Research Cluster 'Musical Learning and Performance'

Music education, especially instrumental education, is often building on traditions and the experience of many generations of musicians. At the same time, new insights into the biological, cognitive and cultural fundaments of musical perception, motoric and imagination demand for innovation of musical training, preparation and performance. The research cluster ‘Musical Learning and Performance’ is building a bridge between music education and didactics on the one side and insights from other knowledge fields that may lead to a better understanding of processes of musical learning, imagination and performance.


Mieke van Dael is a methodology teacher at the Royal Conservatoire. She teaches and coordinates the BASIS programme and teaches bassoon within the various departments. She followed the Master’s programme ‘Music Education According to the Kodály Concept’, which she completed in 2016 with a presentation of her research: ’How can aspects of the Kodály philosophy and methodology be integrated into instrumental music education?’ At the lectorate, she is concerned with the question: ‘How can the transition from auditory work to dealing with notation be tailored to the specific characteristics of the instruments of the woodwind quintet?’

Klaske de Haan is a teacher at the Royal Conservatoire, where she works for the programme BASIS, developing methods for young wind players. She is a methodology teacher at the KC and Codarts, as well as a horn teacher at Scholen in de Kunst in Amersfoort. ‘From Aural Teaching to Musical Literacy in the Elementary Horn Class’ was the subject of the master’s degree ‘Music Education According to the Kodály Concept’ Klaske obtained in 2017. Now Klaske wants to do in depth research with the question: 'How can the transition from auditory work to dealing with notation be tailored to the specific characteristics of the woodwind quintet?’

Caroline Kang has a background in the historical performance of the cello: she tries to understand how musicians played in the past and also, often more importantly, why they did what they did. When applied in an educational setting, one large variable within this approach is the culture in which we all learn and work. How do our current cultural and societal influences affect our ability to learn and perform? Are there interventions to this end which can help musicians specifically? The focus of Caroline’s research currently extends outside of the sphere of early music and instead into the practice of meditation and mindfulness for the musician.

Bart van Oort studied piano and fortepiano at the Royal Conservatoire in The Hague and he received a Doctor of Musical Arts degree in Historical Performance Practice at Cornell University (USA) in 1993. In 1986, he won the International Fortepiano Competition in Bruges, Belgium. He has since given lectures and masterclasses and performed all over the world. Since 1997 Van Oort has made over fifty recordings of chamber music and solo repertory. Bart van Oort teaches fortepiano and Historical Performance Practice at the Royal Conservatory in The Hague. His current research focusses on the musical language of the Classical Era.

Susan Williams is one of the world’s most well-known specialists in baroque trumpet and over the last 30 years has performed and recorded with many of Europe’s finest early music ensembles. She has also initiated and realised many of her own artistic projects. In addition to teaching natural trumpet and leading ensemble projects and workshops, Susan has been given many courses in practicing and performance preparation. Susan is actively involved in curriculum development in the area of training practicing. Her research has revolved around the topics of attentional focus and musical imagery. Susan’s book Quality Practice has enjoyed wide popularity amongst musicians and teachers.