|Course level||Advanced Bachelor/Master, open to PhD staff and professionals|
|Recommended course combination||Session 1: Discover the Dutch: Language and Culture, Decolonizing Europe: History, Memory, Redress|
Session 2: The Heart of Capitalism: Amsterdam 1600-present
||3 August July to 17 August 2019
|Co-ordinating lecturer||Prof. J. Fidom
|Other lecturers||Other lecturers and teachers include Els Biesemans (Zürich), Hans-Ola Ericsson (Montreal), Zuzana Ferjencikova (Montpellier), Trevor Grahl (Amsterdam), Jacob Lekkerkerker (Amsterdam), Bert Mooiman (Den Haag), and Henk Verhoef (Amsterdam)|
|Form(s) of tuition||Lectures, concerts, music masterclasses and listening workshops (including excursions to the Nieuwe Kerk and the Oude Kerk in Amsterdam), discussions|
|Form(s) of assessment||A short essay on the interaction between the artistic and the rational mind; group poster, presentation and participation in a debate|
|Total tuition fee||€1150|
Any university student interested in music, School of Music organ/keyboard students. Anyone interested in how music – or art in general – ‘works’ is warmly invited to join this course.
Together we will work on a new perspective on the age-old conundrum of where artistic and rational minds and talents meet. The course is a delightful introduction for all students interested in the humanities. But School of Music students with a keen interest in making music will also greatly appreciate what this course has to offer, as it includes masterclasses in music-making, improvisation, and listening. The instrument of choice on this course is a 21st century version of the pipe organ, combining age-old and brand-new sounds and technologies. The aim is to bring both groups of students together so they can learn from each other, and we can learn from them. If you have doubts about your eligibility for the course, please let us know. Our courses are multi-disciplinary and therefore are open to students and professionals with a wide variety of backgrounds.
Hans Fidom is one of the leading researchers/developers worldwide in the field of the so-called hyper organs: pipe organs that combine historical sound concepts and 21st century technology. The pinnacle of this development so far is the new organ at the Orgelpark, Amsterdam, an instrument that enthuses not only organists but laptop composers as well, who just love to be able to work with non-loudspeaker sounds. The basis of all this is a new understanding of what sound is and how it works, both as such and as material to make music with.
'I am deeply interested in rethinking the position of the listener, the musician, and the instrument as pivotal actors in musical situations; as well as of audiences and artists in art situations in general. I find it highly inspiring that it is especially female philosophers that provide the epistemological basis for that. It just makes so much sense to read, for example, Susanne Langer and Salomé Voegelin, who both pair clear thinking to a deep understanding of music and sound.'