bachelor electives & minors handbook 2020/21 · 2020-03-24 · art of sound students may also,...

Bachelor Electives & Minors Handbook 2020/21

General information This is the Bachelor Electives & Minors Handbook for the academic year 2020/21. Students from the Royal Conservatoire, The Hague (KC) and Codarts, Rotterdam can choose from the elective courses and minors offered by both institutes. Additionally, KC students can choose electives from Leiden University.

This guide will explain how many ECTS you need, which electives and minors are on offer and how to register. Click on a minor or elective for a detailed description of the course. The descriptions include content, entrance requirements, assessment details and learning outcomes etc.

You are strongly advised to consult with your tutor and your instrumental/vocal teacher before registering for your elective(s) or minor.

For general questions you can send an e-mail to:[email protected]

This Bachelor Electives & Minors Handbook 2020/21 can be found on koncon.nl/en/electives

ContentsGeneral information 3

How many ECTS do I need? 4Classical Music / Jazz / Vocal Studies / Conducting 4Early Music / Sonology 4Art of Sound 4

What to choose? 5KC minors 5CDO (KC Students only) 5Theory electives 5Art of Sound 6Codarts minors 6

How to register for an elective 7

How to deregister for an elective 8

How to register for a minor 9

What’s on offer? Overview electives & minors 10KC electives 10KC minors 14Courses offered by Codarts, Rotterdam 15

What’s on offer? Academic electives at Leiden University 16What to choose? 16How to enrol 17

Electives & minors course descriptions 18KC electives 18KC minors 100Courses offered by Codarts, Rotterdam 157

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

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How many ECTS do I need? Classical Music / Jazz / Vocal Studies / ConductingBachelor year 2 electives/Minor 6 ECTS

Bachelor year 3 electives/MinorMusic Theory Elective

6 ECTS4 ECTS

Bachelor year 4 CDO/Minor 6 ECTS

Early Music / SonologyBachelor year 2 electives/Minor 6 ECTS

Bachelor year 3 electives/Minor 6 ECTS

Bachelor year 4 CDO/Minor 6 ECTS

Art of SoundBachelor year 2 electives/Minor 6 ECTS

Bachelor year 3 electives/MinorMusic Theory Elective

6 ECTS4 ECTS


CompositionBachelor year 2 electives/Minor 6 ECTS



What to choose? • KC offers various electives and minors. • You are free to choose any elective or minor, as long as you

meet the prerequisites for that course (if applicable). • KC also offers the possibility to choose an elective or minor

at Codarts or an elective at Leiden University.

KC minors • A minor will provide at least 6 ECTS per year. If you take a

minor you do not need to choose electives or CDO ECTS. • A KC Minor will take 3 years and will start in the

2nd year. After the first year you can decide if you want to continue your minor.

• For some minors you can enrol in bachelor III. • At the end of each minor year, an exam will take place • You must re-apply each year to continue the minor

CDO (KC Students only) • You can take CDO in your 2nd and 3rd year as part of your

elective choices. These are additional to the ones you may have to obtain in your 4th year

• In your 2nd and 3rd year you can take a minimum of 2 ECTS, maximum of 4 ECTS of CDO

• For the academic year 2020-2021 you can obtain CDO ECTS for projects that take place between 01-09-2020 to 31-08-2021. If the project occurs outside those dates it will not be valid for the 2020/2021 academic year.

• B4 students can only enter projects from 01-09-2020 to 01-05-2021.

Theory electives • B3 students of the Vocal Studies department, Classical

Music department, the Art of Sound department, Conducting department, and the Jazz department are required to follow a Music Theory Elective.

• Jazz students are also required in the 3rd year to obtain 3 ECTS from ATV 3 projects. Each project is organised in short periods rather than by semester. Students must

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How to register for an electiveClick on the logo below to register

1. Go to the tab Register2. Click on Course Module and then on Search a course module3. Choose Academic year = 2020 and Faculty = Royal

Conservatoire and click on Search4. The list of available courses will appear on the right5. Click on the course you would like to register for6. Another screen will appear where you can click on Register

at the top or bottom (see below)7. You will receive an confirmation email

choose a minimum of 4 periods which combined will give you 3 EC.

• Additionally, B3 jazz students must make a choice between Jazz Solfege 3 and Ear Training 3.

Art of SoundStudents can choose from the elective subjects programme for all students (including minors), or make their choice from the following selection: • Projects (between 1 and 7 ECTS) • Soldering practical 1 (1ECTS) • Soldering practical 2 (1ECTS) – only after

Soldering Practical 1

Art of Sound students may also, in their 3rd and 4th year, alongside their major subject, take one of the other majors as a Minor/elective. The majors are: Recording, Producing and Sound Reinforcement. The division of ECs is as follows: • B3: Minor Recording, Producing or Sound

Reinforcement: 6 ECTS • B4: Minor Recording, Producing or Sound

Reinforcement: 6 ECTS

Codarts minors • Most Codarts minors are considered equal

to an elective in KC • If you choose to study at Codarts the travel expenses will

not be reimbursed

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How to register for a minorClick on the logo below to register

4. Go to the tab Register5. Click on Minor 6. Click on Select a minor7. Choose Minor offered by faculty: Royal Conservatoire

and click on Next 8. The list of available minors will appear. Please note that

there are more pages9. Check the box of the minor you would like to follow and click

in Record Preference10. You can record 1 or 2 preferences. 11. You will receive a confirmation email. Please read it carefully!12. You can delete your preferences with the button

on the top or bottom (until the application deadline)

How to deregister for an electiveClick on the logo below to deregister

1. Go to the tab Deregister2. Check the boxes of the courses you wish to deregister for3. Click on Deregister at the top or bottom

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KC electives from the Classical department

ECTS

Advanced Rhythm – NEW! 2

Music Around the Corner, Orkest Morgenstond

4

KC electives from the Early Music department

ECTS

Latin for Musicians 2

Applied Historical Improvisation 3

Baroque Dance 2

Basso Continuo in Performance 2

Early Music Seminars 2

Early Music Studies 1 6

Gregorian Chant and Choir 2

Literature Class - Fortepiano 2

Ornamentation and Diminution 2 2

Practicum Polyphoniae 2

Rhetoric 2

KC electives from the Jazz department ECTS

Jazz Choir 2

Music History Jazz 3

What’s on offer? Overview electives & minorsClick on any minor or elective below to find detailed information about that course

KC electivesKC electives ECTS

Alexander Technique 1 3

Alexander Technique 2 1

Yoga for Musicians 2

Bodywork - Dance 2

Effective Practice – Music Making, Practicing and the Brain

1

Quality Practice 2

CDO/Career Development Office, External Personal/Professional Projects

Bachelor II-III: a minimum of 2 and a maximum of 4 Bachelor IV: minimum 6

Music Education according to the Kodály Concept

10 ECTS, of which6 ECTS can count as a bachelor’s elective course

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KC Music Theory electives ECTS

Analysis: Analysing Techniques 4

Writing: Modal Counterpoint 4

Writing: Tonal Counterpoint 4

Writing: Arranging / Instrumentation 4

Writing: Style Copy Classical and Romantic Period

4

Writing: Composing for Classical Musicians 4

Writing: Composing for Jazz Musicians 4

Aesthetics and Philosophy of Music 4

Playing & Improvisation: Harmony at the Piano 3 for Jazz students

4

Playing & Improvisation: Rhythm Class 3 for Classical Music students

4

Playing & Improvisation: Rhythm Class 3 for Jazz students

4

Playing & Improvisation: Improvisation for Classical Musicians

4

Playing & Improvisation: Introduction to Jazz Harmony

4

KC Jazz ATV 3 projects ECTS

General Music Theory 3 (ATV3) – projects

3 ECTS for 4 periods of ATV3 projects

KC Jazz Theory courses ECTSJazz Solfege 3 1Ear Training 3 1

KC electives from the Institute of Sonology

ECTS

Analysis/Re-synthesis 4

Composing with Algorithms 8

Embracing Objects and Scores in Electroacoustic Composition

3

History of Contemporary Music Composition

2

Live Electronic Music 6

Music and Time 3

Real-Time Processes with Max/MSP 7

Signals and Systems 1 6

Signals and Systems 2 6

Sound and Space 8

KC electives from the Composition department

ECTS

Analysis Contemporary Music Basic 3

Music Multi Media 4

KC electives from the Art of Sound department

ECTS

Electro Acoustics 2 1

Mathematics and Physics 1 2

Mathematics and Physics 2 2

Psycho Acoustics 4

Room Acoustics 1 1

Room Acoustics 2 1

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Appendix Framework Minor Classical Music, Minor Early Music, Minor Jazz, Vocal

Courses offered by Codarts, RotterdamCodarts electives ECTS

Contemporary Jazz Composition in practice

12

Jazz arranging 3

Songwriting A 6

Songwriting B 6

World music composition in practice A – sound

6

Afro-Cuban Percussion 6

Brazilian Choro playing 6

Brazilian Percussion 6

Flamenco Playing 6

Latin playing 6

Raga 6

Tala 6

World Choir 6

Codarts General minors ECTS

Entrepreneurship: New Opportunities for Music

12

Rhythmic Melodic Patterns in the 21st Century

6

KC minorsKC minors without entrance exam ECTS

Minor Sonology 6

Minor Voice Basic 6

Minor Education – NEW! Education Skills Profile 1 – 4 ECTS Eductional Skills Profile 2 – 6 ECTS

KC minors with entrance exam ECTS

Minor Academic Music Studies – NEW 10-10-10 ECTS per academic year: Advanced Critical Music Studies 5 ECTS + ACPA course 5 ECTS

Minor ArtScience 30

Minor Chamber Music 6

Minor Choral Conducting 8

Minor Orchestral Conducting 10

Minor Wind Band Conducting – NEW! 10

Minor Collaborative Music Creation – NEW! 6

Minor Composition 6

Minor Music Theory 6

Minor Classical Music 6

Minor Early Music 6

Minor Early Music - Related Instrument 6

Minor Jazz 6

Minor Jazz - Second Instrument 6

Minor Voice 6

Minor Voice Classical Music 6

Minor Voice Early Music 6

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How to enrolChoose: KC Leiden University Elective (KC-EL-LU-19) through OSIRIS Student

Register as a guest student at UL by contacting Rogier Schneemann at the Academie der Kunsten with this email address: [email protected]. Make sure you include your name, student number and your chosen elective course(s)

Within 2 weeks, you will receive a letter from the University stating the required log-in details concerning your Leiden University account, known as your ULCN-account. You need this account in order to enrol for the elective course through the online enrolment system called uSis.

After receiving your login details enrol yourself for the course(s) you want through uSis.

In case your account details inadvertently are not available in time, you are advised to attend the course seminars without any delay and inform the lecturer about your ongoing registration as a guest student.

For more information, please visit: universiteitleiden.nl/en/humanities/academy-of-creative-and-performing-arts/tuition/electives-minor and read the FAQ about Leiden University electives on the website: koncon.nl/en/bachelorelectives.

What’s on offer? Academic electives at Leiden UniversityAs a student at the KC, it is possible to take elective courses at the University of Leiden (UL) instead of some or all of your elective choices at KC.

• UL offers more than 1300 different possible elective choices. You can find these in their e-Prospectus studiegids.leidenuniv.nl/en

• You are free to choose any course from the e-Prospectus Elective Choices, as long as you meet prerequisites for that course as mentioned in the e-Prospectus (if aplicable). It is advised to choose level 100 or 200

• The e-Prospectus course page will contain a link to the timetable, usually of the complete bachelor’s studies of which the elective is part – be careful to check this

• The elective courses usually comprise 1 semester (September-December or February-July) and are normally 5 ECTS

What to choose?The elective courses can sorted by using the following filters while using the search function:

• Topic: type any kind of topic or field into the search field. Select the correct study year.

• Course type: choose ‘elective choice’ here • Faculty: filtering by Faculty can be helpful if you have a rough

idea of what type of course you’re looking for • Location: filter by city: Delft, Leiden,

Rotterdam or The Hague • Language • Level: it is advised to filter courses by selecting levels ‘100’

and ‘200’, which correspond with 1st and 2nd year bachelor courses respectively.

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https://www.koncon.nl/en/ bachelorelectives

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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]

KC electivesKC 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/ prerequisites:

Motivation to practice the exercises and to write the written assignments.

Teachers: Fiona Tree, Wendelien Verbeek

Credits: 3 ECTS

Literature: n.a.

Work form: Group lessons and individual lessons

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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


There is no specific level of condition, strength or agility required; lessons are accessible to everybody. Wear comfortable clothes. Commitment and regular home practice are requisite.

Teachers: Phyllis Ferwerda

Credits: 2 ECTS

Literature: -

Work form: Group lessons (12-15 students)

Assessment: Compulsory attendance: 80%



Course title: Alexander Technique 2

Osiris course code: KC-EL-AT2

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.


Level: Bachelor

Duration: 3 group sessions of 2 hours and 3 individual sessions of 40 minutes



Teachers: Fiona Tree, Wendelien Verbeek

Credits: 1 ECTS

Literature: n.a.

Work form: Group lessons and individual lessons

Assessment: Active participation




To be announced. Location: Royal Conservatoire



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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


This course is open to everyone who is interested.

Teachers: Fajo Jansen

Credits: 2 ECTS

Literature: n.a.

Work form: Group lessons

Assessment: Active participation and attendance

Grading system: Participation sufficient/insufficient



See ASIMUT schedule


Language: English and/or Dutch


Information: Education Service Centre ([email protected])



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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.


Level: Bachelor

Duration: 12 sessions of 90 minutes and one 50 minute individual session for each student



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.


Language: English


Wednesday or Thursday afternoon, Royal Conservatoire

Information: Susan Williams ([email protected]) Education Service Centre ([email protected])

Effective Practice – Music Making, Practicing and the Brain

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

Osiris course code: KC-EL-ES

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.


Level: Bachelor/master

Duration: 10 times 75 minutes, plus 45 minutes for each individual student, 1st semester

Prior qualifications/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)

Assessment: Evaluation and essay. Minimum attendance: 80%. First and last class are compulsory.


Language: English


See ASIMUT schedule

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

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For the academic year 2020-2021 you can obtain CDO ECTS for projects that take place between 01-09-20 to 31-08-21. B4 year students can only enter projects from 01-09-20 to 01-05-21. If the project occurs outside those dates it will not be valid for the 2020-2021 academic year.

Teachers: -

Credits: Bachelor II-III: a minimum of 2 and a maximum of 4 ECTS per academic yearBachelor 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.

Assessment criteria • basic information (e.g. hours) • presentation of report • learning experience/self-reflection • content of project • evidence/publicity (if possible)




-

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.

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; • are capable of reflecting on and learning from your

experiences in the field; • have developed administrative and management skills with regard

to your own professional activities.


Level: Bachelor II-III: optionalBachelor IV: compulsory for students not completing a minor

Duration:

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Music Education according to the Kodály Concept

Course title: Music Education according to the Kodály Concept

Osiris course code: KC-EL-MV (bachelor, 6 ECTS) KC-M-EL-KC (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: 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 imagery. Students practice their own musicianship 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 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;

• 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.

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.

3130

KC electives from the Classical Department

Advanced Rhythm – NEW!

Course title: Advanced Rhythm – NEW!

Osiris course code: KC-EL-AR

Course content: This course focuses on importing knowledge and skills in the field of contemporary music and non-western techniques.

The course provides the essential rhythmical base for all classical musicians: the programme will address the necessary techniques to perform western music composed from the beginning of the 20th century up to the 1950s, as well as more recent music that essentially uses the same level of rhythmical intricacy (in general, music that most professionals are bound to encounter in an orchestral or ensemble situation).

Each year, in the last two months, every student will prepare a duo or trio piece of contemporary music (eventually a solo). The teacher will show and help the student implementing the different techniques studied during the year in the chosen piece. A presentation with all the pieces will take place at the end of the year. Collaboration with the composers following Advanced Rhythm for Composers is highly encouraged.

Objectives: At the end of this course, you: • have broadened your sense of rhythm by integrating various

perspectives on rhythm in your playing; • have expanded your academic and practical knowledge

of contemporary repertoire; • have expanded your academic and practical knowledge of non-

western techniques.


Level: Bachelor

Duration: 1 hour per week


This elective is open to all students, except for percussion students. Maximum enrolments: 10.

Teachers: Jonás Bisquert

Credits: 2 ECTS

Literature:


• 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;

• 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: 8 Saturdays of 7 hours and 2 study weekends


Special interest in music education

Teachers: Daniel Salbert, Patricia Wisse, Tim Tomassen, Anouk Vinders, Suzanne Konings 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: Evaluation of methodology assignment at the end of the course


Language: English

Schedule: 8 Saturdays (once a month) and 2 weekendsfor dates see muziekalsvak.nl/course-muziek-als-vak/

Time: 10:00-17:00

Venue: -

Information: Suzanne Konings – Head of Music Theory ([email protected])Education Service Centre ([email protected])

mailto:http://www.muziekalsvak.nl/course-muziek-als-vak/?subject=

mailto:s.konings%40koncon.nl?subject=


3332

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.


Level: Bachelor

Duration: 80-90 hours (excluding self study), during 2 semesters

Assessment: • A written exercise comprising rhythmical concepts and notation. • A collaborative final performance of a rhythmically challenging

piece, specifically coached during the course upon the student’s needs. Scheduled in May or June.

This exam is assessed by a committee consisting of the teacher of the course and other (percussion) teachers on the basis of the assessment standards for performance in the bachelor.

Assessment criteria: • integration of various rhythmical perspectives in performance • enhancement of expressive potential through

rhythmical refinement • application of universal concepts and specific techniques • level of collaboration

Grading system: Qualifying result



See ASIMUT schedule

Information: Jonás Bisquert ([email protected])

mailto:jonasbisquert%40yahoo.es?subject=

3534

KC electives from the Early Music Department

Latin for Musicians

Course title: Latin for Musicians

Osiris course code: KC-EL-LM

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.


Level: bachelor

Duration: 2 semesters, 60 minutes per week



Teachers: Dr. Marcel Zijlstra

Credits: 2 ECTS

Literature: Reader

Work form: Group lesson/seminar

Assessment: Compulsory attendance: 80%. Written exam




See ASIMUT schedule

Information: Marcel Zijlstra ([email protected])Education Service Centre ([email protected])


This elective is only open to students who study Classical Music.

Teachers: Ginette Puylaert, Tim Sabel

Credits: 4 ECTSIt 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


See ASIMUT schedule

Information: Tim Sabel and Ginette Puylaert: [email protected] and www.orkestmorgenstond.nlEducation Service Centre ([email protected])

mailto:m.zijlstra%40koncon.nl?subject=


mailto:orkestmorgenstond%40gmail.com?subject=

http://www.orkestmorgenstond.nl


3736

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.


Level: Bachelor

Duration: 90 minutes, 2 semesters



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


Language: English


Tuesdays, 18-19.30 hrs, Balletstudio 2

Information: Brigitte Rebel – Coordinator Early Music Department ([email protected])Education Service Centre ([email protected])

Applied Historical Improvisation

Course title: Applied Historical Improvisation

Osiris course code: KC-EL-AHI

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.


Level: Bachelor

Duration: 2 hours every 2 weeks, 2 semesters


The course is aimed at students from the Early Music Department, but students from 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


Grading system: Attendance sufficient/insufficient

Language: English


See ASIMUT schedule

Information: Robert de Bree ([email protected]) Education Service Centre ([email protected])

mailto:b.rebel%40koncon.nl?subject=


mailto:robertdebree%40gmail.com?subject=


3938

Early Music Seminars

KC-EM-HD Early Music Seminars

Osiris course code: KC-EL-MS

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


This elective course is open to everyone who is interested (except Early Music students, 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.


Language: English


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])

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.


Level: Bachelor

Duration: Weekly lessons of 75 minutes, 2 semesters


This course is open to all non-keyboard majors. You must be equipped with basic keyboard skills.

Teachers: Kathryn Cok

Credits: 2 ECTS

Literature: Weekly hand-outs will be provided


Assessment: Class participation and the completion of homework assignments


Language: English


See ASIMUT schedule

Information: Brigitte Rebel - Coordinator Early Music Department ([email protected])Education Service Centre ([email protected])





4140

• 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


This course is open to everyone who is interested (except Early Music students, as 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


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


See ASIMUT schedule

Information: Suzanne Konings – Head of Music Theory Department ([email protected])Education Service Centre ([email protected])

Early Music Studies 1

KC-TH-EMS1 Early Music Studies 1

Osiris course code: KC-EL-BEM

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 periodsOrnamentation/ImprovisationTuning/Pitch and TemperamentEvolution of technical and problemsAccentuation and ArticulationRhythmical Alteration

Evolution of Compositional GenresInstrumental genres: From Consort music up to the late sonata/symphonic forms seen through historical sourcesVocal genres and their evolution understood through its poetic and compositional backgroundThe evolution of compositional techniques

General Cultural ProblemsImportant political, social and musical institutions and other historical considerationsGeneral aesthetic problemsOther Arts and their relation to musicPoetics 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;



4342

Literature Class - Fortepiano

Course title: Literature Class - Fortepiano

Osiris course code: KC-EL-RKFP

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 Fortepiano bachelor II)

Duration: 32 weeks, 60 min. per week


As an elective, this course is only open to pianists.

Teacher: Bart van Oort

Credits: 2 ECTS

Literature: t.b.a.


Assessment: Attendance, two written assignments

Grading system: Numeric

Gregorian Chant and Choir

Course title: Gregorian Chant and Choir

Osiris course code: KC-EL-GREG

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


This course cannot be taken as an elective by Choral and Orchestral Conducting 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




See ASIMUT schedule

Information: Marcel Zijlstra ([email protected])Education Service Centre ([email protected])

mailto:m.zijlstra%40koncon.nl?subject=


4544

Ornamentation and Diminution

Course title: Ornamentation and Diminution

Osiris course code: KC-EL-DO

Course content: Part I of the Ornamentation and Diminution course examines the performance practice of ornamentation in the 16th and 17th centuries. The course comprises lectures and practical workshops. The course offers an introduction to the several schools of improvising by diminution of melodic lines. The sources include the treatises of authors like Ortiz, Ganassi, dalla Casa, Virgiliano etc. Understanding the rise of improvisational elements during the transition of the Renaissance and Baroque period and their creative application, is one of the main goals of this course.

Part II of the Ornamentation and Diminution course examines the performance practice of ornamentation in the 18th century. The course comprises two lectures and six practical workshops. We begin with a comparative survey of French and German 18th century sources on embellishment and consider how they should be interpreted. How much can be determined by the context of the composition? How much room is there for the discretion of the performer? The course will also briefly cover the preparation and performance of improvised preludes, and the characteristics of a good cadenza.

Objectives: At the end of this course, you: • are able to determine the various ways in which a composition

can be embellished in such a way that the integrity of the music and its style remain intact;

• are able to invent and to write down the appropriate diminutions to a vocal line or a simple instrumental composition of the late 16th and early 17th century.

• are able to determine the various types of national styles in ornamentation;

• are able to apply this information in performance or in analysis of 18th century musical works.

Type of course: Elective for everyone who is interested

Level: Bachelor II & III

Duration: Bachelor II: 120 minutes per week, during the first semester Bachelor III: 120 minutes per week, during the second semester


Ornamentation and Diminution is divided in two parts: one semester in bachelor II and one semester in bachelor III. As an elective, you must complete both parts.

This course cannot be taken as an elective by KC Vocal Studies Early Music students, as it is a compulsory part of their curriculum.

Teachers: Kate Clark

Credits: Bachelor II: 1 ECTS Bachelor III: 1 ECTS



See Asimut schedule




4746

Practicum Polyphoniae

Course title: Practicum Polyphoniae

Osiris course code: KC-EL-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


This course cannot be taken as an elective by KC Early Music students, as it is a compulsory part of their curriculum.

Teachers: Adrián Rodriguez van der Spoel

Credits: 2 ECTS

Literature: -


Assessment: Compulsory attendance: 80%. Active preparation and participation.


Language: English


See ASIMUT schedule


Literature: Reader



Assessment for part I consists of 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.

Assessment for part II 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.


Language: English


See ASIMUT schedule






4948

KC electives from the Jazz Department

Jazz Choir

Course title: Jazz Choir

Osiris course code: KC-EL-JAC

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.


Level: Bachelor

Duration: 2 hours per week, 2 blocks of 15 weeks


This course is open to everyone with some basic choir experience (except KC jazz singers as it is a compulsory part of their curriculum). Admission to course after audition.

Teachers: Anka Koziel

Credits: 2 ECTS per academic year

Literature: Standards and originals of the jazz repertoire


Rhetoric

Course title: Rhetoric

Osiris course code: KC-EL-RE

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.


Level: Bachelor and master

Duration: 11 lessons of 120 minutes, 2nd semester


This course is open to everyone who is interested. A good command of English is essential.

Teachers: Jed Wentz

Credits: 2

Literature: Chapters of M. Conley, Rhetoric in the European Tradition and a special reader


Assessment: Bachelor: 80% attendance and active participation Master: 80% attendance, active participation and an assignment


Language: English


t.b.a.




5150

Music History Jazz

Course title: Music History Jazz

Osiris course code: KC-EL-HJ-20

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 IElective: bachelor II-IV

Duration: 28 lessons over two semesters, 75 minutes per week


This elective course is open to everyone who is interested (except KC jazz students as it is a compulsory part of their curriculum).

Teachers: Loes Rusch

Credits: 3 ECTS

Literature: Ted Gioia: Jazz, a history; various articles

Work form: Lectures and individual assignments

Assessment: Compulsory attendance: 80%Written exam at the end of the year with an aural test.

For further details, please see Information Assessment Musicianship Skills & Academic Skills Subjects in the Curriculum Handbook of the Jazz department.




See ASIMUT schedule

Information: Suzanne Konings - Head of the Music Theory Department ([email protected])Education Service Centre ([email protected])

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.




See ASIMUT schedule

Information: Yvonne Smeets – Head of Jazz Department ad interim ([email protected])Education Service Centre ([email protected])



mailto:y.smeets%40koncon.nl?subject=


5352

Language: English


See ASIMUT schedule

Information: Peter Pabon ([email protected])Education Service Centre ([email protected])

KC electives from the Institute of Sonology

Analysis/Re-synthesis

Course title: Analysis/Re-synthesis

Osiris course code: KC-SO-PHM1 / KC-EL-PHM1

Course content: The central topic of this course is the liaison that perception has with the spectral and physical representations of a sound. A sound can be analysed and exactly resynthesized from its spectrum with the so-called Fourier Model, which presents a series of interesting and characteristic processing options. When detached from their strict mathematical ordering the standard analysis and synthesis schemes yield alternative and very practical processing models that allow manipulations in both time and frequency domain simultaneously. Models that follow this approach, like the instantaneous frequency model, and the band-limited oscillator will be studied in more detail.

Objectives: At the end of this course, you: • are able to analyse, process and re-synthesize a sound by using a

spectral abstraction; • are able to implement various analysis models that allow for the

recognition of specific sound qualities; • are able to translate and combine analysis results into a higher-

order abstraction. • are able to identify the similarities and specific differences

between the synthesis models presented.

Type of course: Elective, one-year course (it is a compulsory part of the curriculum for Sonology students in bachelor III).

Level: Elective: bachelor

Duration: 1 semester, 120 minutes per week


This course is open to everyone who is interested (except Sonology students, as it is part of their curriculum). Limited space available.

Teachers: Peter Pabon

Credits: 4 ECTS

Literature: t.b.a.


Assessment: A practical assignment that involves the implementation of a self-chosen analysis/re-synthesis chain and a demonstration/evaluation of its application.


mailto:pabon%40koncon.nl?subject=


5554

Embracing Objects and Scores in Electroacoustic Composition

Course title: Embracing Objects and Scores in Electroacoustic Composition

Osiris course code: KC-EL-EO

Course content: You will investigate how to begin, and to finish, a composition that uses technology as the initial impetus. You will consider various technology objects: we will find out how they work, analyse and extract what is interesting about them, discover what narratives they embody, how they relate to performance and composition, and uncover any technical errors and misunderstandings and embrace them as sources of inspiration. Examples of such objects might include digital networking or analogue radio equipment, electronic children’s toys, scientific equipment - anything electrical that generates or transmits sound. Leading to how these discoveries inspire new compositions, you will also explore how to extend these discovered ideas, even when those ideas are just a tiny spark, into a larger electroacoustic or instrumental creations. You will work on creating scores, first by looking at alternative scores that have been used in electro acoustic performances by composers from the 20th century American Experimental tradition through today. Alternative scores include pen and pencil on paper, graphic design, physical objects, images, video, Apps, commercial notation programs, and computer programs. Composers include Pauline Oliveros to Alexander Schubert. You will look at the use of narratives, games, timelines, improvisation and fixed media in relation to music-technology objects.

Objectives: At the end of this course, you: • will have an overview of the history of electroacoustic music score

creation in 20th and 21st century • are able to create and discuss a score for fixed media or one

or more performers • can confidently approach any sound-generating object from a

musical perspective

Type of course: Elective (compulsory for Bachelor IV sonology students)

Level: Bachelor IV



This course is open to everyone who is interested (except Sonology students, as it is part of their curriculum. Limited space available.

Teachers: Rebekah Wilson and Anne La Berge

Credits: 3 ECTS

Literature: Scores and literature will be provided during the lessons


Assessment: • Four short scores for electroacoustic performance • An individual in-class presentation of 10 minutes

Composing with Algorithms

Course title: Composing with Algorithms

Osiris course code: KC-SO-CAACO / KC-EL-CAACO

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




Teachers: Bjarni Gunnarsson

Credits: 8 ECTS

Literature: Materials are available on the class web site.


Assessment: Algorithmic composition assignment.


Language: English

Schedule: Thursdays

Time: 13:00-15:00

Venue: Computer Studio 1

Information: Bjarni Gunnarsson ([email protected])Education Service Centre ([email protected])

mailto:gunnarssonb%40koncon.nl?subject=


5756

History of Contemporary Music Composition

Course title: History of Contemporary Music Composition

Osiris course code: KC-SO-HCMP / KC-EL-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


Music Theory 1 and 2; For Codarts students: basic knowledge of music theory Limited space available.

Teachers: Gabriel Paiuk and guests

Credits: 2 ECTS

Literature: t.b.a.


Assessment: The assessment criteria for this course are under development. Students will be informed about the final criteria in due time.


Language: English


See ASIMUT schedule

Information: Gabriel Paiuk ([email protected])Education Service Centre ([email protected])

Assessment criteria four short scores: • reasoning and logic in creating a score • reasoning and logic on how to use a sound-generating

object as music • ability to communicate personal compositional

and scoring strategies

Assessment criteria presentation: • sufficient knowledge of historical electroacoustic context • reasoning and logic in analysing a score • reasoning and logic on how to use a sound-generating

object as music • ability to communicate personal compositional

and scoring strategies

The four short scores and presentation assessments both need to be passed in order to pass this course.

Grading system: Pass/Fail

Language: English


See ASIMUT schedule (Mondays 4-6pm TBC)

Information: Kees Tazelaar ([email protected])

mailto:paiukg%40koncon.nl?subject=


mailto:k.tazelaar%40koncon.nl?subject=

5958

Music and Time

Course title: Music and Time

Osiris course code: KC-SO-M&T / KC-EL-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.


Level: Elective: bachelor Compulsory: Sonology bachelor’s III




Teachers: Joel Ryan

Credits: 3 ECTS

Literature: Texts from Cognitive Science, Mathematics, Philosophy of Science & Literature.


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%.


Language: English


See ASIMUT schedule

Information: Joel Ryan ([email protected])Education Service Centre ([email protected])

Live Electronic Music

Course title: Live Electronic Music

Osiris course code: KC-SO-LEM / KC-EL-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.


Level: Elective: bachelor Compulsory: bachelor III




Teachers: Johan van Kreij

Credits: 6 ECTS

Literature: Reading and listening material will be provided


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%.


Language: English


See ASIMUT schedule

Information: Johan van Kreij ([email protected])Education Service Centre ([email protected])

mailto:j.ryan%40koncon.nl?subject=


mailto:jvkr%40koncon.nl?subject=


6160

Signals and Systems 1

Course title: Signals and Systems 1

Osiris course code: KC-SO-S&ST / KC-EL-S&ST1

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.


Level: Elective: bachelor Compulsory: Sonology bachelor I





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.


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


See ASIMUT schedule


Real-Time Processes with Max/MSP

Course title: Real-Time Processes with Max/MSP

Osiris course code: KC-SO-RMM / KC-EL-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




Teachers: Johan van Kreij

Credits: 7 ECTS

Literature: Online documentation of Max/MSP


Assessment: Active participation and regular small assignments.A final composition assignment based on the use of Max/MSP.


Language: English


See ASIMUT schedule

Information: Johan van Kreij ([email protected])Education Service Centre ([email protected])



mailto:jvkr%40koncon.nl?subject=


6362

Sound and Space

Course title: Sound and Space

Osiris course code: KC-SO-K&R / KC-EL-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




Teachers: Raviv Ganchrow

Credits: 8 ECTS

Literature: Reading lists and weekly hand-outs will be provided


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%


Language: English


See ASIMUT schedule

Information: Raviv Ganchrow ([email protected])Education Service Centre ([email protected])


Course title: Signals and Systems 2

Osiris course code: KC-SO-S&ST / KC-EL-S&ST2

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





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.


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


See ASIMUT schedule


mailto:r.ganchrow%40koncon.nl?subject=




6564


See ASIMUT schedule

Information: Calliope Tsoupaki ([email protected])Education Service Centre ([email protected])

KC electives from the Composition Department

Analysis Contemporary Music Basic

Course title: Analysis Contemporary Music Basic

Osiris course code: KC-EL-ICJ, KC-EL-AHM1

Course content: From the Guidonian Hand to Die glückliche Hand and beyond. A diverse comparative music analysis course that explores music language, technique, orchestration and theoretical background from early music up to contemporary music and the most recent developments in music composition. The course unfolds in an empirical way; the student experiences music analysis by practising it actively during each lesson. The focus lies on new tendencies in music from neoclassicism, serialism, modal techniques and aleatoric music to repetitive and conceptual music, referring back to other historic periods in order to reflect, connect and compare musical languages.

Objectives: At the end of this course, you: • have studied reference works from the 20th century intensively

and are able to determine those analytically; • master basic strategies for analysing similar works; • have the capacity to provide an analysis presentation

independently.

Type of course: Elective (it is a compulsory part of the curriculum for Composition students in bachelor III)

Level: Elective: bachelor Compulsory: composition students bachelor III

Duration: weekly lessons of 100 minutes, 36 weeks per academic year


This elective is only open to students of Sonology and ArtScience.

Teachers: Calliope Tsoupaki

Credits: 3 ECTS

Literature: -


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.


Language: English

mailto:c.tsoupaki%40koncon.nl?subject=


6766

KC electives from the Art of Sound DepartmentThese courses are only available to students from the Institute of Sonology.

Electro Acoustics 2

Course title: Electro Acoustics 2

Osiris course code: AS-EA2 / KC-EL-EA2

Course content: The course covers the electrical and acoustical properties of loudspeakers andloudspeaker 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


Electro Acoustics 1

Teachers: Jan Panis

Credits: 1 ECTS

Literature: Bob McCarthy - Sound Systems: Design and Optimization (2nd or 3rd edition)

Music Multi Media

Course title: Music Multi Media

Osiris course code: KC-TC-MM / KC-EL-MM

Course content: The aim of the course is to introduce students to how technology can be used in creating new forms of music multimedia/intermedia and 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


This elective is only open to students of Sonology and ArtScience.

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.


Language: English


See ASIMUT schedule

Information: Yannis Kyrikides ([email protected])Education Service Centre ([email protected])

mailto:y.kyriakides%40koncon.nl?subject=


6968

Mathematics and Physics 1

Course title: Mathematics and Physics 1

Osiris course code: AS-W&N1 / KC-EL-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.


Level: Bachelor I



-

Work form: Group Lesson

Assessment: There are two written tests during the course. Both tests have equal weight. Aminimum attendance of 80% is required.

Grading system: Test I: numeric Test II: numeric

Language: English


See ASIMUT schedule

Information: Paul Jeukendrup – Head of Art of Sound Department ([email protected]) Education Service Centre ([email protected])

mailto:p.jeukendruk%40koncon.nl?subject=


7170


Course title: Mathematics and Physics 2

Osiris course code: AS-W&N2 / KC-EL-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.


Level: Bachelor II




Teachers: Ron Dames

Credits: 2 ECTS

Literature: R. A.C. Dames: Mathematics and Physics 1


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.


Language: English


See ASIMUT schedule




7372

Psycho Acoustics

Course title: Psycho Acoustics

Osiris course code: AS-PSA / KC-EL-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.


Level: Bachelor III



-

Teachers: Bert Kraaijpoel

Credits: 4 ECTS

Literature: The Sense of Hearing, Christopher J. Plack, 2nd edition, Psychology Press, 2014, ISBN: 9781848725157


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


See ASIMUT schedule


Teachers: Ron Dames

Credits: 2 ECTS

Literature: R. A.C. Dames: Mathematics and Physics 2


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.


Language: English


See ASIMUT schedule






7574


Language: English


See ASIMUT schedule


Room Acoustics 1

Course title: Room Acoustics 1

Osiris course code: AS-RA1 / KC-EL-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.


Level: Bachelor II

Duration: 8 lessons à 2 hours1 lesson à 8 hours


-

Teachers: Constant Hak

Credits: 1 ECTS

Literature: Handouts


Assessment: There is one written test at the end of the course. A minimum attendance of 80% is required.



7776

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


See ASIMUT schedule


Room Acoustics 2

Course title: Room Acoustics 2

Osiris course code: KC-AS-RA / KC-EL-RA2

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 electroacoustic components will be excluded in these lectures.

Objectives: At the completion of this course, you: • are 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.


Level: Bachelor III

Duration: 8 lessons à 2 hours1 lesson à 8 hours


Room Acoustics 1

Teachers: Constant Hak

Credits: 1 ECTS

Literature: -




7978

Writing: Modal Counterpoint

Course title: Writing: Modal Counterpoint

Osiris course code: KC-TE-MCP

Course content: You learn to write two and three part vocal works in Renaissance style. Areas covered will be modality, melodic structure, rhythmic theory, text placement, treatment of consonance and dissonance. 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.


Level: Bachelor III

Duration: 36 lessons, 75 minutes per week


Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard Skills and Harmony 1 or Aural Skills, Writing Skills & Analysis 2 (Art of Sound)

Teachers: Music theory teachers

Credits: 4 ECTS

Literature: Peter Schubert – Modal Counterpoint: Renaissance Style


Assessment: Portfolio with collected assignments, exam assignment at the end of the course.

Grading system: Final result: numeric



See ASIMUT schedule

Information: Suzanne Konings – Head of Music Theory ([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

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.


Level: Bachelor III



Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard Skills and Harmony 1, or Aural Skills, Writing Skills & Analysis 2 (Art of Sound)

Teachers: t.b.a.

Credits: 4 ECTS

Literature: Cadwallader & D. Gagné – Analysis of tonal musicKoch – Versuch einer Anleitung zur Composition


Assessment: Written and practical exam at the end of the course




See ASIMUT schedule


mailto:konings%40koncon.nl?subject=




8180

Writing: Arranging / Instrumentation

Course title: Writing: Arranging / Instrumentation

Osiris course code: KC-TE

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 student’s 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.


Level: Bachelor III





Credits: 4 ECTS

Literature: Samuel Adler – The study of Orchestration (3rd edition)


Assessment: Practical exam, portfolio with own work.




See ASIMUT schedule


Writing: Tonal Counterpoint

Course title: Writing: Tonal Counterpoint

Osiris course code: KC-TE-TCP

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.


Level: Bachelor III





Credits: 4 ECTS

Literature: Peter Schubert – Baroque Counterpoint


Assessment: Portfolio with collected assignments, exam assignment at the end of the course




See ASIMUT schedule






8382

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.


Level: Bachelor III



Aural skills and Analysis 2 or Aural Skills, Writing Skills & Analysis 2 (Art of Sound)

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





See ASIMUT schedule


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.


Level: Bachelor III



Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard Skills and Harmony 1 or Aural Skills, Writing Skills & Analysis (Art of Sound)


Credits: 4 ECTS

Literature: Charles Rosen – The Classical StyleNicolas Cook – Analysis through Composition






See ASIMUT schedule






8584

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.


Level: Bachelor III



Classical Music Studies 2, or Jazz ATV2, or Aural Skills, Writing Skills & Analysis 2 (Art of Sound), or Early Music Studies 2

Teachers: Tom Dommisse, Joao Ferreira de Miranda Santos

Credits: 4 ECTS

Literature: some texts are presented during the course

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 aim 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.


Level: Bachelor III



ATV1 and 2, Ear Training 1 and 2, Solfège 1 and 2, Harmony at the Piano 1 and 2Only for Jazz students

Teachers: Niels Tausk

Credits: 4 ECTS

Literature:






See ASIMUT schedule




8786

Playing & Improvisation: Harmony at the Piano 3 for Jazz students

Course title: Playing & Improvisation: Harmony at the Piano 3 (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.


Level: Bachelor III



ATV2, Ear Training 2, Solfège 2, Harmony at the Piano 2Only for Jazz students.

Teachers: Eric Gieben

Credits: 4 ECTS

Literature: Material handed out by the teacher

Work form: Small group lesson

Assessment: Portfolio with collected assignments, exam assignment at the end of the courseYou need to write and perform your own arrangements.




See ASIMUT schedule



Assessment: Portfolio and presentations.




See ASIMUT schedule






8988

Playing & Improvisation: Rhythm Class 3 for Jazz students

Course title: Playing & Improvisation: Rhythm Class 3 (only for jazz students)

Osiris course code: KC-TE-RPRJ3

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.


Level: Bachelor III



ATV2, Ear Training 2, Solfège 2, Harmony at the Piano 2, Rhythm Class 2

Teachers: Niels Tausk

Credits: 4 ECTS

Literature: Material handed out by the teacher; reader and standards from the jazz repertoire


Assessment: Portfolio and practical exam at the end of the course




See ASIMUT schedule


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-RC3

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.


Level: Bachelor III



Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard Skills and Harmony 1, Rhythm Class 1

Teachers: Niels van Hoorn

Credits: 4 ECTS

Literature: Material handed out by the teacher; students also bring their own repertoire to the lessons.






See ASIMUT schedule






9190



See ASIMUT schedule


Playing & Improvisation: Improvisation

for Classical Musicians

Course title: Playing & Improvisation: Improvisation for Classical Musicians (not for pianists / organists)

Osiris course code: KC-TE-ICM

Course content: Many modern classical musicians, performers of music from the common practice era tend to perform from scores only, and to treat a score like a text which should be converted into sound as precisely as possible. This is usually a one-way process: without a score there will be no music. As a result of this attitude, the musical languages of the common practice period have become dead languages, more or less like Latin and Ancient Greek, which are (with very few exceptions) no longer spoken actively but only translated into modern languages. More and more musicians become aware of the artistic limitations of this approach. In order to become, like musicians from the past, creative performers who are able to enter into a living relationship with the music, learning how to improvise seems to be a valuable means. In this course, an integrated approach of harmony and improvisation will be advocated. Depending on the experience of the students, aspects of practical harmony like partimenti, modulations and melody harmonization will be touched on in an intuitive way. Improvising on a repeating harmonic pattern (from 16th century diminutions to a Schubert style waltz) will be a good way to explore the relation between melody and harmony, but we will certainly also look for adventure in a freely improvised ‘Song without Words’ with piano accompaniment, or a tonally free duo for two non-keyboard instruments. Also, improvised (vocal or instrumental) cadenzas and ornamentation can be addressed. Experience in improvisation is welcome but not needed!

Objectives: At the end of this course, you:have basic musical improvisational skills and are able to develop your own ideas in music.


Level: Bachelor III



Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard Skills and Harmony 1

Teachers: Bert Mooiman, Karst de Jong

Credits: 4 ECTS

Literature:


Assessment: Practical exam (presentation) at the end of the course




9392

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)


General Music Theory 2 (ATV2)

Teachers: Erik Albjerg, Patrick Schenkius

Credits: 3 ECTS for 4 periods of ATV3 projects

Literature: Depending on the project


Assessment: Written exams at the end of each project




See ASIMUT schedule

Information: Suzanne Konings - Head of Music Theory Department ([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-TE-IJH

Course content: You perform standards from the jazz repertoire with the appropriate harmonies (4- or 5-part voice leading with and without the melody) in different ways: you perform on your own instrument in a combo 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.

• 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)



Aural Skills and Analysis 2, Aural Skills and Improvisation 2, Keyboard Skills and Harmony 1

Teachers: Erik Albjerg

Credits: 4 ECTS







See ASIMUT schedule






9594

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



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.

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.


Literature: All written material will be handed out by the teacher. Three versions of ‘My Funny Valentine’ are available in the Study Lab.


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.



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.


Literature: The teacher provides the material in the lesson. “Inside the score” is also available in the library.


Assessment: Written exam; the student has to make an auditive analysis



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.


Literature: The teacher provides the material.


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.







9796

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.


Literature: Recordings provided by the teacher (musicweb) and by students.


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.



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.


Literature: Literature will be provided by the teacher.


Assessment: Written exam and presentations: analysis of a solo. Every aspect of the analysis discussed in the course must be used in the exam.



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.


Literature: Reader with scores and article on Moon Dreams should be acquired beforehand.


Assessment: Written exam: analysis of an arrangement. Every aspect of the analysis discussed in the course must be used in the exam.






9998

Ear Training 3

Course title: Ear Training 3

Osiris course code: KC-JX-GT

Course content: Ear training 3 is an extension of Ear training 2. You make transcriptions of more complex repertoire.

Objectives: At the end of this course, you: • are able to recognise, notate and play by ear and/or transpose

aspects of more complex jazz music in terms of tone (melody and harmony), rhythm and form, even if the tonal aspect of the repertoire is less stable (modal, lots of modulations and parallel harmony);

• are able to integrate practical and theoretical skills; • are able to transcribe from recordings independently; • are able to communicate how you experienced the music.

Type of course: Choice between Ear Training 3 and Solfège 3

Level: Bachelor III

Duration: 50 minutes per week, 18 weeks per academic year


Jazz - Ear Training 2


Credits: 1 ECTS

Literature: Materials on MusicWeb

Work form: Group lessons and self-study


Concluding exam at the end of the semester: 1. oral exam where the student has to sing with recordings according to specific guidelines, 2. written exam consisting of one transcription. Students must secure a minimum grade of 5.5 in both exams.




See ASIMUT schedule

Information: Suzanne Konings – Head of the Music Theory Department ([email protected])

KC Jazz Theory courses

Jazz Solfège 3

Course title: Jazz Solfège 3

Osiris course code: KC-JX-SP

Course content: In the lessons many exercises connected with upper structure and the more complex relationship between melody and harmony are sung. You accompany yourself on the piano in modulating sequences in every key. A number of assignments are performed a prima vista.

Objectives: At the end of this course, you: • are able to imagine notated complex jazz music, with or without

using an instrument; • are able to sing complex jazz melodies a prima vista; • are able to integrate practical and theoretical skills; • are able to integrate material learned in General Music Theory

(ATV), Ear training, Solfège and main subject lessons in a musically convincing performance of a solo with your own accompaniment.

Type of course: Choice between Ear Training 3 and Solfège 3

Level: Bachelor III

Duration: 50 minutes per week, 18 weeks per academic year


Jazz Solfège 2


Credits: 1 ECTS

Literature: Solfège reader and materials distributed by the teacher

Work form: Group lessons and self-study


Concluding exam at the end of the semester: two improvisations written by the students themselves and a so-called ‘special chorus’ must be submitted and performed (vocal with piano). The minimum grade for this exam is 5.5.




See ASIMUT schedule

Information: Suzanne Konings – Head of the Music Theory Department ([email protected])



101100

KC minorsKC 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 productionalgorithmic compositionsound analysis and synthesissound perceptionaesthetics of electronic musicspatial reproduction live electronic music.

The subjects can be followed separately and in any order. When at least 18 study points (ECTS) have been earned following courses from the offerings of the Institute of Sonology, this qualifies as a Sonology minor and you will receive a certificate. The Sonology minor is offered to all students of the Royal Conservatoire, the KABK and Leiden University.More information about the sonology electives can be found in each separate elective course description.

Objectives: See course descriptions KC electives - Selection from the Institute of Sonology

Type of course: Minor

Level: Bachelor II-IV

Duration: Weekly lessons


-

Teachers: Teachers of the Sonology Department

Credits: 6 ECTS per academic year (minimum)

Literature: t.b.a.


Assessment: Varies per sonology elective

Grading system: Varies per sonology elective

Language: English


t.b.a.

Information: Kees Tazelaar – Head of the Sonology Department ([email protected])

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103102

Minor Education – NEW!

Course title: Minor Education – NEW!

Osiris course code: KC-ED-MI2, KC-ED-MI3

Course content: The new Minor Education is complementary to the compulsory Educational Skills 1-2-3 courses. In the minor you extend your development of teaching skills and knowledge, and gain specific expertise in the profile of your choice. The new minor consists of the following two courses: - Extended Teaching Skills - Educational Skills Profile For the Educational Skills Profile course you need to choose one of the three profiles: Instrumental/Vocal teaching / Music in Society / Music Education according to the Kodály concept in which you further develop your expertise.

Current bachelor I students: The Minor Education starts in bachelor III. If you would like to do this minor then you have to choose electives for next year (2020-2021, with a total of 6 ECTS) and then apply for the Minor Education when you are in bachelor II.

Current bachelor II students: If you are selecting the Minor Education then you must also choose your Minor Education - Educational Skills Profile by sending an email to [email protected] before the deadline of 1 June 2020.

Current bachelor III students who already follow the Minor Education (old style) need to apply for Minor Education part 3 in order to continue with their Minor Education. (See the course description below.) Please note that ‘Minor Education part 3’ is part of the old style Minor Education. This course will no longer be available after 2020-2021.

Objectives: At the end of the new Minor 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 profiles: Instrumental/vocal teaching, Music in Society, Music Education according to the Kodály concept;

• have developed a clear picture of your possible future role in music education.

• can identify and reflect on your own desires and possibilities regarding your future professional development.


Level: Bachelor III-IV

Duration: Bachelor III Extended Teaching Skills – semester 1 (14 weeks) Bachelor III Eductional Skills Profile – semester 2 Bachelor IV Educational Skills Profile – semester 1


Educational Skills 2

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.



Duration: Weekly lessons of 45 or 60 minutes, depending on the number of students, 36 weeks per year


-

Teachers: t.b.a.


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.


Language: English


t.b.d.

Information: Monica Damen – Head of Vocal Studies Department ([email protected])Education Service Centre: [email protected]

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105104

Duration: 14 weeks


Educational Skills 2

Teachers: Various

Credits: 2 ECTS

Literature: Handouts by teachers

Work form: Group lesson, self-study and teaching practice with peer learning

Assessment: • an extended teaching report, weighted at 100%, including • two learning trajectories of a series of lessons, one for

each of your pupils • an observation report • a reflective report

this extended report will be part of the compulsory course Educational Skills 3 as well

• a formative feedback meeting with your teachers

Assessment criteria • knowledge of learning objectives and methodical thinking • awareness of appropriate methods, strategies and resources • awareness of teaching styles in observation • level of reflection on your own teaching practice (teaching style,

planning, use of repertoire, teacher-pupil relation, etc.)


Language: English


See Asimut schedule

Information: Julia Stegeman – [email protected]

Course title: Minor Education: Educational Skills Profile 1 & 2

Osiris course code: KC-ED-ESP1, KC-ED-ESP2

Course content: You gain experience and develop expertise related to your chosen educational skills profile as described below. In case you want to apply after your bachelor for the Master of Music in Instrumental and Vocal Learning & Teaching or the Master of Music in Music Education according the Kodály concept, you can ask for guidance in writing your masterplan.

1. Instrumental/Vocal teaching This profile focusses on teaching individuals or groups. You will further develop knowledge and skills regarding teaching strategies and repertoire. You will learn to teach adaptively as learners differ in the ways they learn.

Teachers: Various

Credits: Extended Teaching Skills – 2 ECTS Eductional Skills Profile – 10 ECTS

Literature: TBD

Work form: Group lessons, self-study and teaching practice or project work with peer learning.

Assessment See the Minor Education courses assessments below

Grading System Qualifying

Language English


See ASIMUT schedule

Information: Julia Stegeman – [email protected] van den Bergen – [email protected]

Course title: Minor Education: Extended Teaching Skills

Osiris course code: KC-ED-ETS

Course content: During the first part of the Minor Education, your knowledge and teaching skills will be extended parallel to the compulsory course Educational Skills 3. This course will focus on one-to-one teaching, group teaching and planning. You will be challenged to try out new methods and teaching techniques and to look beyond your own experiences in the learning and teaching environment. You will learn how to plan a series of lessons. Teaching materials (including repertoire, exercises and other sources) will be analysed and compared. In order to gain more practical experience your teaching practice will be intensified. You will teach two pupils instead of one (as in the compulsory programme).

Objectives: At the end of this course, you: • are able to use your musical and pedagogical knowledge and skills

in one-to-one tuition and teaching group lessons. You can: • formulate and communicate short-term and medium-term

objectives for individuals and groups; • plan, organise and manage the teaching

and learning environment; • recognise pupils’ needs and ways of learning; • make effective use of appropriate methods,

strategies and resources; • are able to communicate effectively with your pupils (both

verbally and musically); • can recognise and acknowledge adequate and meaningful ways

of teaching by observing other teachers.


Level: Bachelor III, semester 1

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107106

• are able to adapt your teaching/performing approaches to the characteristics of a target group;

• are able to collaborate with colleagues to develop an educational project;

• understand the particular dynamics of working with and within groups, can choose appropriate groupings for musical activities;

• can design a music education project for a specific context; • are able to use entrepreneurial skills to explore new challenges

and developments, within the range of music education and participation, providing leadership where necessary;

• are able to express a personal set of values regarding project work in music education;

• can identify and reflect on your own desires and possibilities regarding your future professional development.

Music Education according to the Kodály concept At the end of this course you: • have a basic understanding of the Kodály concept

in music education; • have a basic understanding of the musical learning processes

and are able to design music lessons in logical steps that lead to high quality music making;

• are able to transfer musical content and musicality by means of your own voice;

• have developed your own musicianship skills to be able to divide between the different layers of attention needed in musical activities and teaching music;

• are able to translate the skills and knowledge above into your own teaching practice.


Level: Educational Skills Profile 1- Bachelor III, semester 2Educational Skills Profile 2- Bachelor IV, semester 1

Duration: Depending on chosen profile


Educational Skills 3 and Extended Teaching Skills

Teachers: Various

Credits: Educational Skills Profile 1: 4 ECTSEducational Skills Profile 2: 6 ECTS

Literature: t.b.d.

Work form: Group lesson, self-study and teaching practice or project work with peer learning.

Assessment: Educational Skills Profile 1

Instrumental/Vocal teachingFramework for a learning trajectoryReflective report (1) on your teaching experiences

Assessment criteria • methodological insight (e.g. repertoire choice, teaching materials) • critical evaluation (e.g. teaching style, adaptability, planning, objectives)

During this course you will be teaching more intensively for a longer period. You will learn to do long-term planning for instrumental or vocal education and to design your own teaching materials and curricula.

2. Music in Society This profile focusses on developing teacher-facilitators that are able to foster musical engagement with participants in diverse settings like workshops, community music activities or educational music performances. In contemporary society everybody, regardless of their age or background, should have access to various musical activities. In this course you will explore new challenges and developments within the range of music education and participation. You will develop leadership and entrepreneurial skills needed to engage various target groups in musicking in different settings.

3. Music education according to the Kodály concept The profile will give a practical and theoretical introduction to music education according to the Kodály concept, consisting of four elements: musicianship, methodology, singing, and music teaching repertoire. At the end of the semester you have a basic understanding of the Kodály concept in music education, a basic understanding of the musical learning processes and you are able to design music lessons in logical steps that lead to high quality music making. You are able to transfer musical content and musicality by means of your own voice and have developed your own musicianship skills needed for teaching music. You can translate these skills and knowledge into your own teaching practice.

Objectives: Instrumental/Vocal teaching • At the end of this course, you: • are able to use a variety of teaching approaches; • can make informative choices of repertoire, teaching materials

and other resources; • know how to adapt or create materials appropriately; • can design a learning trajectory for a specific pupil; • are able to adapt your teaching approaches to the characteristics

of your pupils; • understand the particular dynamics of working with groups

and are able to differentiate within a group; • are able to express a personal set of values regarding instrumental

or vocal learning and teaching; • can identify and reflect on your own desires and possibilities

regarding your future professional development. •

Music in SocietyAt the end of this course, you: • are able to use a variety of appropriate working methods and/

or teaching approaches; • can make informative choices of repertoire, teaching materials

and other resources; • know how to adapt or create materials appropriately;

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Assessment criteria project report • working methods and teaching approaches,

materials and repertoire • ability to recognise the needs and dynamics of a target group

and to adapt your approach accordingly • project design and translation of creative ideas into a viable

project (e.g. entrepreneurial skills, collaboration, cooperation) • reflective thinking about past and future experiences

in music education

Assessment criteria presentation • addressing an audience in an engaging manner • clarity of project (e.g. goals, content, materials and planning) • critical thinking (in answering critical questions during discussion)

Music Education according to the Kodály concept • A project report, including:

• a project description • project material: analysis of 25 songs or other musical repertoire, • suitable for the teaching purposes as described

in the project plan; • video material; • reflective reports (1 and 2) on your project experiences.

• A presentation (20 minutes) of your project, followed by a discussion with the education exam committee about your project report and your project experiences. If applicable, you may present as a group.

Your result will be based upon the quality of your report and project material (50%) and your skills to present and discuss your project during the project presentation (50%).

Assessment criteria project report • showing understanding of the Kodály concept in music education

and a basic understanding of the musical learning processes in your teaching

• use of your voice to transfer musical content and musicality • showing the ability to divide between the different layers

of attention needed in musical activities and teaching music; • logical steps that lead to high quality music making

in your music lessons;

Assessment criteria presentation • addressing an audience in an engaging manner • clarity of project (e.g. goals, content, materials and planning) • critical thinking (in answering critical questions during discussion)

Grading system: Educational Skills Profile 1: Pass/Fail Educational Skills Profile 2: Qualifying

Language: English

Schedule, time, venue: See Asimut schedule

Information: Julia Stegeman – [email protected]

Music in SocietyProject descriptionReflective report (1) on your project experiences

Assessment criteria • clarity of project (e.g. goals, content, materials and planning) • critical evaluation (e.g. teaching style, adaptability,

planning, objectives)

Music Education according to the Kodály conceptProject descriptionReflective report (1) on your project experiences

Assessment criteria • clarity of project (e.g. goals, content, materials and planning) • critical evaluation (e.g. teaching style, adaptability,

planning, objectives)

Educational Skills Profile 2

Instrumental/Vocal teachingA teaching report, including: • a learning trajectory; • a curriculum (annotated); • video material; • reflective reports (1 and 2) on your teaching experiences.

An education exam in which your teaching report and teaching experiences will be discussed with an education exam committee. Your result will be based upon the quality of your report (50%) and your ability to show insight during the education exam (50%).

Assessment criteria teaching report • teaching approaches, materials and repertoire (in individual

and group lessons) • methodical insight and an analytical, perceptive and flexible

approach towards the pupil’s needs • reflective thinking about past and future teaching experiences

Music in SocietyA project report, including: • a project description; • project material; • video material; • reflective reports (1 and 2) on your project experiences.

A presentation (20 minutes) of your project, followed by a discussion with the education exam committee about your project report and your project experiences. If applicable, you may present as a group.

Your result will be based upon the quality of your report (50%) and your skills to present and discuss your project during the project presentation (50%).

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Information: Information for teachers: Julia Stegeman, [email protected] Information for students: Marijke van den Bergen, [email protected]

Course title: Minor in Education, Part 3 (old style) - Contents, Process, Implementation and Presentation (for BIV/Minor3 students in 2020-21 only)

Osiris course code: KC-ED-M3%

Course content: Students implement a musical project for a particular target group. The students work in groups. The groups will receive coaching and have regular meetings during which they will implement the techniques they have learned for holding meetings.When the project is finished, the students together write a report and individually write a personal evaluation of the process and outcome.

Objectives: At the end of the course the students know how to work creatively, interactively and artistically in a group and are trained to perform different roles within an organisation. They understand how to organise and execute a project and can reflect on their role in the project they were involved in.


Level: Bachelor IV

Duration: Weekly from week 38 to week 5


Minor in Education (old style), Parts 1 and 2 and Project Management and Design

Teachers: TBA

Credits: 4 ECTS

Literature: Material provided by the teachers

Work form: 6 to 8 weekly group meetings; the project is performed at least twice

Assessment: This part of the course is completed when the following conditions are met:• The materials prescribed by the teacher have been submitted and any exams have been passed. • The student’s attendance record is satisfactory.• The student has given at least two workshops with his or her group• The student has demonstrated the ability to reflect on his or her actions• The student has given a presentation with his or her group in the front of the committee and other students.


Language: English


Check ASIMUT for your schedule

Information: Information for teachers: Julia Stegeman, [email protected] Information for students: Marijke van den Bergen, [email protected]

Minor in Education, Part 3 – previous Minor Education course descriptions

Course title: Minor in Education, Part 3 (old style) - Project Management and Design (for BIV/Minor3 students in 2020-21 only)

Osiris course code: KC-ED-M3PM

Course content: Students design an educational musical project and learn about management techniques and project design.

Students are introduced to various techniques for starting a project, including the techniques of conducting an interview, holding a meeting, giving a presentation and managing a project. They will be able to design a project as part of a group. This module covers three subjects relating to the design and execution of an educational project: • Group processes • Content • Technical execution

The actual content of these three aspects will be fleshed out with teachers and coaches.

Objectives: At the end of the course students are acquainted with various management techniques, which will enable them to design a project relating to music education. In the lesson they experience to be able to act creatively, interactively and artistically within a group and they become familiar with group processes.


Level: Bachelor IV

Duration: Weekly from week 38 to week 5


Minor Education part 1 and 2 (old style)

Teachers: TBA

Credits: 2 ECTS

Literature: Material provided by the teachers

Work form: 14 Group lessons (see ASIMUT for the length of the lessons) and hours for self-studying

Assessment: Assignments given in the lessons should be delivered to the teacher before the end of the course. Attendance is compulsory. Students who do not attend sessions will not be allowed to continue with the Project Presentation and Implementation module.


Language: English


Check ASIMUT for your schedule

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• Minor year 1: Advanced Critical Music Studies 1 - Academic skills. In this course, you will acquire the following academic skills: Research skills: evaluating sources, plagiarism prevention, argumentation structure. Academic writing techniques: formulating a feasible research question, essay structure, academic writing style, referencing sources, giving and processing feedback. Oral presentation skills: structuring a presentation.

• Minor year 2: Advanced Critical Music Studies 2 - Science philosophy. This course offers a broad introduction to the philosophy of science, giving you an insight into the nature of science in general and the humanities specifically. A connection will be made to the principles of artistic research as used at the Royal Conservatoire.

• Minor year 3: Advanced Critical Music Studies 3 - Cultural policy. This course discusses the recent trends in cultural policy and how these relate to the modern reality of musicians.

2. A selection from the courses offered by the Academy of Creative and Performing Arts (ACPA) at Leiden University. In these courses you will study and reflect on the various roles, positions and functions of music using theories from sociology, psychology and philosophy, among other things. Cultural philosophy is also studied, investigating artistic, socio-political and even ethical aspects of music. Depending on your choice of courses, you will gain insight into the history and current developments of music and sound art. The definitions of ‘popular’ and ‘global’ in relation to music are examined, as well as music and cognition, the role of the internet, artificial intelligence (AI) and electronic music. You need to choose one course per year from the following courses: • Minor year 1: Popular and Global Music, Music as Expressive

Force or Values in Music • Minor year 2: Music Cognition, Introduction into Sound Art or

Music & Technology • Minor year 3: any of the courses listed above that you have

not yet completed.

Royal Conservatoire students following the minor will be exempt from the obligatory course Critical Music Studies as part of their regular Bachelor of Music curriculum in Bachelor year 2 and 3. (This is applicable to students of the classical music, jazz, vocal and conducting departments only. For Early Music students a different arrangement will be made.)

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

Objectives: At the end of this course, you will: • acquire practical knowledge of conducting research, writing

and presenting on an academic level. • gain broad insight into the nature of science in general • gain insight into the latest developments in the area

of cultural policy • gain insight into the history and current developments of music

and sound art (if applicable)

KC minors with entrance exam

Minor Academic Music Studies – NEW!

Course title: Minor Academic Music Studies (with ACPA at Leiden University) –NEW!

Osiris course code: KC-MA-AMS1

Course content: Are you a music student who likes to be challenged on both an artistic and theoretical level, who aims to expand his or her intellectual horizon in close connection with artistic practice? Would you like to develop academic skills, to be prepared for artistic and academic research at master’s level with the potential perspective of subsequent research on doctoral level? Are you striving for an artistic career that combines artistic with leadership skills, curatorial (programming, artistic direction, outreach) or educational skills?

The Minor Academic Music Studies, which has been developed in close cooperation with the Academy of Creative and Performing Arts (ACPA) at Leiden University, may be exactly what you are looking for.

This Minor not only offers you the possibility to acquire university-level academic research skills, but also invites you to a different way of thinking about music. Music is more than just a form of art, more than just entertainment. What roles does music play within our society? How does current society influence music? And vice versa: how does music influence, for instance, politics, media and technology? Music, sound design and sound art are omnipresent in our daily environment. How are music and sound used, how do they influence us? Why do we dance to music? Can music cure us when we are ill? What is the function of technology in listening to, discovering and creating music?

Students who practice, study, perform and actively listen to and enjoy music, will be able to gain an understanding of what music is and of the ways in which it functions in present day society. The creative industries encompass a wide range of jobs involving music performance, music education, music journalism, music production, music curatorship, event organisation, sound technology, musicology, cultural policies, publishing, authorship and copyright. In these dynamic fields there is a growing demand for academic graduates who are able to work on complex, multidisciplinary challenges. This minor therefore aims to be a valuable extension of your job prospects.

The Minor Academic Music Studies includes the following selection of Royal Conservatoire and Leiden University courses at academic level. During the Minor you will do two types of courses:1. Courses at the Royal Conservatoire: these courses will be offered

as advanced versions of the existing Bachelor course Critical Music Studies. Over the period of 3 years, you will be offered courses in the following subjects:

https://studiegids.universiteitleiden.nl/en/courses/96595/popular-and-global-music

https://studiegids.universiteitleiden.nl/en/courses/96601/music-as-expressive-force


https://studiegids.universiteitleiden.nl/courses/96607/values-in-music

https://studiegids.universiteitleiden.nl/en/courses/96603/music-cognition

https://studiegids.universiteitleiden.nl/en/courses/96605/introduction-into-sound-art

https://studiegids.universiteitleiden.nl/en/courses/96599/music-x-technology

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Language: English


See ASIMUT schedule for Advanced Critical Music Studies at the Royal Conservatoire.The courses offered by ACPA: see ACPA module descriptions for further information.

Information: Roos Leeflang (coordinator Lectorate Music, Education & Society): [email protected] and Rogier Schneemann (ACPA): [email protected]

Course title: Minor Academic Music Studies - Year 1 choose from:

ACPA courses Popular and Global Music

Music as Expressive Force

Values in Music

Osiris course code/ UL catalogue number:

TBC

5100KM23

TBC

5100KM31

KC-KVL-VIM

5100KM29

Course content & objectives:



https://studiegids.universiteitleiden.nl/en/courses/96607/values-in-music

Type of course: Minor Minor Minor

Level: Bachelor Bachelor Bachelor

Duration: Semester 1 Semester 1 Semester 2

Credits: 5 ECTS 5 ECTS 5 ECTS

Work form: Lectures and workshops

Lectures and seminars Lectures and seminars

Assessment: Active Participation 25%Homework 25%Presentations 25%Final Exam 25%

Paper 80%Oral presentation 20%

Active participation in class 30%Seminar Assignments: 30%Exam: 40%

Grading system: Numeric Numeric Numeric

• gain insight into the definitions of ‘popular’ and ‘global’ in relation to music, as well as into music and cognition, the role of the internet, artificial intelligence (AI) and electronic music (if applicable)

• gain a broad insight into what music is and into the influence that music, human beings and society have on each other



Duration: 1. The Advanced Critical Music Studies 1-2-3 courses at the Royal Conservatoire: working group sessions of 60 mins per week during 2 semesters, alternating with weeks with individual consultations. Further information will be provided in specific course descriptions (currently in development).

2. The courses offered by ACPA at Leiden University: see ACPA module descriptions for schedules. The duration of the courses is normally one semester per course.


The minor requires a good/proficient level of English reading, writing and speaking skills.Students interested in the minor have to submit a brief motivation in English (2 A4 pages maximum). As soon as you apply, you will receive a link where you are asked to upload your motivation. This motivation letter must include your first choice of ACPA course. The deadline is 5 April 2020.

This minor will only be offered when a minimum of 5 students will enrol.

Students who are admitted to the minor will receive a guest account (ULCN) from Leiden University. With the ULCN account students can enroll to the chosen ACPA minor courses (please refer to Course Content, point 2.) in uSis. The ULCN account will also grant access to the various Leiden University facilities.

Teachers: The Advanced Critical Music Studies course: to be announcedThe courses offered by ACPA: see ACPA module descriptions for teachers.

Credits: 10-10-10 ECTS per academic year: Advanced Critical Music Studies 5 ECTS + ACPA course 5 ECTS.

Literature: Determined by the teachers and see ACPA module descriptions

Work form: The Advanced Critical Music Studies course: small working group sessions taking place at the Royal Conservatoire.The courses offered by ACPA: lectures and seminars offered at Leiden University. See ACPA module descriptions for further information.

Assessment: For the Advanced Critical Music Studies courses at the Royal Conservatoire: see specific course descriptions (currently in development).For the courses offered by ACPA: see ACPA module descriptions.

Grading system: For the Advanced Critical Music Studies courses at the Royal Conservatoire: see specific course descriptions (currently in development).For the courses offered by ACPA: see ACPA module descriptions.

mailto:r.leeflang%40koncon.nl?subject=

mailto:r.schneemann%40Kunsten.leidenuniv.nl?subject=















https://www.student.universiteitleiden.nl/en/study--studying/study/study-facilities/student-account

https://www.staff.universiteitleiden.nl/education/it-and-education/it-systems/usis/humanities/academy-of-creative-and-performing-arts?cf=humanities&cd=academy-of-creative-and-performing-arts#tab-1

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Minor ArtScience

Course title: Minor ArtScience

Osiris course code: KC-ASC-MINORSeparate 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 of three components, to be obtained in one complete semester or in phases over several years. Students do an entrance exam before they can enter the minor. Each minor student chooses a coach from the core art team of ArtScience who will guide him / her in the study trajectory.

Part 1Some courses to introduce the ArtScience domain and the interdisciplinary basis (to be determined upon admission, based on the student’s main programme): 10 ECTSBecause of the interdisciplinary character of the programme, 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 2Free choices from the courses offered by ArtScience (based on the needs of the student): at least 12 ECTSBecause the ArtScience programme focuses on the individual development of the artistry of the student, the subject matter is broad, annually changing and based on the student’s freedom of choice and her / his study needs. This also applies to the minor ArtScience. Twelve points (minimum) can be filled in with choices from the entire study offer of the study programme. Courses of the current year can be viewed on the website of the Interfaculty: www.interfaculty.nl/programme/courses/.

Part 3An 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 ECTSThe development of own, autonomous interdisciplinary art projects occupies a central place in the ArtScience curriculum. A minor student is expected to develop one independent project in dialogue with a coach. This will be tested in one of the general presentation rounds of ArtScience at the end of the first and second semesters. (The project is being tested as a ‘Semester 1 Presentation’.)

Course title: Minor Academic Music Studies - Year 2 choose from:

ACPA courses Music & Technology Music Cognition Introduction into Sound Art

Osiris course code: TBC5100KM27

TBC5100KM25

KC-KVL-VIM5100KM09

Course content & objectives:




Type of course: Minor Minor Minor

Level: Bachelor Bachelor Bachelor

Duration: Semester 1 Semester 2 Semester 2

Credits: 5 ECTS 5 ECTS 5 ECTS

Work form: Seminar Lectures Lectures & seminars

Assessment: The grading of the course is based on the homework assignments, student presentations, an essay and a creative work. Full attendance is a requirement in order to receive the credits for the course.

Group assignment: research proposal (written): 20%Group assignment: presentation (oral): 10%Individual written test with multiple choice and open questions: 70%

Assignment(s): 15Final assignments: 5

Grading system: Numeric Numeric Numeric














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Minor Chamber Music

Course title: Minor Chamber Music

Osiris Course Code: KC-KI-MCM1, KC-KI-MCM2, KC-KI-MCM3

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.


Level: Bachelor

Duration: 34 lessons of 50 minutes


This minor is only open for existing ensembles from the Classical Music Department, after taking a 15-minute audition. It is possible to take this Minor for only one or two years (but this will not lead to a certificate). Preference is given to ensembles that will take the full three year programme (i.e. ensembles that are currently studying in bachelor I).

Teachers: Various teachers

Credits: 6 ECTS per year. The minor is recognized as a minor when you have obtained a total of 18 ECTS (6 ECTS per year, three years).

Literature: -


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.

When a student has completed these three components, a score of at least 30 ECTS has been reached. The most up-to-date information about the curriculum, the timetable and the lecturers can be found at www.interfaculty.nl/.

If you complete the full 3-year programme (30 ECTS), you will receive a certificate.

Objectives: See course descriptions of the available ArtScience electives



Duration: Weekly lessons


Students who want to follow this minor have to do an entrance exam. Experience 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.


Assessment: Seperate assignments per course plus final individual project assessment

Grading system: Varies per ArtScience elective

Language: English


t.b.a.

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

mailto:taconis.stolk%40interfaculty.nl?subject=

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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 Wiecher Mandemaker. 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.

The minor Conducting consists of the following courses: 1st year • Conducting and rehearsing technique /practicum 3 EC • Repertoire, performance practice, programming 1 EC • Ear training for conductors 2 EC • Score playing 2 EC

2nd year • Conducting and rehearsing technique/practicum 3 EC • Repertoire, Performance Practice, Programming 1EC • Ear training for conductors 2EC • score playing 2EC

3rd year • Conducting and rehearsing technique/practicum 3EC • Repertoire, Performance Practice, Programming 1EC • Ear traning for conductors 2E • Score playing

2E If you complete the full 3-year programme, you will receive a certificate.

Objectives: At the end of this course, you are able to work with an amateur choir using appropriate rehearsal techniques and repertoire to perform interesting and achievable programmes.



Duration: Conducting Lessons/practicum 90 mins per week, 34 weeks per yearRepertoire, Performance Practice, Programming 50 per week, 36 weeks per yearEar Training for Conductors: 50 mins per week, 36 weeks per year Score Playing: 25 mins per week, 17 weeks per year


The minor Choral Conducting is available for students in bachelor II from the Vocal Studies Department who have completed the theory curriculum of the first year. A An audition is organised for entrance into the minor. At the audition, you conduct a short piece and are assessed on musical ideas and potential for development as a conductor.

Teachers: Conducting Lessons/practicum: Wiecher MandemakerRepertoire, performance, programming: Jos Vermunt

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.


Language: English


To be arranged with teacher

Information: Fabiënne Kramer ([email protected])

mailto:f.kramer%40koncon.nl?subject=

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Minor Orchestral Conducting

Course title: Minor Orchestral Conducting

Osiris course code: KC-DO-MI1, KC-DO-MI2, KC-DO-MI3

Course content: This minor is designed for students 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 • Orchestral Conducting and rehearsing technique 1 4 ECTS • Ear training for conductors 4 ECTS • Score playing 2 ECTS

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

3rd year • Orchestral 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: • can act as your own teacher, by analysing what determines

the quality of your conducting and how to maintain it; • have developed effective self-practice techniques; • have studied and experienced the dynamics of an orchestra during

rehearsals and performances; • are able to establish a healthy working-relationship with

your orchestra; • are able to convey your artistic vision through effective orchestra

rehearsal techniques; • have experienced a variety of musical styles and have studied

and performed representative repertoire; • are able to create and realise your own artistic concept and have

developed the necessary skills for your expression; • are able to do an entrance exam for a master’s programme

in orchestral conducting.



Duration: Orchestral Conducting and rehearsing technique: 50 mins per week, 34 weeks per yearEar training for conductors: 100 minutes per week, 36 weeks per year Score playing: 25 minutes per week, 36 weeks per year

Ear training for conductors: Ward Spanjers or t.b.a. Score playing: Richard Ram

Credits: 8-8-8 ECTS per academic year

Literature: Determined by the teachers

Work form: Conducting Lessons/practicum group lessonRepertoire, Performance Practice, Programming group lessonEar training for Conductors group lessonScore Playing Individual lesson

Assessment: Conducting Technique practical exam each yearRepertoire, Performance Practice, Programming active participation Ear training for Conductors written test Score Playing Active participation and 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

Grading system: Conducting Lessons/practicum numeric Repertoire, Performance Practice, Programming pass/fail Ear training for Conductors numericScore Playing Pass/fail

Language: English


See ASIMUT schedule

Information: Monica Damen ([email protected]) Education Service Centre: [email protected]



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Minor Wind Band Conducting – NEW!

Course title: Minor Wind Band Conducting – NEW!

Osiris course code: KC-DI-MI1-20

Course content: This minor is designed for students who have the ambition to become a wind band conductor. After finishing this minor, you should be able to do an entrance exam for a master’s programme in wind band conducting. The minor in Wind Band Conducting consists of 10 ECTS per year. It is therefore more intensive than other minors.

The minor Wind Band Conducting consists of the following courses:

1st year • Wind Band Conducting 1 5 ECTS

(Including orchestration/instrumentation, rehearsing techniques, historical development of wind band music, repertoire & programming, 2-4 practicums, Entornos)

• Ear training for conductors 3 ECTS • Score playing 2 ECTS

2nd year • Wind Band Conducting 2 5 ECTS



3rd year • Wind Band Conducting 3 5 ECTS




Objectives: At the end of this course, you: • can act as your own teacher, by analysing what determines the quality

of your conducting and how to maintain it; • have developed effective self-practice techniques; • have studied and experienced the dynamics of a wind band during

rehearsals and performances; • are able to establish a healthy working-relationship with

your wind band; • are able to convey your artistic vision through effective wind band

rehearsal techniques; • have experienced a variety of musical styles and have studied

and performed representative repertoire; • are able to create and realise your own artistic concept and have

developed the necessary skills for your expression;


The minor conducting is available for students in bachelor II, who have completed the theory courses of the first year. A maximum of 2 students can be placed in each year. An audition is organised in June 2020 for entrance into the minor. At this audition, the candidates conduct a student ensemble or orchestra.

Teachers: Orchestral Conducting and rehearsing technique: Rene Gulikers, Jac van Steen Ear training for conductors: Ward SpanjersScore playing: Richard Ram



Work form: Orchestral Conducting and rehearsing technique: individual and group lessonsEar training for conductors: group lessonScore playing: individual lesson

Assessment: Ear training for conductors: Annual individual testAssessment criteria TBC

Score playing: Practical exam each year Assessment criteria TBC

Orchestral Conducting and rehearsing technique: practical exam each year: • a practical conducting exam with ensemble, orchestra or piano • a meeting with the jury, discussing repertoire knowledge,

rehearsing technique and dynamics in the orchestra.

Assessment criteria • Musical awareness (e.g. concepts, expression) • Communication (e.g. conveying of ideas) • Rehearsal technique (e.g. didactic skills) • Conducting technique (e.g. score, transmitting musical ideas) • Presentation • Self-reflection (e.g. practice techniques, orchestra dynamics)

Grading system: All courses: numeric

Language: English


See ASIMUT schedule

Information: Jaike Bakker, [email protected]

mailto:j.bakker%40koncon.nl?subject=

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Assessment criteria • Musical awareness (e.g. concepts, expression) • Communication (e.g. conveying of ideas) • Rehearsal technique (e.g. didactic skills) • Conducting technique (e.g. score, transmitting musical ideas) • Programme/Presentation • Self-reflection (e.g. practice techniques, wind band dynamics)

Grading system: All courses: numeric

Language: English


See ASIMUT schedule

Information: Jaike Bakker ([email protected])

• are able to communicate and cooperate with various wind band managements and members;

• are able to demonstrate an entrepreneurial spirit, by connecting basic research and educational skills with a proactive approach;

• are able to reflect on your role, task and position in the profession as well as in society, and can contribute to it.

• are able to do an entrance exam for a master’s programme in wind band conducting.



Duration: Wind Band Conducting: 50 mins per week, 34 weeks per yearWeekly group lessons in orchestration/instrumentation, historical development of wind band music, repertoire & programming: 50 mins per week, 34 weeks per year2-4 practicums with amateur wind band orchestrasTaking part in annual Wind Band Project Entornos (4 days) Ear training for conductors: 100 minutes per week, 36 weeks per year Score playing: 25 minutes per week, 36 weeks per year


The minor is available for all students in bachelor II who have completed the theory courses of the first year. A maximum of 2 students can be placed in each year. An audition is organised in June 2020 for entrance into the minor. At this audition, the candidates conduct a student ensemble or piano.

Teachers: Wind Band Conducting: Alex SchillingsOrchestration/instrumentation, historical development of wind band music, repertoire & programming: Alex SchillingsPracticum with amateur wind band orchestras: Alex SchillingsEntornos: Alex SchillingsEar training for conductors: Ward Spanjers Score playing: Richard Ram



Work form: Wind Band Conducting: individual and group lessons Ear training for conductors: group lesson Score playing: individual lesson

Assessment: Ear training for conductors: Annual individual testAssessment criteria TBC Score playing: Practical exam at the end of bachelor IV Assessment criteria TBC

Wind Band Conducting and rehearsing technique: practical exam each year: • a practical conducting exam with ensemble or orchestra or piano; • a meeting with the jury, discussing repertoire knowledge, rehearsing

technique, dynamics in the orchestra and the role of a conductor in amateur wind bands.

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• have been confronted with new and unknown musical styles, settings and instrumental combinations.

• have developed skills of listening, attention, improvisation, development of musical ideas, and compositional thinking.



Duration: A total of 10 group sessions of two hours per semester (predominantly developing improvisational skills), alternated with a Studium Generale (mostly lectures) and workshops (developing specific skills). At the beginning of each semester there will be an intensive project of 3 days. Students of different years can potentially have different roles in the process.


The Minor is open to all departments, creative as well as performing. Proficiency on an instrument to be used in the workshops is required.

This minor will only be offered when a minimum of 5 students will enrol.

Students interested in the minor have to submit a written motivation. Students will receive a link where they can upload their written motivation once they have applied for this minor. The deadline for this is 5 April 2020.

Teachers: Teachers from various departments as well as guest teachers for the Studium Generale.

Credits: 6 ECTS per academic year, divided as follows: • Bachelor II: 2x intensive, group lessons, Studium Generale,

workshops: 6 ECTS • Bachelor III: 2x intensive, group lessons, Studium Generale,

workshops: 6 ECTS • Bachelor IV: 2x intensive, group lessons, Studium Generale,

workshops: 6 ECTS

Literature: Literature/video list will be provided during the lessons

Work form: ‘Making Music’ group lessons, Studium Generale, workshops, intensive projects

Assessment: Bachelor II and III • A minimum of 80% attendance for all lessons and sessions.

Bachelor IV • A minimum of 80% attendance for all lessons and sessions. • Final examination:

The final assessment consists of a concert presenting various projects developed by the candidates. For each candidate this should be complemented with 2 recordings (audio and/or video) of previously realized works.

Assessment criteria are based on 5 main categories: • Musicality • Performance • Collaborative and solo skills

Minor Collaborative Music Creation – NEW!

Course title: Minor Collaborative Music Creation – NEW!

Osiris course code: KC-AL-ICMC1

Course content: The minor Collaborative Music Creation is designed for performance students who want to develop creative skills as well as for students of the creative departments who want to enrich their creative practice with improvisation and performance skills. The main focus is on music creation through collaborative practice. Students from the creative and performing departments will learn from each other through performance and improvisation.

You will develop improvisational and compositional skills by engaging in various making processes, which can be based on improvisation, (collaborative) composition, gameplay, interaction with electronics, existing repertoire and any combination of these. The projects will be coached by teachers from various departments, including jazz, composition, theory, sonology and early music.

Part of the minor will be in the form of a Studium Generale and workshops, which focus on theoretical, reflective and historical aspects of improvisation and creative processes. This is accompanied by a mandatory literature/video list (including relevant documentaries). At the beginning of the first and second semester there will be an intensive project of 3 days for all students participating in the minor:

• Semester 1: A collaborative project developing listening and interaction skills, based on principles of the free improvisation practice

• Semester 2: A creative collaborative project with mixed instruments concentrating on the making process of a concrete piece, thereby developing skills related to generation of musical materials and ideas, structuring music and compositional thinking

In a later phase of the Minor it will be possible to work in smaller groups or in individual projects as seen fit.

After completing the full 3-year programme, you will receive a certificate.

Objectives: At the end of this course, you: • have become proficient in the creation, development

and realisation of new musical materials and pieces and have acquired ownership of the musical material.

• have developed a musical vocabulary of your own, related to your main instrument or area of studies.

• have developed a critical and informed attitude toward the scores and musical materials of your repertoire enabling fresh ideas on interpretation and communication to audiences.

• have become knowledgeable about the theoretical, reflective and historical aspects of making processes in music.

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Minor Composition

Course title: Minor Composition

Osiris course code: KC-CO-MI1, KC-CO-MI2, KC-CO-MI3

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.



Duration: Group lesson of two hours, once every two weeks.


You are required to hand in three compositions and will be invited for an audition. The audition includes a discussion with a committee consisting of teachers of the Composition Department in which knowledge, skills and possibilities for further development will be assessed.

Teachers: Teachers from the Composition Department

Credits: 6 ECTS per academic year, divided as follows:

Bachelor II: group lesson, Studium Generale, project: 6 ECTSBachelor III: group lesson, Studium Generale, project: 6 ECTSBachelor IV: group lesson, Studium Generale, project: 6 ECTSExtra subjects from the bachelor’s curriculum will extend the total number of ECTS.

Literature: t.b.a.

• Stylistic awareness and Reflection • (see METRIC criteria for assessment)


Language: English


See ASIMUT schedule

Information: Karst de Jong ([email protected])

http://metricimpro.eu/information/

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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,

imitate different styles or compose 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 music and art in general.



Duration: Weekly lessons (or longer lessons every two weeks)


You need to have finished all bachelor I theory courses. Students are selected based on first year study results in the music theory subjects and a short interview.

Teachers: Counterpoint and Harmony: Bert MooimanLiterature, analysis and research: Patrick van DeurzenEar Training and Solfege: Suzanne KoningsPhilosophy 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.

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


t.b.a.

Information: Martijn Padding – Head of the Composition Department ([email protected])

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Minor Classical Music

Course title: Minor Classical Music

Osiris course code: KC-KI-MI1, KC-KI-MI2, KC-KI-MI3

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 MusicClassical Music Studies I

Bachelor III Instrumental Lesson Minor Classical MusicClassical 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.



Duration: This minor has a duration of three academic years.

Only students in bachelor I can audition to enter the minor in bachelor II. NB: An exception is made for students who were enrolled

Grading system: Each course will be graded separately with a numeric result.

Language: English


See ASIMUT schedule

Information: Suzanne Konings – Head of Music Theory ([email protected]) Education Service Centre: [email protected]

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Assessment: Year Course Type of assessment

Bachelor II Instrumental Lesson Minor Classical MusicClassical Music Studies I

Practical examination (15 minutes)See course description

Bachelor III Instrumental Lesson Minor Classical MusicClassical Music Studies II


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


See ASIMUT schedule

Information: Else van Ommen, Coordinator Classical Music Department ([email protected]) Education Service Centre: [email protected]

in the former minor Same Instrument, which was discontinued. These students can enter the minor Classical Music in a subsequent year (e.g. if you were originally enrolled in the minor Same Instrument and you are in minor year 2 you can continue with the same instrument in the minor Classical Music year 3). 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 complete 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.


Minor year I 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: short motivation, to submit during the application process (200 words)performance (8-10 minutes)interview with the committee

Total duration of the entrance examination is 15 minutes. It is not compulsory to play on a modern instrument for the entrance examination if the student is not able to arrange this.

Teachers: Varies, depending on the instrument


Literature: -

Work form: Individual lessons and group lessons

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are in minor year 2 you can continue with the same instrument in the minor Early Music year 3). In exceptional cases, bachelor II students can apply for the first two 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 complete 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.


Minor year IYou 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



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.



Literature: -



Bachelor II Individual Lesson Minor Early Music Ornamentation and Diminuation 1Ornamentation and Diminuation 2


Bachelor III Individual Lesson Minor Early Music Early Music Seminars


Bachelor IV Individual Lesson Minor Early Music


Minor Early Music

Course title: Minor Early Music

Osiris course code: KC-EM-MI1, KC-EM-MI2, KC-EM-MI3

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:

Bachelor IIIndividual Lesson Minor Early MusicOrnamentation 1 Ornamentation 2

Bachelor III Individual Lesson Minor Early MusicEarly 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.




Only students in bachelor I can audition to enter the minor in bachelor II. NB: An exception is made for students who were enrolled in the former minor Same Instrument, which was discontinued. These students can enter the minor Early Music in a subsequent year (e.g. if you were originally enrolled in the minor Same Instrument and you

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Minor Early Music - Related Instrument

Course title: Minor Early Music - Related Instrument

Osiris course code: KC-EM-MI1R, KC-EM-MI2R, KC-EM-MI3R

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).


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.




Theoretical component (i.e. Ornamentation and Diminution, Early Music Seminars): see course description in the Curriculum Handbook Bachelor Early Music

Language: English


See ASIMUT schedule

Information: Brigitte Rebel, Coordinator Early Music Department ([email protected]) Education Service Centre: [email protected]




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Bachelor II Individual Lesson Minor Early Music – Related Instrument

Historical Development


See appendix and course description

Bachelor III Individual Lesson Minor Early Music – Related Instrument


Bachelor IV Individual Lesson Minor Early Music – Related Instrument


Grading system: Instrumental Lesson: numericTheory course: see course description in the Curriculum Handbook Bachelor Early Music

Language: English


See ASIMUT schedule



Only students in bachelor I can audition to enter the minor in bachelor II. NB: An exception is made for students who were enrolled in the former minor Related Instrument, which was discontinued. These students can enter the minor Early Music – Related Instrument in a subsequent year (e.g. if you were originally enrolled in the minor Related Instrument and you are in minor year 2, you can continue with the same instrument in the minor Early Music – Related Instrument year 3).

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 complete 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.


Minor year IYou are expected to demonstrate the following set of skills and abilities in an entrance examination: • Physical affinity with the instrument • Ability to perform early music repertoire on the instrument • Potential for development on the instrument




process (200 words)2. performance (8-10 minutes)3. interview with the committeeTotal duration of the entrance examination is 15 minutes.



Literature: t.b.d.



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Minor Jazz

Course title: Minor Jazz

Osiris course code: KC-JA-MI1, KC-JA-MI2, KC-JA-MI3

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.


Students in the minor Jazz complete the following courses:

Bachelor II Individual Lesson Minor JazzJazz Music History

Bachelor III Individual Lesson Minor JazzCritical 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.




Only students in bachelor I can audition to enter the minor in bachelor II. NB: An exception is made for students who were enrolled in the former minor Same Instrument, which was discontinued. These students can enter the minor Jazz in a subsequent year (e.g. ifyou were originally enrolled in the minor Same Instrument and you are in minor year 2, you can continue with the same instrument in the minor Jazz year 3).

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

Natural Horn Natural Trumpet

* 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.

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Language: English


See ASIMUT schedule

Information: Yvonne Smeets – Head of Jazz Department ad interim ([email protected])Education Service Centre: [email protected]

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 complete 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.


Minor year IYou 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




process (200 words)2. performance (8-10 minutes)3. interview with the committee




Literature: -



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 Practical examination (25 minutes)


Jazz Music History and Critical Jazz Studies: see course description in the Curriculum Handbook Bachelor Jazz



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a subsequent year (e.g. if you were originally enrolled in the minor Related Instrument and you are in minor year 2, you can continue wth the same instrument in the minor Jazz – Second Instrument year 3). 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 complete 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.


Minor year IThe student is expected to demonstrate the following set of skills and abilities in an entrance examination: musical and stylistic affinity with jazz musicphysical affinity with the instrumentability to improvise in a jazz contextpotential 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: short motivation, to submit during the application process (200 words)performance (8-10 minutes)interview with the committee




Literature: t.b.d.



Bachelor II Individual Lesson Minor Jazz – Second InstrumentTheory/perf. course

Practical examination (15 minutes)See appendix and course description

Bachelor III Individual Lesson Minor Jazz – Second InstrumentTheory/perf. course

Practical examination (15 minutes)See appendix and course description

Bachelor IV Individual Lesson Minor Jazz – Second Instrument


Minor Jazz - Second Instrument

Course title: Minor Jazz - Second Instrument

Osiris course code: KC-JA-MI1S, KC-JA-MI2S, KC-JA-MI3S

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).


Students in the minor Jazz – Second Instrument complete the following courses:

Bachelor II Individual Lesson Minor Jazz – Second InstrumentHistorical Development (or other, see appendix)

Bachelor III Individual Lesson Minor Jazz – Second InstrumentHistorical 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.




Only students in bachelor I can audition to enter the minor in bachelor II. NB: An exception is made for students who were enrolled in the former minor Related Instrument, which was discontinued. These students can enter the minor Jazz – Second Instrument in

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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

Grading system: Individual Lesson: numeric Theoretical component: see course description in the Curriculum Handbook Bachelor Jazz

Language: English


See ASIMUT schedule

Information: Yvonne Smeets, Head of Jazz Department ad interim ([email protected]) Education Service Centre: [email protected]



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Minor Voice Classical Music

Course title: Minor Voice Classical Music

Osiris course code: KC-AZ-MI1C, KC-AZ-MI2C, KC-AZ-MI3C

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.



Duration: 25 min. per week or 50 min. every other week 0,5 lesson unit average per week, 34 weeks per year


Only open to students who study Voice Early Music. Entry is based on an audition. Limited spaces available.

Teachers: Teachers from the Vocal Studies Department


Literature: t.b.a.

Work form: Individual and group lessons

Assessment: Examination at the end of each academic yearExam times Bachelor I and bachelor II: 15 minutes Bachelor III: 25 minutes


Language: English


t.b.a.

Information: Monica Damen – Head of Vocal Studies Department ([email protected]) Education Service Centre: [email protected]

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 repertoire, suited for your 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.



Duration: 25 min. per week or 50 min. every other week 0,5 lesson unit average per week, 34 weeks per year


Informal test with a voice teacher

Teachers: Teachers from the Vocal Studies Department


Literature: -

Work form: Individual lesson

Assessment: Examination at the end of each academic year Bachelor I + II: 15 minutes Bachelor III: 25 minutes


Language: English


t.b.a.






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Duration: Voice lesson: 25 min. per week or 50 min. every other week Early Music Studies: 100 min per week, 20 weeks per year


Only open to students who study Voice Classical Music. Entry is based on an audition. Limited spaces available.

Teachers: Voice lesson: teachers from the Vocal Studies DepartmentEarly Music Studies: João Carlos F. de M. Santos, João Luís Veloso Paixão, Isaac Alonso de Molina


Literature: t.b.a.

Work form: Voice lesson: individualEarly Music Studies: group lessons

Assessment: Voice: examination at the end of each academic yearDuration: 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


t.b.d.


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.


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.





157156

Courses offered by Codarts, RotterdamCodarts electives

Contemporary Jazz Composition in practice

Specific title module Contemporary Jazz Composition in practice

Osiris course code KC-EL-CODCJ

Duration 30 weeks

Day and time Wednesday 16:00-18:00

Course type Course

Year Non year bound

Exam goal B Main phase Bachelor

Content (and relation to professional practice)

This minor offers tools and guidance for the musician’s personal growth as a 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

2.1, 2.2, 2.4, 4.1, 4.2, 4.3, 4.7, 5.5, 5.6

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 the score and parts including details concerning articulation, dynamics and interpretation. The arranged/composed works must be based on lineair composing techniques (intervallic structures), open forms and guided improvisation techniques.

Appendix Framework Minor Classical Music, Minor Early

Music, Minor Jazz, Vocal

Framework Minor Classical Music, Minor Early Music and Minor JazzNB: 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/Recorder

Jazz Flute

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/ Clavecimbel/ Organ

Jazz Piano

Classical Violin Baroque Violin Jazz Violin

Classical Viola Baroque Viola Jazz Viola

Classical Cello Baroque Cello/ Viola da Gamba

Jazz Cello

Classical Double Bass Violone Jazz Double Bass

Jazz Voice Minor Voice / Minor Voice Basic (see NB 2)

159158

Jazz arranging

Specific title module Jazz arranging

Osiris course code KC-EL-CODJA

Duration 15 weeks in semester 2

Day and time Monday 18:15-20:15

Course type Course

Year Non year bound



Having concluded this module, students will have sufficient basic knowledge in arranging for jazz formations at a beginning professional level, varying from quintet to big band. In this module students learn about the evolution of jazz arrangement, and gain knowledge of instruments and instrumentation, re-harmonisation, writing for 1,2,3,4,5-voices, using ‘upper structures’, counterpoint and form/flow.Students are 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

2.1, 2.2, 2.4, 4.1, 4.2, 4.3, 4.7, 5.5, 5.6

Learning outcomes On completion of the minor the student can: • arrange for small as well as large ensembles, possibly with voice

in jazz and related styles. All this while keeping an eye on the register in which the horn players sound well and maintaining a good form/flow.

• produce knowledge about the various 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 RHK Koemans

Language Dutch/English

Work form Tutorial

Group size Min. 12, max. 15

Teacher RHK Koemans

Entrance requirements

-


JPW

Contact person Paul M van Brugge


Work form Tutorial

Group size Min. 5 max. 6

Teacher(s) Paul M. van Brugge, Renard Aust


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 their affinity and experience with contemporary jazz. Scores and related audio files to be sent before 1 April:1. Go to filesender.surf.nl2. Search for Koninklijk Conservatorium and press enter to select. 3. Log in with your KC account. 4. Send the files to [email protected]. “Application Minor Contemporary Jazz” in the header.

Sources, literature -

Assessment information

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 is a formative assessment consisting of a written self-reflection by the student and an oral evaluation by the teacher.For the concluding exam the student must hand in 3 works as a score and as audio file. The work will be discussed in the presence of fellow students.

Criteria The material will be assessed on the elements of form, content and notation.Performance of the composer and their group(band)members will be assessed only in relation to the written material.

Exam duration -

Weighting 100%

Study credits 12

Number of attempts 2

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

https://filesender.surf.nl/

mailto:[email protected]

161160

Songwriting A

Specific title module Songwriting A

Osiris course code KC-EL-CODSA

Duration 15 weeks

Day and time Sem 1: Monday 16:00-18:00. Sem 2: Monday 18:15-20:15.

Course type Course

Year Non year bound



The aim of this module is to intensify various songwriting skills and apply them in a practical situation (band assignment, artist-oriented, style-oriented). Besides the craftsmanship of the songwriter, the motives and incentives of the songwriter are examined. Students learn the basic skills of songwriting and writing music and lyrics. They learn to apply these skills to their own work. Some assignments are specific, while others are less strictly defined and should be elaborated with the necessary creativity. The different elements of a song (rhythm, form, melody, lyrics, and so on) are used as astarting point for the assigned songs. Important here is that the students can give form to their work using a multitrack recording. The final assignment is to create a Bandcamp or SoundCloud page, on which their own work (10 songs) is presented – audio-visually – in a good way.


2.1, 2.2, 2.4, 4.1, 4.2, 4.3, 4.7, 5.5, 5.6

Learning outcomes The 10 assignment songs demonstrate not only that the students have completed the specific assignments, but also show a creative, fully artistic interpretation of the writing assignments.


JPW

Contact person Desmond Haneveer


Work form Seminar


Teacher (s) Desmond Haneveer


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;

Sources, literature Pat Pattison – Writing Better Lyrics: The Essential Guide to Powerful SongwritingJimmy Kachulis – The Songwriter’s Workshop: Harmony

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 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 sufficientAn insufficient answer can be compensated with a well-answered question. A total mark of less than 5.5 means failing the exam.

Exam duration 2 hours

Weighting 50%

Study credits 3


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


Exam Exam

Exam name Minor jazz arranging

Semester 2

Exam form Theory – assignment to hand in

Content of the exam Arranging assignments.

Criteria Arrangements are played by an ensemble/ the bigband and judged on sound, playability and form/flow.

Exam duration n.a.

Weighting 50%

Study credits 3


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

163162

Songwriting B

Specific title module Songwriting B

Osiris course code KC-EL-CODSB

Duration 15 weeks

Day and time Sem 1: Monday 18:15-20:15. Sem 2: Monday 16:00-18:00.

Course type Course

Year Non year bound



The aim of the module is to intensify various songwriting skills and apply them in a practical situation (band assignment, artist-oriented, style-oriented). Besides the craftmanship of the songwriter, the motives and incentives of the songwriter are examined. In the B-part of the Songwriting minor we look into writing in different genres and styles. What is needed to write a hit à la Rihanna? What’s the structure of a power ballad? The generic songwriting forms the basis from which we deal with different methods, strategies and techniques. Important here is that the students can give form to their work using multitrack recording. The final assignment is to create a Bandcamp or SoundCloud page, on which their own work (10 songs) is presented – audio-visually – in a good way.


2.1, 2.2, 2.4, 4.1, 4.2, 4.3, 4.7, 5.5, 5.6

Learning outcomes The 10 assignment songs not only demonstrate that the students have completed the specific assignments, but also show a creative, fully artistic interpretation of the writing assignments.


JPW

Contact person Desmond Haneveer


Work form Seminar


Teacher (s) Desmond Haneveer


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;

Sources, literature Pat Pattison – Writing Better Lyrics: The Essential Guide to Powerful SongwritingJimmy Kachulis – The Songwriter’s Workshop: HarmonyJimmy Kachulis – The Songwriter’s Workshop: MelodyPaul Zollo – Songwriters On SongwritingJimmy Webb – Tunesmith

Jimmy Kachulis – The Songwriter’s Workshop: MelodyPaul Zollo – Songwriters On SongwritingJimmy Webb – Tunesmith


Exam Exam

Exam name Minor Songwriting A

Semester 1 or 2


Content of the exam The students write 10 songs in different assignments. They place a multitrack recording of these songs online as a demo on BandCamp or SoundCloud.

Criteria In addition to the specific, measurable parameters of the assignment, attention is paid to the artistic content of the songs. How the students give form to their music as an artist is certainly as important. The students are judged on continuity and development in the writing.

Exam duration n.a.

Weighting 100%

Study credits 6


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

165164

World music composition in practice A – sound

Specific title module World music composition in practice A - sound

Osiris course code KC-EL-CODMA

Duration 15 weeks

Day and time Monday 16:00-17:00

Course type Course

Year Non year bound



Students will acquire basic professional working skills in composing original music for 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: oscarvandillen.com/projects/world_music_composition_in_practice/

Reference competenceis

2.1, 2.2, 2.4, 4.1, 4.2, 4.3, 4.7, 5.5, 5.6

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.


JPW

Contact person Oscar van Dillen

Language English

Work form Seminar

Group size Min. 8 – max. 25

Teacher Oscar van Dillen


-

Sources, literature World Music, a global journey, Miller/Shariari, Routledge 2006Musical Terms Worldwide, Hartong, Semar/Codarts 2006The Raga Guide, Bor, Nimbus/Codarts 1999Turkish Music Makam Guide, Aydemir, Pan 2010Twentieth Century Harmony, Vincent Persichetti, Faber 1961


Exam Exam

Exam name Minor Songwriting B

Semester 1 & 2


Content of the exam The students write 10 songs in different assignments. They place a multitrack recording of these songs online as a demo on BandCamp or SoundCloud.

Criteria In addition to the specific, measurable parameters of the assignment, attention is paid to the artistic content of the songs. How the students give form to their music as an artist is certainly as important. The students are judged on continuity and development in the writing.

Exam duration n.a.

Weighting 100%

Study credits 6


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

http://www.oscarvandillen.com/projects/world_music_composition_in_practice/

167166

Afro-Cuban Percussion

Specific title module Afro-Cuban Percussion

Osiris course code KC-EL-CODAP

Duration 30 weeks

Day and time Monday 16:00-17:00 (group 1), 17:00-18:00 (group 2), 18:15-19:15 (group 3), 19:15-20:15 (group 4), 20:15-21:15 (group 5)

Course type Cursus

Year Non year bound



On concluding this module, students have a basic knowledge of the Caribbean rhythms on the various instruments and of how these are played together in an ensemble in an authentic manner. The focus is on the rhythmic concept of Cuban and Caribbean music. Depending on the level of the students, the most important patterns and techniques on congas, bongos, timbales, shekere, guiro, and so on are covered. Genres: Son, Folklore, Charanga, Canción, and within those: Guajira, ChaCha, Son Montuno, Guaracha, Guaguancó, Mozambique, Songo, Bembé, Abakua, Bolero, Bomba, Batá rhythms. In addition to practical playing there is in-depth focus on the analysis of the theory and historical background of Caribbean rhythms.


1.1, 1.2, 1.3, 1.4, 1.5

Learning outcomes Being able to recognise 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.


JPW

Contact person Nils Fischer

Language English, Dutch

Work form Practical group lesson


Teacher Nils Fischer


There will be an advanced group for drummers/ percussion players and a beginners group without any entrance requirementsNot for students with main subject latin drums/ percussion.

Sources, literature “Los Cueros” reader by Nils Fischer, Codarts libraryNotation is used in lessons to explain and remember rhythmsDuring lessons recordings are used to play along and available for further [self-] studySalsa Guide Book, Rebeca Mauleón (available in the Codarts library)

Unterweisung im Tonsatz, Hindemith, Schott 1937De Toonklok, Peter Schat, Meulenhoff 1984 ed. The Tone Clock, Harwood 1993Give my regards to Eighth Street, Feldman/Friedman, Cambridge 2000Various online materials


Exam Exam

Exam name Minor world music composition in practice A

Semester 1

Exam form Theory- Handing in of assignmentTheory –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 mins.

Weighting 100%

Study credits 6


Result scale 20 point 0.5 – 10 in halves

169168

Brazilian Choro playing

Specific module title Brazilian Choro playing

Osiris course code KC-EL-CODBC

Duration 30 weeks

Day and time Saturday 12:30-14:30

Course type Course

Year Non year bound


Content/relation to professional practice

The minor Choro will be open for all instruments except vocals. 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 how to improvise

within the choro idiom; • how to play choro counterpoint through analyses and provided

transcriptions; • how to interact between melody players and rhythm section.


1.2, 1.3, 1.4, 1.5, 1.6, 5.2, 5.3, 5.7

Learning outcomes The students: • can perform a given lead sheet using variations of the melody

and stylistic elements within the choro idiom; • can recognise the relevant grooves/styles of the genre

and can apply these; • can create their own countermelodies using the theme

melody and harmony; • can present the rehearsed repertoire in concert together with

their fellow students.


JPW

Contact person Marijn van der Linden

Language English

Work forms Practical group lesson

Group size Min. 10 students, max. 16, max. 2 per instrument

Teacher(s) Marijn van der Linden


Not for vocal students.


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. Recognising genres in a blindfold test (33%)2. Playing patterns (33%)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


Weighting 100%

Study credits 6

Number of attempts 2 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.

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

171170

Brazilian Percussion

Specific title module Brazilian Percussion

Osiris course code KC-EL-CODBP

Duration 30 weeks


Course type Course

Year Non year bound



On concluding this profile module, the student will have a basic knowledge of the 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.

• Learning of the Maracatu from the Musica Nordestina repertoire on Bombos, Mineiro, Gongue and Tarol and style typical phrasing on Bombo.

• Pagode instruments: learning the basic techniques on nylon Pandeiro, Rebolo and for Partido Alto and Samba Pagode.

Rhythms, playing techniques and arrangements.Playing together and making arrangements of, for example: • From the Bahia-repertoire several Bloco-Afro-arrangements such

as those from Olodum, Timbalada, Ilê Ayê, and own arrangements, also from modern rhythms.

• From Rio basic Bateria-rhythms & simple bossas from Unidos da Tijuca, Mocidade, and Mangueira

• From Rio Samba- arrangements such as those from Alcione, Paulinho da Viola, Clementina de Jesus, Teresa Christina, Os melhores Choros de todos os tempos

Material/literature Scores handed out by the teacher.Scores and listening examples downloadable on website www.choroschool.comListening examples/ practice material handed out by the teacher


Exam Exam

Exam description Minor Brazilian Choro playing

Semester 2

Exam form Practical group exam

Content of the exam The module is concluded with an exam. The students are assessed in a practical exam in the form of a collective concert/presentation

Exam criteria • Timing/groove • Interaction • Interpretation/variation • Correct application of stylistic elements • Expression


Weighting 100%

Study credits 6



173172

Weighting 100%

Study credits 6

Number of attempts 2Re-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.


• From Rio Pagode-style: Zeca Pagodinho, Fundo do Quintal en Revelaçao


1.1, 1.2, 1.3, 1.4, 1.5

Learning outcomes • After successfully completing this module the students: can 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 a percussion ensemble setting;

• can lead the group with playing entrance and exitcall on Repinique for a simple Samba Reggae and giving signs for breaks;

• can perform the rhythms on Pandeiro as mentioned above; • can make transcriptions of arrangements played

in the group lesson.

Coördinating department

JPW

Contact person Maxim Zettel

Language English



Teacher Maxim Zettel


Not for students with main subject latin drums/ percussion.

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%).

Criteria Quality of the performance of the studied time patterns: • Knowledge of Patterns, Rhythms and Breaks from

the Arrangements and Styles, Leading function (50%) • Sound (10%) • Timing (20%) • Transcription (20%)

Exam duration 1 hr all together including debrief with student / 5 min each student individual talk

175174

Group size Min. 6 max. 18

Teacher(s) Alexander Preuss, Irene Álvarez, Carmen Fernandez, Ricardo Mendeville


Not for 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

Semester 2


Content of the exam At the end of the module the students are assessed on a presentation in the form of a collective concert.

Criteria • Timing • Articulation • Phrasing • Expression • Interaction


Weighting 100%

Study credits 6

Number of attempts 2In case of a re-exam the student will have to make a video-recording of the exam repertoire, with good audio quality. The student is responsible for bringing together an ensemble with the same set-up as was used during the course.

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

Flamenco Playing

Specific title module Flamenco playing

Osiris course code KC-EL-CODF

Duration 30 weeks

Day and time Thursday 16:00-18:00

Course type Course

Year Non year bound

Exam goal B Main phase Bachelor or Master


After concluding the module, students have sufficient knowledge to play the most common rhythmical flamenco styles, such as bulerias, tangos, alegrias and siguiriyas on a basic level and to communicate with flamenco singing and dance based on the traditional flamenco codes. The course is divided into two parts during the year. From the two-hour 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); • learning to understand how interaction functions in flamenco;

developing sound and phrasing; • the development and historical context of flamenco.

The second hour is dedicated to study and play flamenco styles/pieces as an ensemble. As many instruments are quite new in the flamenco landscape, some time is dedicated to experiment with creating new sound colours within the flamenco context and to analyse recordings in which the specific instruments are used.


1.2, 1.3, 1.4, 1.5, 1.6, 5.2, 5.3, 5.7

Learning outcomes The students: • can apply style elements such as fraseo, articulation, and timing

in executing a number of flamenco styles; • can present the rehearsed repertoire in concert together with

fellow minor students; • show that they have assimilated the styles sufficiently to move

freely in their rhythms and integrate new material in the right way. The student is able to distinguish flamenco from ‘flamenco-like’;

• can master new repertoire in a stylistic and technical way, within the duration of the minor;

• are invited to explore the possibilities of their own instrument in the context of flamenco within a given limitation.


JPW

Contact person Alexander Preuss

Language English


177176

Exam description Minor latin playing

Semester 2

Exam form Combination:Practical group exam Theory – written test

Content of the exam The module will be concluded with an exam, consisting of 2 parts: A short playing test: students will have to play a groove/ repertoire piece in ensemble form (50%).

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)

Weighting 50% each

Study credits 6



Latin playing

Specific module title Latin Playing

Osiris course code KC-EL-CODL

Duration 30 weeks

Day and time Tuesday 16:00-18:00 (group 1), 18:15-20:15 (group 2)

Course type Course

Year Non year bound



The minor Latin Playing is open to pianists, bass/guitar players and drummers/percussionists. It gives an introduction to Afro-Cuban (piano) playing with the main focus on its basic rhythmical patterns (tumbaos) and theirclose relation with bass/tres/guitar and percussion. Much emphasis is placed on the practical playing of various grooves and chord progressions, together with some basic improvisation in Cuban style. Students are also provided with the contextual information on the historical background of Afro-Cuban music, along with musical examples.


1.2, 1.3, 1.4, 1.5, 1.6, 5.2, 5.3

Learning outcomes • The student can play in clave and has a basic understanding of the most relevant grooves of the genre

• The student can perform a given score (real-book style) using relevant grooves and stylistic elements from the Afro-Cuban genre

• The student can recognise the relevant grooves/ styles of the genre and is able to apply these


JPW

Contact person Thomas Böttcher

Language English

Work forms Practical group lesson


Teacher(s) Thomas Böttcher


Not for main subject Latin.

Material/literature Scores handed out by the teacher. Scores and listening examples downloadable on website www.choroschool.com Listening examples/ practice material handed by the teacher


Exam Exam

179178


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

Weighting 100%

Study credits 6


Result scale 10 point scale (rounded off in halves)

Raga

Specific title module Raga

Osiris course code KC-EL-CODR

Duration 30 weeks


Course type Course

Year Non year bound

Exam goal B Main phase Bachelor (and Master)


• Enrichment of the knowledge of modality by exploring the modal Indian 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 Indian concept of the 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.


1.2, 1.4, 1.5, 1.6, 5.7

Learning outcomes Students learn to:recite some of the fundamental rhythmic melodies (theka) of the main rhythmic cycles (tala), accompanied by hand clapping and clap these tala’s while singing the compositions; improvise on a beginner level within the Indian system of Raga (melody) and Tala (rhythm)


JPW

Contact person Marianne Svašek / Henri Tournier

Language English

Work form Practical group lessons


Teacher (s) Marianne Svašek / Henri Tournier


Not for main subject Indian music

Sources, literature Practice material in pdf provided by the teacher (text, audio files), DVD, Spotify

181180

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


Weighting 100%

Study credits 6


Result scale 20 point scale (rounded off in halves)

Tala

Specific title module Tala

Osiris course code KC-EL-CODTA1

Duration 30 weeks

Day and time Tuesday 16:00-18:00 (group 1), 18:15-20:15 (group 2)

Course type Course

Year Non year bound

Exam goal B Main phase Bachelor (and Master)


To expand the knowledge of rhythm, and to acquire the intricate Indian Rhythm (Tala) 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 are taught.Mainly percussion and drums students are invited to learn the principle playing technics of the tabla.


1.2, 1.4, 1.5, 1.6, 5.7

Learning outcomes To be able to clap and sing the even and odd meter Tala cycles, to sing in double, triple, and quadruple speed while clapping the normal speed (1). The students are able to use and understand the correct nomenclatura of the compositions (tukra), theimprovisations and subdivisions (tehai and chakradaars) of the Indian rhythm system.Being able to feel / experience 2 different rhythms at the same time and thus create a stronger rhythmic conscientiousness.


JPW

Contact person Niti Ranjan Biswas

Language English

Work form Practical group lessons


Teacher(s) Niti Ranjan Biswas


Not for 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

183182


JPW

Contact person Connie de Jongh

Language English



Teacher (s) Connie de Jongh, additional guest teachers on specific styles


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


Content of the exam The module is concluded by a (public) performance of at least 5 pieces.

Criteria • Singing in balance with the choir (blending) • Correct execution of the given parts • Correct application of style specific elements • Leadership and conducting skills


Weighting 100%

Study credits 6



World Choir

Specific title module World choir

Osiris course code KC-EL-CODWH

Duration 30 weeks

Day and time Thursday 16:00-18:00

Course type Course

Year Non year bound



The Minor World Choir gives an active insight into singing vocal repertoire from various backgrounds, styles and languages. The course has two main focal points: • choir singing skills: tuning, blending, leadership

and conducting skills • getting acquainted with vocal repertoire (and techniques) from

over the world.

Choir singingWe will work on the specific demands of singing in a choir: singing in tune, working on a balanced choir sound. Students receive 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 into leading/ conducting the rehearsals of the pieces they bring.

Vocal repertoire from the worldWe study and rehearse all kinds of repertoire stretching from Old Music to Homeland repertoire. The teacher provides 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.


1.1, 1.2, 1.3, 1.4, 1.5, 1.8, 5.2, 5.3, 5.7

Learning outcomes After successful completion of the module, the students can • sing in multiple harmony in a choir setting • understand and apply style specific elements such as tuning,

phrasing, articulation, ornamentation in interpreting and perform repertoire from different genres of the world

• show leadership and conducting skills in rehearsing and performing

185184

Students know the basics of marketing and know how to develop a smart and complete marketing strategy for their own business.

They are well informed about the current workings of the music business, also in ways that don’t directly affect them. They know the different roles in the business and can assess their relevance for themselves.

Students are well-informed about financial matters for a small business.

The music business is always in development. During the minor new topics, unknown at the start of the minor, regarding music entrepreneurship are treated. Students show they understand these topics and what they mean for their own purposes.


Codarts

Contact person Ewout van der Linden

Language English, Dutch

Work forms ClassesIndividual coaching


Teacher(s) One lecturer, several guests


Not for 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 is based on a portfolio that the students compile. This portfolio shows they have achieved 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 n/a

Weighting 100%

Study credits 12


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

Codarts General minors

Entrepreneurship: New Opportunities for Music

Specific module title Entrepreneurship: New Opportunities for Music

Osiris course code KC-EL-CODENT

Duration 30 weeks

Day and time Tuesday 16:00-18:00

Course type Course

Year 3rd or 4th study year



Almost all music students become music entrepreneurs after their study. But some want to look further than standard ways to make in income with music. They are interested in smart, innovative ways of capitalizing on their talent in todays and tomorrows creative sector. To achieve this, they need the right partners in and outside music business. The marketing strategy should be creative and effective. And financial planning must be correct. In the module Entrepreneurship: New Opportunities for Music students develop their own plan for a healthy music business. Students are able to make a decent income from their music, in a business that suits their talent and character.The module offers the building blocks for this plan. The module consists of lectures, company visits, assignments, and guest lectures by professionals such as artist managers, promotors, and finance and marketing specialists.

Subjects: • being an entrepreneur, including the personal values of the

student relating to society, personal mission statement; • the workings of the music business, including trends with labels,

bookers, publishers, on line services and other intermediates, music rights, and contracts;

• making your living an income with music, about traditional and/or innovative income sources for music;

• music marketing and promotion, including music marketing knowledge and online marketing and music distribution;

• finance: including setting up a basic administration and information on funding.

Reference competences

3.1, 3.2, 3.3, 3.4

Learning outcomes Students can translate their own talent and preferences in a music business that generates enough income, in both present and unknown future circumstances. A business that addresses the public value of music in society.

187186


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 perform a number of patterns solo, resulting in grade a.Part b: students 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


Weight 100%

Study credits 6



Rhythmic Melodic Patterns in the 21st Century

Specific title module Rhythmic Melodic Patterns in the 21st Century

Osiris course code KC-EL-CODRM

Duration 30 weeks

Day and time Thursday 18:15-19;45 (group 1), 19:45-21:15 (group 2)

Course type Course

Year Non yearbound



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

Students 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 use these patterns for both accompaniment and improvised elementary melodies within a pentatonic framework, solo, and with others. Students eventually learn to make an ensemble piece based on the studied patterns. In each lesson, Willem Tanke teaches with the help of the piano. Guest teachers may be invited to share their specific expertise or approach to the material.

The team of teachers demonstrates to the students that the concept of frequently repeated rhythmic-melodic patterns is not only vital to every music tradition in itself, but serves to link the traditions to each other.


1.3, 1.5, 1.6, 5.3, 5.7

Learning outcomes Students are able to perform a number of rhythmic melodic patterns suitable for cross-overs with great rhythmic intensity, both in accompaniments and improvised solos. They feed this rhythmic intensity back into repertoire from their own tradition. The end result is a higher degree of musicianship in cross-overs and traditional repertoire.


KM

Contact person Willem Tanke

Language Dutch or English


Group size 8-12

Teacher (s) Willem Tanke Several guest teachers may be invited

bachelor electives & minors handbook 2020/21 · 2020-03-24 · art of sound students may also,...

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