Fotograaf: onbekend

dhr. prof. dr. R. (Rokus) de Groot

  • Faculteit der Geesteswetenschappen
    Capaciteitsgroep Muziekwetenschap
  • Bezoekadres
    Nieuwe Doelenstraat 16-18  Amsterdam
  • Postadres:
    Nieuwe Doelenstraat  16-18
    1012 CP  Amsterdam

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, includingBurcht Pranger, Sander van Maas and Jael Kraut, he was workingonthe 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). In 2000 he was one of the organisers of the conference 'Choices in New Music', involving ensembles, orchestras, publishers, organisations of composers, artistic policy, subsidisers, documentation, and promotion (Amsterdam). 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 performedduring 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 ShivaShakti I and II were performed in Chennai (Madras), featuring Dhruba Ghosh, sarangi, and Ernest Rombout, English horn. ShivaShakti II was also peformed in a very different counterpoint, between Boris Cicovacki, alto oboe, and improvising musician Nebojsa Ignjatovic, double bass, mbira, vocals, a.o. instruments (Belgrade,City Palace, 2012).
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 (Amsterdam, Concertgebouw, Theatre Royal Tropical Institute, Muziekgebouw aan 't IJ, a.o.), Belgium (Antwerpen, de Singel), Spain, Sweden, U.S.A, Mexico (UNAM), Russia  (Moscow). Tchaikovsky Conservatory), Serbia (Belgrade, City Palace), Albania (Tirana, Music Academy) and India (Delhi, SAI Auditorium; Chennai, Kalakshetra Auditorium).  He is the brother of composer Jan Rokus van Rosendael. 
On his retirement from the University of Amsterdam, he received the decoration of honour for special merits of the Faculty of Humanities, which was handed over to him by its dean, prof.dr. Frank van Vree, on May 25, 2012. At that occasion his string quartet, dedicated to the University of Amsterdam at its 380th anniversary, had its first performance.
At this ceremony he also received Liber Plurium Vocum, for Rokus de Groot, ed. by Sander van Maas, Carolien Hulshof and Paulien Oldenhave, Amsterdam: University of Amsterdam, 2012. 


Books and other independent publications:

Redefining Musical Identities at the Waning of Modernism, Rotterdam/Arnhem: Veenman/ArtEZ, 2007. Co-editor, with Albertvan der Schoot.

'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 naareen cyclisch paradigma.Doctoral dissertation Universityof 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 HaagsGemeentemuseum. The Hague: Municipal Museum,1981.

Zingeving in muziek. Amsterdam: University of Amsterdam, 1980. Co-author J. Koning.

Articles and chapters in books

'From Past to Present and from Listening to Hearing:  Final Indefinable Moments in Bach's and Stravinsky's Music,' in  Babette Hellemans, Willemien Otten, and Burcht Pranger,  On Religion and Memory, New York: Fordham University Press, forthcoming, Ch. 9.

'Musical seducers and music as seduction,' in F. Kouwenhoven and J. Kippen ed., Music, Dance and the Art of Seduction, Delft: Eburon (distr. Chicago: University of Chicago Press), forthcoming.

'The Legacy of 'Umar Khayyâm in Music of the Netherlands', in A.A. Seyed-Gohrab ed., The Great 'Umar Khayyâm. A Global Reception of the Rubáiyát, Leiden: Leiden University Press 2012, p. 143-160.

'Music creativity as socio-musical practice', in G. McPherson, & G. Welch, eds., The Oxford Handbook of Music Education. Vol. 2. Oxford: Oxford University Press, 2012, p. 371-388. With Eleni LapidakiandPetros Stagkos.

'Rumi en muzikaliteit' [Rumi and musicality], in Liber Amicorum voor Jos Biegstraaten, Woubrugge: Nederlands Omar Khayyam Genootschap/Avalon Pers, 2012, p. 50-52.

'Mirabai', in C. Ceton e.a., eds., Vrouwelijke Filosofen. Een historisch overzicht [Female Philosophers. A Historical Survey], Amsterdam/Antwerpen: Atlas, 2012, p. 136-143.

'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 NuNr. 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: EdwardSaid's Musical Elaborations', in W. Otten,  A. J. Vanderjagt, 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.

'Rabindranath Tagore and Frederik van Eeden: Reception of 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.

'Globalisationof music by way of polyphony', on (On the globalization of European classical music), 2010.

'Een "moment van genade" in muziek: Daan Manneke'swerk als bespiegeling over muziek en hetnumineuze [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', in F.J. Ghazoul ed., Edward Said and Critical 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 Musical Identities at the Waning of Modernism, Rotterdam/Arnhem: Veenman/ArtEZ, p. 7-11.

'Oriental identities in Western music',in R. de Groot & A.van derSchoot(Eds.), Redefining Musical Identities at the Waning of Modernism. Rotterdam/Arnhem: Veenman/ArtEZ, 2007, p. 87-99.

'Verkenningen van muziek en emotie' [Explorations ofmusic 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 voor Nederlandse 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 ofLaila 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, with discussion, 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 intercultural experiment in music, poetry,mime and dance', in Multicultureel Drama? Theater Topics I, Amsterdam:Amsterdam University Press, 2005, p. 100-106.
Co-author Saskia Kersenboom.

'Pendeln im Raster. Zyklisches Denken als dynamischer Prozeß in der Musik Theo Loevendies', in MusikTexte 105 (2005), p. 59-64.

'De toekomst van demuziekwetenschappen: ontwikkeling van polyfonie', in Dutch Journal of Music Theory 10/1 (2005), Amsterdam: Amsterdam UniversityPress, p. 49-56.

'Edward Said and counterpoint', in Reader ASCA Conference Sonic Interventions, Amsterdam: ASCA, 2005 p. 66-75.

'Toon-geometrie. De Toonklok van Peter Schat', in R. Berkel, ed., MuziekOpSchrift, De Wereld van de Muzieknotatie, Tilburg: Scryption, 2005, p. 94-97.

'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 alternatieve muziekpraktijk 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 va nBach-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, klanken 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 inNederland tussen vrijberoep enstaatsambt', 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: Relationshipsbetween 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 GeschichteundGegenwart, 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 vande KoninklijkeVereniging voor NederlandseMuziekgeschiedenis (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 musicin the twentieth century', in Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 47, 1/2 (1997), p. 201-220.

'De thematiek van het onuitsprekelijke in recente Nederlandse muziekdrama's: Vingerwijzingen in taal, muziek en enscenering', in L. Hoekstra (ed.), Eerst hetwoord...? Symposium over het libretto in de Nederlandse muziekdramatische kunst. Amsterdam: Theater Instituut Nederland, 1997, p. 36-45.

'De devotie van Mirabai: 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 modalityin recent works by Ton de Leeuw', in W. van Zanten en M. van Roon (edd.), Oideion: Theperforming 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 inde muziekvan Ton de Leeuw', in J.Sligter (ed.) 1992, see below].

'Introduction to the musicof Ton de Leeuw',in J. Sligter (ed.), TondeLeeuw (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.

'De taalkeuze in dehedendaagse 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 vangeluid', in Mens en Melodie 50, 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.

'Westerse muziek voor een Indiaas publiek', in Buma Stemra Magazine 12/2 (1995), p. 28-29.

'Keuze en kans in Geertvan Keulens harmoniek: De constructie vanhet"gegevene"', inTijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 44/1 (1994), p. 51-69 [Deel I]; 44/2 (1994), p. 132-154[DeelII].

'Een symposium van Russische en Nederlandse eigentijdse muziekin Moskou1994', in Muzieken 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.), Mooiedingen. 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 vanColumbus: Over de relaties tussen culturen', in Mens enMelodie  48/9 (1993), p. 517-527.

'Inleiding', inJ. 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 demuziek 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 ofTon de Leeuw's musical universe', in Key Notes 23 (1986), p. 17-31.

'Hi dektikotita tis skepsis tis anatolis stisynchronidutiki 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 clockmakeras 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 Muzieken 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, inCompendium 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.


Rokus deGroot: ShivaShakti 


Dhruba Ghosh, improvisation/instant composing, sarangi

Ernest Rombout, English horn

Quintone, Q11002 (2012)

Fissures: 20th Century Music For Saxophone And Harp by Idit Shner & Yumiko Endo Schlaffer, Rokus de Groot (Cadenza for bass saxophone andharp), Dr. Yusef Lateef, None and Idit Shner (2010),Origin Records.

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 asother promoter. Erasmus University, Rotterdam, January 10, 2002. Cum laude.
Sander van Maas, Doorbraak en Idolatrie: OlivierMessiaen en het geloof in de muziek. With Prof.dr. H.deVries asother promoter. University of Amsterdam, March 22, 2002. Cum laude.
Huib Schippers, Teaching World Music in the Netherlands 1983-2003.
With co-promoter Prof.dr. Patricia Campbell (University of Washington, School of Music, Seattle). University of 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 ofAmsterdam, November 30, 2004.
Vincent Meelberg, New Sounds, New Stories: Narrativity in Contemporary Music. With Prof. dr. Ernst van Alphen asother promoter. University of Leiden, June 1, 2006.
Erik Laeven,Tijd als operadramaturg. Een semiotisch-temporeelonderzoek naar 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 Nederland1820-1914 [Arabesque or Thought: A musico-aesthetical opposition in the Netherlands 1820-1914]. With co-promoter dr. A. van der Schoot. University ofAmsterdam, 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 as other promoter. UniversityofAmsterdam, September 24, 2010.

Alma van der Berg, 'Oh infelice! Oh misero!' Een literaire, metrische en musicologische analyse van het lamento in Ariosto en Tasso [A literary, metrical and musicologicial analysis of the lamento in Ariosto and Tasso].
With Dr. Ronaldde Rooij (Italian literature), co-promoter.
University of Amsterdam, December 8, 2010.

Martine Huvenne, Het geluid als een innerlijke beweging in de overdracht van een ervaring in de film.Een fenomenologische benadering. With Prof.dr C. Stalpaert (Theatre Studies, University of Gent) and Dr. Helena De Preester(Philosophy, Hogeschool Gent), co-promoters. University of Amsterdam, September 18, 2012.

Josef Edwin Miltschitzky, Ottobeuren - eineuropäisches Orgelzentrum. Orgelbauer, Orgeln und überlieferte Orgelmusik. With Prof.dr. A.G.M. (Ton) Koopman (University of Leiden) as the other promoter. University of Amsterdam, November 22, 2012.

Jelena Novak, Singing Corporeality: Reinventing the Vocalic Body in Postopera. University of Amsterdam, November 29, 2012.

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 Generationof Meaning in Liturgical Songs.
Prof.dr G. Lukken, promoter, Prof.dr R. de Groot, co-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.


Supervision of honoured Master thesises

Jeanine Landheer, Anna Cramer: Mythe enWerkelijkheid, Focus Nr 1, Utrecht: KVNM, 1999.
Masterthesis, honoured with the Jan Pieter Heye Prize of the Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (KVNM), 1997.

Jan Willem Terwen, Gamelan in the 19th-century Netherlands, an encounter betweenEast and West, edd. Ton Braas &Onno Mensink, Muziekhistorische Monografieën, Utrecht: KVNM, 2010.
Master thesis, honoured with the Jan Pieter Heye Priceof theKoninklijke Verenigingvoor Nederlandse Muziekgeschiedenis (KVNM)


Editorships, membership of editorial boards

Tijdschrift van de Koninklijke Vereniging voor Nederlandse
Muziekgeschiedenis (music of the 20th and 20st centuries). 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 ensembles voor nieuwe muziek. Amsterdam: International Theatre andFilm Books, 1996.

Project oral history Dutch Music, Walter Maashuis. From 1994 to

Co-editor Key Notes,Journal for Contemporary Dutch Music. Amsterdam:Donemus. From 1984 to 1987. 

Member of the Board of the Royal Concertgebouw Orchestra.


String quartet (2012)
Dedicated tothe University of Amsterdam, at her 380th anniversary.
"Nun weißman erst, was Rosenknospesei" for 4-part mixed choir, vocal ensemble orquartet (2012)
Text: J.W. vonGoethe.
Dedicated to my brother Jan Rokus
Où est-il mon amour?    
for alto flute, viola and harp (2011)   
"DieRos' 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.
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 onAct III of Layla and Majnun.
Texts: Qays b. Mulawwah(Majnûn Lâyla, Arabic), Nizami (English Translation)
ShivaShakti II (Bhairav Bhairavi) for alto oboe (2009)
Dedicated to ErnestRombout
Bee bademast!-Drunk without wine!
for 12-voicemixed vocal ensembleor 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 altooboe(2008)
Dedicatedto 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, DutchFund for Music Composition), as part of Layla and Majnun.
Layla andMajnun, A Composition aboutthe Night, for female andmaledancer, alto and tenor solo, vocalquartet (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. CommissionFST, as part of Layla and Majnun.
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, doublebass(2001).* Dedicated toYurdalTokcan.
Où est-il, mon amour? for pianosolo(2000, rev. 2005). Dedicatedto Polode Haas.
The story of the poisoningof Mirabai:Songs of Mirabai III, for soprano,bassoon and viola (1999).
I havetorn off theveilof worldly shame: SongsofMirabaiII,forsoprano, clarinet and viola (1996-7).
Smema Vremën Goda (Tideof seasons), for wind quintet, piano, percussion and string quintet (1995). Commission ofthe MoscowContemporaryMusic Ensemble.
Inlove with the Dancer: Songs of MirabaiI, forsoprano solo(1993).Dedicated to Shri MataAmritamayama.
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/Liedvan 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, celloandpiano(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 metvoorspelen (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  Psalm8
    IV  "Vaterunser im Himmelreich"
    V    Psalm 92
    VI  "Nun komm' der Heiden Heiland"
    VII "Vom Himmel hoch da komm' ichher".
Scores with * are, orwillbe shortly available at Donemus, Amsterdam.These and other scores are present at the library of the University of Amsterdam.


  • de Groot, R. (2013). From past to present and from listening to hearing: Final indefinable moments in Bach's and Stravinsky's music. In B. Hellemans, W. Otten, & B. Pranger (Eds.), On Religion and Memory. (pp. 155-174). New York: Fordham University Press. DOI: 10.5422/fordham/9780823251629.003.0010  [details] 
  • de Groot, R. (2013). Musical seducers and music as seduction. In F. Kouwenhoven, & J. Kippen (Eds.), Music, Dance and the Art of Seduction. (pp. 39-48). Delft: Eburon. [details] 


  • Lapidaki, E., de Groot, R., & Stagkos, P. (2012). Communal Creativity as Socio-musical Practice. In G. E. McPherson, & G. Welch (Eds.), The Oxford Handbook of Music Education. - Vol. 2. (pp. 371-388). Oxford: Oxford University Press. [details] 
  • de Groot, R. (2012). Mirabai. In C. Ceton, I. van der Burg, A. Halsema, V. Vasterling, & K. Vintges (Eds.), Vrouwelijke filosofen: een historisch overzicht. (pp. 136-143). Amsterdam: Atlas. [details] 
  • de Groot, R. (2012). Polyphonies of Love. In F. Merlini, L. E. Sullivan, R. Bernardini, & K. Olson (Eds.), Love on a Fragile Thread: presentations of the 2011 Eranos Conference, of the 2008 - 2011 Fetzer Institute Dialogues at Eranos, and of the 2010 - 2011 Eranos-Jung Lectures, Eranos, Monte Verità and San Materno Theater, Ascona, Switzerland. (pp. 607-624). Einsiedeln: Daimon Verlag. [details] 
  • de Groot, R. (2012). The Legacy of 'Umar Khayyâm in Music of the Netherlands. In A. A. Seyed-Gohrab (Ed.), The Great 'Umar Khayyâm: A Global Reception of the Rubáiyát (pp. 143-160). Leiden: Leiden University Press. [details] 


  • de Groot, R. (2011). Rumi and the abyss of longing. Mawlana Rumi Review, 2, 61-93. [details] 
  • de Groot, R. (2011). Stravinsky's ‘Musick to heare’: a study in union and singleness. Dutch Journal of Music Theory, 16(1), 27-38. [details] 


  • de Groot, R. (2010). Music at the limits: Edward Said's musical elaborations. In W. Otten, A. Vanderjagt, & H. de Vries (Eds.), How the West was won: essays on literary imagination, the canon, and the Christian Middle Ages for Burcht Pranger (pp. 127-145). (Brill's studies in intellectual history; No. 188). Leiden: Brill. [details] 
  • de Groot, R. (2010). Music, religion and power: Quwwali as empowering disempowerment. In M. B. ter Borg, & J. W. van Henten (Eds.), Powers: religion as a social and spiritual force (pp. 243-264, 316-320). (The future of the religious past). New York, NY: Fordham University Press. [details] 
  • de Groot, R. (2010). Rabindranath Tagore and Frederik van Eeden: reception of a 'poet-king' in the Netherlands. In J. Bor, F. N. Delvoye, J. Harvey, & E. te Nijenhuis (Eds.), Hindustani music: thirteenth to twentieth centuries (pp. 521-576). New Delhi: Manohar [etc.]. [details] 
  • de Groot, R. (2010). Rumi en het verlangen. In A. Seyed-Gohrab (Ed.), Tree voor tree naar Gods troon: essays over het leven en werk van Mowlânâ Jalâl al-Din Rumi (pp. 25-61). Leidschendam: Quist. [details] 


  • de Groot, R. (2009). Een 'moment van genade' in muziek: Daan Manneke's werk als bespiegeling over muziek en het numineuze. In G. van der Leeuw, & W. Arts (Eds.), Daan Manneke: componist van de ruimte (pp. 74-81). Breda: Van Kemenade. [details] 


  • de Groot, R. (2008). Complex transmission in a literate music tradition: a case study. Dutch Journal of Music Theory, 13(3), 220-230. [details] 
  • de Groot, R. (2008). On composition and performance. Journal of the Indian Musicological Society, 39, 88-102. [details] 


  • de Groot, R. (2007). Perspectives of Polyphony in Edward Said's Writings. In Edward Said and Critical Decolonization. (pp. 219-240). Cairo/New York: The American University in Cairo Press.
  • de Groot, R. (2007). Rabindranath Tagore and Frederik van Eeden; Reception of a "Poet-King' in the Netherlands. In J. Bor (Ed.), Hindustani Music: Thirteenth to Twentieth Centuries. (pp. 521-576). New Dehli: Manohar.


  • de Groot, R. (2006). Mirabai: Een interculturele ontmoeting in de liefde. Nederlandse culturele bijdrage aan de India-EU top 2005. India Nu, 159, 18-20.
  • de Groot, R. (2006). Rabindranath Tagore and the Netherlands. In A. Biswas, & C. Gordon-Graham (Eds.), Rabindanath Tagore, a Creative Unity. (pp. 47-59). London: The Tagore Centre UK.
  • de Groot, R. (2006). The Arabic-Persian story of Laila and Majnun and its Reception in Indian Arts. Journal of the Indian Musicological Society, 36-37, 120-148.
  • de Groot, R. (2006). The reception in the Netherlands of an Indian singing saint: Meerabai in film, in Translation and in Concert. Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 56(1), 25-65.


  • de Groot, R. (2012). Rumi en muzikaliteit. In Liber amicorum voor Jos Biegstraaten. (pp. 50-52). (Jaarboek Nederlands Omar Khayyam Genootschap; No. 6). Woubrugge: Avalon Pers.


  • de Groot, R. (2008). De duizelingwekkende tijd: verandering en beweging. Preludium : Concertgebouwnieuws, 66(10), 24-26. [details] 


  • de Groot, R. (2007). Composition: A Concept for Performance. In S. Suvarnalata Rao (Ed.), Composing, Composition and Composers in Music. (pp. 25-35). Mumbai: ITC Sangeet Research Academy.
  • de Groot, R. (2007). Oriental identities in Western Music. In R. de Groot, & A. van der Schoot (Eds.), Redefining musical identities: reorientations at the waning of modernism. (pp. 87-99). Arnhem: ArtEZ Press.
  • de Groot, R. (2007). Verkenningen van muziek en emotie. In M. Huvenne (Ed.), Emotie en Filmmuziek. Gent: Academia Press.
  • de Groot, R., & van der Schoot, A. (2007). Introduction. In R. de Groot, & A. van der Schoot (Eds.), Redefining musical identities: reorientations at the waning of modernism. (pp. 7-11). Arnhem: ArtEZ Press.


  • Havelková, T. (2017). Opera as hypermedium: Meaning-making, immediacy, and the politics of perception [details] 
  • Kemme, C. (2017). Mozart’s unfinished Mass in C minor, K. 427 (‘Great Mass’): History, theory, and practice of its completion [details] 
This list of publications is extracted from the UvA-Current Research Information System. Questions? Ask the library  or the Pure staff  of your faculty / institute. Log in to Pure  to edit your publications.

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