Universiteit Leiden

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Jed Wentz

"University Lecturer Musical performance practice before 1900; Historical acting and declamation"

Dr. J.A. Wentz
+31 71 527 5036

Jed Wentz is a University Lecturer at the Academy of Creative and Performing Arts.

More information about Jed Wentz


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

Work address

P.J. Veth
Nonnensteeg 1-3
2311 VJ Leiden
Room number 1.12


  • Wentz J.A. (2018), On the Protestant Roots of Gustav Leonhardt’s Performance Style, BACH: Journal of the Riemenschneider Bach Institute 49(1).article in journal
  • Wentz J.A. (2017), Early Music as Discipline (6 lectures) [Stichting Organizatie Oude Muziek and the Conservatorium van Amsterdam] (Lecture).other
  • 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].conference paper
  • 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.book chapter
  • 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].conference paper
  • 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].conference paper
  • Wentz J.A. (2014), Gustav Leonhardt, the Naarden Circle and Early Music’s Reformation, Early Music 42(1): 3-12.article in journal
  • 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].conference paper
  • Wentz J.A. & Paxão J.L. (2014), Learning from Lully ['Curriculum matters: teaching early music in the 21st century', Utrecht, The Netherlands].conference paper
  • Wentz J.A. (2014), Performing Gilbert Austin’s Chironomia [Conference American Society for Eigtheenth-Century Studies, Williamsburg, USA].conference paper
  • Wentz J.A. (2014), Rhetorical action [Symposium of the 29th International Handel-Academy Karlsruhe, Karlsruhe, Germany].conference paper
  • Wentz J.A. (2014), The subjective in authenticity: a performer's perspective [Symposium of the 31st International Handel-Academy Karlsruhe, Karlsruhe, Germany].conference paper
  • 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].conference paper
  • 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.article in journal
  • 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].conference paper
  • Wentz J.A. (2013), With waving arms and wavering voice: three theatrical reconstructions from Austin notation: 1806-1875 ['Revaluing theatrical heritage', Kortrijk, Belgium].conference paper
  • 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].conference paper
  • Wentz J.A. (2012), David Garrick’s declamation notated [Conference of the American Musicological Society, New Orleans, USA].conference paper
  • 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].conference paper
  • Wentz J.A. (2012), Joshua Steele’s Prosodia Rationalis [Conference of the British Society for Eighteenth-Century Studies, St. Hugh’s College, Oxford, UK].conference paper
  • 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.article in journal
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