Miriam Miranda Martins Hlavatý is a Timani Master teacher, bodyworker, lecturer, pianist and curator of music. She grew up in Bærum, Norway and, in addition to an intermediate subject in classical archaeology, holds a bachelor in performance and a Masters in applied music theory from The Norwegian Academy of Music.
Through concerts and lectures Miriam Hlavaty aims at increasing the general level of consciousness around the subject of listening, particularly when it comes to contemporary music and modern forms of music, and she has as one of her goals to equip the audience with pathways into different musical landscapes. This has so far resulted in lectures with audio examples and concert lectures which combine an oral presentation of musical elements, historical background and elements of listening with musical performance.
photo: Ragnhild Aarnes Holager
Miriam gives private lessons and has given lectures and held workshops in Timani and Nutritious Movement for musicians and non-musicians in Norway as well as in Germany, Denmark, Sweeden, England, Finland and Singapore. She has been a guest teacher in work physiology at the Conservatory in Tromsø and gives annually lectures in performance psychology at NTNU in Trondheim. She has also taught piano privately and at the NLA University College in Oslo.
Due to previous experiences with lengthy strain injuries and tendinitis her main focus as a teacher is to work towards the ability to use the body in a differentiated, conscious manner where specified knowledge concerning anatomical, neurological and biomechanical elements is used to allow the act of playing to become a strengthening, rather than a straining experience.
As a pianist and lecturer Miriams focus is on the art of listening: musical comprehension and active listening, listening intentions and musical perception. Her repertoire often consists of contemporary piano music with a focus on alternative instrumental techniques that uses the inner parts of the instrument (strings, beams, soundboard etc.) as well as improvisation.
She also uses composition as a means to explore the piano as a modern sound-exploring instrument. She has held several concerts and played on festivals presenting her own compositions as well as modern repertoire.
Photo: Ragnhild Aarnes Holager
Her master thesis The development of form-awareness by means of aural Sonology explores the development of form-awareness in musicians and is centred around the topics of musical perception, awareness and active listening strategies as a means of enhancing the listening experience, particularly regarding the perception and presentation of contemporary music.
The thesis is based on the subject Aural Sonology, developed by the Norwegian composer Lasse Thoresen, a subject which works as a foundation for much of her work as curator of music with a particular emphasis on listening.
Miriam contributes as a music writer in the Norwegian web magazine audiophile.no where she writes about topics that concerns the listening experience and listening with and without filters.
In her blog: The listening experience, the art of mindful focus she writes about listening, art, bodywork, biomechanics, music history, tango, neurology, literary experiments and other fascinating topics. Some of these articles are also published in an English translation.
She sometimes has a tendency to refer to herself in the third tense and is the proud little sister of the Norwegian TV-puppet Titten-Tei, made by her father the Czech puppet maker, scenographer and stage director Karel Hlavatý and costumed by her mother, Nina Martins, expressive art therapist, writer and maker of soul chairs and curiosities.