Sentiamoci a Parma 2023. Eartraining Workshop & Forum – from 26 to 29 April 2023

Sentiamoci a Parma 2023. Eartraining Workshop & Forum – from 26 to 29 April 2023


connecting ears!

Eartraining Workshop e Forum

8th edition

Parma, Conservatorio “Arrigo Boito”

Auditorium del Carmine

April 26-27-28-29 2023

Erik Albjerg


Monika Andrianopoulou


Niels Bastrup



Inge Bjarke


Maura Capuzzo


Kaja Daugaard Christensen


Laura Gorbe


Victoria Jakhelln


Maria Medby Tollefsen


László Norbert Nemes


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. This experience has led to the creation of the second level Postgraduate Specialization Course in Theory, rhythm and musical perception - Ear training, the only active course in Italy and one of the few in Europe focused in building competences for prospective teachers in this field.  (brochure - program)

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 26th 2023

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 Developing aural skills and motivating students through self-assessed learning with EarMaster Cloud – Niels Bastrup

11,15 - 12,25 Approaches to melodic perception and dictation – Monika Andrianopoulou

12,30 - 13,30 Sight reading - singing and playing using the textbook Snapshot, combining eyes, ears and instrument (part 1) – Inge Bjarke

lunch break

15,30 - 16,40 Uneven meters (5/8, 7/8 etc) - how do we understand, and how can we practise the "prolonged beat"? Various approaches – Gro Shetelig

16,45 - 17,45 Musical play to strengthen aural awareness and musicianship skills – Victoria Jakhelln

17,50 - 19,05 Singing-based activities in support of instrumental studies (part 1) – László Norbert Nemes

Thursday, April 27th 2023

9,30 - 10,45 Approaches to harmonic perception and dictation – Monika Andrianopoulou

10,50 - 11,40 Preparation for jazz combo ensemble playingErik Albjerg

11,45 - 13,00 From canon singing to harmonic awareness – Daniel Salbert

lunch break

15,00 - 16,00 Developing specific content (Perfect 4th interval) through experiences. A journey towards action – Laura Gorbe

16,05 - 17,20 Singing-based activities in support of instrumental studies (part 2) – László Norbert Nemes

17,25 - 18,25 Sight reading - singing and playing using the textbook Snapshot, combining eyes, ears and instrument (part 2) – Inge Bjarke

Friday, April 28th 2023

9,30 - 10,20 Functional/Contextual Ear Training with EarMaster Cloud – Niels Bastrup

10,25 - 11,25 Jazz improvisation with classical students – Erik Albjerg

11,30 - 12,30 Giocare con la musica - Various learning activities drawn from recorded music – Gro Shetelig

lunch break

14,30 - 15,45 The creative teacher – teaching viewed as a creative process – Kaja Daugaard Christensen

15,50 - 16,50 Origins and evolution of Aural Skills in Spain: A journey through the primary sources of the XIX and XX centuries – Laura Gorbe

16,55 - 17,55 Strategies for meters and basic rhythm learning – Maria Medby Tollefsen

18,00 - 18,20 The Postgraduate specialization course in Ear training at Conservatorio di Parma – Fabio Ferrucci

Saturday, April 29th 2023

9,30 - 10,15 Training and expanding the short-term musical memory with EarMaster Cloud – Niels Bastrup

10,20 - 11,05 Timbre as aural experience in higher music education – Maura Capuzzo

11,10 - 12,10 Methods for teaching harmony – Maria Medby Tollefsen

12,15 - 13,30 Rhythm work with Takadimi – Daniel Salbert

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 2023 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.

Monika Andrianopoulou studied piano at the Royal College of Music, London, and continued with an MA in Music Education (UCL Institute of Education), and a Diploma in piano pedagogy (International Kodaly Institute, Kecskemet, Hungary).

Her doctoral studies centered on a theoretical investigation of aural training from several angles, namely historical, pedagogical, musicological and psychological, incorporating non-Western-music points of view.

Her book 'Aural Education: a reconceptualisation of ear training in higher music learning' (2020) presents this investigation.

Since 2006 she has been teaching the courses of 'Aural training-Solfège-Rhythmic training' and 'Figured Bass' at the University of Macedonia in Thessaloniki, Greece.

Her main aspirations as regards aural training are to work towards approaching it as holistically as possible, and utilising its potential for acting as an inspiring common denominator, an intersection of the many different subjects that comprise our music curricula.

Niels Bastrup is a Danish aural training and music theory teacher.

Niels has been teaching music theory and music history at the Royal Academy of Music in Aarhus for 12 years, and is currently teaching aural training and music theory at pre-college level at Aarhus Music School.

Besides his educational positions, he is also working with the music learning software company EarMaster as an educational advisor within the field of music pedagogy and digital learning. His contributions to the EarMaster software aim at helping teachers maximize the learning outcomes of their students by creating an inspiring and motivating digital learning environment for aural training classes. He is also developing new pedagogical content (courses, tests, etc.) for EarMaster.

Niels has worked as a choir director for many years and has conducted many classical works such as masses and cantatas as well as several large scale concerts with new, popular contemporary repertoire and choirs of up to 250 singers.

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.
To this comes an education as an organist.
Beside teaching ear training at advanced level at the DNA since 1985, she has a big experience as a teacher also for students at intermediate level - and for teachers of this level.
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).

As a pedagogical project at DNA, she published last year "INTERVALS as a phenomenon, and how to teach and learn".
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:  sight reading as well as memorization, melodic imitation, playing by ear and playing melodic rhythms.
• 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.

Maura Capuzzo was born in Padova. Master's degree in Composition, Electronic Music, Choral composition, and conducting. She studied with G. Bonato, C. Benati. She studied with M. Bonifacio at the Civica Scuola di Milano. She attended summer courses with S. Sciarrino at Città di Castello Festival delle Nazioni. She attended masterclasses with G. Grisey, H. Lachenmann, M. Stroppa, F. Donatoni, and A. Vidolin.  In 1997 she won the European Women Composers by the Kaleidoscope Program of the European Union (D. De la Motte jury chief). In 2000 she won the scholarship of Salvatore Sciarrino summer course. In 2001, 3rd prize at the International Choral Composition Contest – A Cappella - Bochum, Germany (F. Bernius, E. Ericson, E. Ortener in the jury ). In 2009 a scholarship from Lerici Foundation at the Italian Institute of Culture in Stockholm for a research project at the KTH of Stockholm. Second prize, in 2011, at the International Organ Composition Contest for the Antegnati organ in Mantova ( A. Guarnieri, S. Bo, M. Radulescu in the jury).  In 2012, awarded at the Biennale Koper International Composition Contest (V. Globokar, L. Vrhrnuc in the jury). Her compositions have been performed in Italy and abroad in international concert seasons and festivals such as Musikpodium Zurich, MiTo Milano, ISCM Hong Kong, Bienal Koper, CIM Trieste 2012, CIM Roma 2014, SpazioMusica Cagliari, Mixtur Festival Barcelona, Festival Cinque Giornate Milano, Emufest Roma, Astra Choir Season Melbourne, Piano Series Los Angeles, CaminoControCorrente Udine, Urticanti Bari, Accademia Filarmonica Romana, Dialoghi sul Comporre Reggio Emilia, New Made Week-Siae Classici d’oggi, and at the Italian Institute of Culture of  Bruxelles, Athens, Ankara, Los Angeles, Karachi. Her music has been broadcasted by Radio3, WDR3, Radio Vaticano, 4Hong Kong, Radio DRS2, Sveriges Radio P2, Radio e Tv Koper., Radio Cemat. Her music is published by the German Ferrimontana in Frankfurt and the Italian ArsPublica. Her works are recorded by the labels Velut Luna, Altrisuoni, Ema Vinci Records, and New Focus Recordings New York. She teaches Music Theory and Ear Training at Conservatorio di Musica “Benedetto Marcello” in Venezia.

Kaja Daugaard Christensen, born 1955, is Assistant Professor of Ear Training Pedagogy at The Royal Academy of Music (RAMA) in Aarhus, Denmark.
She has got a master in Church music (organ playing and choir conducting) (RAMA 1982) and a master in Ear Training Pedagogy (RAMA 2002).
Until 1998 Kaja worked full-time as an organist at ‘The Church of Our Lady’ in Odense. In addition, she taught organ playing, music theory and ear training at various music schools and church music schools in Denmark. She has been a teacher of ear training pedagogy at RAMA since 2005.
Kaja has also been very active as a choir conductor, not only in the church but also as a conductor of several chamber choirs.
As a performing musician, Kaja has been active both as organ soloist, accompanist and choir conductor in Denmark and Germany. Furthermore she continues to teach in ear training for choir and orchestral conductors in Denmark.
In her employment at RAMA Kaja has worked with a pedagogical development project 2019-22. The project is called ‘The creative teacher – teaching viewed as a creative process’. The study’s aim was, among others, to raise awareness of some of the processes behind the dynamics of group teaching.
In group teaching the group forms a social context which you constantly relate to, interact with, measure yourself against. The pedagogical development project investigates how the collective dynamics affect the individual student’s learning process and the teacher’s development of her own competences.

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.

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.

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. Currently, she’s also doing a research project on the entrance exams for higher music education in Norway together with colleagues from different institutions. She is the editor of the academy’s research journal, Podium, and was recently editor for the anthology MusEd – studentaktiv læring i høyere musikkutdannelse, which explores different ways of enhancing student involvement in music education.
Maria is the developer of the website, which contains educational material for aural training. She has also recently developed a digital course for basic ear training and music theory,
Besides teaching, Maria is active as a conductor. She holds the position as conductor for the North-Norwegian youth wind band, besides from freelancing with different ensembles.
Among her latest projects is conducting a full performance of Puccini’s Madama Butterfly (fall 2022) and a staged performance of a collection of lieder by Mahler and Britten (February 2023).

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.


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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