I regularly write various types of texts in Dutch
and English: from academic peer-reviewed articles to columns or
interviews, essays, and (commissioned) reports. Here you can find an overview of what I have written over the past years.
If you cannot access something but want to read it, do not hesitate to contact me.
If you cannot access something but want to read it, do not hesitate to contact me.
On its way
• Van de Werff, T., Eve, I. & Spronck, V. (forthcoming). “Mahler am Tisch”: Experimenting with Imagined and Emergent Audiences. In: C. Dromey (Ed.), Routledge Companion for Applied Musicology. Routledge.
2023
• Spronck, V. (2023). Dagelijksheid componeren. Gonzo (circus), mrt-apr: 52-53.
2022
• ✨ Spronck, V. (2022). Listen Closely: Innovating Audience Participation in Symphonic Music [doctoral dissertation]. Maastricht University.✨
[link]
• Spronck, V. (2022). “Navigeren in een stroom” Professionele rollen en competenties in de muzieksector van vandaag en morgen. Kunst en Economie, Muziek en Technology, Utrechts Conservatorium, HKU.
[internal document]
• Spronck, V. (2022). Beethoven as open dialogue: Doing participation differently in symphonic music? In: R. Benschop, C. Rausch, E. Sitzia & V. van Saaze (Eds.), Participatory practices in arts and heritage: Learning through and from collaboration (pp. 159-170). Springer.
[link]
• Spronck, V. & Vermeulen, M. (2022). The Very Specific Guide to Anywhere. DIY Methods conference. Low-Carbon Research Methods Group.
[link]
• Van Andel, W. & Spronck, V. (2022). Openbare Les: Waarde(n)vol Ondernemen in en door de Kunsten. HKU Press.
[link]
2021
• Spronck, V., Peters, P. & Werff, T. van de. (2021). Empty Minds? Innovating Audience Participation in Symphonic Practice. Science as Culture,30(2): 216-236.
[link]
• Spronck, V. (2021). Heliostat. In: K. Bijsterveld (Ed.), Unboxed: Instruments for science and technology in Centre Céramique (pp. 118-121). Uitgeverij Verloren.
[link]
• Spronck, V. (2021). Luisteren als een etnograaf. DeKlank, 9(1), 61.
[link]
• Several contributions to www.artfulparticipation.nl
[link]
2020
• Spronck, V. (2020, 27 April). Vergeet het cultuurpubliek niet. Trouw: 19.
[link]
• Spronck, V. (2020). An Intervention: Playing by Heart/Music as Open Dialogue. In: I. Eve, The Same but Differently (pp. 24-28). Research Centre for Arts, Autonomy and the Public Phere & Maastricht Centre for the Innovation of Classical Music.
[link]
2019
• Spronck, V. (2019). A Laboratory for Performance Practice: The Case of MusicExperiment21. In: P. De Assis & L. D’Errico (Eds.), Artistic Research: Charting a Field in Expansion (pp. 192-201). Rowman & Littlefield.
[link]
• Spronck, V. (2019). Drawing Instruments drawing instruments: Over tekenen als een methode voor reflectie. FORUM+: for research and arts, 26(1): 4-13.
[link]
2018
• Started with my PhD and conducting ethnographic fieldwork in orchestral practices 📝
2017
• Spronck, V. (2017). Testing the Parameters of Music: The Halberstadt Performance of John Cage’s ORGAN2/ASLSP as Experimental System. Junctions: Graduate Journal of the Humanities, 2(1): 37-52.
[link]
• Petzold, D. & Spronck, V. (2017). For the Sake of Experiencing: Technological Mediation between Installation Artworks and their Visitors. Kunstlicht, 38(4): 100-107.
[link]
• Kroese, R., Spronck, V. & Vermeulen, M. (2017) Drawing Instruments, or: How to Calibrate an Artist? Institute of Cartopology & Research Centre for Arts, Autonomy and the Public Sphere.
[link, artist’s book]
• Spronck, V. (2017). Married with Wendel: Interview with Yvonne Dröge Wendel. MacGuffin, 5: 122-127.
[not available online]
• Spronck, V. (2017). De kwaliteit van de specifieke situatie: Van concert, educatieproject tot zolderkamer. philharmonie zuidnederland & lectoraat autonomie en openbaarheid in de kunsten, Hogeschool Zuyd.
[internal document]
• Spronck, V. (2017). Evaluatie Onderzoeksatelier ‘Drawing Instruments’ door het ‘Institute of Calibration’. Zuyd Innoveert, Hogeschool Zuyd.
[internal document]
2016
• Spronck, V. (2016). Between Art and Academia: A Study of the Practice of Third Cycle Artistic Research [Unpublished Master’s thesis]. Maastricht University. (🏆 received the biennial Max van der Kamp thesis prize for best thesis on cultural education and participation)
[link]
Some older things:
• Spronck, V. & Ploegman, H. (Red.). (2015). Betwixt & Between: The Artist’s Book and Materiality. Kunstlicht, 36(1-2).
[link]
• Van der Heide, A., Petzold, D., Spronck, V., Piel, H., Rufas, A., Bollebakker, S. & Matuschka, M. (2015, June 5). Recreating Musical Cultures of the Past for the 21st Century [online publicatie: Research Catalogue].
[link]
• Spronck, V. (2014). “Let sounds just be themselves”, Timbres, 8(autumn), 30-35.
[link]
• Van de Werff, T., Eve, I. & Spronck, V. (forthcoming). “Mahler am Tisch”: Experimenting with Imagined and Emergent Audiences. In: C. Dromey (Ed.), Routledge Companion for Applied Musicology. Routledge.
2023
• Spronck, V. (2023). Dagelijksheid componeren. Gonzo (circus), mrt-apr: 52-53.
2022
• ✨ Spronck, V. (2022). Listen Closely: Innovating Audience Participation in Symphonic Music [doctoral dissertation]. Maastricht University.✨
[link]
• Spronck, V. (2022). “Navigeren in een stroom” Professionele rollen en competenties in de muzieksector van vandaag en morgen. Kunst en Economie, Muziek en Technology, Utrechts Conservatorium, HKU.
[internal document]
• Spronck, V. (2022). Beethoven as open dialogue: Doing participation differently in symphonic music? In: R. Benschop, C. Rausch, E. Sitzia & V. van Saaze (Eds.), Participatory practices in arts and heritage: Learning through and from collaboration (pp. 159-170). Springer.
[link]
• Spronck, V. & Vermeulen, M. (2022). The Very Specific Guide to Anywhere. DIY Methods conference. Low-Carbon Research Methods Group.
[link]
• Van Andel, W. & Spronck, V. (2022). Openbare Les: Waarde(n)vol Ondernemen in en door de Kunsten. HKU Press.
[link]
2021
• Spronck, V., Peters, P. & Werff, T. van de. (2021). Empty Minds? Innovating Audience Participation in Symphonic Practice. Science as Culture,30(2): 216-236.
[link]
• Spronck, V. (2021). Heliostat. In: K. Bijsterveld (Ed.), Unboxed: Instruments for science and technology in Centre Céramique (pp. 118-121). Uitgeverij Verloren.
[link]
• Spronck, V. (2021). Luisteren als een etnograaf. DeKlank, 9(1), 61.
[link]
• Several contributions to www.artfulparticipation.nl
[link]
2020
• Spronck, V. (2020, 27 April). Vergeet het cultuurpubliek niet. Trouw: 19.
[link]
• Spronck, V. (2020). An Intervention: Playing by Heart/Music as Open Dialogue. In: I. Eve, The Same but Differently (pp. 24-28). Research Centre for Arts, Autonomy and the Public Phere & Maastricht Centre for the Innovation of Classical Music.
[link]
2019
• Spronck, V. (2019). A Laboratory for Performance Practice: The Case of MusicExperiment21. In: P. De Assis & L. D’Errico (Eds.), Artistic Research: Charting a Field in Expansion (pp. 192-201). Rowman & Littlefield.
[link]
• Spronck, V. (2019). Drawing Instruments drawing instruments: Over tekenen als een methode voor reflectie. FORUM+: for research and arts, 26(1): 4-13.
[link]
2018
• Started with my PhD and conducting ethnographic fieldwork in orchestral practices 📝
2017
• Spronck, V. (2017). Testing the Parameters of Music: The Halberstadt Performance of John Cage’s ORGAN2/ASLSP as Experimental System. Junctions: Graduate Journal of the Humanities, 2(1): 37-52.
[link]
• Petzold, D. & Spronck, V. (2017). For the Sake of Experiencing: Technological Mediation between Installation Artworks and their Visitors. Kunstlicht, 38(4): 100-107.
[link]
• Kroese, R., Spronck, V. & Vermeulen, M. (2017) Drawing Instruments, or: How to Calibrate an Artist? Institute of Cartopology & Research Centre for Arts, Autonomy and the Public Sphere.
[link, artist’s book]
• Spronck, V. (2017). Married with Wendel: Interview with Yvonne Dröge Wendel. MacGuffin, 5: 122-127.
[not available online]
• Spronck, V. (2017). De kwaliteit van de specifieke situatie: Van concert, educatieproject tot zolderkamer. philharmonie zuidnederland & lectoraat autonomie en openbaarheid in de kunsten, Hogeschool Zuyd.
[internal document]
• Spronck, V. (2017). Evaluatie Onderzoeksatelier ‘Drawing Instruments’ door het ‘Institute of Calibration’. Zuyd Innoveert, Hogeschool Zuyd.
[internal document]
2016
• Spronck, V. (2016). Between Art and Academia: A Study of the Practice of Third Cycle Artistic Research [Unpublished Master’s thesis]. Maastricht University. (🏆 received the biennial Max van der Kamp thesis prize for best thesis on cultural education and participation)
[link]
Some older things:
• Spronck, V. & Ploegman, H. (Red.). (2015). Betwixt & Between: The Artist’s Book and Materiality. Kunstlicht, 36(1-2).
[link]
• Van der Heide, A., Petzold, D., Spronck, V., Piel, H., Rufas, A., Bollebakker, S. & Matuschka, M. (2015, June 5). Recreating Musical Cultures of the Past for the 21st Century [online publicatie: Research Catalogue].
[link]
• Spronck, V. (2014). “Let sounds just be themselves”, Timbres, 8(autumn), 30-35.
[link]