During my Master’s degree in musicology at Utrecht University, I took the course “A History of Modern Listening”. This blog post is based on an essay I wrote for that course, and published in response to a Tweet by Elise Cordaro.
From September 2018 to February 2019, the famous Victoria and Albert Museum in London hosted ‘Videogames: Design/Play/Disrupt’, a major exhibition on contemporary video game design and culture. Announced as “a unique insight into the design process behind a selection of groundbreaking contemporary videogames”, this immersive exhibition was the end presentation of a project that took four years to undertake. I went over the Channel to take a look and write down my experiences for the first issue of the Journal of Sound and Music in Games.
Deciding on topics for the assignments of my studies in neuropsychology are an easy task for me. I took up this learning because I wanted to understand the autistic brain. Now that we are in the modules regarding aural processing, it feels only natural that I – as an autistic musicologist and musician – write about the autistic brain on music. Hashtag “cognitive music science” or “psychology of music” or “neuromusicology”. But what exactly do those terms mean?
Inspired by the image of the mermaid as a symbol for a forbidden love (that beckons as a siren, but will never become reality), I made many trips – from Stockholm to Saint Petersburg and from Helsinki to Azerbaijan. But not all treasures are hidden at a great distance. Last year, I boarded the train to my neighbouring city The Hague, for some good old-fashioned musicological strolling in the analogue archives. The gem that attracted me? A 1918 song called “Meirminnen”. For the Dutch journal “De Liedvriend” (the friend of the art song), I wrote a short article about this charming song, that just got published. Sheet music and piano in the YouTube below… enjoy! The article in its beautiful lay-out can be read here (via my …
My hometown, Utrecht, is arguably one of the cultural marvels of Netherlands. But this has not always been the case. While working on an article about the conductor and composer Johann Hermann Kufferath (1797-1864), my friend Mirjam & I discovered that, at the beginning of the 19th century, there was a nadir in Utrecht’s musical life. The overall Dutch music scene of the period 1800-1830 was interesting, because well-known musical figures lived in Amsterdam and The Hague. But not in Utrecht. This blog post explores four possible reasons for this gap in fairly recent Dutch music history.