Barbara Titus is an Associate Professor of cultural musicology at the University of Amsterdam. She is the author of two books Recognizing Music as an Art Form: Friedrich Th. Vischer and German music criticism, 1848-1887 (Leuven University Press, 2016), and Hearing Maskanda: Musical Epistemologies in South Africa (Bloomsbury Academic, 2022).
Barbara studied musicology at Utrecht University and gained her doctorate from Oxford University in the United Kingdom (M.St. Lincoln College [2000], D.Phil. St Anne's College [2005]). After her engagement with the Hegelian philosophical impact on 19th-century German music criticism for her doctorate, she shifted her attention from German metaphysics to South African street music (maskanda) in 2007, with the explicit aim to question the polarity that these two fields of investigation still seem to represent.
Her articles have been published in journals such as Acta Musicologica, Ethnomusicology, SAMUS: South African Music Studies and the Dutch Journal of Music Theory. Barbara is a research fellow at the Institute for Resource Governance and Social Change (IRGSC) in Kupang, Nusa Tenggara Timur, Indonesia. She is the co-editor of the journal the world of music (new series). Moreover, she is a fellow at the African Studies Centre Leiden (ASCL) Community as well as a member of the advisory board for the journal Music Theory and Analysis.
From 2008 to 2013, Barbara worked as an assistant professor teaching European music history post-1800 at Utrecht University. During two extensive field trips for her research into maskanda in 2008 and 2009, she was a visiting professor at the University of KwaZulu-Natal in Durban, South Africa. In the winter semester 2013-14, she was a guest professor at the Georg-August-UniversitÀt in Göttingen, Germany. In the spring of 2016, she was a researcher in residence at the University of Vienna in Austria as a Balzan Visiting Scholar.
Barbara is the curator of the Jaap Kunst Sound Collection at the University of Amsterdam. In this capacity, she is an Executive Team Member of the NWO-funded project Restituting, Reconnecting, Reimagining Sound Heritage (Re:Sound) [2024-2028], and she was the Project Leader and First Principal Investigator of the JPICH-funded project Decolonizing Southeast Asian Sound Archives (DeCoSEAS) [2021-2024]. Both projects renegotiate established understandings of heritage curation.
Key publications
* 2022. Hearing Maskanda: Musical Epistemologies in South Africa. London [etc.]: Bloomsbury (Music & Sound Studies)
* yamomo, meLĂȘ & Barbara Titus 2021. âThe Persistent Refrain of the Colonial Archival Logic / Colonial Entanglements and Sonic Transgressions: Sounding Out the Jaap Kunst Collectionâ in Rasika Ajotikar (ed.) Postcolonial Sound Archives: Challenges and Potentials [the world of music (new series) 10/1], 39â70.
* 2019. Dwelling in musical movement: Making a home through music, ed. Barbara Titus. Special issue the world of music (new series) vol. 8/1.
* 2016. Recognizing Music as an Art Form: Friedrich Th. Vischer and German Music Criticism, 1848-1887. Leuven: Leuven University Press.
* 2013. ââWalking like a crabâ: Analyzing maskanda music in post-apartheid South Africa.' Ethnomusicology 57/2, 286-310.
Monographs
Titus, Barbara 2022. Hearing Maskanda: Musical Epistemologies in South Africa. London [etc.]: Bloomsbury (Music & Sound Studies)
_____ 2016. Recognizing Music as an Art Form: Friedrich Theodor Vischer and German Music Criticism, 1848-1887. Leuven: Leuven University Press.
Peer reviewed journal articles
yamomo, meLĂȘ & Barbara Titus 2021. âThe Persistent Refrain of the Colonial Archival Logic / Colonial Entanglements and Sonic Transgressions: Sounding Out the Jaap Kunst Collectionâ in Rasika Ajotikar (ed.) Postcolonial Sound Archives: Challenges and Potentials [the world of music (new series) 10/1], 39â70.
Titus, Barbara 2021. "Hearing The Given and The Made in South African Maskanda Music" in Emily Hansell Clark (ed.) Audibilities of Colonialism and Extractivism [the world of music (new series) 10/2], 79-105.
Titus, Barbara 2018. âEl pasado es un paĂs extranjero: La prĂĄctica cultural de imaginar la mĂșsica antiguaâ, transl. Patricia Rubio y SĂĄnchez. Cuadernos del Seminario de MĂșsica en la Nueva España y el MĂ©xico Independiente 8, 6-15.
_____ 2018. âThe âattentively silentâ presence of Jaap Kunst in the Society for the History of Netherlands Music (VNM)â. Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis LXVIII, 173-184.
_____ 2015. âSome Implications of Being Undone by Music: A Response to Christopher Ballantineâ. South African Music Studies 35, 1-8.
_____ 2013. ââWalking like a crabâ: Analyzing maskanda music in post-apartheid South Africa. Ethnomusicology 57/2, 286-310.
_____ 2008. âGlobal maskanda, global music historiography? Some preliminary enquiries.â SAMUS: South African Music Studies 28, 43-54.
_____ 2008. âThe quest for spiritualized form: (Re)positioning Eduard Hanslick.â Acta Musicologica 80/1, 67-97.
_____ 2001. âThe end of the arts? âGegenwartsbewuĂtseinâ in German music criticism.â Dutch Journal of Music Theory 6/2 (May), 83-88.
_____ 1999. âMetamorfosen van een verborgen image: Een analyse van Morton Feldmans Three Voices (1982).â Dutch Journal of Music Theory 4/1 (February), 1-14.
_____ 1997. âRenĂ© Descartesâ Compendium Musicae (1618).â Dutch Journal of Music Theory 2/3 (November), 204-212.
Peer reviewed volumes
Titus, Barbara (ed.) 2019. Dwelling in Musical Movement: Making a Home through Music. Special issue the world of music (new series) vol. 8/1.
Peer reviewed book chapters
Titus, Barbara, Shishani Vranckx & Bart Fermie 2024. âKnowing the World through Musicâ in: John Koslovksy & Michiel Schuijer (eds) Music Performance Encounters: Collaborations and Confrontations. London [etc.]: Routledge (Research in Music), 183-204.
Titus, Barbara & meLĂȘ yamomo 2024. 'Rehearsing Decolonial Curatorship of Southeast Asian Sound Archives in Europe' in: Pepijn Brandon, Emma van Bijnen, Karwan Fatah-Black, Imara Limon, Wayne Modest & Margriet Schavemaker (eds) The Future of Dutch Colonial Past: Curating Heritage, Art and Activism. Amsterdam: Amsterdam University Press, 110-123.
Titus, Barbara 2022. âTracing Earlines in Ethnomusicologyâ in: Mark Delaere (ed.) Noise as Constructive Element in Music: Theoretical and Music-Analytical Perspectives. London [etc.]: Routledge (Musical Cultures of the Twentieth Century), 54-71.
_____ 2021. âThe West in musical retrospect: The historiographical implications of South African maskanda musicâ in: Reinhard Strohm (ed.) Transcultural Music History: Global Participation and Regional Diversity in the Modern Age. Berlin: VWB (Intercultural Music Studies), 99-122.
_____ 2016. ââThere is that cry sometimesâ: Negotiations and exertions of power in South African maskanda musicâ in: Charissa Granger, Friedlind Riedel, Eva-Maria Alexandra van Straaten & Gerlinde Feller (eds) Music moves: Musical dynamics of relation, knowledge and transformation. Hildesheim: Olms, 107-133.
_____ 2012a. ââDie Nachwirkung vorher verklungener Töneâ: Eduard Hanslick und Friedrich Theodor Vischer ĂŒber die Historisierung des kĂŒnstlerischen Materialsâ in: Detlef Altenburg & Rainer Bayreuther (eds) Musik und kulturelle IdentitĂ€t: Bericht ĂŒber den XIII. internationalen Kongress der Gesellschaft fĂŒr Musikforschung Weimar 2004, 3 Bde. Kassel: BĂ€renreiter.
Book reviews
Titus, Barbara 2020. âReview of âDust of the Zulu: Ngoma Aesthetics after Apartheidâ by Louise Meintjesâ Ethnomusicology 64/1 (Winter), 174-178.
_____ 2016. âReview of âMusic and Social Change in South Africa: Maskanda Past and Presentâ by Kathryn Olsenâ the world of music (new series) 5/1, 209-212.
_____ 2012. âMuziekwetenschap als ideaal en instituutâ Boekman: Tijdschrift voor kunst, cultuur en beleid 93 (Winter), 116-117.
_____ 2010. âReview of âMusically Sublime: Indeterminacy, Infinity, Irresolvabilityâ by Kiene Brillenburg-Wurth.â Dutch Journal of Music Theory 15/3, 219-225.
_____ 2004. âReview of "Gambling on Culture: State lotteries as a source of funding for Culture â the Arts and Heritage"â Recources for Cultural Policy in Europe (RECAP).
Conference reports
Titus, Barbara 2015. 'Muzikale culturen uit lang vervlogen tijden: STIMU-Symposium' tijdschrift oudemuziek (tom) 30/4, 22-26.
Olwage, Grant & Titus, Barbara 2008. âAfrican voices: The second conference of the South African Society for Research in Music, i: A post-conference conversation between Grant Olwage and Barbara Titus.â SAMUS: South African Music Studies 28, 190-193.
Titus, Barbara 2007. âThe South African Music Project Symposium: âTheorizing southern African music: Perspectives and conjecturesââ. SAMUS: South African Music Studies 26/27, 175-176.
_____ 2007. âThe first congress of the South African Society for Research in Music: âMusics, theories, practices: Focus on South Africaâ, ii: An âoutsiderâs viewâ.â SAMUS: South African Music Studies 26/27, 172-173.
Edited books
Staverman, Désirée 2012. De toneelmuziek van Alphons Diepenbrock: Concept, compositie, uitvoering, eds Barbara Titus & Ton Braas. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (Muziekhistorische Monografieën; 22).
Edited peer reviewed journals
Abels, Birgit [Editor] & Titus, Barbara [Co-editor]. 2014-present. the world of music (new series) 3-10/1 & 2.
Bergé, Pieter et al. (eds) 2014-present. Music Theory & Analysis 1-8/1 & 2 [Advisory Board Member].
Schuijer, Michiel & Titus, Barbara et al. (eds). 2006-2013. Dutch Journal of Music Theory 11-18 /1, 2 & 3. [Managing Editor and member of the Editorial Board]
Edited conference proceedings
Titus, Barbara (ed.) 2013. Selected Proceedings of the 14th Conference of the Dutch-Flemish Society of Music Theory âNineteenth-century music theoryâ, Amsterdam: Amsterdam University Press.
Schuijer, Michiel & Titus, Barbara et al. (eds) 2012. Selected Proceedings of the 13th Conference of the Dutch-Flemish Society of Music Theory âMuziektheorie en Onderwijsâ, Amsterdam: Amsterdam University Press.
_____ 2011. Selected Proceedings of the 12th Conference of the Dutch-Flemish Society of Music Theory, Amsterdam: Amsterdam University Press.
_____ 2010. Selected Proceedings of the 11th Conference of the Dutch-Flemish Society of Music Theory âTime, Temporality and Proportionsâ, Amsterdam: Amsterdam University Press.
_____ 2009. Selected Proceedings of the 10th Conference of the Dutch-Flemish Society of Music Theory âMusic Theory and Performanceâ, Amsterdam: Amsterdam University Press.
Moortele, Steven Vande & Titus, Barbara et al. (eds) 2008. Selected Proceedings of the 9th Conference of the Dutch-Flemish Society of Music Theory âImprovisation: Analytical, Theoretical and Critical approachesâ, Amsterdam: Amsterdam University Press.
Contributions to professional journals and broadcast media (selection)
Titus, Barbara 2024. 'Opini: Repatriasi Koleksi Jaap Kunst ke Nusa Tenggara Timur' Pos Kupang (21 August).
_____ 2024. 'Repatriasi Koleksi Jaap Kunst ke Nusa Tenggara Timur' LintasNTT (21 August).
Gandolahage, Rahul 2021. "Grote archieven koloniale geluiden amper toegankelijk" Interview with Barbara Titus and meLĂȘ yamomo, NRC Cultureel Supplement (25 February), C14-15.
Hoebe, Marleen 2021. "Twee UvAâers proberen beroemd geluidsarchief weer bijeen te brengen" Interview with Barbara Titus and meLĂȘ yamomo, Folia (7 May).
Savitri, Isma 2020. âJaap Kunst yang terlupakanâ Tempo (18 January).
Titus, Barbara 2019. âJaap Kunst dan Pentingnya Koleksi Musik Indonesia Miliknyaâ in Melacak jejak Jaap Kunst: Suara dari Masa Lalu [Exhibition Catalogue 28 November 2019 â 10 January 2020] Jakarta: National Museum.
Titus, Barbara, Marleen Heins, Rokus de Groot, Bernard Kleikamp 2019. Obituary âErnst Heins (1937â2019)â SEM Newsletter 53/4 (Fall), 8-11.
Titus, Barbara & Honing, Henkjan 2017. Interview about cultural and coginitive musicology, Soundciety, Red Light Radio Amsterdam, 23 May.
Leeuw, Jules van der & Titus, Barbara 2015. 'Een vleugje antropologie in de oude muziek: STIMU-Symposium' tijdschrift oudemuziek (tom) 30/2, 36-41.
Hoogaerts, Guuz & Titus, Barbara, et al. 2015. 'Popdokters', VARA-Gids, 17 November.
Titus, Barbara 2015. 'Eventalk Festival Oude Muziek: Wie bezet(te) het Maagdenhuis?', NPO Radio 4 Festivaljournaal 23, 1 September.
_____ 2013. Elucidating Wolfgang Rihmâs Vigilia, AVRO Radio 4 Avondconcert, 6 February.
_____ 2013. Elucidating Wolfgang Rihmâs Vigilia, NCRV Radio 5 Schepper & Co., 27 January.
_____ 2010. âMaskandi whitey: An outsider's view.â South African Labour Bulletin 34/1, 63-65.
_____ 2009. Interview about maskanda research and participation. Ekhaya Arts Centre, Vibe FM Studio, KwaMashu Township, Durban (RSA), 19 September.
_____ 2009. âEen zacht geruis van gefronste wenkbrauwen' VPRO Radio 6 Tchongcast, 20 May.
_____ 2008. âAuthentieke muziekâ Teleac Radio 5 Hoe? Zo!, 2 December.
_____ 2004. âVan saz tot Elvis: Het Amsterdamse Aslan muziekcentrumâ Akkoord 2004/3 (June), 10-11.
_____ 1997. ââIk ben als een kind dat graag speeltâ: Een interview met Wieland Kuijkenâ Akkoord 1997/4 (September), 16-17.
_____ 1996. ââTekst is klank is muziekâ: Boudewijn Tarenskeen over muziektheaterâ Mens & Melodie 51 (February), 72-75.
Conference papers
Titus, Barbara 2021. 'Decolonizing Southeast Asian Sound Archives (DeCoSEAS)' Contribution to the Roundtable Archival Processes and Social and Historical Practices of Listening at the Society for Ethnomusicology (SEM) Conference Atlanta (USA) [online].
_____ 2021. 'Hearing the Given and the Made in South African Maskanda Music' Contribution to the Panel Audibilities of Colonialism and Extractivism at the British Forum for Ethnomusicology (BFE) Conference Bath Spa University (UK) [online].
_____ 2019. âInscribing knowledge: Ethnomusicological recordings as texts and practicesâ Written contribution to the workshop Sonic Entanglements: Sound, Archive, and Acoustic Historiographies in the Asia Pacific. University of Amsterdam (NL)
_____ 2018. âMaskanda Epistemology: Some Implications of Articulating South African Knowledge on a Dutch Stageâ Individual paper at the Society for Ethnomusicology (SEM) Conference Albuquerque, New Mexico (USA).
_____ 2018. âRetrieving What and for Whom? Thoughts about Prospects, Opportunities and Impediments of Digital Sound Archivingâ Position Statement for the International Symposium Captured Sounds - Collecting, Storing, Sharing, Humboldt Forum, Humboldt UniversitĂ€t, Berlin (D).
_____ 2018. âUn/Disciplining Music: Maskanda Musicking in South Africa.â First International Workshop Musicology without Borders, University of Bergen (N).
_____ 2018. âMusical Epistemologies and Musicological Disavowals: A South African Case Studyâ International Conference Musicology in the Age of (Post)Globalization, The Graduate Center, The City University of New York (USA).
_____ 2017. âFolded modes of musical knowing: Performing research in post-apartheid South Africa.â International conference Researching Performance, Performing Research: Collaborations and Confrontations. Muziekgebouw aan ât IJ, Amsterdam (NL).
_____ 2017. 'Inscribing knowledge: The hermeneutics of musical participant-observation.' International Conference Making of the Humanities VI. Somerville College, University of Oxford (UK).
_____ 2017. âMusical home-making and cultural domestication: Uprootings and regroundings of South African maskanda performance.â 13th Conference of the International Society for Ethnology and Folklore (SIEF): Ways of Dwelling: Crisis - Craft â Creativity. Georg-August-UniversitĂ€t Göttingen (D).
_____ 2016. âPerforming histories and embellishing identities: South African maskanda music on a Dutch stageâ. Balzan Workshop-Conference: Places of Interaction: Histories of Music and Dance in India, Africa and South-East Asia: British Academy London (UK).
_____ 2015. âThe past is a foreign country: The cultural practice of imagining Early Music in the 20th centuryâ Keynote lecture for the STIMU Symposium The Past is a Foreign Country, in collaboration with Early Music Festival (Festival Oude Muziek) Utrecht (NL).
_____ 2014. 'Musicologica, or, the ownership of (musical) knowledge: A South African storyâ International Conference on Cultural Musicology: Symposium in honour of Wim van der Meer, University of Amsterdam (NL).
_____ 2013. âMusic analysis as participant observation: Maskanda discourse(s) in South Africaâ, Seventh conference of the South African Society for Research in Music (SASRIM), University of Fort Hare, East London (RSA).
_____ 2013. Position statement concerning âMusic, politics and the Academyâ, Round table, Seventh conference of the South African Society for Research in Music (SASRIM), University of Fort Hare, East London (RSA).
_____ 2013. ââCome meet me half wayâ: Maskanda music as a Third Space of enunciation in post-apartheid South Africa.â Expert meeting of the DFG-project group Moving Music. Meaning, Space, Musical Transformation, Musicology Department Georg-August-UniversitĂ€t, Göttingen (D).
_____ 2012. âA cry for lust or an ancestor calling? Intercultural analysis of aural experienceâ, International Study day Music and Science, Universiteit Utrecht (NL).
_____ 2012. âMusic, movement, meaning: Maskanda performance in post-apartheid South Africaâ, Conference of the International Musicological Society (IMS), Rome (I).
Titus, Barbara & Olsen, Kathryn 2011. âDouble Take: A dialogue on Zulu popular music on a world music platformâ, Conference of the International Association for the Study of Popular Music (IASPM), Rhodes University, Grahamstown (RSA).
Titus, Barbara 2011. âZulu Blues: Response to Iain Chambers âMediterranean blues: Musics and critical melancholyââ, Postcolonial Studies Initiative (PCI), Universiteit Utrecht (NL).
_____ 2010. âFieldwork on the doorstep: Shiyani's Ngcobo's Dutch Tourâ, Joint conference of the International Musicological Society (IMS) and the South African Society for Research in Music (SASRIM), University of Stellenbosch (RSA).
_____ 2010. âTowards a spatial theory of musical meaning: Maskanda performance in (post)apartheid South Africaâ Society for Ethnomusicology (SEM) Conference, Los Angeles (USA).
_____ 2009. âRepresentations of âZulunessâ in contemporary maskanda performanceâ, Third Conference of the South African Society for Research in Music (SASRIM), University of KwaZulu-Natal, Durban (RSA).
_____ 2009. âThe utopia of phesheya (overseas) in maskanda performance in South Africaâ Conference of the International Council for Traditional Music (ICTM), University of KwaZulu-Natal, Durban (RSA).
_____ 2009. âBetween Hanslick and maskanda: A musicological safari?â Conference of the Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, Past, present and future of Dutch musicology, Universiteit Utrecht (NL).
_____ 2008. âLocal identities going global: Maskanda, âZulunessâ and fantasies of Africaâ Second conference of the South African Society for Research in Music (SASRIM), Nelson Mandela Metropolitan University, Port Elizabeth (RSA).
_____ 2008. ââThe bird among the artsâ: Idealist aestheticians on music around 1850â, Symposium of the Nederlands Genootschap voor Esthetica (NGE), Amsterdam (NL).
_____ 2007. âEuropean and Zulu aesthetics in globalized maskanda musicâ, Conference of the British Forum for Ethnomusicology (BFE), Goldsmiths College â University of London (UK).
_____ 2007. âGlobalized maskanda music between European musical aesthetics and Zulu musical practicesâ, Symposium of the South African Music Project, University of the Witwatersrand, Johannesburg, & First conference of the South African Society for Research in Music (SASRIM), University of the Free State, Bloemfontein (RSA)
_____ 2007. âMusic and modernity: Reflections on the implications of Hegelâs ideal of âKunstreligionââ, conference âSpiritual New Music: Between Fall and Resurrectionâ, Universiteit van Amsterdam (NL).
_____ 2006. â(Dis)placing the wanderer musician: Global representations of contemporary South African maskanda musicâ, Herder & Music Symposium, Jesus College Oxford (UK).
_____ 2005. âAn âaesthetic changelingâ? Programme music and the authority of idealist philosophy in Germanyâ, Conference of the Royal Musical Association (RMA), University of Manchester (UK).
_____ 2004. ââDie Nachwirkung vorher verklungener Töneâ: Eduard Hanslick und Friedrich Theodor Vischer ĂŒber die Historisierung des kĂŒnstlerischen Materialsâ, Internationale conferentie van de Gesellschaft fĂŒr Musikforschung (GfM), âMusik und kulturelle IdentitĂ€tâ, Hochschule fĂŒr Musik Franz Liszt, Weimar (D).
_____ 2004. ââA truthful expression of the presentâ: Theodor Adornoâs dependence on 19th-century German idealist aestheticsâ, Biennial Conference on 19th-century music, School of Music, Durham University (UK).
_____ 2003. âIn the beginning is the end: Theodor Adornoâs dependence on 19th-century German idealist aestheticsâ, Conference of the Royal Musical Association (RMA), School of Music, Cardiff University (UK).
_____ 2002. âGegenwartsbewuĂtsein in German music criticism, 1848-1871: A Hegelian epistemology of changeâ Conference of the International Musicological Society (IMS), K.U. Leuven (B).
_____ 2001. âThe end of the arts? âGegenwartsbewuĂtseinâ in German music criticismâ Graduate Research Studentsâ Conference, Faculty of Music, University of Cambridge (UK)
_____ 2001. âThe end of the arts? âGegenwartsbewuĂtseinâ in German music criticismâ, Conference of the Dutch-Flemish Society of Music Theory, Koninklijk Conservatorium, Den Haag (NL).
Conference panels
Sri Margana, Widya Fitria Ningsih, meLĂȘ yamomo, Barbara Titus 2024. 'Restituting, Reconnecting, Reimagining Sound Heritage (Re:Sound).' Panel participation at the Winner Week of Indonesia-Netherlands Education and Research, Leiden University (NL).
yamomo, meLĂȘ, Barbara Titus 2022. Interview of meLĂȘ yamomo by Barbara Titus at the Symposium Archival Interactions: Performing Intersectional Counter-Archives, DAS Graduate School AHK Amsterdam (NL).
_____ 2019. âSonic Entanglements: Sound, Archive, and Acoustic Historiographies in the Asia Pacific.â Panel moderation for the European Association for Southeast Asian Studies (EuroSEAS) Conference, Humboldt-UniversitĂ€t zu Berlin (D).
Titus, Barbara, Citra Aryandari, Sri Margana, Viela Wiradz, Brian Trinanda K. Adi, Aris Setyawan 2019. ââLariâ Mengejar Jejak Etnomusikologi.â Panel participation at the workshop Jejak Suara Tersembunyi: Unpacking Jaap Kunstâs Collections on Music of Nusantara, Institut Seni Indonesia Yogyakarta (RI).
Titus, Barbara, Kailan Rubinoff, Mimi Mitchell, Aimee Gonzalez 2018. âEthnomusicologizing Early Music: Ethnographic Approaches to the Historical Performance Movement.â Panel moderation for the Society for Ethnomusicology (SEM) Conference, Albuquerque, New Mexico (USA).
Titus, Barbara, Oliver Seibt, meLĂȘ yamomo, Citra Aryandari 2018. âAsia as Method in Popular Music Studies.â Performative Panel participation for the International Association for the Study of Popular Music (IASPM-DACH) Conference Pop â Power â Positions, UniversitĂ€t Bern (CH).
Titus, Barbara, Julia Kursell, JosĂ©phine Simonnot, Reinier de Valk 2018. âMIARchive â Archiving Music, Digital Access, and the Ethics of Access.â Panel participation at the International Symposium Captured Sounds - Collecting, Storing, Sharing, Humboldt Forum, Humboldt-UniversitĂ€t zu Berlin (D).
Titus, Barbara, Shishani Vranckx, Bart Fermie 2017. âKnowing the World through Music in Southern Africa.â Panel organization at the international conference Researching Performance, Performing Research: Collaborations and Confrontations. Muziekgebouw aan ât IJ, Amsterdam (NL).
Titus, Barbara & Birgit Abels 2017. âDwelling in musical movement: Making a home both in and through music.â Panel organization at the 13th Conference of the International Society for Ethnology and Folklore (SIEF): Ways of Dwelling: Crisis - Craft â Creativity. Georg-August-UniversitĂ€t Göttingen (D).
Invited public lectures and discussions
Titus, Barbara 2024. 'Koleksi Rekaman Suara Jaap Kunst dan Pentingnya buat NTT' Institute for Resource Governance and Social Change (IRGSC), Kupang (RI).
_____ 2024. 'Het dekoloniseren van geluidsarchiven: Hoe en Waarom?' Rotary Club Den Haag Nieuwspoort (NL).
_____ 2024. 'Decolonising Music Archives' Restorative Café #4 Dekolonisatie en structureel racisme: Een lastig debat. Openbare Bibliotheek Utrecht (NL).
_____ 2022. 'Suara dari masa lalu: Cerita tentang warisan NTT di Belanda' Taman Budaya Provinsi NTT, Kupang (RI).
yamomo, meLĂȘ and Barbara Titus 2021. 'Decolonizing Southeast Asian Sound Archives' Contribution to the panel Activism, Academic Research and Decoloniality at the conference The Future of the Dutch Colonial Past, Amsterdam Museum, Hermitage Amsterdam (NL).
Titus, Barbara 2019. ââLariâ Mengejar Jejak Etnomusikologi.â Invited contrbution to the workshop Jejak Suara Tersembunyi: Unpacking Jaap Kunstâs Collections on Music of Nusantara, Institut Seni Indonesia Yogyakarta (RI).
_____ 2019. âProgressing the Past: A Short Cultural History of the Twentieth-Century Early Music Movementâ, Position statement culminating into a round table discussion about âExpectationsâ with Barbara Titus, (convenor), Heidi Erbrich, Zaynab Martin, Marilyn McDonald, Alida Schat, Joseph Tan, Mimi Mitchell. STIMU Symposium The Historical Violin, as part of the Early Music Festival (Festival Oude Muziek) Utrecht (NL).
_____ 2018. âJejak Suara Tersembunyi:Inventarisasi dan Perencanaan Pembukaan Koleksi Jaap Kunstâ, Invited contribution to Diskusi Kelompok Terpumpun Etnomusikologi karya Jaap Kunst. With Hilmar Farid (Dirjen Kemdikbud), Citra Aryandari (ISI Yogya), Nusi Lisabilla Estudiantin (Museum Nasional), Sri Margana (UGM.) Kantor Balai Pelestarian Nilai Budaya (BPNB), Yogyakarta (RI)
Sunny Bergman et al. 2017. âDecolonizing World Musicâ Panel discussion at the Amsterdam Roots Festival. With Sunny Bergman (moderator), Barbara Titus (University of Amsterdam), Tarim Nduma Flach (University of Color), Shishani Vranckx (Shishani & the Namibian Tales) and Bamba al Mansour (Blackstereo records), Oosterpark, Amsterdam (NL).
Titus, Barbara 2017. âPandangan dari luarâ, Invited contribution to the regional film maker meeting Sarasehan Film Kepulauan. With Manuel Alberto (moderator), Citra Aryandari (Institut Seni Indonesia, Yogyakarta) and Koes Yuliadi (Institut Seni Indonesia, Yogyakarta). Institute of Resource Governance and Social Change (IRGSC), Kupang (RI).
_____ 2016. 'Zulu folk on a global stage: Some questions about musical authenticity' Music Talks Series. World Music Centre Grounds, Rotterdam, (NL).
_____ 2015. 'Wie bezet(te) het Maagdenhuis?' Eventalk Series Early Music Festival, Hertzzaal, TivoliVredenburg, Utrecht (NL).
_____2015. Discussion about music research for Art Music Today, Prawirotaman, Yogyakarta (RI).
Invited academic lectures
Titus, Barbara 2024. 'Koleksi Rekaman Suara Jaap Kunst dan Pentingnya buat NTT' Departement Pendidikan Musik, Universitas Katolik Widya Mandira, Kupang (RI).
_____ 2022. 'Decolonizing Southeast Asian Sound Archives' Departemen Sejarah, Fakultas Ilmu Budaya, Universitas Gadjah Mada, Yogyakarta (RI).
_____ 2022. 'Sonic records as historical sources: Decolonizing Southeast Asian Sound Archives' SGN-dag Studenten Geschiedenis Nederland The Sound of History, Radboud Universiteit Nijmegen (NL).
_____ 2022. 'Decolonizing Southeast Asian Sound Archives: Plans and Practices', KITLV-Jakarta Webinar Forgotten Collections: Exploring Southeast Asian Archives, KITLV Leiden, Jakarta (NL, RI).
_____ 2022. 'Sounding out the Jaap Kunst Collection', Vossius Seminar The Political Agency of Sound: Colonial and Anticolonial Sound Archives in the Shaping of the Humanities, Vossius Center for the History of the Humanities and Sciences, University of Amsterdam (NL).
_____ 2022. 'Decolonizing Sound Archives in Times of a Pandemic', Guest lecture in the context of the SoundKnowledge Symposium Field Research and the Covid-19 Pandemic in the Asian Pacific Region: Building New Knowledge through Music and Sound, Georg-August-UniversitÀt Göttingen (D).
_____ 2021. 'Intersections of ethnography and historiography in the constitution of sound archives from Indonesia' at the Symposium Rethinking the History of Indonesian Music, University of California, Davis (USA).
_____ 2020. 'Sonic Entanglements on Tour: Visiting Colonial Sound Archives in the Early Twenty-First Century' The Center for Ethnomusicology at Columbia University, New York (USA).
_____ 2019. âSonic Entanglements on Tour: Visiting colonial sound archives in the early twenty-first centuryâ Colloquium Transnational Life Writing. Nederlands Instituut voor Oorlogsdocumentatie (NIOD), Amsterdam (NL).
_____ 2018. âJejak Suara Tersembunyi: Membuka Warisan Jaap Kunst (1891-1960)â Brainstorming kolaborasi riset tentang sejarah dan etnomusikologi Nusantara, Universitas Gadjah Mada (UGM), Yogyakarta (RI).
_____ 2018. âPerforming Zulu history on a Dutch stage: Maskanda music, fabulation, and the disavowals of humanities scholarship.â Colloquium Series Music Matters: Performing Music through Culture, Rijksuniversiteit Groningen (NL).
_____ 2016. 'Maskandaforschungen in SĂŒdafrika' UniversitĂ€t Wien, Musikwissenschaftliches Institut, Guest lecture in Geschichte und Methoden der Ethnomusikologie (A).
_____ 2016. 'Maskanda and globalization: Commercial and political dimensions of a world music style.' Univerzita Karlova v Praha, Faculty of Arts, Institute of Musicology (CZ).
_____ 2016. 'Recognizing music as an art form: Friedrich Theodor Vischer and German music criticism, 1848-1887' Univerzita Karlova v Praha, Faculty of Arts, Institute of Musicology (CZ).
_____ 2016. 'Discussion forum on Cultural Analysis' Univerzita Karlova v Praha, Faculty of Arts, Institute of Musicology (CZ).
_____ 2016. 'The past is a foreign country: The cultural practice of imagining Early Music in the 20th centuryâ Universidad Nacional AutĂłnoma de MĂ©xico, Seminario de MĂșsica en la Nueva España y el MĂ©xico Independiente (MEX â via Skype).
_____ 2015. âEtnomusikologi: Oleh dan untuk siapa?â Diskusi Keilmuan, Institut Seni Indonesia (ISI), Yogyakarta (RI).
_____ 2015. ââThe guitar speaks its languageâ Music and meaning in South African maskanda practiceâ Kingâs College, University of London, Colloquium Series (UK).
_____ 2015. âIntellectual Autonomy as Profit and Privilege: Reflections on Democracy and the Humanities.â University of Amsterdam, Lecture Series I am Human. Think! Perspectives for an endangered species. (NL).
_____ 2015. âMusic and meaning in South Africaâ University College Roosevelt, Middelburg, Guest lecture for the BA Arts and Humanities programme (NL).
_____ 2014. âWho is the maskandi? Historiographies of South African maskanda musicâ Orpheus Academy, Ghent, Instruction at PhD Workshop (B).
_____ 2014. âMaskanda performance in South Africaâ, Amsterdam Conservatory, Minor African music (NL).
_____ 2014. ââThe guitar speaks its languageâ Music and meaning in South African maskanda practiceâ, K.U. Leuven, Colloquium Series (B).
_____ 2014. âEssentialist and constructivist approaches in discourses of cultural identityâ, Tilburg University, Instruction at PhD Workshop (NL).
_____ 2013. âResisting cultural commodification: Maskanda music as discourse of power in post-apartheid South Africaâ, Georg-August-UniversitĂ€t Göttingen, Colloquium Series (D).
_____ 2013. âIslam, music and body politics in contemporary Indonesiaâ, Utrecht University, Guest lecture for the Music history post-1800 course (NL).
_____ 2012. âWie heeft de Zoeloe blues? Zuid-Afrikaanse maskanda in mondiaal perspectiefâ, Faculteit Sociale Wetenschappen, Universiteit Utrecht â Workshop for the Antropologendag Muziek over Grenzen: Etnomusicologie in een gemondialiseerde wereld (NL).
_____ 2011/12. âGender roles in contemporary maskanda performance in South Africaâ, Gender and Ethnicity Programme, Universiteit Utrecht â Several guest lectures (NL).
_____ 2010. âMultiple maps and incompatible utopiaâs: Maskanda performance in (post)apartheid South Africaâ Universiteit van Amsterdam â Colloquium series musicology programme (NL).
_____ 2010. âMaskanda performance in South Africaâ, Amsterdam Conservatory â Guest lecure in African Music Course (NL).
_____ 2009. âWho's playing with identities? Postcolonial consciousness in the context of maskanda performanceâ, Centre for Critical Research on Race and Identity (CCRRI), University of KwaZulu-Natal (RSA) & School of Music, University of KwaZulu-Natal â On the Off Beat Seminars (RSA).
_____ 2009. âA globalized locality: 'Zuluness' in contemporary maskanda performanceâ, University of Southern California (USC), Los Angeles â Musicology Seminar & University of California, Los Angeles (UCLA) â Ethnomusicology Seminar (USA).
_____ 2009. âEin Zulukunstwerk oder ein europĂ€isches Artefakt? MusikĂ€sthetische Betrachtungen ĂŒber die globalisierte Rezeption sĂŒdafrikanischer Maskandamusikâ, UniversitĂ€t des Saarlandes â SaarbrĂŒcker Kolloquium zur Musikwissenschaft (D).
_____ 2008. âMaskanda overseas: Some preliminary enquiriesâ, Stellenbosch University â Musicology Colloquia & School of Music, University of KwaZulu-Natal â On the Off Beat Seminars (RSA).
_____ 2008. âZulu identities in globalized maskanda performanceâ, Centre for Critical Research on Race and Identity (CCRRI), University of KwaZulu-Natal (RSA).
_____ 2008. âMuziekgeschiedenis als exercitie van de Geest: De idealistische erfenis van Hegelâ, K.U. Leuven â Three guest lectures in the MA musicology programme (B).
_____ 2007. âWho needs âworld musicâ? European musical aesthetics and Zulu musical practices in South African maskanda musicâ, University of Southampton â Music Research Seminar (UK).
_____ 2007. âBeyond Self and Other: Tracing histories of western music in globalized maskanda performanceâ, Universiteit Utrecht â Utrecht Colloquia in the Musicologies (NL).
_____ 2007. âDiabolus in musica / De duivel in de muziekâ, Universiteit Utrecht â Introductory lecture for the BA Musicology programme (NL).
_____ 2007. âThe musical anthropology of Johann Gottfried Herderâ, Roosevelt Academy, Middelburg â Guest lecture in the BA Arts and Humanities programme (NL).
_____ 2007. âZwervend erfgoed: Representaties van Zuid-Afrikaanse maskandamuziekâ, Universiteit van Amsterdam â Colloquium series musicology programme (NL).
_____ 2006. âMusic as the devil: A legitimization crisis in 19th-century German music criticismâ, Universiteit van Amsterdam â Collegium Musicologicum (NL).
_____ 2006. âWho needs classical music?â, Onderzoeksinstituut voor Geschiedenis en Cultuur, Universiteit Utrecht â Guest lecture in the Research Master programme (NL).
_____ 2005. âMuzikaal formalisme: scheldwoord of geuzennaam?â, University of Amsterdam â Guest lecture for the BA musicology programme (NL).
_____ 2005. âFaust en de psychoanalyse van de programmamuziekâ, Radboud Universiteit, Nijmegen â Guest lecture for the programme Algemene Cultuurwetenschappen (NL).
_____ 2003. âAn âaesthetic changelingâ? Programme music in the context of Friedrich Theodor Vischerâs aestheticsâ, Faculty of Music, University of Oxford â Graduate Studentsâ Colloquia (UK).
_____ 2001. âHegel, Hanslick and the problem of a musical âaesthetics of feelingââ, Amsterdam Conservatory â Guest lecture in the Music History and Aesthetics Course (NL).
Academic blogposts
Titus, Barbara 2024. 'The Future of the Dutch Colonial Past' Response to Piet Emmer's review of Pepijn Brandon, Emma van Bijnen, Karwan Fatah-Black, Imara Limon, Wayne Modest & Margriet Schavemaker (eds) The Future of Dutch Colonial Past: Curating Heritage, Art and Activism. Amsterdam: Amsterdam University Press.
_____ 2023. '[Sound Bite] Jaap Kunst â Flores' on meLĂȘ yamomo's website Sonic Entanglements: Listening to Modernieties in Sound Recordings of Southeast Asia, 1890-1950.
_____ 2021. '[Sound Bite] Jaap Kunst â UrbinasopĂšn (1932) - Nieuwe vragen en gedeelde wetenschap' on meLĂȘ yamomo's website Sonic Entanglements: Listening to Modernieties in Sound Recordings of Southeast Asia, 1890-1950.
dr. Barbara Titus
Associate Professor of Cultural Musicology / Universitair Hoofddocent (UHD), 1.0 fte, permanent position
Department of Art and Cultural Studies (K&C), Amsterdam School for Cultural Analysis (ASCA)
University of Amsterdam (UvA)
E b.titus@uva.nl Website: http://barbaratitus.nl/
2000â2005 D.Phil. (Doctor of Philosophy) in musicology, St Anneâs College, Oxford University
Thesis: âConceptualizing music: Friedrich Theodor Vischer and Hegelian currents in German music criticism 1848â1887â [Thesis approved without corrections]
Supervisor: Dr Bojan BujiÄ, Magdalen College
Examiners: Prof Reinhard Strohm, Prof Robert Pascall
1999â2000 M.St. (Master of Studies) in musicology, Lincoln College, Oxford University
Thesis: âThe âunspecific meaningâ paradox: Form and content in the musical aesthetics of Friedrich Theodor Vischer (1807â1887)â
Supervisor: Dr Bojan BujiÄ
1992â1997 MA (âDoctorandusâ) in musicology, Utrecht University
Thesis: âAbsolute music as an ideal: The romantic roots of post-war serialist aestheticsâ [In Dutch]
Supervisor: Dr Paul van Emmerik
1986â1992 Grammar school (âGymnasiumâ). Equivalent of baccalaureate in:
Dutch, English, German, Ancient Greek languages, Music, History, Geography, Mathematics
2024 Member of the team securing a NWO Subsidy of EUR 363,000.- for the project Restituting, Reconnecting, Reimagining Sound Heritage (Re:Sound)
2024 Member of a team securing Decolonial Futures seed grant money from the University of Amsterdam for the project Digital Restitution of the Jaap Kunst Collection
2021 Project Leader and Principal Investigator of a team securing a JPICH Subsidy of EUR 650,000.- for the project Decolonizing Southeast Asian Sound Archives (DeCoSEAS)
2020 Member of the team securing a Comenius Leadership Grant of EUR 500,000.- for a combined BA programme of the Conservatory of Amsterdam and the University of Amsterdam (AMMA)
2018 Discretionary bonus from the Department of Art & Cultural Studies (K&C) for extraordinary services to the musicology leerstoelgroep, University of Amsterdam
2015 Balzan Musicology Visitorship 2015-16 for the research project The West in musical retrospect: South African maskanda music as historiography
2015 Amsterdams Universiteitsfonds (AUF) Subsidy for the project Klinkend Erfgoed
2013 KNAW Research Stipend for the research project Zulu Blues and Islamic Swing
2012 Aspasia Research Stipend for the research project Zulu Blues and Islamic Swing
2011 KNAW Conference Subsidy for the international conference Negotiating the West Music(ologic)ally
2008 & 2009 Fieldwork funding from the Research Institute for History and Culture, Utrecht University (OGC)
2001 Research grant, German Academic Exchange Service (DAAD)
2000â2003 Balfour Studentship, St Anneâs College, Oxford University
2000â2003 Studentship, Faculty of Music, Oxford University
2000â2003 Arts and Humanities Research Council (AHRC) Award
1999 Erich and Rochelle Friedmann Prize, Lincoln College, Oxford University
1999 Award Genootschap Noorthey, The Hague, Netherlands
* University of Amsterdam (UvA), The Netherlands
2013 â present Associate Professor (UHD) of Cultural Musicology at the Department of Art, Religion and Cultural Studies, 1.0 fte, permanent position.
* Georg-August-UniversitÀt (GAU), Göttingen, Germany
2013 â 2014 Guest Professor in Cultural Musicology for the Musikwissenschaftliches Seminar (temporary replacement for Prof Birgit Abels) (Wintersemester)
* Utrecht University (UU), The Netherlands
2008 â 2013 Assistant Professor (UD) of Musicology at the Department of Media and Cultural Studies, 1.0 fte, permanent position.
* University of KwaZulu-Natal (UKZN), Durban, South Africa
2008 & 2009 Visiting Professor at the School of Music, 1.0 fte (1 July to 1 November)
* UniversitĂ€t des Saarlandes, SaarbrĂŒcken, Germany [not taken up]
2008 Lecturer at the Institut fĂŒr Musikwissenschaft, 1.0 fte, fixed term (1 year), followed by a Juniorprofessur with âHabilitationâ.
* University of Amsterdam (UvA), The Netherlands
2006 â 2008 Lecturer in Musicology at the Department for Art, Religion and Culture Studies (September 2006 & 2007 to February 2007 & 2008)
* University of Oxford (Oxon), United Kingdom
2001 â 2003 Teaching assistant for the Faculty of Music, 0.2 fte
2015 â present Sounding Out Dutch Colonial Heritage: Jaap Kunst in the Dutch East Indies
In my capacity as curator of the Jaap Kunst sound archive at the University of Amsterdam, I coordinate an international team of Indonesian and Dutch musicologists, historians, anthropologists and performance studies scholars who aim to investigate, disclose and critically approach the material and intellectual legacy of ethnomusicologist Jaap Kunst (1891-1960) and his successors, kept at the University of Amsterdam (photographs, film, correspondence, manuscripts, field notes, teaching material), the Phonogrammarchiv Berlin (sound recordings) and the Museum Nasional in Jakarta (musical instruments) from the Indonesian archipelago. This initiative has culminated in the JPICH-funded research project Decolonizing Southeast Asian Sound Archives (DeCoSEAS) [2021-2024], coordinated by me and meLĂȘ yamomo as well as the NWO-funded research project Restituting, Reconnecting, Reimagining Sound Heritage (Re:Sound) [2024-2028].
Methods: archival research, online crowd sourcing, archive location visits, historic-recording location visits (Lesser Sunda Islands, Nias, Java, Bali) encompassing qualitative interviews and (auto)ethnographic documentation and reflection
Theoretical frameworks: postcolonial theory, archive studies, history of science
2008 â present Hearing Maskanda: Musical Epistemologies in South Africa
In 2022, my book about the South African music genre maskanda, often marketed as âZulu bluesâ, was published with Bloomsbury Press. I address the divergent ways maskanda is heard, analyzed and conceptualized by those who participate in maskanda practice in current South Africa, after centuries of colonial imposition and decades of apartheid rule. Rather than treating maskanda solely as a performance or entertainment practice, I regard it as a mode of knowing engendering forms of (sonic and vocal) eloquence, ideas, sensibilities, historiographies, critiques, and reconfigurations of time and space in which I â a white female researcher from Europe â participated between 2008 and 2018 during almost annual fieldwork visits of one to four months.
Methods: participant observation, qualitative semi-structured interviews, autoethnography, eurogenic music analysis, discourse analysis
Theoretical frameworks: postcolonial theory, musical epistemology, eurogenic music theory, theories of embodiment
2000 â 2005 Conceptualizing Music: Hegelian Currents in German Music Criticism 1848â1887
In the mid-nineteenth century, Hegelian aestheticians insisted on artâs conceptual clarity â which put music in an awkward aesthetic position. However, they also adapted Hegelâs aesthetic system on which this insistence was based. These adaptations turned out to be decisive for the development of nineteenth-century music criticism, to such an extent that music critics used them to point out musical content that safeguarded musicâs autonomy as an art form. This research unravels the network of music critics and philosophers, including not only Hegel, but also Friedrich Theodor Vischer, Franz Liszt, Franz Brendel and Eduard Hanslick, whose works shaped public opinions of music. The research has been published by Leuven University Press.
Methods: archival and literature study, eurogenic music historiography, discourse analysis
Theoretical frameworks: German-Idealist philosophy and aesthetics, music history, history of ideas, history of science
Mitchell, Mimi. âThe Revival of the Baroque Violin. An Oral Historyâ, defended on 23 January 2019.
Erickson, Rebecca. âMiddlebrow Musical Misogynyâ, defended on 3 March 2021.
Capitain, Wouter. âPostcolonial Polyphony: Harmony and Dissonance in Edward Saidâs Musical Deliberationsâ, defended on 8 September 2021 [cum laude].
Montoya-Alzate, Juan David. "Caribbean Palimpsests: Music and Heritage in Northern Colombia', defended on 8 July 2024.
Bezemer, Cas. âInscribing Sonic Space between Body and Ether: Epistemological Modalities of Media, Embodiment and Speculation in the Art of Ryoji Ikedaâ
Bostancı, Emine. âThe Development of Instrumental Music in Ottoman/Turkish Maqam Musicâ
Gosfield, Avery. âFare Musica Antica (Ebraica): Reinventing a Usable Pastâ in collaboration with docARTES.
Ishida, Noriko. âSanskrit Metres in Old and Modern Javanese: A Study of their Musical and Literary Featuresâ
Ritz, Lennart. "Klangspuren aus dem Pazifik: Klangepistemologien im Berliner Phonogramm-Archiv"
Trinanda Kusuma Adi, Brian. "Ki Ageng Qithmir: The Making of Eco-Cosmological Music in the World of Anthropocene"
Vilela, Rui. âOn the Politics of Listening: The Anticolonial Sound Archiveâ
University of Amsterdam, Utrecht University, Leiden University, University of Groningen, University of KwaZulu-Natal (Durban), Nelson Mandela University (Port Elizabeth), Columbia University (New York)
2014: Member of the External Audit Committee for the accreditation of Codarts â University of the Arts Research Programme, Rotterdam.
2012: Reviewer for the National Research Foundation (NRF), South Africa.
2015: Member of the ASCA PhD Finishing Fellowship Committee
2012 â 2015: Member of the FWO Expert panels Cult 3 (History, Art History and Archeology) and Cult 2 (Arts, Art History and Literature), Flemish Fund for Scientific Research, Belgium
2012 â 2018: Member of the Board of the dr. Catharine van Tussenbroekfonds, selecting Dutch female scholars for grants enabling research visits abroad.
2007: Member of the jury for the Jan Pieter Heije Thesis Prize for the Royal Society for Music History in The Netherlands (KVNM)
2015: Member of the jury for the STIMU Young Scholars Award, Utrecht Early Music Festival Symposium
2013 â present: Member of the Advisory Board of the journal Music Theory and Analysis (MTA)
2006 â 2013: Peer reviewer for the Dutch Journal of Music Theory (DJMT)
2011: Member of the committee selecting paper proposals for the international conference Negotiating the West Music(ologic)ally, Universiteit Utrecht.
2006 â 2008: Member of the committee selecting paper proposals for the 9th, 10th en 11th Conferences of the Dutch-Flemish Society of Music Theory (VvM)
2009 â 2013: Member of the selection committee interviewing prospective music students for the Research Master in Musicology, Utrecht University.
2002: Member of the St Anneâs College selection committee interviewing prospective music students for the Faculty of Music, University of Oxford.
2013 â 2021: Programme coordinator for the BA Musicology programme at the University of Amsterdam
2013 â 2015: Chair of the Educational Board for the BA Musicology programme at the University of Amsterdam
2013 â 2016: Delegate of the Board for Exams for the BA Musicology programme at the University of Amsterdam
2013 â 2016: Member of the Graduate School of Humanities' Board for Exams for all Humanities MA programmes at the University of Amsterdam
2012 â 2013: Chair of the Educational Advisory Board for the BA and MA Musicology programmes at Utrecht University.
2010 â 2012: Programme coordinator for the BA and MA Musicology programmes at Utrecht University.
2006 â 2010: Treasurer of the Dutch-Flemish Society of Music Theory (VvM)
2001 â 2002: Chair of the Oxford Chamber Choir
2019: Co-organizer and convenor (with meLĂȘ yamomo [UvA]) of the workshop and tour Sonic Entanglements:Sound, Archive, and Acoustic Historiographies in the Asia Pacific
2018: Organizer of the ASCA Seminar Aurality: Musical Modes of Knowledge Inscription.
2015: Curator (with Jed Wentz) of the international STIMU Symposium in collaboration with the Utrecht Early Music Festival (Festival Oude Muziek) The past is a foreign country, 28-30 August 2015, TivoliVredenburg, Utrecht.
2011: Organizer (with Rachel Beckles-Willson [RHUL]) of the international conference Negotiating the West Music(ologic)ally, 11-13 April 2011, Universiteit Utrecht.
2008: Co-organizer of the âMusic Theorist in Residenceâ for the Dutch-Flemish Society of Music Theory (VvM) â Prof Kofi Agawu, Princeton University.
2008: Co-organizer of the 10th Conference of the Dutch-Flemish Society of Music Theory (VvM), Conservatorium Maastricht/Hogeschool Zuyd.
2002 â 2003: Organizer of the Graduate Studentsâ Colloquia, Faculty of Music, Oxford University.
2001 â 2002: Co-organizer of the Graduate Studentsâ Exchange Conference University of Oxford, University of Cambridge, Kingâs College â University of London, Royal Holloway â University of London.
* Vocaal Ensemble Venus, specialized in contemporary composed music.
New compositions (dedicated to the ensemble) from Wolfgang Rihm and Calliope Tsoupaki, among others.
* Ars Nova Trajectina (early music ensemble of the Musicology Programme), specialized in European music from 1300 to 1650
* Utrecht Dome Choir (Utrechtse Domcantorij) and Capella Occento
* Collegium Musicum Amsterdam (CMA), specialized in early music.
Fringeconcerten in the Utrecht Early Music Festival (1997), European tour with scenic performance of Leoncavallo's Pagliacci (1998), European tour with Bachâs B-minor Mass (2000).
* Mensural notation singing group supervised by Prof. Margaret Bent, All Souls College Oxford
* Chapel choir of Lincoln College Oxford
Evensong in o.a. York Minster (2003), St Paulâs Cathedral (1999) & Canterbury Cathedral (2000)
* The Oxford Chamber Choir, New Chamber Opera Studio (New College Oxford), Voces Intimae Oxford
* Rehearsals and performance with Skho Miya en her group Abagqugquzeli in Durban.
* Lessons in maskanda guitar from Shiyani Ngcobo in Durban and Josefa Nkwanyana in Mandeni, Tugela.
* Balinese Semar Bandhana group consisting of musicology students and lecturers of the University of Amsterdam playing on a semar pagulingan instrumentarium, led by Anak Agung Bagus Gede Krishna
* Ars Floreat Amsterdam â Consisting of members of national radio orchestraâs
* Consort De Kleine Johannes â Baroque orchestra of Universiteit Utrecht