Bachelor Electives & Minors Handbook 2020/21 Contents General information
General information 3 This is the Bachelor Electives & Minors Handbook for the academic year 2020/21. Students from the Royal How many ECTS do I need? 4 Conservatoire, The Hague (KC) and Codarts, Rotterdam Classical Music / Jazz / Vocal Studies / Conducting 4 can choose from the elective courses and minors offered Early Music / Sonology 4 by both institutes. Additionally, KC students can choose Art of Sound 4 electives from Leiden University.
What to choose? 5 This guide will explain how many ECTS you need, which KC minors 5 electives and minors are on offer and how to register. Click CDO (KC Students only) 5 on a minor or elective for a detailed description of the course. Theory electives 5 The descriptions include content, entrance requirements, Art of Sound 6 assessment details and learning outcomes etc. Codarts minors 6 You are strongly advised to consult with your tutor and your How to register for an elective 7 instrumental/vocal teacher before registering for your elective(s) or minor. How to deregister for an elective 8 For general questions you can send an e-mail to: How to register for a minor 9 [email protected]
What’s on offer? Overview electives & minors 10 This Bachelor Electives & Minors Handbook 2020/21 can KC electives 10 be found on koncon.nl/en/electives KC minors 14 Courses offered by Codarts, Rotterdam 15
What’s on offer? Academic electives at Leiden University 16 What to choose? 16 How to enrol 17
Electives & minors course descriptions 18 KC electives 18 KC minors 100 Courses offered by Codarts, Rotterdam 157
The information of this Handbook is, beyond errors and omissions, correct at the time of publication, but may be subject to change during the academic year. How many ECTS do What to choose?
I need? • KC offers various electives and minors. • You are free to choose any elective or minor, as long as you meet the prerequisites for that course (if applicable). • KC also offers the possibility to choose an elective or minor Classical Music / Jazz / Vocal Studies / Conducting at Codarts or an elective at Leiden University. Bachelor year 2 electives/Minor 6 ECTS
Bachelor year 3 electives/Minor 6 ECTS KC minors Music Theory Elective 4 ECTS • A minor will provide at least 6 ECTS per year. If you take a minor you do not need to choose electives or CDO ECTS. Bachelor year 4 CDO/Minor 6 ECTS • A KC Minor will take 3 years and will start in the 2nd year. After the first year you can decide if you want to continue your minor. Early Music / Sonology • For some minors you can enrol in bachelor III. • At the end of each minor year, an exam will take place Bachelor year 2 electives/Minor 6 ECTS • You must re-apply each year to continue the minor Bachelor year 3 electives/Minor 6 ECTS
Bachelor year 4 CDO/Minor 6 ECTS CDO (KC Students only) • You can take CDO in your 2nd and 3rd year as part of your Art of Sound elective choices. These are additional to the ones you may have to obtain in your 4th year Bachelor year 2 electives/Minor 6 ECTS • In your 2nd and 3rd year you can take a minimum of 2 ECTS, Bachelor year 3 electives/Minor 6 ECTS maximum of 4 ECTS of CDO Music Theory Elective 4 ECTS • For the academic year 2020-2021 you can obtain CDO ECTS for projects that take place between 01-09- Bachelor year 4 electives/Minor 6 ECTS 2020 to 31-08-2021. If the project occurs outside those dates it will not be valid for the 2020/2021 academic year. • B4 students can only enter projects from 01-09-2020 Composition to 01-05-2021. Bachelor year 2 electives/Minor 6 ECTS
Bachelor year 3 electives/Minor 6 ECTS Theory electives • B3 students of the Vocal Studies department, Classical Bachelor year 4 electives/Minor 6 ECTS Music department, the Art of Sound department, Conducting department, and the Jazz department are required to follow a Music Theory Elective. • Jazz students are also required in the 3rd year to obtain 3 ECTS from ATV 3 projects. Each project is organised in short periods rather than by semester. Students must
4 5 choose a minimum of 4 periods which combined will give you 3 EC. How to register for • Additionally, B3 jazz students must make a choice between Jazz Solfege 3 and Ear Training 3. an elective Art of Sound Students can choose from the elective subjects programme Click on the logo below to register for all students (including minors), or make their choice from the following selection: • Projects (between 1 and 7 ECTS) • Soldering practical 1 (1ECTS) • Soldering practical 2 (1ECTS) – only after Soldering Practical 1
Art of Sound students may also, in their 3rd and 4th year, alongside their major subject, take one of the other majors as a Minor/elective. The majors are: Recording, Producing and Sound 1. Go to the tab Register Reinforcement. The division of ECs is as follows: 2. Click on Course Module and then on Search a course module • B3: Minor Recording, Producing or Sound 3. Choose Academic year = 2020 and Faculty = Royal Reinforcement: 6 ECTS Conservatoire and click on Search • B4: Minor Recording, Producing or Sound 4. The list of available courses will appear on the right Reinforcement: 6 ECTS 5. Click on the course you would like to register for 6. Another screen will appear where you can click on Register at the top or bottom (see below) Codarts minors 7. You will receive an confirmation email • Most Codarts minors are considered equal to an elective in KC • If you choose to study at Codarts the travel expenses will not be reimbursed
6 7 How to deregister for How to register for an elective a minor
Click on the logo below to deregister Click on the logo below to register
1. Go to the tab Deregister 4. Go to the tab Register 2. Check the boxes of the courses you wish to deregister for 5. Click on Minor 3. Click on Deregister at the top or bottom 6. Click on Select a minor 7. Choose Minor offered by faculty: Royal Conservatoire and click on Next 8. The list of available minors will appear. Please note that there are more pages 9. Check the box of the minor you would like to follow and click in Record Preference 10. You can record 1 or 2 preferences. 11. You will receive a confirmation email. Please read it carefully! 12. You can delete your preferences with the button on the top or bottom (until the application deadline)
8 9 KC electives from ECTS What’s on offer? the Classical department Advanced Rhythm – NEW! 2 Overview electives & Music Around the Corner, 4 minors Orkest Morgenstond
KC electives from the Early ECTS Click on any minor or elective below to find detailed Music department information about that course Latin for Musicians 2
Applied Historical Improvisation 3 KC electives Baroque Dance 2 KC electives ECTS Basso Continuo in Performance 2 Alexander Technique 1 3 Early Music Seminars 2 Alexander Technique 2 1 Early Music Studies 1 6 Yoga for Musicians 2 Gregorian Chant and Choir 2 Bodywork - Dance 2 Literature Class - Fortepiano 2 Effective Practice – Music Making, 1 Practicing and the Brain Ornamentation and Diminution 2 2
Quality Practice 2 Practicum Polyphoniae 2
CDO/Career Development Office, Bachelor II-III: a Rhetoric 2 External Personal/Professional Projects minimum of 2 and a maximum of 4 Bachelor IV: minimum 6 KC electives from the Jazz department ECTS
Music Education according 10 ECTS, of which Jazz Choir 2 to the Kodály Concept 6 ECTS can count as a bachelor’s Music History Jazz 3 elective course
10 11 KC electives from ECTS KC Music Theory electives ECTS the Institute of Sonology Analysis: Analysing Techniques 4 Analysis/Re-synthesis 4 Writing: Modal Counterpoint 4 Composing with Algorithms 8 Writing: Tonal Counterpoint 4 Embracing Objects and Scores 3 in Electroacoustic Composition Writing: Arranging / Instrumentation 4
History of Contemporary 2 Writing: Style Copy Classical 4 Music Composition and Romantic Period
Live Electronic Music 6 Writing: Composing for Classical Musicians 4
Music and Time 3 Writing: Composing for Jazz Musicians 4
Real-Time Processes with Max/MSP 7 Aesthetics and Philosophy of Music 4
Signals and Systems 1 6 Playing & Improvisation: Harmony at the 4 Piano 3 for Jazz students Signals and Systems 2 6 Playing & Improvisation: Rhythm Class 3 4 Sound and Space 8 for Classical Music students
Playing & Improvisation: Rhythm Class 3 4 for Jazz students KC electives from ECTS the Composition department Playing & Improvisation: Improvisation 4 for Classical Musicians Analysis Contemporary Music Basic 3 Playing & Improvisation: Introduction 4 Music Multi Media 4 to Jazz Harmony
KC electives from the ECTS KC Jazz ATV 3 projects ECTS Art of Sound department General Music Theory 3 3 ECTS for 4 periods Electro Acoustics 2 1 (ATV3) – projects of ATV3 projects
Mathematics and Physics 1 2
Mathematics and Physics 2 2 KC Jazz Theory courses ECTS Jazz Solfege 3 1 Psycho Acoustics 4 Ear Training 3 1 Room Acoustics 1 1
Room Acoustics 2 1
12 13 KC minors KC minors without entrance exam ECTS Appendix Framework Minor Classical Music, Minor Early Music, Minor Jazz, Vocal Minor Sonology 6
Minor Voice Basic 6
Minor Education – NEW! Education Skills Courses offered by Codarts, Rotterdam Profile 1 – 4 ECTS Eductional Skills Codarts electives ECTS Profile 2 – 6 ECTS Contemporary Jazz 12 Composition in practice
Jazz arranging 3 KC minors with entrance exam ECTS Songwriting A 6 Minor Academic Music Studies – NEW 10-10-10 ECTS per academic year: Songwriting B 6 Advanced Critical Music Studies 5 ECTS + World music composition 6 ACPA course 5 ECTS in practice A – sound
Minor ArtScience 30 Afro-Cuban Percussion 6
Minor Chamber Music 6 Brazilian Choro playing 6
Minor Choral Conducting 8 Brazilian Percussion 6
Minor Orchestral Conducting 10 Flamenco Playing 6
Minor Wind Band Conducting – NEW! 10 Latin playing 6
Minor Collaborative Music Creation – NEW! 6 Raga 6
Minor Composition 6 Tala 6
Minor Music Theory 6 World Choir 6
Minor Classical Music 6
Minor Early Music 6 Codarts General minors ECTS Minor Early Music - Related Instrument 6 Entrepreneurship: 12 Minor Jazz 6 New Opportunities for Music
Minor Jazz - Second Instrument 6 Rhythmic Melodic Patterns 6 in the 21st Century Minor Voice 6
Minor Voice Classical Music 6
Minor Voice Early Music 6
14 15 How to enrol Choose: KC Leiden University Elective (KC-EL-LU-19) What’s on offer? through OSIRIS Student Register as a guest student at UL by contacting Rogier Academic electives Schneemann at the Academie der Kunsten with this email address: [email protected]. Make sure you include your at Leiden University name, student number and your chosen elective course(s) Within 2 weeks, you will receive a letter from the University stating the required log-in details concerning your Leiden As a student at the KC, it is possible to take elective courses at University account, known as your ULCN-account. You need the University of Leiden (UL) instead of some or all of your this account in order to enrol for the elective course through elective choices at KC. the online enrolment system called uSis.
• UL offers more than 1300 different possible elective After receiving your login details enrol yourself for the course(s) choices. You can find these in their e-Prospectus studiegids. you want through uSis. leidenuniv.nl/en • You are free to choose any course from the e-Prospectus In case your account details inadvertently are not available Elective Choices, as long as you meet prerequisites for that in time, you are advised to attend the course seminars course as mentioned in the e-Prospectus (if aplicable). It is without any delay and inform the lecturer about your ongoing advised to choose level 100 or 200 registration as a guest student. • The e-Prospectus course page will contain a link to the timetable, usually of the complete bachelor’s studies of which the elective is part – be careful to check this For more information, please visit: universiteitleiden.nl/en/ • The elective courses usually comprise 1 semester humanities/academy-of-creative-and-performing-arts/tuition/ (September-December or February-July) and are electives-minor and read the FAQ about Leiden University normally 5 ECTS electives on the website: koncon.nl/en/bachelorelectives.
What to choose? The elective courses can sorted by using the following filters while using the search function:
• Topic: type any kind of topic or field into the search field. Select the correct study year. • Course type: choose ‘elective choice’ here • Faculty: filtering by Faculty can be helpful if you have a rough idea of what type of course you’re looking for • Location: filter by city: Delft, Leiden, Rotterdam or The Hague • Language • Level: it is advised to filter courses by selecting levels ‘100’ and ‘200’, which correspond with 1st and 2nd year bachelor courses respectively.
16 17 Assessment: Active participation and completion of written assignments including a final essay. KC electives Grading system: Pass/fail Language: English or Dutch Schedule, time, To be announced. Location: Royal Conservatoire KC electives venue: Information: Education Service Centre: [email protected]
Alexander Technique 1
Course title: Alexander Technique 1 Osiris course code: KC-EL-AT1-13 Course content: In a series of themed workshops you learn to explore the anatomy of balance and coordination, self -awareness, listening, and freedom of movement and breathing. We explore in a practical way through movement, exercises and observation of each other how to let go of ingrained habits of fear which disrupt practice and performance. A vital part of this course is your motivation to practice the laying down exercise (to undo stress responses), the written reflections after each lesson, and to prepare for workshop 6 (the public filmed performance class - the videos are analysed together in the individual lesson). There is a final long essay reflecting the whole course. Objectives: At the end of this course, you: • are able to ease lightness of movement and presence of mind in relation to practice and performing; • have an understanding of the mechanics of balance and coordination, and are aware of patterns of thought and movement that cause interference; • are able to implement a practical method for progressively undoing patterns of over-tension; • are able to observe yourself objectively; • are able to challenge old habits. Type of course: Elective Level: Bachelor Duration: 8 workshops (2 hours) and 4 individual lessons (40 minutes), with and without instruments. Prior qualifications/ Motivation to practice the exercises and to write the written prerequisites: assignments. Teachers: Fiona Tree, Wendelien Verbeek Credits: 3 ECTS Literature: n.a. Work form: Group lessons and individual lessons
18 19 Alexander Technique 2 Yoga for Musicians
Course title: Alexander Technique 2 Course title: Yoga for Musicians Osiris course code: KC-EL-AT2 Osiris course code: KC-EL-YM, KC-EL-YM2, KC-EL-YM3 Course content: Emphasis is on individual development of the principles of the Course content: This course consists of a series of Saswitha (Hatha) yoga-lessons. Alexander Technique (see AT1) with regard to practical ways of Each lesson consists of the practice of physical postures (asanas), working on balance, coordination, self-awareness, listening and breathing techniques (pranayama), relaxation techniques and freedom in movement and breathing. You develop your own practice meditation. The exercises include bends, twists and stretches as well plan and write diary notes on observations/changes. You are asked as balancing and strengthening poses. They will vary from subtle to to do a 10-minute per day relaxation exercise and learn to apply what demanding and can be adjusted to all levels of physical condition. they learned during practice and performance. ESSENTIAL: large dose of initiative, curiosity and motivation. Unity of consciousness and body is a fundamental principle in yoga, and the breath is the link between the two. The use of the breath as Objectives: At the end of this course, you: the guide and support of every exercise establishes this union and • have deepened your knowledge of Alexander Technique; creates a strong focus on the moment. The practice of this focus in • are able to look closer at habit and postural mechanisms and are the postures will develop both physical and mental awareness. The able to observe yourself and others; body, being the musician’s instrument, will become more flexible and • are able to teach yourself; stronger. • are able to let go of startle (fear) reflex. Type of course: Elective The mind will teach you to relax in difficult postures and to find a balance between tension and relaxation. This will enhance an Level: Bachelor experience that will support you in your studies. It will create a Duration: 3 group sessions of 2 hours and 3 individual sessions of 40 minutes general flexibility in various other demanding situations, like exams, lessons and concerts. Prior qualifications/ Alexander Technique 1 prerequisites: Objectives: At the end of this course, you: • have developed a higher level of concentration; Teachers: Fiona Tree, Wendelien Verbeek • are able to use your breath in order to establish a balance between the body and the mind; Credits: 1 ECTS • are able to implement the techniques in circumstances other than Literature: n.a. the yoga-studio; • are able to find a balance between tension and relaxation, a Work form: Group lessons and individual lessons stronger focus on the moment, and a general flexibility in various Assessment: Active participation demanding situations, like exams, lessons and concerts; • have developed a simple and personalised practice routine. Grading system: Pass/fail Type of course: Elective (you can choose this course multiple times) Language: English or Dutch Level: Bachelor/master Schedule, time, To be announced. Location: Royal Conservatoire venue: Duration: 20 lessons of 75 minutes during the whole academic year Information: Education Service Centre: [email protected] Prior qualifications/ There is no specific level of condition, strength or agility required; prerequisites: lessons are accessible to everybody. Wear comfortable clothes. Commitment and regular home practice are requisite. Teachers: Phyllis Ferwerda Credits: 2 ECTS Literature: - Work form: Group lessons (12-15 students) Assessment: Compulsory attendance: 80% Grading system: Pass/fail
20 21 Language: English and/or Dutch Bodywork - Dance Schedule, time, venue: Course title: Bodywork – Dance Information: Education Service Centre ([email protected]) Osiris course code: KC-EL-CD, KC-EL-CD2, KC-EL-CD3 Course content: In practical movement classes you learn to know and develop awareness of your body as a moving instrument. Focusing on the different parts of the body and their possibilities, these will be exercised separately first, to be integrated in the whole the body afterwards. Exercises help you to get control over your movements, to go from a neutral state of rest into movement, to be open and alert and to coordinate your breath with movement. Objectives: At the end of this course, you: • understand the body, how it moves effectively and with purpose; • are able to use skills to make coordinated use of the body: grounded, relaxed, breathing coordinated with movement; • are able to apply your knowledge, understanding, skills and body awareness in all day life as well as on stage or in performance situations. Type of course: Elective (you can choose this course multiple times) Level: Bachelor Duration: 75 minutes per week, 2 semesters Prior qualifications/ This course is open to everyone who is interested. prerequisites: Teachers: Fajo Jansen Credits: 2 ECTS Literature: n.a. Work form: Group lessons Assessment: Active participation and attendance Grading system: Participation sufficient/insufficient Language: English or Dutch Schedule, time, See ASIMUT schedule venue: Information: Education Service Centre: [email protected]
22 23 Effective Practice – Music Making, Practicing and the Brain Quality Practice
Course title: Effective Practice – Course title: Quality Practice Music Making, Practicing and the Brain Osiris course code: KC-EL-QP Osiris course code: KC-EL-ES Course content: This course offers practical guidelines to help you use your practice Course Content: Knowledge on how the brain functions can give us more insight on time efficiently and effectively. Quality practice involves working with several aspects of music making and practicing. How much time the right goals and intentions, knowing what to focus on and having does it take from the first ‘Yes, I can!’ experience of a musician until practice tools that help to get to know your instrument, repertoire internalizing skills? How many hours are we supposed to practice? and self. The main questions that will be addressed are: What is ‘mastery’ and how can we ‘let go’ without losing control? How • How can I develop more competence and confidence? can we learn to deal with performance anxiety? What is needed to • How can I practice in order to get to know the music rather than make us play at our highest level on stage? And how can we make just avoid mistakes? sure we are in the right ‘state of mind’ whilst playing and practising? • How can I experience the ‘flow state’ where I am totally In this course we will acknowledge more about how learning immersed in playing? proceeds in the brain, we will discuss awareness and focus, we will • How can I cope with performance anxiety? learn about mental preparation, mental training, performance anxiety and the FFF response and we will see how thin the line is between joy Objectives: At the end of this course, you: and frustration. • are able to work autonomously, effectively and are able to plan and reflect on your process; Objectives: At the end of this course, you: • have methods and strategies to use in the practice room and to • are able to practice more effectively; prepare performances; • are able to find, train and keep focus; • have access to information and literature related to learning • understand the process of practicing from start to stage; and performance; • understand the nature of and deal with performance anxiety. • have experienced exploring issues important to your development via peer learning in a group environment. Type of course: Elective Type of course: Elective Level: Bachelor/master Level: Bachelor Duration: 10 times 75 minutes, plus 45 minutes for each individual student, 1st semester Duration: 12 sessions of 90 minutes and one 50 minute individual session for each student Prior qualifications/ This course is open to everyone who is interested. prerequisites: Prior qualifications/ This course is open to everyone who is interested. prerequisites: Teachers: Wieke Karsten Teachers: Susan Williams Credit points: 1 ECTS Credits: 2 ECTS Literature: Handout provided by teacher Literature: Musician’s Manual: Guidelines for Quality Practice. (Susan Williams) Work forms: group lesson + 1 individual lesson for every student (45 minutes) Work form: Group lessons plus one individual sessions per student Assessment: Evaluation and essay. Minimum attendance: 80%. First and last class Practical assignments are compulsory. Assessment: 80% attendance. Evaluation of assignments. Grading system: Pass/fail Grading system: Pass/fail Language: English Language: English Schedule, time, See ASIMUT schedule venue: Schedule, time, Wednesday or Thursday afternoon, Royal Conservatoire venue: Information: Wieke Karsten ([email protected]) Education Service Centre: [email protected] Information: Susan Williams ([email protected]) Education Service Centre ([email protected])
24 25 CDO/Career Development Office, External Personal Prior qualifications/ For the academic year 2020-2021 you can obtain CDO ECTS for prerequisites: projects that take place between 01-09-20 to 31-08-21. B4 year students can only enter projects from 01-09-20 to 01-05-21. If the Professional Projects project occurs outside those dates it will not be valid for the 2020- 2021 academic year.
Course title: CDO/Career Development Office, External Personal/Professional Teachers: - Projects Credits: Bachelor II-III: a minimum of 2 and a maximum of 4 ECTS per Osiris course code: KC-B-AL-CDO(4) academic year Bachelor IV: minimum 6 ECTS Course content: The Career Development Office (CDO) is a central place in the Royal Conservatoire where students can receive support in finding Literature: - (concert) activities outside the institute such as lunch concerts and Work form: Individual work, work relevant towards the achieving of career aims. freelance employment opportunities. Via the CDO students can earn study credits within the bachelor’s curriculum for activities Assessment: Evaluation of activities on the basis of forms submitted. CDO study completed outside the conservatoire. The possibility of receiving credits are registered through the completion of standard forms, study credits in the bachelor’s curriculum exists as part of the free with the addition of materials relevant to the activities (promotional space in the 2nd and 3rd study years, and is a required part of the materials, programmes, recordings etc.). curriculum in the 4th year. The CDO has the administrative task of Students applying for CDO study credits for activities outside the processing these study credits. conservatoire do this via a form which is available from the CDO or the STIP, or that can be downloaded via intranet. With this form The proactive engagement with the field of work can take numerous students can ask for approval from their Head of Department in forms, including: advance for the activity with which they would like to receive study • gaining experience/working with orchestras, professional choirs, credits. The student must fill in the report part of the form once the jazz ensembles of various sizes or other professionally active activity has been completed. The completed form must then be organisations. returned to the CDO for approval by the CDO and the relevant Head • creating an own ensemble, band, or individual performing of Department. After an evaluation by the departmental coordinator profile, investing time in promoting own activities/programmes Head of Department, the relevant number of study credits will be via performances and other demonstrable actions. allocated to the task (see appendix). The CDO will then ensure that • making a website. the relevant number of study credits is entered into the OSIRIS study • engaging in challenging activities such tracking system. as competitions/masterclasses. Allocation of CDO credits is done by the Head of Department or by • engaging in creative collaborations, active participation a nominated teacher in consultation with the Head of Department. in productions or in environments which extend technical ability, CDO credits are based on a standard of 1 ECTS = 28 hours work. awareness and opportunity. • broadening of repertoire through engagement with Assessment criteria unfamiliar genres. • basic information (e.g. hours) • involvement with management duties such as organisation, • presentation of report publicity etc. for own activities or as part of an internship • learning experience/self-reflection for external (music) organisations. • content of project • evidence/publicity (if possible) Information about work placement as part of the course, or internship Grading system: Pass/fail contract forms, can be obtained via the CDO. Language: English or Dutch Objectives: At the end of these activities, you: • are able to take initiatives with regard to your employment; Schedule, time, - • are capable of reflecting on and learning from your venue: experiences in the field; Information: Dominy Clements ([email protected]) • have developed administrative and management skills with regard to your own professional activities. Appendix: Indications of credit (ECTS) allocation and restrictions for activities under the CDO. Type of course: Elective Level: Bachelor II-III: optional GENERAL: CDO ECTS credits are allocated on the basis of estimated Bachelor IV: compulsory for students not completing a minor contact time. Preparation time is usually seen as part of the main study. Duration:
26 27 • Activities need to be at the level of the course, e.g. playing along Music Education according to the Kodály Concept with an amateur orchestra as a tutti string player or singing in an amateur choir does not qualify for ECTS. • Teaching for a few hours per week for a year = on average 3 ECTS. Course title: Music Education according to the Kodály Concept • Maximum credits for teaching are set at 4 ECTS per year (bachelor) and 6 ECTS (master). Osiris course code: KC-EL-MV (bachelor, 6 ECTS) • Making a website = maximum 2 ECTS. KC-M-EL-KC (master, 10 ECTS) • Organising concerts, setting up a website, programming a concert series and other activities directed towards skills useful in a music Course content: A practical and theoretical course that consists of four main career are all given extra value. elements: methodology, singing, musicianship and music teaching • Participating in KC activities/projects is not eligible for ECTS – repertoire. At least twice a year, international guest teachers will participation is indicated in the SVO. be invited. We will research Kodály concepts in the 18th, 19th and • Participating in exams or presentations of student colleagues 20th centuries. The course is open for singers, instrumentalists and within the curriculum (e.g. final presentations of drama lessons) classroom (music) teachers. does not qualify for ECTS. Methodology Music Education According to the Kodály Concept forms the basis of • Passive attendance of masterclasses does not qualify for ECTS. the methodology classes. The starting point is always making music (sound). Then awareness (understanding) and practising (exercise) CLASSICAL: can lead to musical literacy. The process of learning is brought in - One week working with a professional orchestra/ensemble = 2 relation to your teaching practice. You develop your teaching material ECTS. through pedagogical research and artistic evaluation. - NJO (National Youth Orchestra) winter tour = 3 ECTS. • Singing: students sing as a group and individually to develop their - EuYO/Gustav Mahler orchestras etc. = 5 ECTS. own voice and to learn how to sing with children. Activities include - Chamber music is indicated at 3 ECTS in the BII/III curriculum. the building of suitable teaching material: song repertoire with When students from another school year or students in BII/III who games, canons and part songs. have completed their requirement also take part in the programme • Musicianship: a group lesson on the development of practical (at least 5 chamber music lessons and a performance in the Chamber musicianship skills, analytical hearing and musical imagery. Music Festival) then they are eligible for 2 ECTS via the CDO. Students practice their own musicianship skills needed for teaching, through singing and performing. CONDUCTING: • Techniques used in Kodály music teaching are learned: relative The Conducting Department is almost exclusively involved with solmisation, hand signs and rhythm language. the directing of ensembles, orchestras and choirs in order to gain • Music teaching repertoire: practical workshops with many musical experience and grow artistically. Students must organise their own activities that are ready to use in classroom music teaching feedback beyond their own teacher: i.e. people with whom they work or instrumental music teaching situations. Students learn a and who encounter them as a conductor. repertoire of musically interesting songs and games. • One year rehearsing with a permanent ensemble = usually 3 ECTS. • One week with a professional orchestra (ca 15 hours rehearsal & 6 Objectives: At the end of the course, you: hours concerts) = 2 ECTS. • have a basic understanding of and are able to teach music to children according to the Kodály philosophy; VOCAL STUDIES: • have an understanding of historical and pedagogical background • Working on a production with a professional choir, depending of teaching music; on its duration, number of concerts and type of repertoire • have an understanding of the musical learning process and are (e.g. a capella, large-scale symphonic or contemporary) = able to design music lessons in small and logical steps that between 2 and 4 ECTS. lead to high quality music making and understanding of music • Solo work with an amateur organisation is seen as at a suitable by children from the earliest ages; level but, bearing in mind the standard nature of the repertoire = • are able to transfer musical content and musicality on average no more than 0,5 ECTS. by means of your own voice, and are aware of the possibilities • Solo work with a professional ensemble/organisation can, and impossibilities of the child’s voice at certain ages, and learn depending on the repertoire = up to 2 ECTS. how to develop children’s singing; • Participation in competitions or masterclasses is seen as close • are able to learn to read music well in order to imagine to the usual main study activities. Value depends on level, degree how difficult something is, for which age group a piece of music of involvement etc. = average 1 ECTS. is suitable and where potential problems are. To be able to translate sound into music notation, and to understand musical structure and form;
28 29 • have developed polyphonic skills to divide the different layers of attention needed in musical activities and teaching music. You can translate these skills into lessons for children; KC electives from the Classical Department • are able to integrate the theory and musicianship skills that are learned into your own teaching practices. You should be able to develop and structure lesson plans for your pupils that show a longer and clear line of learning in and through music. Advanced Rhythm – NEW! Type of course: Elective (NB: this elective is not available for students from bachelor II) Course title: Advanced Rhythm – NEW! Level: Bachelor III and IV / master Osiris course code: KC-EL-AR Duration: 8 Saturdays of 7 hours and 2 study weekends Course content: This course focuses on importing knowledge and skills in the field of Prior qualifications/ Special interest in music education contemporary music and non-western techniques. prerequisites: Teachers: Daniel Salbert, Patricia Wisse, Tim Tomassen, Anouk Vinders, The course provides the essential rhythmical base for all classical Suzanne Konings international guest teachers musicians: the programme will address the necessary techniques to perform western music composed from the beginning of the 20th Credits: 10 ECTS, of which 6 ECTS can count as a bachelor’s elective course century up to the 1950s, as well as more recent music that essentially Literature: Reader and literature specified by the teacher uses the same level of rhythmical intricacy (in general, music that most professionals are bound to encounter in an orchestral or Work form: Group lesson and teaching ensemble situation). Assessment: Evaluation of methodology assignment at the end of the course Each year, in the last two months, every student will prepare a duo or Grading system: Pass/fail trio piece of contemporary music (eventually a solo). The teacher will show and help the student implementing the different techniques Language: English studied during the year in the chosen piece. A presentation with all Schedule: 8 Saturdays (once a month) and 2 weekends the pieces will take place at the end of the year. Collaboration with for dates see muziekalsvak.nl/course-muziek-als-vak/ the composers following Advanced Rhythm for Composers is highly encouraged. Time: 10:00-17:00 Objectives: At the end of this course, you: Venue: - • have broadened your sense of rhythm by integrating various Information: Suzanne Konings – Head of Music Theory ([email protected]) perspectives on rhythm in your playing; Education Service Centre ([email protected]) • have expanded your academic and practical knowledge of contemporary repertoire; • have expanded your academic and practical knowledge of non- western techniques. Type of course: Elective Level: Bachelor Duration: 1 hour per week Prior qualifications/ This elective is open to all students, except for percussion students. prerequisites: Maximum enrolments: 10. Teachers: Jonás Bisquert Credits: 2 ECTS Literature: Work form: Group lessons
30 31 Assessment: • A written exercise comprising rhythmical concepts and notation. Music Around the Corner, Orkest Morgenstond • A collaborative final performance of a rhythmically challenging piece, specifically coached during the course upon the student’s needs. Scheduled in May or June. Course title: Music Around the Corner / Orkest Morgenstond This exam is assessed by a committee consisting of the teacher Osiris course code: KC-EL-MC of the course and other (percussion) teachers on the basis of the assessment standards for performance in the bachelor. Course content: This course aims to prepare you for work as a local area musician in a team environment. You will focus on improving your practical skills Assessment criteria: like creative, innovative ways to communicate, with and without • integration of various rhythmical perspectives in performance your instrument, and techniques to make audiences participate in • enhancement of expressive potential through performances. The course is divided into three projects: rhythmical refinement • application of universal concepts and specific techniques 1. Small-scale project: performances for a small specific target • level of collaboration group, differing from lonely elderly to mothers with newborns or local restaurant owners. 2. School Concerts: music theatre performance for children; Grading system: Qualifying result performing for pupils at the primary schools in Morgenstond Language: English or Dutch and adjacent neighbourhoods. 3. BuurtOpera: performances with participants and partners from Schedule, time, See ASIMUT schedule local area Morgenstond venue: All projects are structured as follows: Information: Jonás Bisquert ([email protected]) 1. Research of target audience(s): Every project starts with doing research on the target audience(s). Through group exercises and a live meeting with citizens of Morgenstond you deepen into the target groups (musical) interests, activities and life stories. 2. Develop musical programme: Together, you decide about size of the orchestra/ensemble and repertoire according to the outcomes of the research. 3. Interaction/participation: Integrate interactive and/or participation elements within the musical programme according to the outcomes of the research. 4. Performances: The orchestra performs the musical programme on several occasions or locations in the neighbourhood of Morgenstond, like elderly homes, the hospital, the schools and Theatre Dakota. 5. Group evaluation: Every project will be concluded with a group evaluation containing group feedback, discussion and the opportunity to share photos, videos and feedback with one another. Objectives: At the end of this course, you: • are able to design and perform a musical programme to improve the understanding and appreciation of classical music within a local area and specific target audiences; • have an advanced understanding of performing and communicating with various audiences; • are able to make choices in selecting repertoire and ways of performing that are artistically and musically convincing as well as a contribution to the understanding of music in a local area. Type of course: Elective Level: Bachelor Duration: 80-90 hours (excluding self study), during 2 semesters
32 33 Prior qualifications/ This elective is only open to students who study Classical Music. prerequisites: KC electives from the Early Music Department Teachers: Ginette Puylaert, Tim Sabel Credits: 4 ECTS It is possible to choose this elective during several years. Latin for Musicians Literature: Articles and videos about/of relevant projects, organisations and musicians are shared by the teachers and students in the group lessons Course title: Latin for Musicians Work form: group lessons, rehearsals and performances in local area. Osiris course code: KC-EL-LM Assessment: Attendance results (80%) and an individual conversation and group evaluations. Competences that are evaluated are professionalism, Course content: The Latin language played an important role in intellectual circles quality of initiatives, and communicative skills. from the early Middle Ages until the 19th century. Many treatises on the performance and interpretation of music were written in this Grading system: Qualifying lingua franca. The texts of the majority of vocal music of Middle Ages, Language: English and Dutch Renaissance and Baroque are in Latin. In fact, knowledge of Latin is indispensable for any student in Early Music. In this course you will Schedule, time, See ASIMUT schedule learn the principles of Latin grammar. After acquiring the basic skills venue: of grammar, we will translate original Latin texts related to (Early) Information: Tim Sabel and Ginette Puylaert: [email protected] and Music. www.orkestmorgenstond.nl Objectives: At the end of this course, you: Education Service Centre ([email protected]) • have elementary knowledge of Latin grammar; • are able to translate easy Latin texts; • have access in Latin to treatises relevant to performance practice; • are able to evaluate the validity of existing translations. Type of course: Elective Level: bachelor Duration: 2 semesters, 60 minutes per week Prior qualifications/ This course is open to everyone who is interested. prerequisites: Teachers: Dr. Marcel Zijlstra Credits: 2 ECTS Literature: Reader Work form: Group lesson/seminar Assessment: Compulsory attendance: 80%. Written exam Grading system: Pass/fail Language: English or Dutch Schedule, time, See ASIMUT schedule venue: Information: Marcel Zijlstra ([email protected]) Education Service Centre ([email protected])
34 35 Applied Historical Improvisation Baroque Dance
Course title: Applied Historical Improvisation Course title: Baroque Dance Osiris course code: KC-EL-AHI Osiris course code: KC-EL-BD Course content: In this course, you are introduced to the building blocks of historical Course content: This course introduces you step-by-step to reading and dancing improvisation, which are at the same time the building blocks of a complete choreography in Feuillet’s notation. For a better the repertoire you play. You bring the knowledge you gathered in understanding of the origins of Baroque dance it also includes your theory lessons and learn to apply this to improvisation on your additional workshops in Renaissance dance and performance. The instruments. Similarly the repertoire from your main subject lessons is course offers an insight in the theoretical and historical basis of dance a constant source of practical examples of how to use these building music by a direct integrated physical experience. blocks and source material for applying improvisation techniques in ‘real life’. Objectives: At the end of this course, you: You are encouraged throughout the course to take an active role • have a deeper understanding of the shape and character in combining research, tools given in your theory, main subject and of baroque music, by dancing the music of the baroque suites with improvisation classes and your repertoire and to start learning to the proper steps and gestures; pursue your own artistic goals with historical improvisation as a • are able to translate the physical experience of dancing historically playground for experimentation. defined rhythms and tempi into artistic choices when singing or performing period dance music on your instrument. Objectives: At the end of this course, you: Type of course: Elective • know the basic techniques involved in historical improvisation; • are able to use these techniques to enrich your repertoire and vice Level: Bachelor versa enrich your improvisations with your repertoire; • have learned an approach to exploring your own artistry and are Duration: 90 minutes, 2 semesters able to put this into practice. Prior qualifications/ This course is open to everyone who is interested. Type of course: Elective prerequisites: Level: Bachelor Teachers: Ricardo Rodríguez Miranda Duration: 2 hours every 2 weeks, 2 semesters Credits: 2 ECTS Prior qualifications/ The course is aimed at students from the Early Music Department, Literature: Feuillet, Raoul-Auger, 1659/60-1710 Orchesography prerequisites: but students from other departments and master students can Work form: Class and training participate after consultation with the teachers. Assessment: Active participation, 80% attendance Teachers: Robert de Bree and James Hewitt Grading system: Pass/fail Credits: 3 ECTS Language: English Literature: Overview reader provided by teachers, online working environment/ assignments and reader with materials collected by students Schedule, time, Tuesdays, 18-19.30 hrs, Balletstudio 2 themselves venue: Work form: Group lesson in various formats Information: Brigitte Rebel – Coordinator Early Music Department ([email protected]) Assessment: Compulsory attendance: 80% Education Service Centre ([email protected]) Grading system: Attendance sufficient/insufficient Language: English Schedule, time, See ASIMUT schedule venue: Information: Robert de Bree ([email protected]) Education Service Centre ([email protected])
36 37 Basso Continuo in Performance Early Music Seminars
Course title: Basso Continuo in Performance KC-EM-HD Early Music Seminars Osiris course code: KC-EL-BC Osiris course code: KC-EL-MS Course content: This course is open to all non-keyboard majors. You will learn about Course content: A series of seminars with a wide variety of capita selecta on research the practical as well as the theoretical skills required for realising and performance. Each time a guest will be invited as curator of the figured and non-figured bass lines in a historically appropriate seminar to shape the session in accordance with the content. In manner. We will focus on music from the beginning of the 17th until addition, members of the teaching staff and researchers connected the end of the 18th centuries. You will be expected to play, and to the school offer relevant expertise. A panel discussion and Q&A classes will take place in the form of group lessons. are a fixed item on the agenda, where you are invited to participate actively. Objectives: At the end of this course, you: A work session of repertoire at stake and its context is part of the • have studied and practised basso continuo styles of the 17th program of the day. and 18th centuries; Active participation is also asked once during the year from bachelor • are able to realise a basic basso continuo line on the harpsichord III and IV students by preparing literature on the topic. The annual with or without figures; programme will be announced at the beginning of the academic year • are able to apply the basic knowledge of harmony and structure in the project overview booklet. necessary for good continuo based ensemble playing. Objectives: At the end of this course, you: Type of course: Elective • have gained insight into current developments in the field Level: Bachelor or early music; • are able to critically reflect on these; Duration: Weekly lessons of 75 minutes, 2 semesters • can articulate your opinion on these matters with Prior qualifications/ This course is open to all non-keyboard majors. You must be equipped basic argumentation. prerequisites: with basic keyboard skills. Type of course: Elective (and it is a compulsory part of the Early Music curriculum). It Teachers: Kathryn Cok is possible to choose this elective several times (once per year). Credits: 2 ECTS Level: Bachelor Literature: Weekly hand-outs will be provided Duration: 7 seminars divided over two semesters Work form: Group lesson Prior qualifications/ This elective course is open to everyone who is interested (except prerequisites: Early Music students, as it is a compulsory part of their curriculum). Assessment: Class participation and the completion of homework assignments Teachers: Invited guests. Moderator: t.b.a. Grading system: Pass/fail Credits: Elective: 2 ECTS Language: English Literature: Incidental literature preparation, to be announced. Schedule, time, See ASIMUT schedule venue: Work form: Group lesson Information: Brigitte Rebel - Coordinator Early Music Department Assessment: Students who take this course as an elective in bachelor II or III: 5 out ([email protected]) of 7 seminars) Education Service Centre ([email protected]) Active participation is part of the assessment. Grading system: Pass/fail Language: English Schedule, time, See ASIMUT schedule venue: Information: Early Music students: Brigitte Rebel - Coordinator Early Music Department ([email protected]) For students taking this course as an elective: Education Service Centre ([email protected])
38 39 Early Music Studies 1 • are able to contextualize musical problems with larger cultural entities; • have experienced researching specific topics and applied it to your musical practice. KC-TH-EMS1 Early Music Studies 1 Type of course: Elective: bachelor II and III (and it is a compulsory part of the Early Osiris course code: KC-EL-BEM Music curriculum) Course content: The main focus of this course is the understanding of earlier musical Level: Bachelor I practices. You study different areas of musical knowledge through Duration: 100 min per week, 36 weeks active consultation of original sources on performance practice and composition. You also carry out research related to topics of your own Prior qualifications/ This course is open to everyone who is interested (except Early Music curiosity. prerequisites: students, as it is a compulsory part of their curriculum). Besides the general study of performance practice and the evolution of compositional styles, you learn to contextualize these musical Teachers: João Carlos F. de M. Santos, Isaac Alonso de Molina practices with larger cultural and artistic ideas. Crucial subjects Credits: 6 ECTS like the Philosophy of Performance, and of Early Music, General Philosophy, Cultural History, and a general introduction to research Literature: To be announced during the course form an important part of the course. Work form: Group lesson During the first year of Early Music Studies the course focuses on the instrumental and vocal styles of the 18th century, starting with Assessment: There is midterm assessment and a final assessment consisting of lectures related to the origins of these styles covering the advent of Oral presentation and essay. Compulsory attendance: 80% counterpoint and other styles in the so called “Middle Ages” up to the 16th century. Grading system: Final assessment: final grade (numeric) based on the assignments, presence and participation and presentation. List of specific themes seen: For further details, please see Information Assessment Musicianship Performance Practice: Skills & Academic Skills Subjects in the Curriculum Handbook of the General Values of performance (instrumental and vocal) in earlier Early Music Department. periods Language: English Ornamentation/Improvisation Tuning/Pitch and Temperament Schedule, time, See ASIMUT schedule Evolution of technical and problems venue: Accentuation and Articulation Information: Suzanne Konings – Head of Music Theory Department Rhythmical Alteration ([email protected]) Education Service Centre ([email protected]) Evolution of Compositional Genres Instrumental genres: From Consort music up to the late sonata/ symphonic forms seen through historical sources Vocal genres and their evolution understood through its poetic and compositional background The evolution of compositional techniques
General Cultural Problems Important political, social and musical institutions and other historical considerations General aesthetic problems Other Arts and their relation to music Poetics and Rhetoric Objectives: At the end of this course, you: • have studied the main ideas involved in the practice of earlier music, and have experienced to put these ideas into practice in your actual music making; • have developed an understanding of the styles and genres of western music history with the aid of historical analysis;
40 41 Gregorian Chant and Choir Literature Class - Fortepiano
Course title: Gregorian Chant and Choir Course title: Literature Class - Fortepiano Osiris course code: KC-EL-GREG Osiris course code: KC-EL-RKFP Course content: This course introduces you to the basics of Gregorian Chant: modern Course content: Fortepiano Literature Class is open to keyboardists from the classical and historical forms of notation, interpretation, history and liturgy, and early music departments (see ‘prior qualifications’ for some modality. The different styles and genres of chant are explored by restrictions). You start with basic reading on selected performance singing characteristic pieces from the vast repertoire. The chants are issues (treatises as well as secondary literature). Treatises will be also used to illustrate capita selecta of the early history of music. presented with a topic in mind, e.g. rubato comments in all 18th relevant treatises. In class, you will also learn to tune the fortepiano, Objectives: At the end of this course, you: in guided sessions between September and March. From Christmas, • are able to read and transcribe early chant notation forms into you will be tuning by yourself and do a final test by tuning for a recital. modern notation; In addition, there will be 10 meetings about piano maintenance, • are able to perform a piece of chant and make an interpretation including regulation of the action, voicing, clicks and pedal noise, with the help of early neume notation; etc. After Christmas, you will prepare a presentation on a topic of • are able to perform chant in a choir in a liturgical your choice such as articulation, pedaling, fingering, rubato, stylistic and historical setting; schools, dynamics, or a composer. As a last assignment, you will be • are able to analyse a chant in terms of its structure, asked to prepare a programme within strict limitations of genre, style and modality; ensemble, time period, region, purpose; accompanied by detailed • are able to place a chant in its liturgical and historical context. programme notes. Finally, you will write a proposal to festivals and Type of course: The course is open to everyone who is interested (except Choral and concert organizations. Orchestral Conducting students as it is a compulsory part of their Objectives: At the end of this course, you: curriculum) • have a deepened knowledge of certain performance practices, Level: Bachelor chosen in the group; • have become acquainted with the most important treatises; Duration: 2 hrs per week, 20 weeks per year • are able to contextualize the well-known repertory by studying Prior qualifications/ This course cannot be taken as an elective by Choral and Orchestral sources, evaluating various performance practices, getting prerequisites: Conducting students as it is a compulsory part of their curriculum. to know contemporary minor masters, lesser known genres and ensembles, and contemporary music life and esthetics; Teachers: Dr. Marcel Zijlstra • are able to tune your own fortepiano; are able to regulate and maintain your own fortepiano. Credits: 2 ECTS • Type of course: Elective for Classical Music bachelor piano students and elective for Literature: David Hiley: Gregorian Chant. Cambridge 2009 Early Music piano students bachelor III en IV (it is part of the Early Work form: group lessons Music curriculum fortepiano year II) Assessment: Early March: written exam. May: a performance in liturgical context. Level: Elective: bachelor June: oral exam in which the personal interpretation of a given chant (Compulsory: Early Music Fortepiano bachelor II) will be assessed Duration: 32 weeks, 60 min. per week Grading system: Numeric Prior qualifications/ As an elective, this course is only open to pianists. Language: English or Dutch prerequisites: Schedule, time, See ASIMUT schedule Teacher: Bart van Oort venue: Credits: 2 ECTS Information: Marcel Zijlstra ([email protected]) Literature: t.b.a. Education Service Centre ([email protected]) Work form: Group lesson Assessment: Attendance, two written assignments Grading system: Numeric
42 43 Language: English or Dutch Ornamentation and Diminution Schedule, time, See Asimut schedule venue: Course title: Ornamentation and Diminution Information: Brigitte Rebel - Coordinator Early Music Department ([email protected]) Osiris course code: KC-EL-DO Education Service Centre ([email protected]) Course content: Part I of the Ornamentation and Diminution course examines the performance practice of ornamentation in the 16th and 17th centuries. The course comprises lectures and practical workshops. The course offers an introduction to the several schools of improvising by diminution of melodic lines. The sources include the treatises of authors like Ortiz, Ganassi, dalla Casa, Virgiliano etc. Understanding the rise of improvisational elements during the transition of the Renaissance and Baroque period and their creative application, is one of the main goals of this course.
Part II of the Ornamentation and Diminution course examines the performance practice of ornamentation in the 18th century. The course comprises two lectures and six practical workshops. We begin with a comparative survey of French and German 18th century sources on embellishment and consider how they should be interpreted. How much can be determined by the context of the composition? How much room is there for the discretion of the performer? The course will also briefly cover the preparation and performance of improvised preludes, and the characteristics of a good cadenza. Objectives: At the end of this course, you: • are able to determine the various ways in which a composition can be embellished in such a way that the integrity of the music and its style remain intact; • are able to invent and to write down the appropriate diminutions to a vocal line or a simple instrumental composition of the late 16th and early 17th century. • are able to determine the various types of national styles in ornamentation; • are able to apply this information in performance or in analysis of 18th century musical works. Type of course: Elective for everyone who is interested Level: Bachelor II & III Duration: Bachelor II: 120 minutes per week, during the first semester Bachelor III: 120 minutes per week, during the second semester Prior qualifications/ Ornamentation and Diminution is divided in two parts: one semester prerequisites: in bachelor II and one semester in bachelor III. As an elective, you must complete both parts.
This course cannot be taken as an elective by KC Vocal Studies Early Music students, as it is a compulsory part of their curriculum. Teachers: Kate Clark Credits: Bachelor II: 1 ECTS Bachelor III: 1 ECTS
44 45 Literature: Reader Practicum Polyphoniae Work form: Group lesson
Assessment: Compulsory attendance: 80% Course title: Practicum Polyphoniae Assessment for part I consists of performing an invented monodic Osiris course code: KC-EL-PP ricercar in the style of the late 16th century and a set of own diminutions on a 16thc composition. These presentations take place Course content: The aim of this course is to learn the essential elements of 15th in the final two weeks of the course. and 16th century polyphonic music in a choir practicum setting. By applying the knowledge of solmisation, mean tone tuning and Assessment for part II consists of two presentations of 30 minutes counterpoint, the repertoire is sung from copies of manuscripts and each - one, of a movement of French 18thc prelude/suite/sonata/ early prints in mensural notation. The main attention goes to learning- cantata and one of a German 18thc prelude/suite/sonata/cantata. by-doing, and the experience of performing highlights from the Each presentation will involve performance of the chosen movement wealthy vocal repertoire of the Renaissance. including execution of any written out ornaments and also the Objectives: At the end of this course, you: addition or substitution of one’s own prepared or improvised • are able to apply your knowledge of solmisation; ornaments. It will also involve a discussion of the 18thc sources that • are able to read mensural notation; guided the student in his/her decisions about execution and addition • know the basic shaping elements of 15th and 16th century of ornaments. These assessments will take place in approximately polyphonic music and are able to put your knowledge into practice weeks 5 and 10 of the course. in performance; Grading system: Qualifying result • are able to apply your understanding on later repertoire that is based on the polyphonic and modal principles. Language: English Type of course: Everyone who is interested (except Early Music students, as it is a Schedule, time, See ASIMUT schedule compulsory part of their bachelor I curriculum) venue: Level: Bachelor I Information: Brigitte Rebel - Coordinator Early Music Department ([email protected]) Duration: 60 minutes per week, 32 weeks per year Education Service Centre ([email protected]) Prior qualifications/ This course cannot be taken as an elective by KC Early Music prerequisites: students, as it is a compulsory part of their curriculum. Teachers: Adrián Rodriguez van der Spoel Credits: 2 ECTS Literature: - Work form: Group lesson Assessment: Compulsory attendance: 80%. Active preparation and participation. Grading system: Pass/fail Language: English Schedule, time, See ASIMUT schedule venue: Information: Brigitte Rebel - Coordinator Early Music Department ([email protected]) Education Service Centre ([email protected])
46 47 Rhetoric KC electives from the Jazz Department
Course title: Rhetoric Osiris course code: KC-EL-RE Course content: This course examines the 18th century application of rhetorical Jazz Choir principles to musical composition and performance. It seeks to look broadly at the idea of music as a language, and to go beyond the study of mere musical figures and structures by placing the 18th Course title: Jazz Choir century discourse on actio in a rich and diverse context. By examining Osiris course code: KC-EL-JAC ideals of expression, content and structure on various performing arts and media, including dance, film and popular songs as well as the Course content: In this course, for jazz singers, you learn how to perform in a jazz music of Baroque composers, the course encourages students to look choir. The jazz choir is a small to mid-sized vocal ensemble consisting creatively at the rhetoric of daily life all around them. of sopranos, altos, tenors and basses. A single pianist or a rhythm section may accompany the choir. Objectives: At the end of this course, you: In the choir lessons, the specific vocal techniques of singing in a jazz • are able to analyse the structural and performance elements of a choir are practiced, as well as various styles of jazz choir singing. musical composition along the lines of its rhetorical effectiveness; You learn more about the differences in styles of jazz choir singing. • have the basic tools to understand the performance of 18th Performing a solo, accompanied by a choir, is also part of the course century music by the application of generic rhetorical means. content. Type of course: Elective In the jazz choir lessons, you put into practice what you have learned in your main subject lessons, the secondary lessons and the theory Level: Bachelor and master subject lessons. Duration: 11 lessons of 120 minutes, 2nd semester Objectives: At the end of this course, you: Prior qualifications/ This course is open to everyone who is interested. A good command • have rehearsed and performed with jazz choirs of various sizes; prerequisites: of English is essential. • know the repertoire of standards and originals for a jazz choir, in various styles; Teachers: Jed Wentz • are able to cooperate with fellow students in a constructive way; Credits: 2 • can write arrangements for various choir settings; • can improvise in various styles, showing style-awareness; Literature: Chapters of M. Conley, Rhetoric in the European Tradition and a • show an understanding of the relationship between special reader the vocal section and the rhythm section when a combo accompanies the choir; Work form: Group lesson • are able to put into practice in the choir what has been learned Assessment: Bachelor: 80% attendance and active participation in the main subject lesson, the secondary lesson classical music Master: 80% attendance, active participation and an assignment and the theory lessons; • are able to deal with the behavioural and communicative demands Grading system: Pass/fail of public performance. Language: English Type of course: Elective Schedule, time, t.b.a. Level: Bachelor venue: Duration: 2 hours per week, 2 blocks of 15 weeks Information: Brigitte Rebel - Coordinator Early Music Department ([email protected]) Prior qualifications/ This course is open to everyone with some basic choir experience Education Service Centre ([email protected]) prerequisites: (except KC jazz singers as it is a compulsory part of their curriculum). Admission to course after audition. Teachers: Anka Koziel Credits: 2 ECTS per academic year Literature: Standards and originals of the jazz repertoire Work form: Group lesson
48 49 Assessment: Compulsory attendance: 80%. Music History Jazz Active participation at combo days, choir performances and vocal nights. Performances are always evaluated by the whole choir; the evaluation focuses both on the individual student as well as on the group. Course title: Music History Jazz Grading system: Qualifying result Osiris course code: KC-EL-HJ-20 Language: English or Dutch Course content: The course concentrates on the emergence of different jazz styles. The development of the music is placed in a general historical, Schedule, time, See ASIMUT schedule social and cultural context. An important aspect that is studied is venue: how improvisation and swing are shaped in the melody and rhythm sections in the different styles. Information: Yvonne Smeets – Head of Jazz Department ad interim ([email protected]) Objectives: At the end of the course, you: Education Service Centre ([email protected]) • are able to recognise different styles in the jazz repertoire from recordings; • are able to use the appropriate terminology in assessing the music fragments. Type of course: Compulsory, also available as an elective Level: Bachelor I Elective: bachelor II-IV Duration: 28 lessons over two semesters, 75 minutes per week Prior qualifications/ This elective course is open to everyone who is interested (except KC prerequisites: jazz students as it is a compulsory part of their curriculum). Teachers: Loes Rusch Credits: 3 ECTS Literature: Ted Gioia: Jazz, a history; various articles Work form: Lectures and individual assignments Assessment: Compulsory attendance: 80% Written exam at the end of the year with an aural test.
For further details, please see Information Assessment Musicianship Skills & Academic Skills Subjects in the Curriculum Handbook of the Jazz department. Grading system: Numeric Language: English or Dutch Schedule, time, See ASIMUT schedule venue: Information: Suzanne Konings - Head of the Music Theory Department ([email protected]) Education Service Centre ([email protected])
50 51 Language: English KC electives from the Schedule, time, See ASIMUT schedule venue: Institute of Sonology Information: Peter Pabon ([email protected]) Education Service Centre ([email protected])
Analysis/Re-synthesis
Course title: Analysis/Re-synthesis Osiris course code: KC-SO-PHM1 / KC-EL-PHM1 Course content: The central topic of this course is the liaison that perception has with the spectral and physical representations of a sound. A sound can be analysed and exactly resynthesized from its spectrum with the so-called Fourier Model, which presents a series of interesting and characteristic processing options. When detached from their strict mathematical ordering the standard analysis and synthesis schemes yield alternative and very practical processing models that allow manipulations in both time and frequency domain simultaneously. Models that follow this approach, like the instantaneous frequency model, and the band-limited oscillator will be studied in more detail. Objectives: At the end of this course, you: • are able to analyse, process and re-synthesize a sound by using a spectral abstraction; • are able to implement various analysis models that allow for the recognition of specific sound qualities; • are able to translate and combine analysis results into a higher- order abstraction. • are able to identify the similarities and specific differences between the synthesis models presented. Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students in bachelor III). Level: Elective: bachelor Duration: 1 semester, 120 minutes per week Prior qualifications/ This course is open to everyone who is interested (except Sonology prerequisites: students, as it is part of their curriculum). Limited space available. Teachers: Peter Pabon Credits: 4 ECTS Literature: t.b.a. Work form: Group lesson Assessment: A practical assignment that involves the implementation of a self- chosen analysis/re-synthesis chain and a demonstration/evaluation of its application. Grading system: Pass/fail
52 53 Composing with Algorithms Embracing Objects and Scores in Electroacoustic Composition
Course title: Composing with Algorithms Course title: Embracing Objects and Scores in Electroacoustic Composition Osiris course code: KC-SO-CAACO / KC-EL-CAACO Osiris course code: KC-EL-EO Course content: This course provides an introduction to algorithmic composition, Course content: You will investigate how to begin, and to finish, a composition that its applications, history and implementation. You will learn to uses technology as the initial impetus. You will consider various program sound, control and musical behaviour. Topics such as using technology objects: we will find out how they work, analyse and probabilities, generative algorithms, complex systems and selection extract what is interesting about them, discover what narratives principles will be presented. Each of these will cover technique but they embody, how they relate to performance and composition, and also practical applications and musical examples. The course uses the uncover any technical errors and misunderstandings and embrace SuperCollider environment as well as providing short presentations of them as sources of inspiration. Examples of such objects might other platforms. include digital networking or analogue radio equipment, electronic children’s toys, scientific equipment - anything electrical that Objectives: At the end of this course, you: generates or transmits sound. Leading to how these discoveries • have studied a number of currents regarding the use of algorithms inspire new compositions, you will also explore how to extend to assist in computer-based compositional activities; these discovered ideas, even when those ideas are just a tiny spark, • have working knowledge of the computer program SuperCollider. into a larger electroacoustic or instrumental creations. You will Type of course: Elective, one-year course (it is a compulsory part of the curriculum for work on creating scores, first by looking at alternative scores that Sonology students ). have been used in electro acoustic performances by composers from the 20th century American Experimental tradition through Level: Elective: bachelor today. Alternative scores include pen and pencil on paper, graphic Duration: 2 semesters, 120 minutes per week design, physical objects, images, video, Apps, commercial notation programs, and computer programs. Composers include Pauline Prior qualifications/ This course is open to everyone who is interested (except Sonology Oliveros to Alexander Schubert. You will look at the use of narratives, prerequisites: students, as it is part of their curriculum). Limited space available. games, timelines, improvisation and fixed media in relation to music- technology objects. Teachers: Bjarni Gunnarsson Objectives: At the end of this course, you: Credits: 8 ECTS • will have an overview of the history of electroacoustic music score Literature: Materials are available on the class web site. creation in 20th and 21st century • are able to create and discuss a score for fixed media or one Work form: Group lesson or more performers Assessment: Algorithmic composition assignment. • can confidently approach any sound-generating object from a musical perspective Grading system: Numeric Type of course: Elective (compulsory for Bachelor IV sonology students) Language: English Level: Bachelor IV Schedule: Thursdays Duration: 2 semesters, 120 minutes per week Time: 13:00-15:00 Prior qualifications/ This course is open to everyone who is interested (except Sonology Venue: Computer Studio 1 prerequisites: students, as it is part of their curriculum. Limited space available. Information: Bjarni Gunnarsson ([email protected]) Teachers: Rebekah Wilson and Anne La Berge Education Service Centre ([email protected]) Credits: 3 ECTS Literature: Scores and literature will be provided during the lessons Work form: Group lessons Assessment: • Four short scores for electroacoustic performance • An individual in-class presentation of 10 minutes
54 55 Assessment criteria four short scores: History of Contemporary Music Composition • reasoning and logic in creating a score • reasoning and logic on how to use a sound-generating object as music Course title: History of Contemporary Music Composition • ability to communicate personal compositional and scoring strategies Osiris course code: KC-SO-HCMP / KC-EL-HCMP
Assessment criteria presentation: Course content: This course gives you a chance to explore in detail many of the main • sufficient knowledge of historical electroacoustic context currents and counter-currents of thought and practice in composed • reasoning and logic in analysing a score music since the Second World War. We will discuss the aesthetics, • reasoning and logic on how to use a sound-generating the compositional techniques and the career histories of many of the object as music most influential artists who came to prominence in these decades. • ability to communicate personal compositional The ways in which western compositional traditions have enriched and scoring strategies themselves through encounters with other art forms, non-traditional notations, and with jazz, various forms of popular music, electronic The four short scores and presentation assessments both need to be music and the music of other traditions, will be important themes passed in order to pass this course. throughout. We will look at the writing and the scores of a range of significant creative musicians from the late 1940s to the present and Grading system: Pass/Fail listen closely to recordings of their work. Language: English Objectives: At the end of this course, you: Schedule, time, See ASIMUT schedule (Mondays 4-6pm TBC) • have an overview of the main currents in music from the late venue: 1940s to the present; • have studied the scores and recordings of representative post Information: Kees Tazelaar ([email protected]) WO II repertoire; • are able to communicate about this with various audiences at various levels. Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students in bachelor IV). Level: Elective: bachelor Compulsory: Sonology bachelor IV Duration: 120 minutes per week during the second semester Prior qualifications/ Music Theory 1 and 2; For Codarts students: basic knowledge of prerequisites: music theory Limited space available. Teachers: Gabriel Paiuk and guests Credits: 2 ECTS Literature: t.b.a. Work form: Group lesson Assessment: The assessment criteria for this course are under development. Students will be informed about the final criteria in due time. Grading system: Pass/fail Language: English Schedule, time, See ASIMUT schedule venue: Information: Gabriel Paiuk ([email protected]) Education Service Centre ([email protected])
56 57 Live Electronic Music Music and Time
Course title: Live Electronic Music Course title: Music and Time Osiris course code: KC-SO-LEM / KC-EL-LEM Osiris course code: KC-SO-M&T / KC-EL-M&T Course content: The aim of this course is to put improvisation with electronic Course content: The use of digital and analogue electronics has presumably changed musicians and traditional instrumentalists into practice. Various kinds our relation to time in music, and the relation of technique to content of improvisation are analysed, and the ways that electronic processes is a puzzling one. As electronic musicians we therefore have to have influenced thoughts about improvisation are discussed. At some examine some basic questions: Can we learn to perceive time in a point, the group will be split up into smaller improvising groups. A different way; can we imagine a sound we have never heard before; final presentation will be organised in the form of a concert at the end is time in music the same as time in nature; how does our perception of the course. of time relate to time measured by a physical process; is counting the same as measuring duration? During the course, ideas drawn Objectives: At the end of this course, you: from traditional music, natural processes, mathematics and cognitive • know the patterns that underlie improvisation, specifically those science will be examined as inspiration for a new theory of time and of the genre that makes use of electronic means; representation in music. • are able to improvise through electronic means, or by combining instrumental improvisation with electronics; Objectives: At the end of this course, you: • are able to organise a concert presentation within a team setting. • are able to reflect on the changing perception of time in music as a result of the use of technology; Type of course: Elective, one-year course (it is a compulsory part of the curriculum for • have knowledge of number theory, adaptive systems, generative Sonology students in bachelor III). grammar, linear and non-linear dynamics and the phenomenology Level: Elective: bachelor of time perception. Compulsory: bachelor III Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Duration: 2 semesters, 120 minutes per week Sonology students in bachelor III). Prior qualifications/ This course is open to everyone who is interested (except Sonology Level: Elective: bachelor prerequisites: students, as it is part of their curriculum). Limited space available. Compulsory: Sonology bachelor’s III Teachers: Johan van Kreij Duration: 2 semesters, 120 minutes per week Credits: 6 ECTS Prior qualifications/ This course is open to everyone who is interested (except Sonology prerequisites: students, as it is part of their curriculum). Limited space available. Literature: Reading and listening material will be provided Teachers: Joel Ryan Work form: Group lesson Credits: 3 ECTS Assessment: During the second semester, you work on group assignments, leading to a public final presentation at a venue outside of the conservatoire. Literature: Texts from Cognitive Science, Mathematics, Philosophy of Science & Compulsory attendance: 80%. Literature. Grading system: Numeric Work form: Group lesson Language: English Assessment: You are assessed on the basis of your active contribution to the group sessions and a written report, in which the relation between your Schedule, time, See ASIMUT schedule own work and the changing perception of time in music is discussed. venue: Compulsory attendance: 80%. Information: Johan van Kreij ([email protected]) Grading system: Pass/fail Education Service Centre ([email protected]) Language: English Schedule, time, See ASIMUT schedule venue: Information: Joel Ryan ([email protected]) Education Service Centre ([email protected])
58 59 Real-Time Processes with Max/MSP Signals and Systems 1
Course title: Real-Time Processes with Max/MSP Course title: Signals and Systems 1 Osiris course code: KC-SO-RMM / KC-EL-RMM Osiris course code: KC-SO-S&ST / KC-EL-S&ST1 Course content: Max is a programming tool that is relatively easy to learn, and it is Course content: These classes are designed to provide a solid background for dealing especially suitable for creating and exploring real-time generative practically with the physical and mathematical representations of processes and the interaction with them. In Max, such processes can sound signals and sound processing systems. The course treats be defined as data streams or as audio generating structures. The standard topics like the decibel, sampling, fundamental periodicity aim is to research musicality in the interaction, and to define personal and the build-up of acoustical wave fields. The second semester is approaches and methods. The course starts with a brief introduction dedicated to Fourier Analysis. to the basics of Max. Objectives: At the end of this course, you: Objectives: At the end of this course, you: • are able to describe the basic properties of a sound signal; • can design and program musical processes and masters the basics • have an in-depth understanding of the Fourier Transform and are of signal processing in Max/MSP; able to apply it. • can make abstractions of musical ideas and are able to implement them practically in real-time. Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students in bachelor III). Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students in bachelor I). Level: Elective: bachelor Compulsory: Sonology bachelor I Level: Elective: bachelor Compulsory: bachelor I Duration: 2 semesters, 150 minutes per week Duration: 2 semesters, 120 minutes per week Prior qualifications/ This course is open to everyone who is interested (except Sonology prerequisites: students, as it is part of their curriculum). Limited space available. Prior qualifications/ This course is open to everyone who is interested (except Sonology prerequisites: students, as it is part of their curriculum). Limited space available. Teachers: Peter Pabon Teachers: Johan van Kreij Credits: 6 ECTS Credits: 7 ECTS Literature: Chapters 1, 2 and 4 from: Stan Tempelaars, Signal Processing: Speech and Music, (Lisse: Swets and Zetilinger, 1996). Additional Literature: Online documentation of Max/MSP PDF’s will be distributed by email. Work form: Group lesson Work form: Group lesson Assessment: Active participation and regular small assignments. Assessment: A written test and a practical assignment. Compulsory attendance: A final composition assignment based on the use of Max/MSP. 80% Grading system: Numeric Grading system: Test: numeric (50%) Practical assignment: pass/fail (50%) Language: English Both tests have to be passed. Schedule, time, See ASIMUT schedule Language: English venue: Schedule, time, See ASIMUT schedule Information: Johan van Kreij ([email protected]) venue: Education Service Centre ([email protected]) Information: Peter Pabon ([email protected]) Education Service Centre ([email protected])
60 61 Signals and Systems 2 Sound and Space
Course title: Signals and Systems 2 Course title: Sound and Space Osiris course code: KC-SO-S&ST / KC-EL-S&ST2 Osiris course code: KC-SO-K&R / KC-EL-K&R Course content: These classes are designed to provide a solid background for dealing Course content: Sound and Space is a seminar exploring interconnections between practically with the physical and mathematical representations of modes of sonic attention and concepts of space. The seminar is sound signals and sound processing systems. In part 2, attention grouped around the themes of echo, resonance and oscillation, shifts to system characterisation and the concepts of filtering, providing a cross-disciplinary reading of developments in spatial convolution, impulse response measurement, nonlinear systems and composition, sound art, audio technologies and architectural modulation techniques. acoustics. The course covers examples from a broad range of sources serving to highlight distinctive correlations between epistemologies Objectives: At the end of this course, you: of sound and ontologies of space and place. • are able to deal practically with the physical and mathematical representations of sound signals and sound processing systems; Objectives: At the end of this course, you: • are able to conceptualize the relationships between various signal- • have developed an awareness of the historicity of hearing; processing models. • have an overview of historical paradigms of spatial sound and their contextual underpinnings; Type of course: Elective, one-year course (it is a compulsory part of the curriculum for • have acquired an ability to think through sonic contextuality Sonology students in bachelor II). and develop tools to critically engage contemporary discourses Level: Elective: bachelor of sound and hearing. Compulsory: Sonology bachelor II Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Duration: 2 semesters, 135 minutes per week Sonology students in bachelor IV). Prior qualifications/ Signals and Systems 1 Level: Bachelor prerequisites: Duration: 2 semesters, 150 minutes per week Teachers: Peter Pabon Prior qualifications/ This course is open to everyone who is interested (except Sonology Credits: 6 ECTS prerequisites: students, as it is part of their curriculum). Limited space available. Literature: Chapters 3, 5, 6, 7 and 8 from: Stan Tempelaars, Signal Processing: Teachers: Raviv Ganchrow Speech and Music, (Lisse: Swets and Zetilinger, 1996). Additional Credits: 8 ECTS PDF’s will be distributed by email. Literature: Reading lists and weekly hand-outs will be provided Work form: Group lesson Work form: Group lesson Assessment: An Impulse Response assignment and a written test. Assessment: You are required to submit a paper that explores a specific context Grading system: Test: numeric (50%) of spatial sound. The paper will address and elaborate upon the Practical assignment: pass/fail (50%) spatial ontologies of sound in that given context, and should Both tests have to be display an analytical approach to the subject matter, employ clear Language: English argumentation, and express novel approaches to the historicity of hearing. Judgment will be based on the originality of the subject Schedule, time, See ASIMUT schedule matter, the clarity of the insights as well as the awareness of the venue: potential contribution to aural cultures. Compulsory attendance: 80% Information: Peter Pabon ([email protected]) Grading system: Numeric Education Service Centre ([email protected]) Language: English Schedule, time, See ASIMUT schedule venue: Information: Raviv Ganchrow ([email protected]) Education Service Centre ([email protected])
62 63 Schedule, time, See ASIMUT schedule KC electives from the venue: Information: Calliope Tsoupaki ([email protected]) Composition Department Education Service Centre ([email protected])
Analysis Contemporary Music Basic
Course title: Analysis Contemporary Music Basic Osiris course code: KC-EL-ICJ, KC-EL-AHM1 Course content: From the Guidonian Hand to Die glückliche Hand and beyond. A diverse comparative music analysis course that explores music language, technique, orchestration and theoretical background from early music up to contemporary music and the most recent developments in music composition. The course unfolds in an empirical way; the student experiences music analysis by practising it actively during each lesson. The focus lies on new tendencies in music from neoclassicism, serialism, modal techniques and aleatoric music to repetitive and conceptual music, referring back to other historic periods in order to reflect, connect and compare musical languages. Objectives: At the end of this course, you: • have studied reference works from the 20th century intensively and are able to determine those analytically; • master basic strategies for analysing similar works; • have the capacity to provide an analysis presentation independently. Type of course: Elective (it is a compulsory part of the curriculum for Composition students in bachelor III) Level: Elective: bachelor Compulsory: composition students bachelor III Duration: weekly lessons of 100 minutes, 36 weeks per academic year Prior qualifications/ This elective is only open to students of Sonology and ArtScience. prerequisites: Teachers: Calliope Tsoupaki Credits: 3 ECTS Literature: - Work form: Group lesson Assessment: Students are assessed on the basis of their active contribution to the group sessions as well as presentations in class. 80 percent attendance is required. Grading system: Pass/fail Language: English
64 65 Music Multi Media KC electives from the Art of Sound Department
Course title: Music Multi Media These courses are only available to students from the Institute of Sonology. Osiris course code: KC-TC-MM / KC-EL-MM Course content: The aim of the course is to introduce students to how technology can be used in creating new forms of music multimedia/intermedia and Electro Acoustics 2 expanded performance practices, from traditional contexts such as opera or contemporary dance to new contexts such as sound installation and new media. The history of early paradigms in composing with non- Course title: Electro Acoustics 2 musical elements is analysed, as well as current practices in sound art and contemporary forms of multimedia. The course also takes a practical Osiris course code: AS-EA2 / KC-EL-EA2 form, in learning technologies that could be useful in creating expanded Course content: The course covers the electrical and acoustical properties of performance practices, such as analogue and digital sound loudspeakers and manipulation, video and basic interactive software programming. loudspeaker systems and their applications. The following subjects Students may perform with the kHz kollektiv, an ensemble that are discussed: specialises in live electronics and multimedia. • the theoretical functioning of loudspeakers and the consequences Objectives: At the end of this course, you: for the dispersion angle, the frequency response and the • have an overview of current developments in the field of music acoustical output of the loudspeaker; multimedia and expanded performance practices; • the summation of two (partly) identical acoustical signals with • can analyse relationships between music and other disciplines and without time differences, interference, comb filtering; and reflect about them; • basic prediction techniques of single and multiple loudspeaker • are able to operate with selective live electronics; systems using prediction software; • have knowledge and skills to create videos for music • basic measurement techniques of single and multiple loudspeaker and music to video. systems using dual channel FFT measurement systems; • a systematic approach to the evaluation of sound system designs Type of course: Elective (it is a compulsory part of the curriculum for Composition in terms of coverage, (spatial) frequency response and direct students in bachelor III) to reverberant ratio. Level: Elective: bachelor Objectives: At the completion of this course, you: Compulsory: bachelor III • understand the working principles of loudspeakers Duration: Regular meetings on Wednesday afternoons and some project/ and loudspeaker systems; ensemble based activity, 36 weeks per year • understand the principles of the behaviour of sound and sound systems in an Prior qualifications/ This elective is only open to students of Sonology and ArtScience. • electro acoustical environment; prerequisites: • have basic skills in sound system design using prediction software; • have basic skills in sound system optimization using dual channel Teachers: Yannis Kyriakides, guest teachers FFT measurement systems; Credits: 4 ECTS • are able to evaluate a given sound system design at a basic level. Literature: - Type of course: Available as elective for Sonology students (it is a compulsory part of the curriculum for Art of Sound students in bachelor II) Work form: Group lessons in combination with individual lessons Level: Bachelor II Assessment: Assignments are part of the course. Students are also assessed on the basis of their active contribution to the group sessions. 80 Duration: 11 lessons à 2 hours percent attendance is required. Prior qualifications/ Electro Acoustics 1 Grading system: Pass/fail prerequisites: Language: English Teachers: Jan Panis Schedule, time, See ASIMUT schedule Credits: 1 ECTS venue: Literature: Bob McCarthy - Sound Systems: Design and Optimization (2nd or 3rd Information: Yannis Kyrikides ([email protected]) edition) Education Service Centre ([email protected])
66 67 Work form: Group Lesson Mathematics and Physics 1 Assessment: There are two written tests during the course. Both tests have equal weight. A minimum attendance of 80% is required. Course title: Mathematics and Physics 1 Grading system: Test I: numeric Osiris course code: AS-W&N1 / KC-EL-W&N1 Test II: numeric Course content: The lessons covers the relations between a number of aspects of Language: English mathematics and physics. Where possible, the link is made with applications in the theory of sound and music technology. Schedule, time, See ASIMUT schedule venue: The following subjects are covered: Information: Paul Jeukendrup – Head of Art of Sound Department • fractional functions and equations ([email protected]) • power functions and equations Education Service Centre ([email protected]) • exponential and logarithmic functions and equations • trigonometric functions and relations • recognising mathematics relations • using and interpreting formulas and graphs • electrostatics • electric circuits • decibel calculations • vibrations • waves and sound • complex numbers • mathematical applications of complex numbers Objectives: At the completion of the course, you: • can use the formulas and graphs of linear functions, second degree functions, fractional functions, power functions, exponential functions, logarithmic functions and trigonometric functions and use the knowledge of these functions to solveequations; • can apply the knowledge of the functions above to problems about decibel calculations, vibrations, waves and sound; • can use formulas and concepts about electric force, electric fields, electric energy and potentials to solve problems about electrostatics; • can use formulas and concepts about voltage, current and resistance in connections in series in parallel and combinations of them in electric circuits; • can use formulas and concepts about vibrations and waves and apply them in problems about sound; • can make calculations with complex numbers and use them to solve polynomial equations, power equations and exponential equations; • can use complex numbers to describe collections of points in the twodimensional plane. Type of course: Available as elective for Sonology students (it is a compulsory part of the curriculum for Art of Sound students in bachelor II) Level: Bachelor I Duration: 27 lessons à 2 hours Prior qualifications/ - prerequisites:
68 69 Teachers: Ron Dames Mathematics and Physics 2 Credits: 2 ECTS
Literature: R. A.C. Dames: Mathematics and Physics 1 Course title: Mathematics and Physics 2 Work form: Group Lesson Osiris course code: AS-W&N2 / KC-EL-W&N2 Assessment: There are three written tests during the course period: Course content: The lessons explain the relationship between a number of elements • Test 1: chapter 1 - 8 of Mathematics and Physics 1, weighting 12%; of mathematics and physics. Where possible the link is made with • Test 2: chapter 9 - 16 of Mathematics and Physics 1, applications in the theory of sound and music technology. The weighting 44 %; following subjects are covered: Test 3: chapter 17 - 22 of Mathematics and Physics 1, • • Linear algebra: systems of equations, applications from linear weighting 44 %. algebra, applications in electric networks, theorems of Kirchhoff’s All tests must be completed with a pass grade. law and Thevenin’s Theorem; A minimum attendance of 80% is required. • Differential calculus: meaning of differentiation, calculation Grading system: Numeric rules, mathematical applications (determination of extremes and optimisation), physical applications (in dynamics Language: English and electric theory); Schedule, time, See ASIMUT schedule • Integral calculus: meaning of integral, rules for calculating venue: the integral, applications (sound intensity and electric fields); • Differential equations: meaning of differential equations, solution Information: Paul Jeukendrup – Head of Art of Sound Department methods, applications in mass-spring systems; ([email protected]) • Concepts in physics: magnetism and induction, applications: Education Service Centre ([email protected]) alternating current, self-induction coil, charging- decharging a capacitor; • Applications of complex numbers: expansion of calculation with fractions, complex numbers, transfer functions and filters. Objectives: At the completion of this course, you: • can use systems of equations, Kirchhoff’s Laws and Thevenin’s Theorem to make • calculations in electric circuits; • can apply the rules for differentiation to compute extreme values and derivatives • of physical quantities; • can compute anti-derivative functions and can use integration to compute sound • intensities and electric potentials; • understand the meaning of differential equations, can solve a few first order and • second order differential equations and can apply this knowledge to mass-spring systems; • can use the basic principles of magnetism and electromagnetic induction and can • make calculations in coils and capacitors; • can use complex numbers to compute alternating currents and voltages on electric filters; • can use transfer functions to make calculations on electric filters. Type of course: Available as elective for Sonology students (it is a compulsory part of the curriculum for Art of Sound students in bachelor II) Level: Bachelor II Duration: 23 lessons à 2 hours Prior qualifications/ Mathematics and Physics 1 prerequisites:
70 71 Teachers: Ron Dames Psycho Acoustics Credits: 2 ECTS
Literature: R. A.C. Dames: Mathematics and Physics 2 Course title: Psycho Acoustics Work form: Group Lesson Osiris course code: AS-PSA / KC-EL-PSA Assessment: There are two written tests during the course period: Course content: The course covers the anatomy and physiology of the hearing • Test 1: chapter 1 - 11 of Mathematics and Physics 2, weighting 50%; organ in relation to the perception of pitch, timbre, loudness and • Test 2: chapter 12 - 20 of Mathematics and Physics 2, spaciousness. On the basis of practical examples, students gain weighting 50 %. insight into the smallest observable differences and the limits of All tests must be completed with a pass grade. A minimum sound perception. On the basis of the concepts Critical Bands and attendance of 80% is required. Masking they learn about the principles of Perceptual Audio Coding. Grading system: Numeric The risks of hearing damage are identified and generally applicable safety measures regarding hearing protection are explained. Language: English Students study the musical concepts consonance and dissonance Schedule, time, See ASIMUT schedule from acquired knowledge about our perception of consonance. venue: Objectives: At the completion of this course, you: Information: Paul Jeukendrup – Head of Art of Sound Department • know the possibilities and limitations of human hearing; ([email protected]) • know the relation between the physical properties and the Education Service Centre ([email protected]) perceptual properties of sound; • know the risks of exposure to (high) sound pressure levels over time and are familiar with preventive measures to be taken in order to avoid hearing damage; • know the principles of audio coding and the audible results of this process; • know the concepts of consonance and dissonance in relation to human perception. Type of course: Available as elective for Sonology students (it is a compulsory part of the curriculum for Art of Sound students in bachelor II) Level: Bachelor III Duration: 24 lessons à 2 hours Prior qualifications/ - prerequisites: Teachers: Bert Kraaijpoel Credits: 4 ECTS Literature: The Sense of Hearing, Christopher J. Plack, 2nd edition, Psychology Press, 2014, ISBN: 9781848725157 Work form: Group Lesson Assessment: There are two written tests during the course. All tests have equal weight. A minimum attendance of 80% is required. Grading system: Test I: numeric Test II: numeric Language: English Schedule, time, See ASIMUT schedule venue: Information: Paul Jeukendrup – Head of Art of Sound Department ([email protected]) Education Service Centre ([email protected])
72 73 Room Acoustics 1 Grading system: Numeric Language: English
Course title: Room Acoustics 1 Schedule, time, See ASIMUT schedule venue: Osiris course code: AS-RA1 / KC-EL-RA1 Information: Paul Jeukendrup – Head of Art of Sound Department Course content: In this course students study the principles of sound in a “free field” ([email protected]) and in closed spaces (definitions, calculations with dB’s, sound Education Service Centre ([email protected]) propagation and noise nuisance).Because of the direct relation between (the acting) sound transmission, sound absorption, sound transmission and sound reflection, students also learn about the principles of sound absorption (definitions, measurement methods, types of absorbent materials, applications), the principles of sound insulation (definitions, measurement methods, mass law, coincidence effect, double walls, impact sound, flanking sound transmission) and the principles of room acoustics (definitions, measurement and calculation, room acoustic parameters, speech intelligibility and Just Noticeable Differences). Objectives: At the completion of this course, you: • know the decibel scale and are able to perform decibel calculations; • know the principles of sound absorption and sound insulation and are able to • perform basic calculations; • know the difference between direct and diffuse field and are able to predict the • prevailing sound level; • know the minimum requirements for music and speech transfer; • know the existence of a great number of room acoustic parameters for speech • and music and are able to perform global calculations with those parameters; • are able to read (critical) manufacturer product data, advertising brochures, room • acoustic requirements and room acoustic standards; • are aware of myths and facts related to room acoustics. Type of course: Available as elective for Sonology students (it is a compulsory part of the curriculum for Art of Sound students in bachelor II) Level: Bachelor II Duration: 8 lessons à 2 hours 1 lesson à 8 hours Prior qualifications/ - prerequisites: Teachers: Constant Hak Credits: 1 ECTS Literature: Handouts Work form: Group Lesson Assessment: There is one written test at the end of the course. A minimum attendance of 80% is required.
74 75 Room Acoustics 2 Assessment: There is one home assignment during the course period and one written test at the end of the course period. Both tests have equal weight.
Course title: Room Acoustics 2 The home assignment is a short paper (minimum 4, maximum Osiris course code: KC-AS-RA / KC-EL-RA2 6 pages A4) on the acoustical design of the control room or the recording room of an exisisting recording studio. The student is Course content: In this course, students study the principles of acoustics in small assessed on the understanding of the acoustical principles of small spaces, such as sound recording rooms, sound control rooms and spaces as discussed in class. listening rooms. Topics that are covered include: standing waves (eigenfrequencies, room modes), sound distribution, decay rate The written test includes both open questions and multiple choice (reverberation time), absorption, reflection, diffusion and background questions. The student is assessed on the theoretical knowledge of noise. This will be done by means of scientific papers, guidelines, acoustical principles of small spaces as discussed in class. A minimum standards and examples. attendance of 80% is required. Besides minimal (room acoustic) requirements students also focus on personal taste of studio designers and users (subjective aspect). Grading system: Home assignment: numeric Except for the principles of the use of speakers and/or monitors in Written test: numeric a room, the other electro- acoustic components will be excluded in Language: English these lectures. Schedule, time, See ASIMUT schedule Objectives: At the completion of this course, you: venue: • are able to relativise the need of extreme room shapes, the use of expensive constructions and materials; Information: Paul Jeukendrup – Head of Art of Sound Department • know the difference between small and large room acoustics; ([email protected]) • know the difference between near, far, direct, and diffuse field Education Service Centre ([email protected]) (in relation to source dimensions, distance, directivity, total sound absorption); • know the most important properties of a recording and listening room; • know the principles of sound absorption and sound absorbing • materials/constructions related to a certain frequency range (low, mid and high, broadband); • know several common studio concepts. Type of course: Available as elective for Sonology students (it is a compulsory part of the curriculum for Art of Sound students in bachelor II) Level: Bachelor III Duration: 8 lessons à 2 hours 1 lesson à 8 hours Prior qualifications/ Room Acoustics 1 prerequisites: Teachers: Constant Hak Credits: 1 ECTS Literature: - Work form: Group Lesson
76 77 KC Music Theory electives Writing: Modal Counterpoint
Course title: Writing: Modal Counterpoint Osiris course code: KC-TE-MCP Analysis: Analysing Techniques Course content: You learn to write two and three part vocal works in Renaissance style. Areas covered will be modality, melodic structure, rhythmic theory, text placement, treatment of consonance and dissonance. Course title: Analysis: Analysing Techniques Scores from the Renaissance period serve as examples. Osiris course code: KC-TE-AAT Objectives: The aim of the elective modal counterpoint is to give the student insight and abilities in writing modal counterpoint in Renaissance Course content: The most important techniques for analysing music that have been style. It trains the ear in one form of polyphony so that other forms developed in the recent centuries will be studied and applied to can be recognised with deeper awareness. The student develops the repertoire of the students in the group. For example Heinrich a practical and theoretical understanding of music from the Schenker’s musical theories will be explained end studied. You learn Renaissance period. The student can write a two-part and three- to apply Schenkerian techniques and relate these to the performance part motet in which mastery of the general stylistic aspects of practice. Other topics can be Koch (late 18th century), pitch class set Renaissance counterpoint are shown. theory (20th century). Type of course: Elective Objectives: At the end of this course, you: • are able to analyse pieces of music, using different Level: Bachelor III historical techniques and you can relate your analysis to the performance of the music. Duration: 36 lessons, 75 minutes per week Type of course: Elective Prior qualifications/ Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard prerequisites: Skills and Harmony 1 or Aural Skills, Writing Skills & Analysis 2 (Art of Level: Bachelor III Sound) Duration: 36 lessons, 75 minutes per week Teachers: Music theory teachers Prior qualifications/ Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard Credits: 4 ECTS prerequisites: Skills and Harmony 1, or Aural Skills, Writing Skills & Analysis 2 (Art of Sound) Literature: Peter Schubert – Modal Counterpoint: Renaissance Style Teachers: t.b.a. Work form: Group lesson Credits: 4 ECTS Assessment: Portfolio with collected assignments, exam assignment at the end of the course. Literature: Cadwallader & D. Gagné – Analysis of tonal music Koch – Versuch einer Anleitung zur Composition Grading system: Final result: numeric Work form: Group lesson Language: English and/or Dutch Assessment: Written and practical exam at the end of the course Schedule, time, See ASIMUT schedule venue: Grading system: Numeric Information: Suzanne Konings – Head of Music Theory ([email protected]) Language: English and/or Dutch Education Service Centre ([email protected]) Schedule, time, See ASIMUT schedule venue: Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])
78 79 Writing: Tonal Counterpoint Writing: Arranging / Instrumentation
Course title: Writing: Tonal Counterpoint Course title: Writing: Arranging / Instrumentation Osiris course code: KC-TE-TCP Osiris course code: KC-TE Course content: Tonal counterpoint focuses on the polyphonic style of J.S. Bach and Course content: A variety of works (for chamber music ensembles, the classical and his contemporaries, in which clear polyphony and a strong harmonic more romantic orchestra) from the 18th and 19th century are studied design go together. By working on writing assignments in various with regard to how composers work with instrumentation, form, genres, the student develops his or her own contrapuntal technique. melody, accompaniment and harmony. Instrumentations for 18th and 19th chamber music ensembles and orchestras are made from piano Objectives: At the end of this course, you: works and songs deemed suitable for this purpose. Arrangements • are able to compose a short piece in baroque counterpoint style, from works (any ensemble, any period) are made for the student’s for example an inventio, a fugue, a choral prelude etc. own ensembles. Type of course: Elective Objectives: At the end of this course, you: Level: Bachelor III • are capable of making a stylistically convincing orchestral version of, or an orchestral accompaniment to, a composition Duration: 36 lessons, 75 minutes per week for piano or a song; Prior qualifications/ Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard • know the qualities of the musical instruments from the end of the prerequisites: Skills and Harmony 1 or Aural Skills, Writing Skills & Analysis 2 (Art of 18th until the late 19th century; Sound) • are capable of making a playable arrangement with suitable instrumentation and voice leading from any composition Teachers: Music theory teachers for your own ensemble. Credits: 4 ECTS Type of course: Elective Literature: Peter Schubert – Baroque Counterpoint Level: Bachelor III Work form: Group lesson Duration: 36 lessons, 75 minutes per week Assessment: Portfolio with collected assignments, exam assignment at the end of Prior qualifications/ Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard the course prerequisites: Skills and Harmony 1 or Aural Skills, Writing Skills & Analysis 2 (Art of Sound) Grading system: Final result: numeric Teachers: Music theory teachers Language: English and/or Dutch Credits: 4 ECTS Schedule, time, See ASIMUT schedule venue: Literature: Samuel Adler – The study of Orchestration (3rd edition) Information: Suzanne Konings – Head of Music Theory ([email protected]) Work form: Group lesson Education Service Centre ([email protected]) Assessment: Practical exam, portfolio with own work. Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, See ASIMUT schedule venue: Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])
80 81 Writing: Style Copy Classical and Romantic Period Writing: Composing for Classical Musicians
Course title: Writing: Style Copy Classical and Romantic Period Course title: Writing: Composing for Classical Musicians Osiris course code: KC-TE-SCCR Osiris course code: KC-TE-CCM Course content: By analysing compositions, singing songs, listening to many examples Course content: Your compositional activities are central in this course. You are from classical and romantic period, we try to come closer to what invited to bring your own work, which will be discussed. You will is called “style”. We will make a number of exercises, for example look at compositions from other composers to learn techniques writing a piano-accompaniment, creating a melody on a given text, that are beneficial for your own work. Issues of instrumentation and constructing sentences and small lied-forms. aesthetics will also be discussed (if necessary). Objectives: At the end of this course, you: Objectives: At the end of this course, you: • are able to compose (short) instrumental and vocal works, based • are able to develop your own compositional language by making on the knowledge of classical and romantic style; sketches/study- pieces and/or compositions; • are able to perform your own compositions. • will have more insight in ways to develop compositional material, to create consistency, and to develop small and large-scale forms. Type of course: Elective Type of course: Elective Level: Bachelor III Level: Bachelor III Duration: 36 lessons, 75 minutes per week Duration: 36 lessons, 75 minutes per week Prior qualifications/ Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard prerequisites: Skills and Harmony 1 or Aural Skills, Writing Skills & Analysis (Art of Prior qualifications/ Aural skills and Analysis 2 or Aural Skills, Writing Skills & Analysis 2 Sound) prerequisites: (Art of Sound) Teachers: Music theory teachers Teachers: Patrick van Deurzen Credits: 4 ECTS Credits: 4 ECTS Literature: Charles Rosen – The Classical Style Literature: Scores, parts of Schönberg’s Fundamentals of musical composition, Nicolas Cook – Analysis through Composition Samuel Adler, The study of Orchestration W.W. Norton 2001 (3rd edition) Work form: Group lesson Work form: Group and individual lesson Assessment: Portfolio with collected assignments, exam assignment at the end of the course Assessment: Portfolio with collected assignments, exam assignment at the end of the course Grading system: Final result: numeric Grading system: Final result: numeric Language: English and/or Dutch Language: English and/or Dutch Schedule, time, See ASIMUT schedule venue: Schedule, time, See ASIMUT schedule venue: Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected]) Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])
82 83 Writing: Composing for Jazz Musicians Aesthetics and Philosophy of Music
Course title: Aesthetics and Philosophy of Music Course title: Writing: Composing for Jazz Musicians Osiris course code: KC-TE-CSAP Osiris course code: KC-TE-CJM Course content: The importance of philosophy for musicians is crucial and manifold. Course content: You will receive assignments, either within a harmonical, melodical or From understanding the relation of music to the world of ideas and rhythmical framework or free. The aim is to look at writing jazz pieces concepts to boosting creativity and reflection upon your own work, from different angles. We will also analyse compositions. philosophy can enrich and help solve many issues related to music. Objectives: At the end of this course, you The course will be divided into 4 main topics: • are able to work with different tools to communicate different moods; • Philosophy of performance and music practice. You will • are able to write jazz compositions in different styles; investigate an understanding of the musical experience, focusing • are able to write functional parts for accompaniment. on questions relevant to performance practice such as: What is the nature or ethics of performance and composition? Type of course: Elective What does interpretation mean? What is the nature of the Level: Bachelor III artistic experience? • History of aesthetical ideas with focus on music. An overview Duration: 36 lessons, 75 minutes per week of the history of aesthetics and reflections on the nature of music Prior qualifications/ ATV1 and 2, Ear Training 1 and 2, Solfège 1 and 2, Harmony at the and beauty and its crucial problems. prerequisites: Piano 1 and 2 • Philosophical ideas in musical form. An attempt will be made Only for Jazz students to demonstrate how musical forms represent historical and current philosophical ideas. Is there a mirroring in the musical Teachers: Niels Tausk repertoire of ideas going on in other areas of human experience such as other arts forms, politics, society and philosophy? Credits: 4 ECTS • Contemporary philosophical problems for today’s musicians. Literature: What are the main problems we should be dealing with now and how can we articulate them with the help of philosophy? Here Work form: Group lesson we also intend to investigate questions of musical education Assessment: Portfolio with collected assignments, exam assignment at the end of and institutionalization. the course Objectives: At the end of this course, you: Grading system: Final result: numeric • show an awareness of figures of thought in music philosophy and music- aesthetics; Language: English and/or Dutch • understand the varied relation that music can have to ideas and thoughts, and understand how this may enrich your Schedule, time, See ASIMUT schedule own performance practice; venue: • show a more developed reflective approach and interpreting Information: Suzanne Konings – Head of Music Theory ([email protected]) personality in your music making; Education Service Centre ([email protected]) • are able to use terms for musical concepts as a beginning professional musician and have knowledge of what has been learned. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ Classical Music Studies 2, or Jazz ATV2, or Aural Skills, Writing Skills prerequisites: & Analysis 2 (Art of Sound), or Early Music Studies 2 Teachers: Tom Dommisse, Joao Ferreira de Miranda Santos Credits: 4 ECTS Literature: some texts are presented during the course
84 85 Work form: Group lesson Playing & Improvisation: Harmony at the Piano 3 for Jazz students Assessment: Portfolio and presentations.
Grading system: Final result: numeric Course title: Playing & Improvisation: Harmony at the Piano 3 Language: English and/or Dutch (only for jazz students) Schedule, time, See ASIMUT schedule Osiris course code: KC-TE-HAP3 venue: Course content: Non-functional slash chords, poly chords and Clare Fishers approach Information: Suzanne Konings – Head of Music Theory ([email protected]) of harmonies. Education Service Centre ([email protected]) Objectives: At the end of this course, you: • are able to (re-)harmonise pieces or fragments of pieces with suspensions and non-functional harmonies such as slash chords and poly chords. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 30 minutes per week Prior qualifications/ ATV2, Ear Training 2, Solfège 2, Harmony at the Piano 2 prerequisites: Only for Jazz students. Teachers: Eric Gieben Credits: 4 ECTS Literature: Material handed out by the teacher Work form: Small group lesson Assessment: Portfolio with collected assignments, exam assignment at the end of the course You need to write and perform your own arrangements. Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, See ASIMUT schedule venue: Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])
86 87 Playing & Improvisation: Rhythm Class 3 Playing & Improvisation: Rhythm Class 3 for Jazz students for Classical Music students Course title: Playing & Improvisation: Rhythm Class 3 (only for jazz students) Course title: Playing & Improvisation: Rhythm Class 3 Osiris course code: KC-TE-RPRJ3 (only for classical students) Course content: Rhythmic modulations, odd meters, groove, changing metres. Osiris course code: KC-TE-RC3 Objectives: At the end of this course, you: Course content: A comprehensive and advanced course in rhythm. Performing • have developed a strong time feeling; rhythmic exercises, studying excerpts from music literature, as • are able to improvise in irregular metres, with changing tempos well as practical performance of complex rhythmic patterns (rhythmic modulations); (such as African and Latin American indigenous rhythms) will be • have developed your rhythmical reading and writing skills to a the main focus in this course. professional level. Objectives: At the end of this course, you: Type of course: Elective • have developed a thorough practical and cognitive understanding of complex rhythms that they can apply Level: Bachelor III in their own performance practice. Duration: 36 lessons, 75 minutes per week Type of course: Elective Prior qualifications/ ATV2, Ear Training 2, Solfège 2, Harmony at the Piano 2, Rhythm Level: Bachelor III prerequisites: Class 2 Duration: 36 lessons, 75 minutes per week Teachers: Niels Tausk Prior qualifications/ Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Credits: 4 ECTS prerequisites: Keyboard Skills and Harmony 1, Rhythm Class 1 Literature: Material handed out by the teacher; reader and standards from the Teachers: Niels van Hoorn jazz repertoire Credits: 4 ECTS Work form: Group lesson Literature: Material handed out by the teacher; students also bring their Assessment: Portfolio and practical exam at the end of the course own repertoire to the lessons. Grading system: Final result: numeric Work form: Group lesson Language: English and/or Dutch Assessment: Portfolio and practical exam at the end of the course Schedule, time, See ASIMUT schedule Grading system: Final result: numeric venue: Language: English and/or Dutch Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected]) Schedule, time, See ASIMUT schedule venue: Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])
88 89 Playing & Improvisation: Improvisation Language: English and/or Dutch Schedule, time, See ASIMUT schedule for Classical Musicians venue: Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected]) Course title: Playing & Improvisation: Improvisation for Classical Musicians (not for pianists / organists) Osiris course code: KC-TE-ICM Course content: Many modern classical musicians, performers of music from the common practice era tend to perform from scores only, and to treat a score like a text which should be converted into sound as precisely as possible. This is usually a one-way process: without a score there will be no music. As a result of this attitude, the musical languages of the common practice period have become dead languages, more or less like Latin and Ancient Greek, which are (with very few exceptions) no longer spoken actively but only translated into modern languages. More and more musicians become aware of the artistic limitations of this approach. In order to become, like musicians from the past, creative performers who are able to enter into a living relationship with the music, learning how to improvise seems to be a valuable means. In this course, an integrated approach of harmony and improvisation will be advocated. Depending on the experience of the students, aspects of practical harmony like partimenti, modulations and melody harmonization will be touched on in an intuitive way. Improvising on a repeating harmonic pattern (from 16th century diminutions to a Schubert style waltz) will be a good way to explore the relation between melody and harmony, but we will certainly also look for adventure in a freely improvised ‘Song without Words’ with piano accompaniment, or a tonally free duo for two non-keyboard instruments. Also, improvised (vocal or instrumental) cadenzas and ornamentation can be addressed. Experience in improvisation is welcome but not needed! Objectives: At the end of this course, you: have basic musical improvisational skills and are able to develop your own ideas in music. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard prerequisites: Skills and Harmony 1 Teachers: Bert Mooiman, Karst de Jong Credits: 4 ECTS Literature: Work form: Group lesson Assessment: Practical exam (presentation) at the end of the course Grading system: Final result: numeric
90 91 Playing & Improvisation: Introduction to Jazz Harmony KC Jazz ATV 3 Projects
Course title: Playing & Improvisation: Introduction to Jazz Harmony (only for Theory of Music and Classical students) Osiris course code: KC-TE-IJH General Music Theory 3 (ATV3) – projects Course content: You perform standards from the jazz repertoire with the appropriate harmonies (4- or 5-part voice leading with and without the melody) in different ways: you perform on your own instrument in a combo Course title: General Music Theory 3 (ATV3) – projects situation, play simple sequences on the piano, sing harmonies and write short arrangements. Improvisation in the jazz idiom is also part Osiris course code: KC-JX-ATV3 of the course as well as harmonisation of melodies. Course content: You choose projects (see below for course descriptions) for the Classical students learn to understand the jazz style and repertoire equivalent of four periods. In each project, the material goes a step from the inside out. You can play, sing, improvise and write in simple further in terms of complexity and difficulty than the lessons in ATV2. to more advanced jazz harmonic idioms. The content of these projects is often more difficult to analyse with Objectives: At the end of this course, you: traditional techniques and calls for your personal interpretation of • are able to play by heart at least 5 pieces of the jazz repertoire the material. Key requirements are the ability to make written and/ on your own instrument (melody and improvisation) as well or aural analyses and to put into words what you hear and feel in real as the piano (melody, harmony (4/5-part accompaniment) time. and improvisation. Objectives: At the end of this course, you: • are able to read a lead sheet, to understand chord symbols; • are able to adopt a critical attitude and form an opinion about • are able to write 4- or 5-part harmonies with and without melody; the subjects covered; • are able to harmonise a melody with jazz harmonies. • are able to express and communicate your vision. Type of course: Compulsory for Music Theory students (bachelor IV), elective for Type of course: Compulsory classical music students (bachelor III) Level: Bachelor III Level: Bachelor IV (music theory) Bachelor III (classical music) Duration: 75 minutes per week, 18 weeks per project (except for the Gil Evans, Aural Analysis and Charlie Parker project: 1 x 9 weeks) Duration: 36 lessons, 75 minutes per week Prior qualifications/ General Music Theory 2 (ATV2) Prior qualifications/ Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard prerequisites: prerequisites: Skills and Harmony 1 Teachers: Erik Albjerg, Patrick Schenkius Teachers: Erik Albjerg Credits: 3 ECTS for 4 periods of ATV3 projects Credits: 4 ECTS Literature: Depending on the project Literature: Material handed out by the teacher Work form: Group lesson Work form: Group lesson Assessment: Written exams at the end of each project Assessment: Portfolio and practical exam at the end of the course Grading system: Numeric Grading system: Numeric Language: English or Dutch Language: English and/or Dutch Schedule, time, See ASIMUT schedule Schedule, time, See ASIMUT schedule venue: venue: Information: Suzanne Konings - Head of Music Theory Department Information: Suzanne Konings – Head of Music Theory ([email protected]) ([email protected]) Education Service Centre ([email protected]) Education Service Centre ([email protected])
92 93 ATV3 Big Band (2 periods) ATV3 John Scofield/Pat Metheny (2 periods)
Course title: ATV3 Big Band (2 periods) ATV3 John Scofield/Pat Metheny (2 periods) Course content: First part of the course is devoted to listening to different big band Course content: You will analyse compositions by John Scofield and Pat Metheny styles and auditive analysis of arrangements. Second part is reading (mainly trio and quartet albums) for form and harmonic structures. and decoding big band scores with a focus on form and type of Theoretical subjects are slash chords, form and melodic structure. voicings. Main literature is “Inside The Score”, with the arranging The form is often influenced by motifs, which sometimes causes styles of Sammy Nestico and Thad Jones. Additional scores by Thad irregular sentences. Influences from other musical styles or outer Jones and Duke Ellington/Billy Strayhorn. musical influences will also be considered. You are required to participate in the discussion during every lesson. Teachers: Patrick Schenkius Teachers: Patrick Schenkius Literature: The teacher provides the material in the lesson. “Inside the score” is also available in the library. Literature: Material handed out by the teacher Work form: Group lessons Work form: Group lessons Assessment: Written exam; the student has to make an auditive analysis Assessment: Written exam: one transcription or comparative analysis will be made at home and pre-analysed to prepare for the written exam. All of the Time, venue: See ASIMUT schedule analytical aspects discussed in the lessons return in the questions in Information: Suzanne Konings - Head of Music Theory Department the written exam. ([email protected]) Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([email protected]) ATV3 Big Band (2 periods) ATV3 Miles Davis/Wayne Shorter (2 periods) Course title: ATV3 Classical Harmony (2 periods) Course content: Classical Harmony will be taught by analysing harmony in Bach chorales and making 4 part exercises with a given melody or bass. ATV3 Miles Davis/Wayne Shorter (2 periods) Writing rules for 4-part writing will gradually be covered: learning Course content: A comparison between the two great quintets by Miles between ‘55 by doing. Concerning voicing leading and harmony, the relationship and ‘65. The form experiments as well as the interaction between the between classical and jazz will be made. members of the bands and the transitions in Miles playing style are Teachers: Patrick Schenkius analysed. Wayne Shorter: Early compositions for the Jazz Messengers, his own group, as well as for Miles Davis, are analysed. Focus is on the Literature: The teacher provides the material. experiments in form and harmony. You are required to participate in Work form: Group lessons the discussion during every lesson. Assessment: Written exam: transcription of a 4-part choral as preparation for the Teachers: Patrick Schenkius exam. This choral is the subject of harmonic and melodic analysis at Literature: All written material will be handed out by the teacher. Three versions the exam; the second part is a 4-part voicing with a given melody. of ‘My Funny Valentine’ are available in the Study Lab. Time, venue: See ASIMUT schedule Work form: Group lessons Information: Suzanne Konings - Head of Music Theory Department Assessment: Written exam: the student should prepare three versions of ‘My Funny ([email protected]) Valentine’, including one transcription of the oldest version. All focus points of analysis discussed in the lessons should return in these three versions. Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([email protected])
94 95 ATV3 Charlie Parker (1 period) ATV3 Jazz Auditive Analysis (1 period)
ATV3 Charlie Parker (1 period) ATV3 Jazz Auditive Analysis (1 period) Course content: Analysis of the work of Charlie Parker, with the emphasis on the Course content: Creating an analysis based solely on listening; no scores or sheet specific melodic, harmonic and rhythmic features. Transcriptions will music will be used. Emphasis is on description and recognition of the be made, as well as performances of themes and solos in order to formal elements of the arrangement of the recordings. fully understand Parker’s music. Teachers: Erik Albjerg Teachers: Erik Albjerg Literature: Recordings provided by the teacher (musicweb) and by students. Literature: Literature will be provided by the teacher. Work form: Group lessons Work form: Group lessons Assessment: Written exam and presentation: creating an aural analysis of an Assessment: Written exam and presentations: analysis of a solo. Every aspect of arrangement. Every aspect of the analysis discussed in the course the analysis discussed in the course must be used in the exam. must be used in the exam. Time, venue: See ASIMUT schedule Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department Information: Suzanne Konings - Head of Music Theory Department ([email protected]) ([email protected])
ATV3 Gil Evans (1 period)
ATV3 Gil Evans (1 period) Course content: Analysis of arrangements (Moon Dreams, Boplicity, My Ship, Jambangle, intro So What). Due to the complexity of Evans’ work, most aspects of arranging will be discussed: harmonisation, re- harmonisation, orchestration, part-writing and form. An article about “Moon Dreams” for “Birth Of The Cool” album will be discussed. Teachers: Erik Albjerg Literature: Reader with scores and article on Moon Dreams should be acquired beforehand. Work form: Group lessons Assessment: Written exam: analysis of an arrangement. Every aspect of the analysis discussed in the course must be used in the exam. Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([email protected])
96 97 KC Jazz Theory courses Ear Training 3
Course title: Ear Training 3 Osiris course code: KC-JX-GT Jazz Solfège 3 Course content: Ear training 3 is an extension of Ear training 2. You make transcriptions of more complex repertoire.
Course title: Jazz Solfège 3 Objectives: At the end of this course, you: • are able to recognise, notate and play by ear and/or transpose Osiris course code: KC-JX-SP aspects of more complex jazz music in terms of tone (melody and harmony), rhythm and form, even if the tonal aspect Course content: In the lessons many exercises connected with upper structure and of the repertoire is less stable (modal, lots of modulations the more complex relationship between melody and harmony are and parallel harmony); sung. You accompany yourself on the piano in modulating sequences • are able to integrate practical and theoretical skills; in every key. A number of assignments are performed a prima vista. • are able to transcribe from recordings independently; Objectives: At the end of this course, you: • are able to communicate how you experienced the music. are able to imagine notated complex jazz music, with or without • Type of course: Choice between Ear Training 3 and Solfège 3 using an instrument; • are able to sing complex jazz melodies a prima vista; Level: Bachelor III • are able to integrate practical and theoretical skills; • are able to integrate material learned in General Music Theory Duration: 50 minutes per week, 18 weeks per academic year (ATV), Ear training, Solfège and main subject lessons in a musically Prior qualifications/ Jazz - Ear Training 2 convincing performance of a solo with your own accompaniment. prerequisites: Type of course: Choice between Ear Training 3 and Solfège 3 Teachers: Erik Albjerg Level: Bachelor III Credits: 1 ECTS Duration: 50 minutes per week, 18 weeks per academic year Literature: Materials on MusicWeb Prior qualifications/ Jazz Solfège 2 Work form: Group lessons and self-study prerequisites: Assessment: Compulsory attendance: 80% Teachers: Erik Albjerg Credits: 1 ECTS Concluding exam at the end of the semester: 1. oral exam where the student has to sing with recordings according to specific guidelines, Literature: Solfège reader and materials distributed by the teacher 2. written exam consisting of one transcription. Students must secure a minimum grade of 5.5 in both exams. Work form: Group lessons and self-study Grading system: Numeric Assessment: Compulsory attendance: 80% Language: English or Dutch Concluding exam at the end of the semester: two improvisations written by the students themselves and a so-called ‘special chorus’ Schedule, time, See ASIMUT schedule must be submitted and performed (vocal with piano). The minimum venue: grade for this exam is 5.5. Information: Suzanne Konings – Head of the Music Theory Department Grading system: Numeric ([email protected]) Language: English or Dutch Schedule, time, See ASIMUT schedule venue: Information: Suzanne Konings – Head of the Music Theory Department ([email protected])
98 99 Language: English Schedule, time, t.b.a. KC minors venue: Information: Kees Tazelaar – Head of the Sonology Department ([email protected]) KC minors without entrance exam
Minor Sonology
Course title: Minor Sonology Osiris course code: KC-SO-MINOR Separate Osiris codes for each sonology elective Course content: The Minor Sonology consists of separate modules in the field of electronic music production algorithmic composition sound analysis and synthesis sound perception aesthetics of electronic music spatial reproduction live electronic music.
The subjects can be followed separately and in any order. When at least 18 study points (ECTS) have been earned following courses from the offerings of the Institute of Sonology, this qualifies as a Sonology minor and you will receive a certificate. The Sonology minor is offered to all students of the Royal Conservatoire, the KABK and Leiden University. More information about the sonology electives can be found in each separate elective course description. Objectives: See course descriptions KC electives - Selection from the Institute of Sonology Type of course: Minor Level: Bachelor II-IV Duration: Weekly lessons Prior qualifications/ - prerequisites: Teachers: Teachers of the Sonology Department Credits: 6 ECTS per academic year (minimum) Literature: t.b.a. Work form: Group lessons Assessment: Varies per sonology elective Grading system: Varies per sonology elective
100 101 Minor Voice Basic Minor Education – NEW!
Course title: Minor Voice Basic Course title: Minor Education – NEW! Osiris course code: KC-AZ-MI1B, KC-AZ-MI2B, KC-AZ-MI3B Osiris course code: KC-ED-MI2, KC-ED-MI3 Course content: The Minor Voice Basic is open to students of all departments and is Course content: The new Minor Education is complementary to the compulsory developed to give you the opportunity to develop your vocal skills Educational Skills 1-2-3 courses. In the minor you extend your and extend your experience and repertoire in singing. This course is development of teaching skills and knowledge, and gain specific based on the conviction that voice is the instrument that is most near expertise in the profile of your choice. to people, and that for any musician singing is a useful tool to get in The new minor consists of the following two courses: touch with their inner musicality. - Extended Teaching Skills The lessons Minor Voice Basic are taught in small groups of 3 to 5 - Educational Skills Profile students, combining ensemble work and individual teaching. The repertoire is often ensemble repertoire, to be selected by teacher and For the Educational Skills Profile course you need to choose one of students together. the three profiles: Instrumental/Vocal teaching / Music in Society The full minor programme extends over 3 years (bachelor II-IV) but / Music Education according to the Kodály concept in which you students can choose to do this program during one or two years as an further develop your expertise. elective. If you complete the full 3-year programme, you will receive a certificate. Current bachelor I students: The Minor Education starts in bachelor III. If you would like to do this minor then you have to choose electives Objectives: At the end of this course, you: for next year (2020-2021, with a total of 6 ECTS) and then apply for • have explored and learned a repertoire for voice fitting his vocal the Minor Education when you are in bachelor II. and musical abilities; • are able to use the basic technical vocal principles; Current bachelor II students: If you are selecting the Minor Education • are able to use your musical skills using your own voice; then you must also choose your Minor Education - Educational Skills • are able to present yourself in front of an audience as a musician Profile by sending an email to [email protected] before the with and without your instrument; deadline of 1 June 2020. • are able to sing in ensembles, using elementary ensemble skills. Type of course: Minor Current bachelor III students who already follow the Minor Education (old style) need to apply for Minor Education part 3 in order to Level: Bachelor II-IV continue with their Minor Education. (See the course description Duration: Weekly lessons of 45 or 60 minutes, depending on the number of below.) Please note that ‘Minor Education part 3’ is part of the old students, 36 weeks per year style Minor Education. This course will no longer be available after 2020-2021. Prior qualifications/ - prerequisites: Objectives: At the end of the new Minor Education, you: • have further developed your teaching skills and knowledge; Teachers: t.b.a. • have broadened your experience as a teacher; have (further) developed educational skills and knowledge related Credits: 6 ECTS per academic year • to one of these profiles: Instrumental/vocal teaching, Music Literature: t.b.a. in Society, Music Education according to the Kodály concept; • have developed a clear picture of your possible future role Work form: Voice lessons in groups of 3-4 students, ensemble classes in music education. Assessment: Singing test in the form of a public concert at the end of each • can identify and reflect on your own desires and possibilities academic year. regarding your future professional development. Grading system: Numeric Type of course: Minor Language: English Level: Bachelor III-IV Schedule, time, t.b.d. Duration: Bachelor III Extended Teaching Skills – semester 1 (14 weeks) venue: Bachelor III Eductional Skills Profile – semester 2 Bachelor IV Educational Skills Profile – semester 1 Information: Monica Damen – Head of Vocal Studies Department (m.damen@ koncon.nl) Prior qualifications/ Educational Skills 2 Education Service Centre: [email protected] prerequisites:
102 103 Teachers: Various Duration: 14 weeks Credits: Extended Teaching Skills – 2 ECTS Prior qualifications/ Educational Skills 2 Eductional Skills Profile – 10 ECTS prerequisites: Literature: TBD Teachers: Various Work form: Group lessons, self-study and teaching practice or project work with Credits: 2 ECTS peer learning. Literature: Handouts by teachers Assessment See the Minor Education courses assessments below Work form: Group lesson, self-study and teaching practice with peer learning Grading System Qualifying Assessment: • an extended teaching report, weighted at 100%, including Language English • two learning trajectories of a series of lessons, one for each of your pupils Schedule, time, See ASIMUT schedule • an observation report venue: • a reflective report Information: Julia Stegeman – [email protected] this extended report will be part of the compulsory course Marijke van den Bergen – [email protected] Educational Skills 3 as well • a formative feedback meeting with your teachers
Assessment criteria • knowledge of learning objectives and methodical thinking awareness of appropriate methods, strategies and resources Course title: Minor Education: Extended Teaching Skills • • awareness of teaching styles in observation Osiris course code: KC-ED-ETS • level of reflection on your own teaching practice (teaching style, planning, use of repertoire, teacher-pupil relation, etc.) Course content: During the first part of the Minor Education, your knowledge and teaching skills will be extended parallel to the compulsory course Grading system: Qualifying Educational Skills 3. This course will focus on one-to-one teaching, Language: English group teaching and planning. You will be challenged to try out new methods and teaching Schedule, time, See Asimut schedule techniques and to look beyond your own experiences in the learning venue: and teaching environment. You will learn how to plan a series of lessons. Teaching materials (including repertoire, exercises and other Information: Julia Stegeman – [email protected] sources) will be analysed and compared. In order to gain more practical experience your teaching practice will be intensified. You will teach two pupils instead of one (as in the compulsory programme). Course title: Minor Education: Educational Skills Profile 1 & 2 Objectives: At the end of this course, you: • are able to use your musical and pedagogical knowledge and skills Osiris course code: KC-ED-ESP1, KC-ED-ESP2 in one-to-one tuition and teaching group lessons. You can: Course content: You gain experience and develop expertise related to your chosen • formulate and communicate short-term and medium-term objectives for individuals and groups; educational skills profile as described below. In case you want to apply after your bachelor for the Master of Music in Instrumental and • plan, organise and manage the teaching and learning environment; Vocal Learning & Teaching or the Master of Music in Music Education according the Kodály concept, you can ask for guidance in writing • recognise pupils’ needs and ways of learning; your masterplan. • make effective use of appropriate methods, strategies and resources; 1. Instrumental/Vocal teaching • are able to communicate effectively with your pupils (both verbally and musically); This profile focusses on teaching individuals or groups. You will further develop knowledge and skills regarding teaching strategies • can recognise and acknowledge adequate and meaningful ways of teaching by observing other teachers. and repertoire. You will learn to teach adaptively as learners differ in the ways they learn. Type of course: Minor Level: Bachelor III, semester 1
104 105 During this course you will be teaching more intensively for • are able to adapt your teaching/performing approaches to the a longer period. You will learn to do long-term planning for characteristics of a target group; instrumental or vocal education and to design your own teaching • are able to collaborate with colleagues to develop materials and curricula. an educational project; • understand the particular dynamics of working with and within 2. Music in Society groups, can choose appropriate groupings for musical activities; This profile focusses on developing teacher-facilitators that • can design a music education project for a specific context; are able to foster musical engagement with participants • are able to use entrepreneurial skills to explore new challenges in diverse settings like workshops, community music activities and developments, within the range of music education or educational music performances. In contemporary society and participation, providing leadership where necessary; everybody, regardless of their age or background, should have • are able to express a personal set of values regarding project work access to various musical activities. in music education; • can identify and reflect on your own desires and possibilities In this course you will explore new challenges and developments regarding your future professional development. within the range of music education and participation. You will develop leadership and entrepreneurial skills needed to engage Music Education according to the Kodály concept various target groups in musicking in different settings. At the end of this course you: • have a basic understanding of the Kodály concept 3. Music education according to the Kodály concept in music education; The profile will give a practical and theoretical introduction • have a basic understanding of the musical learning processes to music education according to the Kodály concept, consisting and are able to design music lessons in logical steps that lead of four elements: musicianship, methodology, singing, and music to high quality music making; teaching repertoire. • are able to transfer musical content and musicality by means of your own voice; At the end of the semester you have a basic understanding of the • have developed your own musicianship skills to be able to divide Kodály concept in music education, a basic understanding of the between the different layers of attention needed in musical musical learning processes and you are able to design music activities and teaching music; lessons in logical steps that lead to high quality music making. • are able to translate the skills and knowledge above into your You are able to transfer musical content and musicality by means own teaching practice. of your own voice and have developed your own musicianship skills needed for teaching music. You can translate these skills and knowledge into your own teaching practice. Type of course: Minor Objectives: Instrumental/Vocal teaching Level: Educational Skills Profile 1- Bachelor III, semester 2 Educational Skills Profile 2- Bachelor IV, semester 1 • At the end of this course, you: • are able to use a variety of teaching approaches; Duration: Depending on chosen profile • can make informative choices of repertoire, teaching materials and other resources; Prior qualifications/ Educational Skills 3 and Extended Teaching Skills • know how to adapt or create materials appropriately; prerequisites: • can design a learning trajectory for a specific pupil; Teachers: Various • are able to adapt your teaching approaches to the characteristics of your pupils; Credits: Educational Skills Profile 1: 4 ECTS • understand the particular dynamics of working with groups Educational Skills Profile 2: 6 ECTS and are able to differentiate within a group; Literature: t.b.d. • are able to express a personal set of values regarding instrumental or vocal learning and teaching; Work form: Group lesson, self-study and teaching practice or project work with • can identify and reflect on your own desires and possibilities peer learning. regarding your future professional development. • Assessment: Educational Skills Profile 1 Music in Society At the end of this course, you: Instrumental/Vocal teaching • are able to use a variety of appropriate working methods and/ Framework for a learning trajectory or teaching approaches; Reflective report (1) on your teaching experiences • can make informative choices of repertoire, teaching materials and other resources; Assessment criteria • know how to adapt or create materials appropriately; • methodological insight (e.g. repertoire choice, teaching materials) • critical evaluation (e.g. teaching style, adaptability, planning, objectives)
106 107 Music in Society Assessment criteria project report Project description • working methods and teaching approaches, Reflective report (1) on your project experiences materials and repertoire • ability to recognise the needs and dynamics of a target group Assessment criteria and to adapt your approach accordingly • clarity of project (e.g. goals, content, materials and planning) • project design and translation of creative ideas into a viable • critical evaluation (e.g. teaching style, adaptability, project (e.g. entrepreneurial skills, collaboration, cooperation) planning, objectives) • reflective thinking about past and future experiences in music education Music Education according to the Kodály concept Project description Assessment criteria presentation Reflective report (1) on your project experiences • addressing an audience in an engaging manner • clarity of project (e.g. goals, content, materials and planning) Assessment criteria • critical thinking (in answering critical questions during discussion) • clarity of project (e.g. goals, content, materials and planning) • critical evaluation (e.g. teaching style, adaptability, planning, objectives) Music Education according to the Kodály concept • A project report, including: • a project description • project material: analysis of 25 songs or other musical repertoire, Educational Skills Profile 2 • suitable for the teaching purposes as described in the project plan; Instrumental/Vocal teaching • video material; A teaching report, including: • reflective reports (1 and 2) on your project experiences. • a learning trajectory; • A presentation (20 minutes) of your project, followed by a • a curriculum (annotated); discussion with the education exam committee about your • video material; project report and your project experiences. If applicable, you may • reflective reports (1 and 2) on your teaching experiences. present as a group. An education exam in which your teaching report and teaching experiences will be discussed with an education exam committee. Your result will be based upon the quality of your report and project material (50%) and your skills to present and discuss your project Your result will be based upon the quality of your report (50%) and during the project presentation (50%). your ability to show insight during the education exam (50%).
Assessment criteria teaching report Assessment criteria project report • teaching approaches, materials and repertoire (in individual • showing understanding of the Kodály concept in music education and group lessons) and a basic understanding of the musical learning processes • methodical insight and an analytical, perceptive and flexible in your teaching approach towards the pupil’s needs • use of your voice to transfer musical content and musicality • reflective thinking about past and future teaching experiences • showing the ability to divide between the different layers of attention needed in musical activities and teaching music; Music in Society • logical steps that lead to high quality music making A project report, including: in your music lessons; • a project description; • project material; Assessment criteria presentation • video material; • addressing an audience in an engaging manner • reflective reports (1 and 2) on your project experiences. • clarity of project (e.g. goals, content, materials and planning) A presentation (20 minutes) of your project, followed by a discussion • critical thinking (in answering critical questions during discussion) with the education exam committee about your project report and your project experiences. If applicable, you may present as a group. Grading system: Educational Skills Profile 1: Pass/Fail Your result will be based upon the quality of your report (50%) and Educational Skills Profile 2: Qualifying your skills to present and discuss your project during the project Language: English presentation (50%). Schedule, time, venue: See Asimut schedule Information: Julia Stegeman – [email protected]
108 109 Minor in Education, Part 3 – previous Minor Education course descriptions Information: Information for teachers: Julia Stegeman, [email protected] Information for students: Marijke van den Bergen, m.vdbergen@ koncon.nl Course title: Minor in Education, Part 3 (old style) - Project Management and Design Course title: Minor in Education, Part 3 (old style) - (for BIV/Minor3 students in 2020-21 only) Contents, Process, Implementation and Presentation Osiris course code: KC-ED-M3PM (for BIV/Minor3 students in 2020-21 only) Course content: Students design an educational musical project and learn about Osiris course code: KC-ED-M3% management techniques and project design. Course content: Students implement a musical project for a particular target group. The students work in groups. The groups will receive coaching Students are introduced to various techniques for starting a project, and have regular meetings during which they will implement the including the techniques of conducting an interview, holding a techniques they have learned for holding meetings. meeting, giving a presentation and managing a project. They will When the project is finished, the students together write a report and be able to design a project as part of a group. This module covers individually write a personal evaluation of the process and outcome. three subjects relating to the design and execution of an educational project: Objectives: At the end of the course the students know how to work creatively, • Group processes interactively and artistically in a group and are trained to perform • Content different roles within an organisation. They understand how to • Technical execution organise and execute a project and can reflect on their role in the project they were involved in. The actual content of these three aspects will be fleshed out with Type of course: Minor teachers and coaches. Level: Bachelor IV Objectives: At the end of the course students are acquainted with various management techniques, which will enable them to design a project Duration: Weekly from week 38 to week 5 relating to music education. In the lesson they experience to be able Prior qualifications/ Minor in Education (old style), Parts 1 and 2 and Project Management to act creatively, interactively and artistically within a group and they prerequisites: and Design become familiar with group processes. Teachers: TBA Type of course: Minor Credits: 4 ECTS Level: Bachelor IV Literature: Material provided by the teachers Duration: Weekly from week 38 to week 5 Work form: 6 to 8 weekly group meetings; the project is performed at least twice Prior qualifications/ Minor Education part 1 and 2 (old style) prerequisites: Assessment: This part of the course is completed when the following conditions are met: Teachers: TBA • The materials prescribed by the teacher have been submitted and Credits: 2 ECTS any exams have been passed. • The student’s attendance record is satisfactory. Literature: Material provided by the teachers • The student has given at least two workshops with his or her group Work form: 14 Group lessons (see ASIMUT for the length of the lessons) and hours • The student has demonstrated the ability to reflect on his or her for self-studying actions • The student has given a presentation with his or her group in the Assessment: Assignments given in the lessons should be delivered to the teacher front of the committee and other students. before the end of the course. Attendance is compulsory. Students who do not attend sessions will not be allowed to continue with the Grading system: Qualifying Project Presentation and Implementation module. Language: English Grading system: Qualifying Schedule, time, Check ASIMUT for your schedule Language: English venue: Schedule, time, Check ASIMUT for your schedule Information: Information for teachers: Julia Stegeman, [email protected] venue: Information for students: Marijke van den Bergen, m.vdbergen@ koncon.nl
110 111 • Minor year 1: Advanced Critical Music Studies 1 - Academic skills. In this course, you will acquire the following academic KC minors with entrance exam skills: Research skills: evaluating sources, plagiarism prevention, argumentation structure. Academic writing techniques: formulating a feasible research question, essay structure, academic writing style, referencing sources, giving Minor Academic Music Studies – NEW! and processing feedback. Oral presentation skills: structuring a presentation. • Minor year 2: Advanced Critical Music Studies 2 - Science philosophy. This course offers a broad introduction to the Course title: Minor Academic Music Studies (with ACPA at Leiden University) philosophy of science, giving you an insight into the nature –NEW! of science in general and the humanities specifically. A Osiris course code: KC-MA-AMS1 connection will be made to the principles of artistic research as used at the Royal Conservatoire. Course content: Are you a music student who likes to be challenged on both • Minor year 3: Advanced Critical Music Studies 3 - Cultural an artistic and theoretical level, who aims to expand his or her policy. This course discusses the recent trends in cultural policy intellectual horizon in close connection with artistic practice? Would and how these relate to the modern reality of musicians. you like to develop academic skills, to be prepared for artistic and academic research at master’s level with the potential perspective 2. A selection from the courses offered by the Academy of Creative of subsequent research on doctoral level? Are you striving for an and Performing Arts (ACPA) at Leiden University. In these artistic career that combines artistic with leadership skills, curatorial courses you will study and reflect on the various roles, positions (programming, artistic direction, outreach) or educational skills? and functions of music using theories from sociology, psychology and philosophy, among other things. Cultural philosophy The Minor Academic Music Studies, which has been developed in is also studied, investigating artistic, socio-political and even close cooperation with the Academy of Creative and Performing Arts ethical aspects of music. Depending on your choice of courses, (ACPA) at Leiden University, may be exactly what you are looking for. you will gain insight into the history and current developments of music and sound art. The definitions of ‘popular’ and ‘global’ This Minor not only offers you the possibility to acquire university-level in relation to music are examined, as well as music and cognition, academic research skills, but also invites you to a different way of the role of the internet, artificial intelligence (AI) and electronic thinking about music. Music is more than just a form of art, more than music. You need to choose one course per year from just entertainment. What roles does music play within our society? the following courses: How does current society influence music? And vice versa: how does • Minor year 1: Popular and Global Music, Music as Expressive music influence, for instance, politics, media and technology? Music, Force or Values in Music sound design and sound art are omnipresent in our daily environment. • Minor year 2: Music Cognition, Introduction into Sound Art or How are music and sound used, how do they influence us? Why do Music & Technology we dance to music? Can music cure us when we are ill? What is the • Minor year 3: any of the courses listed above that you have function of technology in listening to, discovering and creating music? not yet completed.
Students who practice, study, perform and actively listen to and Royal Conservatoire students following the minor will be exempt enjoy music, will be able to gain an understanding of what music from the obligatory course Critical Music Studies as part of their is and of the ways in which it functions in present day society. The regular Bachelor of Music curriculum in Bachelor year 2 and 3. (This creative industries encompass a wide range of jobs involving music is applicable to students of the classical music, jazz, vocal and performance, music education, music journalism, music production, conducting departments only. For Early Music students a different music curatorship, event organisation, sound technology, musicology, arrangement will be made.) cultural policies, publishing, authorship and copyright. In these dynamic fields there is a growing demand for academic graduates If you complete the full three-year programme, you will receive a who are able to work on complex, multidisciplinary challenges. This minor certificate. minor therefore aims to be a valuable extension of your job prospects. Objectives: At the end of this course, you will: The Minor Academic Music Studies includes the following selection of • acquire practical knowledge of conducting research, writing Royal Conservatoire and Leiden University courses at academic level. and presenting on an academic level. During the Minor you will do two types of courses: • gain broad insight into the nature of science in general 1. Courses at the Royal Conservatoire: these courses will be offered • gain insight into the latest developments in the area as advanced versions of the existing Bachelor course Critical of cultural policy Music Studies. Over the period of 3 years, you will be offered • gain insight into the history and current developments of music courses in the following subjects: and sound art (if applicable)
112 113 • gain insight into the definitions of ‘popular’ and ‘global’ Language: English in relation to music, as well as into music and cognition, the role of the internet, artificial intelligence (AI) and electronic music Schedule, time, See ASIMUT schedule for Advanced Critical Music Studies at the (if applicable) venue: Royal Conservatoire. • gain a broad insight into what music is and into the influence that The courses offered by ACPA: see ACPA module descriptions for music, human beings and society have on each other further information. Type of course: Minor Information: Roos Leeflang (coordinator Lectorate Music, Education & Society): [email protected] and Rogier Schneemann (ACPA): Level: Bachelor II-IV [email protected] Duration: 1. The Advanced Critical Music Studies 1-2-3 courses at the Royal Conservatoire: working group sessions of 60 mins per week during 2 semesters, alternating with weeks with individual consultations. Further information will be provided in specific course descriptions (currently in development). Course title: Minor Academic Music Studies - 2. The courses offered by ACPA at Leiden University: see ACPA Year 1 choose from: module descriptions for schedules. The duration of the courses ACPA courses Popular and Global Music as Expressive Values in Music is normally one semester per course. Music Force Prior qualifications/ The minor requires a good/proficient level of English reading, writing Osiris course code/ TBC TBC KC-KVL-VIM prerequisites: and speaking skills. UL catalogue Students interested in the minor have to submit a brief motivation in number: 5100KM23 5100KM31 5100KM29 English (2 A4 pages maximum). As soon as you apply, you will receive a link where you are asked to upload your motivation. This motivation Course content & https://studiegids. https://studiegids. https://studiegids. letter must include your first choice of ACPA course. The deadline is 5 objectives: universiteitleiden.nl/ universiteitleiden.nl/ universiteitleiden.nl/ April 2020. en/courses/96595/ en/courses/96601/ en/courses/96607/ popular-and-global- music-as-expressive- values-in-music This minor will only be offered when a minimum of 5 students will music force enrol. Type of course: Minor Minor Minor Students who are admitted to the minor will receive a guest account Level: Bachelor Bachelor Bachelor (ULCN) from Leiden University. With the ULCN account students can enroll to the chosen ACPA minor courses (please refer to Course Duration: Semester 1 Semester 1 Semester 2 Content, point 2.) in uSis. The ULCN account will also grant access to Credits: 5 ECTS 5 ECTS 5 ECTS the various Leiden University facilities. Work form: Lectures and Lectures and seminars Lectures and seminars Teachers: The Advanced Critical Music Studies course: to be announced workshops The courses offered by ACPA: see ACPA module descriptions for teachers. Assessment: Active Participation Paper 80% Active participation 25% Oral presentation 20% in class 30% Credits: 10-10-10 ECTS per academic year: Advanced Critical Music Studies 5 Homework 25% Seminar Assignments: ECTS + ACPA course 5 ECTS. Presentations 25% 30% Literature: Determined by the teachers and see ACPA module descriptions Final Exam 25% Exam: 40% Work form: The Advanced Critical Music Studies course: small working group Grading system: Numeric Numeric Numeric sessions taking place at the Royal Conservatoire. The courses offered by ACPA: lectures and seminars offered at Leiden University. See ACPA module descriptions for further information. Assessment: For the Advanced Critical Music Studies courses at the Royal Conservatoire: see specific course descriptions (currently in development). For the courses offered by ACPA: see ACPA module descriptions. Grading system: For the Advanced Critical Music Studies courses at the Royal Conservatoire: see specific course descriptions (currently in development). For the courses offered by ACPA: see ACPA module descriptions.
114 115 Course title: Minor Academic Music Studies - Minor ArtScience Year 2 choose from: ACPA courses Music & Technology Music Cognition Introduction into Sound Art Course title: Minor ArtScience Osiris course code: TBC TBC KC-KVL-VIM Osiris course code: KC-ASC-MINOR 5100KM27 5100KM25 5100KM09 Separate Osiris codes for each ArtScience elective Course content & https://studiegids. https://studiegids. https://studiegids. Course content: The ArtScience Interfaculty is a collaboration between the Royal objectives: universiteitleiden.nl/ universiteitleiden.nl/ universiteitleiden.nl/ Conservatoire and the Royal Academy of Art. The Interfaculty en/courses/96599/ en/courses/96603/ en/courses/96605/ (bachelor and master) leads to an interdisciplinary and experimental music-x-technology music-cognition introduction-into- artistry of the twenty-first century. Within the Conservatory, sound-art ArtScience joins forces with the Composition and Sonology departments, the well-known Creative Departments. Type of course: Minor Minor Minor Level: Bachelor Bachelor Bachelor The minor ArtScience consists of 30 ECTS and exists of three components, to be obtained in one complete semester or in phases Duration: Semester 1 Semester 2 Semester 2 over several years. Students do an entrance exam before they can Credits: 5 ECTS 5 ECTS 5 ECTS enter the minor. Each minor student chooses a coach from the core art team of ArtScience who will guide him / her in the study Work form: Seminar Lectures Lectures & seminars trajectory. Assessment: The grading of the Group assignment: Assignment(s): 15 Part 1 course is based research proposal Final assignments: 5 Some courses to introduce the ArtScience domain and the on the homework (written): 20% interdisciplinary basis (to be determined upon admission, based on assignments, student Group assignment: the student’s main programme): 10 ECTS presentations, an presentation (oral): Because of the interdisciplinary character of the programme, it essay and a creative 10% is necessary for incoming minor students to follow some basic work. Full attendance Individual written test courses in disciplines that are not part of the main study trajectory is a requirement in with multiple choice of the student. For conservatoire students this will normally be, for order to receive the and open questions: example, visual and conceptual subjects. Technological knowledge credits for the course. 70% (programming, electronics) can also be part of the introductory Grading system: Numeric Numeric Numeric courses.
Part 2 Free choices from the courses offered by ArtScience (based on the needs of the student): at least 12 ECTS Because the ArtScience programme focuses on the individual development of the artistry of the student, the subject matter is broad, annually changing and based on the student’s freedom of choice and her / his study needs. This also applies to the minor ArtScience. Twelve points (minimum) can be filled in with choices from the entire study offer of the study programme. Courses of the current year can be viewed on the website of the Interfaculty: www. interfaculty.nl/programme/courses/.
Part 3 An individual artistic interdisciplinary project, to present and test in the presentation round at the end of the first or second semester of the academic year: 8 ECTS The development of own, autonomous interdisciplinary art projects occupies a central place in the ArtScience curriculum. A minor student is expected to develop one independent project in dialogue with a coach. This will be tested in one of the general presentation rounds of ArtScience at the end of the first and second semesters. (The project is being tested as a ‘Semester 1 Presentation’.)
116 117 When a student has completed these three components, a score of Minor Chamber Music at least 30 ECTS has been reached. The most up-to-date information about the curriculum, the timetable and the lecturers can be found at www.interfaculty.nl/. Course title: Minor Chamber Music If you complete the full 3-year programme (30 ECTS), you will receive Osiris Course Code: KC-KI-MCM1, KC-KI-MCM2, KC-KI-MCM3 a certificate. Course content: The minor Chamber Music is intended for existing ensembles from Objectives: See course descriptions of the available ArtScience electives the Classical Music department who wish to immerse themselves Type of course: Minor in an intensive programme designed to strengthen their chamber music skills. The programme gives you the opportunity to work with Level: Bachelor II-IV a fixed ensemble for a full academic year. You will work with a team Duration: Weekly lessons of teachers, including music theorists, tailored to your ensemble’s particular needs. Prior qualifications/ Students who want to follow this minor have to do an entrance exam. If you complete the full 3-year programme, you will receive a prerequisites: Experience with the visual arts is desirable. certificate. Teachers: Teachers of the ArtScience Department Objectives: At the end of this course, you: • have studied and performed relevant works of the chamber Credits: 30 ECTS divided over one semester, or three years music repertoire; Literature: t.b.a. • are able to analyse a composition on a basic level and incorporate this in your rehearsal process; Work form: Group lessons • have developed effective ensemble rehearsal techniques; Assessment: Seperate assignments per course plus final individual project including planning, cooperating, studying repertoire, dealing with assessment critique and communicating within an ensemble setting; • are able to demonstrate the ability to communicate, react Grading system: Varies per ArtScience elective and cooperate within an ensemble, both during rehearsals Language: English and performance; • have developed artistically and can show a sense Schedule, time, t.b.a. of craftsmanship, both of which enable you to relate venue: independently to the music and the ensemble. Information: Taconis Stolk – Head of the ArtScience Department Type of course: Minor ([email protected]) Level: Bachelor Duration: 34 lessons of 50 minutes Prior qualifications/ This minor is only open for existing ensembles from the Classical prerequisites: Music Department, after taking a 15-minute audition. It is possible to take this Minor for only one or two years (but this will not lead to a certificate). Preference is given to ensembles that will take the full three year programme (i.e. ensembles that are currently studying in bachelor I). Teachers: Various teachers Credits: 6 ECTS per year. The minor is recognized as a minor when you have obtained a total of 18 ECTS (6 ECTS per year, three years). Literature: - Work form: Group lessons Assessment: The objective of the chamber music programme is to bring the artistic skills of students to a level of excellence in performance, performance practice, theoretical insight, and teamwork, and which optimally uses the expertise of chamber music and theory teachers. There are two assessments during the year: in December and in March/April.
118 119 Final presentations are held in the form of a concert during the Minor Choral Conducting Chamber Music Festival, which usually takes place in March or April. Students are assessed by a committee and receive feedback. The assessment includes a theoretical assignment within the framework of chamber music, as well as group assignment related to the Course title: Minor Choral Conducting repertoire at hand. Duration of the programme for the chamber music Osiris course code: KC-DK-MI1, KC-DK-MI2, KC-DK-MI3 assessment is 25-30 minutes including entering and leaving the stage. Course content: Students of the Vocal Studies Department follow a programme in choral conducting with Jos Vermunt and Wiecher Mandemaker. Absence is only allowed due to unforeseen circumstances or with Each year, you do an exam. At the end of the course, the minor is permission from the principal teacher of this course. concluded with a final exam, in which you conduct a vocal ensemble, are assessed on knowledge of the repertoire by a committee. Grading system: Pass/Fail Language: English The minor Conducting consists of the following courses: 1st year Schedule, time, To be arranged with teacher • Conducting and rehearsing technique /practicum 3 EC venue: • Repertoire, performance practice, programming 1 EC • Ear training for conductors 2 EC Information: Fabiënne Kramer ([email protected]) • Score playing 2 EC
2nd year • Conducting and rehearsing technique/practicum 3 EC • Repertoire, Performance Practice, Programming 1EC • Ear training for conductors 2EC • score playing 2EC
3rd year • Conducting and rehearsing technique/practicum 3EC • Repertoire, Performance Practice, Programming 1EC • Ear traning for conductors 2E • Score playing 2E If you complete the full 3-year programme, you will receive a certificate. Objectives: At the end of this course, you are able to work with an amateur choir using appropriate rehearsal techniques and repertoire to perform interesting and achievable programmes. Type of course: Minor Level: Bachelor II-IV Duration: Conducting Lessons/practicum 90 mins per week, 34 weeks per year Repertoire, Performance Practice, Programming 50 per week, 36 weeks per year Ear Training for Conductors: 50 mins per week, 36 weeks per year Score Playing: 25 mins per week, 17 weeks per year
Prior qualifications/ The minor Choral Conducting is available for students in bachelor II prerequisites: from the Vocal Studies Department who have completed the theory curriculum of the first year. A An audition is organised for entrance into the minor. At the audition, you conduct a short piece and are assessed on musical ideas and potential for development as a conductor. Teachers: Conducting Lessons/practicum: Wiecher Mandemaker Repertoire, performance, programming: Jos Vermunt
120 121 Ear training for conductors: Ward Spanjers or t.b.a. Minor Orchestral Conducting Score playing: Richard Ram Credits: 8-8-8 ECTS per academic year Course title: Minor Orchestral Conducting Literature: Determined by the teachers Osiris course code: KC-DO-MI1, KC-DO-MI2, KC-DO-MI3 Work form: Conducting Lessons/practicum group lesson Repertoire, Performance Practice, Course content: This minor is designed for students who have the ambition to become Programming group lesson a conductor. After finishing this minor, you should be able to do an Ear training for Conductors group lesson entrance exam for a master’s programme in conducting. The minor Score Playing Individual lesson in Orchestral Conducting consists of 10 ECTS per year. It is therefore more intensive than other minors. Assessment: Conducting Technique practical exam each year The minor Orchestral Conducting consists of the following courses: Repertoire, Performance Practice, Programming active participation 1st year Ear training for Conductors written test • Orchestral Conducting and rehearsing technique 1 4 ECTS Score Playing Active participation and • Ear training for conductors 4 ECTS preparation • Score playing 2 ECTS
At the end of the minor, you do a final exam consisting of: 2nd year • a practical conducting exam with a vocal ensemble • Orchestral Conducting and rehearsing technique 2 4 ECTS • a meeting with the jury, discussing knowledge on the repertoire • Ear training for conductors 4 ECTS • Score playing 2 ECTS Grading system: Conducting Lessons/practicum numeric Repertoire, Performance Practice, 3rd year Programming pass/fail • Orchestral Conducting and rehearsing technique 3 4 ECTS Ear training for Conductors numeric • Ear training for conductors 4 ECTS Score Playing Pass/fail • Score playing 2 ECTS Language: English If you complete the full 3-year programme, you will receive a Schedule, time, See ASIMUT schedule certificate. venue: Objectives: At the end of this course, you: Information: Monica Damen ([email protected]) • can act as your own teacher, by analysing what determines Education Service Centre: [email protected] the quality of your conducting and how to maintain it; • have developed effective self-practice techniques; • have studied and experienced the dynamics of an orchestra during rehearsals and performances; • are able to establish a healthy working-relationship with your orchestra; • are able to convey your artistic vision through effective orchestra rehearsal techniques; • have experienced a variety of musical styles and have studied and performed representative repertoire; • are able to create and realise your own artistic concept and have developed the necessary skills for your expression; • are able to do an entrance exam for a master’s programme in orchestral conducting. Type of course: Minor Level: Bachelor II-IV Duration: Orchestral Conducting and rehearsing technique: 50 mins per week, 34 weeks per year Ear training for conductors: 100 minutes per week, 36 weeks per year Score playing: 25 minutes per week, 36 weeks per year
122 123 Prior qualifications/ The minor conducting is available for students in bachelor II, who Minor Wind Band Conducting – NEW! prerequisites: have completed the theory courses of the first year. A maximum of 2 students can be placed in each year. An audition is organised in June 2020 for entrance into the minor. At this audition, the candidates conduct a student ensemble or orchestra. Course title: Minor Wind Band Conducting – NEW! Teachers: Orchestral Conducting and rehearsing technique: Rene Gulikers, Jac Osiris course code: KC-DI-MI1-20 van Steen Course content: This minor is designed for students who have the ambition to become a Ear training for conductors: Ward Spanjers wind band conductor. After finishing this minor, you should be able to do Score playing: Richard Ram an entrance exam for a master’s programme in wind band conducting. Credits: 10-10-10 ECTS per academic year The minor in Wind Band Conducting consists of 10 ECTS per year. It is therefore more intensive than other minors. Literature: Determined by the teachers The minor Wind Band Conducting consists of the following courses: Work form: Orchestral Conducting and rehearsing technique: individual and group lessons 1st year Ear training for conductors: group lesson • Wind Band Conducting 1 5 ECTS Score playing: individual lesson (Including orchestration/instrumentation, rehearsing Assessment: Ear training for conductors: techniques, historical development of wind band music, Annual individual test repertoire & programming, 2-4 practicums, Entornos) Assessment criteria TBC • Ear training for conductors 3 ECTS • Score playing 2 ECTS Score playing: Practical exam each year 2nd year Assessment criteria TBC • Wind Band Conducting 2 5 ECTS (Including orchestration/instrumentation, rehearsing Orchestral Conducting and rehearsing technique: practical exam techniques, historical development of wind band music, each year: repertoire & programming, 2-4 practicums, Entornos) • a practical conducting exam with ensemble, orchestra or piano • Ear training for conductors 3 ECTS • a meeting with the jury, discussing repertoire knowledge, • Score playing 2 ECTS rehearsing technique and dynamics in the orchestra. 3rd year Assessment criteria • Wind Band Conducting 3 5 ECTS • Musical awareness (e.g. concepts, expression) (Including orchestration/instrumentation, rehearsing • Communication (e.g. conveying of ideas) techniques, historical development of wind band music, • Rehearsal technique (e.g. didactic skills) repertoire & programming, 2-4 practicums, Entornos) • Conducting technique (e.g. score, transmitting musical ideas) • Ear training for conductors 3 ECTS • Presentation • Score playing 2 ECTS • Self-reflection (e.g. practice techniques, orchestra dynamics) If you complete the full 3-year programme, you will receive a certificate. Grading system: All courses: numeric Objectives: At the end of this course, you: • can act as your own teacher, by analysing what determines the quality Language: English of your conducting and how to maintain it; Schedule, time, See ASIMUT schedule • have developed effective self-practice techniques; venue: • have studied and experienced the dynamics of a wind band during rehearsals and performances; Information: Jaike Bakker, [email protected] • are able to establish a healthy working-relationship with your wind band; • are able to convey your artistic vision through effective wind band rehearsal techniques; • have experienced a variety of musical styles and have studied and performed representative repertoire; • are able to create and realise your own artistic concept and have developed the necessary skills for your expression;
124 125 • are able to communicate and cooperate with various wind band Assessment criteria managements and members; • Musical awareness (e.g. concepts, expression) • are able to demonstrate an entrepreneurial spirit, by connecting basic • Communication (e.g. conveying of ideas) research and educational skills with a proactive approach; • Rehearsal technique (e.g. didactic skills) • are able to reflect on your role, task and position in the profession • Conducting technique (e.g. score, transmitting musical ideas) as well as in society, and can contribute to it. • Programme/Presentation • are able to do an entrance exam for a master’s programme in wind • Self-reflection (e.g. practice techniques, wind band dynamics) band conducting. Grading system: All courses: numeric Type of course: Minor Language: English Level: Bachelor II-IV Schedule, time, See ASIMUT schedule Duration: Wind Band Conducting: 50 mins per week, 34 weeks per year venue: Weekly group lessons in orchestration/instrumentation, historical development of wind band music, repertoire & programming: 50 mins Information: Jaike Bakker ([email protected]) per week, 34 weeks per year 2-4 practicums with amateur wind band orchestras Taking part in annual Wind Band Project Entornos (4 days) Ear training for conductors: 100 minutes per week, 36 weeks per year Score playing: 25 minutes per week, 36 weeks per year Prior The minor is available for all students in bachelor II who have completed qualifications/ the theory courses of the first year. A maximum of 2 students can be prerequisites: placed in each year. An audition is organised in June 2020 for entrance into the minor. At this audition, the candidates conduct a student ensemble or piano. Teachers: Wind Band Conducting: Alex Schillings Orchestration/instrumentation, historical development of wind band music, repertoire & programming: Alex Schillings Practicum with amateur wind band orchestras: Alex Schillings Entornos: Alex Schillings Ear training for conductors: Ward Spanjers Score playing: Richard Ram Credits: 10-10-10 ECTS per academic year Literature: Determined by the teachers Work form: Wind Band Conducting: individual and group lessons Ear training for conductors: group lesson Score playing: individual lesson Assessment: Ear training for conductors: Annual individual test Assessment criteria TBC
Score playing: Practical exam at the end of bachelor IV Assessment criteria TBC
Wind Band Conducting and rehearsing technique: practical exam each year: • a practical conducting exam with ensemble or orchestra or piano; • a meeting with the jury, discussing repertoire knowledge, rehearsing technique, dynamics in the orchestra and the role of a conductor in amateur wind bands.
126 127 Minor Collaborative Music Creation – NEW! • have been confronted with new and unknown musical styles, settings and instrumental combinations. • have developed skills of listening, attention, improvisation, development of musical ideas, and compositional thinking. Course title: Minor Collaborative Music Creation – NEW! Type of course: Minor Osiris course code: KC-AL-ICMC1 Level: Bachelor II-IV Course content: The minor Collaborative Music Creation is designed for performance students who want to develop creative skills as well as for students of Duration: A total of 10 group sessions of two hours per semester (predominantly the creative departments who want to enrich their creative practice developing improvisational skills), alternated with a Studium with improvisation and performance skills. The main focus is on music Generale (mostly lectures) and workshops (developing specific skills). creation through collaborative practice. Students from the creative At the beginning of each semester there will be an intensive project and performing departments will learn from each other through of 3 days. Students of different years can potentially have different performance and improvisation. roles in the process.
You will develop improvisational and compositional skills by engaging Prior qualifications/ The Minor is open to all departments, creative as well as performing. in various making processes, which can be based on improvisation, prerequisites: Proficiency on an instrument to be used in the workshops is required. (collaborative) composition, gameplay, interaction with electronics, existing repertoire and any combination of these. The projects will This minor will only be offered when a minimum of 5 students will be coached by teachers from various departments, including jazz, enrol. composition, theory, sonology and early music. Students interested in the minor have to submit a written motivation. Part of the minor will be in the form of a Studium Generale Students will receive a link where they can upload their written and workshops, which focus on theoretical, reflective and motivation once they have applied for this minor. The deadline for this historical aspects of improvisation and creative processes. This is 5 April 2020. is accompanied by a mandatory literature/video list (including Teachers: Teachers from various departments as well as guest teachers for the relevant documentaries). At the beginning of the first and second Studium Generale. semester there will be an intensive project of 3 days for all students participating in the minor: Credits: 6 ECTS per academic year, divided as follows: • Bachelor II: 2x intensive, group lessons, Studium Generale, • Semester 1: A collaborative project developing listening workshops: 6 ECTS and interaction skills, based on principles of the free • Bachelor III: 2x intensive, group lessons, Studium Generale, improvisation practice workshops: 6 ECTS • Semester 2: A creative collaborative project with mixed • Bachelor IV: 2x intensive, group lessons, Studium Generale, instruments concentrating on the making process of a concrete workshops: 6 ECTS piece, thereby developing skills related to generation of musical Literature: Literature/video list will be provided during the lessons materials and ideas, structuring music and compositional thinking Work form: ‘Making Music’ group lessons, Studium Generale, workshops, In a later phase of the Minor it will be possible to work in smaller intensive projects groups or in individual projects as seen fit. Assessment: Bachelor II and III • A minimum of 80% attendance for all lessons and sessions. After completing the full 3-year programme, you will receive a certificate. Bachelor IV Objectives: At the end of this course, you: • A minimum of 80% attendance for all lessons and sessions. • have become proficient in the creation, development • Final examination: and realisation of new musical materials and pieces and have The final assessment consists of a concert presenting various acquired ownership of the musical material. projects developed by the candidates. For each candidate this • have developed a musical vocabulary of your own, related to your should be complemented with 2 recordings (audio and/or video) main instrument or area of studies. of previously realized works. • have developed a critical and informed attitude toward the scores and musical materials of your repertoire enabling fresh ideas Assessment criteria are based on 5 main categories: on interpretation and communication to audiences. • Musicality • have become knowledgeable about the theoretical, reflective • Performance and historical aspects of making processes in music. • Collaborative and solo skills
128 129 • Stylistic awareness and Reflection Minor Composition • (see METRIC criteria for assessment) Grading system: Pass/Fail Course title: Minor Composition Language: English Osiris course code: KC-CO-MI1, KC-CO-MI2, KC-CO-MI3 Schedule, time, See ASIMUT schedule venue: Course content: The minor Composition is designed for students who already have a good level and experience in composition. The main focus is on Information: Karst de Jong ([email protected]) the group composition lesson. You develop craftsmanship, notation, conceptual abilities and aesthetics, and learn to communicate your artistic views to players and audiences. You take part in the Studium Generale where you learn to collaborate and to share your opinions with peer composers. The minor course has a very practical character: each minor student takes part in one or more projects. You learn to produce, arrange and rehearse a concert. The projects are coached by teachers from the composition staff. Next to the compulsory courses within the minor, it is strongly recommended but not obligatory that you follow courses such as Analysis Contemporary Basic, Instrumentation 1, Music Multimedia and Intro Karlheinz Stockhausen Studio. These courses are an addition to the total ECTS for the minor. The precise choice of extra courses in the curriculum of each minor student is made after the intake interview between the student and the Head of Department. If you complete the full 3-year programme, you will receive a certificate. Objectives: At the end of the course, you: • are able to compose (without teacher’s coaching) a musical work of modest size (chamber music piece); • have substantial experience in writing music for very different ensemble types; • have experience in artistic collaborations with artists from diverse backgrounds; • are able to function as a composer in various circumstances. Type of course: Minor Level: Bachelor II-IV Duration: Group lesson of two hours, once every two weeks. Prior qualifications/ You are required to hand in three compositions and will be invited prerequisites: for an audition. The audition includes a discussion with a committee consisting of teachers of the Composition Department in which knowledge, skills and possibilities for further development will be assessed. Teachers: Teachers from the Composition Department Credits: 6 ECTS per academic year, divided as follows:
Bachelor II: group lesson, Studium Generale, project: 6 ECTS Bachelor III: group lesson, Studium Generale, project: 6 ECTS Bachelor IV: group lesson, Studium Generale, project: 6 ECTS Extra subjects from the bachelor’s curriculum will extend the total number of ECTS. Literature: t.b.a.
130 131 Work form: • Composition lessons in small group Minor Music Theory • Group lessons: Studium Generale • Project(s) Assessment: A minimum of 80% attendance for all lessons. Each year the work of Course title: Minor Music Theory the minor student is evaluated by the main teacher and colleagues. The results of these evaluations are communicated to the minor Osiris course code: KC-MT-MI1, KC-MT-MI2, KC-MT-MI3 student. The Head of Department has regular meetings with the Course content: The minor Music Theory is aimed at highly motivated students who minor students to control their process and functioning in the want to deepen their theoretical skills and knowledge. Over the department. At the end of bachelor IV the minor students take part course of three years, you will take various subjects (see list below) in an exam. The committee exists of teachers of the Composition that extend the standard offer of theory courses in the curriculum. Department. The tempo is high and a fair amount of self-study is expected. NB: the Final examination: the minor student presents three works (with a minor cannot be used to get exemptions for regular theory courses. recording, midi is possible too) that have been produced during the If you complete the full 3-year programme, you will receive a minor studies. The exam takes 45 minutes and exists of an interview/ certificate. discussion with the candidate. Assessment criteria are authenticity, craftsmanship, conceptual skills, notation and the development of Objectives: At the end of this course, you: the student during the minor studies. • are able to write homophonic and polyphonic pieces of music, imitate different styles or compose your own music; Sort of grading: Pass/fail • are able to analyse music from different style periods on an Language: English advanced and independent level, using different analytical techniques and concepts; Schedule, time, t.b.a. • have developed a good aural understanding of music notation venue: through reading and writing music; • have an advanced knowledge and understanding of literature that Information: Martijn Padding – Head of the Composition Department is connected to music theory, performance practice, philosophy ([email protected]) and aesthetics of music and art in general. Type of course: Minor Level: Bachelor II-IV Duration: Weekly lessons (or longer lessons every two weeks) Prior qualifications/ You need to have finished all bachelor I theory courses. Students are prerequisites: selected based on first year study results in the music theory subjects and a short interview. Teachers: Counterpoint and Harmony: Bert Mooiman Literature, analysis and research: Patrick van Deurzen Ear Training and Solfege: Suzanne Konings Philosophy and Aesthetics of Art: Tom Dommisse, Joao Ferreira dos Santos Credits: 6 ECTS per academic year, divided as follows: Bachelor year II III IV Counterpoint and Harmony 2 2 2 Literature, analysis and research 2 2 2 Ear Training and Solfège 2 2 Philosophy and Aesthetics of Art 2 Literature: t.b.a. Work form: Group lessons, self-study Assessment: Written and aural exams, paper.
132 133 Grading system: Each course will be graded separately with a numeric result. Minor Classical Music Language: English
Schedule, time, See ASIMUT schedule Course title: Minor Classical Music venue: Osiris course code: KC-KI-MI1, KC-KI-MI2, KC-KI-MI3 Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre: [email protected] Course content: The Minor Classical Music is intended for students from other departments who wish to learn more about the classical music discipline in terms of performance practice, theoretical and historical context.
The minor entails individual lessons on a classical instrument belonging to the same instrument family as your main subject of study (See Appendix Framework Minor Classical Music, Minor Early Music, Minor Jazz, Vocal Studies). Jazz piano students, for instance, can choose to pursue a minor in classical piano. Similarly, a baroque violinist may wish to study classical violin as a minor. In addition to individual lessons on the instrument, the minor comprises a set of theoretical subjects from the Classical Department.
Upon completion of the full 3-year minor programme, you will receive a certificate.
If, after auditioning, you are selected to enrol in this minor, you yourself are responsible for obtaining an instrument. The department has a limited number of instruments available that could be borrowed, but availability cannot be guaranteed. Please contact Fabiënne Kramer ([email protected]) in due time to check for possibilities.
Students in the minor Classical Music complete the following courses: Bachelor II Instrumental Lesson Minor Classical Music Classical Music Studies I Bachelor III Instrumental Lesson Minor Classical Music Classical Music Studies II
Bachelor IV Instrumental Lesson Minor Classical Music Objectives: On completion of this minor, you: • are able to perform with technical control over your minor instrument (e.g. sound, bowing, intonation, breathing); • are able to reflect awareness of style and musical language (e.g. tempo, rhythm, timing, phrasing, dynamics); • demonstrate knowledge of the theoretical context of the classical repertoire. Type of course: Minor Level: Bachelor II-IV Duration: This minor has a duration of three academic years.
Only students in bachelor I can audition to enter the minor in bachelor II. NB: An exception is made for students who were enrolled
134 135 in the former minor Same Instrument, which was discontinued. These Assessment: Year Course Type of assessment students can enter the minor Classical Music in a subsequent year (e.g. if you were originally enrolled in the minor Same Instrument and Bachelor II Instrumental Lesson Minor Practical examination you are in minor year 2 you can continue with the same instrument in Classical Music (15 minutes) the minor Classical Music year 3). Classical Music Studies I See course description Bachelor III Instrumental Lesson Minor Practical examination In exceptional cases, bachelor II students can apply for the first two Classical Music (15 minutes) years of the minor trajectory (but this will not lead to a certificate). Classical Music Studies II See course description Because of the limited number of spaces, preference is given to students who can complete the full three year programme. Bachelor IV Instrumental Lesson Minor Practical examination Classical Music (25 minutes) Scheduled lesson time for individual lessons is 25 minutes per week Grading system: Practical examination year II-III: qualifying result or 50 minutes every other week, 34 weeks per academic year. Practical examination year IV: numeric Prior qualifications/ Minor year I prerequisites: You are expected to demonstrate the following set of skills and Classical Music Studies: see course description in the Curriculum abilities in an entrance examination: Handbook Bachelor Classical Music • musical and stylistic affinity with classical music Language: English • physical affinity with the instrument • ability to perform classical repertoire Schedule, time, See ASIMUT schedule • potential for development within the genre venue: Information: Else van Ommen, Coordinator Classical Music Department Minor year II ([email protected]) You have to have obtained all 6 ECTS from minor year I (instrument as Education Service Centre: [email protected] well as the theory course) to enter the second minor year.
Minor year III You have to have obtained all 6 ECTS from minor year II (instrument as well as the theory course) to enter the third minor year. Entrance examination The entrance examination comprises the following components: short motivation, to submit during the application process (200 words) performance (8-10 minutes) interview with the committee
Total duration of the entrance examination is 15 minutes. It is not compulsory to play on a modern instrument for the entrance examination if the student is not able to arrange this. Teachers: Varies, depending on the instrument Credits: 6 ECTS per academic year Literature: - Work form: Individual lessons and group lessons
136 137 Minor Early Music are in minor year 2 you can continue with the same instrument in the minor Early Music year 3).
In exceptional cases, bachelor II students can apply for the first two Course title: Minor Early Music years of the minor trajectory (but this will not lead to a certificate). Osiris course code: KC-EM-MI1, KC-EM-MI2, KC-EM-MI3 Because of the limited number of spaces, preference is given to students who can complete the full three year programme. Course content: The minor Early Music is intended for students from other departments who wish to learn more about Early Music in terms of Scheduled lesson time for individual lessons is 25 minutes per week performance practice, theoretical and historical context. or 50 minutes every other week, 34 weeks per academic year. The minor entails individual lessons on a early music instrument Prior qualifications/ Minor year I belonging to the same instrument family as your main subject of prerequisites: You are expected to demonstrate the following set of skills and study (See Appendix Framework Minor Classical Music, Minor Early abilities in an entrance examination: Music, Minor Jazz, Vocal). In addition to individual lessons on the • musical and stylistic affinity with early music instrument, the minor comprises a set of theoretical subjects from • physical affinity with the instrument the Early Music Department. • ability to perform early music repertoire • potential for development within the genre If, after auditioning, you are selected to enrol in this minor, you yourself are responsible for obtaining an instrument. The department Minor year II has a limited number of instruments available that could be You have to have obtained all 6 ECTS from minor year I (instrument as borrowed, but availability cannot be guaranteed. Please contact the well as the theory course) to enter the second minor year. department in due time to check for possibilities. Minor year III Students in the minor Early Music complete the following courses: You have to have obtained all 6 ECTS from minor year II (instrument as well as the theory course) to enter the third minor year. Individual Lesson Minor Early Music Bachelor II Ornamentation 1 Entrance examination The entrance examination comprises the following components: Ornamentation 2 1. short motivation, to submit during the application process (200 words) Bachelor III Individual Lesson Minor Early Music 2. performance (8-10 minutes) Early Music Seminars 3. interview with the committee Bachelor IV Individual Lesson Minor Early Music Total duration of the entrance examination is 15 minutes. Objectives: On completion of this minor, you: are able to perform with technical control over your minor instrument Teachers: Varies, depending on the instrument (e.g. sound, bowing, intonation, breathing); Credits: 6 ECTS per academic year have developed a basic understanding of the historical approach of music; Literature: - are able to reflect awareness of style and musical language (e.g. Work form: Individual lessons and group lessons ornamentation, articulation, basso continuo); demonstrate basic knowledge of the historical background and Assessment: Year Course Type of assessment repertoire of the instrument; are able to function in ensembles efficiently; Bachelor II Individual Lesson Practical examination demonstrate knowledge of the theoretical context of the repertoire. Minor Early Music (15 minutes) Ornamentation and See course description Type of course: Minor Diminuation 1 Ornamentation and Level: Bachelor II-IV Diminuation 2 Duration: This minor has a duration of three academic years. Bachelor III Individual Lesson Practical examination Minor Early Music (15 minutes) Only students in bachelor I can audition to enter the minor in Early Music Seminars See course description bachelor II. NB: An exception is made for students who were enrolled in the former minor Same Instrument, which was discontinued. These Bachelor IV Individual Lesson Practical examination students can enter the minor Early Music in a subsequent year (e.g. if Minor Early Music (25 minutes) you were originally enrolled in the minor Same Instrument and you
138 139 Grading system: Practical examination year II-III: qualifying result Minor Early Music - Related Instrument Practical examination year IV: numeric
Theoretical component (i.e. Ornamentation and Diminution, Early Music Seminars): see course description in the Curriculum Handbook Course title: Minor Early Music - Related Instrument Bachelor Early Music Osiris course code: KC-EM-MI1R, KC-EM-MI2R, KC-EM-MI3R Language: English Course content: The minor Early Music - Related Instrument is intended for students Schedule, time, See ASIMUT schedule from the Early Music Department who wish to develop instrumental venue: and musical skill and awareness on a related early music instrument in terms of performance practice and historical context and show Information: Brigitte Rebel, Coordinator Early Music Department (b.rebel@ promise and prospect for a multi-instrumental career. koncon.nl) Education Service Centre: [email protected] The minor entails individual lessons on a related early music instrument (for a framework of related instrument, see appendix minor Early Music – related instrument).
If, after auditioning, you are selected to enrol in this minor, you yourself are responsible for obtaining an instrument. The department has a limited number of instruments available that could be borrowed, but availability cannot be guaranteed. Please contact the department in due time to check for possibilities.
Students in the minor Early Music complete the following courses:
Bachelor II Individual Lesson Minor Early Music – Related Instrument Historical Development (if applicable) Bachelor III Individual Lesson Minor Early Music – Related Instrument Bachelor IV Individual Lesson Minor Early Music – Related Instrument Objectives: On completion of this course, you: • are able to perform with technical control over your minor instrument (e.g. sound, bowing, intonation, breathing); • are able to reflect awareness of style and musical language (e.g. ornamentation, articulation, basso continuo); • demonstrate basic knowledge of the historical background and repertoire of the instrument; • are able to function in ensembles efficiently; • demonstrate knowledge of the theoretical context of the repertoire. Type of course: Minor Level: Bachelor II-IV
140 141 Duration: This minor has a duration of three academic years. Assessment: Year Course Type of assessment
Only students in bachelor I can audition to enter the minor in Bachelor II Individual Lesson Minor Early Practical examination bachelor II. NB: An exception is made for students who were enrolled Music – Related Instrument (15 minutes) in the former minor Related Instrument, which was discontinued. These students can enter the minor Early Music – Related Instrument Historical Development See appendix and in a subsequent year (e.g. if you were originally enrolled in the minor course description Related Instrument and you are in minor year 2, you can continue Bachelor III Individual Lesson Minor Early Practical examination with the same instrument in the minor Early Music – Related Music – Related Instrument (15 minutes) Instrument year 3). Bachelor IV Individual Lesson Minor Early Practical examination In exceptional cases, bachelor II students can apply for the first two Music – Related Instrument (25 minutes) years of the minor trajectory (but this will not lead to a certificate). Because of a limited number of spaces, preference is given to Grading system: Instrumental Lesson: numeric students who can complete the full three year programme. Theory course: see course description in the Curriculum Handbook Bachelor Early Music Scheduled lesson time for individual lessons is 25 minutes per week Language: English or 50 minutes every other week, 34 weeks per academic year. Schedule, time, See ASIMUT schedule Prior qualifications/ Minor year I venue: prerequisites: You are expected to demonstrate the following set of skills and abilities in an entrance examination: Information: Education Service Centre: [email protected] • Physical affinity with the instrument • Ability to perform early music repertoire on the instrument • Potential for development on the instrument
Minor year II You have to have obtained all 6 ECTS from minor year I (instrument as well as the theory course) to enter the second minor year.
Minor year III You have to have obtained all 6 ECTS from minor year II (instrument as well as the theory course) to enter the third minor year. Entrance examination The entrance examination comprises the following components: 1. short motivation, to submit during the application process (200 words) 2. performance (8-10 minutes) 3. interview with the committee Total duration of the entrance examination is 15 minutes. Teachers: Varies, depending on the instrument Credits: 6 ECTS per academic year Literature: t.b.d. Work form: Individual lessons and group lessons
142 143 Appendix Minor Early Music- Related Instrument Minor Jazz
NB: You have to read this table from the left to the right. For example: if you study baroque Course title: Minor Jazz violin, you can choose viola or viola da gamba. Osiris course code: KC-JA-MI1, KC-JA-MI2, KC-JA-MI3 Main subject Related Alternative Course content: The minor Jazz is intended for students from other departments Baroque violin Viola Viola da gamba who wish to learn more about jazz in terms of performance practice, theoretical and historical context. Baroque viola Violin The minor entails individual lessons on a jazz instrument belonging to Baroque cello Viola da gamba Violone the same instrument family as your main subject of study (See Appendix Framework Minor Classical Music, Minor Early Music, Minor Jazz, Vocal). In addition to individual lessons on the instrument, the minor comprises a Viola da gamba Baroque cello Violone set of theoretical subjects from the Jazz Department.
Violone Viola da gamba If, after auditioning, you are selected to enrol in this minor, you yourself are responsible for obtaining an instrument. The department has a limited number of instruments available that could be Traverso Recorder borrowed, but availability cannot be guaranteed. Please contact the department in due time to check for possibilities. Recorder Traverso Oboe/Bassoon Students in the minor Jazz complete the following courses: Oboe Recorder Bachelor II Individual Lesson Minor Jazz Bassoon Dulcian Recorder/Oboe Jazz Music History Bachelor III Individual Lesson Minor Jazz Critical Jazz Studies I Harpsichord Fortepiano Organ Bachelor IV Individual Lesson Minor Jazz Fortepiano Harpsichord Organ Objectives: On completion of this minor, you: Organ Harpsichord • have developed a personal sound and an artistic vision; • are able to improvise in a discernible personal way in a number of styles of jazz; • have studied and performed the basic repertoire of jazz standards Trombone Natural trumpet/slide and originals and are able to play a number of them by heart; trumpet • are able to reflect awareness of style and musical language (e.g. Natural Trumpet Natural Horn tempo, rhythm, timing, phrasing, dynamics); • demonstrate knowledge of the historical background Natural Horn Natural Trumpet and repertoire of the instrument; • demonstrate knowledge of the theoretical context * For Clarinet, Harp and Lute students: there are no related instruments within the Early Music of jazz repertoire. Department. You may audition to enter the minor Classical Music or Jazz. Type of course: Minor Level: Bachelor II-IV Duration: This minor has a duration of three academic years.
Only students in bachelor I can audition to enter the minor in bachelor II. NB: An exception is made for students who were enrolled in the former minor Same Instrument, which was discontinued. These students can enter the minor Jazz in a subsequent year (e.g. if you were originally enrolled in the minor Same Instrument and you are in minor year 2, you can continue with the same instrument in the minor Jazz year 3).
144 145 In exceptional cases, bachelor II students can apply for the first two Language: English years of the minor trajectory (but this will not lead to a certificate). Because of a limited number of spaces, preference is given to Schedule, time, See ASIMUT schedule students who can complete the full three year programme. venue: Information: Yvonne Smeets – Head of Jazz Department ad interim Scheduled lesson time for individual lessons is 25 minutes per week ([email protected]) or 50 minutes every other week, 34 weeks per academic year. Education Service Centre: [email protected] Prior qualifications/ Minor year I prerequisites: You are expected to demonstrate the following set of skills and abilities in an entrance examination: • musical and stylistic affinity with jazz music • physical affinity with the instrument • ability to improvise in a jazz context • potential for development within the genre
Minor year II You have to have obtained all 6 ECTS from minor year I (instrument as well as the theory course) to enter the second minor year.
Minor year III You have to have obtained all 6 ECTS from minor year II (instrument as well as the theory course) to enter the third minor year. Entrance examination The entrance examination comprises the following components: 1. short motivation, to submit during the application process (200 words) 2. performance (8-10 minutes) 3. interview with the committee
Total duration of the entrance examination is 15 minutes. Teachers: Varies, depending on the instrument Credits: 6 ECTS per academic year Literature: - Work form: Individual lessons and group lessons Assessment: Year Course Type of assessment Bachelor II Individual Lesson Minor Jazz Practical examination (15 minutes) Jazz Music History See course description Bachelor III Individual Lesson Minor Jazz Practical examination (15 minutes) Critical Jazz Studies I See course description Bachelor IV Individual Lesson Minor Jazz Practical examination (25 minutes) Grading system: Practical examination year II-III: qualifying result Practical examination year IV: numeric
Jazz Music History and Critical Jazz Studies: see course description in the Curriculum Handbook Bachelor Jazz
146 147 Minor Jazz - Second Instrument a subsequent year (e.g. if you were originally enrolled in the minor Related Instrument and you are in minor year 2, you can continue wth the same instrument in the minor Jazz – Second Instrument year 3). Course title: Minor Jazz - Second Instrument Osiris course code: KC-JA-MI1S, KC-JA-MI2S, KC-JA-MI3S In exceptional cases, bachelor II students can apply for the first two years of the minor trajectory (but this will not lead to a certificate). Course content: The minor Jazz - Second Instrument is intended for students from the Because of a limited number of spaces, preference is given to Jazz Department who wish to develop instrumental and musical skill students who can complete the full three year programme. and awareness on a second jazz instrument in terms of performance practice and historical context and show promise and prospect for a Scheduled lesson time for individual lessons is 25 minutes per week multi-instrumental career. or 50 minutes every other week, 34 weeks per academic year. The minor entails individual lessons on a second jazz instrument. Prior qualifications/ Minor year I In addition to individual lessons on the instrument, the minor prerequisites: The student is expected to demonstrate the following set of skills and comprises a set of theoretical or performance subjects from the Jazz abilities in an entrance examination: Department related to the second instrument (See Appendix Minor musical and stylistic affinity with jazz music Jazz - Second Instrument). physical affinity with the instrument ability to improvise in a jazz context If, after auditioning, you are selected to enrol in this minor, you potential for development on the instrument yourself are responsible for obtaining an instrument. The department Minor year II has a limited number of instruments available that could be You have to have obtained all 6 ECTS from minor year I (instrument as borrowed, but availability cannot be guaranteed. Please contact the well as the theory course) to enter the second minor year. department in due time to check for possibilities. Minor year III You have to have obtained all 6 ECTS from minor year II (instrument Students in the minor Jazz – Second Instrument complete the as well as the theory course) to enter the third minor year. following courses: Entrance examination The entrance examination comprises the following components: short motivation, to submit during the application process (200 Bachelor II Individual Lesson Minor Jazz – Second Instrument words) Historical Development (or other, see appendix) performance (8-10 minutes) interview with the committee Bachelor III Individual Lesson Minor Jazz – Second Instrument Historical Development (or other, see appendix) Total duration of the entrance examination is 15 minutes. Bachelor IV Individual Lesson Minor Jazz – Second Instrument Teachers: Varies, depending on the instrument Objectives: On completion of this course, you: Credits: 6 ECTS per academic year • have developed a personal sound and an artistic vision; • are able to improvise in a discernible personal way in a number Literature: t.b.d. of styles of jazz; Work form: Individual lessons and group lessons • are able to reflect awareness of style and musical language (e.g. tempo, rhythm, timing, phrasing, dynamics) Assessment: Year Course Type of assessment • demonstrate knowledge of the historical background and repertoire of the instrument; Bachelor II Individual Lesson Minor Jazz Practical examination – Second Instrument (15 minutes) • demonstrate musical awareness and skill in a multi- instrumental context. Theory/perf. course See appendix and course description Type of course: Minor Bachelor III Individual Lesson Minor Jazz Practical examination Level: Bachelor II-IV – Second Instrument (15 minutes) Theory/perf. course See appendix and Duration: This minor has a duration of three academic years. course description Only students in bachelor I can audition to enter the minor in Bachelor IV Individual Lesson Minor Jazz Practical examination bachelor II. NB: An exception is made for students who were enrolled – Second Instrument (25 minutes) in the former minor Related Instrument, which was discontinued. These students can enter the minor Jazz – Second Instrument in
148 149 Grading system: Individual Lesson: numeric Appendix Minor Jazz – Second instrument Theoretical component: see course description in the Curriculum Handbook Bachelor Jazz Language: English Instrument Year 1 Year 2
Schedule, time, See ASIMUT schedule Voice Historical Development/ Historical Development/ venue: CVT* CVT* Information: Yvonne Smeets, Head of Jazz Department ad interim Piano/guitar Historical Development Rhythm section ([email protected]) Education Service Centre: [email protected] Bass Historical Development Rhythm Section/Combo*
Drums Historical Development Rhythm Section
Saxophone Historical Development Combo
Trumpet/trombone Historical Development Brassbook/Combo*
Vibraphone Historical Development Rhythm Section
* selection in consultation with Head of the Jazz Department
150 151 Minor Voice Minor Voice Classical Music
Course title: Minor Voice Course title: Minor Voice Classical Music Osiris course code: KC-AZ-MI1Z,KC-AZ-MI2Z, KC-AZ-MI3Z Osiris course code: KC-AZ-MI1C, KC-AZ-MI2C, KC-AZ-MI3C Course content: The minor Voice is for all students who do not study at the Vocal Course content: The minor Voice Classical Music is intended for students who study Studies Department. Students in the minor Voice are supposed to Vocal Studies Early Music and want complementary specialised already have some experience with singing. Before entering the minor instructions in classical performance of early repertoire. The course you do an informal test with one of the voice teachers. consists of individual lessons with a classical music teacher and In individual voice lessons you develop your vocal skills and learn related courses (decided on after consultation with the Head of to sing a repertoire fitting your vocal and musical abilities and Department). aspirations. At the end of the first two years you present a program of If you complete the full 3-year programme, you will receive a 15 minutes during an examination, and at the end of the third year of certificate. the minor you present a 25-minute programme. The full minor consists of 3 years, but you have the possibility to Objectives: At the end of the course, you: follow the minor for 1 or 2 years as an elective. If you complete the full • are able to sing the classical music repertoire according to the 3-year programme, you will receive a certificate. current performance practice; • are able to communicate the repertoire with understanding Objectives: At the end of the course, you: of text and music; • are able to sing repertoire, suited for your voice, using • have experienced a variety of musical styles within the classical the appropriate technical vocal skills; music vocal repertoire. • are able to communicate the repertoire with understanding of text and music; Type of course: Minor • have experienced a variety of musical styles in vocal repertoire. Level: Bachelor II-IV Type of course: Minor Duration: 25 min. per week or 50 min. every other week Level: Bachelor II-IV 0,5 lesson unit average per week, 34 weeks per year Duration: 25 min. per week or 50 min. every other week Prior qualifications/ Only open to students who study Voice Early Music. Entry is based on 0,5 lesson unit average per week, 34 weeks per year prerequisites: an audition. Limited spaces available. Prior qualifications/ Informal test with a voice teacher Teachers: Teachers from the Vocal Studies Department prerequisites: Credits: 6 ECTS per academic year Teachers: Teachers from the Vocal Studies Department Literature: t.b.a. Credits: 6 ECTS per academic year Work form: Individual and group lessons Literature: - Assessment: Examination at the end of each academic year Work form: Individual lesson Exam times Bachelor I and bachelor II: 15 minutes Assessment: Examination at the end of each academic year Bachelor III: 25 minutes Bachelor I + II: 15 minutes Bachelor III: 25 minutes Grading system: Numeric Grading system: Numeric Language: English Language: English Schedule, time, t.b.a. venue: Schedule, time, t.b.a. venue: Information: Monica Damen – Head of Vocal Studies Department ([email protected]) Information: Monica Damen – Head of Vocal Studies Department Education Service Centre: [email protected] ([email protected]) Education Service Centre: [email protected]
152 153 Minor Voice Early Music Duration: Voice lesson: 25 min. per week or 50 min. every other week Early Music Studies: 100 min per week, 20 weeks per year Prior qualifications/ Only open to students who study Voice Classical Music. Entry is Course title: Minor Voice Early Music prerequisites: based on an audition. Limited spaces available. Osiris course code: KC-AZ-MI1E, KC-AZ-MI2E, KC-AZ-MI3E Teachers: Voice lesson: teachers from the Vocal Studies Department Early Music Studies: João Carlos F. de M. Santos, João Luís Veloso Course content: The minor Voice Early Music is intended for students who study Paixão, Isaac Alonso de Molina Vocal Studies Classical Music and want complementary specialised instructions in historical performance of early repertoire. The course Credits: 6 ECTS per academic year consists of individual lessons with an early music voice teacher and several related topics from the early music theory course Early Music Literature: t.b.a. Studies. These envisage a general introduction to historical practices Work form: Voice lesson: individual of vocal music. Supported by old sources on performance and Early Music Studies: group lessons composition from both a theoretical and practical perspective, the main themes approached are: Assessment: Voice: examination at the end of each academic year Duration: 1st Year: Bachelor I and bachelor II: 15 minutes • Introduction to the Historical Performance Philosophy Bachelor III: 25 minutes • Historical Declamation and Acting • Basic Vocal forms and Compositional Devices Early Music Studies: During the course, students are expected to give • Vocal Performance Practice in the 18th Century a presentation including a performance. Students are also expected to hand in assignments during the course. 2nd Year Grading system: Voice lessons: numeric • Solmization and Vocal Counterpoint Early Music Studies: numeric • Elements of Keyboard Skills and Basso Continuo • Vocal Performance Practice Prior to the 18th Century Language: English Sources on Historical Vocal Technique (Analysis of Solfeggi) • Schedule, time, t.b.d. Continuation of Topics from the 1st Year • venue: 3rd Year Information: Monica Damen – Head of Vocal Studies Department • Individual Research ([email protected]) • Continuation of Topics from 1st and 2nd Year Education Service Centre: [email protected] • The Authenticity Debate
For each meeting specific readings are designated so that you can prepare at home.
If you complete the full 3-year programme, you will receive a certificate. Objectives: At the end of the course, you: • are equipped with conceptual and practical tools to perform and understand the music of historical styles; • are able to sing the early music repertoire in a historically informed way and are able to communicate it with understanding of text and music; • have experienced a variety of musical styles within the early music vocal repertoire. • have independence in the use of historical sources and in the discovery of historical performance practices. • are acquainted with the main practices in vocal music of earlier periods. Type of course: Minor Level: Bachelor II-IV
154 155 Appendix Framework Minor Classical Music, Minor Early Music, Minor Jazz, Vocal Courses offered by
Framework Minor Classical Music, Minor Early Music and Minor Jazz Codarts, Rotterdam NB: Only a horizontal combination is possible. For example: when you study Classical Flute, you can only choose Traverso or Jazz Flute. x = this instrument is not available in that department * = this instrument can only be chosen in consultation with the Head of the Department NB 2: Classical Music / Early Music vocal students can choose a minor Jazz Vocal. Jazz vocals Codarts electives (and all instrumentalists with some singing experience) can do a minor Voice or a minor Voice Basic (not a minor Voice Classical Music/Early Music!). NB 3: these minors may also be selected by students from the Creative Departments (upon audition). Contemporary Jazz Composition in practice Minor Classical Music Minor Early Music Minor Jazz Vocal Studies Choice Choice Choice Specific title module Contemporary Jazz Composition in practice Classical Flute Traverso/ Jazz Flute Recorder Osiris course code KC-EL-CODCJ Classical Oboe Baroque Oboe * Duration 30 weeks Classical Clarinet Baroque Clarinet Jazz Clarinet Day and time Wednesday 16:00-18:00 Classical Bassoon Baroque Bassoon * Course type Course Classical Saxophone X Jazz Saxophone Year Non year bound Classical Horn Natural Horn * Exam goal B Main phase Bachelor Classical Trompet Natural Trumpet Jazz Trompet Content (and relation This minor offers tools and guidance for the musician’s personal to professional growth as a composer in the contemporary jazz idiom, in a group with Classical Trombone Baroque Trombone Jazz Trombone practice) colleagues and on an individual basis. Students will acquire basic professional working skills in composing contemporary jazz music for Classical Tuba X * small bands (max 5/6). Classical Percussion X Vibraphone Jazz Composition in a very practical way: composing, performing Classical Harp Baroque Harp * and recording original works by the students, related to their (final) examinations and/or to their band practice outside Codarts. Various Classical Guitar Lute Jazz Guitar approaches to linear composition are included in the lessons, ranging Classical Accordion X * from sketching form-concepts to creating detailed scores. Different approaches to the implementation of guided improvisation are Classical Piano Fortepiano/ Jazz Piano treated. Clavecimbel/ Organ Reference 2.1, 2.2, 2.4, 4.1, 4.2, 4.3, 4.7, 5.5, 5.6 competencies Classical Violin Baroque Violin Jazz Violin Learning outcomes At the end of the module the student is able to compose or arrange Classical Viola Baroque Viola Jazz Viola a minimum of 3 works for small (jazz)ensemble (Min 3; rhythm section - max 5; rhythm section plus 1 or 2 soloists) delivering the Classical Cello Baroque Cello/ Jazz Cello score and parts including details concerning articulation, dynamics Viola da Gamba and interpretation. The arranged/composed works must be based on Classical Double Bass Violone Jazz Double Bass lineair composing techniques (intervallic structures), open forms and guided improvisation techniques. Jazz Voice Minor Voice / Minor Voice Basic (see NB 2)
156 157 Coordinating JPW Jazz arranging department Contact person Paul M van Brugge Specific title module Jazz arranging Language Dutch/English Osiris course code KC-EL-CODJA Work form Tutorial Duration 15 weeks in semester 2 Group size Min. 5 max. 6 Day and time Monday 18:15-20:15 Teacher(s) Paul M. van Brugge, Renard Aust Course type Course Entrance In order to apply for the minor, the student is asked to provide 2 to requirements 3 recent works (composition and/or arrangement) plus audio files to Year Non year bound show their affinity and experience with contemporary jazz. Scores and related audio files to be sent before 1 April: Exam goal B Main phase Bachelor 1. Go to filesender.surf.nl Content (and relation Having concluded this module, students will have sufficient basic 2. Search for Koninklijk Conservatorium and press enter to select. to professional knowledge in arranging for jazz formations at a beginning professional 3. Log in with your KC account. practice) level, varying from quintet to big band. 4. Send the files to [email protected] 5. “Application Minor Contemporary Jazz” in the header. In this module students learn about the evolution of jazz Sources, literature - arrangement, and gain knowledge of instruments and instrumentation, re-harmonisation, writing for 1,2,3,4,5-voices, using Assessment ‘upper structures’, counterpoint and form/flow. information Students are challenged to invent a new melody (contrafact and special) based on a chord progression. Analysing pieces (with the Exam Exam score as well as additively) and transcribing arrangements from CD. Exam name Minor Contemporary Jazz Composition in practice Reference 2.1, 2.2, 2.4, 4.1, 4.2, 4.3, 4.7, 5.5, 5.6 Semester 2 competenceis Exam form Combination: Theory – handing in assignments & Interview Learning outcomes On completion of the minor the student can: • arrange for small as well as large ensembles, possibly with voice Content of the exam Halfway through the year there is a formative assessment consisting in jazz and related styles. All this while keeping an eye on the of a written self-reflection by the student and an oral evaluation by register in which the horn players sound well and maintaining a the teacher. good form/flow. For the concluding exam the student must hand in 3 works as a score • produce knowledge about the various instruments used in the and as audio file. The work will be discussed in the presence of fellow arrangements: range of instruments, whether instruments students. are transposed and how. Criteria The material will be assessed on the elements of form, content and • write a chord varying from 5 horn players to big band notation. orchestration, both transposed as concert. Performance of the composer and their group(band)members will be • harmonize a given chord scheme assessed only in relation to the written material. • harmonize a scale in different ways • notating a theme from the Real Book in a ‘jazzy’ way Exam duration - Coordinating JPW Weighting 100% department Study credits 12 Contact person RHK Koemans Number of attempts 2 Language Dutch/English Result scale 20 point scale, 0,5 – 10, rounded off on halves Work form Tutorial Group size Min. 12, max. 15 Teacher RHK Koemans Entrance - requirements
158 159 Sources, literature Scores that have been written/transcribed by the teacher. Score as Songwriting A published by Second Floor. Linear Writing by Bill Dobbins. Writing for small and large ensemble, published by Berklee. Score of several arrangements, for example by Horace Silver, Gerry Mulligan, Duke Ellington/Billy Specific title module Songwriting A Strayhorn, Thad Jones, Maria Schneider, Gil Evans. Inside the Score Osiris course code KC-EL-CODSA by Rayburn Wright. The mentioned books and a large number of scores are available in the school library and on the internet. YouTube. Duration 15 weeks Muziekweb Day and time Sem 1: Monday 16:00-18:00. Sem 2: Monday 18:15-20:15. Assessment Course type Course information Year Non year bound Exam Exam Exam goal B Main phase Bachelor Exam name Minor jazz arranging Content (and relation The aim of this module is to intensify various songwriting skills and Semester 2 to professional apply them in a practical situation (band assignment, artist-oriented, Exam form Theory - written exam practice) style-oriented). Besides the craftsmanship of the songwriter, the motives and incentives of the songwriter are examined. Students Content of the exam Theoretical skills and arranging tested in a written exam learn the basic skills of songwriting and writing music and lyrics. Criteria More than 5 errors = not sufficient They learn to apply these skills to their own work. Some assignments An insufficient answer can be compensated with a well-answered are specific, while others are less strictly defined and should be question. A total mark of less than 5.5 means failing the exam. elaborated with the necessary creativity. The different elements of a song (rhythm, form, melody, lyrics, and so on) are used as a Exam duration 2 hours starting point for the assigned songs. Important here is that the students can give form to their work using a multitrack recording. The Weighting 50% final assignment is to create a Bandcamp or SoundCloud page, on Study credits 3 which their own work (10 songs) is presented – audio-visually – in a good way. Number of attempts 2 Reference 2.1, 2.2, 2.4, 4.1, 4.2, 4.3, 4.7, 5.5, 5.6 Resultaatschaal 20 point, 0,5 – 10, in halves competencies Assessment Learning outcomes The 10 assignment songs demonstrate not only that the students information have completed the specific assignments, but also show a creative, fully artistic interpretation of the writing assignments. Exam Exam Coordinating JPW Exam name Minor jazz arranging department Semester 2 Contact person Desmond Haneveer Exam form Theory – assignment to hand in Language Dutch/English Content of the exam Arranging assignments. Work form Seminar Criteria Arrangements are played by an ensemble/ the bigband and judged on Group size Min. 12, max. 15 sound, playability and form/flow. Teacher (s) Desmond Haneveer Exam duration n.a. Entrance Students from all departments can take part, as long as they satisfy Weighting 50% requirements the following requirements: Study credits 3 • basic knowledge of theory; • student already writes own repertoire; Number of attempts 2 • student plays a harmony instrument and sings; Resultaatschaal 20 point, 0,5 – 10, in halves Sources, literature Pat Pattison – Writing Better Lyrics: The Essential Guide to Powerful Songwriting Jimmy Kachulis – The Songwriter’s Workshop: Harmony
160 161 Jimmy Kachulis – The Songwriter’s Workshop: Melody Songwriting B Paul Zollo – Songwriters On Songwriting Jimmy Webb – Tunesmith Assessment Specific title module Songwriting B information Osiris course code KC-EL-CODSB Exam Exam Duration 15 weeks Exam name Minor Songwriting A Day and time Sem 1: Monday 18:15-20:15. Sem 2: Monday 16:00-18:00. Semester 1 or 2 Course type Course Exam form Theory – assignment to hand in Year Non year bound Content of the exam The students write 10 songs in different assignments. They place a multitrack recording of these songs online as a demo on BandCamp Exam goal B Main phase Bachelor or SoundCloud. Content (and relation The aim of the module is to intensify various songwriting skills and Criteria In addition to the specific, measurable parameters of the assignment, to professional apply them in a practical situation (band assignment, artist-oriented, attention is paid to the artistic content of the songs. How the practice) style-oriented). Besides the craftmanship of the songwriter, the students give form to their music as an artist is certainly as important. motives and incentives of the songwriter are examined. In the B-part The students are judged on continuity and development in the of the Songwriting minor we look into writing in different genres writing. and styles. What is needed to write a hit à la Rihanna? What’s the structure of a power ballad? The generic songwriting forms the Exam duration n.a. basis from which we deal with different methods, strategies and techniques. Important here is that the students can give form to their Weighting 100% work using multitrack recording. The final assignment is to create a Study credits 6 Bandcamp or SoundCloud page, on which their own work (10 songs) is presented – audio-visually – in a good way. Number of attempts 2 Reference 2.1, 2.2, 2.4, 4.1, 4.2, 4.3, 4.7, 5.5, 5.6 Result scale 20-point, 0.5 – 10, rounded off to halves competencies Learning outcomes The 10 assignment songs not only demonstrate that the students have completed the specific assignments, but also show a creative, fully artistic interpretation of the writing assignments. Coordinating JPW department Contact person Desmond Haneveer Language Dutch/English Work form Seminar Group size Min. 12, max. 15 Teacher (s) Desmond Haneveer Entrance Students from all departments can take part, as long as they satisfy requirements the following requirements: • basic knowledge of theory; • student already writes own repertoire; • student plays a harmony instrument and sings; Sources, literature Pat Pattison – Writing Better Lyrics: The Essential Guide to Powerful Songwriting Jimmy Kachulis – The Songwriter’s Workshop: Harmony Jimmy Kachulis – The Songwriter’s Workshop: Melody Paul Zollo – Songwriters On Songwriting Jimmy Webb – Tunesmith
162 163 Assessment World music composition in practice A – sound information Exam Exam Specific title module World music composition in practice A - sound Exam name Minor Songwriting B Osiris course code KC-EL-CODMA Semester 1 & 2 Duration 15 weeks Exam form Theory – assignment to hand in Day and time Monday 16:00-17:00 Content of the exam The students write 10 songs in different assignments. They place a multitrack recording of these songs online as a demo on BandCamp Course type Course or SoundCloud. Year Non year bound Criteria In addition to the specific, measurable parameters of the assignment, attention is paid to the artistic content of the songs. How the Exam goal B Main phase Bachelor students give form to their music as an artist is certainly as important. Content (and relation Students will acquire basic professional working skills in composing The students are judged on continuity and development in the to professional original music for a variety or combination of World Music writing. practice) instruments. Exam duration n.a. World Music Composition in a very practical way: critically sharing, commenting, refining and performing original works with and by the Weighting 100% students. Various approaches to composition are included in the lessons, ranging from creating scores to sketching form-concepts, Study credits 6 different traditions of musical notation are also treated. Module A - Number of attempts 2 sound will be focusing on melody and harmony. Completion of the course by handing in a documented portfolio of 4 Result scale 20-point, 0.5 – 10, rounded off to halves works, plus a required live performance of at least 1 composition. For more information please check the following website: oscarvandillen.com/projects/world_music_composition_in_practice/ Reference 2.1, 2.2, 2.4, 4.1, 4.2, 4.3, 4.7, 5.5, 5.6 competenceis Learning outcomes Students need to be able to independently make, (co-)produce and (co-)perform new original world music compositions, with aspects and elements of especially melody and harmony, inspired by and based upon at least the various world music traditions surveyed and studied in the lessons. Coordinating JPW department Contact person Oscar van Dillen Language English Work form Seminar Group size Min. 8 – max. 25 Teacher Oscar van Dillen Entrance - requirements Sources, literature World Music, a global journey, Miller/Shariari, Routledge 2006 Musical Terms Worldwide, Hartong, Semar/Codarts 2006 The Raga Guide, Bor, Nimbus/Codarts 1999 Turkish Music Makam Guide, Aydemir, Pan 2010 Twentieth Century Harmony, Vincent Persichetti, Faber 1961
164 165 Unterweisung im Tonsatz, Hindemith, Schott 1937 Afro-Cuban Percussion De Toonklok, Peter Schat, Meulenhoff 1984 ed. The Tone Clock, Harwood 1993 Give my regards to Eighth Street, Feldman/Friedman, Cambridge 2000 Specific title module Afro-Cuban Percussion Various online materials Osiris course code KC-EL-CODAP Assessment Duration 30 weeks information Day and time Monday 16:00-17:00 (group 1), 17:00-18:00 (group 2), 18:15-19:15 Exam Exam (group 3), 19:15-20:15 (group 4), 20:15-21:15 (group 5) Exam name Minor world music composition in practice A Course type Cursus Semester 1 Year Non year bound Exam form Theory- Handing in of assignment Exam goal B Main phase Bachelor Theory –interview Content (and relation On concluding this module, students have a basic knowledge of the Content of the exam Handing in a portfolio containing at least 1, during the minor newly to professional Caribbean rhythms on the various instruments and of how these are created, original world music composition in print and audio: scores practice) played together in an ensemble in an authentic manner. The focus is and recordings/simulations in for example mp3 format with brief on the rhythmic concept of Cuban and Caribbean music. Depending documentation and explanation on the level of the students, the most important patterns and Criteria The material will be assessed on the elements of originality of the techniques on congas, bongos, timbales, shekere, guiro, and so on are idea, applicability within the scope of the lessons (theme: sound – covered. Genres: Son, Folklore, Charanga, Canción, and within those: melody and harmony), compositional quality, possible performance Guajira, Cha and notational quality. Cha, Son Montuno, Guaracha, Guaguancó, Mozambique, Songo, Bembé, Abakua, Bolero, Bomba, Batá rhythms. In addition to Exam duration 15 mins. practical playing there is in-depth focus on the analysis of the theory and historical background of Caribbean rhythms. Weighting 100% Reference 1.1, 1.2, 1.3, 1.4, 1.5 Study credits 6 competencies Number of attempts 2 Learning outcomes Being able to recognise the various genres of Cuban and Puerto Result scale 20 point 0.5 – 10 in halves Rican music and apply standard rhythm patterns in a musical way. Genres: Son, Folklore, Charanga, Cancion, within those Guajira, Cha Cha, Son Montuno, Guaracha, Guaguanco, Mozambique, Songo, Bembe, Abakua, Bolero, Bomba, batá. Coordinating JPW department Contact person Nils Fischer Language English, Dutch Work form Practical group lesson Group size Min. 3, max. 4 Teacher Nils Fischer Entrance There will be an advanced group for drummers/ percussion players requirements and a beginners group without any entrance requirements Not for students with main subject latin drums/ percussion. Sources, literature “Los Cueros” reader by Nils Fischer, Codarts library Notation is used in lessons to explain and remember rhythms During lessons recordings are used to play along and available for further [self-] study Salsa Guide Book, Rebeca Mauleón (available in the Codarts library)
166 167 Assessment Brazilian Choro playing information Exam Exam Specific module title Brazilian Choro playing Exam name Minor Afro-Cuban percussion and historical context Osiris course code KC-EL-CODBC Semester 2 Duration 30 weeks Exam form Practical exam Day and time Saturday 12:30-14:30 Content of the exam The exam consists of three parts: 1. Recognising genres in a blindfold test (33%) Course type Course 2. Playing patterns (33%) 3. Evaluation of the ability to play patterns in an ensemble (this part Year Non year bound is evaluated during the lessons) (34%) Exam goal B Main phase Bachelor Criteria • Orientation regarding the various genres/patterns Content/relation to The minor Choro will be open for all instruments except vocals. • Sound, coordination on the respective instruments professional practice Choro is a mix of European classical music and Afro-Brazilian • Strong inner pulse, sense of time rhythms, this makes it a music style very accessible for students of • Ability to play correctly in a poly-rhythmic ensemble all departments, especially musicians with a classical background. Exam duration 15 mins. Choro is the mother of styles like samba and bossa nova. Various choro compositions will be played in an ensemble setting, through these compositions we will work on: Weighting 100% • rhythmical structures of different styles in choro and how to make rhythmical variations’; Study credits 6 • different ways to interpret the themes and how to improvise Number of attempts 2 within the choro idiom; Re-exam: In case of a re-exam, part 3 (playing together) will be tested • how to play choro counterpoint through analyses and provided by letting the student play together with the teacher. Part 1 and 2 are transcriptions; tested in the same form as in the first attempt. • how to interact between melody players and rhythm section. Result scale 20 point, 0,5 – 10, in halves Reference 1.2, 1.3, 1.4, 1.5, 1.6, 5.2, 5.3, 5.7 competencies Learning outcomes The students: • can perform a given lead sheet using variations of the melody and stylistic elements within the choro idiom; • can recognise the relevant grooves/styles of the genre and can apply these; • can create their own countermelodies using the theme melody and harmony; • can present the rehearsed repertoire in concert together with their fellow students. Coordinating JPW department Contact person Marijn van der Linden Language English Work forms Practical group lesson Group size Min. 10 students, max. 16, max. 2 per instrument Teacher(s) Marijn van der Linden Entrance Not for vocal students. requirements
168 169 Material/literature Scores handed out by the teacher. Brazilian Percussion Scores and listening examples downloadable on website www. choroschool.com Listening examples/ practice material handed out by the teacher Specific title module Brazilian Percussion Assessment information Osiris course code KC-EL-CODBP Exam Exam Duration 30 weeks Exam description Minor Brazilian Choro playing Day and time Wednesday 16:00-18:00 Semester 2 Course type Course Exam form Practical group exam Year Non year bound Content of the exam The module is concluded with an exam. The students are assessed in Exam goal B Main phase Bachelor a practical exam in the form of a collective concert/presentation Content (and relation On concluding this profile module, the student will have a basic to professional knowledge of the Brazilian rhythms on the various instruments and Exam criteria • Timing/groove practice) of how these are played together in an ensemble in an authentic • Interaction manner. • Interpretation/variation • Correct application of stylistic elements 1. Samba-Basics: Bossa Clave / Telecoteco / Partido Alto / 3-2 • Expression and 2-3/ “Swinge” Exam duration 30 mins. 2. Bahia-repertoire: Samba-Reggae + Afro-Samba / Blocos Afro da Bahia Weighting 100% 3. Samba-Batucada-repertoire: / Escolas de Samba do Rio / Study credits 6 Samba de Enredo 4. Moderne ritmes op Batucada instrumenten zoals Shuffle, Number of attempts 2 6/8, Funk, Jungle Result scale 20 point, 0,5 – 10, in halves 5. Samba-repertoire: Samba Pagode Instruments used in Brazilian music: • Pandeiro: learning the basic techniques on natural skin Pandeiro for Samba & Choro, Samba-Funk • Small Percussion: Ganza (Shaker), Tamborim, Agogô • Batucada intruments: learning several rhythms from the Bahia repertoire on Surdos 1, 2, 3 , Timbau, Repique, Caixa, Repinique and Timbau. Learning several rhythms from the Samba repertory on Surdos the 1a, 2a, 3a, Repique, Caixa. Tamborim, Agogô, Chocalho, Repinique. • Learning of the Maracatu from the Musica Nordestina repertoire on Bombos, Mineiro, Gongue and Tarol and style typical phrasing on Bombo. • Pagode instruments: learning the basic techniques on nylon Pandeiro, Rebolo and for Partido Alto and Samba Pagode.
Rhythms, playing techniques and arrangements. Playing together and making arrangements of, for example: • From the Bahia-repertoire several Bloco-Afro-arrangements such as those from Olodum, Timbalada, Ilê Ayê, and own arrangements, also from modern rhythms. • From Rio basic Bateria-rhythms & simple bossas from Unidos da Tijuca, Mocidade, and Mangueira • From Rio Samba- arrangements such as those from Alcione, Paulinho da Viola, Clementina de Jesus, Teresa Christina, Os melhores Choros de todos os tempos
170 171 • From Rio Pagode-style: Zeca Pagodinho, Fundo Weighting 100% do Quintal en Revelaçao Study credits 6 Reference 1.1, 1.2, 1.3, 1.4, 1.5 competencies Number of attempts 2 Re-exam consists of a resit of the practical exam. Students who Learning outcomes • After successfully completing this module the students: failed their first exam attempt because of an insufficient evaluation can perform Samba basics and the clave principle of their participation in the lessons (attendance, preparation, active on several instruments; participation, progress) will have to make an additional transcription • know how several rhythm patterns in the above mentioned genres on top of the practical exam resit. fit together and what the functions of the different instruments are and apply this knowledge in a percussion ensemble setting; Result scale 20 point, 0,5 – 10, in halves • can lead the group with playing entrance and exitcall on Repinique for a simple Samba Reggae and giving signs for breaks; • can perform the rhythms on Pandeiro as mentioned above; • can make transcriptions of arrangements played in the group lesson. Coördinating JPW department Contact person Maxim Zettel Language English Work form Practical group lesson Group size Min. 10, max. 15 Teacher Maxim Zettel Entrance Not for students with main subject latin drums/ percussion. requirements Sources, literature • Recordings submitted by the teacher/student • Oral traditions, without specific sources • Scores and transcriptions submitted by the students Assessment information Exam Exam Exam name Minor Brazilian percussion Semester 2 Exam form • Practical exam (50%) • Evaluation (50%) Content of the exam Continuous assessment during the course based on the student’s progress in playing together (50%) and a practical exam based on playing together including some individual questions (50%). Criteria Quality of the performance of the studied time patterns: • Knowledge of Patterns, Rhythms and Breaks from the Arrangements and Styles, Leading function (50%) • Sound (10%) • Timing (20%) • Transcription (20%) Exam duration 1 hr all together including debrief with student / 5 min each student individual talk
172 173 Flamenco Playing Group size Min. 6 max. 18 Teacher(s) Alexander Preuss, Irene Álvarez, Carmen Fernandez, Ricardo Mendeville Specific title module Flamenco playing Entrance Not for main subject flamenco. Osiris course code KC-EL-CODF requirements Duration 30 weeks Sources, literature Flamenco recordings from 1910 till todays actual musicians with a special focus on Paco de Lucia sextet. Day and time Thursday 16:00-18:00 Transcriptions / arrangement from Codarts flamenco ensemble. Course type Course A concrete list will be given at the beginning of the course. Year Non year bound Assessment information Exam goal B Main phase Bachelor or Master Exam Exam Content (and relation After concluding the module, students have sufficient knowledge to to professional play the most common rhythmical flamenco styles, such as bulerias, Exam name Minor Flamenco playing I practice) tangos, alegrias and siguiriyas on a basic level and to communicate Semester 2 with flamenco singing and dance based on the traditional flamenco codes. The course is divided into two parts during the year. From the Exam form Practical group exam two-hour weekly block the first hour is used to work on: Content of the exam At the end of the module the students are assessed on a presentation • the rhythmical structure of the different styles; in the form of a collective concert. • the harmonic and composition concept of flamenco (micro composition); Criteria • Timing • learning to understand how interaction functions in flamenco; • Articulation developing sound and phrasing; • Phrasing • the development and historical context of flamenco. • Expression • Interaction The second hour is dedicated to study and play flamenco styles/ pieces as an ensemble. As many instruments are quite new in the Exam duration 45 mins. flamenco landscape, some time is dedicated to experiment with Weighting 100% creating new sound colours within the flamenco context and to analyse recordings in which the specific instruments are used. Study credits 6 Reference 1.2, 1.3, 1.4, 1.5, 1.6, 5.2, 5.3, 5.7 Number of attempts 2 competencies In case of a re-exam the student will have to make a video-recording of the exam repertoire, with good audio quality. The student is Learning outcomes The students: responsible for bringing together an ensemble with the same set-up • can apply style elements such as fraseo, articulation, and timing as was used during the course. in executing a number of flamenco styles; • can present the rehearsed repertoire in concert together with Result scale 20 point 0,5 – 10, rounded off in halves fellow minor students; • show that they have assimilated the styles sufficiently to move freely in their rhythms and integrate new material in the right way. The student is able to distinguish flamenco from ‘flamenco-like’; • can master new repertoire in a stylistic and technical way, within the duration of the minor; • are invited to explore the possibilities of their own instrument in the context of flamenco within a given limitation. Coordinating JPW department Contact person Alexander Preuss Language English Work form Practical group lesson
174 175 Latin playing Exam description Minor latin playing Semester 2
Specific module title Latin Playing Exam form Combination: Practical group exam Osiris course code KC-EL-CODL Theory – written test Duration 30 weeks Content of the exam The module will be concluded with an exam, consisting of 2 parts:
Day and time Tuesday 16:00-18:00 (group 1), 18:15-20:15 (group 2) A short playing test: students will have to play a groove/ repertoire Course type Course piece in ensemble form (50%).
Year Non year bound A theory test: recognizing grooves/ styles typical for the genre from Exam goal B Main phase Bachelor listening examples (50%) Content/relation to The minor Latin Playing is open to pianists, bass/guitar players and Exam criteria Playing test: professional practice drummers/percussionists. It gives an introduction to Afro-Cuban • Correct use of style elements (piano) playing with the main focus on its basic rhythmical patterns • Timing and groove (tumbaos) and their Written/ practical theory test: close relation with bass/tres/guitar and percussion. Much emphasis • according to answer model is placed on the practical playing of various grooves and chord Exam duration Playing test: 15 min per group (for the exam, the class will be divided progressions, together with some basic improvisation in Cuban in several groups) style. Students are also provided with the contextual information on Written test/practical theory test: 20 min (with the whole class) the historical background of Afro-Cuban music, along with musical examples. Weighting 50% each Study credits 6 Reference 1.2, 1.3, 1.4, 1.5, 1.6, 5.2, 5.3 competencies Number of attempts 2 Learning outcomes • The student can play in clave and has a basic understanding of the Result scale 20 point, 0,5 – 10, in halves most relevant grooves of the genre • The student can perform a given score (real-book style) using relevant grooves and stylistic elements from the Afro-Cuban genre • The student can recognise the relevant grooves/ styles of the genre and is able to apply these Coordinating JPW department Contact person Thomas Böttcher Language English Work forms Practical group lesson Group size Min. 8, max. 10 Teacher(s) Thomas Böttcher Entrance Not for main subject Latin. requirements Material/literature Scores handed out by the teacher. Scores and listening examples downloadable on website www.choroschool.com Listening examples/ practice material handed by the teacher Assessment information Exam Exam
176 177 Raga Assessment information Exam Exam Specific title module Raga Exam name Minor raga Osiris course code KC-EL-CODR Semester 2 Duration 30 weeks Exam form Theory- practical theory Day and time Wednesday 16:00-18:00 Content of the exam Short presentation of a Raga: prelude (alap), followed by Course type Course a composition (bandish, gat) sing or played in variations + improvisations, with tabla and tanpura accompaniment Year Non year bound Criteria • Singing/playing in tune Exam goal B Main phase Bachelor (and Master) • Technically correct singing of the scale of raga Content (and relation • Enrichment of the knowledge of modality by exploring the modal • Steady execution of the prelude – alap to professional Indian concept of Raga. • Correct and steady citation of the tala basic phrase - theka practice) • Discovery and practice of the North Indian classical music • Steady execution of a composition - gat or bandish repertoire of vocal and instrumental music in the two classical • Correct use of rules in improvisation genres (Dhrupad and Khayal). Exam duration 60 min • Practice of the vocal techniques of Indian classical music. • Practice of improvised development of the alap, slow melodic Weighting 100% development of the scale (prelude). Study credits 6 • Work on compositions - bandish (vocal) and gat (instrumental) - in the connection with the Tala, the Indian concept of the Number of attempts 2 rhythmic cycle. • Practice of these vocal and instrumental compositions, played Result scale 10 point scale (rounded off in halves) in variations, and decorate with improvised development. • How to enrich melodic vocal or instrumental improvisations by using Indian rhythmic patterns and developments in the flow of the melody. Reference 1.2, 1.4, 1.5, 1.6, 5.7 competencies Learning outcomes Students learn to: recite some of the fundamental rhythmic melodies (theka) of the main rhythmic cycles (tala), accompanied by hand clapping and clap these tala’s while singing the compositions; improvise on a beginner level within the Indian system of Raga (melody) and Tala (rhythm) Coordinating JPW department Contact person Marianne Svašek / Henri Tournier Language English Work form Practical group lessons Group size Min. 8, max. 10 Teacher (s) Marianne Svašek / Henri Tournier Entrance Not for main subject Indian music requirements Sources, literature Practice material in pdf provided by the teacher (text, audio files), DVD, Spotify
178 179 Tala Semester 2 Exam form Theory- practical theory
Specific title module Tala Content of the exam Individual practical test Osiris course code KC-EL-CODTA1 Criteria • Technical execution of the Tala rhythms (clapping and singing) • Technical execution of the chakradaars and tehais Duration 30 weeks (tukras, relas, qaidas) • Coordination of these two elements Day and time Tuesday 16:00-18:00 (group 1), 18:15-20:15 (group 2) Exam duration 30 mins. Course type Course Weighting 100% Year Non year bound Study credits 6 Exam goal B Main phase Bachelor (and Master) Number of attempts 2 Content (and relation To expand the knowledge of rhythm, and to acquire the intricate to professional Indian Rhythm (Tala) system and improvisation. According to the Result scale 20 point scale (rounded off in halves) practice) level of the students, the most important ‘odd and even’ tala cycles, compositions, speed variation techniques, singing and clapping tradition of rhythm are taught. Mainly percussion and drums students are invited to learn the principle playing technics of the tabla. Reference 1.2, 1.4, 1.5, 1.6, 5.7 competencies Learning outcomes To be able to clap and sing the even and odd meter Tala cycles, to sing in double, triple, and quadruple speed while clapping the normal speed (1). The students are able to use and understand the correct nomenclatura of the compositions (tukra), the improvisations and subdivisions (tehai and chakradaars) of the Indian rhythm system. Being able to feel / experience 2 different rhythms at the same time and thus create a stronger rhythmic conscientiousness. Coordinating JPW department Contact person Niti Ranjan Biswas Language English Work form Practical group lessons Group size Min. 5, max. 8 Teacher(s) Niti Ranjan Biswas Entrance Not for main subject Indian Music. requirements Sources, literature Practice material in pdf provided by the teacher (text, audio files), DVD, Spotify Assessment information Exam Exam Exam name Minor Tala I
180 181 World Choir Coordinating JPW department Contact person Connie de Jongh Specific title module World choir Language English Osiris course code KC-EL-CODWH Work form Practical group lesson Duration 30 weeks Group size Min. 8, max. 20 Day and time Thursday 16:00-18:00 Teacher (s) Connie de Jongh, additional guest teachers on specific styles Course type Course Entrance Instrumental and vocal students interested in singing in a choir can Year Non year bound requirements join. Exam goal B Main phase Bachelor Sources, literature Repertoire will be provided by teacher and students during the course Content (and relation The Minor World Choir gives an active insight into singing vocal to professional repertoire from various backgrounds, styles and languages. The Assessment practice) course has two main focal points: information • choir singing skills: tuning, blending, leadership and conducting skills Exam Exam • getting acquainted with vocal repertoire (and techniques) from Exam name Minor World Choir over the world. Semester 2 Choir singing Exam form Practical group exam We will work on the specific demands of singing in a choir: singing in tune, working on a balanced choir sound. Students receive some light Content of the exam The module is concluded by a (public) performance of at least 5 vocal training where necessary so also instrumentalists will be able to pieces. use their voice in a healthy manner. Apart from singing IN the choir, Criteria • Singing in balance with the choir (blending) students will also be guided into leading/ conducting the rehearsals • Correct execution of the given parts of the pieces they bring. • Correct application of style specific elements • Leadership and conducting skills Vocal repertoire from the world We study and rehearse all kinds of repertoire stretching from Old Exam duration 45 mins. Music to Homeland repertoire. The teacher provides material but students are also expected to contribute to the repertoire of the Weighting 100% choir. They are invited to share ‘homeland’ melodies or compositions/ Study credits 6 arrangements that they have made themselves. When studying material from different styles, we also look into the use of style Number of attempts 2 specific elements, such as tuning, phrasing, articulation and Result scale 20 point, 0,5 – 10, in halves ornamentation.
Work in progress is more than welcome, students are very much encouraged to use the new sounds and ideas they are introduced to to create new material and try that out in the rehearsals. Reference 1.1, 1.2, 1.3, 1.4, 1.5, 1.8, 5.2, 5.3, 5.7 competencies Learning outcomes After successful completion of the module, the students can • sing in multiple harmony in a choir setting • understand and apply style specific elements such as tuning, phrasing, articulation, ornamentation in interpreting and perform repertoire from different genres of the world • show leadership and conducting skills in rehearsing and performing
182 183 Students know the basics of marketing and know how to develop a Codarts General minors smart and complete marketing strategy for their own business. They are well informed about the current workings of the music business, also in ways that don’t directly affect them. They know the different roles in the business and can assess their relevance for Entrepreneurship: New Opportunities for Music themselves. Students are well-informed about financial matters for a small business. Specific module title Entrepreneurship: New Opportunities for Music Osiris course code KC-EL-CODENT The music business is always in development. During the minor new topics, unknown at the start of the minor, regarding music Duration 30 weeks entrepreneurship are treated. Students show they understand these Day and time Tuesday 16:00-18:00 topics and what they mean for their own purposes. Course type Course Coordinating Codarts department Year 3rd or 4th study year Contact person Ewout van der Linden Exam goal B Main phase Bachelor Language English, Dutch Content/relation to Almost all music students become music entrepreneurs after their professional practice study. But some want to look further than standard ways to make in Work forms Classes income with music. They are interested in smart, innovative ways of Individual coaching capitalizing on their talent in todays and tomorrows creative sector. Group size Min. 10, max. 25 To achieve this, they need the right partners in and outside music business. The marketing strategy should be creative and effective. Teacher(s) One lecturer, several guests And financial planning must be correct. Entrance Not for Pop students. In the module Entrepreneurship: New Opportunities for Music requirements students develop their own plan for a healthy music business. Students are able to make a decent income from their music, in a Material/literature Hand-outs by teacher business that suits their talent and character. Assessment The module offers the building blocks for this plan. The module information consists of lectures, company visits, assignments, and guest lectures by professionals such as artist managers, promotors, and finance and Exam Exam marketing specialists. Exam description Minor Entrepreneurship: New opportunities for music Subjects: Semester 2 • being an entrepreneur, including the personal values of the student relating to society, personal mission statement; Exam form Assignment (Portfolio) • the workings of the music business, including trends with labels, Content of the exam The grade of this minor is based on a portfolio that the students compile. bookers, publishers, on line services and other intermediates, This portfolio shows they have achieved the learning objectives. music rights, and contracts; • making your living an income with music, about traditional and/ Exam criteria • Insights in the workings of the music business or innovative income sources for music; • Feasibility and originality of plans • music marketing and promotion, including music marketing • Creativity with marketing and promotion knowledge and online marketing and music distribution; • Understanding of basic finance • finance: including setting up a basic administration • Clear presentation and information on funding. Exam duration n/a Reference 3.1, 3.2, 3.3, 3.4 Weighting 100% competences Study credits 12 Learning outcomes Students can translate their own talent and preferences in a music business that generates enough income, in both present and Number of attempts 2 unknown future circumstances. A business that addresses the public value of music in society. Result scale 20 point; 0,5 – 10, in halves
184 185 Rhythmic Melodic Patterns in the 21st Century Entrance Basic rhythmic feeling requirements Sources, literature • Hariprasad Chaurasia and the Art of Improvisation/Henri Tournier Specific title module Rhythmic Melodic Patterns in the 21st Century • Some Thoughts on Improvisation/Bruno Nettl • The Improvisation of Musical Dialogue/ Bruce Ellis Benson Osiris course code KC-EL-CODRM • DVD The Art of Doing Nothing/Willem Tanke with students Duration 30 weeks • various audio/video-recordings in the area of different music traditions. Day and time Thursday 18:15-19;45 (group 1), 19:45-21:15 (group 2) Assessment Course type Course information Year Non yearbound Exam Practical exam Exam goal B Main phase Bachelor Exam name Minor Rhythmic Melodic Patterns in the 21st Century Content (and relation Rhythmic Melodic Patterns in the 21st Century is a true cross-over Semester 1 to professional minor for students from the classical, jazz, world music and pop practice) academies, given by teachers from these academies. Exam form Practical exam Content of the exam Part a: students perform a number of patterns solo, resulting in grade Students memorise and internalise a number of moderately quick a. rhythmic melodic patterns from Willem Tanke’s composition Rhythm Part b: students perform a piece for ensemble together, resulting in Pattern Melodies VII with the following time signatures (in eighth grade b. notes): 16+9, 10+10+12, 17+12, 9+11+16. They use these patterns for Grades a and b will be averaged, resulting in final grade c. both accompaniment and improvised elementary melodies within a pentatonic framework, solo, and with others. Students eventually Criteria • Creativity learn to make an ensemble piece based on the studied patterns. In • Listening and communication skills each lesson, Willem Tanke teaches with the help of the piano. Guest • Rhythmic, melodic and if applicable, harmonic skills teachers may be invited to share their specific expertise or approach • Feeling for musical structure to the material. • Ability to handle unexpected situations in music • Participation during the course The team of teachers demonstrates to the students that the concept of frequently repeated rhythmic-melodic patterns is not only vital to Exam duration 120 mins. every music tradition in itself, but serves to link the traditions to each Weight 100% other. Study credits 6 Reference 1.3, 1.5, 1.6, 5.3, 5.7 competencies Number of attempts 2 Learning outcomes Students are able to perform a number of rhythmic melodic patterns Result scale 20 point, 0,5 – 10, in halves suitable for cross-overs with great rhythmic intensity, both in accompaniments and improvised solos. They feed this rhythmic intensity back into repertoire from their own tradition. The end result is a higher degree of musicianship in cross-overs and traditional repertoire. Coordinating KM department Contact person Willem Tanke Language Dutch or English Work form Practical group lesson Group size 8-12 Teacher (s) Willem Tanke Several guest teachers may be invited
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