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Dr. H.M. (Hannah) Bosma

Faculteit der Geesteswetenschappen
Capaciteitsgroep Muziekwetenschap

  • Nieuwe Doelenstraat 16-18
  • Kamernummer: 2.07
  • Postbus 93058
    1090 BB Amsterdam
  • Presentaties

    Thursday 12 March 2020 at 15:30
    In room 3.01 at Nieuwe Doelenstraat 16, Amsterdam

    Preservation as performance: liveness, loss and viability in electroacoustic music

    A colloquium by Hannah Bosma

    It is very difficult to preserve experimental electronic music and to re-perform it later. The unique software and equipment become obsolete quickly. Knowledge and information are dispersed through interdisciplinary collaboration. Sound and performance are volatile. How to keep this music for future generations? Or is loss essential for this music? What remains?
    This lecture presents Hannah Bosma’s research project Preservation as performance: liveness, loss and viability in electroacoustic music (2019-2023). After giving an outline of this project, she will zoom in on her current research at STEIM, studio for electro-instrumental music in Amsterdam since 1969, where Michel Waisvisz developed the Crackle Box and The Hands and numerous international musicians-artists worked on their projects.


  • Profiel

    Hannah Bosma is a postdoc researcher at the University of Amsterdam for her NWO funded Veni research project Preservation as performance: Liveness, loss and viability in electroacoustic music. Other projects include MA-courses on Archiving Art (UvA) and on gender, voice and music technology (Kunstuniversität Graz 2017-2019), the conference The Art of Voice Synthesis (UvA 2016) and The Electronic Cry: Voice, gender and electroacoustic music (PhD UvA 2013).

  • Onderzoek

    2019 - 2023, NWO Veni postdoc onderzoeksproject, ASCA/Muziekwetenschap


    Hoe leeft elektroakoestische muziek voort?

    Experimentele elektronische muziek is moeilijk te bewaren en opnieuw uit te voeren. Dit komt door de snel verouderende software, de ongewone apparatuur, de unieke samenwerkingsverbanden en de vluchtigheid van geluid en performance. In hoeverre is de vergankelijkheid essentieel? Wat kan wel behouden blijven? Hoe? Wie zijn daarbij betrokken?


    Preservation as performance: liveness, loss and viability in electroacoustic music

    Digital technologies are integrated into almost every aspect of contemporary culture. But the preservation of digital information is a complex problem: how to select what has to be preserved and how to keep it in working condition, to prevent a 'digital dark age'. In electronic art music, such preservation issues are prominent, due to the early obsolescence of new media and technology, the liveness and ephemerality of performance, its interdisciplinarity, and aesthetic, cultural and social-political developments. This is exemplary for the current crisis of contemporary cultural heritage where new media, technology, art and culture intersect.

    While previous research mainly focused on technical solutions and procedures, this Veni-project will investigate processes of preservation and heritage formation in West-European electroacoustic music as related to its production, dissemination, performance, reception and aesthetics. Various human and non-human actors are surveyed, such as composers, sound engineers, performers, music publishers, electronic musical instruments, music institutes, musea, archival institutes, publication media, and music technologies. IRCAM, STEIM, PME-técnica, and twelve compositions function as research ‘nodes’. These are interesting and relevant because of their international reputations, long track records, and interconnections, and because they represent the amalgamation of composition, improvisation, instrument creation, and live performance in various ways.

    By plotting actor-networks and trajectories of musical objects and by editing extended score documentations, compositions or instruments will be conceived as dynamic, evolving in time, in a network of heterogeneous actors. Musical and cultural analysis will add an aesthetic and reflective layer. This dynamic and contextual conception of musical heritage as performative practice will challenge prevalent ideas on authenticity and preservation. 

    Liveness, loss, viability and preservation of electroacoustic music affect all musical actors at the core. Besides disseminating my findings via academic channels, I will engage music professionals and heritage experts via workshops and other projects.

  • Onderwijs

    Sept. - Dec. 2019: co-ordination and teaching of the MA-course Archiving Art (Arts and Culture, 12 ects).

  • Publicaties


    • Bosma, H. M. (2017). Canonisation and Documentation of Interdisciplinary Electroacoustic Music, Exemplified by Three Cases from the Netherlands: Dick Raaijmakers, Michel Waisvisz and Huba de Graaff. Organised Sound, 22(2), 228-237. https://doi.org/10.1017/S1355771817000139
    • Bosma, H. M. (2017). Unsettling performances, soundwalks and loudspeakers: Gender in electroacoustic music and other sounding arts. In M. Cobussen, V. Meelberg, & B. Truax (Eds.), The Routledge Companion to Sounding Art (pp. 305-320). Routledge.



    • Bosma, H. M. (2014). Thema (Omaggio a Joyce): A listening experience as homage to Cathy Berberian. In P. Karantonis, A. Sivuoja, F. Placanica, & P. Verstraete (Eds.), Cathy Berberian: Pioneer of Contemporary Vocality (pp. 97-117). Ashgate.


    • Bosma, H. M. (2008). Voice or Ear? The Female Voice and the Listener’s Position in Paul Lansky’s as it grew dark. In C. Birdsall, & A. Enns (Eds.), Sonic Mediations: Body, Sound, Technology (pp. 109-125). Newcastle upon Tyne, UK: Cambridge Scholars Publishing.


    • Bosma, H. (2006). Musical Washing Machines, Composer-Performers, and Other Blurring Boundaries: How Women Make a Difference in Electroacoustic Music. Intersections, 26(2), 97-117. https://doi.org/10.7202/1013229ar



    • Sufi, S., Martinez, C., Hof, C., Aerts, P., Klinkenberg, A., Lambrecht, A-L., Sierman, B., Willigen, B. V., Olivier, B., Willing, C., Thiel, C., Leeuwen, C. V., Jones, C., Flach, C. V., Katz, D. S., Hansen, D., Plomp, E., Coen, G., Steptoe, H., ... Moranville, Y. (2020). Report on the Workshop on Sustainable Software Sustainability 2019 (WOSSS19). Zenodo. https://doi.org/10.5281/zenodo.3922155, https://doi.org/10.5281/zenodo.3922154.


    • Bosma, H. (2019). Cathy Berberian As a Heroine of Sound. In S. Sanio, & B. Wackernagel (Eds.), Heroines of Sound: Feminismus und Gender in elektronischer Musik (pp. 118-129). Hofheim: Wolke Verlag. [details]



    • Bosma, H. M. (1995). Male and Female voices in Computermusic. In Proceedings of the International Computer Music Conference 1995, Banff, Alberta, Canada (pp. 139-142). Banff, Alberta, Canada: Banff Centre for the Arts. [details]


    • Bosma, H. M. (2020). Verslag & actieplan DEN TRACKS archiefdoorlichtingstraject STEIM maart – juni 2020.


    • Bosma, H. M., & Pisters, P. P. R. W. (1999). Madonna. De vele gezichten van een popster. Amsterdam: Prometeus. [details]
    • Pisters, P. P. R. W., & Bosma, H. M. (1999). De Vele Gezichten van een Popster. Amsterdam: Prometheus. [details]


    • Bosma, H. M. (Accepted/In press). How to preserve travelling musical practices in an online collaborative network archive. Abstract from ASCA Workshop 2021, Amsterdam, Netherlands.


    • Bosma, H. M. (Accepted/In press). “We need a fast car”: On electroacoustic music preservation, networks and STEIM.


    • Bosma, H. (2022). Lorentz workshop ""Beyond Fixity and Fluidity: Performance and Preservation of Music as Instauration".
    • Bosma, H. (2021). NWO Hestia research project "From archive to network: Syrian music in the Jaap Kunst audio collection and beyond".
    • Bosma, H. (2020). Institute of Interdisciplinary Studies Grant Project Education / IIS beurs Projectonderwijs. https://studiegids.uva.nl/xmlpages/page/2020-2021/zoek-vak/vak/80692
    • Bosma, H. (2018). NWO Veni project "Preservation as Performance: Liveness, Loss and Viability in Electroacoustic Music".



    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. Log in to Personal Page Publication Selection tool to manage the visibility of your publications on this list.
  • Nevenwerkzaamheden
    • Fonds Podiumkunsten
      adviseur muziek / compositie
    • Stichting Vrouw en Muziek