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  • Profile

    Barbara Titus studied musicology at Utrecht University and gained her doctorate from Oxford University in the United Kingdom (M.St. Lincoln College [2000], D.Phil. St Anne's College [2005]) with a dissertation that was published under the title Recognizing Music as an Art Form: Friedrich Th. Vischer and German music criticism, 1848-1887. (Leuven University Press, 2016).

    In 2007, she shifted her attention from German metaphysics to South African street music (maskanda), with the explicit aim to question the polarity that these two fields of investigation still seem to represent. Articles about subjects ranging from 19th-century German music criticism to contemporary popular musics in Southern Africa have been published in journals such as Acta Musicologica, Ethnomusicology, SAMUS: South African Music Studies and the Dutch Journal of Music Theory. Barbara is a fellow at the African Studies Centre Leiden (ASCL) Community. She is co-editor of the journal the world of music (new series), and is a member of the advisory board for the journal Music Theory and Analysis. Her book about maskanda is currently under review with the University of Chicago Press.

    From 2008 to 2013, Barbara worked as an assistant professor teaching European music history post-1800 at Utrecht University. In 2013, she was appointed associate professor of cultural musicology at the University of Amsterdam. During two extensive field trips for her research into maskanda in 2008 and 2009, she was a visiting professor at the University of KwaZulu-Natal in Durban, South Africa. In the winter semester 2013-14, she was a guest professor at the Georg-August-Universität in Göttingen, Germany. In the spring of 2016, she was a researcher in residence at the University of Vienna in Austria as a Balzan Visiting Scholar.

    Key publications

    * 2016. '"There is that Cry Sometimes": Negotiations and Exertions of Power in South African Maskanda Music.' In C. Granger & E..M. van Straaten (eds.), Music Moves: Musical Dynamics of Relation, Knowledge and Transformation. Hildesheim: Olms, 107-133.

    * 2016. Recognizing Music as an Art Form: Friedrich Th. Vischer and German Music Criticism, 1848-1887. Leuven: Leuven University Press.

    * 2013. ‘“Walking like a crab”: Analyzing maskanda music in post-apartheid South Africa.' Ethnomusicology 57/2, 286-310.

    * 2008. ‘Global maskanda, global music historiography? Some preliminary enquiries.’ SAMUS: South African Music Studies 28, 43-54.

    * Abels, Birgit; Titus, Barbara et al. (eds.). 2014-present. the world of music (new series) 3-4-5/1 & 2 [Co-editor].

  • Publications

    Monographs

    Titus, Barbara [Forthcoming]. “Your tongue, your sound, your song from your inside:” Hearing maskanda in post-apartheid South Africa. Chicago: University of Chicago Press (Chicago Studies in Ethnomusciology) [Under review].

    _____ 2016. Recognizing music as an art form: Friedrich Theodor Vischer and German music criticism, 1848-1887. Leuven: Leuven University Press.

     

    Peer reviewed journal articles

    Titus, Barbara 2013. ‘“Walking like a crab”: Analyzing maskanda music in post-apartheid South Africa. Ethnomusicology 57/2, 286-310.

    _____ 2008a. ‘Global maskanda, global music historiography? Some preliminary enquiries.’ SAMUS: South African Music Studies 28, 43-54.

    _____ 2008b. ‘The quest for spiritualized form: (Re)positioning Eduard Hanslick.’ Acta Musicologica 80/1, 67-97.

    _____ 2001. ‘The end of the arts? “Gegenwartsbewußtsein” in German music criticism.’ Dutch Journal of Music Theory 6/2 (May), 83-88.

    _____ 1999. ‘Metamorfosen van een verborgen image: Een analyse van Morton Feldmans Three Voices (1982).’ Dutch Journal of Music Theory 4/1 (February), 1-14.

    _____ 1997. ‘René Descartes’ Compendium Musicae (1618).’ Dutch Journal of Music Theory 2/3 (November), 204-212.

     

    Peer reviewed book chapters

    Titus, Barbara 2016. ‘“There is that cry sometimes”: Negotiations and exertions of power in South African maskanda music’ in: Music moves; Musical dynamics of relation, knowledge and transformation, eds Charissa Granger et al. Hildesheim: Olms, 107-133.

    _____ 2012a. ‘“Die Nachwirkung vorher verklungener Töne”: Eduard Hanslick und Friedrich Theodor Vischer über die Historisierung des künstlerischen Materials’ in: Musik und kulturelle Identität: Bericht über den XIII. internationalen Kongress der Gesellschaft für Musikforschung Weimar 2004, 3 Bde, eds Detlef Alternburg & Rainer Bayreuther. Kassel: Bärenreiter.

     

    Invited articles

    Titus, Barbara 2018. ‘El pasado es un país extranjero. La práctica cultural de imaginar la música antigua,’ Transl. Patricia Rubio y Sánchez. Cuadernos del Seminario de Música en la Nueva España y el México Independiente  8, 6-15.

    _____ 2018. 'The "attentively silent" presence of Jaap Kunst in the  Vereniging voor Nederlandse Muziekgeschiedenis.' Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 68, 173-184.

    _____ 2015. ‘Some Implications of Being Undone by Music: A Response to Christopher Ballantine’. South African Music Studies 35, 1-8.

     

    Book reviews

    Titus, Barbara 2016. ‘Review of “Music and Social Change in South Africa: Maskanda Past and Present” by Kathryn Olsen’ the world of music (new series) 5/1, 209-212.

    _____ 2012. ‘Muziekwetenschap als ideaal en instituut’ Boekman: Tijdschrift voor kunst, cultuur en beleid 93 (Winter), 116-117.

    _____ 2010. ‘Review of “Musically Sublime: Indeterminacy, Infinity, Irresolvability” by Kiene Brillenburg-Wurth.’ Dutch Journal of Music Theory 15/3, 219-225.

    _____ 2004. ‘Review of "Gambling on Culture: State lotteries as a source of funding for Culture – the Arts and Heritage"’ Recources for Cultural Policy in Europe (RECAP).

     

    Conference reports

    Titus, Barbara 2015. 'Muzikale culturen uit lang vervlogen tijden: STIMU-Symposium' tijdschrift oudemuziek (tom) 30/4, 22-26.

    Olwage, Grant & Titus, Barbara 2008. ‘African voices: The second conference of the South African Society for Research in Music, i: A post-conference conversation between Grant Olwage and Barbara Titus.’ SAMUS: South African Music Studies 28, 190-193.

    Titus, Barbara 2007. ‘The South African Music Project Symposium: “Theorizing southern African music: Perspectives and conjectures”’. SAMUS: South African Music Studies 26/27, 175-176.

    _____ 2007. ‘The first congress of the South African Society for Research in Music: “Musics, theories, practices: Focus on South Africa”, ii: An “outsider’s view”.’ SAMUS: South African Music Studies 26/27, 172-173.

     

    Edited books

    Staverman, Désirée 2012. De toneelmuziek van Alphons Diepenbrock: Concept, compositie, uitvoering, eds Barbara Titus & Ton Braas. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (Muziekhistorische Monografieën; 22).

     

    Edited peer reviewed journals

    Abels, Birgit [Editor] & Titus, Barbara [Co-editor]. 2014-present. the world of music (new series) 3-7/1 & 2.

    Bergé, Pieter et al. (eds) 2014-present. Music Theory & Analysis 1/1 [Advisory Board Member]

    Schuijer, Michiel & Titus, Barbara et al. (eds). 2006-2013. Dutch Journal of Music Theory 11-18 /1, 2 & 3. [Managing Editor and member of the Editorial Board]

     

    Edited conference proceedings

    Titus, Barbara (ed.) 2013. Selected Proceedings of the 14th Conference of the Dutch-Flemish Society of Music Theory ‘Nineteenth-century music theory’, Amsterdam: Amsterdam University Press.

    Schuijer, Michiel & Titus, Barbara et al. (eds) 2012. Selected Proceedings of the 13th Conference of the Dutch-Flemish Society of Music Theory ‘Muziektheorie en Onderwijs’, Amsterdam: Amsterdam University Press.

    _____ 2011. Selected Proceedings of the 12th Conference of the Dutch-Flemish Society of Music Theory, Amsterdam: Amsterdam University Press.

    _____ 2010. Selected Proceedings of the 11th Conference of the Dutch-Flemish Society of Music Theory ‘Time, Temporality and Proportions’, Amsterdam: Amsterdam University Press.

    _____ 2009. Selected Proceedings of the 10th Conference of the Dutch-Flemish Society of Music Theory ‘Music Theory and Performance’, Amsterdam: Amsterdam University Press.

    Moortele, Steven Vande & Titus, Barbara et al. (eds) 2008. Selected Proceedings of the 9th Conference of the Dutch-Flemish Society of Music Theory ‘Improvisation: Analytical, Theoretical and Critical approaches’, Amsterdam: Amsterdam University Press.

     

    Contributions to professional journals and broadcast media (selection)

    Titus, Barbara & Honing, Henkjan 2017. Interview about cultural and coginitive musicology, Soundciety, Red Light Radio Amsterdam, 23 May 2017.

    Leeuw, Jules van der & Titus, Barbara 2015. 'Een vleugje antropologie in de oude muziek: STIMU-Symposium' tijdschrift oudemuziek (tom) 30/2, 36-41.

    Hoogaerts, Guuz & Titus, Barbara, et al. 2015. 'Popdokters', VARA-Gids, 17 November 2015

    Titus, Barbara 2015. 'Eventalk Festival Oude Muziek: Wie bezet(te) het Maagdenhuis?', NPO Radio 4 Festivaljournaal 23, 1 September 2015

    _____ 2013. Elucidating Wolfgang Rihm’s Vigilia, AVRO Radio 4 Avondconcert, 6 February 2013.

    _____ 2013. Elucidating Wolfgang Rihm’s Vigilia, NCRV Radio 5 Schepper & Co., 27 January 2013.

    _____ 2010. ‘Maskandi whitey: An outsider's view.’ South African Labour Bulletin 34/1, 63-65.

    _____ 2009. Interview about maskanda research and participation. Ekhaya Arts Centre, Vibe FM Studio, KwaMashu Township, Durban (RSA), 19 September 2009.

    _____ 2009. ‘Een zacht geruis van gefronste wenkbrauwen' VPRO Radio 6 Tchongcast, 20 May 2009.

    _____ 2008. ‘Authentieke muziek’ Teleac Radio 5 Hoe? Zo!, 2 December 2008.

    _____ 2004. ‘Van saz tot Elvis: Het Amsterdamse Aslan muziekcentrum’ Akkoord 2004/3 (June), 10-11.

    _____ 1997. ‘“Ik ben als een kind dat graag speelt”: Een interview met Wieland Kuijken’ Akkoord 1997/4 (September), 16-17.

    _____ 1996. ‘“Tekst is klank is muziek”: Boudewijn Tarenskeen over muziektheater’ Mens & Melodie 51 (February), 72-75.

     

    Conference papers

    Titus, Barbara 2018. 'Maskanda Epistemology: Some Implications of Articulating South African Knowledge on a Dutch Stage' Society for Ethnomusicology (SEM) Annual Meeting, Albuquerque (USA).

    _____ 2018. 'South Africa as Method: Geo-Philosophical Variations on a Theme.' Part of the Panel Asia as Method in Popular Music Studies with Oliver Seibt, Citra Aryandari and meLê yamomo. 3rd IASPM D-A-CH Conference: Pop – Power – Positions: Global Relations and Popular Music, Universität Bern (CH).

    _____ 2018. 'Retrieving What and for Whom? Thoughts about Prospects, Opportunities and Impediments of Digital Sound Archiving.' Part of the Panel Music Information Retrieval (MIR) and the Ethics of Digital Phonographic Archives with Julia Kursell, Joséphine Simonnot and Reinier de Valk. Symposium Captured Sounds - Collecting, Storing, Sharing, Humboldt Forum, Berlin (D).

    _____ 2018. 'Musical Epistemologies and Musicological Disavowals: A South African Case Study.' Musicology in the Age of (Post)Globalization: Barry S. Brook Centennial Conference. The Graduate Center, The City University of New York (USA).

    _____ 2017. ‘Folded modes of musical knowing: Performing research in post-apartheid South Africa.’ International conference Researching Performance, Performing Research: Collaborations and Confrontations. Muziekgebouw aan ‘t IJ, Amsterdam (NL).

    _____ 2017. 'Inscribing knowledge: The hermeneutics of musical participant-observation.' International Conference Making of the Humanities VI. Somerville College, University of Oxford (UK).

    _____ 2017. ‘Musical home-making and cultural domestication:  Uprootings and regroundings of South African maskanda performance.’ 13th Conference of the International Society for Ethnology and Folklore (SIEF): Ways of Dwelling: Crisis - Craft – Creativity. Georg-August-Universität Göttingen (D).

    _____ 2016. ‘Performing histories and embellishing identities: South African maskanda music on a Dutch stage’. Balzan Workshop-Conference: Places of Interaction: Histories of Music and Dance in India, Africa and South-East Asia: British Academy London (UK).

    _____ 2015. ‘The past is a foreign country: The cultural practice of imagining  Early Music in the 20th century’ Keynote lecture for the  STIMU Symposium The Past is a Foreign Country, in collaboration with Early Music Festival (Festival Oude Muziek) Utrecht (NL).

    _____ 2014. 'Musicologica, or, the ownership of (musical) knowledge:  A South African story’ International Conference on Cultural Musicology: Symposium in honour of Wim van der Meer, University of Amsterdam (NL).      

    _____  2013. ‘Music analysis as participant observation: Maskanda discourse(s) in South Africa’, Seventh conference of the South African Society for Research in Music (SASRIM), University of Fort Hare, East London (RSA).

    _____ 2013. Position statement concerning “Music, politics and the Academy”, Round table, Seventh conference of the South African Society for Research in Music (SASRIM), University of Fort Hare, East London (RSA).

    _____ 2013. ‘“Come meet me half way”: Maskanda music as a Third Space of enunciation in post-apartheid South Africa.’ Expert meeting of the DFG-project group Moving Music. Meaning, Space, Musical Transformation, Musicology Department Georg-August-Universität, Göttingen (D).

    _____ 2012. ‘A cry for lust or an ancestor calling? Intercultural analysis of aural experience’, International Study day Music and Science, Universiteit Utrecht (NL).

    _____ 2012. ‘Music, movement, meaning: Maskanda performance in post-apartheid South Africa’, Conference of the International Musicological Society (IMS), Rome (I).

    Titus, Barbara & Olsen, Kathryn 2011. ‘Double Take: A dialogue on Zulu popular music on a world music platform’, Conference of the International Association for the Study of Popular Music (IASPM), Rhodes University, Grahamstown (RSA).

    Titus, Barbara 2011. ‘Zulu Blues: Response to Iain Chambers “Mediterranean blues: Musics and critical melancholy”’, Postcolonial Studies Initiative (PCI), Universiteit Utrecht (NL).

    _____ 2010. ‘Fieldwork on the doorstep: Shiyani's Ngcobo's Dutch Tour’, Joint conference of the International Musicological Society (IMS) and the South African Society for Research in Music (SASRIM), University of Stellenbosch (RSA).

    _____ 2010. ‘Towards a spatial theory of musical meaning: Maskanda performance in (post)apartheid South Africa’ Society for Ethnomusicology (SEM) Conference, Los Angeles (USA).

    _____ 2009. ‘Representations of “Zuluness” in contemporary maskanda performance’, Third Conference of the South African Society for Research in Music (SASRIM), University of KwaZulu-Natal, Durban (RSA).

    _____ 2009. ‘The utopia of phesheya (overseas) in maskanda performance in South Africa’ Conference of the International Council for Traditional Music (ICTM), University of KwaZulu-Natal, Durban (RSA).

    _____ 2009. ‘Between Hanslick and maskanda: A musicological safari?’ Conference of the Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, Past, present and future of Dutch musicology, Universiteit Utrecht (NL).

    _____ 2008. ‘Local identities going global: Maskanda, “Zuluness” and fantasies of Africa’ Second conference of the South African Society for Research in Music (SASRIM), Nelson Mandela Metropolitan University, Port Elizabeth (RSA).

    _____ 2008. ‘“The bird among the arts”: Idealist aestheticians on music around 1850’, Symposium of the Nederlands Genootschap voor Esthetica (NGE), Amsterdam (NL).

    _____ 2007. ‘European and Zulu aesthetics in globalized maskanda music’, Conference of the British Forum for Ethnomusicology (BFE), Goldsmiths College – University of London (UK).

    _____ 2007. ‘Globalized maskanda music between European musical aesthetics and Zulu musical practices’, Symposium of the South African Music Project, University of the Witwatersrand, Johannesburg, & First conference of the South African Society for Research in Music (SASRIM), University of the Free State, Bloemfontein (RSA)

    _____ 2007. ‘Music and modernity: Reflections on the implications of Hegel’s ideal of “Kunstreligion”’, conference “Spiritual New Music: Between Fall and Resurrection”, Universiteit van Amsterdam (NL).

    _____ 2006. ‘(Dis)placing the wanderer musician: Global representations of contemporary South African maskanda music’, Herder & Music Symposium, Jesus College Oxford (UK).

    _____ 2005. ‘An “aesthetic changeling”? Programme music and the authority of idealist philosophy in Germany’, Conference of the Royal Musical Association (RMA), University of Manchester (UK).

    _____ 2004. ‘“Die Nachwirkung vorher verklungener Töne”: Eduard Hanslick und Friedrich Theodor Vischer über die Historisierung des künstlerischen Materials’, Internationale conferentie van de Gesellschaft für Musikforschung (GfM), ‘Musik und kulturelle Identität’, Hochschule für Musik Franz Liszt, Weimar (D).

    _____ 2004. ‘“A truthful expression of the present”: Theodor Adorno’s dependence on 19th-century German idealist aesthetics’, Biennial Conference on 19th-century music, School of Music, Durham University (UK).

    _____ 2003. ‘In the beginning is the end: Theodor Adorno’s dependence on 19th-century German idealist aesthetics’, Conference of the Royal Musical Association (RMA), School of Music, Cardiff University (UK).

    _____ 2002. ‘Gegenwartsbewußtsein in German music criticism, 1848-1871: A Hegelian epistemology of change’ Conference of the International Musicological Society (IMS), K.U. Leuven (B).

    _____ 2001. ‘The end of the arts? “Gegenwartsbewußtsein” in German music criticism’ Graduate Research Students’ Conference, Faculty of Music, University of Cambridge (UK)

    _____ 2001. ‘The end of the arts? “Gegenwartsbewußtsein” in German music criticism’, Conference of the Dutch-Flemish Society of Music Theory, Koninklijk Conservatorium, Den Haag (NL).

     

    Conference panels and expert meetings

    Rubinoff, Kailan, Mimi Mitchell, Aimée Gonzalez, & Barbara Titus (moderator) 2018. 'Ethnomusicologizing Early Music: Ethnographic Approaches to the Historical Performance Movement.' Panel moderation at the Society for Ethnomusicology (SEM) 2018 Annual Meeting. Albuquerque (USA).

    Titus, Barbara 2018. 'Un/Disciplining Music: Maskanda Musicking in South Africa' Part of the Musicology without Borders workshop Undisciplining Music: Methodologies, Pedagogy, Advocacy. Grieg Academy, University of Bergen (N)

    Titus, Barbara, Shishani Vranckx, Bart Fermie 2017. ‘Knowing the World through Music in Southern Africa.’ Panel organization at the international conference Researching Performance, Performing Research: Collaborations and Confrontations. Muziekgebouw aan ‘t IJ, Amsterdam (NL).

    Titus, Barbara & Birgit Abels 2017. ‘Dwelling in musical movement: Making a home both in and through music.’ Panel organization at the 13th Conference of the International Society for Ethnology and Folklore (SIEF): Ways of Dwelling: Crisis - Craft – Creativity. Georg-August-Universität Göttingen (D).

     

    Invited public lectures and discussions

    Titus, Barbara & Citra Aryandari 2018. 'Jejak Suara Tersembunyi: Membuka Warisan Jaap Kunst (1891-1960)', Invited contribution to Diskusi Kelompok Terpumpun: Penyelamatan dan pemanfaatan warisan Jaap Kunst untuk perkembangan studi Etnomusikologi Nusantara.  With Sri Margana (Universitas Gadjah Mada - moderator), Hilmar Farid (Dirjen Kemdikbud), & Nusi Lisabilla Estudiantin (Museum Nasional). Balai Pelestarian Nilai Budaya (BPNB) D.I. Yogyakarta (RI).

    Sunny Bergman et al. 2017. ‘Decolonizing World Music’ Panel discussion at the Amsterdam Roots Festival. With Sunny Bergman (moderator), Barbara Titus (University of Amsterdam), Tarim Nduma Flach (University of Color), Shishani Vranckx (Shishani & the Namibian Tales) and Bamba al Mansour (Blackstereo records), Oosterpark, Amsterdam (NL).

    Titus, Barbara 2017. ‘Pandangan dari luar’, Invited contribution to the regional film maker meeting Sarasehan Film Kepulauan. With Manuel Alberto (moderator), Citra Aryandari (Institut Seni Indonesia, Yogyakarta) and Koes Yuliadi (Institut Seni Indonesia, Yogyakarta). Institute of Resource Governance and Social Change (IRGSC),  Kupang (RI).

    _____ 2016. 'Zulu folk on a global stage: Some questions about musical authenticity' Music Talks Series. World Music Centre Grounds, Rotterdam, (NL).

    _____ 2015.  'Wie bezet(te) het Maagdenhuis?' Eventalk Series Early Music Festival, Hertzzaal, TivoliVredenburg, Utrecht (NL).

    _____2015. Discussion about music research for Art Music Today, Prawirotaman, Yogyakarta (RI).

     

    Invited academic lectures

    Titus, Barbara 2018. 'Jejak Suara Tersembunyi: Membuka Warisan Jaap Kunst (1891-1960)' Universitas Gadjah Mada, Yogyakarta (RI).

    _____ 2018. 'Performing Zulu history on a Dutch stage: Maskanda music, fabulation, and the disavowals of humanities scholarship' Rijkuniversiteit Groningen. Music Matters Colloquium Series (NL).

    _____ 2016. 'Maskandaforschungen in Südafrika' Universität Wien, Musikwissenschaftliches Institut, Guest lecture in Geschichte und Methoden der Ethnomusikologie (A).

    _____ 2016. 'Maskanda and globalization: Commercial and political dimensions of a world music style.' Univerzita Karlova v Praha, Faculty of Arts, Institute of Musicology (CZ).

    _____ 2016. 'Recognizing music as an art form: Friedrich Theodor Vischer and German music criticism, 1848-1887' Univerzita Karlova v Praha, Faculty of Arts, Institute of Musicology (CZ).

    _____ 2016. 'Discussion forum on Cultural Analysis' Univerzita Karlova v Praha, Faculty of Arts, Institute of Musicology (CZ).

    _____ 2016. 'The past is a foreign country: The cultural practice of imagining  Early Music in the 20th century’ Universidad Nacional Autónoma de México, Seminario de Música en la Nueva España y el México Independiente (MEX – via Skype).

    _____ 2015. ‘Etnomusikologi: Oleh dan untuk siapa?’ Diskusi Keilmuan, Institut Seni Indonesia (ISI), Yogyakarta (RI).

    _____ 2015. ‘“The guitar speaks its language” Music and meaning in South African maskanda practice’ King’s College, University of London, Colloquium Series (UK).

    _____ 2015. ‘Intellectual Autonomy as Profit and Privilege: Reflections on Democracy and the Humanities.’ University of Amsterdam, Lecture Series I am Human. Think! Perspectives for an endangered species. (NL).

    _____ 2015. ‘Music and meaning in South Africa’ University College Roosevelt, Middelburg, Guest lecture for the BA Arts and Humanities programme (NL).

    _____ 2014. ‘Who is the maskandi? Historiographies of South African maskanda music’ Orpheus Academy, Ghent, Instruction at PhD Workshop (B).

    _____ 2014. ‘Maskanda performance in South Africa’, Amsterdam Conservatory, Minor African music (NL).

    _____ 2014. ‘“The guitar speaks its language” Music and meaning in South African maskanda practice’, K.U. Leuven, Colloquium Series (B).

    _____ 2014. ‘Essentialist and constructivist approaches in discourses of cultural identity’, Tilburg University, Instruction at PhD Workshop (NL).

    _____ 2013. ‘Resisting cultural commodification: Maskanda music as discourse of power in post-apartheid South Africa’, Georg-August-Universität Göttingen, Colloquium Series (D).         

    _____ 2013. ‘Islam, music and body politics in contemporary Indonesia’, Utrecht University, Guest lecture for the Music history post-1800 course (NL).

    _____ 2012. ‘Wie heeft de Zoeloe blues? Zuid-Afrikaanse maskanda in mondiaal perspectief’, Faculteit Sociale Wetenschappen, Universiteit Utrecht – Workshop for the Antropologendag Muziek over Grenzen: Etnomusicologie in een gemondialiseerde wereld (NL).

    _____ 2011/12. ‘Gender roles in contemporary maskanda performance in South Africa’, Gender and Ethnicity Programme, Universiteit Utrecht – Several guest lectures (NL).

    _____ 2010. ‘Multiple maps and incompatible utopia’s: Maskanda performance in (post)apartheid South Africa’ Universiteit van Amsterdam – Colloquium series musicology programme (NL).

    _____ 2010. ‘Maskanda performance in South Africa’, Amsterdam Conservatory – Guest lecure in African Music Course (NL).

    _____ 2009. ‘Who's playing with identities? Postcolonial consciousness in the context of maskanda performance’, Centre for Critical Research on Race and Identity (CCRRI), University of KwaZulu-Natal (RSA) & School of Music, University of KwaZulu-Natal  – On the Off Beat Seminars (RSA).

    _____ 2009. ‘A globalized locality: 'Zuluness' in contemporary maskanda performance’, University of Southern California (USC), Los Angeles – Musicology Seminar & University of California, Los Angeles (UCLA) – Ethnomusicology Seminar (USA).

    _____ 2009. ‘Ein Zulukunstwerk oder ein europäisches Artefakt? Musikästhetische Betrachtungen über die globalisierte Rezeption südafrikanischer Maskandamusik’, Universität des Saarlandes  – Saarbrücker Kolloquium zur Musikwissenschaft (D).

    _____ 2008. ‘Maskanda overseas: Some preliminary enquiries’, Stellenbosch University  – Musicology Colloquia & School of Music, University of KwaZulu-Natal  – On the Off Beat Seminars (RSA).

    _____ 2008. ‘Zulu identities in globalized maskanda performance’, Centre for Critical Research on Race and Identity (CCRRI), University of KwaZulu-Natal (RSA).

    _____ 2008. ‘Muziekgeschiedenis als exercitie van de Geest: De idealistische erfenis van Hegel’, K.U. Leuven – Three guest lectures in the MA musicology programme (B).

    _____ 2007. ‘Who needs “world music”? European musical aesthetics and Zulu musical practices in South African maskanda music’, University of Southampton  – Music Research Seminar (UK).

    _____ 2007. ‘Beyond Self and Other: Tracing histories of western music in globalized maskanda performance’, Universiteit Utrecht – Utrecht Colloquia in the Musicologies (NL).

    _____ 2007. ‘Diabolus in musica / De duivel in de muziek’, Universiteit Utrecht – Introductory lecture for the BA Musicology programme (NL).

    _____ 2007. ‘The musical anthropology of Johann Gottfried Herder’, Roosevelt Academy, Middelburg – Guest lecture in the BA Arts and Humanities programme (NL).

    _____ 2007. ‘Zwervend erfgoed: Representaties van Zuid-Afrikaanse maskandamuziek’, Universiteit van Amsterdam – Colloquium series musicology programme (NL).

    _____ 2006. ‘Music as the devil: A legitimization crisis in 19th-century German music criticism’, Universiteit van Amsterdam – Collegium Musicologicum (NL).

    _____ 2006. ‘Who needs classical music?’, Onderzoeksinstituut voor Geschiedenis en Cultuur, Universiteit Utrecht – Guest lecture in the Research Master programme (NL).

    _____ 2005. ‘Muzikaal formalisme: scheldwoord of geuzennaam?’, University of Amsterdam – Guest lecture for the BA musicology programme (NL).

    _____ 2005. ‘Faust en de psychoanalyse van de programmamuziek’, Radboud Universiteit, Nijmegen – Guest lecture for the programme Algemene Cultuurwetenschappen (NL).

    _____ 2003. ‘An “aesthetic changeling”? Programme music in the context of Friedrich Theodor Vischer’s aesthetics’, Faculty of Music, University of Oxford – Graduate Students’ Colloquia (UK).

    _____ 2001. ‘Hegel, Hanslick and the problem of a musical “aesthetics of feeling”’, Amsterdam Conservatory – Guest lecture in the Music History and Aesthetics Course (NL).

  • Curriculum vitae

    Personal details

    Dr Barbara Titus

    Associate Professor of Musicology / Universitair Hoofddocent (UHD)

    Department of Art and Cultural Studies (K&C); Amsterdam School for Cultural Analysis (ASCA)

    University of Amsterdam

    b.titus@uva.nl

     

    Languages

    Dutch – native speaker

    English – fluent, written and spoken

    German – fluent, written and spoken

    Indonesian – functional

    French, Italian, Latin – functional

    Zulu – basic

     

    Education

    2000–2005 D.Phil. (Doctor of Philosophy) in musicology, St Anne’s College, Oxford University

    Thesis: ‘Conceptualizing music: Friedrich Theodor Vischer and Hegelian currents in German music

    criticism 1848–1887’ [Thesis approved without corrections]

    Supervisor: Dr Bojan Bujić, Magdalen College

    Examiners: Prof Reinhard Strohm, Prof Robert Pascall

     

    1999–2000 M.St. (Master of Studies) in musicology, Lincoln College, Oxford University

    Thesis: ‘The “unspecific meaning” paradox: Form and content in the musical aesthetics of Friedrich Theodor Vischer (1807–1887)’

    Supervisor: Dr Bojan Bujić

     

    1992–1997 MA (“Doctorandus”) in musicology, Utrecht University

    Thesis: ‘Absolute music as an ideal: The romantic roots of post-war serialist aesthetics’  [In Dutch]

    Supervisor: Dr Paul van Emmerik

     

    1986–1992 Grammar school (“Gymnasium”). Equivalent of baccalaureate in:

    Dutch, English, German, Ancient Greek languages, Music, History, Geography, Mathematics

     

    Scholarships and prizes

    2015 Balzan Musicology Visitorship 2015-16 for the research project The West in musical retrospect: South African maskanda music as historiography

    2015 Amsterdams Universiteitsfonds (AUF) Subsidy for the project Klinkend Erfgoed

    2013 KNAW Research Stipend for the research project Zulu Blues and Islamic Swing

    2012 Aspasia Research Stipend for the research project Zulu Blues and Islamic Swing

    2011 KNAW Conference Subsidy for the international conference Negotiating the West Music(ologic)ally

    2008 & 2009 Fieldwork funding from the Research Institute for History and Culture, Utrecht University (OGC)

    2001  Research grant, German Academic Exchange Service (DAAD)

    2000–2003 Balfour Studentship, St Anne’s College, Oxford University

    2000–2003 Studentship, Faculty of Music, Oxford University

    2000–2003 Arts and Humanities Research Council (AHRC) Award

    1999 Erich and Rochelle Friedmann Prize, Lincoln College, Oxford University

    1999 Award Genootschap Noorthey, The Hague, Netherlands

     

    Employment

    Academic positions

    University of Amsterdam (UvA), The Netherlands

    2013 – present

    Associate Professor (UHD) of Cultural Musicology at the Department of Art, Religion and Cultural Studies, 1.0 fte, permanent position.

     

    Georg-August-Universität (GAU), Göttingen, Germany

    2013 – 2014

    Guest Professor in Cultural Musicology for the Musikwissenschaftliches Seminar (temporary replacement for Prof Birgit Abels) (Wintersemester)

     

    Utrecht University (UU), The Netherlands

    2008 – 2013

    Assistant Professor (UD) of Musicology at the Department of Media and Cultural Studies, 1.0 fte, permanent position.

     

    University of KwaZulu-Natal (UKZN), Durban, South Africa

    2008 & 2009

    Visiting Professor at the School of Music, 1.0 fte (1 July to 1 November)

     

    Universität des Saarlandes, Saarbrücken, Germany [not taken up]

    2008

    Lecturer at the Institut für Musikwissenschaft, 1.0 fte, fixed term (1 year), followed by a Juniorprofessur with ‘Habilitation’.

     

    University of Amsterdam (UvA), The Netherlands

    2006 – 2008

    Lecturer in Musicology at the Department for Art, Religion and Culture Studies (September 2006 & 2007 to February 2007 & 2008)

     

    University of Oxford (Oxon), United Kingdom

    2001 – 2003

    Teaching assistant for the Faculty of Music, 0.2 fte

     

    Public relations and marketing

    2005 – 2006: Public relations for the Dutch Booksellers Assocation, Bilthoven

    2004: Staff member public relations for the Boekman Foundation – Research centre for culture, policy and related studies, Amsterdam (covering maternity leave)

    1997 – 1999: Assistant editor for “Frits Philips” Concert hall, Eindhoven, The Netherlands

     

    Fellowships and Curatorships

    2015 – present: Fellow of the African Studies Centre Leiden (ASC) Community.

    2014 – present: Coordinator of the research group Music and Culture at the Amsterdam School for Cultural Analysis (ASCA)

    2013 – present: Curator of the Musicology Department’s Jaap Kunst Collection, Universiteit van Amsterdam.

     

    Editorships

    Verlag für Wissenschaft und Bildung (VWB), Berlin, Germany

    2014 – present: Co-editor the world of music (new series) 3 -  ISSN 0043-8774

     

    Amsterdam University Press (AUP), The Netherlands

    2007 – 2013: Managing editor Dutch Journal of Music Theory / Tijdschrift voor Muziektheorie (TvM), 11-18 (1, 2 & 3) ISSN 1385-3066

     

    Juries and selection committees:

    Research audits

    2014: Member of the External Audit Committee for the accreditation of Codarts – University of the Arts Research Programme, Rotterdam.

    2012: Reviewer for the National Research Foundation (NRF), South Africa.

    Scholarship and grant selection

    2015: Member of the ASCA PhD Finishing Fellowship Committee

    2012 – 2015: Member of the FWO Expert panels Cult 3 (History, Art History and Archeology) and Cult 2 (Arts, Art History and Literature), Flemish Fund for Scientific Research, Belgium

    2012 – 2018: Member of the Board of the dr. Catharine van Tussenbroekfonds, selecting Dutch female scholars for grants enabling research visits abroad.

    2007: Member of the jury for the Jan Pieter Heije Thesis Prize for the Royal Society for Music History in The Netherlands (KVNM)

    Peer review

    2015:  Member of the jury for the STIMU Young Scholars Award, Utrecht Early Music Festival Symposium

    2013 – present: Member of the Advisory Board of the journal Music Theory and Analysis (MTA)

    2006 – 2013: Peer reviewer for the Dutch Journal of Music Theory (DJMT)

    2011:  Member of the committee selecting paper proposals for the international conference Negotiating the West Music(ologic)ally, Universiteit Utrecht.

    2006 – 2008: Member of the committee selecting paper proposals for the 9th, 10th en 11th Conferences of the Dutch-Flemish Society of Music Theory (VvM)

    Student admission

    2009 – 2013: Member of the selection committee interviewing prospective music students for the Research Master in Musicology, Utrecht University.

    2002: Member of the St Anne’s College selection committee interviewing prospective music students for the Faculty of Music, University of Oxford.

     

    Organizational and administrative activities

    Executive positions

    2013 – present: Programme coordinator for the BA Musicology programme at the University of Amsterdam

    2013 – 2015: Chair of the Educational Board for the BA Musicology programme at the University of Amsterdam

    2013 – 2016: Delegate of the Board for Exams for the BA Musicology programme at the University of Amsterdam

    2013 – 2016: Member of the Graduate School of Humanities' Board for Exams for all Humanities MA programmes at the University of Amsterdam 

    2012 – 2013: Chair of the Educational Advisory Board for the BA and MA Musicology programmes at Utrecht University.

    2010 – 2012: Programme coordinator for the BA and MA Musicology programmes at Utrecht University.

    2006 – 2010: Treasurer of the Dutch-Flemish Society of Music Theory (VvM)

    2001 – 2002: Chair of the Oxford Chamber Choir

    Conference organization

    2018: Organizer of the ASCA Seminar Aurality: Musical Modes of Knowledge Inscription.

    2015: Curator (with Jed Wentz) of the international STIMU Symposium in collaboration with the Utrecht Early Music Festival (Festival Oude Muziek) The past is a foreign country, 28-30 August 2015, TivoliVredenburg, Utrecht.

    2011: Organizer (with Rachel Beckles-Willson [RHUL]) of the international conference Negotiating the West Music(ologic)ally, 11-13 April 2011, Universiteit Utrecht.

    2008: Co-organizer of the ‘Music Theorist in Residence’ for the Dutch-Flemish Society of Music Theory (VvM) – Prof Kofi Agawu, Princeton University.

    2008: Co-organizer of the 10th Conference of the Dutch-Flemish Society of Music Theory (VvM), Conservatorium Maastricht/Hogeschool Zuyd.

    2002 – 2003: Organizer of the Graduate Students’ Colloquia, Faculty of Music, Oxford University.

    2001 – 2002: Co-organizer of the Graduate Students’ Exchange Conference University of Oxford, University of Cambridge, King’s College – University of London, Royal Holloway – University of London.

     

    Musicianship

    Singing (1993 – present):

    The Netherlands:

    * Vocaal Ensemble Venus, specialized in contemporary composed music.

    New compositions (dedicated to the ensemble) from Wolfgang Rihm and Calliope Tsoupaki, among others.

    * Ars Nova Trajectina (early music ensemble of the Musicology Programme), specialized in European music from 1300 to 1650

    * Utrecht Dome Choir (Utrechtse Domcantorij) and Capella Occento

    Fringeconcerten in the Utrecht Early Music Festival (1997), European tour with scenic performance of Leoncavallo's Pagliacci (1998), European tour with Bach’s B-minor Mass (2000).

    England:

    * Mensural notation singing group supervised by Prof. Margaret Bent, All Souls College Oxford

    * Chapel choir of Lincoln College Oxford

    Evensong in o.a. York Minster (2003), St Paul’s Cathedral (1999) & Canterbury Cathedral (2000)

    * The Oxford Chamber Choir, New Chamber Opera Studio (New College Oxford), Voces Intimae Oxford

    South Africa:

    * Rehearsals and performance with Skho Miya en her group Abagqugquzeli in Durban.

    * Lessons in maskanda guitar from Shiyani Ngcobo in Durban and Josefa Nkwanyana in Mandeni, Tugela.

     

    Oboe (1987 – 1998):

    * Ars Floreat Amsterdam – Consisting of members of national radio orchestra’s

    * Consort De Kleine Johannes – Baroque orchestra of Universiteit Utrecht

  • Taught courses

    Taught courses  (B = Bachelor, M = Master)

    Oxford University (Oxon), Utrecht University (UU), University of KwaZulu-Natal (UKZN), Georg-August-Universität Göttingen (GAU), University of Amsterdam (UvA)

     

    Musics of the world

    World music and globalisation (UvA) B

    A musical journey around the world: A methodological introduction into the musicologies (UU) B

    Music and Identity (UKZN, UU, GAU) B

    Indonesian music and culture (UvA) B

    South African music and culture (UvA) B

    ‘Ida y vuelta’: Travelling music (UU) Research M

    Non-western concepts in western music after 1945 (UvA) M

     

    Music(ologic)al disciplines

    Cultural Musicology (UvA) M

    Theorizing music in society (UKZN) M

    Musical epistemologies (UvA) M

    Information technology in musicology (UU) B

    Core problems in current musicology (UU) B

    Sound and rhythm in language and music (UU) B [in collaboration with Linguistics Department]

    Canon of research in the arts (UvA) Research M

    Research strategies (UvA) B

     

    History of western music

    History of western music 800-1800 (UU) B, 1600-1900 (UU) B, and 1890-1950 (UvA) B

    ‘Undanceable dances’: Case studies in music history 1100-2000 (UU) B

    ‘Madrigalisms’: The sixteenth-century madrigal (UU) B

    The early German lied (Oxon) B

    Nineteenth-century opera (Oxon) B

    Transformations in twentieth- and twenty-first-century music (UvA) M

     

    PhD Thesis Supervision

    Capitain, Wouter. “Postcolonial Polyphony: Harmony and Dissonance in Edward Said’s Musical Deliberations”

    Echa, Iye. “Djembe Capital: A Study of the Functional Significance of Cultural Capital for West-African Djembe Musicians in The Netherlands”

    Ishida, Noriko. “Sanskrit Metres in Old and Modern Javanese: A Study of their Musical and Literary Features”

    Mitchell, Mimi. “The Revival of the Baroque Violin. An Oral History”

    Montoya Alzate, Juan David. “Caribbean Music Palimpsests: Embodied Action and Cultural Transmission”

     

    External examination of PhD theses in The Netherlands and South Africa.

    Instructive contributions to PhD Workshops at the Orpheus Academy, Ghent (B) and Tilburg University (NL)

    Supervision of bachelor and master theses and tutorial work, Utrecht University and University of Amsterdam

    Incidental (guest) lectures at the Universitas Gadjah Mada (UGM) Yogyakarta; Indonesian University of the Arts (ISI), Yogyakarta [RI]; University of Stellenbosch [RSA]; University of California, Los Angeles (UCLA) [USA]; University of Southern California (USC), Los Angeles [USA]; National Autonomous University of Mexico (UNAM), Mexico City [MEX - via Skype]; University of Vienna [A]; Charles University, Prague [CZ]; University of Saarland, Saarbrücken [D]; King's College London (KCL) [UK]; University of Southampton [UK]; KU Leuven [B]; Orpheus Academy, Ghent [B]; Tilburg University [NL], University College Roosevelt, Middelburg [NL]; Conservatory of Amsterdam (CvA) [NL]

  • Publicaties

    2019

    • Titus, B. (in press). The West in musical retrospect: The historiographical implications of South African maskanda music . In R. Strohm (Ed.), Proceedings of the British Academy: Balzan Musicology Project Towards a global history of music, 2015-2016 (Vol. 2). London.
    • Titus, B. (Accepted/In press). Intellectual freedom as profit and privilege: Reflections on democracy and the humanities. Krisis.

    2018

    • Titus, B. (submitted). ‘Your tongue, your sound, your song from your inside’: Hearing maskanda in post-apartheid South Africa. The University of Chicago Press.
    • Titus, B. (2018). El pasado es un país extranjero. In Cuadernos del Seminario de Música en la Nueva España y el México Independiente (Vol. 8). México.
    • Titus, B. (2018). The "attentively silent" presence of Jaap Kunst in the Vereniging voor Nederlandse Muziekgeschiedenis. Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 68, 163-174.

    2016

    • Titus, B. (2016). Performing histories and embellishing identities: South African maskanda music on a Dutch stage. In Balzan Conference: Places of Interaction: Histories of Music and Dance in India, Africa and South-East Asia: British Academy London
    • Titus, B. (2016). 'There is that cry sometimes': Negotiations and exertions of power in South African Maskanda music. In C. Granger, F. Riedel, E-MA. van Straaten, & G. Feller (Eds.), Music moves: Musical dynamics of relation, knowledge and transformation (pp. 107-133). ( Göttingen Studies in Musicology; Vol. 7). Hildesheim: Georg Olms Verlag. [details] 
    • Titus, B. (2016). Recognizing Music as an Art Form: Friedrich Th. Vischer and German music criticism, 1848-1887. Leuven: Leuven University Press. [details] 

    2013

    2012

    • Titus, B. (2012). 'Die Nachwirkung vorher verklungener Töne': Eduard Hanslick und Friedrich Theodor Vischer über die Historisierung des künstlerischen Materials. In D. Altenburg, & R. Bayreuther (Eds.), Musik und kulturelle Identität. - Bd. 3 (pp. 294-300). Kassel: Bärenreiter.

    2008

    • Titus, B. (2008). Global maskanda, global music historiography? Some preliminary enquiries. South African Music Studies.
    • Titus, B. (2008). The quest for spiritualized form: (Re)positioning Eduard Hanslick. Acta Musicologica, 80(1), 67-97. [details] 

    2015

    • Titus, B. (2015). Muzikale culturen uit lang vervlogen tijden: STIMU-Symposium. Tijdschrift voor Oude Muziek, 30(4), 22-26. [details] 
    • Titus, B. (2015). Response to "ON BEING UNDONE BY MUSIC: Thoughts towards a South African future worth having" by Christopher Ballantine. South African Music Studies, 35.

    2014

    • Titus, B. (2014). Musicologica, or, the ownership of (musical) knowledge: A South African story. Cultural Musicology iZine. [details] 

    2008

    • Titus, B., & Olwage, G. (2008). African voices: The second conference of the South African Society for Research in Music, i: A post-conference conversation between Grant Olwage and Barbara Titus. South African Music Studies, 28, 190-193.

    2007

    • Titus, B. (2007). The South African Music Project Symposium: "Theorizing southern African music: Perspectives and conjectures". South African Music Studies, 26/27, 175-176.
    • Titus, B. (2007). The first congress of the South African Society for Research in Music: "Musics, theories, practices: Focus on South Africa", ii: An "outsider’s view". South African Music Studies, 26/27, 172-173.

    2016

    • Titus, B. (2016). [Review of: K. Olsen (2014) Music and social change in South Africa: Maskanda past and present]. The World of Music, 5(1), 209-212. [details] 

    2012

    • Titus, B. (2012). Muziekwetenschap als ideaal en instituut [Bespreking van: H. Metzelaar, B. Linders (2012) Sempre appassionato: 75 jaar muziekwetenschap in Amsterdam]. Boekman, 93, 116-117. [details] 

    2010

    • Titus, B. (2010). Maskandi whitey: An outsider's view. South African Labour Bulletin, 34(1), 63-65. [details] 
    • Titus, B. (2010). [Review of: K. Brillenburg Wurth (2009) Musically sublime: indeterminacy, infinity, irresolvability]. Dutch Journal of Music Theory, 15(3), 219-225. [details] 

    Lidmaatschap

    • Titus, B. (2015-2021). Fellow at the African Studies Centre (ASC) Community in Leiden, African Studies Centre (ASC) Community.

    Mediaoptreden

    • Titus, B. (17-12-2015). Popdokters [Radio] VARA-Gids. Popdokters.
    • Titus, B. (01-09-2015). Eventalk Utrecht Early Music Festival 2015 [Radio] NPO Radio 4 Festivaljournaal 23. Wie bezet(te) het Maagdenhuis?.

    Tijdschriftredactie

    • Titus, B. (reviewer) (2016). African Music (Journal).
    • Titus, B. (reviewer) (2016). Studies in Material Thinking (Journal).

    Andere

    • Titus, B. (examiner) (13-9-2016). “Was deutsch und echt…”: Articulating a German Operatic Identity, 1798-1876 (examination).
    • Titus, B. (examiner) (17-5-2016). "Our Subcultural Shit-Music": Dutch Jazz, Representation, and Cultural Politics (examination).
    • Titus, B. (participant) (22-1-2016 - 23-1-2016). Towards a global history of martial and military music, Vienna, Austria. Discussant at the International workshop 'Towards a global history of martial and military music: Comparative perspectives for the early and (…) (participating in a conference, workshop, ...).
    • Titus, B. (examiner) (15-1-2016). Sound-Tracking Germany. 70 Years of Imagining the Nation from Schlager to Techno (examination).

    2019

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