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.
Forthcoming
• Spronck, V. & Horbach, S. (under review). Counting what counts? – A comparative study of funding agencies’ conceptualisation of ‘impact’ in the Arts and Academia.
• Hoegen, P. & Spronck, V. (under review). How We Wish to Work: An exchange on participation, connectivity, and care.
2023
• Spronck, V. (2023). Aad de Haas, nieuwe collectie aanwinst SCHUNCK. Metropolis M.
• Van de Werff, T., Eve, I. & Spronck, V. (2023). “Mahler am Tisch”: Experimenting with Imagined and Emergent Audiences. In: C. Dromey (Ed.), Routledge Companion for Applied Musicology (pp. 275-284). Routledge. ︎
• Hubner, F. & Spronck, V. (2023). Music in Society: Three Perspectives. In: Shifting Boundaries: Situating Contemporary Music Practices (pp. 74-99). November Music. ︎
• Spronck, V. & Wevers, R. (2023). Kunst en technologie: Hoe houden we grip op onze digitale toekomst? Boekman, 135: 50-51. ︎
• 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.✨ ︎
• 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 (Red.), Participatory practices in arts and heritage: Learning through and from collaboration (pp. 159-170). Springer. ︎
• Spronck, V. & Vermeulen, M. (2022). The Very Specific Guide to Anywhere. DIY Methods conference. Low-Carbon Research Methods Group. ︎
• Van Andel, W. & Spronck, V. (2022). Openbare Les: Waarde(n)vol Ondernemen in en door de Kunsten. HKU Press. ︎
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. ︎
• Spronck, V. (2021). Heliostaat. In: K. Bijsterveld (Red.), Uitgepakt: Instrumenten voor wetenschap en techniek in Centre Céramique (pp. 118-121). Uitgeverij Verloren. ︎
• Spronck, V. (2021). Luisteren als een etnograaf. DeKlank, 9(1), 61. ︎
• Several contributions to www.artfulparticipation.nl
2020
• Spronck, V. (2020, 27 April). Vergeet het cultuurpubliek niet. Trouw: 19. ︎
• 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. ︎
2019
• Spronck, V. (2019). A Laboratory for Performance Practice: The Case of MusicExperiment21. In: P. De Assis & L. D’Errico (Red.), Artistic Research: Charting a Field in Expansion (pp. 192-201). Rowman & Littlefield. ︎
• Spronck, V. (2019). Drawing Instruments drawing instruments: Over tekenen als een methode voor reflectie. FORUM+: voor onderzoek en kunsten, 26(1): 4-13. ︎
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. ︎
• Petzold, D. & Spronck, V. (2017). For the Sake of Experiencing: Technological Mediation between Installation Artworks and their Visitors. Kunstlicht, 38(4): 100-107. ︎
• 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. ︎
• 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 [Ongepubliceerde Master’s thesis]. Maastricht University. (🏆
was awarded the biennial Max van der Kamp thesis prize for best thesis on cultural education and participation) ︎
Some older things:
• Spronck, V. & Ploegman, H. (Red.). (2015). Betwixt & Between: The Artist’s Book and Materiality. Kunstlicht, 36(1-2). ︎
• 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]. ︎
• Spronck, V. (2014). “Let sounds just be themselves”, Timbres, 8(herfst), 30-35. ︎
If you cannot access something but want to read it, do not hesitate to contact me.
Forthcoming
• Spronck, V. & Horbach, S. (under review). Counting what counts? – A comparative study of funding agencies’ conceptualisation of ‘impact’ in the Arts and Academia.
• Hoegen, P. & Spronck, V. (under review). How We Wish to Work: An exchange on participation, connectivity, and care.
2023
• Spronck, V. (2023). Aad de Haas, nieuwe collectie aanwinst SCHUNCK. Metropolis M.
• Van de Werff, T., Eve, I. & Spronck, V. (2023). “Mahler am Tisch”: Experimenting with Imagined and Emergent Audiences. In: C. Dromey (Ed.), Routledge Companion for Applied Musicology (pp. 275-284). Routledge. ︎
• Hubner, F. & Spronck, V. (2023). Music in Society: Three Perspectives. In: Shifting Boundaries: Situating Contemporary Music Practices (pp. 74-99). November Music. ︎
• Spronck, V. & Wevers, R. (2023). Kunst en technologie: Hoe houden we grip op onze digitale toekomst? Boekman, 135: 50-51. ︎
• 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.✨ ︎
• 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 (Red.), Participatory practices in arts and heritage: Learning through and from collaboration (pp. 159-170). Springer. ︎
• Spronck, V. & Vermeulen, M. (2022). The Very Specific Guide to Anywhere. DIY Methods conference. Low-Carbon Research Methods Group. ︎
• Van Andel, W. & Spronck, V. (2022). Openbare Les: Waarde(n)vol Ondernemen in en door de Kunsten. HKU Press. ︎
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. ︎
• Spronck, V. (2021). Heliostaat. In: K. Bijsterveld (Red.), Uitgepakt: Instrumenten voor wetenschap en techniek in Centre Céramique (pp. 118-121). Uitgeverij Verloren. ︎
• Spronck, V. (2021). Luisteren als een etnograaf. DeKlank, 9(1), 61. ︎
• Several contributions to www.artfulparticipation.nl
2020
• Spronck, V. (2020, 27 April). Vergeet het cultuurpubliek niet. Trouw: 19. ︎
• 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. ︎
2019
• Spronck, V. (2019). A Laboratory for Performance Practice: The Case of MusicExperiment21. In: P. De Assis & L. D’Errico (Red.), Artistic Research: Charting a Field in Expansion (pp. 192-201). Rowman & Littlefield. ︎
• Spronck, V. (2019). Drawing Instruments drawing instruments: Over tekenen als een methode voor reflectie. FORUM+: voor onderzoek en kunsten, 26(1): 4-13. ︎
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. ︎
• Petzold, D. & Spronck, V. (2017). For the Sake of Experiencing: Technological Mediation between Installation Artworks and their Visitors. Kunstlicht, 38(4): 100-107. ︎
• 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. ︎
• 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 [Ongepubliceerde Master’s thesis]. Maastricht University. (🏆
was awarded the biennial Max van der Kamp thesis prize for best thesis on cultural education and participation) ︎
Some older things:
• Spronck, V. & Ploegman, H. (Red.). (2015). Betwixt & Between: The Artist’s Book and Materiality. Kunstlicht, 36(1-2). ︎
• 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]. ︎
• Spronck, V. (2014). “Let sounds just be themselves”, Timbres, 8(herfst), 30-35. ︎