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Evert Bisschop Boele


Job title

Professor of New Audiences


  • Music as social practice
  • Ethnomusicology, specifically "ethnomusicology at home"/modern music life
  • Non-western music/world music
  • Music education, specifically intercultural music education
  • Quality assurance in higher (music) education
  • Higher (music) education policies


Hanze University of Applied Sciences Groningen, Prince Claus Conservatoire


Veemarktstraat 76
9724 GA Groningen, Netherlands
Room 0.5; Working hours Tuesday to Friday 08.45 - 17.15
Tel. + 31 50 595 1323
Fax + 31 50 595 1399


Also check out Evert's blog Evert's World of Music



In 2013 I received my PhD from the Georg August Universtät Göttingen, for my research on the uses and functions of music in daily life in Western society. The research project made use of narrative/biographical interviews as its main data. On the basis of a study of a broad sample of individuals in the Groningen area of the Netherlands the project intended to give insight into the actual diversity of uses and functions of music and, if possible, to offer a conceptual model which would enable professional musicians to determine ways of interacting with (possible) audiences.

I lead the research strand 'Healthy Ageing through Music and the Arts' for the research group. This research strand will develop various projects on the relation between music making by elderly people and health and well-being. Examples of past and present projects are projects on creative workshops, on music and dementia, on the effects of Parkinson's disease in the musical domain and on visual artists' careers.

Since september 2014 I function as 'leading professor' of the Centre of Applied Research and Innovation 'Art & Society', of which the research group Lifelong Learning in Music is part.


I am course leader of the Practice Based Research course of the Master of Music of the Prince Claus Conservatoire, in which I teach the introductory lessons on research methodology and function as supervisor (research methods coach) for a number of students.

Publications and Paper Presentations

2016 Bisschop Boele, E. Country Report 'The Netherlands'.  In Bulletin of the International Council for Traditional Music 130 (Jan. 2016). Zagreb: ICTM, pp. 20-22.

2016 Bisschop Boele, E. 'Final Reflections on the European Forum on Music Education.' Bonn: European Music Council.

2016 Bisschop Boele, E. 'Fijn, al die aandacht voor muziekonderwijs. Maar laten we het debat wel wat breder trekken.' Website Cultureel Kapitaal van het LKCA.

2016 Evert Bisschop Boele. Over het belang van een inclusief muzikaal wereldbeeld. In: Muziekpedagogiek in beweging. Verdieping of verbreding? Eds. De Baets, T. and De Vugt, A., Heverlee: Eurprint editions, pp 69-81.

2016 Evert Bisschop Boele. Singing Like a Sailor. Some Theoretical and Methodological Remarks in Studying a Dutch Shanty Choir. In: Lifelong Learning in Music in Groningen. A Liber Amicorum for Peter Mak. Eds. Smilde, R. and Bisschop Boele, E., Groningen: Research Group Lifelong Learning in Music, pp 29-43.


2015 Evert Bisschop Boele. Jouw muziek, mijn muziek? Hoe muziek op school weer relevant kan worden. Kunstzone 14/4, pp 52-53


2015 Evert Bisschop Boele. 'Negeer de deskundologen. De bal ligt nu bij het muziekonderwijs.' Blog entry on the LKCA 'Cultureel Kapitaal'-website


2015 Evert Bisschop Boele en Hendriks, L. Orkesten onder druk? Op zoek naar trends & ontwikkelingen in de HaFaBra-sector in Noord-Nederland. Groningen: Research Group Lifelong Learning in Music.


2015 Evert Bisschop Boele. 'If you do what you always did, you get what you always got'. Blog entry on the reflective Conservatoire Conference 2015 website


2015 Evert Bisschop Boele, Crispin, D and Stolte, T. 'Research Training for Teaching Staff as a Catalyst for Professional and Institutional Development – A Case Study.' In: Perspectives on 2nd Cycle Programmes in Higher Music Education Combining a Research Orientation with Professional Relevance. Polifonia Handbook. Brussels: AEC.


2015 Evert Bisschop Boele. 'The Inquisitive, Entrepreneurial and Reflective Attitude in a Master of Music.' In: Perspectives on 2nd Cycle Programmes in Higher Music Education Combining a Research Orientation with Professional Relevance. Polifonia Handbook. Brussels: AEC.


2015 Evert Bisschop Boele.  'Towards Idiocultural Music Education. An Alternative Vision for Dutch Music Education in the 21st Century.' In Nana Eger & Antje Klinge (Eds.), Künstlerinnen und Künstler im Dazwischen. Forschuingsansätze zur Vermittlung in der Kulturellen Bildung. Bochum: Projektverlag


2014 Evert Bisschop Boele. 'Serving Your Audience' Spoken column for the opening of the Academic Year of Prince Claus Conservatoire. Column Opening School Year 2014-2015 PCC Bisschop Boele

2014 Karolien Dons, Peter Mak, Evert Bisschop Boele. Leading Creative Music Workshops with the Elderly. Exploring a Double Balancing Act. Research Group Lifelong Lifelong Learning in Music, Groningen.

2014 Evert Bisschop Boele. The Musical Other/De Muzikale Ander. Inauguration speech as professor New Audiences. Centre of Applied Research and Innovation Art & Society, Groningen.

2014 Evert Bisschop Boele. Musicking in Groningen. Towards a Grounded Theory of the Uses and Functions of Music in a Modern Western Society. Limited book edition of PhD dissertation 2013. Delft: Eburon.

2013 Evert Bisschop Boele. 'Het vak muziek in het creatieve tijdperk' ['Music as a school subject in the creative era']. Paper presented at the Research Conference Culture Education and Culture Participation, Tilburg, 25-11-2014.

2013 Evert Bisschop Boele. 'Watching Cows. Invention of Tradition and Construction of Identity in the Frisian Folk Music Revival'. Paper presented at the 42nd World Conference of the International Council for Traditional Music ICTM, Shanghai, China, 15-7-2013.

2013 Evert Bisschop Boele. 'Musicking in Groningen. Towards a Grounded Theory of the Uses and Functions of Music in a Modern Western Society'. PhD dissertation. Göttingen: Georg-August-Universität.

2013 Evert Bisschop Boele. 'From Institutionalized Musicality to Idiosyncratic Musickership. Calling a Paradigm Into Question.' In Adri de Vugt & Isolde Malmberg (Eds.), European Perspectives on Music Education 2 - Artistry. Rum bei Innsbruck: Helbling, pp. 47-61.

2012 Evert Bisschop Boele. 'De simpele excellentie voorbij' ['Further than simple excellence']. Kunstzone 11/11, pp. 18-19.

2012 Evert Bisschop Boele. 'Weg met de geschiedenis. Een kattenbelletje aan de vernieuwingscommissie kunstvakken' ['Away with history. A small note for the committee on the renewal of arts education subjects']. Kunstzone 11/10, pp. 30-31.

2012 Evert Bisschop Boele. `Denken over muziek. Op weg naar een alternatief voor het KVB-model.' [`Thinking About Music. Towards an Alternative Model for Studying Music.'] Kunstzone 11/6: .

2012 Evert Bisschop Boele, Winfred Buma, Karolien Dons, Peter Mak, Tine Stolte. Instrumentale lessen met oudere leerlingen. [`Instrumental Lessons with the Elderly.'] Groningen: Kenniscentrum Kunst & Samenleving.

2012 Bisschop Boele, E. Actief o uder worden met kunst. In: Gekleurd Grijs. Leeftijd voor cultuur. K&C Drenthe/STAMM CMO, Assen, pp. 25-26.

2011 Evert Bisschop Boele. `Leren musiceren als sociale praktijk.' [`Learning to Play Music as Social Practice.'] PDF Evert Bisschop Boele - Leren musiceren als sociale praktijk. Cultuur + Educatie 30: 56-71. Website Cultuur + Educatie

2011 Evert Bisschop Boele. `Ethnomusicology-at-Home and Grounded Theory'. Paper presented at the 41st World Conference of the International Council for Traditional Music ICTM, St John's, Newfoundland, Canada, 14/7/2011.

2011 Evert Bisschop Boele. `Over muziekonderwijs gesproken. De plek van binnenschools muziekonderwijs in narratieve interviews met hedendaagse muziekbeluisteraars.' [Speaking of Music Education. In-School Music Education's Place in Narrative Interviews with Current-Day Music Listeners.] Paper for the conference "Research in Culture Education", 23/6/2011, Utrecht. Bisschop Boele - Over muziekonderwijs gesproken

2011 Evert Bisschop Boele. `Kanttekeningen bij Cultuur in de Spiegel.' [`Side remarks for the project Culture in the Mirror'.] Kunstzone 10/6: 30-31. Evert Bisschop Boele -Cids Kanttekeningen Kunstzone

2011 Evert Bisschop Boele. 'Muziek is Muziek.' [Music is Music.] Boekman, tijdschrift voor kunst, cultuur en beleid 86: 98-100. Muziek is Muziek - Evert Bisschop Boele

2010 Evert Bisschop Boele. `First Year's Tastes. What Beginning Conservatoire Students Listen To – A Pilot Study Report.' Paper for the conference "Research in Culture Education", 26/6/2010, Nijmegen. (together with Femke Boonstra, Nore Bouma, John Kamminga, Mariska Koke and Nicole Snippen) Evert Bisschop Boele - First Year's Tastes

2010 Evert Bisschop Boele. Musicscape Groningen - Live! Groningen: Hanze University of Applied Sciences Groningen. Downloadable here .

2010 Evert Bisschop Boele. `Pleidooi tegen de kaapvaart van het artistiek onderzoek. Een alternatieve visie op onderzoek in het conservatorium.' [Plea Against the Buccaneering of Artistic Research. An Alternative View on Research in the Conservatoire.]

2009 Evert Bisschop Boele. 'Niet-westerse muziek in de basisvorming revisited.' [Non-Western Music in Basic Education Revisited.] Paper for the conference "Research in Culture Education", 22/6/2009, Zwolle. Evert Bisschop Boele - NWM in de basisvorming revisited

2009 rev. ed. (2005) Evert Bisschop Boele. Handbook Implementation and Use of Credit Points in Higher Music Education. Utrecht: AEC. Downloadable here.

B. List 2008 and earlier (selection)

2008 Evert Bisschop Boele, Hiltje Burgler and Henriette Kuiper. `Using EFQM in Higher Education; Ten Years of Experience with Programme Auditing at Hanzehogeschool Groningen.' Beiträge zur Hochschulforschung 30/1: 94-110. Downloadable here.
[Also appeared as `Travelling on the Quality Management Road; Ten Years of Experience with Programme Auditing at Hanzehogeschool Groningen', in P. Effah & A. Hofman (Eds.), Regulating Tertiary Education: Ghanaian and International Perspectives. Accra: Ghana Universities Press, 2010, pp. 69-79.]

2007 Evert Bisschop Boele. Handbook Internal Quality Assurance in Higher Music Education. Utrecht: AEC. Downloadable here.

2007 Evert Bisschop Boele. 'Talent in de spagaat. Over de bovenkant van de diversiteit in het hbo.' [Talent in Splits; On the Top Side of Diversity in Universities of Applied Sciences.] Th&ma, Tijdschrift voor Hoger Onderwijs & Management 14/4: 60-64.

2006 Evert Bisschop Boele. '"Leren van jongeren": een kritische blik." [critical review of `Learning of Teenagers' by Jacobs/Veen.] Science Guide,

2001 Evert Bisschop Boele. '"Contemporary Music". The Importance of a Constructivist View on Identity for Present-Day Music Education.' In: D. Legany (ed.), EAS-2000; 4-7.5.2000. Budapest/Namen: EAS.

1999 Rinze van der Lei (ed.), Evert Bisschop Boele, Ria Hurkens and Vincent Lamers. Música Mundial! Multiculturele muzieklessen voor de basisschool. [Música Mundial. Multicultural Music Lessons for Primary Schools.] Enschede: SLO. With 2 accompanying cd's. Downloadable here.

1997 Evert Bisschop Boele. Niet-westerse muziek in de basisvorming. [Non-Western Music in the Basic Curriculum of Secondary Education.] 's Hertogenbosch: KPC groep. With accompanying cd.

1997 Evert Bisschop Boele. 'Muziekaardrijkskunde voor toekomstige profs. Niet-westerse muziek in het conservatorium.' [Music Geography for Future Professionals. Non-Western Music in the Conservatoire.] Tijdschrift voor Muziektheorie 2/1: 52-55.

1997 Evert Bisschop Boele. 'Teaching a Multimusical Soundscape; Non-Western Music in Dutch Basic Education Teaching Materials.' Oideion; Performing Arts Online, issue 1, (also appeared in Oideion. The Performing Arts Worldwide, 3 (2003): 9-28)

1997 Evert Bisschop Boele. 'De Friese folk van Irolt.' [The Frisian Folk Music of Irolt.] Volkskundig Bulletin 23/1: 1-27.

1996 Evert Bisschop Boele. `Stormachtige westenwind. Niet-westerse muziek niet in vernieuwd eindexamen?' [Stormy Winds From the West; Non-Western Music Outside the New Final Examination?] Muziek & Onderwijs 33/1: 2-4.

1995 Evert Bisschop Boele. `Liederen en songs in de geschiedenis van de VS' [Songs in US History] en `Liederen en songs in het muziekonderwijs' [Songs in Music Education]. In: Leo Dalhuisen and Frans Steegh (Eds.): Gezongen geschiedenis; een beeld van de geschiedenis van de VS in liederen en songs [Sung History. An Image of US History in Songs]. Didactische reeks geschiedenis. Rijswijk: Nijgh & Van Ditmar, p. 4-8, p. 11.

1995 Evert Bisschop Boele. 'Muziek en feest.' [Music and Celebration.] De Pyramide 49/2-3: 64-67.

1994 Evert Bisschop Boele. `Weshm: "Marokkaanse muziek" in Nederland? De rol van muziek in de constructie van identiteit.' [Weshm: `Moroccan Music' in the Netherlands? The Role of Music in the Construction of Identity.] Muziek en Wetenschap 4/4: 227-246.

1991 Evert Bisschop Boele. `Niet-Westerse muziek in het onderwijs.' [Non-Western Music in Education.] In Symposium reader Wereldmuziek in het onderwijs [Reader Symposium World Music in Education]. Rotterdam: Rotterdams Conservatorium/Nederlandse Vereniging voor Etnomusicologie `Arnold Bake', p. 57-64

Interview with Linda Rose and Kate Page

'Even if it's just one note, it's got to be absolutely beautiful'

Linda Rose is the founder of Music for Life and a member of the reference group for the Music and Dementia project. Kate Page (née Newell) is project manager of Music for Life and Wigmore Hall trainee animateur. Kate is also a co-researcher on this project. They were interviewed in May, while they were in the Netherlands to talk about setting up the project Music and Dementia.

Longer version interview with Linda Rose and Kate Page 2010

Q: Linda, you are the founder of Music for Life. How did you first conceive the idea of music for people with dementia? Is it original, or did initiatives like this already exist?

Linda: No, it didn't exist, but it's a project which evolved. It started by developing work that was already happening at the Guildhall School for Music and Drama in London, a performance and communication skills course in which students were encouraged to work in schools. And I was doing some work with older people at the time, for the first time. I'd been working as a teacher and education advisor before that. And it struck me that there was a whole sector of the population that was not being addressed at that time, we're talking about 1990, 1991. The population was clearly ageing, but there was hardly any work going on in that area. And so I managed to set up a module to work with students working in a setting with older people in a day care centre.

Q: At that time, was it already about working with people with dementia?

Linda: No, it didn't begin in that way. A key turning point came in the mid-nineties, when The Community Care Act came into force in the UK. This meant that more people were staying in their own homes, and going into residential care at a much later stage, when they were much more confused and frail. And that presented all sorts of challenges for managers of homes, and of course also for our musicians.

Q: Was it challenging for the team of musicians? Could you name five of the most important skills musicians need for this work?

Linda: It was very challenging for the musicians. One of the things they needed to understand was the pace at which they needed to work, which was much, much slower. Many of the musicians were used to working with children, and here the pace had to be very, very slow. Also it was very important to make sure musical textures weren't cluttered when three or more musicians were playing. People could focus maybe on one or two musicians playing. They had to be careful about dynamics, be aware, because maybe people's hearing might be impaired. They had to understand the kind of space you could use, be aware of how near you could go to a person without worrying them, use a lot of eye contact.

Q: This would not be for all musicians I imagine, you need to be a special kind of person

Linda: You do, it's about the person behind the musical skill. But quality also matters, because the music has to have great musical integrity, all the time. In the early days we had musicians who were less experienced than those we have now. But it is essential to have absolute top quality musicians who also have great improvisation skills. Even if it's just one note, it's got to be absolutely beautiful, the best they can do.


Q: How do you measure the effects? Is there an evaluation with the musicians, or with the residents? How does this work?

Kate: A project is eight sessions of one hour every week. The workshop itself is one hour, but we're in a home for three hours. We have an hour's preparation and an hour's debriefing. And there's always an evaluation debrief about a month after the project. So we do start to get a bit of a sense over time as to what that culture shift is in a home. And just how far it is spreading to other staff.

Linda: Yes. And there's a lot of contact with the staff development workers. A lot of informal feedback as well as formal feedback. And in a way, we've described this as a kind of ongoing conversation, the project itself is a piece of action research all the time.

Q: How are staff selected?

Kate: We talk to the manager about what support we need, and there is a certain amount of support and collaboration that is needed from the staff to really make it work. But we do like it if staff can self-select, so we have people that really want to be there. But then of course care home managers might have their own ideas like, say, someone new has come into the setting and they want to use it as an opportunity for that person to really get to know the clients. So yes, it's kind of a mixture of all these things.

Linda: In the debriefings there's a lot of discussion about work with the staff, because we want to build relationships with them and help them build relationships with the residents. So, it's a very, very important part of the work.

Q: If a home should decide to take on this project, do they need specific facilities?

Kate: We set quite a number of constraints for a home, actually. Basically we need to have a controlled environment and a protected space. And we have to make sure the people in the room aren't interrupted during the session. We know when we've succeeded in protecting the space when there's quiet around it.

Linda: Yes, it's not a thoroughfare, you don't want doctors or manicurists or anybody knocking on the door saying, I need to see this person now. The managers absolutely have to protect the session and nobody must interrupt. There has to be a consistency of staff; if five staff are selected for the project or volunteer for it, those five staff have to commit to eight sessions. We also need safe locked storage for equipment, very important, space to debrief, space for the musicians to debrief, for the staff to debrief, uninterrupted. And availability of staff for two full hours. Which is a big ask for a home, actually.

Q: Musical workshops have been given in the UK for over 20 years, and now they are going to be set up in the Netherlands as well. Will they be different here from those in the UK?

Linda: We expect they will. But Kate and I don't know what the context is here yet, what the structure of the homes is like. We don't know, for example, to what level person centred care is a philosophy, is fundamental in the homes in the Netherlands. Musician training and development is something that is obviously going to be looked at. In the UK there's a kind of apprenticeship scheme, and our more experienced musicians will support and mentor the new musicians coming in. Logistically how that will work across the two countries, we will have to look at.

Kate: Yes, we're essentially building a new team, from the ground. So there will be lots of things that from the outside will look different, but I would hope that the values and the integrity of the project would transfer and remain central to the work, even if that manifests in a slightly different way. We know from the people that we've met, that we share those values. And if it's in a different format because things are structured differently here, then we will set it up in a way that suits the context here best.

Interview by Annejoke Smids, 21 May 2010 

Leo Delfgaauw


Job title

PhD Researcher


- Art history
- Contemporary art
- Art education


Hanze University of Applied Sciences, Groningen, Minerva art Academy


Praediniussingel 59
P.O.Box 1329
9701 BH Groningen, Netherlands
Tel. + 31 50 595 12 01


Leo Delfgaauw is currently carrying out his PhD research project at the University of Groningen on 'Hidden careers; older artists and lifelong learning.' The research project is based on narrative/biographical interviews with a number of visual artists in the Netherlands. The research focuses on aspects of ageing in relation to artistic practice and lifelong learning. More specifically artistic practice and development are related to the concepts of 'situated learning' and 'workplace learning'. Leo Delfgaauw is a member of the research group Lifelong Learning in Music and his research falls under the research strand 'Healthy Ageing through Music and the Arts' (HAMA).


At present Leo Delfgaauw is a teacher at Minerva Academy (art history and art theory). From 2011-2013 he was an art history lecturer at the University of Groningen.

Publications, Lectures and Activities

Publication: 'Het Cross Arts Laboratorium' (with Ninja Kors), research group Lifelong Learning in Music & the Arts, Hanze University Groningen 2011.

Publication: 'Tijd tekort; aspecten van beeldende kunst en ouderdom', research group Lifelong Learning in Music & the Arts, Hanzehogeschool Groningen 2011.

Publication: 'Voorbij de horizon', catalogue Anke Roder, 'Change of light', Jan van Hoof Galerie, The Hague 2012.

Lecture 3 April 2012: Draagvlak voor Kunst, Foundation Chris Booth Landart Drenthe.

11 to 14 September 2012: guest International Visitors Programme, BAM Flemish institute for visual, audiovisual and media art.

5 November 2012: moderator symposium 'De Kunstpuzzel, over kunst en cognitie'. University of Groningen, KCM.

18 to 19 January 2013: guest programme Stroom hcbk, The Hague.

Publication: 'Kennismaken', Academy Minerva, May 2013.

Lecture 22 June 2013: 'Tuinen in de Kunst', Museum De Weem, Westeremden.

Publication: 'In gesprek met Arno van Roosmalen', 25 jaar Stadscollectie Rotterdam, Museum Boijmans Van Beuningen, 2013.

Robert Harris

Job title

University Lecturer


Piano Performance
Piano Pedagogy and Methodology
Human Movement Science


Prince Claus Conservatoire, Hanze University of Applied Sciences, Groningen, Netherlands
University Medical Center Groningen, Netherlands


Veemarktstraat 76,
9724 GA Groningen, Netherlands


1. 'The Role of Cerebral Resonance Behavior in the Control of Music Performance', an fMRI study currently being conducted in the course of Ph.D. studies at the Graduate School for Behavioral and Cognitive Neurosciences, University of Groningen, Netherland and takes place at the university NeuroImaging Centre under supervision of the department of Neurology of the University Medical Center Groningen. This study aims at identifying motor resonance as the neural underpinning of the non-score-dependent musician's ability to 'play by ear' as well as identifying brain areas involved in score-dependent musicians' performance. To that end, functional brain imaging (fMRI) is being employed to assess patterns of task-related activations in the brain.

2. 'Generative music processes in Parkinson's disease: facilitation of motor behavior by internally generated stimuli'. A possible dissociation of language and speech production in patients with Parkinson's Disease would provide insight into the possible role of music as an internally generated stimulus in cerebral motor control. In this study, generative music ability among PD patients will be compared to that of healthy controls. Subjects will be asked to whistle continuations to auditory models. Shallow statistical descriptors such as interval size, range and mean pitch will be analyzed using information retrieval methods developed at the Meertens Institute, Amsterdam.

3. 'Generative processes in non score-dependency: oral and manual association'. In this study shallow statistical descriptors will be employed to quantify the match between oral and manual improvisations of the same non score-dependent instrumentalist. In addition, mismatch between oral and manual improvisation of score-dependent instrumentalists will be used to demonstrate that they base their manual and oral improvisations on different cognitive structures. Oral (whistling) and manual (keyboard) improvisation will be prompted by auditory models.

4. 'A measure of non score-dependency: a test battery of audiation in instrumental performance'. A test battery will be developed to measure proficiency in non score-dependency characterized by richness of musical structure, correct syntaxis and agreement between music structure and expressivity as it is demonstrated in the context of performance during replication and manipulation of auditory models.


Teaching activities

• Piano practicum: keyboard improvisation and harmonization at the piano
• Score reading for conductors
• Piano Methodology
• The Art of Musicking (musiceerkunde): lectures on interpretation and expression in performance
• Accompanist Peter the Great Festival in Groningen, 2010.


• Language and Music as Cognitive Systems, Cambridge University, May 2007
• Music, Language and the Mind, Tufts University, Boston, July 2008
• The Neurosciences and Music – III Disorders and plasticity, Montreal, June 2008
• ESCOM (European Society for the Cognitive Science of Music), University of Jyväskylä, Finland, August 2009
• 'Bach and all that Jazz', conference on non score-dependency in piano teaching, organized together with the Dutch chapter of the European Piano Teachers Association at the Prince Claus Conservatoire, Groningen, Netherlands on October 10, 2009
• 11th International Conference on Music Perception and Cognition, University of Washington, Seattle, Washington, August 2010
• The Neurosciences and Music IV – Learning and Memory, Edinburgh, June 2011
• ISPS Models of Performance, Toronto, August 24 - 27, 2011: Poster Presentations:
- The Role of Cerebral Resonance Behavior in the Control of Music Performance: an fMRI Study
- Non score-dependency: theory and assessment


• Aap, Patroon, Mies: Notenlezen in het Aanvangsonderwijs, EPTA 2010: Piano Bulletin 28 (3), 20-25.
• 'Interactie als werkvorm in de pianoles', EPTA Journal: Piano Bulletin.
• Teachers Competences in the Young Talent Class, Lectorate Lifelong Learning in Music & the Arts, Groningen.
• Piano Techniek in Beweging, Doctoral Thesis Human Movement Science, University of Groningen.

Robert Harris - Music and Expression
Robert Harris - Pianotechniek in Beweging
Robert Harris - Bach and all that Jazz
Robert Harris - Reading Between the Lines EPTA
Robert Harris - Music and Language Dissociation







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