Jed Wentz
"University Lecturer Musical performance practice before 1900; Historical acting and declamation"
- Name
- Dr. J.A. Wentz
- Telephone
- +31 71 527 5036
- j.a.wentz@hum.leidenuniv.nl
- ORCID iD
- 0000-0002-1933-0195
Jed Wentz is a University Lecturer at the Academy of Creative and Performing Arts.
More information about Jed Wentz
News
-
Night of Discoveries: 3D-printed paintings and the effects of psychedelics -
Theatre as scientific experiment at OverActing festival: 'Practice can help you further in your historical understanding' -
European Drama and Performance Studies 2022 – 2, n° 19 - Historical Acting Techniques and the 21st-Century Body -
New release: The Pied Piper Of Hamelin And Other Melodramas -
New release: Philidor: Suites for Flute and B.C. | Jed Wentz -
New Platform for Research Collaboration in the Arts -
CD release: J. D. Braun: Sonatas for Traverso Flute & B.C. -
New elective in practical rhetoric -
Lecture series “Early Music as Discipline” -
First ever Joint docARTES and PhDArts session -
Jed Wentz and Anna Scott re-enforce ACPA-team
Research
The relationship between declamation, rhetoric and musical performance before 1900 is at the core of my research. This is approached through the study of sources related to acting and preaching from the long 18th century. Research is further put into practice in theatrical scenes, by striving for a poetic and 'pathetic' declamation. From practical declamatory experience this practice can then be transferred to musical contexts by working with singers and instrumentalists on Early Music repertoire. I have also worked extensively on the Dutch Early Music revival of the 20th century.
Curriculum Vitae
Jed Wentz received his Bachelor of Music degree from Oberlin Conservatory where he studied contemporary and historical flutes. He received his Master degree from the Royal Conservatory in the Hague and his doctorate from Leiden University, under supervision of Rebecca Harris-Warrick (Cornell University). His doctoral thesis 'Gesture, Affect and Rhythmic Freedom in the Performance of French Tragic Opera from Lully to Rameau' explores how historical acting techniques can influence the sound of French operatic music in performance. He has recorded more than 40 CDs with various Early Music ensembles including his own (Music ad Rhenum), has conducted staged opera performances and published in journals like Early Music, Cambridge Opera Journal and European Drama and Performance Studies. He is artistic advisor to the Utrecht Early Music Festival.
"University Lecturer Musical performance practice before 1900; Historical acting and declamation"
- Faculty of Humanities
- Academie der Kunsten
- Wentz J.A. (2022), 'And the wing’d muscles, into meanings fly': practice-based research into historical acting through the writings of Aaron Hill', European Drama and Performance Studies (19): 243-304.
- Craenen P.C.A., Toksöz Fairbairn K., Scott A.M., Tunca S.A. & Wentz J.A. (2022), Roundtable: the artist-researcher inside out: Strategies, methodologies, refractions, European Drama and Performance Studies 2(19): 97-108 (10).
- Wentz J.A. (2022), Arnold Schoenberg’s Pierrot lunaire (1912) as romantic melodrama: a proposed methodology, Leidschrift 37(3): 95-112.
- Wentz J.A. (2022), I was just saying the lines, European Drama and Performance Studies (19): 10-54 (2).
- Wentz J.A. (2022), A roundtable on embodiment in research, European Drama and Performance Studies (19): 47-56.
- Wentz J.A. (2022), “And the wing’d muscles into meanings fly”: practice-based research into historical acting through the writings of Aaron Hill, European Drama and Performance Studies (19): 157-196.
- Wentz J.A. & Vandamme X. (2022), Seven propositions towards the establishment of a new kind of theatre festival, European Drama and Performance Studies (19): 253-255.
- Wentz J.A. & Belogurov A. (2021), The Pied Piper of Hamelin and Other Melodramas. CD. [audio].
- Wentz J.A. (2018), On the protestant roots of Gustav Leonhardt’s performance style, BACH: Journal of the Riemenschneider Bach Institute 49(1): .
- Wentz J.A.., Luckhardt C., Haar J. ter & Borgstede M. (2017), Boismortier: Sonatas Opp. 44 & 91. Suites Op.35 : Musica ad Rhenum. CD. [audio].
- Wentz J.A. (2017), Embodied affect in Aaron Hill’s The art of acting (1753) [Worlding the Brain 2017: affect, care, engagement, Amsterdam, The Netherlands]. .
- Wentz J.A. & Haas A. de (2015), Les Enfants du Sr. Frederic: the identities and performances of a theatre family active in the United Provinces, 1758-1763, European Drama and Performance Studies 4: 95-144.
- Wentz J.A. (2015), ‘Mechanical rules’ versus ‘abnormis gratia’: revaluing Gilbert Austin’s Chironomia as a source for historical acting techniques. In: Forment B. & Stalpaert C. (Eds.), Theatrical heritage: challenges and opportunities. Leuven: Leuven University Press. 41-57.
- Wentz J.A. (2014), Gustav Leonhardt, the Naarden Circle and Early Music’s Reformation, Early Music 42(1): 3-12.
- Wentz J.A. (2014), Lallemant, Rameau and the harmony of the passions [2014 Conference of the Society for Music Theory (VvM ) and Royal Society for Dutch Music History (KVNM), Den Haag, The Netherlands]. .
- Wentz J.A. & Paxão J.L. (2014), Learning from Lully ['Curriculum matters: teaching early music in the 21st century', Utrecht, The Netherlands]. .
- Wentz J.A. (2014), Rhetorical action [Symposium of the 29th International Handel-Academy Karlsruhe, Karlsruhe, Germany]. .
- Wentz J.A. (2014), Dutch music criticism and the formation of an Early Music aesthetic in The Netherlands, 1916-1921 [Conference 'Roots of revival', Horniman Museum, London, UK]. .
- Wentz J.A. (2014), Performing Gilbert Austin’s Chironomia [Conference American Society for Eigtheenth-Century Studies, Williamsburg, USA]. .
- Wentz J.A. (2014), Traces of 17th-century actio in films by Paul Wegener and F. W. Murnau [Conference 'Film and the other arts, 1894-1945', University of Oxford, UK]. .
- Wentz J.A. & Paixão J. (2014), A reconstruction of spoken declamation based on Lully’s Roland [Séminaire 'international déclamation, chant et danse en France aux XVIIe et XVIIIe siècles', Tours, France]. .
- Wentz J.A. (2014), The subjective in authenticity: a performer's perspective [Symposium of the 31st International Handel-Academy Karlsruhe, Karlsruhe, Germany]. .
- Wentz J.A. (2013), An annotated livret of Lully’s Roland as a source for seventeenth-century declamation, Cambridge Opera Journal 25(1): 1-36.
- Wentz J.A. (2013), With waving arms and wavering voice: three theatrical reconstructions from Austin notation: 1806-1875 ['Revaluing theatrical heritage', Kortrijk, Belgium]. .
- Wentz J.A. (2013), Traces of 18th-century actio in historical recordings: a proposed praxis for today’s conservatory classroom [Training ‘Early’ Musicians in the age of historical recordings, Tel Aviv, Israel]. .
- Wentz J.A. (2012), Joshua Steele’s Prosodia Rationalis [Conference of the British Society for Eighteenth-Century Studies, St. Hugh’s College, Oxford, UK]. .
- Wentz J.A. (2012), An annotated livret of Lully’s Roland as a source for 17th-century declamation [15th Biennial International Conference on Baroque Music, Southampton, UK]. .
- Wentz J.A. (2012), David Garrick’s declamation notated [Conference of the American Musicological Society, New Orleans, USA]. .
- Wentz J.A. (2012), Fairytales by candle light: images of Leonhardt from the Dutch national television archive ['‘Much of what we do is pure hypothesis’: Gustav Leonhardt and his Early Music', Utrecht, The Netherlands]. .
- Wentz J.A. (2011), Deformity, delight and Dutch dancing dwarfs: an 18th-century suite of prints from the United Provinces, Music in Art XXXVI(1/2): 161-200.
- Smith A. & Wentz J.A. (2010), Gustav Maria Leonhardt in Basel: portrait of a young harpsichordist. In: Memelsdorff P. & Drescher T. (Eds.), Basler Jahrbuch für Historische Musikpraxis XXXI. Basel: Amadeus Verslag. 229-244.