Sentiamoci a Parma 2022. Eartraining Workshop & Forum – from 27 to 30 April 2022

Sentiamoci a Parma 2022. Eartraining Workshop & Forum – from 27 to 30 April 2022


connecting ears!

Eartraining Workshop e Forum

7th edition

Parma, Conservatorio “Arrigo Boito”

Auditorium del Carmine

April 27-28-29-30, 2020

Erik Albjerg


Andrea Basevi


Valdis Bernhofs


Inge Bjarke


Liv Astrid Dahl


Laura Gorbe


Erik Højsgaard


Victoria Jackhelln


Guro Gravem Johansen


Esa Lilja


Maria Medby Tollefsen


László Norbert Nemes


Alberto Odone


Ieva Rozenbaha


Daniel Salbert


Gro Shetelig



Since 2015, Ear Training teachers and students from different European countries convene every year in Parma for a four days meeting, to hold and receive ear-training lessons, for mutual observation and discussion. Teachers can participate under the frame of the Erasmus+ Programme and both mobilities for teaching and training are possible, depending on the teachers’ activities during the meeting and their nationality. Italian teachers can benefit of a contribution from their home institution for their training period. During a six-year span, Sentiamoci a Parma has involved many international teachers who have come to know about work and methodologies of colleagues from different countries. A network of excellence all over Europe and beyond has been created this way, involving 25 different countries and connecting more than 150 experts in the sector with a remarkable dissemination of good practices and a sense of belonging to Europe.

The program of the workshop involves real lessons in several groups of students of our Conservatorio (from pre-academic to Master degree) held by the participating teachers in Italian or in English and translated (in English or in Italian) for the audience.
Videoshots of the previuos editions available HERE.


Wednesday, April 27th 2022

9,15 - 10,00 Registration

10,00 - 10,15 Ice breaking – Gro Shetelig

10,15 - 10,25 Welcome and Presentation – Fabio Ferrucci

10,25 - 11,10 Harmonic awareness through singing – Gro Shetelig

11,15 - 12,15 Stylistic knowledge based on Zoltán Kodály’s Pedagogical Compositions: Hungarian counterpoint – László Norbert Nemes

12,20 - 13,00 Rhythm - Advanced studies: The rhythm app – Erik Højsgaard

lunch break

15,00 - 16,00 Phenomenal mistakes (learning by doing errors) – Andrea Basevi

16,10 - 16,55 Some aspects of practical work in Ear-training classes (part 1) – Ieva Rozenbaha

17,00 - 17,55 Listening strategies in the Ear training practice (part 1) – Valdis Bernhofs

18,00 - 19,00 Score reading with transposing instruments and various clefs – Maria Medby Tollefsen

Thursday, April 28th 2022

9,30 - 10,00 Ear Training and Music Theory with the Choir: thoughts and tasks – Liv Astrid Dahl

10,05 - 10,50 Jazz Improvisation: Balancing Cognition and Intuition in the Learning Process (part 1) – Erik Albjerg

17,05 - 17,55 Improving sight reading by combining eyes, ears, voice and instrument (part 1) – Inge Bjarke

12,00 - 13,10 Musicianship in action: Passamezzo – Laura Gorbe and Victoria Jackhelln

lunch break

15,00 - 16,00 Stylistic knowledge based on Zoltán Kodály’s Pedagogical Compositions: Two- and three-part imitative counterpoint – László Norbert Nemes

16,05 - 16,50 Building bridges: from rhythmic subcurrent to rhytmic notation - Developing rhythmic skills with Rhythm Cards – Gro Shetelig

17,00 - 18,00 Playing with polyrhythms: Underflow and speed sensation –  Victoria Jackhelln

18,15 - 19,00 Some aspects of practical work in Ear-training classes (part 2) – Ieva Rozenbaha

Friday, April 29th 2022

9,30 - 10,30 Stylistic knowledge based on Zoltán Kodály’s Pedagogical Compositions: Chromatic harmony – László Norbert Nemes

10,35 - 11,20 Jazz Improvisation: Balancing Cognition and Intuition in the Learning Process (part 2) – Erik Albjerg

11,25 - 12,10 How do we understand the «prolonged beats»? Uneven and changing meters learned through the body – Gro Shetelig

12,15 - 13,10 Active critical listening: unfolding the BWV 881 – Laura Gorbe

lunch break

15,00 - 16,00 Listening strategies in the Ear training practice (part 2) – Valdis Bernhofs

16,05 - 17,00 Aural training for tonal improvisation in jazz modal and jazz harmonic music – Guro Gravem Johansen

17,05 - 17,55 Improving sight reading by combining eyes, ears, voice and instrument (part 2) – Inge Bjarke

18,00 - 19,00 Polyrhythmics: a top-down approach – Maria Medby Tollefsen

Saturday, April 30th 2022

9,30 - 10,40 Improvising on a chord formula - A practical method linking music theory and ear training – Esa Lilja

10,45 - 11,45 Polymetric exercises for improvisation in time- and groove-based music – Guro Gravem Johansen

11,50 - 13,10 Ear Training Basic Course: an educational itinerary – Alberto Odone

13,30 End of Workshop



Since we strongly believe in sharing ideas and connecting people, Sentiamoci a Parma is free and open to anyone concerned. International teachers may attend the workshop as Training mobility (STA or STT) within the Erasmus+ program: please refer to your International relationships office for further details or get in touch with us for more info. If you are interested in attending Sentiamoci a Parma, please send an email by April 20th 2022 to:


Erik Albjerg is a jazz music theory teacher, arranger and double bassist. He initially studied jazz trumpet at the Royal Conservatoire in The Hague but early on in his degree decided to change to music theory and graduated from the conservatoire with a BA (jazz music theory) in 2000.
Since 1998 he has been teaching a diverse range of jazz music theory subjects for several departments at the Royal Conservatoire in The Hague.
In 2000 Erik published an article on Gil Evans’s legendary arrangement of “Moon Dreams” in the Dutch Journal of Music Theory (volume 5, issue 1). He presented twice at the annual Dutch-Flemish Society for Music Theory Congress. In 2012 he gave a presentation on the teaching of jazz harmony and in 2018 gave a presentation on an integrative approach of teaching jazz theory.
Over the years Erik has been searching for integration of theory and practice by combining singing, keyboard harmony, improvisation and theory. Since 2009 he has found great inspiration in the Kodály-concept of teaching. This led to his masters thesis entitled “How To Apply Kodály Principles And Methods To Jazz Solfeggio And Theory Teaching In Higher Professional Music Education” (Albjerg, 2015) and has since on request given lectures at the Kodaly Institute in Kecskemét, Hungary.
This Kodály-inspired way of teaching is an ongoing work in progress especially for the jazz students of the Young Talent Department who range in age from 12 to 18, as well as for the students of the Jazz Department.
Besides teaching Erik performs regularly in several jazz groups, conducts big bands and coaches jazz combos. He has played with musicians such as Axel Hagen, Toon Roos, Juraj Stanik, Rob Agerbeek (cd november 2021 “Lock, Stock and Barrel”), Erik Doelman, Thijs van Otterloo, Rene ten Cate, Simon Rigter, Niels Tausk, Marco Kegel, Marlene Verplanck (USA) and Andrea van Otterloo.

Andrea Basevi was born in Genova, Italy, in 1957. He began studying with Mario Moretti, then graduated from  Conservatorio di Torino in Choral Music, Chorus Conducting and  Composition with Gilberto Bosco, and Brian Ferneyhough at the Staatlische Hochschüle fur Musik, Freiburg, and with  Luciano Berio in Florence. He also studied  Ethnomusicology with Simha Arom at the Accademia Chigiana, Siena.
After being noticed at the 1989 Bucchi Prize with a musical fairytale broadcast by RAI, he has twice won the Competition “Gioco e Musica” of the magazine Amadeus and the Vigliano prize. He is interested in many areas of music: he has composed music for drama for the Repertory Theatres, written film music for the C.S.C  Rome, and has received special mention from Ennio Morricone in a Chigiana Academy competition.
He has worked extensively on the music/voice relationship, producing radio works, songs for children and opera on texts by Roberto Piumini. He has been active in primary education, as Choir conductor in several Primary Schools in Genova. With Piumini he has produced two books for children about musical instruments and notation. He has composed 15 operas for children: Zazie from Queneau, Pinocchio from  Collodi, Peter Pan from Barrie, Alice from Lewis Carroll, and from Piumini’s books: The boy with the violin, The hair of the devil, The Empoli’s circus, The Malafiato, The Brema’s musicians, Totò Sapore, Foody.
He  promotes contemporary music and projects for children’s Education. From 2006 he is Member of AIKEM, association for music education with the Kodály methodology.
He teaches Harmony and Analysis at Conservatorio di Genova.

Valdis Bernhofs is researcher and professor for systematic musicology at the Jāzeps Vītols Latvian Academy of Music (Riga, Latvia).

He completed his first MA in Choir Conducting at the Music academy in Riga (1992). In 2006, he completed an MA in Music therapy at the University of Applied Sciences in Heidelberg.

He received his PhD in systematic musicology (music psychology) in 2013, and his PhD research focused on aural attention abilities and the possibilities of its development.

His academic interests are in the areas of neurocognitive aspects of musical learning, musical abilities, and ear training.

Since 2014 he is involved in the international team work to investigate the anatomical and functional features of the auditory cortex by musicians and non-musicians. ased on the research knowledge his teaching methods in Ear training are based on cognitive approach to increase the cognitive capacity (perception, attention, memory, thinking, and creativity) for both, Jazz and Classical music students during the regular Ear training.

Inge Bjarke is assistant professor of Ear training at The Danish National Academy, Odense.
She was educated as a pianist, a piano teacher and a teacher in Ear training at the DNA (1985)
She is organist as well since 2003, piano teacher at music schools (1978-1993), and teacher at pre-conservatory courses and at several courses for music teachers in ear training pedagogy. She has been teaching ear training at DNA since 1985.
Inge is author of three textbooks:
"Musikkens Grundbegreber" (“The Fundamental Concepts of Music”) (MUFO 1991)
"Rytmer med Toner" (Elementary melodic rhythm exercises) (MUFO 1994).
"SNAPSHOT - An introduction to sight reading" (theory and practice) (MUFO 2009)
Some focus points of special interest within the subject of ear training:
• Including the student's instrument in ear training, linking to the practical musicianship for instance by melodic imitation, playing by ear and playing melodic rhythms. The value and benefit of playing by ear - thereby also developing a better understanding of the written score.
• How we perceive music by eyes and ears: From sign to sound and vice versa, also including the instrument.
• The combination of melody and harmony, singing chord-based melodies.
• Current project: "Intervals - as an phenomenon, and how to teach and learn".

Liv Astrid Dahl is a Norwegian choir conductor and ear training pedagogue.

She graduated from The Norwegian academy of Music and The Arctic University of Norway as well (Aural Skills Master program).

She teaches at Barratt Due Institute of Music in Oslo.

In her workshop she will demonstrate her passion for the intuitive and practical approach to music theory.

In the project «Notelyst» Liv Astrid wants choir singers to experience the tonal language through their singing, building awareness on the link between the music and the written notes.


Home page:

Laura Gorbe-Ferrer studied Music Pedagogy, obtaining her Degree at Conservatorio Superior de Música Joaquin Rodrigo (CSM) in Valencia (extraordinary prize award).

She was awarded the Master in Music Pedagogy at Polytechnic University of Valencia (UPV), aural skills as the main subject, and Ph.D at Polytechnic University of Valencia focusing on the origins of the musical dictation in Spain.

She has worked as Aural Training professor at different universities in Spain, including Escola Superior de Música de Catalunya (ESMUC) in Barcelona.

Since 2019 she works as  Associate Professor in Aural Skills at Norwegian Academy of Music (NMH) in Oslo (Norway), teaching Ear training in several music curricula.

Erik Højsgaard was born in 1954. He is a composer and professor in ear training of the Royal Danish Academy of Music in Copenhagen. He studied composition with Per Nørgård at the Royal Academy of Music in Aarhus and completed his studies with a diploma degree in 1978. He studied aural training at the Royal Danish Academy of Music and completed the study with music pedagogy diploma degree.

Since 1982 he has taught aural training at the Royal Danish Academy of Music - from 1988 as an associate professor and since 2002 as professor. He is author of a textbook, Rhythm - advanced studies, which was published in 2016. In 2003-2004 he was Aalborg Symphony Orchestra resident composer and teacher of composition at the Royal Academy of Music. Højsgaard began composing seriously in his final years at school. His early works are distinctly lyrical, rhythmically subtle and sophisticated in sound, with extensive use of weak dynamic nuances, micro-intervals and harmonics. Examples of this are his breakthrough work Sun Prisms for string quartet (1974). In the 1980s the Expressionism of Alban Berg was a further source of inspiration, among other things for the opera Don Juan kommt aus dem Krieg, which was premiered in Vienna in 2006 in a revised version. His output also includes 2 symphonies, a cello concerto and a piano concerto. He composed Fragment for sinfonietta in 1995 for the Malko Conductors' Competition.

He has also composed chamber music (including two string quartets and a variety of landscape pictures, including Paysage blême, which was first performed in London by the British ensemble Capricorn) and works for solo instruments, including C'est la mer Mêlée au soleil for guitar and recently a series of piano pieces. His works have been performed in most parts of the world, and he has been represented at several international festivals: ISCM World Music Days, the Salzburg Festival, Nordic Music Days, NUMUS, Festival Internazionale di Musica Roma, MusicSommerBerlin, Cantiere Internazionale d'Arte Montepulciano, Copenhagen Summer Festival etc.
He has received several awards, including the Carl Nielsen and Anne Marie Carl-Nielsen's Honorary Award in 1993, Danish Arts Foundation's three-year scholarship in 1979, the Danish Composers' Society Scholarship in 1992, and the Hakon Børresen Fund’s Prize in 2014.

Victoria Jakhelln has since 1999 been working at the Norwegian Academy of Music as teacher in aural training in the Bachelor and Master programmes with students studying classical music, jazz and folk music – singers, instrumentalists, conductors and composers.

Prior to that she was employed by the Australian National University for five years teaching aural training, counterpoint and conducting. She was educated at Barratt Due Institute of Music, The Norwegian Academy of Music, and The Royal Academy of Music in Stockholm.

Jakhelln is an active musician – both as pianist, singer and conductor, and is composing music for choirs a.o. She is regularly giving courses and seminars in aural training for choristers and other musicians, and has her experience from Norway, Sweden and Australia.

She is coauthor of the book Ear for music – about teaching aural training.

Guro Gravem Johansen is a jazz singer, choir conductor and Associate Professor of Music Education at the Norwegian Academy of Music, where she among other things teaches jazz aural training.

Her research interests cover instrumental practising, learning and teaching within jazz and improvised music, from beginning levels to higher education, sociocultural theory and knowledge theory.

She has published a number of peer reviewed articles in international journals, and co-edited the anthology Expanding the Space for Improvisation pedagogy: A Trans-Disciplinary Approach (Routledge, 2019).

She is the author of the book Children’s guided participation in jazz improvisation: A case study of the ‘Improbasen’ learning centre (Routledge, 2021), based on a two-year ethnographic study.

She is Editor-in-Chief of the academic, peer-reviewed journal Nordic Research in Music Education, and has led the revision of the Norwegian national curriculum for the music program in upper secondary school during 2019-2021.

Esa Lilja is a researcher, musician and composer in the fields of both euroclassical and popular music.

His academic background is in musicology, especially in music theory and analysis.

Since 1997 Lilja has worked as a teacher/lecturer of e.g. music theory, analysis, transcription, history and ensemble work at all levels of Finnish music education ranging from private music schools to professional music education and universities.

His academic publications and presentations have been mainly concerned with music theory and analysis, guitar distortion, heavy metal and music education.

Currently, Lilja is based at the university of Stavanger, Norway, where he works as an associate professor of music theory.

Maria Medby Tollefsen is a Norwegian aural training teacher and conductor.

Since 2011, she has been working at the Academy of music at the University of Tromsø, where she teaches aural training, aural training pedagogy and conducting.

She is also head of the academy’s department for theoretical and pedagogical subjects.

Her current research focuses on developing teaching methodologies as well as mapping and understanding how students use digital learning resources as a part of their music studies. She is the editor of the academy’s research journal, Podium, and editor for the soon-to-be-published anthology MusEd – studentaktiv læring i høyere musikkutdannelse, which explores different ways of student involvement in music education.

Maria is the developer of the website, which contains educational material for aural training.

Besides teaching, Maria is active as a conductor. She holds the position as conductor for the Arctic philharmonic’s opera choir and the North-Norwegian youth wind band and works on project basis with other ensembles such as the Academy of music’s brass ensemble.

Among her latest projects, is conducting a full performance of Verdi’s La Traviata (fall 2021), a hommage to John Williams (February 2022) and an orchestra recital with symphonic music from the Scandinavian countries (February 2022).

Dr. habil. László Norbert Nemes is currently professor at the Liszt Ferenc Academy of Music in Budapest and director of the International Kodály Institute of the Liszt Academy. His main areas of expertise are the theory and the practice of the Kodály Concept, musicianship training according to the Kodály Concept, choral conducting and choral music education. His most recent publications include a chapter on choral music education according to the Kodály concept in the Oxford Handbook of Choral Pedagogy published by Oxford University Press in 2017.

Besides teaching at the Liszt Academy he maintains an active career as a choral conductor. Since September 2014 he has been artistic director of the New Liszt Ferenc Chamber Choir, the artist-in-residence choral ensemble of the Liszt Academy. In 2018 he founded the National Youth Choir of Hungary. For twelve years he worked as the associate conductor of the Hungarian Radio Children's Choir. László Nemes has conducted, taught, held workshops, master classes and seminars all across Europe, in Australia, Brazil, Canada, the People’s Republic of China, Indonesia, Japan, the Korean Republic, Malaysia, The Philippines, Republic of China/Taiwan, Singapore and the United States of America several times. He is guest professor at the Central Conservatory of Music in Beijing, China.

In recognition of his artistic activities he received the Bartók-Pásztory Award in 2005. In March 2017 he was decorated with the Golden Cross of the Hungarian Cross of Merit. He is vice president of the International Kodály Society, patron of music education at National Youth Choir of Scotland, and honorary member of the British Kodály Academy.

Alberto Odone’s main activity is focused on Pedagogy of Music theory and Aural Education.

Since the beginning of his teaching activity, he has been engaged in a research activity, in an attempt to overcome the delays of the Italian situation in this field, taking into account the studies of musical theory and psychology, experimentation and contact with international experiences, which took place through training abroad (in France, Germany and Hungary) and an intense teaching activity, with over 120 courses held in Spain, Germany, Switzerland, Sweden, Finland and Latvia, as well as at many Italian institutions.

He has exposed the results of this activity in a series of articles in specialized journals and volumes (published by Ricordi, Curci and Mondadori in Milan and Rivera / Impromptu in Valencia (Spain).

He recently published the volume " Ear Training Corso Base" ( connected to an innovative digital platform Moodle.

He is a member of the editorial board of the Rivista di Analisi e Teoria Musicale (LIM).

He is a professor at the "G. Verdi" Conservatory in Milan. He conducts the Chanson d 'Aube Vocal Group in Milan.

Ieva Rozenbaha graduated from the Jāzeps Vītols Latvian Academy of Music, the Bachelor’s programme (in 1997), Master’s programme (in 1999) and Doctoral programme (2009), defended the Dissertation Polyphony in Sacred Vocal-Instrumental Works by Latvian Composers (2015).

She has many interests in  music research related to history and praxis of sacred music and church music.

Other field of interests links to ear training and solfeggio teaching.

Ieva Rozenbaha is a teacher at the Latvian Academy of Music, lecturing for several theoretical courses (Solfeggio, Music Analysis, Harmony, Polyphony, History of Music).

She works as a music teacher in other institutions (music schools, The Interdiocesan Major Seminary of Latvia, Luther Academy) and takes part in different projects as a lecturer.

Daniel Salbert graduated in Music Education, Choral Conducting and Music Theory at the Royal Conservatoire in The Hague, the Netherlands.

In 2015 he got a Master's degree, specializing in Kodály methodology.

At the Royal Conservatoire, he teaches a broad set of subjects, among which Aural Skills and Analysis, Ear Training for conductors and the First Year Choir.

He teaches Kodály Musicianship and Methodology for the Master "Music Education according to the Kodály Concept".

Daniel also teaches choir and musicianship at the Cathedral Choir School Utrecht and regularly works as a conductor of different choirs.


Gro Shetelig, pianist, is Professor in Aural training, up to 2017 at the Norwegian Academy of Music, Oslo (now professor emerita), and at the Arctic University in Tromsø, teaching Aural Skills, Rhythmic Training and Aural Methodology.

Being a pianist, she received her music education in Oslo (Piano pedagogy) and at Oberlin College, Ohio (Piano performance), and holds a Diploma degree in Music Theory, specializing in aural training.

She has published four textbooks in aural skills, and is co-author in the Scandinavian co-project, “Listen to Scandinavia” based on works by 20th century Nordic composers, with two CDs (abridged version in English).

She has had several engagements in radio and TV and as lecturer, giving presentations, seminars and workshops for music teachers, choirs and conductors in Norway, Sweden, Denmark, Iceland, Germany, France, Latvia, Netherland, Singapore, USA, Italy, Georgia, and South Africa.

Since 2006 she was part of the research group project "Concrescence", developing methods in teaching Micro-tonality for Singers. (key words: micro-tonality, just intonation, harmonics, tonalities in Scandinavian folk music, etc.); from 2011 - 2012: "In-between-the-Beats" (with post.doc. Magnus Anderson + others) (key words: rhythmic perception and embodiment, energy, direction, flow, intention; sub-current, rhythmic hierarchy).


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