Sentiamoci a Parma 2024. Eartraining Workshop & Forum – from 17 to 20 April 2024

Sentiamoci a Parma 2024. Eartraining Workshop & Forum – from 17 to 20 April 2024


connecting ears!

Eartraining Workshop e Forum

9th edition

Parma, Conservatorio “Arrigo Boito”

Auditorium del Carmine

April 17-18-19-20 2024

Erik Albjerg


Per Bundgård


Kaja Daugaard Christensen


Eduardo Díaz Lobatón


Erik Højsgaard


Inkeri Jaakkola


Sofia Martinez Villar


Maria Medby Tollefsen


Klara Rylander


Synnøve Sætre Hveem


Gro Shetelig


Mari Skogly



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 17th

9,15 - 10,00 Registration

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

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

10,30 - 11,30 Singing with Guido: Developing aural skills with Contrappunto alla mente (first part) – Eduardo Díaz Lobatón

11,40 - 12,50 Perceiving polyphony while performing music – Inkeri Jaakkola

lunch break

15,00 - 16,30 Big music for the little ones – Per Bundgård

16,40 - 17,20 Singing with Guido: Developing aural skills with Contrappunto alla mente (second part) – Eduardo Díaz Lobatón

17,30 - 18,30 Introducing microtonality: a practical exercise – Synnøve Sætre Hveem

Thursday, April 18th

9,30 - 10,10 Singing with Guido: Developing aural skills with Contrappunto alla mente (third part) – Eduardo Díaz Lobatón

10,20 - 11,20 Welcome to class! – Gro Shetelig

11,30 - 12,40 Post-tonal scales – Inkeri Jaakkola

lunch break

14,40 - 15,40 Teaching secondary dominants in Jazz repertoire through relative solmisation – Erik Albjerg

15,50 - 17,10 Approaching Ear training, music theory and form with singers – Klara Rylander

17,20 - 18,30 From harmony to melody – Kaja Daugaard Christensen

Friday, April 19th

9,30 - 10,30 Auditory analysis applied to musical Ear training: structure, sound and rhythm – Sofia Martinez Villar

10,40 - 12,20 Some glimpses from my "Journey into Microtonal Universe": developing methods for microtonal Ear training for singers – Gro Shetelig

lunch break

14,30 - 15,30 Auditory analysis applied to musical Ear training: melody, harmony, compositional principles – Sofia Martinez Villar

15,40 - 16,30 Chains of fourths as an entrance to non-tonal music – Maria Medby Tollefsen

16,40 - 17,40 Dictation materials in Jazz Standard repertoire – Erik Albjerg

17,50 - 18,30 Master Ear training students in Tromsø present – Renate Ørnes Eide/Elias Eriksen

Saturday, April 20th

9,30 - 11,10 Hans Abrahamsen: Winternacht - Emotions and Ear training – Erik Højsgaard

11,20 - 12,00 Learning a short song for jazz improvisation - “You Look Good To Me” – Erik Albjerg

12,10 - 12,50 Heteropodic rhythms – Maria Medby Tollefsen

13,00 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 13th 2024 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.

Per Bundgård was born in 1973 and studied piano, music teaching and ear training pedagogics at the Royal Danish Academy of Music in Copenhagen.
Since 2007 he has been assistant professor teaching ear training and music pedagogics at the Royal Danish Academy of Music, and since 2009 he has been Head of the Music Teachers Department.
Per Bundgård has also worked for many years as a choir conductor and children's choir conductor in both Denmark and South America.
In his professional working life, he has taught at all levels, in all age groups and has a musical background that covers both classical and popular music.

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.

Eduardo Díaz Lobatón was awarded the following diplomas:
- Diploma Profesor Superior de Solfeo, Transporte, Repentización y Teoría de la Música (1996)
- Diploma Superior de Dirección de Coro (2003)
- Diploma Profesional de Órgano (2018)
- Máster de Estudios Avanzados in “Renaissance Polyphony Performance” at Conservatorio della Svizzera Italiana, Lugano (2021)
and attended many advanced courses:
- Choir conducting with Enrique Azurza (Graus, 2002); Johan Duijck (Eibar, 2003); Mikel Brewer and Julio Domínguez (Vigo, 2003); Nuria Fernández (Madrid, 2007)
- Baroque singing with Markus Schikora (Solsona, 2004 y 2005) and Lavinia Bertotti (Urbino-Italia, 2007 y 2008)
- Vocal chamber music (Canto Madrigalístico) with Alessandro Quarta (Urbino, 2007, 2008 and 2009)
- Basso continuo with Giovanni Togni (Urbino, 2012 and 2013)
- Baroque Organ with Monserrat Torrent (2012) and Luca Guglielmi (2016)
- Polyphonic improvisarion techniques with Diego Fratelli (Urbino, 2016 and 2017).
In 1998 he obtained the position of Music teacher at Secondary School in Seville. Until 2006, he collaborated with the Education Ministry and was in charge of tutoring music teachers. In 2006 he obtained the position of Professor of Musical Language in the Community of Madrid and teaches classes in both Musical Language and Ear training, Complementary Piano and Accompaniment. In 2014 he obtained the position of professor of Auditory Education at the Royal Conservatory of Music of Madrid, where he currently works.
He has been part of various vocal ensembles, from chamber groups to symphonic-choral formations (“Asociación de Amigos del Teatro de La Maestranza”, in Seville). Since 2006 she has been part of various chamber ensembles specialized in Early Music in Madrid.

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.

Doctor of Music Inkeri Jaakkola completed her studies at the Sibelius Academy of the University of the Arts Helsinki. Her doctoral dissertation Beneath the Laurel Tree: Text-Music Relationships in Paavo Heininen’s Opera Silkkirumpu (The Damask Drum), op. 45 was published in 2020.

Jaakkola’s scholarly interest is focused on music analysis and on interdisciplinary studies combining approaches of various arts and research fields.

Jaakkola has a large experience on teaching aural skills and music theory from the very basics until the highest professional level.  Jaakkola works as a permanent lecturer of music theory at the Sibelius Academy.

In addition, she is a composer, and her works are available either published or in the Music Finland Sheet Music Library.

Sofia Martinez Villar has been educated at the Conservatorio Superior de Música de Salamanca, the Universidad de Valladolid, the Universitat de Barcelona, and the Institute of Musical Research at the University of London.
Her research areas include organology and flute repertoire, musical ear training, and tools and actions for music dissemination.
She is a flutist, musicologist, and holds a Ph.D. in Arts Theory and Criticism. She is the content director of the ear training program and a flutist with the ODC Symphony Orchestra.
She is a recognised specialist in ear training, musical analysis, and music dissemination.
She teaches Ear Training and Flute repertoire at the Escola Superior de Música de Catalunya since 2002 and holds seminars about Ear Training across Spain and Italy. She has been associate teacher (2006-2009) in the Music section of the Art History department in the University of Barcelona.
Since 2009, she has been a regular collaborator in socio-educational and audience development projects with the Orquesta y Coro Nacionales de España and the Orquesta Sinfónica de Castilla y León.

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 and aural training pedagogy/methodology.
Since 2023, she is the head of the conservatory’s bachelor programs.
Maria is also part of the team of teachers at the master’s program of aural training in Parma.
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.
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 an orchestra conductor.

Klara Rylander studied at The Royal Danish Academy of Music (DKDM) in Copenhagen earning a Bachelor’s degree in flute 2011 and Master’s degree in Aural Training Pedagogy in 2014. She has also participated in the summer courses at the Kodály Institute in Kecskemét, Hungary.
Besides teaching aural training at DKDM she has also taught at The Tivoli Youth Guard (9-16 yrs), Sankt Annæ Gymnasium (16-20 yrs) and at the Danish Radio’s Malko Dirigentskole for young conductors (16-21 yrs). She has also given workshops in music pedagogy for music teachers arranged at DKDM, The Tivoli Youth Guard and Stockholm University of the Arts (SKH).
Together with professor Inge Marstal she published in 2016 Hørelære og musikteori for blæsere og slagtøj (Ear training and music theory for wind instruments and percussion) addressing the students at The Tivoli Youth Guard, ages 9-16. The textbook was commissioned by The Tivoli Youth Guard with financial support by Statens Kunstfond.
Moving back to her native Stockholm, Sweden, she currently holds the position of Assistant Lecturer in Aural Training and Music Theory at the Department of Opera at Stockholm University of the Arts. She also teaches aural training and music theory at the Royal College of Music in Stockholm (KMH) and Edsbergs slott.

Synnøve Sætre Hveem is a Norwegian aural training teacher, choir conductor and singer.
She was awarded a Master degree in the didactics of Aural training at The Arctic University of Norway (Tromsø), in addition to a Bachelor degree in music pedagogy at The Norwegian Academy of Music in Oslo.
Since 2020, she has been teaching Aural training at the Norwegian Academy of Music in Oslo, with a special focus on developing a program for aural training for the folk music students as well as Bachelor students in the classical music curriculum. In addition to this, she teaches Aural training at a high school level and in various short-term courses and workshops, as well as conducting choirs throughout the Oslo area.

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).

Mari Skogly is an assistant professor and Head of Popular Music-studies at the Department of Music at Kristiania College University in Oslo, Norway.
She studied ‘Performative Popular Music’ (University in Agder) with tenor-saxophone as her main instrument. She has also studied ‘Practical Pedagogical Education’ (Norwegian Academy of Music), ‘College Pedagogy’ (Kristiania University College) and she has a Master Degree in ‘Music with Ensemble conducting’ (Nord University).
She works fulltime at Kristiania University College and work as a freelance-conductor for Concert Bands and Bigbands. She also composes her own material and do research within ‘the organic saxophone in an electronic soundscape’.
Skogly has been working as Ear training teacher since 2003, and she also teaches in bachelor-thesis, band-practices and has been the producer for student-concerts for several years.
Her teaching-methods is focused on practical ‘hands-on’ skills for the students, as they work mainly in the field of Popular Music.


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