In compliance with Ministerial Decrees 470/2024, for the academic year 2024/2025, the “G. Rossini” Conservatoire of Music in Pesaro announces the selection procedure for qualifications and exams for admission to the Ph.D. Course in “Musical Performance and Interpretation”.
The Ph.D. Programme represents the third cycle of studies, the highest level of academic/university education. The required admission qualification is a second cycle qualification (second cycle diploma or qualification issued pursuant to the system prior to Ministerial Decree 509/99, modified by Ministerial Decree 270/2004, Master’s Degree and equivalent qualifications, or a similar academic qualification obtained abroad considered equivalent in terms of duration, level and disciplinary field).
The title “Ph.D.” is obtained at the end of the training and research path by passing the final exam.
The course has a duration of 3 years, and its purpose is to acquire the skills necessary to carry out highly qualified research activities in the public and private sectors, contributing to the development of the European Higher Education Area, and the European Research Area.
The Ph.D. Courses can also be activated through agreements with other public or private universities, both Italian and foreign, of high cultural and scientific qualification, or in agreement with institutions and companies.
The study path includes mandatory training activities, also in common between several Ph.D. Courses, which include basic and advanced disciplinary and interdisciplinary training, linguistic and IT improvement, specific training dedicated to research management, knowledge of European and international research systems, and the valorization of research results and intellectual property.
Each Ph.D. student, under the guidance and responsibility of a Supervisor, defines and develops the research project, which will end with the drafting of the Ph.D. Thesis.
Ph.D. students have the opportunity to spend periods of study and research abroad at public and private institutions.
Having obtained accreditation from the MUR, with a favorable opinion from ANVUR, the doctoral courses are activated in accordance with the guidelines shared at European level, by subjects who develop a specific, broad, original, qualified teaching and research activity, recognized at the international level, as established by Ministerial Decree no. 226 of 14 December 2021 and by Ministerial Decree no. 470 of 21 February 2024.
Ph.D. in Musical Performance and Interpretation XLII CYCLE – A. Y. 2026/2027
The Ph.D. course in “Musical Performance and Interpretation” is aimed at musicians, composers, conductors, and musicologists, who wish to develop specific skills related to defining and conducting an artistic-musical and/or musicological research project on an unpublished and/or rarely performed repertoire. The topic raises questions to be investigated from both theoretical and practical perspectives: from historically informed performance practice, which requires knowledge of a philological nature and the socio-historical context in which the repertoire comes to life, to musical analysis – an indispensable working tool for any theoretical-historical-performance research context –, to reflection on interpretative issues involving new research directions such as Performance Studies.
Attending compulsory courses in the fields of musical philology, bibliographic research methodology, historically informed performance practice, and musical analysis, as well as seminars and workshops – on artistic-musical research, aesthetics, the relationships between the arts, and cognitive sciences – will develop skills in the doctoral student related to research methods and the development of theoretical constructs relevant to artistic-musical research.
The doctoral path includes high-level musical and musicological experiences aimed at developing skills related to research and the formulation and implementation of a research project within the theme of the doctorate, which can be articulated in performative-theoretical terms or exclusively theoretical terms.
The Ph.D. aims to train researchers in both musical performance and theoretical reflection on performance, specializing in the analysis and interpretation of musical texts, specifically of an unpublished and/or rarely performed repertoire.
Particular attention will be paid not only to learning a research methodology conducive to the artistic and cultural growth of the doctoral student, to be conducted from an interdisciplinary perspective, but also to the development of the Ph.D. student’s knowledge and skills related to the function that art music plays within society and its value as cultural heritage.
Depending on the chosen path of the doctoral programme – whether theoretical-practical or exclusively theoretical – the shared objective of the course is to shape an individual capable of meeting contemporary society’s demands for art music and addressing the needs of a non-specialist audience to access the repertoire whose meaning-making process is often unfamiliar or even ‘hostile’ to customary listening practices.
The synergistic dialogue between theory and practice will enable the doctoral student to gain awareness of the plurality of approaches to musical works; by transcending the exclusively artisanal view of practice, the Ph.D. student will be able to probe the complementary links between art and science and initiate new models of action reassessing his/her role in society as a key player in cultural progress. Simultaneously, theoretical reflection can enhance knowledge of historical practice, interpretative variables derived from the historical-cultural context, and the formal structure of the work or works under investigation.
At the end of the programme, the doctoral student will have acquired the tools and scientific methods to design and conduct a research project, and to master the methods of documenting the research process, of presenting, communicating and disseminating the results achieved (writing texts, lectures, seminars, concerts). Through active participation in the research and production projects of the Rossini Conservatoire, he/she will develop knowledge in event organization and research group management.
Over the three years, 80 hours of disciplinary and interdisciplinary training are provided, in addition to other types of training activities – seminars, workshops, language improvement – totaling 40 hours. To foster the development of skills in designing and managing research activities and in the valorization and dissemination of research results, doctoral candidates will participate in the Conservatory’s research projects (20 hours), the organization of public meetings and events, conference participation, and third mission activities (20 hours).
The first year will be dedicated to defining the research project and planning the phases and actions to carry out for the thesis path; training activities, specifically methodological training, are concentrated in this year.
The second-year activities aim to mentor individual research work, engage in active research groups within the Conservatoire and other similar-level institutions, facilitate mobility and internationalization with a minimum three-month period at a foreign higher education music institute, university, or research institute. During the second year, doctoral candidates will be supported in writing an English-language paper to be presented at a conference or published in an international journal and/or in designing an artistic research product that could take the form of a lecture-recital or similar formats.
The third year is dedicated to writing the thesis and disseminating the results; thus, doctoral activities will focus on opportunities for presenting and discussing the latest advancements of the thesis project.
Depending on the chosen path (theoretical-practical or theoretical) and the completed research project, the range of skills acquired over the three years will enable doctoral candidates to enter the workforce with preparation aligned with European standards.
The potential occupational and professional fields are numerous and varied, including: academic researcher; solo or chamber music performer; orchestral professor; collaborator in national and international research institutes; educator; music consultant in public and private contexts; music critic; collaborator with record labels and music publishers; event operator and organizer; collaborator in the design and implementation of research projects funded by national and international grants; artistic director for theatres and music associations; member of the artistic secretariat in theatres and music associations; writer of programme notes for record labels, concert associations, and theatres; music disseminator.
Prof.ssa Mariateresa Storino (Coordinator), Professor of Music History – CODM/04
Prof.ssa Concetta Assenza, Professor of Music Bibliography and Library Studies – CODM/01
Prof. Ludovico Bramanti, Professor of Piano – CODI/21
Prof. Daniele Gasparini, Professor of Harmony and Analysis – COTP/01
Prof.ssa Elisabetta Lombardi, Professor of Chamber Vocal Music – CODI/24
Prof. Lamberto Lugli, Professor of Composition – CODC/01
Prof. Michele Mangani, Professor of Chamber Music for Wind Instruments – COMI/04
Prof. Alessandro Tampieri, Professor of Viola – CODI/05
Ph.D. in Musical Performance and Interpretation XLI CYCLE – A. Y. 2025/2026
The Ph.D. course in “Musical Performance and Interpretation” is aimed at musicians, composers, conductors, and musicologists, who wish to develop specific skills related to defining and conducting an artistic-musical and/or musicological research project on an unpublished and/or rarely performed repertoire. The topic raises questions to be investigated from both theoretical and practical perspectives: from historically informed performance practice, which requires knowledge of a philological nature and the socio-historical context in which the repertoire comes to life, to musical analysis – an indispensable working tool for any theoretical-historical-performance research context –, to reflection on interpretative issues involving new research directions such as Performance Studies.
Attending compulsory courses in the fields of musical philology, bibliographic research methodology, historically informed performance practice, and musical analysis, as well as seminars and workshops – on artistic-musical research, aesthetics, the relationships between the arts, and cognitive sciences – will develop skills in the doctoral student related to research methods and the development of theoretical constructs relevant to artistic-musical research.
The doctoral path includes high-level musical and musicological experiences aimed at developing skills related to research and the formulation and implementation of a research project within the theme of the doctorate, which can be articulated in performative-theoretical terms or exclusively theoretical terms.
The Ph.D. aims to train researchers in both musical performance and theoretical reflection on performance, specializing in the analysis and interpretation of musical texts, specifically of an unpublished and/or rarely performed repertoire.
Particular attention will be paid not only to learning a research methodology conducive to the artistic and cultural growth of the doctoral student, to be conducted from an interdisciplinary perspective, but also to the development of the Ph.D. student’s knowledge and skills related to the function that art music plays within society and its value as cultural heritage.
Depending on the chosen path of the doctoral programme – whether theoretical-practical or exclusively theoretical – the shared objective of the course is to shape an individual capable of meeting contemporary society’s demands for art music and addressing the needs of a non-specialist audience to access the repertoire whose meaning-making process is often unfamiliar or even ‘hostile’ to customary listening practices.
The synergistic dialogue between theory and practice will enable the doctoral student to gain awareness of the plurality of approaches to musical works; by transcending the exclusively artisanal view of practice, the Ph.D. student will be able to probe the complementary links between art and science and initiate new models of action reassessing his/her role in society as a key player in cultural progress. Simultaneously, theoretical reflection can enhance knowledge of historical practice, interpretative variables derived from the historical-cultural context, and the formal structure of the work or works under investigation.
At the end of the programme, the doctoral student will have acquired the tools and scientific methods to design and conduct a research project, and to master the methods of documenting the research process, of presenting, communicating and disseminating the results achieved (writing texts, lectures, seminars, concerts). Through active participation in the research and production projects of the Rossini Conservatoire, he/she will develop knowledge in event organization and research group management.
Over the three years, 80 hours of disciplinary and interdisciplinary training are provided, in addition to other types of training activities – seminars, workshops, language improvement – totaling 40 hours. To foster the development of skills in designing and managing research activities and in the valorization and dissemination of research results, doctoral candidates will participate in the Conservatory’s research projects (20 hours), the organization of public meetings and events, conference participation, and third mission activities (20 hours).
The first year will be dedicated to defining the research project and planning the phases and actions to carry out for the thesis path; training activities, specifically methodological training, are concentrated in this year.
The second-year activities aim to mentor individual research work, engage in active research groups within the Conservatoire and other similar-level institutions, facilitate mobility and internationalization with a minimum three-month period at a foreign higher education music institute, university, or research institute. During the second year, doctoral candidates will be supported in writing an English-language paper to be presented at a conference or published in an international journal and/or in designing an artistic research product that could take the form of a lecture-recital or similar formats.
The third year is dedicated to writing the thesis and disseminating the results; thus, doctoral activities will focus on opportunities for presenting and discussing the latest advancements of the thesis project.
Depending on the chosen path (theoretical-practical or theoretical) and the completed research project, the range of skills acquired over the three years will enable doctoral candidates to enter the workforce with preparation aligned with European standards.
The potential occupational and professional fields are numerous and varied, including: academic researcher; solo or chamber music performer; orchestral professor; collaborator in national and international research institutes; educator; music consultant in public and private contexts; music critic; collaborator with record labels and music publishers; event operator and organizer; collaborator in the design and implementation of research projects funded by national and international grants; artistic director for theatres and music associations; member of the artistic secretariat in theatres and music associations; writer of programme notes for record labels, concert associations, and theatres; music disseminator.
Access Limited enrollment course
Positions 2 positions available with a scholarship and 1 without scholarship
Admission Deadline for application submission: October 20th, 2025 at 1 p.m. (Italian time)
Documentation Refer to the selection call for details
Prof.ssa Mariateresa Storino (Coordinator), Professor of Music History – CODM/04
Prof.ssa Concetta Assenza, Professor of Music Bibliography and Library Studies – CODM/01
Prof. Ludovico Bramanti, Professor of Piano – CODI/21
Prof. Daniele Gasparini, Professor of Harmony and Analysis – COTP/01
Prof.ssa Elisabetta Lombardi, Professor of Chamber Vocal Music – CODI/24
Prof. Lamberto Lugli, Professor of Composition – CODC/01
Prof. Michele Mangani, Professor of Chamber Music for Wind Instruments – COMI/04
Prof. Alessandro Tampieri, Professor of Viola – CODI/05
Ph.D. in Musical Performance and Interpretation XL CYCLE – A. Y. 2024/2025
Ai sensi del D.M. 470/2024 e 629/2024
The Ph.D. course in “Musical Performance and Interpretation” is aimed at musicians, composers, conductors, and musicologists, who wish to develop specific skills related to defining and conducting an artistic-musical and/or musicological research project on an unpublished and/or rarely performed repertoire. The topic raises questions to be investigated from both theoretical and practical perspectives: from historically informed performance practice, which requires knowledge of a philological nature and the socio-historical context in which the repertoire comes to life, to musical analysis – an indispensable working tool for any theoretical-historical-performance research context –, to reflection on interpretative issues involving new research directions such as Performance Studies.
Attending compulsory courses in the fields of musical philology, bibliographic research methodology, historically informed performance practice, and musical analysis, as well as seminars and workshops – on artistic-musical research, aesthetics, the relationships between the arts, and cognitive sciences – will develop skills in the doctoral student related to research methods and the development of theoretical constructs relevant to artistic-musical research.
The doctoral path includes high-level musical and musicological experiences aimed at developing skills related to research and the formulation and implementation of a research project within the theme of the doctorate, which can be articulated in performative-theoretical terms or exclusively theoretical terms.
The Ph.D. aims to train researchers in both musical performance and theoretical reflection on performance, specializing in the analysis and interpretation of musical texts, specifically of an unpublished and/or rarely performed repertoire.
Particular attention will be paid not only to learning a research methodology conducive to the artistic and cultural growth of the doctoral student, to be conducted from an interdisciplinary perspective, but also to the development of the Ph.D. student’s knowledge and skills related to the function that art music plays within society and its value as cultural heritage.
Depending on the chosen path of the doctoral programme – whether theoretical-practical or exclusively theoretical – the shared objective of the course is to shape an individual capable of meeting contemporary society’s demands for art music and addressing the needs of a non-specialist audience to access the repertoire whose meaning-making process is often unfamiliar or even ‘hostile’ to customary listening practices.
The synergistic dialogue between theory and practice will enable the doctoral student to gain awareness of the plurality of approaches to musical works; by transcending the exclusively artisanal view of practice, the Ph.D. student will be able to probe the complementary links between art and science and initiate new models of action, reassessing his/her role in society as a key player in cultural progress. Simultaneously, theoretical reflection can enhance knowledge of historical practice, interpretative variables derived from the historical-cultural context, and the formal structure of the work or works under investigation.
At the end of the programme, the doctoral student will have acquired the tools and scientific methods to design and conduct a research project, and to master the methods of documenting the research process, of presenting, communicating and disseminating the results achieved (writing texts, lectures, seminars, concerts). Through active participation in the research and production projects of the Rossini Conservatoire, he/she will develop knowledge in event organization and research group management.
Over the three years, 80 hours of disciplinary and interdisciplinary training are provided, in addition to other types of training activities – seminars, workshops, language improvement – totaling 40 hours. To foster the development of skills in designing and managing research activities and in the valorization and dissemination of research results, doctoral candidates will participate in the Conservatory’s research projects (20 hours), the organization of public meetings and events, conference participation, and third mission activities (20 hours).
The first year will be dedicated to defining the research project and planning the phases and actions to carry out for the thesis path; training activities, specifically methodological training, are concentrated in this year.
The second-year activities aim to mentor individual research work, engage in active research groups within the Conservatoire and other similar-level institutions, facilitate mobility and internationalization with a minimum six-month period at a foreign higher education music institute, university, or research institute. During the second year, doctoral candidates will be supported in writing an English-language paper to be presented at a conference or published in an international journal and/or in designing an artistic research product that could take the form of a lecture-recital or similar formats.
The third year is dedicated to writing the thesis and disseminating the results; thus, doctoral activities will focus on opportunities for presenting and discussing the latest advancements of the thesis project.
Depending on the chosen path (theoretical-practical or theoretical) and the completed research project, the range of skills acquired over the three years will enable doctoral candidates to enter the workforce with preparation aligned with European standards.
The potential occupational and professional fields are numerous and varied, including: academic researcher; solo or chamber music performer; orchestral professor; collaborator in national and international research institutes; educator; music consultant in public and private contexts; music critic; collaborator with record labels and music publishers; event operator and organizer; collaborator in the design and implementation of research projects funded by national and international grants; artistic director for theatres and music associations; member of the artistic secretariat in theatres and music associations; writer of programme notes for record labels, concert associations, and theatres; music disseminator.
Access Limited enrollment course
Positions 2 positions available with a scholarship
Admission Deadline for application submission:
August 29th, 2024 at 1 p.m. (Italian time)
Documentation: refer to the selection call for details
Prof.ssa Mariateresa Storino (Coordinator), Professor of Music History – CODM/04
Prof.ssa Concetta Assenza, Professor of Music Bibliography and Library Studies – CODM/01
Prof. Ludovico Bramanti, Professor of Piano – CODI/21
Prof. Daniele Gasparini, Professor of Harmony and Analysis – COTP/01
Prof.ssa Elisabetta Lombardi, Professor of Chamber Vocal Music – CODI/24
Prof. Lamberto Lugli, Professor of Composition – CODC/01
Prof. Michele Mangani, Professor of Chamber Music for Wind Instruments – COMI/04
Prof. Alessandro Tampieri, Professor of Viola – CODI/05
Course Information Inquiries
Contacts: Professor Mariateresa Storino
e-mail: m.storino@conservatoriorossini.it
Enrollment and Registration Support
Office Ph.D. Office
Piazza Olivieri, 5, 61121 Pesaro PU
Opening hours:
- TELEPHONE RECEPTION Monday to Friday 10:00-11:00 AM
- OFFICE RECEPTION Tuesday and Friday 11:00-12:00 AM
Contacts Tel. +39 0721 33671 / +39 0721 34151
e-mail: dottorato@conservatoriorossini.it
