Curriculum Handbook Bachelor Minors and Electives Royal Conservatoire the Hague Codarts Rotterdam Leiden University 2019-2020

Curriculum Handbook Bachelor Minors and Electives

Royal Conservatoire The Hague Codarts Rotterdam Leiden University 2019-2020

The information contained in this Curriculum Handbook is, beyond errors and omissions, correct at the time of publication, but may be subject to change during the academic year.

If you have any suggestions for improvement of this Curriculum Handbook, please send an email to [email protected]. For questions about courses, you can get in touch with the contact person mentioned in the course description.

TABLE OF CONTENT Table of Content ...... 3 KC Minors and Electives ...... 6 Minors without entrance exam ...... 6 Minor Sonology ...... 6 Minor Voice Basic ...... 7 Minor in Education ...... 8 KC Minors with entrance exam ...... 9 Minor ArtScience – NEW! ...... 9 Minor Chamber Music – NEW! ...... 11 Minor Choral Conducting ...... 12 Minor Composition...... 16 Minor Music Theory ...... 18 Minor Classical Music – NEW! ...... 19 Minor Early Music – NEW! ...... 21 Minor Early Music - Related Instrument – NEW! ...... 23 Minor Jazz – NEW! ...... 26 Minor Jazz - Second Instrument – NEW! ...... 28 Minor Voice ...... 31 Minor Voice Classical Music ...... 32 Minor Voice Early Music ...... 33 Appendix Framework Minor Classical Music, Minor Early Music, Minor Jazz, Vocal ...... 35 KC Electives ...... 36 Alexander Technique 1 ...... 36 Alexander Technique 2 ...... 37 Bodywork - Dance ...... 38 CDO/Career Development Office, External Personal/Professional Projects ...... 39 Concert Production ...... 42 Effective Practice – Music Making, Practicing and the Brain ...... 43 Music Education according to the Kodály Concept ...... 44 Quality Practice ...... 46 Yoga for Musicians ...... 47 KC Electives - from the Classical Department ...... 48 Music Around the Corner, Orkest Morgenstond ...... 48 KC Electives - from the Early Music Department ...... 50 Latin for Musicians ...... 50 Applied Historical Improvisation ...... 51 Baroque Dance ...... 52 Basso Continuo in Performance ...... 53 Early Music Seminars ...... 54 Early Music Studies 1 ...... 55 Gregorian Chant and Choir ...... 57 Literature Class - Fortepiano ...... 58 Ornamentation and Diminution 1 ...... 59 Ornamentation and Diminution 2 ...... 60

Practicum Polyphoniae ...... 61 Rhetoric ...... 62 KC Electives - from the Jazz Department...... 63 Jazz Choir ...... 63 Music History Jazz ...... 64 KC Electives - Selection from the Institute of Sonology ...... 65 Aesthetics and Performance in Electronic Music ...... 65 Analysis/Re-synthesis ...... 66 Composing with Algorithms ...... 67 History of Contemporary Music Composition ...... 68 Live Electronic Music ...... 69 Music and Time ...... 70 Real-Time Processes with Max/MSP ...... 71 Signals and Systems 1 ...... 72 Signals and Systems 2 ...... 73 Sound and Space ...... 74 KC Electives - Selection from the Composition Department ...... 75 Analysis Contemporary Music Basic ...... 75 Music Multi Media ...... 76 KC Electives - Selection from the Art of Sound Department ...... 77 Electro Acoustics 2 ...... 77 Mathematics and Physics 1 ...... 78 Mathematics and Physics 2 ...... 80 Psycho Acoustics ...... 81 Room Acoustics 1 ...... 82 Room Acoustics 2 ...... 83 KC Music Theory Electives ...... 85 Analysis: Analysing Techniques ...... 85 Writing: Modal Counterpoint ...... 86 Writing: Tonal Counterpoint ...... 87 Writing: Arranging / Instrumentation ...... 88 Writing: Style Copy Classical and Romantic Period ...... 89 Writing: Composing for Classical Musicians ...... 90 Writing: Composing for Jazz Musicians ...... 91 Aesthetics and Philosophy of Music ...... 92 Playing & Improvisation: Harmony at the Piano 3 ...... 93 Playing & Improvisation: Rhythm Class 3 for Classical Music students ...... 94 Playing & Improvisation: Rhythm Class 3 for Jazz students ...... 95 Playing & Improvisation: Improvisation for Classical Musicians ...... 96 Playing & Improvisation: Introduction to Jazz Harmony ...... 97 KC Jazz ATV 3 Projects ...... 98 General Music Theory 3 (ATV3) – projects ...... 98 ATV3 Big Band (2 periods) ...... 99 ATV3 Big Band (2 periods) ...... 99 ATV3 John Scofield/Pat Metheny (2 periods) ...... 100 ATV3 Miles Davis/Wayne Shorter (2 periods) ...... 100

ATV3 Charlie Parker (1 period) ...... 101 ATV3 Gil Evans (1 period) ...... 101 ATV3 Jazz Auditive Analysis (1 period) ...... 101 Codarts Electives ...... 102 Composition – Arranging – Songwriting Minors ...... 102 Contemporary Jazz Composition in practice ...... 102 Jazz arranging ...... 104 Songwriting A ...... 106 Songwriting B...... 107 World music composition in practice A – sound ...... 108 World music composition in practice B – time ...... 109 Practical Playing Minors ...... 110 Afro-Cuban Percussion ...... 110 Brazilian Choro playing ...... 112 Brazilian Percussion ...... 114 Flamenco Playing I ...... 116 Flamenco Playing II ...... 118 Latin playing ...... 120 Playing Tango ...... 121 Pop percussion ...... 122 Raga ...... 124 Strings in Pop ...... 125 Tala I ...... 127 Tala II ...... 128 World Choir ...... 129 General Minors ...... 131 Entrepreneurship: New Opportunities for Music ...... 131 Rhythmic Melodic Patterns in the 21st Century ...... 133

KC MINORS AND ELECTIVES

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 students of the Royal Conservatoire, the KABK and Leiden University. More information about the sonology electives can be found at each separate elective course descriptions. 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 Language: English Schedule, time, venue: t.b.a. Information: Kees Tazelaar – Head of the Sonology Department ([email protected])

MINOR VOICE BASIC

Course title: Minor Voice Basic Osiris course code: KC-AZ-MI1B KC-AZ-MI2B KC-AZ-MI3B Course content: The Minor Voice Basic is open to students of all departments and is developed to give you the opportunity to develop your vocal skills and extend your experience and repertoire in singing. This course is based on the conviction that voice is the instrument that is most near to people, and that for any musician singing is a useful tool to get in touch with their inner musicality. The lessons Minor Voice Basic are taught in small groups of 3 to 5 students, combining ensemble work and individual teaching. The repertoire is often ensemble repertoire, to be selected by teacher and students together. The full minor programme extends over 3 years (bachelor II-IV) but students can choose to do this program during one or two years as an elective. If you complete the full 3-year programme, you will receive a certificate. Objectives: At the end of this course, you: . have explored and learned a repertoire for voice fitting his vocal and musical abilities; . are able to use the basic technical vocal principles; . are able to use your musical skills using your own voice; . are able to present yourself in front of an audience as a musician with and without your instrument; . are able to sing in ensembles, using elementary ensemble skills. Type of course: Minor Level: Bachelor II-IV Duration: Weekly lessons of 45 or 60 minutes, depending on the number of students, 36 weeks per year Prior qualifications/ - prerequisites: Teachers: t.b.a. Credits: 6 ECTS per academic year Literature: t.b.a. Work form: Voice lessons in groups of 3-4 students, ensemble classes Assessment: Singing test in the form of a public concert at the end of each academic year. Grading system: Numeric Language: English Schedule, time, venue: t.b.d. Information: Monica Damen – Head of Vocal Studies Department ([email protected]) Education Service Centre: [email protected]

MINOR IN EDUCATION

Course title: Minor in Education Osiris course code: Course content: Please read the following information carefully!

From next year, there will be a number of changes to the educational courses that are on offer. First, the compulsory educational courses in the curriculum will be renewed. From 2020-2021, the Minor in Education will be renewed as well. Students who are already enrolled in the Minor in Education, can finish the current minor programme.

-Current bachelor II students who already follow the Minor in Education need to apply for Minor in Education part 2. If you haven’t started the Minor in Education yet, it is not possible to enroll. - Current bachelor III students who already follow the Minor in Education need to apply for Minor in Education part 3. If you haven’t started the Minor in Education yet, it is not possible to enroll.

- Current bachelor I students: Different from the current Minor, the new Minor in Education will start in bachelor III. If you think you want to follow the Minor in Education, you have to choose electives for next year (2019-2020, with a total 6 ECTS) and have to apply for the Minor in Education the year after (2020-2021).

The new Minor in Education is complementary to the compulsory courses Educational Skills 1-2-3 (new courses, starting in 2019-2020). In the minor you extend the development of teaching skills and knowledge, including repertoire and differences between pupils. In Educational Skills Differentiation 1&2 you choose an area of interest (one-to-one tuition, group teaching, musicians in the classroom, special target groups, educational concerts, the Kodály method) in which you further develop your expertise.

The new minor exists of the following courses: - Teaching Skills - Educational Fout! Verwijzingsbron niet gevonden.Skills Differentiation 1 - Educational Skills Differentiation 2 Objectives: At the end of the new Minor in Education, you:  have further developed your teaching skills and knowledge;  have broadened your experience as a teacher;  have (further) developed educational skills and knowledge related to one of these areas: one-to-one tuition, group teaching, musicians in the classroom, special target groups, educational concerts, the Kodály method;  have developed a clear picture of your possible future role in music education. Information: Julia Stegeman – [email protected] Marijke van den Bergen – [email protected] M202

KC MINORS WITH ENTRANCE EXAM

MINOR ARTSCIENCE – NEW!

Course title: Minor ArtScience – NEW! Osiris course code: KC- Separate Osiris codes for each ArtScience elective

Course content: The ArtScience Interfaculty is a collaboration between the Royal Conservatoire and the Royal Academy of Art. The Interfaculty (bachelor and master) leads to an interdisciplinary and experimental artistry of the twenty-first century. Within the Conservatory, ArtScience joins forces with the Composition and Sonology departments, the well-known Creative Departments.

The minor ArtScience consists of 30 ECTS and exists at three components, to be obtained in one complete semester or in phases over several years. Students do entrance exams before they can enter the minor. Each minorstudent chooses a coach from the core art team of ArtScience who will guide her of him in the study trajectory.

Part 1 Some courses to introduce the ArtScience domain and the interdisciplinary basis (to be determined upon admission, based on the student's main course): 10 ECTS Because of the interdisciplinary character of the program, it is necessary for incoming minor students to follow some basic courses in disciplines that are not part of the main study trajectory of the student. For Conservatoire students this will normally be, for example, visual and conceptual subjects. Technological knowledge (programming, electronics) can also be part of the introductory 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 program. The course offer of the current year can be viewed on the website of the Interfaculty: http://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 her / his 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'.) When a student has completed these three components, a score of at least 30 ECTS has been reached. The student receives a certificate that he /she has successfully completed the minor ArtScience. The most up-to-date information about the curriculum, the curriculum, the timetable and the lecturers can always be found at http://www.interfaculty.nl/.

If you complete the full 30 ECTS programme, you will receive a certificate. Objectives: See course descriptions of the available ArtScience electives

Type of course: Minor

Level: Bachelor - master

Duration: Weekly lessons

Prior qualifications/ Students who want to follow this minor have to do an entrance exam. Experience prerequisites: with the visual arts is desirable.

Teachers: Teachers of the ArtScience Department

Credits: 30 ECTS divided over one semester, or three years

Literature: t.b.a.

Work form: Group lessons

Assessment: Seperate assignments per course plus final individual project assessment

Grading system: Varies per ArtScience elective

Language: English

Schedule, time, venue: t.b.a.

Information: Taconis Stolk – Head of the ArtScience Department ([email protected])

MINOR CHAMBER MUSIC – NEW!

Course title: Minor Chamber Music – NEW! Osiris Course Code: Course content: The minor Chamber Music is intended for existing ensembles from the Classical Music department who wish to immerse themselves in an intensive programme designed to strengthen their chamber music skills. The programme gives you the opportunity to work with a fixed ensemble for a full academic year. You will work with a team of teachers, including music theorists, tailored to your ensemble’s particular needs. If you complete the full 3-year programme, you will receive a certificate. Objectives: At the end of this course, you: . have studied and performed relevant works of the chamber music repertoire; . are able to analyse a composition on a basic level and incorporate this in your rehearsal process; . have developed effective ensemble rehearsal techniques; including planning, cooperating, studying repertoire, dealing with critique and communicating within an ensemble setting; . are able to demonstrate the ability to communicate, react and cooperate within an ensemble, both during rehearsals and performance; . have developed artistically and can show a sense of craftsmanship, both of which enable you to relate independently to the music and the ensemble. Type of course: Minor Level: Bachelor Duration: 34 lessons of 50 minutes Prior qualifications/ This minor is only open for existing ensembles from the Classical Music Department, prerequisites: 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.

Final presentations are held in the form of a concert during the 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 repertoire at hand. Duration of the programme for the chamber music assessment is 25-30 minutes including entering and leaving the stage.

Absence is only allowed due to unforeseen circumstances or with permission from the principal teacher of this course. Grading system: Pass/fail Language: English Schedule, time, venue: To be arranged with teacher Information: Fabiënne Kramer ([email protected] )

MINOR CHORAL CONDUCTING

Course title: Minor Choral Conducting Osiris course code: KC-DK-MI1, KC-DK-MI2, KC-DK-MI3 Course content: Students of the Vocal Studies Department follow a programme in choral conducting with Jos Vermunt and Richard Ram. Each year, you do an exam. At the end of the course, the minor is concluded with a final exam, in which you conduct a vocal ensemble, are assessed on knowledge of the repertoire by a committee, and do a practical final exam in score playing.

The minor Conducting consists of the following courses: 1st year - Conducting Lessons 2 ECTS - Rehearsal Methodology 2 ECTS - Ear Training for Conductors 2 ECTS - Practicum 2 ECTS

2nd year - Conducting Lessons 2 ECTS - Repertoire, Performance Practice, Programming and 3 ECTS Method Choral Conducting - Score Playing 1 ECTS - Practicum 2 ECTS

3rd year - Conducting Lessons 2 ECTS - Repertoire, Performance Practice, Programming and 3 ECTS Method Choral Conducting - Score Playing 1 ECTS - Practicum 2 ECTS

If you complete the full 3-year programme, you will receive a certificate.

Objectives: At the end of this course, you have reached a level equal to the propaedeutic exam of the bachelor conducting for the courses: - Conducting Lessons - Ear training - Repertoire, Performance Practice, Programming and Method Choral Conducting - Score Playing - Practicum Type of course: Minor Level: Bachelor II-IV Duration: Conducting Lessons: 50 mins per week, 34 weeks per year Repertoire, Performance Practice, Programming and Method Choral Conducting: 90 mins per week, 34 weeks per year Ear Training for Conductors: 50 mins per week, 34 weeks per year Score Playing: 25 mins per week, 17 weeks per year Practicum: 90 minuts per week, 34 weeks per year Prior qualifications/ The minor Choral Conducting is available for students in bachelor II from the Vocal prerequisites: Studies Department who have completed the theory curriculum of the first year. A maximum of 2 students can be placed in each year. An audition is organized on 2

April 2019 (without prejudice) 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 Jos Vermunt Repertoire, Performance Practice, Programming and Method Choral Conducting Jos Vermunt & Wiecher Mandemaker Ear training for Conductors Ward Spanjers Score Playing Richard Ram Practicum Wiecher Mandemaker Credits: 8-8-8 ECTS per academic year Literature: Determined by the teachers Work form: Conducting Lessons group lesson Repertoire, Performance Practice, Programming group lesson and Method Choral Conducting Ear training for Conductors group lesson Score Playing individual lesson Practicum group lesson

Assessment: Conducting Technique practical exam each year Repertoire, Performance Practice, Programming active participation and Method Choral Conducting Ear training for Conductors written test Score Playing practical exam each year Practicum active participation & preparation

At the end of the minor, you do a final exam consisting of: - a practical conducting exam with a vocal ensemble - a meeting with the jury, discussing knowledge on the repertoire - a practical exam for score playing, during the same meeting with the jury Grading system: Conducting Lessons numeric Repertoire, Performance Practice, Programming pass/fail and Method Choral Conducting Ear training for Conductors numeric Score Playing numeric Practicum pass/fail

Language: English Schedule, time, venue: See ASIMUT schedule Information: Marloes Kouwenberg – Coordinator Conducting Department ([email protected]) Education Service Centre: [email protected]

MINOR ORCHESTRAL CONDUCTING

Course title: Minor Orchestral Conducting Osiris course code: KC-DO-MI1, KC-DOMI2, KC-DO-MI3 Course content: This minor is designed for students of instrumental main subjects who have the ambition to become a conductor. After finishing this minor, you should be able to do an entrance exam for a master’s programme in conducting. The minor in Orchestral Conducting consists of 10 ECTS per year. It is therefore more intensive than other minors.

The minor Orchestral Conducting consists of the following courses: 1st year - Conducting and rehearsing technique 1 4 ECTS - Ear training for conductors 4 ECTS - Score playing 2 ECTS

2nd year - Conducting and rehearsing technique 2 4 ECTS - Ear training for conductors 4 ECTS - Score playing 2 ECTS

3rd year - Conducting and rehearsing technique 3 4 ECTS - Ear training for conductors 4 ECTS - Score playing 2 ECTS

If you complete the full 3-year programme, you will receive a certificate. Objectives: At the end of this course, you: . are able to do an entrance exam for a master’s programme in conducting. Type of course: Minor Level: Bachelor II-IV Duration: Conducting and rehearsing technique: 50 mins per week, 34 weeks per year: 90 minutes per month Ear training for conductors: 100 minutes per week, 36 weeks per year Score playing: 25 minutes per week, 36 weeks per year Prior qualifications/ The minor conducting is available for students in bachelor II from the Classical, prerequisites: Composition, and Early Music Departments, who have completed the theory curriculum of the first year. A maximum of 2 students can be placed in each year. An audition is organized on 24 June 2019 (without prejudice) for entrance into the minor. At this audition, the candidates conduct a student ensemble or orchestra. Teachers: Conducting and rehearsing technique: Jac van Steen 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: Conducting and rehearsing technique: individual and group lessons Ear training for conductors: group lesson Score playing: individual lesson

Assessment: Conducting and rehearsing technique: practical exam each year Solfeggio for conductors: written test Score playing: practical exam each year

At the end of each year, students do an exam, consisting of: - a practical conducting exam with ensemble or orchestra - a meeting with the jury, discussing knowledge on repertoire and rehearsing technique - a practical exam for score playing, during the same meeting with the jury

Assessment subject to change: students will be informed should any changes occur Grading system: All courses: numeric Language: English Schedule, time, venue: See ASIMUT schedule Information: Marloes Kouwenberg, [email protected]

MINOR COMPOSITION

Course title: Minor Composition Osiris course code: KC-CO-MIL1-14 KC-CO-MIL2-14 KC-CO-MIL3-14 Course content: The minor Composition is designed for students who already have a good level and experience in composition. The main focus is on 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 for an audition. prerequisites: 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. Work form: - Composition lessons in small group - Group lessons: Studium Generale - Project(s)

Assessment: A minimum of 80% attendance for all lessons. Each year the work of the minor student is evaluated by the main teacher and colleagues. The results of these evaluations are communicated to the minor student. The Head of Department has regular meetings with the minor students to control their process and functioning in the department. At the end of bachelor IV the minor students take part in an exam. The committee exists of teachers of the Composition Department. Final examination: the minor student presents three works (with a recording, midi is possible too) that have been produced during the minor studies. The exam takes 45 minutes and exists of an interview/discussion with the candidate. Assessment criteria are authenticity, craftsmanship, conceptual skills, notation and the development of the student during the minor studies. Sort of grading: Pass/fail Language: English Schedule, time, venue: t.b.a. Information: Martijn Padding – Head of the Composition Department ([email protected])

MINOR MUSIC THEORY

Course title: Minor Music Theory Osiris course code: KC-MT-MI1, KC-MT-MI2, KC-MT-MI3 Course content: The minor Music Theory is aimed at highly motivated students who want to deepen their theoretical skills and knowledge. Over the course of three years, you will take various subjects (see list below) that extend the standard offer of theory courses in the curriculum. The tempo is high and a fair amount of self-study is expected. NB: the minor cannot be used to get exemptions for regular theory courses. If you complete the full 3-year programme, you will receive a certificate. Objectives: At the end of this course, you: . are able to write homophonic and polyphonic pieces of music, imitation different styles or composing your own music; . are able to analyse music from different style periods on an advanced and independent level, using different analytical techniques and concepts; . have developed a good aural understanding of music notation through reading and writing music; . have an advanced knowledge and understanding of literature that is connected to music theory, performance practice, philosophy and aesthetics of art. 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 selected prerequisites: 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. Grading system: Each course will be graded separately with a numeric result. Language: English Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre: [email protected]

MINOR CLASSICAL MUSIC – NEW!

Course title: Minor Classical Music – NEW! Osiris course code: 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 are enrolled in the minor Same Instrument, which is discontinued. These students can enter the new minor Classical Music in a subsequent year (e.g. if you are currently enrolled in the minor Same Instrument year 1, you can continue with the same instrument in the minor Classical Music year 2).

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). Because of the limited number of spaces, preference is given to students who can compete the full three year programme.

Scheduled lesson time for individual lessons is 25 minutes per week or 50 minutes every other week, 34 weeks per academic year.

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 classical music . physical affinity with the instrument . ability to perform classical repertoire . 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. 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 Assessment: Year Course Type of assessment Bachelor II Instrumental Lesson Minor Classical Music Practical examination (15 minutes) Classical Music Studies I See course description Bachelor III Instrumental Lesson Minor Classical Music Practical examination (15 minutes) Classical Music Studies II See course description Bachelor IV Instrumental Lesson Minor Classical Music Practical examination (25 minutes) Grading system: Practical examination year II-III: qualifying result Practical examination year IV: numeric

Classical Music Studies: see course description in the Curriculum Handbook Bachelor Classical Music Language: English Schedule, time, venue: See ASIMUT schedule Information: Else van Ommen, Coordinator Classical Music Department ([email protected]) Education Service Centre: [email protected]

MINOR EARLY MUSIC – NEW!

Course title: Minor Early Music – NEW! Osiris course code: Course content: The minor Early Music is intended for students from other departments who wish to learn more about Early Music in terms of performance practice, theoretical and historical context.

The minor entails individual lessons on a early music 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). In addition to individual lessons on the instrument, the minor comprises a set of theoretical subjects from the Early Music Department.

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:

Individual Lesson Minor Early Music Bachelor II Ornamentation 1 Ornamentation 2 Bachelor III Individual Lesson Minor Early Music Early Music Seminars Bachelor IV Individual Lesson Minor Early 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); . have developed a basic understanding of the historical approach of music; . 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 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 are enrolled in the minor Same Instrument, which is discontinued. These students can enter the new minor Early Music in a subsequent year (e.g. if you are currently enrolled in the minor Same Instrument year 1, you can continue with the same instrument in the minor Early Music year 2).

Scheduled lesson time for individual lessons is 25 minutes per week or 50 minutes every other week, 34 weeks per academic year. 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 early music . physical affinity with the instrument . ability to perform early music repertoire . 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 Individual Lesson Minor Early Music Practical examination (15 minutes) II Ornamentation and Diminuation 1 See course description Ornamentation and Diminuation 2 Bachelor Individual Lesson Minor Early Music Practical examination (15 minutes) III Early Music Seminars See course description

Bachelor Individual Lesson Minor Early Music Practical examination (25 minutes) IV Grading system: Practical examination year II-III: qualifying result Practical examination year IV: numeric

Theoretical component (i.e. Ornamentation and Diminution, Early Music Seminars): see course description in the Curriculum Handbook Bachelor Early Music Language: English Schedule, time, venue: See ASIMUT schedule Information: Brigitte Rebel, Coordinator Early Music Department ([email protected]) Education Service Centre: [email protected]

MINOR EARLY MUSIC - RELATED INSTRUMENT – NEW!

Course title: Minor Early Music - Related Instrument – NEW! Osiris course code: Course content: The minor Early Music - Related Instrument is intended for students from the Early Music Department who wish to develop instrumental and musical skill and awareness on a related early music instrument in terms of performance practice and historical context and show promise and prospect for a multi-instrumental career.

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 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 are enrolled in the minor Related Instrument, which is discontinued. These students can enter the new minor Early Music – Related Instrument in a subsequent year (e.g. if you are currently enrolled in the minor Related Instrument year 1, you can continue with the same instrument in the minor Early Music – Related Instrument year 2).

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). Because of a limited number of spaces, preference is given to students who can compete the full three year programme.

. 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 Assessment: Year Course Type of assessment Bachelor II Individual Lesson Minor Early Practical examination (15 minutes) Music – Related Instrument

Historical Development See appendix and course description Bachelor III Individual Lesson Minor Early Practical examination (15 minutes) Music – Related Instrument Bachelor IV Individual Lesson Minor Early Practical examination (25 minutes) Music – Related Instrument Grading system: Instrumental Lesson: numeric Theory course: see course description in the Curriculum Handbook Bachelor Early Music Language: English Schedule, time, venue: See ASIMUT schedule Information: Education Service Centre: [email protected]

APPENDIX MINOR EARLY MUSIC- RELATED INSTRUMENT

NB: You have to read this table from the left to the right. For example: if you study baroque violin, you can choose viola or viola da gamba. Main subject Related Alternative Baroque violin Viola Viola da gamba Baroque viola Violin Baroque cello Viola da gamba Violone

Viola da gamba Baroque cello Violone Violone Viola da gamba

Traverso Recorder Recorder Traverso Oboe/Bassoon

Oboe Recorder Bassoon Dulcian Recorder/Oboe

Harpsichord Fortepiano Organ Fortepiano Harpsichord Organ Organ Harpsichord

Trombone Natural trumpet/slide trumpet Natural Trumpet Natural Horn * For Clarinet, Harp and Lute students: there are no related instruments within the Early Music Department. You may audition to enter the minor Classical Music or Jazz.

MINOR JAZZ – NEW!

Course title: Minor Jazz – NEW! Osiris course code: Course content: The minor Jazz is intended for students from other departments who wish to learn more about jazz in terms of performance practice, theoretical and historical context.

The minor entails individual lessons on a jazz 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). In addition to individual lessons on the instrument, the minor comprises a set of theoretical subjects from the Jazz Department.

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 Jazz complete the following courses:

Bachelor II Individual Lesson Minor Jazz Jazz Music History Bachelor III Individual Lesson Minor Jazz Critical Jazz Studies I Bachelor IV Individual Lesson Minor Jazz Objectives: On completion of this minor, you: . 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 and originals and are able to play a number of them by heart; . are able to reflect awareness of style and musical language (e.g. tempo, rhythm, timing, phrasing, dynamics); . demonstrate knowledge of the historical background and repertoire of the instrument; . demonstrate knowledge of the theoretical context of jazz 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 are enrolled in the minor Same Instrument, which is discontinued. These students can enter the new minor Jazz in a subsequent year (e.g. if you are currently enrolled in the minor Same Instrument year 1, you can continue with the same instrument in the minor Jazz year 2).

Scheduled lesson time for individual lessons is 25 minutes per week or 50 minutes every other week, 34 weeks per academic year. 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 Language: English Schedule, time, venue: See ASIMUT schedule Information: Yvonne Smeets – Head of Jazz Department ad interim ([email protected]) Education Service Centre: [email protected]

MINOR JAZZ - SECOND INSTRUMENT – NEW!

Course title: Minor Jazz - Second Instrument – NEW! Osiris course code:

Course content: The minor Jazz - Second Instrument is intended for students from the Jazz Department who wish to develop instrumental and musical skill and awareness on a second jazz instrument in terms of performance practice and historical context and show promise and prospect for a multi-instrumental career.

The minor entails individual lessons on a second jazz instrument. In addition to individual lessons on the instrument, the minor comprises a set of theoretical or performance subjects from the Jazz Department related to the second instrument (See Appendix Minor Jazz - Second 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 Jazz – Second Instrument complete the following courses:

Bachelor II Individual Lesson Minor Jazz – Second Instrument Historical Development (or other, see appendix) Bachelor III Individual Lesson Minor Jazz – Second Instrument Historical Development (or other, see appendix) Bachelor IV Individual Lesson Minor Jazz – Second Instrument Objectives: On completion of this course, you: . 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; . are able to reflect awareness of style and musical language (e.g. tempo, rhythm, timing, phrasing, dynamics) . demonstrate knowledge of the historical background and repertoire of the instrument; . demonstrate musical awareness and skill in a multi-instrumental context. 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 are enrolled in the minor Related Instrument, which is discontinued. These students can enter the new minor Jazz – Second Instrument in a subsequent year (e.g. if you are currently enrolled in the minor Related Instrument year 1, you can continue wth the same instrument in the minor Jazz – Second Instrument year 2).

Scheduled lesson time for individual lessons is 25 minutes per week or 50 minutes every other week, 34 weeks per academic year.

Prior qualifications/ Minor year I prerequisites: The student is 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 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 Assessment: Year Course Type of assessment Bachelor II Individual Lesson Minor Jazz – Practical examination (15 minutes) Second Instrument Theory/perf. course See appendix and course description Bachelor III Individual Lesson Minor Jazz – Practical examination (15 minutes) Second Instrument Theory/perf. course See appendix and course description Bachelor IV Individual Lesson Minor Jazz – Practical examination (25 minutes) Second Instrument

Grading system: Individual Lesson: numeric Theoretical component: see course description in the Curriculum Handbook Bachelor Jazz Language: English Schedule, time, venue: See ASIMUT schedule Information: Yvonne Smeets, Head of Jazz Department ad interim ([email protected]) Education Service Centre: [email protected]

APPENDIX MINOR JAZZ – SECOND INSTRUMENT

Instrument Year 1 Year 2 Voice Historical Development/CVT* Historical Development/CVT* Piano/guitar Historical Development Rhythm section

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

MINOR VOICE

Course title: Minor Voice Osiris course code: KC-AZ-MI1Z KC-AZ-MI2Z KC-AZ-MI3Z Course content: The minor Voice is for all students who do not study at the Vocal Studies Department. Students in the minor Voice are supposed to already have some experience with singing. Before entering the minor you do an informal test with one of the voice teachers. In individual voice lessons you develop your vocal skills and learn to sing a repertoire fitting your vocal and musical abilities and aspirations. At the end of the first two years you present a program of 15 minutes during an examination, and at the end of the third year of the minor you present a 25-minute programme. The full minor consists of 3 years, but you have the possibility to follow the minor for 1 or 2 years as an elective. If you complete the full 3-year programme, you will receive a certificate. Objectives: At the end of the course, you: . are able to sing a repertoire, suited for his voice, using the appropriate technical vocal skills; . are able to communicate the repertoire with understanding of text and music; . have experienced a variety of musical styles in vocal repertoire. Type of course: Minor Level: Bachelor II-IV Duration: 25 min. per week or 50 min. every other week 0,5 lesson unit average per week, 34 weeks per year Prior qualifications/ Informal test with a voice teacher prerequisites: Teachers: Teachers from the Vocal Studies Department Credits: 6 ECTS per academic year Literature: - Work form: Individual lesson Assessment: Examination at the end of each academic year Bachelor I + II: 15 minutes Bachelor III: 25 minutes Grading system: Numeric Language: English Schedule, time, venue: t.b.a. Information: Monica Damen – Head of Vocal Studies Department ([email protected]) Education Service Centre: [email protected]

MINOR VOICE CLASSICAL MUSIC

Course title: Minor Voice Classical Music Osiris course code: KC-AZ- Course content: The minor Voice Classical Music is intended for students who study Vocal Studies Early Music and want complementary specialised instructions in classical performance of early repertoire. The course consists of individual lessons with a classical music teacher and related courses (decided on after consultation with 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 sing the classical music repertoire according to the current performance practice; . are able to communicate the repertoire with understanding of text and music; . have experienced a variety of musical styles within the classical music vocal repertoire. Type of course: Minor Level: Bachelor II-IV Duration: 25 min. per week or 50 min. every other week 0,5 lesson unit average per week, 34 weeks per year Prior qualifications/ Only open to students who study Voice Early Music. Entry is based on an audition. prerequisites: Limited spaces available. Teachers: Teachers from the Vocal Studies Department Credits: 6 ECTS per academic year Literature: t.b.a. Work form: Individual and group lessons Assessment: Examination at the end of each academic year Exam times Bachelor I and bachelor II: 15 minutes Bachelor III: 25 minutes Grading system: Numeric Language: English Schedule, time, venue: t.b.a. Information: Monica Damen – Head of Vocal Studies Department ([email protected]) [email protected] Education Service Centre: [email protected]

MINOR VOICE EARLY MUSIC

Course title: Minor Voice Early Music Osiris course code: KC-AZ-MI1E, KC-AZ-MI2E, KC-AZ-MI3E Course content: The minor Voice Early Music is intended for students who study Vocal Studies Classical Music and want complementary specialised instructions in historical performance of early repertoire. The course consists of individual lessons with an early music voice teacher and several related topics from the early music theory course Early Music Studies. These envisage a general introduction to historical practices of vocal music. Supported by old sources on performance and composition from both a theoretical and practical perspective, the main themes approached are:

1st Year: - Introduction to the Historical Performance Philosophy - Historical Declamation and Acting - Basic Vocal forms and Compositional Devices - Vocal Performance Practice in the 18th Century

2nd Year - Solmization and Vocal Counterpoint - Elements of Keyboard Skills and Basso Continuo - Vocal Performance Practice Prior to the 18th Century - Sources on Historical Vocal Technique (Analysis of Solfeggi) - Continuation of Topics from the 1st Year

3rd Year - Individual Research - Continuation of Topics from 1st and 2nd Year - 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 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 based on an prerequisites: audition. Limited spaces available.

Teachers: Voice lesson: teachers from the Vocal Studies Department Early Music Studies: João Carlos F. de M. Santos, João Luís Veloso Paixão, Isaac Alonso de Molina and Niels Berentsen Credits: 6 ECTS per academic year Literature: t.b.a. Work form: Voice lesson: individual Early Music Studies: group lessons Assessment: Voice: examination at the end of each academic year Duration: Bachelor I and bachelor II: 15 minutes Bachelor III: 25 minutes

Early Music Studies: During the course, students are expected to give a presentation including a performance. Students are also expected to hand in assignments during the course. Grading system: Voice lessons: numeric Early Music Studies: numeric Language: English Schedule, time, venue: t.b.d. Information: Monica Damen – Head of Vocal Studies Department ([email protected]) [email protected] Education Service Centre: [email protected]

APPENDIX FRAMEWORK MINOR CLASSICAL MUSIC, MINOR EARLY MUSIC, MINOR JAZZ, VOCAL

Framework Minor Classical Music, Minor Early Music and Minor Jazz 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 (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). Minor Classical Music Minor Early Music Minor Jazz Vocal Studies Choice Choice Choice Classical Flute Traverso/ Jazz Flute Recorder Classical Oboe Baroque Oboe * Classical Clarinet Baroque Clarinet Jazz Clarinet Classical Bassoon Baroque Bassoon * Classical Saxophone X Jazz Saxophone Classical Horn Natural Horn * Classical Trompet Natural Trumpet Jazz Trompet Classical Trombone Baroque Trombone Jazz Trombone Classical Tuba X * Classical Percussion X Vibraphone Classical Harp Baroque Harp *

Classical Guitar Lute Jazz Guitar Classical Accordion X * Classical Piano Fortepiano/ Jazz Piano Clavecimbel/ Organ Classical Violin Baroque Violin Jazz Violin Classical Viola Baroque Viola Jazz Viola Classical Cello Baroque Cello/ Jazz Cello Viola da Gamba Classical Double Bass Violone Jazz Double Bass Jazz Voice Minor Voice / Minor Voice Basic (see NB 2)

KC ELECTIVES

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 Assessment: Active participation and completion of written assignments including a final essay. Grading system: Pass/fail Language: English or Dutch Schedule, time, venue: To be announced. Location: Royal Conservatoire Information: Education Service Centre: [email protected]

ALEXANDER TECHNIQUE 2

Course title: Alexander Technique 2 Osiris course code: KC-EL-AT2-11 Course content: Emphasis is on individual development of the principles of the Alexander Technique (see AT1) with regard to practical ways of working on balance, coordination, self-awareness, listening and freedom in movement and breathing. You develop your own practice plan and write diary notes on observations/changes. You are asked to do a 10-minute per day relaxation exercise and learn to apply what they learned during practice and performance. ESSENTIAL: large dose of initiative, curiosity and motivation. Objectives: At the end of this course, you: . have deepened your knowledge of Alexander Technique; . are able to look closer at habit and postural mechanisms and are able to observe yourself and others; . are able to teach yourself; . are able to let go of startle (fear) reflex. Type of course: Elective Level: Bachelor Duration: 3 group sessions of 2 hours and 3 individual sessions of 40 minutes Prior qualifications/ Alexander Technique 1 prerequisites: Teachers: Fiona Tree, Wendelien Verbeek Credits: 1 ECTS Literature: n.a. Work form: Group lessons and individual lessons Assessment: Active participation Grading system: Pass/fail Language: English or Dutch Schedule, time, venue: To be announced. Location: Royal Conservatoire Information: Education Service Centre: [email protected]

BODYWORK - DANCE

Course title: Bodywork - Dance 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, venue: See ASIMUT schedule Information: Education Service Centre: [email protected]

CDO/CAREER DEVELOPMENT OFFICE, EXTERNAL PERSONAL/PROFESSIONAL PROJECTS

Course title: CDO/Career Development Office, External Personal/Professional Projects Osiris course code: KC-B-AL-CDO(4) Course content: The Career Development Office (CDO) is a central place in the Royal Conservatoire where students can receive support in finding (concert) activities outside the institute such as lunch concerts and freelance employment opportunities. Via the CDO students can earn study credits within the bachelor’s curriculum for activities completed outside the conservatoire. The possibility of receiving study credits in the bachelor’s curriculum exists as part of the free space in the 2nd and 3rd study years, and is a required part of the curriculum in the 4th year. The CDO has the administrative task of processing these study credits.

The proactive engagement with the field of work can take numerous forms, including: - gaining experience/working with orchestras, professional choirs, jazz ensembles of various sizes or other professionally active organisations. - creating an own ensemble, band, or individual performing profile, investing time in promoting own activities/programmes via performances and other demonstrable actions. - making a website. - engaging in challenging activities such as competitions/masterclasses. - engaging in creative collaborations, active participation in productions or in environments which extend technical ability, awareness and opportunity. - broadening of repertoire through engagement with unfamiliar genres. - involvement with management duties such as organisation, publicity etc. for own activities or as part of an internship for external (music) organisations.

Information about work placement as part of the course, or internship contract forms, can be obtained via the CDO. Objectives: At the end of these activities, you: . are able to take initiatives with regard to your employment. Type of course: Elective Level: Bachelor II-III: optional Bachelor IV: compulsory for students not completing a minor Duration: Prior qualifications/ For the academic year 2019-2020 you can obtain CDO ECTS for projects that take prerequisites: place between 01-09-19 to 31-08-20. B4 year students can only enter projects from 01-09-19 to 01-05-20. If the project occurs outside those dates it will not be valid for the 19-20 academic year. Teachers: - Credits: Bachelor II-III: a minimum of 2 and a maximum of 4 ECTS per academic year Bachelor IV: minimum 6 ECTS Literature: - Work form: Individual work, work relevant towards the achieving of career aims.

Assessment: Evaluation of activities on the basis of forms submitted. CDO study credits are registered through the completion of standard forms, with the addition of materials relevant to the activities (promotional materials, programmes, recordings etc.). Students applying for CDO study credits for activities outside the 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 students can ask for approval from their Head of Department in advance for the activity with which they would like to receive study credits. The student must fill in the report part of the form once the activity has been completed. The completed form must then be returned to the CDO for approval by the CDO and the relevant Head of Department. After an evaluation by the departmental coordinator Head of Department, the relevant number of study credits will be allocated to the task (see appendix). The CDO will then ensure that the relevant number of study credits is entered into the OSIRIS study tracking system. Allocation of CDO credits is done by the Head of Department or by a nominated teacher in consultation with the Head of Department. CDO credits are based on a standard of 1 ECTS = 28 hours work. Grading system: Pass/fail Language: English or Dutch Schedule, time, venue: - Information: Dominy Clements ([email protected]) Appendix: Indications of credit (ECTS) allocation and restrictions for activities under the CDO.

GENERAL: CDO ECTS credits are allocated on the basis of estimated contact time. Preparation time is usually seen as part of the main study. - Activities need to be at the level of the course, e.g. playing along 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. - Maximum credits for teaching are set at 4 ECTS per year (bachelor) and 6 ECTS (master). - Making a website = maximum 2 ECTS. - Organising concerts, setting up a website, programming a concert series and other activities directed towards skills useful in a music career are all given extra value. - Participating in KC activities/projects is not eligible for ECTS – participation is indicated in the SVO. - Participating in exams or presentations of student colleagues within the curriculum (e.g. final presentations of drama lessons) does not qualify for ECTS. - Passive attendance of masterclasses does not qualify for ECTS.

CLASSICAL: - One week working with a professional orchestra/ensemble = 2 ECTS. - NJO (National Youth Orchestra) winter tour = 3 ECTS. - EuYO/Gustav Mahler orchestras etc. = 5 ECTS. - Chamber music is indicated at 3 ECTS in the BII/III curriculum. When students from another school year or students in BII/III who have completed their requirement also take part in the programme (at least 5 chamber music lessons and a performance in the Chamber Music Festival) then they are eligible for 2 ECTS via the CDO. Paul Scheepers’ signature required.

CONDUCTING:

The Conducting Department is almost exclusively involved with the directing of ensembles, orchestras and choirs in order to gain experience and grow artistically. Students must organise their own feedback beyond their own teacher: i.e. people with whom they work and who encounter them as a conductor. - One year rehearsing with a permanent ensemble = usually 3 ECTS. - One week with a professional orchestra (ca 15 hours rehearsal & 6 hours concerts) = 2 ECTS.

VOCAL STUDIES: - Working on a production with a professional choir, depending on its duration, number of concerts and type of repertoire (e.g. a capella, large-scale symphonic or contemporary) = between 2 and 4 ECTS. - Solo work with an amateur organisation is seen as at a suitable level but, bearing in mind the standard nature of the repertoire = on average no more than 0,5 ECTS. - Solo work with a professional ensemble/organisation can, depending on the repertoire = up to 2 ECTS. - Participation in competitions or masterclasses is seen as close to the usual main study activities. Value depends on level, degree of involvement etc. = average 1 ECTS.

CONCERT PRODUCTION

Course title: Concert Production Osiris course code: KC-EL-CPR-15 Course content: During your study programme you take part in various orchestra projects; everything is well prepared for you in advance. Take a look behind the scenes and find out everything that needs to be taken care of when organizing a concert: programming, planning, orchestral placement, logistics, sheet music, rights, PR, catering, transport etc. You learn the business of production by working alongside producers, Heads of Department and the supporting services of the school. With this knowledge and experience you will be better equipped to produce your own concerts. Objectives: At the end of this course, you: . know and have experienced the various tasks involved with the organization of a concert; . can reflect on your own production skills and are able to further develop these skills in future practice. Type of course: Elective Level: Bachelor Duration: Varies per project Prior qualifications/ This course is open to everyone who is interested. prerequisites: Teachers: Various producers Credits: 1 ECTS Literature: n/a Work form: Internship Assessment: A written resume of the project planning process Grading system: Pass/fail Language: English or Dutch Schedule, time, venue: Varies per project Information: Education Service Centre: [email protected]

EFFECTIVE PRACTICE – MUSIC MAKING, PRACTICING AND THE BRAIN

Effective Practice – Course title: Music Making, Practicing and the Brain

Osiris course code: KC-EL-ES-11 Course Content: Knowledge on how the brain functions can give us more insight on several aspects of music making and practicing. How much time does it take from the first ‘Yes, I can!’ experience of a musician until internalizing skills? How many hours are we supposed to practice? What is ‘mastery’ and how can we ‘let go’ without losing control? How can we learn to deal with performance anxiety? What is needed to make us play at our highest level on stage? And how can we make sure we are in the right ‘state of mind’ whilst playing and practising? In this course we will acknowledge more about how learning proceeds in the brain, we will discuss awareness and focus, we will learn about mental preparation, mental training, performance anxiety and the FFF response and we will see how thin the line is between joy and frustration. Objectives: At the end of this course, you: . are able to practice more effectively; . are able to find, train and keep focus; . understand the process of practicing from start to stage; . understand the nature of and deal with performance anxiety. Type of course: Elective

Level: Bachelor/master 10 times 75 minutes, plus 45 minutes for each individual student, 1st Duration: semester Prior qualifications/ This course is open to everyone who is interested. prerequisites: Teachers: Wieke Karsten

Credit points: 1 ECTS

Literature: Handout provided by teacher

Work forms: group lesson + 1 individual lesson for every student (45 minutes) Evaluation and essay. Minimum attendance: 80%. First and last class are Assessment: compulsory. Grading system: Pass/fail

Language: English

Schedule, time, venue: See ASIMUT schedule

Wieke Karsten ([email protected]) Information: Education Service Centre: [email protected]

MUSIC EDUCATION ACCORDING TO THE KODÁLY CONCEPT

Course title: Music Education according to the Kodály Concept Osiris course code: KC-EL-MV-14 (bachelor, 6 ECTS) KC-M-EL-KC-13 (master, 10 ECTS) Course content: A practical and theoretical course that consists of four main elements: methodology, singing, musicianship and music teaching repertoire. At least twice a year, international guest teachers will be invited. We will research Kodály concepts in the 18th, 19th and 20th centuries. The course is open for singers, instrumentalists and classroom (music) teachers. Methodology Music Education According to the Kodály Concept forms the basis of the methodology classes. The starting point is always making music (sound). Then awareness (understanding) and practising (exercise) can lead to musical literacy. The process of learning is brought in relation to your teaching practice. You develop your teaching material through pedagogical research and artistic evaluation. - Singing and vocal training: students sing as a group and individually to develop their own voice and to learn how to sing with children. Activities include the building of suitable teaching material: song repertoire with games, canons and part songs. - Musicianship: a group lesson on the development of practical musicianship skills, analytical hearing and musical imagination. Students practice their own musical skills needed for teaching, through singing and performing. - Techniques used in Kodály music teaching are learned: relative solmisation, hand signs and rhythm language. - Music teaching repertoire: practical workshops with many musical activities that are ready to use in classroom music teaching or instrumental music teaching situations. Students learn a repertoire of musically interesting songs and games. Objectives: At the end of the course, you: . have a basic understanding of and are able to teach music to children according to the Kodály philosophy; . have an understanding of historical and pedagogical background of teaching music; . have an understanding of the musical learning process and are able to design music lessons in small and logical steps that lead to high quality music making and real understanding of music by children from the earliest ages; . are able to transfer musical content and musicality by means of your own voice, and are aware of the possibilities and impossibilities of the child's voice at certain ages, and learn how to develop children’s singing; . are able to learn to read music well in order to imagine how difficult something is, for which age group a piece of music is suitable and where potential problems are. To be able to translate sound into music notation, and to understand musical structure and form; . 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 and can thus shape the learning on their way to musical literacy; . 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. Type of course: Elective (NB: this elective is not available for students from bachelor II) Level: Bachelor III and IV / master Duration: 10 Saturdays of 7 hours Prior qualifications/ Special interest in music education. prerequisites:

Teachers: Ewan Gibson, Daniel Salbert, Anne-Christine Wemekamp, international guest teachers Credits: 10 ECTS, of which 6 ECTS can count as a bachelor’s elective course Literature: Reader and literature specified by the teacher Work form: Group lesson and teaching Assessment: Compulsory attendance: 80%. Evaluation of assignments and presentations. Grading system: Pass/fail Language: English Schedule: 10 Saturdays (once a month) Time: 10:00-17:00 Venue: - Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

QUALITY PRACTICE

Course title: Quality Practice Osiris course code: KC-EL-QP Course content: This course offers practical guidelines to help you use your practice time efficiently and effectively. Quality practice involves working with the right goals and intentions, knowing what to focus on and having practice tools that help to get to know your instrument, repertoire and self. The main questions that will be addressed are: - How can I develop more competence and confidence? - How can I practice in order to get to know the music rather than just avoid mistakes? - How can I experience the ‘flow state’ where I am totally immersed in playing? - How can I cope with performance anxiety? Objectives: At the end of this course, you: . are able to work autonomously, effectively and are able to plan and reflect on your process; . have methods and strategies to use in the practice room and to prepare performances; . have access to information and literature related to learning and performance; . have experienced exploring issues important to your development via peer learning in a group environment. Type of course: Elective Level: Bachelor 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: Teachers: Susan Williams Credits: 2 ECTS Literature: Musician’s Manual: Guidelines for Quality Practice. (Susan Williams) Work form: Group lessons plus one individual sessions per student Practical assignments Assessment: 80% attendance. Evaluation of assignments. Grading system: Pass/fail Language: English Schedule, time, venue: Wednesday or Thursday afternoon, Royal Conservatoire Information: Susan Williams ([email protected]) Education Service Centre ([email protected])

YOGA FOR MUSICIANS

Course title: Yoga for Musicians Osiris course code: KC-EL-YM, KC-EL-YM2, KC-EL-YM3 Course content: This course consists of a series of Saswitha (Hatha) yoga-lessons. Each lesson consists of the practice of physical postures (asanas), breathing techniques (pranayama), relaxation techniques and meditation. The exercises include bends, twists and stretches as well as balancing and strengthening poses. They will vary from subtle to demanding and can be adjusted to all levels of physical condition.

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 the guide and support of every exercise establishes this union and creates a strong focus on the moment. The practice of this focus in the postures will develop both physical and mental awareness. The body, being the musician’s instrument, will become more flexible and stronger.

The mind will teach you to relax in difficult postures and to find a balance between tension and relaxation. This will enhance an experience that will support you in your studies. It will create a general flexibility in various other demanding situations, like exams, lessons and concerts. Objectives: At the end of this course, you: . have developed a higher level of concentration; . are able to use your breath in order to establish a balance between the body and the mind; . are able to implement the techniques in circumstances other than the yoga- studio; . are able to find a balance between tension and relaxation, a stronger focus on the moment, and a general flexibility in various demanding situations, like exams, lessons and concerts; . have developed a simple and personalised practice routine. Type of course: Elective (you can choose this course multiple times) Level: Bachelor/master Duration: 20 lessons of 75 minutes during the whole academic year Prior qualifications/ There is no specific level of condition, strength or agility required; lessons are prerequisites: 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 Language: English and/or Dutch Schedule, time, venue: - Information: Education Service Centre ([email protected])

KC ELECTIVES - FROM THE CLASSICAL DEPARTMENT

MUSIC AROUND THE CORNER, ORKEST MORGENSTOND

Course title: Music Around the Corner / Orkest Morgenstond Osiris course code: KC-EL-MC 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 like creative, innovative ways to communicate, with and without your instrument, and techniques to make audiences participate in performances. The course is divided into three projects:

1. Small-scale project: performances for a small specific target group, differing from lonely elderly to mothers with newborns or local restaurant owners. 2. School Concerts: music theatre performance for children; performing for pupils at the primary schools in Morgenstond and adjacent neighbourhoods. 3. BuurtOpera: performances with participants and partners from local area Morgenstond

All projects are structured as follows: 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 Prior qualifications/ This elective is only open to students who study Classical Music. prerequisites: Teachers: Ginette Puylaert, Tim Sabel Credits: 4 ECTS It is possible to choose this elective during several years.

Literature: Articles and videos about/of relevant projects, organisations and musicians are shared by the teachers and students in the group lessons Work form: group lessons, rehearsals and performances in local area. Assessment: Attendance results (80%) and an individual conversation and group evaluations. Competences that are evaluated are professionalism, quality of initiatives, and communicative skills. Grading system: Qualifying Language: English and Dutch Schedule, time, venue: See ASIMUT schedule Information: Tim Sabel and Ginette Puylaert: [email protected] and www.orkestmorgenstond.nl Education Service Centre ([email protected])

KC ELECTIVES - FROM THE EARLY MUSIC DEPARTMENT

LATIN FOR MUSICIANS

Course title: Latin for Musicians Osiris course code: KC-EL-LM-14 Course content: The Latin language played an important role in intellectual circles from the early Middle Ages until the 19th century. Many treatises on the performance and interpretation of music were written in this lingua franca. The texts of the majority of vocal music of Middle Ages, Renaissance and Baroque are in Latin. In fact, knowledge of Latin is indispensable for any student in Early Music. In this course you will learn the principles of Latin grammar. After acquiring the basic skills of grammar, we will translate original Latin texts related to (Early) Music. Objectives: At the end of this course, you: . 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, venue: See ASIMUT schedule Information: Marcel Zijlstra ([email protected]) Education Service Centre ([email protected])

APPLIED HISTORICAL IMPROVISATION

Course title: Applied Historical Improvisation Osiris course code: KC-EL-AHI-17 Course content: In this course, you are introduced to the building blocks of historical improvisation, which are at the same time the building blocks of the repertoire you play. You bring the knowledge you gathered in your theory lessons and learn to apply this to improvisation on your instruments. Similarly the repertoire from your main subject lessons is a constant source of practical examples of how to use these building blocks and source material for applying improvisation techniques in ‘real life’. You are encouraged throughout the course to take an active role in combining research, tools given in your theory, main subject and improvisation classes and your repertoire and to start learning to pursue your own artistic goals with historical improvisation as a playground for experimentation. Objectives: At the end of this course, you: . know the basic techniques involved in historical improvisation; . are able to use these techniques to enrich your repertoire and vice versa enrich your improvisations with your repertoire; . have learned an approach to exploring your own artistry and are able to put this into practice. Type of course: Elective Level: Bachelor Duration: 2 hours every 2 weeks, 2 semesters Prior qualifications/ The course is aimed at students from the Early Music Department, but students from prerequisites: other departments and master students can participate after consultation with the teachers. Teachers: Robert de Bree and James Hewitt Credits: 3 ECTS Literature: Overview reader provided by teachers, online working environment/assignments and reader with materials collected by students themselves Work form: Group lesson in various formats Assessment: Compulsory attendance: 80% Grading system: Attendance sufficient/insufficient Language: English Schedule, time, venue: See ASIMUT schedule Information: Robert de Bree ([email protected]) Education Service Centre ([email protected])

BAROQUE DANCE

Course title: Baroque Dance Osiris course code: KC-EL-BD Course content: This course introduces you step-by-step to reading and dancing a complete choreography in Feuillet’s notation. For a better understanding of the origins of Baroque dance it also includes additional workshops in Renaissance dance and performance. The course offers an insight in the theoretical and historical basis of dance music by a direct integrated physical experience. Objectives: At the end of this course, you: . have a deeper understanding of the shape and character of baroque music, by dancing the music of the baroque suites with the proper steps and gestures; . are able to translate the physical experience of dancing historically defined rhythms and tempi into artistic choices when singing or performing period dance music on your instrument. Type of course: Elective Level: Bachelor Duration: 90 minutes, 2 semesters Prior qualifications/ This course is open to everyone who is interested. prerequisites: Teachers: Ricardo Rodríguez Miranda Credits: 2 ECTS Literature: Feuillet, Raoul-Auger, 1659/60-1710 Orchesography Work form: Class and training Assessment: Active participation, 80% attendance Grading system: Pass/fail Language: English Schedule, time, venue: Tuesdays, 18-19.30 hrs, Balletstudio 2 Information: Brigitte Rebel – Coordinator Early Music Department ([email protected]) Education Service Centre ([email protected])

BASSO CONTINUO IN PERFORMANCE

Course title: Basso Continuo in Performance Osiris course code: KC-EL-BC Course content: This course is open to all non-keyboard majors. You will learn about the practical as well as the theoretical skills required for realising figured and non-figured bass lines in a historically appropriate manner. We will focus on music from the beginning of the 17th until the end of the 18th centuries. You will be expected to play, and classes will take place in the form of group lessons. Objectives: At the end of this course, you: . have studied and practised basso continuo styles of the 17th and 18th centuries; . are able to realise a basic basso continuo line on the harpsichord with or without figures; . are able to apply the basic knowledge of harmony and structure necessary for good continuo based ensemble playing. Type of course: Elective Level: Bachelor Duration: Weekly lessons of 75 minutes, 2 semesters Prior qualifications/ This course is open to all non-keyboard majors. You must be equipped with basic prerequisites: keyboard skills. Teachers: Kathryn Cok Credits: 2 ECTS Literature: Weekly hand-outs will be provided Work form: Group lesson Assessment: Class participation and the completion of homework assignments Grading system: Pass/fail Language: English Schedule, time, venue: See ASIMUT schedule Information: Brigitte Rebel - Coordinator Early Music Department ([email protected]) Education Service Centre ([email protected])

EARLY MUSIC SEMINARS

KC-EM-HD Early Music Seminars Osiris course code: KC-EM-HD Course content: A series of seminars with a wide variety of capita selecta on research and performance. Each time a guest will be invited as curator of the seminar to shape the session in accordance with the content. In addition, members of the teaching staff and researchers connected to the school offer relevant expertise. A panel discussion and Q&A are a fixed item on the agenda, where you are invited to participate actively. A work session of repertoire at stake and its context is part of the program of the day. Active participation is also asked once during the year from bachelor III and IV students by preparing literature on the topic. The annual programme will be announced at the beginning of the academic year in the project overview booklet. Objectives: At the end of this course, you: . have gained insight into current developments in the field or early music; . are able to critically reflect on these; . can articulate your opinion on these matters with basic argumentation. Type of course: Elective (and it is a compulsory part of the Early Music curriculum). It is possible to choose this elective several times (once per year). Level: Bachelor Duration: 7 seminars divided over two semesters Prior qualifications/ This elective course is open to everyone who is interested (except Early Music students, prerequisites: as it is a compulsory part of their curriculum). Teachers: Invited guests. Moderator: t.b.a. Credits: Elective: 2 ECTS Literature: Incidental literature preparation, to be announced. Work form: Group lesson Assessment: Students who take this course as an elective in bachelor II or III: 5 out of 7 seminars) Active participation is part of the assessment. Grading system: Pass/fail Language: English Schedule, time, venue: See ASIMUT schedule 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])

EARLY MUSIC STUDIES 1

KC-TH-EMS1 Early Music Studies 1 Osiris course code: KC-TH-EMS1-14 Course content: The main focus of this course is the understanding of earlier musical practices. You study different areas of musical knowledge through active consultation of original sources on performance practice and composition. You also carry out research related to topics of your own curiosity. Besides the general study of performance practice and the evolution of compositional styles, you learn to contextualize these musical practices with larger cultural and artistic ideas. Crucial subjects like the Philosophy of Performance, and of Early Music, General Philosophy, Cultural History, and a general introduction to research form an important part of the course. During the first year of Early Music Studies the course focuses on the instrumental and vocal styles of the 18th century, starting with lectures related to the origins of these styles covering the advent of counterpoint and other styles in the so called “Middle Ages” up to the 16th century.

List of specific themes seen:

Performance Practice: General Values of performance (instrumental and vocal) in earlier periods Ornamentation/Improvisation Tuning/Pitch and Temperament Evolution of technical and problems Accentuation and Articulation Rhythmical Alteration

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; . are able to contextualize musical problems with larger cultural entities; . have experienced researching specific topics and applied it to your musical practice. Type of course: Elective: bachelor II and III (and it is a compulsory part of the Early Music curriculum) Level: Bachelor I

Duration: 100 min per week, 36 weeks Prior qualifications/ This course is open to everyone who is interested (except Early Music students, as prerequisites: it is a compulsory part of their curriculum). Teachers: João Carlos F. de M. Santos, Isaac Alonso de Molina Credits: 6 ECTS Literature: To be announced during the course Work form: Group lesson Assessment: There is midterm assessment and a final assessment consisting of Oral presentation and essay. Compulsory attendance: 80% Grading system: Final assessment: final grade (numeric) based on the assignments, presence and participation and presentation.

For further details, please see Information Assessment Musicianship Skills & Academic Skills Subjects in the Curriculum Handbook of the Early Music Department. Language: English Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory Department ([email protected]) Education Service Centre ([email protected])

GREGORIAN CHANT AND CHOIR

Course title: Gregorian Chant and Choir Osiris course code: KC-DI-G&K Course content: This course introduces you to the basics of Gregorian Chant: modern and historical forms of notation, interpretation, history and liturgy, modality. The different styles and genres of chant are explored by singing characteristic pieces from the vast repertoire. The chants are also used to illustrate capita selecta of the early history of music. Objectives: At the end of this course, you: . are able to read and transcribe early chant notation forms into modern notation; . are able to perform a piece of chant and make an interpretation with the help of early neume notation; . are able to perform chant in a choir in a liturgical and historical setting; . are able to analyse a chant in terms of its structure, style and modality; . are able to place a chant in its liturgical and historical context. Type of course: The course is open to everyone who is interested (except Choral and Orchestral Conducting students as it is a compulsory part of their curriculum) Level: Bachelor Duration: 2 hrs per week, 20 weeks per year Prior qualifications/ This course cannot be taken as an elective by Choral and Orchestral Conducting prerequisites: students as it is a compulsory part of their curriculum. Teachers: Dr. Marcel Zijlstra Credits: 2 ECTS Literature: David Hiley: Gregorian Chant. Cambridge 2009 Work form: group lessons Assessment: Early March: written exam. May: a performance in liturgical context. June: oral exam in which the personal interpretation of a given chant will be assessed Grading system: Numeric Language: English or Dutch Schedule, time, venue: See ASIMUT schedule Information: Marcel Zijlstra ([email protected]) Education Service Centre ([email protected])

LITERATURE CLASS - FORTEPIANO

Course title: Literature Class - Fortepiano Osiris course code: KC-EM-LKFP Course content: Fortepiano Literature Class is open to keyboardists from the classical and early music departments (see ‘prior qualifications’ for some restrictions). You start with basic reading on selected performance issues (treatises as well as secondary literature). Treatises will be 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, in guided sessions between September and March. From Christmas, you will be tuning by yourself and do a final test by tuning for a recital. In addition, there will be 10 meetings about piano maintenance, including regulation of the action, voicing, clicks and pedal noise, etc. After Christmas, you will prepare a presentation on a topic of your choice such as articulation, pedaling, fingering, rubato, stylistic schools, dynamics, or a composer. As a last assignment, you will be asked to prepare a programme within strict limitations of genre, ensemble, time period, region, purpose; accompanied by detailed programme notes. Finally, you will write a proposal to festivals and concert organizations. Objectives: At the end of this course, you: . have a deepened knowledge of certain performance practices, chosen in the group; . have become acquainted with the most important treatises; . are able to contextualize the well-known repertory by studying sources, evaluating various performance practices, getting to know contemporary minor masters, lesser known genres and ensembles, and contemporary music life and esthetics; . are able to tune your own fortepiano; . are able to regulate and maintain your own fortepiano. Type of course: Elective for Classical Music bachelor piano students and elective for Early Music piano students bachelor III en IV (it is part of the Early Music curriculum fortepiano year II) Level: Elective: bachelor (Compulsory: Early Music bachelor’s II) Duration: 32 weeks, 60 min. per week Prior qualifications/ As an elective, this course is only open to pianists. prerequisites: Teacher: Bart van Oort Credits: 2 ECTS Literature: t.b.a. Work form: Group lesson Assessment: Attendance, two written assignments Grading system: Numeric Language: English or Dutch Schedule, time, venue: See Asimut schedule Information: Brigitte Rebel - Coordinator Early Music Department ([email protected]) Education Service Centre ([email protected])

ORNAMENTATION AND DIMINUTION 1

Course title: Ornamentation and Diminution 1 Osiris course code: KC-EL-DO Course content: Part I of the Ornamentation 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. 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. Type of course: Elective for everyone who is interested Level: Bachelor II Duration: 120 minutes per week, during the first semester Prior qualifications/ Ornamentation and Diminution is divided in two parts: as an elective, you cannot prerequisites: take just one part, you need to take both.

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: 1 ECTS Literature: Reader Work form: Group lesson Assessment: Compulsory attendance: 80%

Assessment for part I consists in performing an invented monodic ricercar in the style of the late 16th century and a set of own diminutions on a 16thc composition. These presentations take place in the final two weeks of the course. Grading system: Qualifying result Language: English Schedule, time, venue: See ASIMUT schedule Information: Brigitte Rebel - Coordinator Early Music Department ([email protected]) Education Service Centre ([email protected])

ORNAMENTATION AND DIMINUTION 2

EL-DO Ornamentation and Diminution 2 Osiris course code: KC-EL-DO Course content: Part II of the Ornamentation course examines the performance practice of ornamentation in the 18th century. The course comprises two lectures and six practical th workshops. We begin with a comparative survey of French and German 18 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 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 III Duration: 120 minutes per week, during the second semester Prior qualifications/ Ornamentation and Diminution I prerequisites: 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: 1 ECTS Literature: Reader Work form: Group lesson Assessment: Compulsory attendance: 80%

Assessment consists of two presentations of 30 minutes each - one, of a movement of French 18thc prelude/suite/sonata/cantata and one of a German 18thc prelude/suite/sonata/cantata. Each presentation will involve performance of the chosen movement including execution of any written out ornaments and also the addition or substitution of one’s own prepared or improvised ornaments. It will also involve a discussion of the 18thc sources that guided the student in his/her decisions about execution and addition of ornaments. These assessments will take place in approximately weeks 5 and 10 of the course. Grading system: Qualifying result Language: English Schedule, time, venue: See ASIMUT schedule Information: Brigitte Rebel - Coordinator Early Music Department ([email protected]) Education Service Centre ([email protected])

PRACTICUM POLYPHONIAE

Course title: Practicum Polyphoniae Osiris course code: KC-EM-PP Course content: The aim of this course is to learn the essential elements of 15th and 16th century polyphonic music in a choir practicum setting. By applying the knowledge of solmisation, mean tone tuning and counterpoint, the repertoire is sung from copies of manuscripts and early prints in mensural notation. The main attention goes to learning-by-doing, and the experience of performing highlights from the wealthy vocal repertoire of the Renaissance. Objectives: At the end of this course, you: . are able to apply your knowledge of solmisation; . are able to read mensural notation; . know the basic shaping elements of 15th and 16th century polyphonic music and are able to put your knowledge into practice in performance; . are able to apply your understanding on later repertoire that is based on the polyphonic and modal principles. Type of course: Everyone who is interested (except Early Music students, as it is a compulsory part of their bachelor I curriculum) Level: Bachelor I Duration: 60 minutes per week, 32 weeks per year Prior qualifications/ This course cannot be taken as an elective by KC Early Music students, as it is a prerequisites: 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, venue: See ASIMUT schedule Information: Brigitte Rebel - Coordinator Early Music Department ([email protected]) Education Service Centre ([email protected])

RHETORIC

Course title: Rhetoric Osiris course code: KC-EL-RE-11 Course content: This course examines the 18th century application of rhetorical 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 century discourse on actio in a rich and diverse context. By examining ideals of expression, content and structure on various performing arts and media, including dance, film and popular songs as well as the music of Baroque composers, the course encourages students to look creatively at the rhetoric of daily life all around them. Objectives: At the end of this course, you: . are able to analyse the structural and performance elements of a musical composition along the lines of its rhetorical effectiveness; . have the basic tools to understand the performance of 18th century music by the application of generic rhetorical means. Type of course: Elective Level: Bachelor and master Duration: 11 lessons of 120 minutes, 2nd semester Prior qualifications/ This course is open to everyone who is interested. A good command of English is prerequisites: essential. Teachers: Jed Wentz Credits: 2 Literature: Chapters of M. Conley, Rhetoric in the European Tradition and a special reader Work form: Group lesson Assessment: Bachelor: 80% attendance and active participation Master: 80% attendance, active participation and an assignment Grading system: Pass/fail Language: English Schedule, time, venue: t.b.a. Information: Brigitte Rebel - Coordinator Early Music Department ([email protected]) Education Service Centre ([email protected])

KC ELECTIVES - FROM THE JAZZ DEPARTMENT

JAZZ CHOIR

Course title: Jazz Choir Osiris course code: KC-JA-KOOR1 KC-JA-KOOR2 KC-JA-KOOR3 Course content: In this course, for jazz singers, you learn how to perform in a jazz choir. The jazz choir is a small to mid-sized vocal ensemble consisting of sopranos, altos, tenors and basses. A single pianist or a rhythm section may accompany the choir. In the choir lessons, the specific vocal techniques of singing in a jazz choir are practiced, as well as various styles of jazz choir singing. You learn more about the differences in styles of jazz choir singing. Performing a solo, accompanied by a choir, is also part of the course content. In the jazz choir lessons, you put into practice what you have learned in your main subject lessons, the secondary lessons and the theory subject lessons. Objectives: At the end of this course, you: . have rehearsed and performed with jazz choirs of various sizes; . know the repertoire of standards and originals for a jazz choir, in various styles; . are able to cooperate with fellow students in a constructive way; . can write arrangements for various choir settings; . can improvise in various styles, showing style-awareness; . show an understanding of the relationship between the vocal section and the rhythm section when a combo accompanies the choir; . are able to put into practice in the choir what has been learned in the main subject lesson, the secondary lesson classical music and the theory lessons; . are able to deal with the behavioural and communicative demands of public performance. Type of course: Elective Level: Bachelor Duration: 2 hours per week, 2 blocks of 15 weeks Prior qualifications/ This course is open to everyone with some basic choir experience (except KC jazz prerequisites: 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 Assessment: Compulsory attendance: 80%. 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. Grading system: Qualifying result Language: English or Dutch Schedule, time, venue: See ASIMUT schedule Information: Yvonne Smeets – Head of Jazz Department ad interim ([email protected]) Education Service Centre ([email protected])

MUSIC HISTORY JAZZ

Course title: Music History Jazz Osiris course code: KC-TJ-HJ1-14 Course content: The course concentrates on the emergence of different jazz styles. The development of the music is placed in a general historical, social and cultural context. An important aspect that is studied is how improvisation and swing are shaped in the melody and rhythm sections in the different styles. Objectives: At the end of the course, you: . 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 jazz students prerequisites: as it is a compulsory part of their curriculum). Teachers: Wouter Turkenburg, Floriaan Wempe 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, venue: See ASIMUT schedule Information: Suzanne Konings - Head of the Music Theory Department ([email protected]) Education Service Centre ([email protected])

KC ELECTIVES - SELECTION FROM THE INSTITUTE OF SONOLOGY

AESTHETICS AND PERFORMANCE IN ELECTRONIC MUSIC

Course title: Aesthetics and Performance in Electronic Music Osiris course code: KC-SO-APEM Course content: Electronic music was perhaps the only music to have emerged without a performance practice. Although this is no longer the case, basic issues remain in dispute such as whether it is in fact possible to make music without reference to the act of performance. The paradigm of music creation has been under strain since the invention of recording; this paradigm has nowadays fallen apart and, as a result, it is not always possible to make a clear distinction between concepts like author, score, copy, and interpretation. We therefore need to ask whether we need totally new concepts, or if the break with the past is greatly exaggerated. What is the concrete connection between electronic and modern western art music? Is the purpose of music to give pleasure? Is listening a solitary activity? Objectives: At the end of this course, you: . have an overview of the ideas and sciences that contribute to the culture of electronic music; . are able to evaluate and reflect on the aesthetics and performance of electronic and modern art music; . are able to present your personal view to peers. 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: 2 semesters, 120 minutes per week Prior qualifications/ This course is open to everyone who is interested (except Sonology students, as it is prerequisites: part of their curriculum). Limited space available. Teachers: Joel Ryan Credits: 3 ECTS Literature: Texts from Aesthetics, Anthropology, Cognitive Science, Physics, Mathematics, Philosophy of Science & Literature. Work form: Group lesson Assessment: Students are assessed on the basis of their active contribution to the group sessions and a written report, in which the relation between their own work and the position of electronic music performance in modern art music in general is discussed. Grading system: Pass/fail Language: English Schedule, time, venue: See ASIMUT schedule Information: Joel Ryan ([email protected]) Education Service Centre ([email protected])

ANALYSIS/RE-SYNTHESIS

Course title: Analysis/Re-synthesis Osiris course code: KC-SO-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: 2 semesters, 120 minutes per week Prior qualifications/ This course is open to everyone who is interested (except Sonology students, as it is prerequisites: part of their curriculum). Limited space available. Teachers: Peter Pabon Credits: 6 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 Language: English Schedule, time, venue: See ASIMUT schedule Information: Peter Pabon ([email protected]) Education Service Centre ([email protected])

COMPOSING WITH ALGORITHMS

Course title: Composing with Algorithms Osiris course code: KC-SO-CAACO-11 Course content: This course provides an introduction to algorithmic composition, its applications, history and implementation. You will learn to program sound, control and musical behaviour. Topics such as using probabilities, generative algorithms, complex systems and selection principles will be presented. Each of these will cover technique but also practical applications and musical examples. The course uses the SuperCollider environment as well as providing short presentations of other platforms. Objectives: At the end of this course, you: . have studied a number of currents regarding the use of algorithms to assist in computer-based compositional activities; . have working knowledge of the computer program SuperCollider. Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students ). Level: Elective: bachelor Duration: 2 semesters, 120 minutes per week Prior qualifications/ This course is open to everyone who is interested (except Sonology students, prerequisites: as it is part of their curriculum). Limited space available. Teachers: Bjarni Gunnarsson Credits: 8 ECTS Literature: Materials are available on the class web site. Work form: Group lesson Assessment: Algorithmic composition assignment. Grading system: Numeric Language: English Schedule: Thursdays Time: 13:00-15:00 Venue: Computer Studio 1 Information: Bjarni Gunnarsson ([email protected]) Education Service Centre ([email protected])

HISTORY OF CONTEMPORARY MUSIC COMPOSITION

Course title: History of Contemporary Music Composition Osiris course code: KC-SO-HCMP Course content: This course gives you a chance to explore in detail many of the main currents and counter-currents of thought and practice in composed music since the Second World War. We will discuss the aesthetics, the compositional techniques and the career histories of many of the most influential artists who came to prominence in these decades. The ways in which western compositional traditions have enriched themselves through encounters with other art forms, non-traditional notations, and with jazz, various forms of popular music, electronic music and the music of other traditions, will be important themes 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 listen closely to recordings of their work. Objectives: At the end of this course, you: . have an overview of the main currents in music from the late 1940s to the present; . have studied the scores and recordings of representative post 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 music theory prerequisites: 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, venue: See ASIMUT schedule Information: Gabriel Paiuk ([email protected]) Education Service Centre ([email protected])

LIVE ELECTRONIC MUSIC

Course title: Live Electronic Music Osiris course code: KC-SO-LEM Course content: The aim of this course is to put improvisation with electronic musicians and traditional instrumentalists into practice. Various kinds of improvisation are analysed, and the ways that electronic processes have influenced thoughts about improvisation are discussed. At some point, the group will be split up into smaller improvising groups. A final presentation will be organised in the form of a concert at the end of the course. Objectives: At the end of this course, you: . know the patterns that underlie improvisation, specifically those of the genre that makes use of electronic means; . are able to improvise through electronic means, or by combining instrumental improvisation with electronics; . are able to organise a concert presentation within a team setting. Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students in bachelor III). Level: Elective: bachelor Compulsory: bachelor III Duration: 2 semesters, 120 minutes per week Prior qualifications/ This course is open to everyone who is interested (except Sonology students, as it is prerequisites: part of their curriculum). Limited space available. Teachers: Johan van Kreij Credits: 6 ECTS Literature: Reading and listening material will be provided Work form: Group lesson Assessment: During the second semester, you work on group assignments, leading to a public final presentation at a venue outside of the conservatoire. Compulsory attendance: 80%. Grading system: Numeric Language: English Schedule, time, venue: See ASIMUT schedule Information: Johan van Kreij ([email protected]) Education Service Centre ([email protected])

MUSIC AND TIME

Course title: Music and Time Osiris course code: KC-SO-M&T Course content: The use of digital and analogue electronics has presumably changed our relation to time in music, and the relation of technique to content is a puzzling one. As electronic musicians we therefore have to examine some basic questions: Can we learn to perceive time in a different way; can we imagine a sound we have never heard before; is time in music the same as time in nature; how does our perception of time relate to time measured by a physical process; is counting the same as measuring duration? During the course, ideas drawn from traditional music, natural processes, mathematics and cognitive science will be examined as inspiration for a new theory of time and representation in music. Objectives: At the end of this course, you: . are able to reflect on the changing perception of time in music as a result of the use of technology; . have knowledge of number theory, adaptive systems, generative grammar, linear and non-linear dynamics and the phenomenology of time perception. Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students in bachelor III). Level: Elective: bachelor Compulsory: Sonology bachelor’s III Duration: 2 semesters, 120 minutes per week Prior qualifications/ This course is open to everyone who is interested (except Sonology students, as it is prerequisites: part of their curriculum). Limited space available. Teachers: Joel Ryan Credits: 3 ECTS Literature: Texts from Cognitive Science, Mathematics, Philosophy of Science & Literature. Work form: Group lesson 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 own work and the changing perception of time in music is discussed. Compulsory attendance: 80%. Grading system: Pass/fail Language: English Schedule, time, venue: See ASIMUT schedule Information: Joel Ryan ([email protected]) Education Service Centre ([email protected])

REAL-TIME PROCESSES WITH MAX/MSP

Course title: Real-Time Processes with Max/MSP Osiris course code: KC-SO-RMM Course content: Max is a programming tool that is relatively easy to learn, and it is especially suitable for creating and exploring real-time generative processes and the interaction with them. In Max, such processes can be defined as data streams or as audio generating structures. The aim is to research musicality in the interaction, and to define personal approaches and methods. The course starts with a brief introduction to the basics of Max. Objectives: At the end of this course, you: . can design and program musical processes and masters the basics of signal processing in Max/MSP; . 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 I). Level: Elective: bachelor Compulsory: bachelor I Duration: 2 semesters, 120 minutes per week Prior qualifications/ This course is open to everyone who is interested (except Sonology students, as it is prerequisites: part of their curriculum). Limited space available. Teachers: Johan van Kreij Credits: 7 ECTS Literature: Online documentation of Max/MSP Work form: Group lesson Assessment: Active participation and regular small assignments. A final composition assignment based on the use of Max/MSP. Grading system: Numeric Language: English Schedule, time, venue: See ASIMUT schedule Information: Johan van Kreij ([email protected]) Education Service Centre ([email protected])

SIGNALS AND SYSTEMS 1

Course title: Signals and Systems 1 Osiris course code: KC-SO-S&ST Course content: These classes are designed to provide a solid background for dealing practically with the physical and mathematical representations of sound signals and sound processing systems. The course treats standard topics like the decibel, sampling, fundamental periodicity and the build-up of acoustical wave fields. The second semester is dedicated to Fourier Analysis. Objectives: At the end of this course, you: . are able to describe the basic properties of a sound signal; . have an in-depth understanding of the Fourier Transform and are able to apply it. Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students in bachelor III). Level: Elective: bachelor Compulsory: Sonology bachelor I Duration: 2 semesters, 150 minutes per week Prior qualifications/ This course is open to everyone who is interested (except Sonology students, as it is prerequisites: part of their curriculum). Limited space available. Teachers: Peter Pabon Credits: 6 ECTS Literature: Chapters 1, 2 and 4 from: Stan Tempelaars, Signal Processing: Speech and Music, (Lisse: Swets and Zetilinger, 1996). Additional PDF’s will be distributed by email. Work form: Group lesson Assessment: A written test and a practical assignment. Compulsory attendance: 80% Grading system: Test: numeric (50%) Practical assignment: pass/fail (50%) Both tests have to be passed. Language: English Schedule, time, venue: See ASIMUT schedule Information: Peter Pabon ([email protected]) Education Service Centre ([email protected])

SIGNALS AND SYSTEMS 2

Course title: Signals and Systems 2 Osiris course code: KC-SO-S&ST Course content: These classes are designed to provide a solid background for dealing practically with the physical and mathematical representations of sound signals and sound processing systems. In part 2, attention shifts to system characterisation and the concepts of filtering, convolution, impulse response measurement, nonlinear systems and modulation techniques. Objectives: At the end of this course, you: . are able to deal practically with the physical and mathematical representations of sound signals and sound processing systems; . are able to conceptualize the relationships between various signal-processing models. Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students in bachelor II). Level: Elective: bachelor Compulsory: Sonology bachelor II Duration: 2 semesters, 135 minutes per week Prior qualifications/ Signals and Systems 1 prerequisites: Teachers: Peter Pabon Credits: 6 ECTS Literature: Chapters 3, 5, 6, 7 and 8 from: Stan Tempelaars, Signal Processing: Speech and Music, (Lisse: Swets and Zetilinger, 1996). Additional PDF’s will be distributed by email. Work form: Group lesson Assessment: An Impulse Response assignment and a written test. Grading system: Test: numeric (50%) Practical assignment: pass/fail (50%) Both tests have to be Language: English Schedule, time, venue: See ASIMUT schedule Information: Peter Pabon ([email protected]) Education Service Centre ([email protected])

SOUND AND SPACE

Course title: Sound and Space Osiris course code: KC-SO-K&R Course content: Sound and Space is a seminar exploring interconnections between modes of sonic attention and concepts of space. The seminar is grouped around the themes of echo, resonance and oscillation, providing a cross-disciplinary reading of developments in spatial composition, sound art, audio technologies and architectural acoustics. The course covers examples from a broad range of sources serving to highlight distinctive correlations between epistemologies of sound and ontologies of space and place. Objectives: At the end of this course, you: . have developed an awareness of the historicity of hearing; . have an overview of historical paradigms of spatial sound and their contextual underpinnings; . have acquired an ability to think through sonic contextuality and develop tools to critically engage contemporary discourses of sound and hearing. Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students in bachelor IV). Level: Bachelor Duration: 2 semesters, 150 minutes per week Prior qualifications/ This course is open to everyone who is interested (except Sonology students, as it is prerequisites: part of their curriculum). Limited space available. Teachers: Raviv Ganchrow Credits: 8 ECTS Literature: Reading lists and weekly hand-outs will be provided Work form: Group lesson Assessment: You are required to submit a paper that explores a specific context of spatial sound. The paper will address and elaborate upon the spatial ontologies of sound in that given context, and should display an analytical approach to the subject matter, employ clear argumentation, and express novel approaches to the historicity of hearing. Judgment will be based on the originality of the subject matter, the clarity of the insights as well as the awareness of the potential contribution to aural cultures. Compulsory attendance: 80% Grading system: Numeric Language: English Schedule, time, venue: See ASIMUT schedule Information: Raviv Ganchrow ([email protected]) Education Service Centre ([email protected])

KC ELECTIVES - SELECTION FROM THE COMPOSITION DEPARTMENT

ANALYSIS CONTEMPORARY MUSIC BASIC

Course title: Analysis Contemporary Music Basic Osiris course code: KC-TC-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 Schedule, time, venue: See ASIMUT schedule Information: Calliope Tsoupaki ([email protected]) Education Service Centre ([email protected])

MUSIC MULTI MEDIA

Course title: Music Multi Media Osiris course code: KC-TC-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 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-musical elements is analysed, as well as current practices in sound art and contemporary forms of multimedia. The course also takes a practical form, in learning technologies that could be useful in creating expanded performance practices, such as analogue and digital sound manipulation, video and basic interactive software programming. Students may perform with the kHz kollektiv, an ensemble that specialises in live electronics and multimedia. Objectives: At the end of this course, you: . have an overview of current developments in the field of music multimedia and expanded performance practices; . can analyse relationships between music and other disciplines and reflect about them; . are able to operate with selective live electronics; . have knowledge and skills to create videos for music and music to video. Type of course: Elective (it is a compulsory part of the curriculum for Composition students in bachelor III) Level: Elective: bachelor Compulsory: bachelor III Duration: Regular meetings on Wednesday afternoons and some project/ensemble based activity, 36 weeks per year Prior qualifications/ This elective is only open to students of Sonology and ArtScience. prerequisites: Teachers: Yannis Kyriakides, guest teachers Credits: 4 ECTS Literature: - Work form: Group lessons in combination with individual lessons Assessment: Assignments are part of the course. Students are also assessed on the basis of their active contribution to the group sessions. 80 percent attendance is required. Grading system: Pass/fail Language: English Schedule, time, venue: See ASIMUT schedule Information: Yannis Kyrikides ([email protected]) Education Service Centre ([email protected])

KC ELECTIVES - SELECTION FROM THE ART OF SOUND DEPARTMENT

These courses are only available to students from the Institute of Sonology.

ELECTRO ACOUSTICS 2

AS-EA2 Electro Acoustics 2 Osiris course code: AS-EA2 Course content: The course covers the electrical and acoustical properties of loudspeakers and loudspeaker systems and their applications. The following subjects are discussed: • the theoretical functioning of loudspeakers and the consequences for the dispersion angle, the frequency response and the acoustical output of the loudspeaker; • the summation of two (partly) identical acoustical signals with and without time differences, interference, comb filtering; • basic prediction techniques of single and multiple loudspeaker systems using prediction software; • basic measurement techniques of single and multiple loudspeaker systems using dual channel FFT measurement systems; • a systematic approach to the evaluation of sound system designs in terms of coverage, (spatial) frequency response and direct to reverberant ratio. Objectives: At the completion of this course, you: • understand the working principles of loudspeakers and loudspeaker systems; • understand the principles of the behaviour of sound and sound systems in an electro acoustical environment; • have basic skills in sound system design using prediction software; • have basic skills in sound system optimization using dual channel FFT measurement systems; • are able to evaluate a given sound system design at a basic level. 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: 11 lessons à 2 hours Prior qualifications/ Electro Acoustics 1 prerequisites: Teachers: Jan Panis Credits: 1 ECTS Literature: Bob McCarthy - Sound Systems: Design and Optimization (2nd or 3rd edition) Work form: Group Lesson Assessment: There are two written tests during the course. Both tests have equal weight. A minimum attendance of 80% is required. Grading system: Test I: numeric Test II: numeric Language: English Schedule, time, venue: See ASIMUT schedule Information: Paul Jeukendrup – Head of Art of Sound Department ([email protected]) Education Service Centre ([email protected])

MATHEMATICS AND PHYSICS 1

AS-W&N1 Mathematics and Physics 1 Osiris course code: AS-W&N1 Course content: The lessons covers the relations between a number of aspects of mathematics and physics. Where possible, the link is made with applications in the theory of sound and music technology.

The following subjects are covered: • fractional functions and equations • power functions and equations • 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: Teachers: Ron Dames Credits: 2 ECTS Literature: R. A.C. Dames: Mathematics and Physics 1 Work form: Group Lesson Assessment: There are three written tests during the course period: • Test 1: chapter 1 - 8 of Mathematics and Physics 1, weighting 12%; • Test 2: chapter 9 - 16 of Mathematics and Physics 1, weighting 44 %;

• Test 3: chapter 17 - 22 of Mathematics and Physics 1, weighting 44 %. All tests must be completed with a pass grade. A minimum attendance of 80% is required. Grading system: Numeric Language: English Schedule, time, venue: See ASIMUT schedule Information: Paul Jeukendrup – Head of Art of Sound Department ([email protected]) Education Service Centre ([email protected])

MATHEMATICS AND PHYSICS 2

AS-W&N2 Mathematics and Physics 2 Osiris course code: AS-W&N2 Course content: The lessons explain the relationship between a number of elements of mathematics and physics. Where possible the link is made with applications in the theory of sound and music technology. The following subjects are covered: • Linear algebra: systems of equations, applications from linear algebra, applications in electric networks, theorems of Kirchhoff’s law and Thevenin’s Theorem; • Differential calculus: meaning of differentiation, calculation rules, mathematical applications (determination of extremes and optimisation), physical applications (in dynamics and electric theory); • Integral calculus: meaning of integral, rules for calculating the integral, applications (sound intensity and electric fields); • Differential equations: meaning of differential equations, solution methods, applications in mass-spring systems; • Concepts in physics: magnetism and induction, applications: 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: Teachers: Ron Dames Credits: 2 ECTS Literature: R. A.C. Dames: Mathematics and Physics 2 Work form: Group Lesson Assessment: There are two written tests during the course period: • Test 1: chapter 1 - 11 of Mathematics and Physics 2, weighting 50%; • Test 2: chapter 12 - 20 of Mathematics and Physics 2, weighting 50 %. All tests must be completed with a pass grade. A minimum attendance of 80% is required. Grading system: Numeric Language: English

Schedule, time, venue: See ASIMUT schedule Information: Paul Jeukendrup – Head of Art of Sound Department ([email protected]) Education Service Centre ([email protected])

PSYCHO ACOUSTICS

AS-PSA Psycho Acoustics Osiris course code: AS-PSA Course content: The course covers the anatomy and physiology of the hearing organ in relation to the perception of pitch, timbre, loudness and spaciousness. On the basis of practical examples, students gain insight into the smallest observable differences and the limits of sound perception. On the basis of the concepts Critical Bands and Masking they learn about the principles of Perceptual Audio Coding. The risks of hearing damage are identified and generally applicable safety measures regarding hearing protection are explained. Students study the musical concepts consonance and dissonance from acquired knowledge about our perception of consonance. Objectives: At the completion of this course, you: • know the possibilities and limitations of human hearing; • know the relation between the physical properties and the 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, venue: See ASIMUT schedule Information: Paul Jeukendrup – Head of Art of Sound Department ([email protected]) Education Service Centre ([email protected])

ROOM ACOUSTICS 1 ** AS-RA1 Room Acoustics 1 Osiris course code: AS-RA1 Course content: In this course students study the principles of sound in a "free field" and in closed spaces (definitions, calculations with dB's, sound 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. Grading system: Numeric Language: English Schedule, time, venue: See ASIMUT schedule Information: Paul Jeukendrup – Head of Art of Sound Department ([email protected]) Education Service Centre ([email protected])

ROOM ACOUSTICS 2

AS-RA Room Acoustics 2 Osiris course code: KC-AS-RA Course content: In this course, students study the principles of acoustics in small spaces, such as sound recording rooms, sound control rooms and listening rooms. Topics that are covered include: standing waves (eigenfrequencies, room modes), sound distribution, decay rate (reverberation time), absorption, reflection, diffusion and background noise. This will be done by means of scientific papers, guidelines, standards and examples. Besides minimal (room acoustic) requirements students also focus on personal taste of studio designers and users (subjective aspect). Except for the principles of the use of speakers and/or monitors in a room, the other electro- acoustic components will be excluded in these lectures. Objectives: At the completion of this course, you: • you able to relativise the need of extreme room shapes, the use of expensive constructions and materials; • know the difference between small and large room acoustics; • know the difference between near, far, direct, and diffuse field (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 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.

The home assignment is a short paper (minimum 4, maximum 6 pages A4) on the acoustical design of the control room or the recording room of an exisisting recording studio. The student is assessed on the understanding of the acoustical principles of small spaces as discussed in class.

The written test includes both open questions and multiple choice questions. The student is assessed on the theoretical knowledge of acoustical principles of small spaces as discussed in class. A minimum attendance of 80% is required. Grading system: Home assignment: numeric Written test: 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])

KC MUSIC THEORY ELECTIVES

ANALYSIS: ANALYSING TECHNIQUES

Course title: Analysis: Analysing Techniques Osiris course code: KC-TE-AAT-15 Course content: The most important techniques for analysing music that have been developed in the recent centuries will be studied and applied to the repertoire of the students in the group. For example Heinrich Schenker’s musical theories will be explained end studied. You learn to apply Schenkerian techniques and relate these to the performance practice. Other topics can be Koch (late 18th century), pitch class set theory (20th century). Objectives: At the end of this course, you: . are able to analyse pieces of music, using different historical techniques and you can relate your analysis to the performance of the music. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ Aural Skills and Analysis 1 and 2, Aural Skills and Improvisation 1 and 2, Keyboard Skills prerequisites: and Harmony 1, or Aural Skills, Writing Skills & Analysis (Art of Sound) Teachers: t.b.a. Credits: 4 ECTS Literature: Cadwallader & D. Gagné – Analysis of tonal music Koch – Versuch einer Anleitung zur Composition Work form: Group lesson Assessment: Compulsory attendance: 80%. Written and practical exam (één examen) Grading system: Written & practical exam: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

WRITING: MODAL COUNTERPOINT

Course title: Writing: Modal Counterpoint Osiris course code: KC-TE-MCP-14 Course content: You 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. Scores from the Renaissance period serve as examples. Objectives: The aim of the elective modal counterpoint is to give the student insight and abilities in writing modal counterpoint in Renaissance style. It trains the ear in one form of polyphony so that other forms can be recognised with deeper awareness. The student develops a practical and theoretical understanding of music from the Renaissance period. The student can write a two-part and three-part motet in which mastery of the general stylistic aspects of Renaissance counterpoint are shown. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ Aural Skills and Analysis 1 and 2, Aural Skills and Improvisation 1 and 2, Keyboard Skills prerequisites: and Harmony 1 or Aural Skills, Writing Skills & Analysis (Art of Sound) Teachers: Music theory teachers Credits: 4 ECTS Literature: Peter Schubert – Modal Counterpoint: Renaissance Style Work form: Group lesson Assessment: Portfolio with collected assignments, exam assignment. Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

WRITING: TONAL COUNTERPOINT

Course title: Writing: Tonal Counterpoint Osiris course code: KC-TE-TCP-14 Course content: Tonal counterpoint focuses on the polyphonic style of J.S. Bach and his contemporaries, in which clear polyphony and a strong harmonic design go together. By working on writing assignments in various genres, the student develops his or her own contrapuntal technique. Objectives: At the end of this course, you: . are able to compose a short piece in baroque counterpoint style, for example an inventio, a fugue, a choral prelude etc. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ Aural Skills and Analysis 1 and 2, Aural Skills and Improvisation 1 and 2, Keyboard Skills prerequisites: and Harmony 1 Teachers: Music theory teachers Credits: 4 ECTS Literature: Peter Schubert – Baroque Counterpoint Work form: Group lesson Assessment: Portfolio with collected assignments, exam assignment. Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

WRITING: ARRANGING / INSTRUMENTATION

Course title: Writing: Arranging / Instrumentation Osiris course code: KC-TE-ARI Course content: A variety of works (for chamber music ensembles, the classical and more romantic orchestra) from the 18th and 19th century are studied with regard to how composers work with instrumentation, form, melody, accompaniment and harmony. Instrumentations for 18th and 19th chamber music ensembles and orchestras are made from piano works and songs deemed suitable for this purpose. Arrangements from works (any ensemble, any period) are made for the students own ensembles. Objectives: At the end of this course, you: . are capable of making a stylistically convincing orchestral version of, or an orchestral accompaniment to, a composition for piano or a song; . know the qualities of the musical instruments from the end of the 18th until the late 19th century; . are capable of making a playable arrangement with suitable instrumentation and voice leading from any composition for your own ensemble. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ Aural Skills and Analysis 1 and 2, Aural Skills and Improvisation 1 and 2, Keyboard Skills prerequisites: and Harmony 1 or Aural Skills, Writing Skills & Analysis (Art of Sound) Teachers: Arjen Berends Credits: 4 ECTS

Literature: Samuel Adler – The study of Orchestration (3rd edition) Work form: Group lesson Assessment: Practical exam, portfolio with own work. Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

WRITING: STYLE COPY CLASSICAL AND ROMANTIC PERIOD

Course title: Writing: Style Copy Classical and Romantic Period Osiris course code: KC-TE-SCCR Course content: By analysing compositions, singing songs, listening to many examples from classical and romantic period, we try to come closer to what is called “style”. We will make a number of exercises, for example writing a piano- accompaniment, creating a melody on a given text, constructing sentences and small lied-forms. Objectives: At the end of this course, you: . are able to compose (short) instrumental and vocal works, based on the knowledge of classical and romantic style; . are able to perform your own compositions. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ Aural Skills and Analysis 1 and 2, Aural Skills and Improvisation 1 and 2, Keyboard Skills prerequisites: and Harmony 1 or Aural Skills, Writing Skills & Analysis (Art of Sound) Teachers: t.b.a. Credits: 4 ECTS Literature: Charles Rosen – The Classical Style Nicolas Cook – Analysis through Composition Work form: Group lesson Assessment: Written and practical exam. Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

WRITING: COMPOSING FOR CLASSICAL MUSICIANS

Course title: Writing: Composing for Classical Musicians Osiris course code: KC-TE-CCM Course content: Your compositional activities are central in this course. You are invited to bring your own work, which will be discussed. You will look at compositions from other composers to learn techniques that are beneficial for your own work. Issues of instrumentation and aesthetics will also be discussed (if necessary). Objectives: At the end of this course, you: . are able to develop your own compositional language by making sketches/study- pieces and/or 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 Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ Aural skills and Analysis 1 & 2 or Aural Skills, Writing Skills & Analysis (Art of Sound) prerequisites: Teachers: Patrick van Deurzen Credits: 4 ECTS Literature: Scores, parts of Schönberg’s Fundamentals of musical composition, Samuel Adler, The study of Orchestration W.W. Norton 2001 (3rd edition) Work form: Group and individual lesson Assessment: Practical exam, portfolio with own work. Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

WRITING: COMPOSING FOR JAZZ MUSICIANS

Course title: Writing: Composing for Jazz Musicians Osiris course code: KC-TE-CJM Course content: You will receive assignments, either within a harmonical, melodical or rhythmical framework or free. The idea is to look at writing jazz pieces from different angles. We will also analyse compositions. Objectives: At the end of this course, you . are able to work with different tools to communicate different moods; . are able to write jazz compositions in different styles; . are able to write functional parts for accompaniment. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ ATV1 and 2, Ear Training 1 and 2, Solfège 1 and 2, Harmony at the Piano 1 and 2 prerequisites: Teachers: Niels Tausk Credits: 4 ECTS Literature: Work form: Group lesson Assessment: Portfolio with collected assignments. Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

AESTHETICS AND PHILOSOPHY OF MUSIC

Course title: Aesthetics and Philosophy of Music Osiris course code: KC-TE-CSAP Course content: The importance of philosophy for musicians is crucial and manifold. From understanding the relation of music to the world of ideas and concepts to boosting creativity and reflection upon your own work, philosophy can enrich and help solve many issues related to music. The course will be divided into 4 main topics:

• Philosophy of performance and music practice. You will investigate an understanding of the musical experience, focusing on questions relevant to performance practice such as: What is the nature or ethics of performance and composition? What does interpretation mean? What is the nature of the artistic experience? • History of aesthetical ideas with focus on music. An overview of the history of aesthetics and reflections on the nature of music and beauty and its crucial problems. • Philosophical ideas in musical form. An attempt will be made to demonstrate how musical forms represent historical and current philosophical ideas. Is there a mirroring in the musical repertoire of ideas going on in other areas of human experience such as other arts forms, politics, society and philosophy? • Contemporary philosophical problems for today’s musicians. What are the main problems we should be dealing with now and how can we articulate them with the help of philosophy? Here we also intend to investigate questions of musical education and institutionalization. Objectives: At the end of this course, you: . show an awareness of figures of thought in music philosophy and music- aesthetics; . understand the varied relation that music can have to ideas and thoughts, and understand how this may enrich your own performance practice; . show a more developed reflective approach and interpreting personality in your music making; . 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 1 and 2, or Jazz ATV1 and 2, or Aural Skills, Writing Skills & prerequisites: Analysis (Art of Sound), or Early Music Studies 1 and 2 Teachers: Tom Dommisse, Joao Ferreira de Miranda Santos Credits: 4 ECTS Literature: some texts are presented during the course Work form: Group lesson Assessment: Portfolio and presentations. Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

PLAYING & IMPROVISATION: HARMONY AT THE PIANO 3

Playing & Improvisation: Harmony at the Piano 3 Course title: (only for jazz students) Osiris course code: KC-TE-HAP3 Course content: Non- functional slash chords, poly chords and Clare Fishers approach of harmonies. 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/ Only for Jazz students. ATV1 and 2, Ear Training 1 and 2, Solfège 1 and 2, Harmony at the prerequisites: Piano 1 and 2 Teachers: Eric Gieben Credits: 4 ECTS Literature: Material handed out by the teacher Work form: Small group lesson Assessment: You need to write and perform your own arrangements. Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

PLAYING & IMPROVISATION: RHYTHM CLASS 3 FOR CLASSICAL MUSIC STUDENTS

Course title: Playing & Improvisation: Rhythm Class 3 (only for classical students) Osiris course code: KC-TE-ICM Course content: A comprehensive and advanced course in rhythm. Performing rhythmic exercises, studying excerpts from music literature, as well as practical performance of complex rhythmic patterns (such as African and Latin American indigenous rhythms) will be the main focus in this course. Objectives: At the end of this course, you: . have developed a thorough practical and cognitive understanding of complex rhythms that they can apply in their own performance practice. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ Aural Skills and Analysis 1 and 2, Aural Skills and Improvisation 1 and 2, Keyboard Skills prerequisites: and Harmony 1, Rhythm Class 1 Teachers: Niels van Hoorn Credits: 4 ECTS Literature: Material handed out by the teacher; you can also bring your own repertoire to the lessons. Work form: Group lesson Assessment: Practical exam. Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

PLAYING & IMPROVISATION: RHYTHM CLASS 3 FOR JAZZ STUDENTS

Playing & Improvisation: Rhythm Class 3 Course title: (only for jazz students) Osiris course code: Course content: Rhythmic modulations, odd meters, groove, changing metres. Objectives: At the end of this course, you: . have developed a strong time feeling; . are able to improvise in irregular metres, with changing tempos (rhythmic modulations); . have developed your rhythmical reading and writing skills to a professional level. Type of course: Elective Level: Bachelor III Duration: 36 lessons, 75 minutes per week Prior qualifications/ ATV1 and 2, Ear Training 1 and 2, Solfège 1 and 2, Harmony at the Piano 1 and 2, prerequisites: Rhythm Class 1 and 2 Teachers: Niels Tausk Credits: 4 ECTS Literature: Material handed out by the teacher; reader and standards form the jazz repertoire Work form: Group lesson Assessment: Practical exam. Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

PLAYING & IMPROVISATION: IMPROVISATION FOR CLASSICAL MUSICIANS

Course title: Playing & Improvisation: Improvisation for Classical Musicians (not for pianists / organists) Osiris course code: KC- 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 1 and 2, Aural Skills and Improvisation 1 and 2, Keyboard Skills prerequisites: and Harmony 1 Teachers: Bert Mooiman, Karst de Jong Credits: 4 ECTS Literature: Work form: Group lesson Assessment: Practical exam (presentation). Compulsory attendance: 80% Grading system: Final result: numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

PLAYING & IMPROVISATION: INTRODUCTION TO JAZZ HARMONY

Course title: Playing & Improvisation: Introduction to Jazz Harmony (only for Theory of Music and Classical students) Osiris course code: KC- Course content: You perform standards form 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 situation, play simple sequences on the piano, sing harmonies and write short arrangements. Improvisation in the jazz idiom is also part of the course as well as harmonisation of melodies. Classical students learn to understand the jazz style and repertoire from the inside out. You can play, sing, improvise and write in simple to more advanced jazz harmonic idioms. Objectives: At the end of this course, you: . are able to play by heart at least 5 pieces of the jazz repertoire on your own instrument (melody and improvisation) as well as the piano (melody, harmony (4/5- part accompaniment) and improvisation. The level attained here depends on your ability as a musician; . are able to read a lead sheet, to understand chord symbols; . are able to write 4- or 5-part harmonies with and without melody; . are able to harmonise a melody with jazz harmonies. Type of course: Compulsory for Music Theory students (bachelor IV), elective for classical music students (bachelor III) Level: Bachelor IV (music theory) Bachelor III (classical music) Duration: 36 lessons, 75 minutes per week Prior qualifications/ Aural Skills and Analysis 1 and 2, Aural Skills and Improvisation 1 and 2, Keyboard Skills prerequisites: and Harmony 1 Teachers: Erik Albjerg Credits: 4 ECTS Literature: Material handed out by the teacher Work form: Group lesson Assessment: Practical exam. Compulsory attendance: 80% Grading system: Numeric Language: English and/or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre ([email protected])

KC JAZZ ATV 3 PROJECTS

GENERAL MUSIC THEORY 3 (ATV3) – PROJECTS

Course title: General Music Theory 3 (ATV3) – projects Osiris course code: KC-JX-ATV3 Course content: You choose projects (see below for course descriptions) for the equivalent of four periods. In each project, the material goes a step further in terms of complexity and difficulty than the lessons in ATV2. The content of these projects is often more difficult to analyse with traditional techniques and calls for your personal interpretation of the material. Key requirements are the ability to make written and/or aural analyses and to put into words what you hear and feel in real time. Objectives: At the end of this course, you: . are able to adopt a critical attitude and form an opinion about the subjects covered; . are able to express and communicate your vision. Type of course: Compulsory Level: Bachelor III Duration: 75 minutes per week, 18 weeks per project (except for the Gil Evans, Aural Analysis and Charlie Parker project: 1 x 9 weeks) Prior qualifications/ General Music Theory 2 (ATV2) prerequisites: Teachers: Erik Albjerg, Patrick Schenkius Credits: 3 ECTS for 4 periods of ATV3 projects Literature: Depending on the project Work form: Group lesson Assessment: Written exams at the end of each project; a maximum of two of the 18 lessons (for 2 periods) may be missed. Grading system: Numeric Language: English or Dutch Schedule, time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([email protected]) Education Service Centre ([email protected])

ATV3 BIG BAND (2 PERIODS)

Course title: ATV3 Big Band (2 periods) Course content: First part of the course is devoted to listening to different big band styles and auditive analysis of arrangements. Second part is reading and decoding big band scores with a focus on form and type of voicings. Main literature is "Inside The Score", with the arranging styles of Sammy Nestico and Thad Jones. Additional scores by Thad Jones and Duke Ellington/Billy Strayhorn. Teachers: Patrick Schenkius Literature: The teacher provides the material in the lesson. "Inside the score" is also available in the library. Work form: Group lessons Assessment: Written exam; the student has to make an auditive analysis Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([email protected])

ATV3 BIG BAND (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. Writing rules for 4-part writing will gradually be covered: learning by doing. Concerning voicing leading and harmony, the relationship between classical and jazz will be made. Teachers: Patrick Schenkius Literature: The teacher provides the material. Work form: Group lessons Assessment: Written exam: transcription of a 4-part choral as preparation for the exam. This choral is the subject of harmonic and melodic analysis at the exam; the second part is a 4-part voicing with a given melody. Mandatory attendance, one lesson can be missed Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([email protected])

ATV3 JOHN SCOFIELD/PAT METHENY (2 PERIODS)

ATV3 John Scofield/Pat Metheny (2 periods) Course content: You will analyse compositions by John Scofield and Pat Metheny (mainly trio and quartet albums) for form and harmonic structures. Theoretical subjects are slash chords, form and melodic structure. The form is often influenced by motifs, which sometimes causes irregular sentences. Influences from other musical styles or outer musical influences will also be considered. You are required to participate in the discussion during every lesson. Teachers: Patrick Schenkius Literature: Material handed out by the teacher Work form: Group lessons 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 analytical aspects discussed in the lessons return in the questions in the written exam. Mandatory attendance; one lesson can be missed Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([email protected])

ATV3 MILES DAVIS/WAYNE SHORTER (2 PERIODS)

ATV3 Miles Davis/Wayne Shorter (2 periods) Course content: A comparison between the two great quintets by Miles between '55 and '65. The form experiments as well as the interaction between the members of the bands and the transitions in Miles playing style are analysed. Wayne Shorter: Early compositions for the Jazz Messengers, his own group, as well as for Miles Davis, are analysed. Focus is on the experiments in form and harmony. You are required to participate in the discussion during every lesson. Teachers: Patrick Schenkius Literature: All written material will be handed out by the teacher. Three versions of 'My Funny Valentine' are available in the Study Lab. Work form: Group lessons Assessment: Written exam: the student should prepare three versions of 'My Funny Valentine', including one transcription of the oldest version. All focus points of analysis discussed in the lessons should return in these three versions. Mandatory attendance; one lesson can be missed. Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([email protected])

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ATV3 CHARLIE PARKER (1 PERIOD)

ATV3 Charlie Parker (1 period) Course content: Analysis of the work of Charlie Parker, with the emphasis on the specific melodic, harmonic and rhythmic features. Transcriptions will be made, as well as performances of themes and solos in order to fully understand Parker's music. Teachers: Erik Albjerg Literature: Literature will be provided by the teacher. Work form: Group lessons Assessment: Written exam and presentations: analysis of a solo. Every aspect of the analysis discussed in the course must be used in the exam. Mandatory attendance; one lesson can be missed. Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([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. Mandatory attendance; one lesson can be missed Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([email protected])

ATV3 JAZZ AUDITIVE ANALYSIS (1 PERIOD)

ATV3 Jazz Auditive Analysis (1 period) Course content: Creating an analysis based solely on listening; no scores or sheet music will be used. Emphasis is on description and recognition of the formal elements of the arrangement of the recordings. Teachers: Erik Albjerg Literature: Recordings provided by the teacher (musicweb) and by students. Work form: Group lessons Assessment: Written exam and presentation: creating an aural analysis of an arrangement. Every aspect of the analysis discussed in the course must be used in the exam. Mandatory attendance; one lesson can be missed. Time, venue: See ASIMUT schedule Information: Suzanne Konings - Head of Music Theory Department ([email protected])

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CODARTS ELECTIVES

COMPOSITION – ARRANGING – SONGWRITING MINORS

CONTEMPORARY JAZZ COMPOSITION IN PRACTICE

Specific title module Contemporary Jazz Composition in practice Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content (and relation to This Minor offers tools and guidance for the musician’s personal growth as a professional practice) composer in the contemporary jazz idiom, in a group with colleagues and on an individual basis. Students will acquire basic professional working skills in composing contemporary jazz music for small bands (max 5/6).

Jazz Composition in a very practical way: composing, performing and recording original works by the students, related to their (final)examinations and/or to their band practice outside Codarts. Various approaches to linear composition are included in the lessons, ranging from sketching form-concepts to creating detailed scores. Different approaches to the implementation of guided improvisation are treated. Reference competencies 1, 2, 11, 15 Learning outcomes At the end of the module the student is able to compose or arrange a minimum of 3 works for small (jazz)ensemble (Min 3; rhythm section - max 5; rhythm section plus 1 or 2 soloists) delivering partiture and parts including details concerning articulation, dynamics and interpretation. The arranged/composed works will be based on lineair composing techniques (intervallic structures), open forms and guided improvisation techniques. Coordinating department JPW Contact person Paul M van Brugge Language Dutch/English Work form Tutorial Group size Min. 5 max. 6 Teacher (s) Paul M. van Brugge, Renard Aust Entrance requirements In order to apply for the Minor, the student is asked to provide 2 to 3 recent works (composition and/or arrangement) plus audio files to show his/her affinity and experience with contemporary jazz. Scores and related audio files to be sent before 1 April: 1. Go to https://filesender.surf.nl/ 2. Search for Codarts and press enter to select. 3. Log in with your Codarts account. 4. Send the files to [email protected] 5. "Application Minor Contemporary Jazz" in the header. Sources, literature -

Exam Exam Exam name Minor Contemporary Jazz Composition in practice Semester 2 Exam form Combination: Theory – handing in assignments & Interview Content of the exam Halfway through the year there will be a formative assessment that will consist of a written self-reflection by the student and an oral evaluation by the teacher. For the concluding exam the student will hand in 3 works on partiture and as audio file. Criteria The material will be assessed on the elements of form, content and notation.

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Performance of the composer and his/her group(band)members will be assessed only in relation to the written material. Exam duration - Weight 100% Study credits 12 Number of attempts 2 Result scale 20 point scale, 0,5 – 10, rounded off on halves

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JAZZ ARRANGING

Specific title module Jazz arranging Duration 15 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content (and relation to Having concluded this profile module the student will have sufficient basic professional practice) knowledge in arranging for jazz formations at a beginning professional level, varying from quintet to big band.

In this profile module you will study the evolution of jazz arrangement, as well as knowledge of instruments and instrumentation, re-harmonisation, writing for 1,2,3,4,5-voices, using “upper structures”, counterpoint and form/flow. The student will be challenged to invent a new melody (contrafact and special) based on a chord progression. Analysing pieces (with the score as well as additively) and transcribing arrangements from CD. Reference competenceis 11, 12 Learning outcomes On completion of the minor the student is able to:  arrange for small as well as large ensembles, possibly with voice in jazz and related styles. This all keeping in regard the register in which the horn players sound well and put into a good form/flow.  produce knowledge about the different instruments used in the arrangements: range of instruments, whether instruments are transposed and how.  write a chord varying from 5 horn players to big band orchestration, both transposed as concert.  harmonize a given chord scheme  harmonize a scale in different ways  notating a theme from the Real Book in a ‘jazzy’ way Coordinating department JPW Contact person Ab Schaap Language Dutch/English Work form Tutorial Group size Min. 12, max. 15 Teacher Ab Schaap Entrance requirements - Sources, literature Scores that have been written/transcribed by the teacher. Score as 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 Strayhorn, Thad Jones, Maria Schneider, Gil Evans. Inside the Score by Rayburn Wright. The mentioned books and a large number of scores are available in the school library and on the internet. YouTube. Muziekweb

Exam Exam Exam name Minor jazz arranging Semester 1 or 2 Exam form Theory - written exam Content of the exam Theoretical skills and arranging tested in a written exam Criteria More than 5 errors = not sufficient An insufficient answer can be compensated with a well answered question. A total mark less than 5.5 means failing the exam. Exam duration 2 hours Weight 50% Study credits 3 Number of attempts 2 104

Resultaatschaal 20 point, 0,5 – 10, in halves

Exam Exam Exam name Minor jazz arranging Semester 1 or 2 Exam form Theory – assignment to hand in Content of the exam arranging assignments. Criteria Arrangements will be played by an ensemble/ the bigband and judged on sound, playability and form/flow. Exam duration n.a. Weight 50% Study credits 3 Number of attempts 2 Resultaatschaal 20 point, 0,5 – 10, in halves

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SONGWRITING A

Specific title module Songwriting A Duration 15 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content (and relation to The aim of the profile module is to intensify various songwriting skills and apply them in professional practice) a practical situation (band assignment, artist-oriented, style-oriented). Besides the craftsmanship of the songwriter, the motives and incentives of the songwriter will be examined. You learn the basic skills of songwriting and writing music and lyrics. You learn to apply these skills to your own work. Some assignments are specifically oriented and others are less strictly defined and should be elaborated with the necessary creativity. The different elements of a song (rhythm, form, melody, lyrics etc.) are used as a starting point for the songs assigned. Important here is that the student can give form to his or her work using a multitrack recording. The final assignment is to create a Bandcamp or SoundCloud page, on which your own work (10 songs) is presented – audio-visually – in a good way. Reference competencies 1, 2, 5, 6, 12, 20, 21 Learning outcomes Through the 10 assignment songs, it can be heard that the student has not only completed the specific assignments, but also demonstrates a creative, fully artistic interpretation of the writing assignments. Coordinating department JPW Contact person Desmond Haneveer Language Dutch/English Work form Seminar Group size Min. 12, max. 15 Teacher (s) Desmond Haneveer Entrance requirements Students from all departments can take part, as long as they satisfy the following requirements: - basic knowledge of theory; - student already writes own repertoire; - student plays a harmony instrument and sings; Due to the large overlap with the songwriting curriculum, this minor cannot be followed by students with main subject songwriting. 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

Exam Exam Exam name Minor Songwriting A Semester 1 or 2 Exam form Theory – assignment to hand in Content of the exam The student writes 10 songs through different assignments. The student puts a multitrack recording of these songs online as a demo on BandCamp or SoundCloud. Criteria In addition to the specific, measurable parameters of the assignment, attention is paid to the artistic content of the songs. The way in which the student gives form to his/her music as an artist is certainly as important. The student is judged on continuity and development in the writing. Exam duration n.a. Weight 100% Study credits 6 Number of attempts 2 Result scale 20-point, 0.5 – 10, rounded off to halves 106

SONGWRITING B

Specific title module Songwriting B Duration 15 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content (and relation to The aim of the profile module is to intensify various songwriting skills and apply them professional practice) in a practical situation (band assignment, artist-oriented, style-oriented). Besides the craftmanship of the songwriter, the motives and incentives of the songwriter will be examined. In the B-part of the Songwriting minor we will look into writing in different genres and styles. What's needed to write a hit a la Rihanna? What's the structure of a power ballad? The generic songwriting forms the basis from which we deal with different methods, strategies and techniques. Important here is that the student can give form to his or her work using a multitrack recording. The final assignment is to create a Bandcamp or SoundCloud page, on which your own work (10 songs) is presented – audiovisually – in a good way. Reference competencies 1, 2, 5, 6, 12, 20, 21 Learning outcomes Through the 10 assignment songs, it can be heard that the student has not only completed the specific assignments, but also demonstrates a creative, fully artistic interpretation of the writing assignments. Coordinating department JPW Contact person Desmond Haneveer Language Dutch/English Work form Seminar Group size Min. 12, max. 15 Teacher (s) Desmond Haneveer Entrance requirements Students from all departments can take part, as long as they satisfy the following requirements: - basic knowledge of theory; - student already writes own repertoire; - student plays a harmony instrument and sings; Due to the large overlap with the songwriting curriculum, this minor cannot be followed by students with main subject songwriting. 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

Exam Exam Exam name Minor Songwriting B Semester 1 & 2 Sem 1: Monday 18:15-20:15 Sem 2: Monday 16:00-18:00 Exam form Theory – assignment to hand in Content of the exam The student writes 10 songs through different assignments. The student puts a multitrack recording of these songs online as a demo on BandCamp or SoundCloud. Criteria In addition to the specific, measurable parameters of the assignment, attention is paid to the artistic content of the songs. The way in which the student gives form to his/her music as an artist is certainly as important. The student is judged on continuity and development in the writing. Exam duration n.a. Weight 100% Study credits 6 Number of attempts 2

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Result scale 20-point, 0.5 – 10, rounded off to halves

WORLD MUSIC COMPOSITION IN PRACTICE A – SOUND

Specific title module World music composition in practice A - sound Duration 15 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content (and relation to Students will acquire basic professional working skills in composing original music for professional practice) a variety or combination of World Music instruments. World Music Composition in a very practical way: critically sharing, commenting, refining and performing original works with and by the students. Various approaches to composition are included in the lessons, ranging from creating scores to sketching form-concepts, different traditions of musical notation are also treated. Module A - sound will be focusing on melody and harmony.

Completion of the course by handing in a documented portfolio of 4 works, plus a required live performance of at least 1 composition. For more information please check the following website: http://www.oscarvandillen.com/projects/world_music_composition_in_practice/ Reference competenceis 1, 2, 3, 4, 5, 6, 7, 9, 12, 13, 15, 19, 20, 21 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 department JPW 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 * Unterweisung im Tonsatz, Hindemith, Schott 1937 * De Toonklok, Peter Schat, Meulenhoff 1984 ed. The Tone Clock, Harwood 1993 * Give my regards to Eighth Street, Feldman/Friedman, Cambridge 2000 * Various online materials

Exam Exam Exam name Minor world music composition in practice A Semester 1 Exam form Theory- Handing in of assignment Theory –interview Content of the exam Handing in a portfolio containing at least 1, during the minor newly created, original world music composition in print and audio: scores and recordings/simulations in for example mp3 format with brief documentation and explanation Criteria The material will be assessed on the elements of originality of the idea, applicability within the scope of the lessons (theme: sound – melody and harmony), compositional quality, possible performance and notational quality. Exam duration 15 min. Weight 100% 108

Study credits 6 Number of attempts 2 Result scale 20 point 0.5 – 10 in halves

WORLD MUSIC COMPOSITION IN PRACTICE B – TIME

Specific title module World music composition in practice B - time Duration 15 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content (and relation to Students will acquire basic professional working skills in composing original music for professional practice) a variety or combination of World Music instruments.

World Music Composition in a very practical way: critically sharing, commenting, refining and performing original works with and by the students. Various approaches to composition are included in the lessons, ranging from creating scores to sketching form-concepts, different traditions of musical notation are also treated. Module B - time will be focusing on rhythm and form.

Performances in Full Moon Concerts at WMDC recommended.

For more information please check the following website: http://www.oscarvandillen.com/projects/world_music_composition_in_practice/ Reference competenceis 1, 2, 3, 4, 5, 6, 7, 9, 12, 13, 15, 19, 20, 21 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 rhythm and form, inspired by and based upon at least the various world music traditions surveyed and studied in the lessons. Coordinating department JPW Contact person Oscar van Dillen Language English Work form Tutorial 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 * Structure and Style, Stein, Princeton 1979 * Studies in African Music 1+2, Jones, Oxford 1959 * The Music of Santeria, Amira/Cornelius, White Cliffs 1992 * Various online materials a.o. www.maqamworld.com, www.oscarvandillen.com

Exam Exam Exam name Minor world music composition in practice B Semester 2 Exam form Theory- Handing in of assignment Theory – Interview Content of the exam Handing in a portfolio containing at least 1, during the minor newly created, original world music composition in print and audio: scores and recordings/simulations in for example mp3 format with brief documentation and explanation Criteria The material will be assessed on the elements of originality of the idea, applicability within the scope of the lessons (theme: sound – melody and harmony), compositional quality, possible performance and notational quality. Exam duration 15 min. Weight 100% Study credits 6 109

Number of attempts 2 Result scale 20 point 0.5 – 10 in halves

PRACTICAL PLAYING MINORS

AFRO-CUBAN PERCUSSION

Specific title module Afro-Cuban Percussion Duration 30 weeks Course type Cursus Year Non year bound Exam goal B Main phase Bachelor Content (and relation to On concluding this profile module, the student will have a basic knowledge of the professional practice) Caribbean rhythms on the various instruments and of how these are played together in an ensemble in an authentic manner. The central focus is on the rhythmic concept of Cuban and Caribbean music. According to the level of the students, the most important patterns and techniques on congas, bongos, timbales, shekere, guiro, etc. will be covered. Genres: Son, Folklore, Charanga, Canción, within those Guajira, Cha Cha, Son Montuno, Guaracha, Guaguancó, Mozambique, Songo, Bembé, Abakua, Bolero, Bomba, Batá rhythms Next to practical playing there will be in-depth focus on the analysis of the theory and historical background of the Caribbean Rhythms.

The contact time for this minor is 60 min per week. Reference competencies 2, 3, 4, 8, 11, 12, 15, 19, 20 Learning outcomes The ability to recognize the various genres of Cuban and Puerto 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 department JPW Contact person Nils Fischer Language English, Dutch Work form Practical group lesson Group size Min. 3, max. 4 Teacher Nils Fischer Entrance requirements There will be an advanced group for drummers/ percussion players and a beginners group without any entrance requirements Due to the large overlap with the curriculum latin drums/ percussion, this module cannot be followed by students with main subject latin drums/ percussion. Sources, literature  "Los Cueros" reader by Nils Fischer, library Codarts  Notation is used in lessons to explain and remember rhythms  During lessons recordings are used to play along and available for further [self-] study

Exam Exam Exam name Minor Afro-Cuban percussion and historical context Semester 2 Exam form Practical exam Content of the exam The exam consists of three parts: 1. Recognizing genres in a blindfold test (33%) 2. Playing patterns (33%)

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3. Evaluation of the ability to play patterns in an ensemble (this part is evaluated during the lessons) (34%) Criteria  Orientation regarding the various genres/patterns  Sound, coordination on the respective instruments  Strong inner pulse, sense of time  Ability to play correctly in a poly-rhythmic ensemble Exam duration Practicum in group 60 minutes. Re-exam: In case of a re-exam, part 3 (playing together) will be tested by letting the student play together with the teacher. Part 1 and 2 are tested in the same form as in the first attempt. Weight 100% Study credits 6 Number of attempts 2 Result scale 20 point, 0,5 – 10, in halves

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BRAZILIAN CHORO PLAYING

Specific module title Brazilian Choro playing Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content/relation to The minor Choro will be open for all instruments except vocals. professional practice Choro is a mix of European classical music and afro Brazilian rhythms, this makes it a music style very accessible for students of all departments, especially musicians with a classical background. 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:

 Rhythmical structures of different styles in choro and how to make rhythmical variations  Different ways to interpret the themes and a start to improvise within the choro language  How to play choro counterpoint through analyses and provided transcriptions  How to interact between melody players and rhythm section  The student will be provided with historical background information of the Brazilian musical culture  the student is invited to explore the possibilities of his own instrument in the context of Choro beyond a given limitation.

Reference competencies 2, 4, 5, 6, 7, 9, 10, 11, 12 Learning outcomes  The student is able to perform a given lead sheet using variations of the melody and stylistic elements within the choro language  The student is able to recognize the relevant grooves/ styles of the genre and is able to apply these  The students is able to create own countermelodies using the theme melody and harmony  The student can present the rehearsed repertoire in concert together with his fellow students Coordinating department JPW Contact person Marijn van der Linden Language English Work forms Practical group lesson Nr. of participants Min. 10 students, max. 16, max. 2 per instrument Teacher(s) Marijn van der Linden Entrance requirements Not for vocal students. Material/literature Scores handed by the teacher. Scores and listening examples downloadable on website www.choroschool.com Listening examples/ practice material handed by the teacher

Exam Exam Exam description Minor Brazilian Choro playing Semester 2 Exam form  Practical group exam Content of the exam The module will be concluded with an exam, the student will be assessed in a practical exam in the form of a collective concert/presentation Exam criteria  Timing/groove  Interaction  Interpretation/variation 112

 Correct application of stylistic elements  Expression Exam duration 30 min Weight 100% Study credits 6 Number of attempts 2 Result scale 20 point, 0,5 – 10, in halves

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BRAZILIAN PERCUSSION

Specific title module Brazilian Percussion Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content (and relation to On concluding this profile module, the student will have a basic knowledge of the professional practice) Brazilian rhythms on the various instruments and of how these are played together in an ensemble in an authentic manner.

1. Samba-Basics: Bossa Clave / Telecoteco / Partido Alto / 3-2 and 2-3/ “Swinge” 2. Bahia-repertoire: Samba-Reggae + Afro-Samba / Blocos Afro da Bahia 3. Samba-Batucada-repertoire: / Escolas de Samba do Rio / Samba de Enredo 4. Moderne ritmes op Batucada instrumenten zoals Shuffle, 6/8, Funk, Jungle 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.  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/and listen to:  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  From Rio Pagode-style: Zeca Pagodinho, Fundo do Quintal en Revelaçao Reference competencies 8, 11 en 15 Learning outcomes After successfully completing this module the student is able to:  Perform Samba basics and the clave principle on several instruments.  Know how several rhythm patterns in the above mentioned genres fit together and what the functions of the different instruments are and apply this knowledge in an percussion ensemble setting  Lead the group with playing entrance- and exitcall on Repinique for a simple Samba Reggae and giving signs for breaks  Perform the rhythms on Pandeiro as mentioned above  Make transcriptions of arrangements played in the group lesson Coördinating department JPW Contact person Maxim Zettel Language English Work form Practical group lesson Group size Min. 10, max. 15 Teacher Maxim Zettel Entrance requirements Due to the large overlap with the curriculum latin drums/ percussion, this module cannot be followed by students with main subject latin drums/ percussion.

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Sources, literature  Recordings submitted by the teacher/student  Oral traditions, without specific sources  Scores and transcriptions submitted by the students

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%).

Re-exam consists of a resit of the practical exam. Students who failed their first exam attempt because of an insufficient evaluation of their participation in the lessons (attendance, preparation, active participation, progress) will have to make an additional transcription on top of the practical exam resit. 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 h all together including debrief with student / 5 min each student individual talk Weight 100% Study credits 6 Number of attempts 2 Result scale 20 point, 0,5 – 10, in halves

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FLAMENCO PLAYING I

Specific title module Flamenco playing I Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor or Master Content (and relation to After concluding the profile module, the student will have sufficient knowledge to play professional practice) the most common rhythmical flamenco styles like bulerias, tangos, alegrias and siguiriyas on a basic level and to communicate with flamenco singing and dance on the base of the traditional flamenco codes.

The course is basically divided into two parts during the year. From the two hours weekly block the first hour is used to work on: -the rhythmical structure of the different styles -the harmonic and composition concept of flamenco (micro composition) -learn to understand how interaction functions in flamenco -develop sound and phrasing -the development and historical context of flamenco

The second hour will be dedicated to study and play flamenco styles/pieces as an ensemble.

As many instruments are quiet new in the flamenco landscape some time will be dedicated to experiment on creating new sound colors within the flamenco context an to analyze recordings where the specific instruments are used. Reference competencies 2, 4, 7, 9, 19 Learning outcomes The student can apply style elements like fraseo, articulation and timing in the execution of a number of flamenco styles. The student can present the rehearsed repertoire in concert together with his fellow minor students The student shows that he/she has assimilated the styles sufficiently to move freely in its rhythms and to integrate new material in the right way. The student is able to distinguish flamenco from „flamenco alike“. The student is able to master new repertoire in a stylistic and technical way, within the duration of the minor. The student is invited to explore the possibilities of his very instrument in the context of flamenco beyond a given limitation. Coordinating department JPW Contact person Alexander Preuss Language English Work form Practical group lesson Group size Min. 6 max. 18 Teacher (s) Alexander Preuss, Irene Álvarez, Carmen Fernandez, Ricardo Mendeville Entrance requirements Due to the large overlap with the curriculum, this module cannot be followed by students with main subject flamenco. Sources, literature Flamenco recordings from 1910 till todays actual musicians with a special focus on Paco de Lucia sextet.

Transcriptions / arrangement from Codarts flamenco ensemble

A concrete list will be given at the beginning of the course

Exam Exam Exam name Minor Flamenco playing I

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Semester 2 Exam form Practical group exam Content of the exam At the end of the module the student will be assessed on a presentation in the form of a collective concert. Criteria  Timing  Articulation  Phrasing  Expression  Interaction Exam duration 45 min Weight 100% Study credits 6 Number of attempts 2 Result scale 20 point 0,5 – 10, rounded off in halves

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FLAMENCO PLAYING II

Specific title module Flamenco playing II Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor or Master Content (and relation to This module is a continuation of the module Minor Flamenco 1 and is an advanced professional practice) course for those who want to deepen their knowledge of Flamenco.

After concluding the profile module, the student will have sufficient knowledge to function as an additional member in a traditional flamenco setting. Apart from this there is a strong focus on preparing the students to be able to integrate flamenco elements into their own music and arrangements.

The course basically consists of three components:

1 Every student is asked to do a research about one specific flamenco style. The research contains an analysis of the most important singing melodies (including transcriptions), an investigation on the development of the style and outstanding interpretations. At the end of the first semester the student will hand in an outline of this research and present his work to his fellow minor students.

2 The student will make an arrangement in the chosen style (based on existing ore proper compositions) and rehearse it with other students from the minor course in order to perform the piece at the end of the year. The results of these rehearsals will be discussed during the lessons.

3 All students will collaborate in a piece given by the teachers which contains singing and dance accompaniment. During the rehearsals the students will learn more about the traditional flamenco codes and the interaction of the different elements. Reference competencies 2, 4, 5, 6, 7, 9, 11, 19, 21 Learning outcomes The student can apply style elements like fraseo, articulation and timing in the execution of a number of flamenco styles. For the final examen concert of the course the student is going to (re-) create a piece based on a flamenco style and to arrange it for a number of instruments (chosen from the participants of the course) The student can present the rehearsed repertoire in concert together with his fellow minor students During the preparation of one or two pieces with dance and singing accompaniment the student will get more familiar with the interaction codes in flamenco and learn how to function in a traditional flamenco setting. For his composition/arrangement the student needs to develop a vision about the final result (in terms of sound, atmosphere, energy) and to transmit that vision to his colleagues The student shows that he/she has assimilated the styles sufficiently to move freely in its rhythms and to integrate new material in the right way. The student is able to master new repertoire in a stylistic and technical way Transcriptions of relevant recordings are essential during the preparation of the own arrangement The student is invited to explore the possibilities of his very instrument in the context of flamenco beyond a given limitation. Designing a piece for himself and other participants of the course the student has to calculate his own and the others artistic and technical possibilities in order to get a convincing result. He has to plan rehearsals and (in dialogue with the teachers) to reflect if his ambition is realistic

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Coordinating department JPW Contact person Alexander Preuss Language English Work form Practical group lesson Group size Min. 6, max. 12 Teacher (s) Alexander Preuss, Irene Álvarez, Carmen Fernandez, Ricardo Mendeville Entrance requirements The profile module is accessible for students who have finished the module flamenco minor I successfully or have enough experience in flamenco playing (audition). Due to the large overlap with the curriculum, this module cannot be followed by students with main subject flamenco. Sources, literature Significant recordings of different styles of the flamenco repertoire. Historical information on the styles (from www.flamencopolis.com for example).

A choreography / composition given by the teachers.

Exam Exam Exam name Minor Flamenco playing II Semester 2 Exam form Practical group exam Content of the exam At the end of the module the student will be assessed on a presentation in the form of a collective concert. Criteria  Vision/arrangement  Motivation  Knowledge of the style  Timing  Interaction  Articulation  Phrasing  Expression Exam duration 45-60 min Weight 100% Study credits 12 Number of attempts 2 Result scale 20 point 0,5 – 10, rounded off in halves

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LATIN PLAYING

Specific module title Latin Playing Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content/relation to The minor Latin will be open for pianists, bass/guitar and drums/percussion, professional practice giving an introduction to Afro-Cuban (piano) playing with the main focus on its basic rhythmical patterns (tumbaos) and their close relation with bass/tres/guitar and percussion. Besides a great emphasis on the practical playing of different grooves and chord progressions together with some basic improvisation in Cuban style, the students will be provided with the contextual information on the historical background of Afro-Cuban music along with musical examples.

Reference competencies 2, 4, 5, 6, 7, 9, 10, 11, 12 Learning outcomes  The student is able to play in clave and has a basic understanding of the most relevant grooves of the genre  The student will be able to perform a given score (real-book style) using relevant grooves and stylistic elements from the Afro-Cuban genre  The student is able to recognize the relevant grooves/ styles of the genre and is able to apply these Coordinating department JPW Contact person Thomas Böttcher Language English Work forms Practical group lesson Nr. of participants Min. 8, max. 10 Teacher(s) Thomas Böttcher Entrance requirements Due to the large overlap with the curriculum, this module cannot be followed by students with main subject latin. Material/literature 101 Montunos, by Rebeca Mauleon-Santana, Afro-Cuban playing book May Caliente, by Rebeca Mauleon-Santana, Listening examples/practice material handed by the teacher

Exam Exam Exam description Minor latin playing Semester 2 Exam form Combination:  Practical group exam (50%)  Theory – written (50%) Content of the exam The module will be concluded with an exam, consisting of 2 parts: 1. A short playing test: students will have to play a groove/ repertoire piece in ensemble form (50%). 2. A theory test: recognizing grooves/ styles typical for the genre from listening examples (50%) Exam criteria Playing test: Correct use of style elements Timing and groove Written/ practical theory test: according to answer model Exam duration Playing test: 15 min per group (for the exam, the class will be divided in several groups) Written test/practical theory test: 20 min (with the whole class) Weight 100% Study credits 6 Number of attempts 2 120

Result scale 20 point, 0,5 – 10, in halves

PLAYING TANGO

Specific title module Playing Tango Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor or Master Content (and relation to After concluding the profile module, the student will have sufficient knowledge to play professional practice) Argentine tango at a basic level in style.

By working together as an ensemble on the interpretation of stylistic elements of Argentine tango and player-specific techniques, the foundation will be laid for the interpretation of works from the Golden Age to contemporary tango. Reference competencies 2, 4, 7, 9 Learning outcomes The student can apply style elements like fraseo, cuadrado and tango-articulation on a basic level in the execution of a tango score The student can present the rehearsed repertoire in concert together with his fellow minor students The student shows that he/she is possesses sufficient musical skills to discriminate between a ‘classical’ way of executing a tango score and a stylistic correct way to execute it. The student is able to master new repertoire in a stylistic and technical way, within the duration of the minor. Coordinating department JPW Contact person Kay Sleking Language English Work form Practical group lesson Group size Min. 8, max. 15 Teacher Kay Sleking/Stephen Meyer Entrance requirements Due to the large overlap with the curriculum, this module cannot be followed by students with main subject Tango. Sources, literature Recordings of the orchestra’s off: D'Arienzo, Di Sarli, Gobbi, Troilo, Salgán, Pugliese, Piazzolla

And recordings of the quintets of: -Salgán (Quinteto Real) en Piazzolla

Exam Exam Exam name Minor Playing tango Semester 2 Exam form Practical group exam Content of the exam At the end of the module the student will be assessed on a presentation in the form of a collective concert. Criteria  Timing  Articulation  Technique  Intonation  Presentation Exam duration 1 hour Weight 100% Study credits 6 Number of attempts 2 121

Result scale 20 point 0,5 – 10, rounded off in halves

POP PERCUSSION

Specific title module Pop percussion Duration 30 weeks Course type Course Year Non yearbound Exam goal B Main phase Bachelor Content (and relation to The minor pop percussion will introduce the student in the world of pop percussion in professional practice) the broadest sense. We will look into the use of percussion in a range of styles, such as mainstream pop, rock, sing song, reggae, country, Americana, EDM, fusion, r&b, soul, blues, funk etc. The student will learn basic playing techniques for congas and bongos, as well as tambourine, shakers, cabasa, triangle, shekere and drumming technique for cajon.

We will work on coordination, time, feel, playing with click and playing in an ensemble. Other topics are: the overall function of percussion in pop music, the effects it can create, choice of instruments, difference in playing in verse and chorus, etc. Reference competencies 2, 4, 6-10, 11, 15 Learning outcomes After successful completion of this module, the student is able to:  Play several percussion instruments on a rudimentary level  choose instrumentation that is fitting for a given song and style and ensemble line-up  Create a percussion part in several styles (as mentioned above) and tempi that fits the style and form of a given song Coordinating department JPW Contact person Martin Verdonk Language English Work form Practical group lesson Group size Min. 4, max. 8 Teacher (s) Martin Verdonk Entrance requirements Open for all instrumentalists/vocalists with a interest for groove and rhythm Sources, literature Exercises provided by the teacher, examples from YouTube (www.youtube.com/martinverdonkmastersessions)

Exam Exam Exam name Minor Pop percussion Semester 2 Exam form Practical Content of the exam Practical exam of min.15 minutes: one week before the exam the teacher sends the student a tracks minus percussion part. The student prepares a percussion part for the track and performs this during the exam. Afterwards the student will be asked to reflect on the choices made in instrumentation, rhythms, build up, etc. Criteria  Inner pulse, sense of time  Groove  Ability to play together with an ensemble  Dynamics, musicality, build up of the percussion part  Ability to reflect on the choices made in instrumentation, build up, etc. Exam duration 15 minutes per student individual Weight 25%

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Study credits 2 Number of attempts 2 Result scale 20 point, 0,5 – 10, in halves

Exam Exam Exam name Minor Pop percussion Semester 2 Exam form Assignment Content of the exam The student will hand in a recording on which he performs a percussion part in 3 songs, chosen from the main styles mentioned above, played with an ensemble of choice (trio/ full band). The songs need to be 1 up tempo, 1 ballad, 1 tempo of choice. The student can choose which percussion instruments to use. He/She will write a short reflection paper on the choices he/she made regarding instrumentation, rhythms, build up of the part throughout the song. Criteria  Inner pulse, sense of time  Groove  Ability to play together with an ensemble  Dynamics, musicality, build up of the percussion part  Ability to reflect on the choices made in instrumentation, build up, etc. Exam duration n.a. Weight 75% Study credits 4 Number of attempts 2 Result scale 20 point, 0,5 – 10, in halves

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RAGA

Specific title module Raga Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor (and Master) Content (and relation to . Enrichment of the knowledge of modality through the discovery of the modal Indian professional practice) concept of Raga. . Discovery and practice of the North indian classical music repertoire of vocal and instrumental music in the two classical genres (Dhrupad and Khayal). . Practice of the vocal techniques of Indian classical music. . Practice of improvised development of the alap, slow melodic development of the scale (prelude). . Work on compositions - bandish (vocal) and gat (instrumental) - in the connection with the Tala, the concept of Indian rhythmic cycle. . Practice of these vocal and instrumental compositions, played 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 competencies 6, 7, 9, 10, 11 Learning outcomes The student will be able to  sing and play different type of modes following the rules of the Indian tradition,  build up a prelude (alap), sing and play compositions of the different genres;  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 department JPW Contact person Marianne Svasek / Henri Tournier Language English Work form Practical group lessons Group size Min. 8, max. 10 Teacher (s) Marianne Svasek / Henri Tournier Entrance requirements Not for students with main subject Indian music Sources, literature Practice material in pfd provided by the teacher (text, audio files), DVD, Spotify

Exam Exam Exam name Minor raga Semester 2 Exam form Theory- practical theory Content of the exam Short presentation of a Raga: prelude (alap), followed by a composition (bandish, gat) sing or played in variations + improvisations, with tabla and tanpura accompaniment Criteria  Singing/playing in tune  Technically correct singing of the scale of raga  Steady execution of the prelude – alap  Correct and steady citation of the tala basic phrase - theka  Steady execution of a composition - gat or bandish  Correct use of rules in improvisation Exam duration 60 min Weight 100% Study credits 6 Number of attempts 2 Result scale 10 point scale (rounded off in halves) 124

STRINGS IN POP

Specific title module Strings in Pop Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content (and relation to The minor Strings in Pop will focus on the studying of the function of strings in a professional practice) studio and a live setting. This will be done with well-known examples (songs) from the history of Pop Music.

There will be attention for: - Timing (including playing along with a click track) - Phrasing - Dynamics - Playing in a string quartet / playing in a larger section / playing as a solist (including improvisation) - Playing with floor monitors / playing with in-ears - Various styles: Jazz, Motown, Funk, Disco, Dance, Pop, etcetera - Tempi: from slow to fast - Playing in the studio versus playing with a live band

This minor can be a welcome addition to the already existing Classical curriculum, because of the professional practice that simply requires a broad orientation of the musician in a general sense. Reference competencies 2, 3, 4, 8, 11, 12, 15, 19, 20 Learning outcomes After successful completion of this module, the student is able to:  Play in time with a band or a click track, following the prescribed phrasing and dynamics.  Be flexible in various situations: studio/live, small/large, etcetera.  Come up with own/original ideas about arrangements and improvisations. Coordinating department JPW Contact person Ronald Kool Language English Work form Practical group lesson Group size Min. 4, max. 16 Teacher (s) Ronald Kool Entrance requirements Open for all strings players (violin, viola, cello and double bass). Sources, literature Exercises provided by the teacher, examples from YouTube.

Exam Exam Exam name Minor Strings in Pop Semester 2 Exam form Practical Content of the exam The student will play (the strings arrangements of) three well known Pop songs (different in style, tempo and ensemble size), two of which the student can prepare one week before the exam. The third one will be played a prima vista. Furthermore: the student will make an arrangement for solo strings (including an improvised solo) for an original song that will be presented during the exam. Arrangements count for 30% of the final mark and the practical test for 70%. Criteria  Inner pulse, sense of time, style, phrasing and dynamics  Ability to play together with an ensemble  Ability to sight read and come up with an arrangement ‘on the spot’  Ability to improvise on an elementary level 125

Exam duration 20 minutes Weight 1 Study credits 6 Number of attempts 2 Result scale 20 point, 0,5 – 10, in halves

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TALA I

Specific title module Tala I Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor (and Master) Content (and relation to To expand the knowledge of rhythm, and to acquire the intricate Indian Rhythm (Tala) professional practice) system and improvisation. According to the level of the students, the most important 'odd and even' tala cycles, compositions, speed variation techniques, singing and clapping tradition of rhythm will be taught. Mainly percussion and drums students are invited to learn the principle playing technics of the tabla. Reference competencies 6, 7, 9, 10, 11 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 student will be 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 therefore create a stronger rhythmic conscientiousness. Coordinating department JPW Contact person Niti Ranjan Biswas Language English Work form Practical group lessons Group size Min. 5, max. 8 Teacher (s) Niti Ranjan Biswas Entrance requirements Due to the large overlap with the curriculum, this module cannot be followed by students with main subject Indian Music. Sources, literature Practice material in pdf provided by the teacher (text, audio files), DVD, Spotify

Exam Exam Exam name Minor Tala I Semester 2 Exam form Theory- practical theory Content of the exam Individual practical test Criteria Technical execution of the Tala rhythms (clapping and singing) Technical execution of the chakradaars and tehais (tukras, relas, qaidas) Coordination of these two elements Exam duration 30 min Weight 100% Study credits 6 Number of attempts 2 Result scale 20 point scale (rounded off in halves)

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TALA II

Specific title module Tala II Duration 30 weeks Course type Course Year 4th Year Exam goal B Main phase Bachelor Content (and relation to To expand the knowledge of rhythm, and to acquire the intricate Indian Rhythm (Tala) professional practice) system and improvisation. A comparative study of North and South Indian Tala system, the most important 'odd and even' tala cycles, compositions, Jaatis and Gatis, singing and clapping tradition of North and South Indian rhythm will be taught. Mainly percussion and drums students are invited to learn the principle playing technics of the tabla. Reference competencies 6, 7, 9, 10, 11 Learning outcomes To be able to clap and sing the Suladi Talas and Jaatis of South Indian tradition. The student will be able to use and understand the correct nomenclatura of the compositions ( Moras, Korvais ), 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 therefore create a stronger rhythmic conscientiousness. Coordinating department JPW Contact person Niti Ranjan Biswas Language English Work form Practical group lessons Group size Min. 5, max. 8 Teacher (s) Niti Ranjan Biswas Entrance requirements Due to the large overlap with the curriculum, this module cannot be followed by students with main subject Indian Music. Can only be taken after passing part I. Sources, literature Practice material in pfd provided by the teacher (text, audio files), DVD, Spotify

Exam Exam Exam name Tala II Semester 2 Exam form Theory- practical theory Content of the exam Individual practical test Criteria Technical execution of the Tala rhythms (clapping and singing) of North and South India. Technical execution of the chakradaars and tehais (tukras, relas, qaidas, Moras, Korvais ) Coordination of these two elements Exam duration 30 min Weight 100% Study credits 12 Number of attempts 2 Result scale 20 point scale (rounded off in halves)

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WORLD CHOIR

Specific title module World choir Duration 30 weeks Course type Course Year Non year bound Exam goal B Main phase Bachelor Content (and relation to The Minor World Choir gives an active insight into singing vocal repertoire from professional practice) various backgrounds, styles and languages. The course has two main focal points: 1. Choir singing skills: tuning, blending, leadership and conducting skills 2. Getting acquainted with vocal repertoire (and techniques) from over the world.

Choir singing We will work on the specific demands of singing in a choir: singing in tune, working on a balanced choir sound. You will get some light vocal training where necessary so also instrumentalists will be able to use their voice in a healthy manner. Apart from singing IN the choir, students will also be guided in to leading/ conducting the rehearsals of the pieces they bring.

Vocal repertoire from the world We study and rehearse all kinds of repertoire stretching from Old Music to Homeland repertoire. The teacher will provide material but students are also expected to contribute to the repertoire of the choir. They are invited to share ‘homeland’ melodies or compositions/ arrangements that they have made themselves. When studying material from different styles, we also look into the use of style specific elements, such as tuning, phrasing, articulation and 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 competencies 2, 4, 5, 6, 7, 9, 10, 11, 15 Learning outcomes After successful completion of the modules, the student is able to  sing in multiple harmony in a choir setting  understand and apply style specific elements such as tuning, phrasing, articulation, ornamentation in interpreting and performing repertoire from different genres of the world  show leadership and conducting skills in rehearsing and performing Coordinating department JPW Contact person Connie de Jongh Language English Work form Practical group lesson Group size Min. 8, max. 20 Teacher (s) Connie de Jongh, additional guest teachers on specific styles Entrance requirements Instrumental and vocal students interested in singing in a choir can join. Sources, literature Repertoire will be provided by teacher and students during the course

Exam Exam Exam name Minor World Choir Semester 2 Exam form Practical group exam Content of the exam The module will be concluded by a (public) performance of at least 5 pieces. Criteria Practical exam:  Singing in balance with the choir (blending)  Correct execution of the given parts  Correct application of style specific elements 129

 Leadership and conducting skills Exam duration 45 min. Weight 100% Study credits 6 Number of attempts 2 Result scale 20 point, 0,5 – 10, in halves

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GENERAL MINORS

ENTREPRENEURSHIP: NEW OPPORTUNITIES FOR MUSIC

Specific module title Entrepreneurship: New opportunities for music Duration 30 weeks Course type Course Year 3rd or 4th study year Exam goal B Main phase Bachelor Content/relation to Content / Relation to professional practice professional practice Almost every music student will become an entrepreneur. But some want to extend their plans for entrepreneurship in the creative sector. Smart ways of capitalizing on musical talent is an essential part of that. To achieve this, partners will be needed, and the marketing strategy must be smart and up-to-date.

In the module “Entrepreneurship: New Opportunities for Music” the student will develop his own plan for a healthy music business. Here, healthy means: the student will be able to make a decent income from his music, in a business that suits the students talents and character.

The module offers the building blocks for abovementioned plan. The module will consist of lectures, company visits and assignments. Guest lectures will be by professionals like artist managers, promotors, finance and marketing specialists.

Subjects: 1 Being an entrepreneur: including the personal values of the student relating to society, personal mission statement 2 The workings of the music business: including trends with labels, bookers, publishers, on line services and other intermediates, music rights and contracts 2 Making an income with music: about different and/or innovative income sources for music 3 Music marketing and promotion: including music marketing knowledge and on line marketing and music distribution 5 Finance: including setting up a basic administration and information on funding Reference competences 3, 4, 14, 16, 17, 18, 21 Learning outcomes The student will be able to translate his own talents and preferences in a music business that will generate enough income, in present and in unknown future circumstances. And a business that will address the public value of music in society.

The student knows the basics of marketing and knows how to develop a smart and complete marketing strategy for his own business.

The student is well informed about the current workings of the music business, also in ways that don’t directly affect the student. He knows the different roles in the business and is able to assess the relevance for himself. The student is well informed about financial matters for a small business.

The music business is changing fast. During the minor new, yet unknown at the start of the minor, topics regarding music entrepreneurship are treated. The student shows he understands these topics and knows how to translate them for his own purposes. Coordinating department Codarts Contact person Ewout van der Linden Language English Work forms Classes Individual coaching 131

Nr. of participants Min. 10, max. 25 Teacher(s) One lecturer, several guests Entrance requirements Being professionally active or having ideas about starting a business may be recommendable. Due to the large overlap with the Pop curriculum this minor cannot be followed by Pop students. Material/literature Hand-outs by teacher

Exam Exam Exam description Minor Entrepreneurship: New opportunities for music Semester 2 Exam form Assignment (Portfolio) Content of the exam The grade of this minor will be based on a portfolio that the student compiles. This portfolio shows he has achieved the learning objectives.

The student may decide himself on what elements to put in this portfolio. It can contain the elements that are worked on in class, like a personal business plan, the assignments made during the minor and participation in classes. But the student may also choose other elements, as long as they show clearly he has met the learning objectives. Exam criteria  Insights in the workings of the music business  Feasibility and originality of plans  Creativity with marketing and promotion  Understanding of basic finance  Clear presentation Exam duration Weight 100% Study credits 12 Number of attempts 2 Result scale 20 point; 0,5 – 10, in halves

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RHYTHMIC MELODIC PATTERNS IN THE 21ST CENTURY

Specific title module Rhythmic Melodic Patterns in the 21st Century Duration 30 weeks Course type Course Year Non yearbound Exam goal B Main phase Bachelor

Content (and relation to Rhythmic Melodic Patterns in the 21st Century is a true cross-over minor for students professional practice) from the classical, jazz, world music and pop academies and given by teachers from these academies.

Students will memorise and internalise a number of moderately quick rhythmic melodic patterns from Willem Tanke’s composition Rhythm Pattern Melodies VII with the following time signatures (in eighth notes): 16+9, 10+10+12, 17+12, 9+11+16. They will use these patterns both for accompaniment and improvised elementary melodies within a pentatonic framework, solo and with others. Students will eventually learn to make an ensemble piece based on the studied patterns. In each lesson Willem Tanke will teach with the help of the piano. Guest teachers may be invited to share specific expertise or approach to the material.

The team of teachers will demonstrate the students that the concept of frequently repeated rhythmic-melodic patterns is not only vital to every music tradition in itself, but serves to connect the traditions between each other. Reference competencies 2-6 Learning outcomes Students will be able to perform a number of rhythmic melodic patterns suitable for cross-overs with great rhythmic intensity, both in accompaniments and improvised solos. They will feed back this rhythmic intensity to repertoire from their own tradition. The total result is a higher degree of musicianship in cross-overs and traditional repertoire. Coordinating department KM 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 Entrance requirements Basic rhythmic feeling Sources, literature - Hariprasad Chaurasia and the Art of Improvisation/Henri Tournier - Some Thoughts on Improvisation/Bruno Nettl - The Improvisation of Musical Dialogue/ Bruce Ellis Benson - DVD The Art of Doing Nothing/Willem Tanke with students - various audio/video-recordings in the area of different music traditions.

Exam Practical exam Exam name Minor Rhythmic Melodic Patterns in the 21st Century Semester 1 Exam form Practical exam Content of the exam Part a: students will perform a number of patterns solo, resulting in grade a. Part b: students will perform a piece for ensemble together, resulting in grade b. Grades a and b will be averaged, resulting in final grade c. Criteria  Creativity  Listening and communication skills  Rhythmic, melodic and if applicable, harmonic skills  Feeling for musical structure  Ability to handle unexpected situations in music  Participation during the course 133

Exam duration 120 minutes Weight 100% Study credits 6 Number of attempts 2 Result scale 20 point, 0,5 – 10, in halves

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