG1300905
Type Of FundingInternal
CategoryINTE
UONY

20091 grants / $1,500

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

Funding bodyUniversity of Newcastle - Faculty of Education and Arts
Project TeamAssociate Professor Rosalind Halton
SchemeTravel Grant
RoleLead
Funding Start2009
Funding Finish2009
GNoG0190516
Type Of FundingInternal
CategoryINTE
UONY

20081 grants / $2,500

Nicola Porpora musicista europeo, Reggio Calabria, 3/10/2008 - 4/10/2008$2,500

Funding body: University of Newcastle

Funding bodyUniversity of Newcastle
Project TeamAssociate Professor Rosalind Halton
SchemeTravel Grant
RoleLead
Funding Start2008
Funding Finish2008
GNoG0189401
Type Of FundingInternal
CategoryINTE
UONY

20071 grants / $2,500

Performa Conference, Aveiro, Portugal, 10/5/2007 - 12/5/2007$2,500

Funding body: University of Newcastle

Funding bodyUniversity of Newcastle
Project TeamAssociate Professor Rosalind Halton
SchemeTravel Grant
RoleLead
Funding Start2007
Funding Finish2007
GNoG0187707
Type Of FundingInternal
CategoryINTE
UONY

20061 grants / $283

Music as Local tradition and Regional Practice, Armidale, UNE, 27/9/2006 - 1/10/2006$283

Funding body: University of Newcastle

Funding bodyUniversity of Newcastle
Project TeamAssociate Professor Rosalind Halton
SchemeTravel Grant
RoleLead
Funding Start2006
Funding Finish2006
GNoG0186997
Type Of FundingInternal
CategoryINTE
UONY

20051 grants / $4,000

Italian influences on the French cantata 1680-1720$4,000

Funding body: University of Newcastle

Funding bodyUniversity of Newcastle
Project TeamAssociate Professor Rosalind Halton
SchemeProject Grant
RoleLead
Funding Start2005
Funding Finish2005
GNoG0184784
Type Of FundingInternal
CategoryINTE
UONY

20041 grants / $10,000

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

Funding bodyUniversity of Newcastle
Project TeamAssociate Professor Rosalind Halton
SchemeProject Grant
RoleLead
Funding Start2004
Funding Finish2004
GNoG0183454
Type Of FundingInternal
CategoryINTE
UONY

20032 grants / $17,455

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

Funding body: University of Newcastle

Funding bodyUniversity of Newcastle
Project TeamAssociate Professor Rosalind Halton
SchemeProject Grant
RoleLead
Funding Start2003
Funding Finish2003
GNoG0182333
Type Of FundingInternal
CategoryINTE
UONY

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

Funding bodyUniversity of Newcastle
Project TeamAssociate Professor Rosalind Halton
SchemeTravel Grant
RoleLead
Funding Start2003
Funding Finish2003
GNoG0183697
Type Of FundingInternal
CategoryINTE
UONY

20011 grants / $14,000

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

Funding bodyUniversity of Newcastle
Project TeamAssociate Professor Rosalind Halton
SchemeProject Grant
RoleLead
Funding Start2001
Funding Finish2001
GNoG0180047
Type Of FundingInternal
CategoryINTE
UONY

20001 grants / $11,500

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

Funding body: University of Newcastle

Funding bodyUniversity of Newcastle
Project TeamAssociate Professor Rosalind Halton
SchemeNew Staff Grant
RoleLead
Funding Start2000
Funding Finish2000
GNoG0179191
Type Of FundingInternal
CategoryINTE
UONY
Edit

Research Supervision

Current Supervision

CommencedResearch Title / Program / Supervisor Type
2015The Contemporary Orchestral Transcription: Approaches to Adapting Repertoire for the Modern Ensemble
Music, Faculty of Education and Arts
Principal Supervisor
2011The Investigative Cellist and the Informed Audition
Music, Faculty of Education and Arts
Co-Supervisor
2011Rhetorical Concepts and Mozart : Elements of Classical Oratory in his drammi per musica
Music, Faculty of Education and Arts
Principal Supervisor
2011Micro Manipulations, Macro Affect: Extending the Paradigm of Emphasis Nuance Beyond Score and Nomenclature
Music, Faculty of Education and Arts
Principal Supervisor
2009Harmonisation with Nature: Enhancing Health Education through Empathetic Ecomusication
Curriculum & Education Studies, Faculty of Education and Arts
Co-Supervisor

Past Supervision

YearResearch Title / Program / Supervisor Type
2014"Out of the Shadows": A Biographical Study of William Turner (c.1651-1740), With Critical Editions of His Anthems and Services
Music, Faculty of Education and Arts
Principal Supervisor
2013"Playing Heavy Metal": A Comparative Study of the Role of the Tuba in the Orchestra, Brass Band and Wind Ensemble
Music, Faculty of Education and Arts
Principal Supervisor
2013Performance Fitness: Physiological Benefits of Aerobic Exercise for Performing Singers
Music, Faculty of Education and Arts
Principal Supervisor
2012Baroque performance practice pedagogy and the 21st century practitioner: the tenor repertoire of George Frideric Handel
Music, University of Queensland
Consultant Supervisor
2011Exploring the Value of Aural and Kinaesthetic Feedback Using Speech Quality as Catalyst for Vocal Development in the Training of Tertiary Voice Students
Music, Faculty of Education and Arts
Sole Supervisor
2010Performing Flute Music of the French Baroque: An Approach for the Modern Flautists
Music, Faculty of Education and Arts
Sole Supervisor
2009The Flute and Mythology
Music, Faculty of Education and Arts
Principal Supervisor
2007French Baroque Vocal Music: A Performer's Guide
Music, Faculty of Education and Arts
Sole Supervisor
2006Domenico Scarlatti: A Contribution to Our Understanding of His Sonatas Through Performance and Research
Music, Faculty of Education and Arts
Sole Supervisor
2006Improvisation as a Catalyst for Collaborative Musical Thinking and Composition
Music, Faculty of Education and Arts
Principal Supervisor
2006The Design and Development of Materials of Music: Four Computer-Based Music Theory Lessons for First Year University Level Music Students
Music, Faculty of Education and Arts
Sole Supervisor
2005The Purposeful Flautist: Technique to Interpretation
Music, Faculty of Education and Arts
Sole Supervisor
2005Understanding the Group Violin Program: The early stages, 6-9 years of age
Music, Faculty of Education and Arts
Sole Supervisor
2005Extending the Solo Bassoon Repertoire Through Arrangement and Transcription
Music, Faculty of Education and Arts
Principal Supervisor
2005The Serenata and Alessandro Scarlatti: a genre study, with six editions
Music, Faculty of Education and Arts
Sole Supervisor
2003"MUSIC THEORY IS FUN" A new approach to teaching music theory to beginners
Music, Faculty of Education and Arts
Sole Supervisor
2002Exploring Interpretive Aspects in the Text and in Recorded Performances of Mozart's Piano Sonata K.332: A Pedagogical Perspective.
Music, Faculty of Education and Arts
Sole Supervisor
2002The Sacred Road to Mozart. A Study of Early Music Techniques from East and West and the Transition to Baroque and Classical Period Repertoire
Music, Faculty of Education and Arts
Co-Supervisor
2002'William Turner - the fourth man': Critical editions of verse anthems by William Turner (1651-1740)
Music, Faculty of Education and Arts
Principal Supervisor
2001A Description of the Creative Process of Journey to the Otherworld
Music, Faculty of Education and Arts
Sole Supervisor
Edit

News

Rosalind Halton

Humanities Academy

November 28, 2013

University of Newcastle Associate Professor Rosalind Halton has been elected as a new Honorary Fellow to the Australian Academy of the Humanities, one of the highest honours available for achievement in the humanities in Australia.

Associate Professor Rosalind Halton

Position

Associate Professor
School of Creative Arts
Faculty of Education and Arts

Focus area

Music

Contact Details

Emailr.halton@newcastle.edu.au
Phone(02) 4921 8950
Fax(02) 4921 8958

Office

RoomCON101
BuildingThe Conservatorium of Music
LocationThe Conservatorium
Cnr Laman and Auckland Street
Newcastle, NSW 2300
Australia
Edit