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Curriculum vitae
Rokus de Groot (*1947 Aalst, Netherlands), musicologist and composer, conducts research on music of the 20th and 21st centuries, especially in the field of aesthetics and techniques of composition, and in the field the interaction between different cultural traditions, particularly in the perspective of present-day (re)conceptualisations of past and present religious and spiritual traditions in relation to music. He also has published on Edward Said and polyphony/counterpount, in the musical sense, as a metaphor and as an intellectual mode.
He obtained his MA in musicology with honours at the University of Amsterdam (Frank Ll. Harrison, Ton de Leeuw) and his PhD at the University of Utrecht (Paul Op de Coul, Jos Kunst). As a musician he received teaching from Cor Visser and Willem Vogel (organ) and Ernst Heins (Central-Javanese court gamelan). He obtained a diploma of cantor-organist in 1969.
He holds the chair of musicology at the University of Amsterdam, after occupying a personal chair ‘Music in the Netherlands since 1600’, at the University of Utrecht (1994-2000). In 1993/4 he was a fellow at NIAS.
In 2009 he was visiting professor at the American University of Cairo (AUC), Dept. of English and Comparative Literature, and in 1992 and 2003 at the Universidad Nacional Autonoma de Mexico in Mexico City.
On the invitation of American University of Cairo, he delivered the Edward W. Said Memorial Lecture 2009, 'Contrapuntal Intellectual: Edward Said and Music'.
In 2011, he was invited to participate in the Eranos Meeting at Ascona, organised by the Fetzer Institute, on the theme of "Love and the Musical Arts". The Eranos meetings were initiated in 1933 by Olga Fröbe-Kapteyn, with support of Carl Jung. In the same year he also addressed the International Symposium of the Institute for Cultural Diplomacy, Berlin, "The language of art and music", on the theme of polyphony as a social and a political mode of thought and action. Also in 2011, he was invited by the Asisatic Society, Kolkata (Calcutta), established in 1784 by Sir William Jones, to deliver a presentation at its international conference commemorating Rabindranath Tagore's 150th birthday.
He has given lectures and guest courses at universities and music institutions in West- and East-Europe (a.o. Charles University, Prague; Music Academy of Belgrade, the Conservatories of Moscow, Athens, Ghent and Tirana), India (Delhi at ARCE; Mumbai at the University of Bombay and NCPA; Chennai at Prakriti Foundation, Banares at Hindu University; Kolkata at Asiatic Society), the Americas (UCLA, Universidad Nacional Autónoma de México) and South-Africa (Johannesburg, Witwatersrand), about intercultural exchange, about Western compositions based on musical models from Indian and Turkish classical traditions, as well as about the history and theory of Western music.
From 2004 to 2008, with a team of researchers, he was working on the project ‘New Music and the Turn to Religion’, which is part of the Dutch research program The Future of the Religious Past.
He was co-organizer of international conferences at which the subject of music and spirituality was a central issue of discussion, likeMusic, Poetry and Devotion (Utrecht 1998), New Music and Spirituality (Amsterdam 1999), The Arts and Ideas of Rabindranath Tagore (Amsterdam 2001). Under the title Redefining Musical Identities he co-organised several national and international seminars and conferences (Amsterdam 2001, 2002, 2004). In 2004 he co-organised in Amsterdam the International conference Modernity and postmodernity in musicand visual arts in the Middle eastand North Africa, in cooperation with Musicin ME and Foundation Gaudeamus, with participationof the NWO-program The Future of the Religious Past. His Department of Musicology supported the international conference India-Iran: Confluence of musical cultures, held in January 2005 at NCPA, Mumbai, India, as well as Music and the Art of Seduction (Amsterdam, May 2005). In 2006 he co-organised the international conference Cathy Berberian: Pioneer of Contemporary Vocality and Performance, with the Amsterdam School for Cultural Analysis, and in 2007 the international conference Spiritual New Music: Between Fall and Resurrection (NWO, ASCA). For the Tagore conference he wrote the composition Hide and Seek, for mezzo soprano, baritone and piano, on a text from Gitanjali. Together with Theatre Studies and Musicology of the University of Amsterdam, he co-organised the Symposium Edward Said: Academics, Activism, Art, in 2010. In 2011, Elmer Schönberger (ASKO/Schönberg) and he, with support of Muziekgebouw aan 't IJ, invited an international team of scholars at the Symposium Galina Ustvolskaya: New Perspectives.
He has conducted field research in Scotland (1971) and North India (1992, 1997), in the latter case on present-day interpretations of the legacy of the 16th-century mystic poetess Mirabai.
During the celebrations of the 50th Anniversary of Indian Independence in the Netherlands in 1997 and 1998, De Groot organised music and dance performances, as well as university seminars around Mirabai, who was one of the key figures of these celebrations. He published abook about this Indian mystic, Verliefd op de Donkere (In love with the Dark One, 1998), and composed song cycles on her poetry.
Recently he investigated the role of Rabindranath Tagore in Dutch cultural life since the mid-1910s, studying Dutch musical settings of his poetry.
In his compositions, Rokus de Groot explores the expressivity of melodic contours,and polyphony. Examples of his works are: Kontur for soprano saxophone (1982), Promenades,Marches et Danses, for small orchestra (1986), Winds of a far air, for flute and soprano saxophone (1991), In Love with the Dancer: Songs of Mirabai I for soprano or tenor solo (1993), Tide of seasons, for windquintet, string quintet, piano and percussion (1995). He also wrote a piece for Turkish ud and Western ensemble, Seyir, which was performed in the context of a Turkish lute project, co-organised by the Conservatory of Amsterdam and the Department of Musicology, University of Amsterdam (2001).
Later he has composed a second and third cycle of Mirabai songs, I have torn off the veil of worldly shame (1997), and The story of the Mirabai's poisoning(1999). He wrote the music for dance performances on a text by Marc Chagall on the ‘Song of songs’ from the bible, combining the South-Indian dance traditions of devadasis and bharata natyam with Western contemporary music traditions (Amsterdam, Beurs van Berlage, 2000, Theatre of the Royal Tropical Institute, 2002). This composition, Song of songs: The Love of Mirabai was performed during the cultural program of the 6th India-EU summit in New Delhi, at SAI International Centre, with choreographer and dancer Kalpana Raghuraman (September 6, 2005). Dr Saskia Kersenboom was instrumental in modelling this compositionon the South-Indian varnam.
In 2004 the première was given of Mehfil for piano solo by Ralph van Raat, to whom it is dedicated. This piece is based on the North Indian râga Chandrakauns; various forms of meend (glissando) are projected on the piano, by way of a special technique of pedaling and the holding/releasing of keys.
In 2005-6, together with the Theatre of the Royal Tropical Institute, he has initiated a festival on the Arabic-Iranian story of Layla and Majnun. Like in Seyir, the concept of mutual learning between musicians from the world of Islam and from the West hasbeen developed. His danced music theatre Layla and Majnun, A Composition about the Night, was premiered on November 2006 in Amsterdam, by the Nieuw Ensemble, Nederlands Vocaal Laboratorium and guest dancers and musicians (breakdance, oriental dance, qanun, ‘ud). This performance was realised by dancers, musicians and singers from Europe, Lebanon/Ecuador, Iraq, Turkey, and the U.S.
Part of the Layla and Majnun music theatre was performed in the Poetry International Festival, Rotterdam 2010, with Bassem Al-Khoury, Eduard van Regteren Altena and Haider Al-Timimi. Together with Ashghar Seyed Gohrab, De Groot advised Poetry for Layla and Majnun as one of the Festival Themes.
In December 2009, at the invitation of Park's New Festival of the Prakriti Foundation, his compositions ShivakShakti I and II were performed in Chennai (Madras), featuring Dhruba Ghosh, sarangi, and Ernest Rombout, English horn.
His interest in Japanese aesthetics, especially concerning the shaping of kinetic-sonorous gestures, has led to Cantata 6 Gong ‘Botan Kuroku’ (tenor, 2 violas, cello, piano and gong, 1972), Winds of a far air (flute and soprano saxophone, 1990), and recently Kumo no Utsuroi (shakuhachi, shô, and koto, 2008, premiered in Mallorca). His composition Passing for shô solo was played by Naomi Sato at the first Bach Festival in Dordrecht, 2010.
His compositions have been performed in the Netherlands,Belgium, Spain, Sweden, the U.S., Mexico, Russia, Albania and India.
He is the brother of composer Jan Rokus van Rosendael.
Publications
Books and other independent publications:
‘Oorspronkelijkheid’ in muziek, Amsterdam: Vossiuspers, 2003. Inaugural speech University of Amsterdam.
Een Muziekgeschiedenis der Nederlanden. Amsterdam: Amsterdam University Press, 2001. Co-editor, with Louis Peter Grijp (ed. in chief), Ignace Bossuyt, Mark Delaere, Lutgard Mutsaers, Rudolf Rasch, Kees Vellekoop, Emile Wennekes.
Verliefd op de Donkere: Leven en liederen van Mirabai, with a translation into Dutch of Mirabai-poems by D. Plukker. Abcoude: Stichting India Muziek, 1998.
Beheersing en overgave in recente Nederlandse muziekdrama's. Utrecht: Universiteit Utrecht, Faculty of Humanities, 1994. Inaugural speech.
Gassir, de Held [An interpretation of Theo Loevendie’s opera], with a preface by G. Willemse and a contribution by Marius Flothuis. Hilversum: Centrum Nederlandse Muziek, 1994.
Compositie en intentie van Ton de Leeuws muziek: Van een evolutionair naar een cyclisch paradigma. Doctoral dissertation University of Utrecht. Amsterdam: University of Amsterdam, 1991.
Tijdbeleving in muziek. Report IFA nr.96. Amsterdam: Institute for Phonetic Sciences, 1987. Co-authors: P. van Amstel and J.S.C. van Dijk.
Achtergrondmuziek. Serie Massacultuur Haags Gemeentemuseum. The Hague: Municipal Museum,1981.
Zingeving in muziek. Amsterdam: University of Amsterdam, 1980. Co-author J. Koning.
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Articles and chapters in books
‘Rumi and the Abyss of Longing’, in The Mawlana Rumi Review Vol. 2, ed. L. Lewisohn, Cyprus: Rumi Institute, Near East University, and Exeter: the Rumi Studies Group of the Institute for Arab and Islamic Studies, University of Exeter, 2011, p. 60-93.
'Stravinsky's "Musick to heare": A Study in Union and Singleness', in Dutch Journal of Music Theory Vol. 16/1, Amsterdam: Amsterdam University Press, 2011, p. 27-38.
Tagore en Nederland: Een blik op de geschiedenis [Tagore and the Netherlands: A historical sketch], in India Nu Nr. 194 (2011), p. 18-20.
'Edward Said and Polyphony', in A. Iskandar and H. Rustom (eds.), Edward Said: A Legacy of Emancipation and Representation, Berkeley: University of California Press, 2010, p. 204-228.
'Music at the Limits: Edward Said's Musical Elaborations', in W. Otten, A. J. Vanderjagt, H. de Vries, How the west was won: Essays on the literary imagination, the canon, and the Christian middle ages for Burcht Pranger, Leiden: Brill, 2010,p. 127-145.
'Music, Religion and Power: Qawwali as Empowering Disempowerment', in M.B. ter Borg and J.W. van Henten, Powers, Religion as a Social and Spiritual Force, New York: Fordham University Press, 2010,p. 243-264.
'Rumi en het verlangen' [Rumi and longing], in A. Seyed-Gohrab ed., Essays over het leven en werk van Mowlânâ Jalâl al-Din Rumi, Leidschendam: Quist, 2010, p. 25-61.
‘RabindranathTagore and Frederik van Eeden: Receptionof a “Poet-King” in the Netherlands’, in J. Bor e.a. ed., Hindustani Music: Thirteenth to Twentieth Centuries, Delhi: Manohar/Rotterdam: Codarts,2010, p. 521-576.
'Jaap Kunst', in The Oxford Encyclopaedia of the Music of India, New Delhi: Oxford University Press, 2010.
‘Globalisation of music by way of polyphony’, on www.muziekcentrumnederland.nl (On the globalization of European classical music), 2010.
‘Een “moment van genade” in muziek: Daan Manneke’s werk als bespiegeling over muziek en het numineuze [A “moment of grace” in music: Daan Manneke’s work as a reflection on music and the numinous], G. van der Leeuw & W. Arts eds., Daan Manneke, Componist van de ruimte, Breda: Van Kemenade, 2009, 74-81.
‘Transcendent Sounds: Festival of Sacred Music in Tiruvaiyaru, South India, The Hindu, March 29, 2009, p. 5.
‘Complex Transmission in a Literate Music Tradition: A Case Study’in Dutch Journal of Music Theory 13/3 (Amsterdam: Amsterdam University Press, 2008), p. 220-230.
'On Composition and Performance', in Journal of the Indian Musicological Society 39 (2008), p. 88-102.
‘Perspectives of Polyphony in Edward Said’s Writings’, inF.J. Ghazoul ed., Edward Said andCritical Decolonization, Cairo/New York:The American University in Cairo Press, 2007, p. 219-240 [reprint].
‘Composition: A Concept for Performance’, in S. Suvarnalata Rao ed., Composing, Composition &Composers in Music, Mumbai: ITC Sangeet Research Academy, 2007, p. 25-35.
(with A. van der Schoot) ‘Introduction’, in R.de Groot & A. van der Schoot (Eds.) (2007), Redefining MusicalIdentities at the Waning of Modernism, Rotterdam/Arnhem: Veenman/ArtEZ, p. 7-11.
‘Oriental identities in Western music’, in R. de Groot &A.van der Schoot (Eds.) Redefining Musical Identities at the Waning of Modernism. Rotterdam/Arnhem: Veenman/ArtEZ, 2007, p. 87-99.
‘Verkenningen van muziek en emotie’ [Explorations of music and emotion], in M. Huvenne ed., Emotie en Filmmuziek, Gent: IAK, 2007, p. 26-32.
‘The reception in the Netherlands of an Indian singing saint: Meerabai in film, in translation and in concert’, in Tijdschrift van de Koninklijke Vereniging voorNederlandse Muziekgeschiedenis 56/1 (2006), pp. 25-65.
‘Rabindranath Tagore and the Netherlands’, in A. Biswas & Ch. Gordon-Graham eds., Rabindanath Tagore, a Creative Unity, London: The Tagore Centre UK, 2006, p. 47-59.
‘Mirabai: Een interculturele ontmoeting in de liefde. Nederlandse culturele bijdrage aan de India-EU top 2005’, in India Nu 159 (2006), p. 18-20.
‘The Arabic-Persian story of Laila and Majnun and its Reception in Indian Arts’ in Journal of the Indian Musicological Society, Volume 36-37 (2006), Special Issue Indo-Iranian Music: Confluence of Cultures,withdiscussion, p. 120-148.
‘Perspectives of Polyphony in Edward Said’s writings’, in F. Ghazoul ed., Edward Said and Critical Decolonization (Alif 25), Cairo: The University of Cairo Press, 2005, pp. 219-240.
‘Song of songs as polyphony: An interculturalexperiment in music, poetry, mime and dance’, in Multicultureel Drama? Theater TopicsI,Amsterdam: Amsterdam University Press,2005, p. 100-106.
Co-author Saskia Kersenboom.
‘PendelnimRaster. Zyklisches Denken als dynamischer Prozeß in der Musik Theo Loevendies’, in MusikTexte 105 (2005), p. 59-64.
‘De toekomst van de muziekwetenschappen: ontwikkeling van polyfonie’, in Dutch Journal of Music Theory 10/1(2005), Amsterdam: AmsterdamUniversity Press, p. 49-56.
‘Edward Said and counterpoint’, in Reader ASCA Conference Sonic Interventions, Amsterdam: ASCA, 2005 p. 66-75.
‘Music and irony: The Case of Louis Andriessen’s “Hadewijch”’, in Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 54/2 (2004), pp. 37-77.
‘Over de aanspraak een alternatievemuziekpraktijk te creëren in de 21ste eeuw. Een manifest van de Componistengroep Amsterdam kritisch bekeken’, in Tijdschrift voor Muziektheorie 9/3 (2004), pp. 245-257.
‘Musical Continuities in Intercultural Exchange’, in S. Rao, ed., Continuity and Change: Indian Music (Mumbai: NCPA, 2004), p. 18-25.
‘Een kleine geschiedenis vanBach-beluistering in “god-vergeten tijden”’, in Speling 56/3 (2004), pp. 75-82.
‘Ton de Leeuw’, in Musik in Geschichte und Gegenwart, Neuauflage Band 10, Kassel etc.: Bärenreiter, 2003, col. 1450-1454.
‘Variations on a Prelude. Lawrence Kramer’s ethical interpretation of Chopin’s Prelude in B flat major’, in Tijdschrift voor Muziektheorie 7/3 (2002), p. 174-181.
‘De klank van het “oosten”: Transformaties in de westerse klassieke muziek onder invloed van concepten over het oosten, klank en spiritualiteit’,in Krisis. Tijdschrift voor Empirische Filosofie 3/4 (2002), p. 96-105.
'The construction in music of fictitious timeworlds', in Tijdschriftvoor Muziektheorie 6/2 (2001), p. 123-127.
In Een Muziekgeschiedenis der Nederlanden, Amsterdam: Amsterdam University Press, 2001, edd. Louis Peter Grijp, Ignace Bossuyt, Mark Delaere, Rokus de Groot, LutgardMutsaers, Rudolf Rasch, Kees Vellekoop, Emile Wennekes:
- 'De Indiase cultuur als bron van inspiratie voorNederlandse kunstenaars', p. 683-688.
- 'Visies van buitenlanders op de Nederlandse nieuwe muziek', p. 813-818.
'Componist in Nederland tussen vrijberoep en staatsambt', p. 845-851.
- 'IJkjaar 1900', p. 538-540. Co-authors: Mark Delaere, Louis Peter Grijp, Emile Wennekes.
- 'IJkjaar 1950', p.644-646. Co-authors: Mark Delaere, Louis Peter Grijp, Emile Wennekes, LutgardMutsaers.
- 'IJkjaar1975', p. 780-782. Co-authors: Mark Delaere, Louis Peter Grijp, Emile Wennekes, Lutgard Mutsaers.
'Affirmation and restraint: Relationships between concepts of spirituality and music in the works of Joep Franssens and Daan Manneke', in BRIEF (Privacies), ASCA Yearbook 1999 (2000), p. 107-129.
'And nowhere Bach: Bach reception in a late twentieth-century Dutch composition by Elmer Schönberger', in Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 50/1,2 (2000), p. 145-158.
'Maarten Altena', in Die Musik in Geschichte und Gegenwart, ed. L. Finscher, Kassel 2000.
In The New Grove Dictionary of Music and Musicians, edd. S. Sadie and J. Tyrrell, London: MacMillan, 2000:
- 'Geert van Keulen’, Vol.13,p.306-307.
- 'Ton de Leeuw', Vol. 14, p. 467-470.
- 'Peter Schat', Vol. 22, p 440-443.
'Jonathan Harvey's Quest of Spirit through music', in Organised Sound 5/2 (2000), p. 103-109.
'Van Eeden en Tagore: Ethiek en muziek', in Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (TKVNM) 49/2 (1999), p. 98-147.
'Deeigenzinnige echo: Betekenisanalyse van echo-personificaties in
muziekdramatische werken', in Tijdschrift voor Muziektheorie 4/1 (1999), p. 40-52.
'Ockeghem and new music in the twentieth century', in Tijdschriftvan de Koninklijke Vereniging voor NederlandseMuziekgeschiedenis 47, 1/2 (1997),p. 201-220.
'De thematiek vanhet onuitsprekelijke in recenteNederlandse muziekdrama's: Vingerwijzingen in taal, muziek en enscenering', in L. Hoekstra (ed.), Eerst het woord...? Symposium over het libretto in de Nederlandse muziekdramatische kunst. Amsterdam:Theater Instituut Nederland, 1997, p. 36-45.
'De devotie vanMirabai: Muziek en bhakti in India', in India Nu 110 (1997), p. 6-8.
'De muziek van Ton de Leeuw: De stilte van het luisteren', in Klank en weerklank 18/4 (1996), p. 5-11.
'The concept of extended modality in recent works by Ton de Leeuw', in W. van Zanten en M. van Roon (edd.), Oideion: The performing arts world-wide 2. Leiden: Research School CNWS, 1995, p. 93-112.
'Circles, mirrors and motion: An analysis of cyclicity in the music of Ton de Leeuw', in J. Sligter (ed.), Ton de Leeuw. Luxemburg: Harwood Academic Publishers,1995, p. 141-162.
[Translation of 'Cirkels, spiegels en beweging: Een analyse van
cycliciteit in de muziek van Ton de Leeuw', in J.Sligter (ed.) 1992, see below].
'Introduction to the music of Ton de Leeuw', in J. Sligter (ed.), Ton de Leeuw (Luxemburg: Harwood Academic Publishers, 1995), xiii-xxvii. Co-author J. Sligter.
[Translation of R. de Groot and J. Sligter, 'Inleiding', in J. Sligter (ed.) 1992, see below].
'The dismantling and reconstruction of Western harmony: An analysis of Geert van Keulen's Tympan', in Key Notes 29, 1 (1995), p. 19-23.
'Detaalkeuze in de hedendaagse Nederlandse muziek', in L.P. Grijp (ed.), Zingen in een kleine taal: De positie van het Nederlands in de muziek. Volkskundig Bulletin 21/2.Amsterdam: P.J. Meertens-Instituut, 1995, p. 245-259.
'Muziektherapie bij Alzheimer patiënten: Enkele richtlijnen op basis van literatuur', in Tijdschrift voor kreatievetherapie 1995/1, p. 9-14.
Co-authors: M. Broersen and C. Jonker.
'Een elegie van Ton de Leeuw: Een klaagmuur van geluid', in Mens en Melodie50, 6 (1995), p. 360-365.
'"Elégie pour les villes détruites': Een zang aan het einde van een
millennium", in Dechorum (juni 1995), p. 3-5.
'Keuze en kans in Geert van Keulens harmoniek: De constructie van het "gegevene"', in Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 44/1 (1994), p. 51-69 [Deel I]; 44/2 (1994), p. 132-154[Deel II].
'Een symposium van Russische en Nederlandse eigentijdse muziek in Moskou 1994', in Muziek en Wetenschap 4/1,2 (1994),p. 53-61.
'La ópera Ambrosio de JoséAntonio Guzmán: Componiendo con estilos musicales', in Armonia 1/1. Mexico City: Escuela Nacional de Música, 1993), p. 35-37.
'Kiezen en delen: Aspecten van een praktische muziek-esthetiek', in M. van Nierop et al. (edd.), Mooie dingen. Meppel: Boom, 1993, p. 125-138.
'Cel en kristal: Ontwikkelingen in de muziek van Ton de Leeuw', in Holland Festival 1993. Amsterdam: Meulenhof, 1993, p. 44-51.
'De gebroken vinger van Columbus: Over de relaties tussen culturen', in Mens en Melodie 48/9 (1993), p. 517-527.
'Inleiding', in J. Sligter (ed.), Ton de Leeuw. Bibliotheek Nederlandse muziek. Zutphen: Centrum Nederlandse Muziek/Walburg Pers, 1992, p. 11-24. Co-author: J. Sligter.
'Cirkels, spiegelsenbeweging: Een analysevan cycliciteit in de muziek van Ton de Leeuw', in J. Sligter (ed.), Ton de Leeuw. Bibliotheek Nederlandse Muziek. Zutphen: Centrum Nederlandse Muziek/Walburg Pers, 1992, p. 157-178.
'Aspects of Ton de Leeuw's musical universe', in Key Notes 23 (1986), p. 17-31.
'Hi dektikotita tis skepsis tis anatolis stisynchroni dutiki techni' [Over de ontvankelijkheid in de eigentijdse westerse muziek voor oosterse concepten] in Mousikologia (Athens 1986), p. 93-100; p.172. Transl.: Katy Romanou.
'De helderheid en hartstocht van Peter Schat', in Klank en weerklank 7/5 (1985), p.4-13.
'Peter Schat's Tone Clock: A proposal for a new tonality considered', in Key Notes 19 (1984), p. 5-6.
'The wheels of theTone Clock: The musician as a clockmaker', in Key Notes 19 (1984), p. 7-17.
'The clockmaker as a musician: The Tone Clock in motion', in Key Notes 19 (1984), p. 22-28.
'Klang-Erfahrung-Klang: Analyse einiger musikalischen Reaktionenvon Studenten der Musikwissenschaft auf minimal music', in Journal Das europäische Minimal Music Projekt. München: Goethe Institut, 1982, p. 1-21.
'Notities over achtergrondmuziek', in Muziek en psychologie. Eindhoven: Technische Universiteit, 1982, p. 46-47.
'Flexibility: Pitch organisationin recent works by Theo Loevendie', in Key Notes 14 (1981), p. 13-29.
Analyse van de relatie tussen tekst en muziek in de gezangen van W.R. Talsma, in Compendium vanachtergrondinformatiebijde 491 gezangen uit het Liedboek voor de kerken. The Hague: Prof.dr. G.van der Leeuwstichting, 1977, cols.245-6,295-7, 325-6, 402-3, 447-8, 652-4, 792-3.
CD
ShivaShakti
(Shankara-Durga; Bhairav-Bhairavi)
Dhruba Ghosh, improvisation/instant composing, sarangi
Ernest Rombout, English horn
Quintone, Q11002 (2012)
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Supervision dissertations
As promoter:
Helen Metzelaar, From Private to Public Spheres: Exploring Women's Role in Dutch Musical Life from c. 1700 to c. 1880 and Three Case Studies. With Prof.dr. E. Mulder as other promoter. University of Utrecht, 1999.
Marcel Cobussen, Deconstruction in Music. With Prof. dr. T. Bevers as other promoter. Erasmus University, Rotterdam, January 10, 2002. Cum laude.
Sander van Maas, Doorbraak en Idolatrie: Olivier Messiaen en het geloof in de muziek. With Prof.dr. H.de Vries as other promoter. University of Amsterdam, March 22, 2002. Cum laude.
Huib Schippers, Teaching WorldMusic in the Netherlands 1983-2003.
With co-promoter Prof.dr Patricia Campbell (University of Washington, School of Music, Seattle). Universityof Amsterdam, July 1, 2004.
Helen Leneman, The scroll of Ruth re-told through librettos and music: Biblical interpretation in a new key. With Prof.dr A. Brenner as other promoter. University of Amsterdam, November 30, 2004.
VincentMeelberg, New Sounds, New Stories: Narrativity in Contemporary Music. With Prof. dr. Ernst van Alphen as other promoter. University of Leiden, June 1, 2006.
Erik Laeven, Tijd als operadramaturg. Een semiotisch-temporeel onderzoeknaar het esceneringspotentieel in operapartituren. With co-promoter Dr. Jan Simons. University of Amsterdam, June 14, 2006.
Walter Buijn, Arabeske of Gedachte: Een muziekesthetische tegenstelling in Nederland 1820-1914 [Arabesque or Thought: A musico-aesthetical opposition in the Netherlands 1820-1914]. With co-promoter dr. A. van der Schoot. University of Amsterdam, April 17, 2007.
Jan IJzermans, History and state of the art of music in Chibale, Zambia, in the 1980s.With co-promoter dr W. van der Meer, University of Amsterdam, November 21, 2007.
Richard H.C. Zegers, The eyes and other pathographical aspects of J.S. Bach and W.A. Mozart: A medico-historical evaluation. With Prof.dr A.G.M. (Ton) Koopman as other promoter, and co-promoters: Prof.dr M.D. de Smet and Prof.dr M.P. Mourits, University of Amsterdam, October 3, 2008.
Charlotte Vignau, Modernity, complex societies and the alphorn. With co-promoters prof. dr. Jehoash Hirshberg and dr Wim van der Meer. University of Amsterdam, November 11, 2008.
Jaël Kraut, From Silence to Muteness: Music and Philosophy in the 20th Century. With prof.dr Hent de Vries asother promoter. University of Amsterdam, September 24, 2010.
Alma van der Berg, ‘Oh infelice! Oh misero!’ Een literaire, metrische en musicologische analyse van het lamento inAriosto en Tasso [A literary, metrical and musicologicial analysis ofthe lamento inAriosto and Tasso].
With Dr. Ronald de Rooij (Italian literature), co-promoter.
University of Amsterdam,December 8, 2010.
As co-promoter:
Joke Dame, Het zingend lichaam: Betekenissen van de stem in westerse vocale muziek. Promotor Prof. dr. C.M. Schmidt. Co-promotores: Prof.dr R. de Groot, Prof.dr. M.J.H. Meijer. University of Amsterdam,April 19, 1994.
Willem Marie Speelman, The Generation of Meaning in Liturgical Songs.
With Prof.dr G. Lukken (promoter), University of Tilburg, May 1995.
Paul van Emmerik, Thema’s en Variaties: Systematische tendensen in de compositietechnieken van John Cage. Promoter Prof. dr. C.M. Schmidt. Co-promoter Prof.dr R. de Groot. University of Amsterdam, September 1996.
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Editorships, membership of editorial boards
Tijdschriftvan de KoninklijkeVereniging voor Nederlandse
Muziekgeschiedenis (music of the 20th and20stcenturies). Since 1988.
H. Suèr en J. Meurs, Geheel in de geest van Wagner: De Wagnervereeniging in Nederland. Amsterdam: Theater Instituut Nederland, 1997.
E. Schönberger et al. (edd.), Ssst! Nieuwe ensemblesvoornieuwe muziek. Amsterdam: International Theatre andFilm Books, 1996.
Project oral history Dutch Music, Walter Maashuis. From 1994 to
1996.
Co-editor Key Notes, Journal for ContemporaryDutch Music. Amsterdam: Donemus.From 1984 to 1987.
Member of the Board of the Royal Concertgebouw Orchestra.
Verwijzing
Compositions
"Nun weiß man erst, was Rosenknospe sei" for 4-part mixed choir, vocal ensemble or quartet (2012)Text: J.W. von Goethe Dedicated to my brother Jan Rokus
Où est-il mon amour?
for alto flute, viola and harp (2011)
"Die Ros' ist ohn warumb"
for 4-part mixed choir, vocal ensemble or quartet (2011)
Text: Angelus Silesius (1624-1677), Cherubinischer Wandersmann 1,289
Dedicated to my sister Marja.
Benedicite
for organ (2010)
Dedicated to Gerrit Kommers
Cantata of Longing: Majnun intheDesert,
for tenor and violoncello,
and ad libitum qanun (or 'ud; saz; or setar) (2010)
Based on Act III of Layla and Majnun.
Texts: Qays b. Mulawwah (Majnûn Lâyla, Arabic), Nizami (English Translation)
ShivaShakti II (Bhairav Bhairavi) for alto oboe (2009)
Dedicated toErnestRombout
Bee bademast!–Drunk without wine!
for 12-voice mixed vocal ensemble or choir (2009).
Texts: Omar Khayyâm/Edward FitzGerald (English); Jalâl ad-Dîn Rûmî (Persian).
Commission: Fonds voor de Podiumkunsten+
For the Nederlands Kamerkoor and Leo Samama.
ShivaShakti I (Shankara Durga) for alto oboe(2008)
Dedicated to Richard Hees and Jellemieke Stouthamer.
Passing II, for shô solo (2008).
Passing I, for shô, shakuhachi and koto (2008).
Ney, for flute orchestra (2007).
Majnun's Lament, for alto flute solo (flute, bass flute) (2007).*
Commission Fonds voor de Scheppende Toonkunst (FST, Dutch Fund for Music Composition), as part of Layla and Majnun.
Layla and Majnun, A Composition about the Night, for female and male dancer, alto and tenor solo, vocal quartet (SATB), flute (also piccolo, alto, bass), oboe (also English Horn), clarinet (also bass), mandoline, ‘ud, qanun, percussion, violin, viola, cello, double bass (2006).* Commission FST. Text:Nizami, Rumi, Juande la Cruz, a.o. Dedicated to Jeanette Werkhoven.
En una noche oscura,for four-voice choir (2005/6).* Text: Juan de la Cruz. Commission FST, as part of Layla andMajnun.
Mehfil, for piano solo (2004).* Commission FST. Dedicated to Ralph van Raat.
Song of Songs: The Love of Mirabai, for mezzo-soprano, flute (also alto and bass flute), marimba andother percussion instruments, archiliuto,piano, cello (2002). Text: Marc Chagall.
Hide and Seek, for mezzo-soprano, baritone and piano (2001). Text: Rabindranath Tagore,Gitanjali,Song 73.
Seyir, for Turkish ud, flute (also alto flute), bassoon, trumpet, percussion, violin, cello, double bass(2001).* Dedicated to Yurdal Tokcan.
Où est-il, mon amour? for pianosolo(2000, rev. 2005). Dedicated to Polo de Haas.
The story of the poisoning of Mirabai: Songs of Mirabai III, for soprano, bassoon and viola (1999).
I have torn off the veilof worldly shame: Songs ofMirabaiII, for soprano, clarinet and viola (1996-7).
Smema Vremën Goda (Tide of seasons), for wind quintet, piano, percussion and string quintet (1995). Commission of the MoscowContemporary Music Ensemble.
Inlove with the Dancer: Songs of Mirabai I, for soprano solo (1993). Dedicated to Shri Mata Amritamayama.
Cadenza, for harpand bass saxophone, or bass clarinet (1993).* Commission FST.
Winds of a far Air, forflute and soprano saxophone (1990).* Commission FST.
The Chest,forhorn, trumpetand trombone (1989).
Song of Beauty/Lied van Schoonheid,for4-voice mixed choir (1987/2001). Text: Kahlil Gibran, The Prophet. Dedicated to mother.
Promenades, Marches etDanses,for large ensemleor small orchestra (1986).*
Rainbow trio, for violin, cello and piano(1983).CommissionFST.
Kontur, for soprano or alto saxophone (1982).* Dedicated to Leo van Oostrom.
The Flight, for mezzo soprano, bass clarinet, trumpet, piano, cymbals antiques, 2 violins, 2violas and2 cellos (1977).* Text: Thomas Wyatt.
Sport, for 2 trombones (1977).*
Little preludes andhymn settings for organ or piano in:
Liedboek voor de kerken: 491 gezangen: Orgel- enpianobegeleidingen met voorspelen (TheHague: Boekencentrum/Leeuwarden: Jongbloed-Zetka, 1976).
Skimbleshanks, the Railway Cat, for baritone, bass clarinet and trombone (1975).* Text: T.S. Eliot.
Cantata6 Gong (Botan Kuroku), for tenor, 2violas, cello, piano and gong (1972).* Text: Masaoka Shiki.
Lament for Egidius/Egidius-lied, for 8-voice mixed choir (1966/1987). Text:from the 14th-century Gruuthuse manuscript. Dedicated to father.
Three Inventions for piano(1966/2003)
Six Preludes andaFugue for organ (1962-1968; 2003)
I “Vom Himmel hoch da komm’ ich her”
II Psalm 15
III Psalm 8
IV “Vaterunser im Himmelreich”
V Psalm 92
VI “Nun komm’ der Heiden Heiland”
VII “Vom Himmel hoch da komm’ ichher”.
Scores with * are, or will be shortly available at Donemus, Amsterdam. These and other scores are present at the library of the University of Amsterdam.
Verwijzing
Verwijzing