Classical music - orchestral instruments propedeuse

1st sem. 2nd sem. total time = average contact time per week ects time ects time ects

musician

instrument/accompaniment 10 70/30 10 70/30 20 music theory 3 225 3 225 6 solfège 2 90 2 90 4 practical harmony 2 20 2 20 4

creator / performer

ensembles: orchestra projects* plus:

120 12 120 12

propedeuse choir

60

60 chamber music**

30

orchestra playing

90 3 90 3

entrepreneur portfolio

5

5

2 project weeks

+ modules year 1:

entrepreneurship (2 EC)

Health Day

reseacher

classical music history 3 75 3 75 6

total credit points per semester 20 40 60

* appr. 4 projects per year ** P: 8 lessons/H: 16 lessons of 60 minutes per year per ensemble

Generic module title Main Subject semester 1 Specific module title Main Subject Clarinet (orchestral instruments) semester 1 Code Osiris Code (16) Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

The aim of the main subject Clarinet is to train students to become artistic and skilful musicians. Students are motivated and encouraged to experience the entire clarinet repertoire, including orchestral parts. Students also learn modern playing techniques. The main subject is offered to students as broadly as possible. There are weekly individual main subject lessons, in addition to group lessons. Every week, there are clarinet choir rehearsals with the pianist. In the second and third study year, students also take the minor subjects E-flat clarinet and bass clarinet. Students also play in the clarinet choir. Approximately every six weeks, performance nights are held where clarinet students, together with piano, perform the studied repertoire. At the end of the study, students will have developed a clear musical-artistic vision on the profession, as demonstrated by the chosen repertoire for the graduation exam.

Reference competencies 1, 6, 9, 21 Learning outcomes To be able to perform etudes and performance pieces involving:

• articulation • breath management • fingering • tone building • intonation • effective self-study

Coordinating department KM Contact person Nancy Braithwaite Language Dutch or English Work forms • group practical lesson

• individual practical lesson Teacher(s) Nancy Braithwaite, Jan Jansen Entrance requirements Having passed the entrance exam Material/literature • Jeanjean: etudes part 1 or 2

• Saint-Saëns: Sonate • Von Weber: Concertino • Uhl: etudes • Hindemith: Sonate • Loevendie: Ten easy sketches • Kroepch: daily exercises • Arnold: Sonatine • Finzi: 5 Bagatelles • Osborne: Rhapsody • Gade: Fantasy pieces

Exam Exam Exam description Main Subject Clarinet (orchestral instruments) semester 1 Semester 1 Exam form Practical Content of the exam The above is evaluated on the basis of a performance piece and/or technical

etude. The student will also perform a number of orchestral parts. Exam criteria • effectiveness self-study

• articulation

• breath management • fingering • tone building • intonation

Exam duration 15 minutes Weight 1 Study credits 10 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

Generic module title Main Subject semester 2 Specific module title Main Subject Clarinet (orchestral instruments) semester 2 Code Osiris Code (16) Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

The aim of the main subject Clarinet is to train students to become artistic and skilful musicians. Students are motivated and encouraged to experience the entire clarinet repertoire, including orchestral parts. Students also learn modern playing techniques. The main subject is offered to students as broadly as possible. There are weekly individual main subject lessons, in addition to group lessons. Every week, there are clarinet choir rehearsals with the pianist. In the second and third study year, students also take the minor subjects E-flat clarinet and bass clarinet. Students also play in the clarinet choir. Approximately every six weeks, performance nights are held where clarinet students, together with piano, perform the studied repertoire. At the end of the study, students will have developed a clear musical-artistic vision on the profession, as demonstrated by the chosen repertoire for the graduation exam.

Reference competencies 1, 6, 9, 21 Learning outcomes In their playing students demonstrate:

• a sense of style • a personal vision on the repertoire • a good preparation with the pianist

To be able to perform etudes and performance pieces involving:

• articulation • breath management • fingering • tone building • intonation

Coordinating department KM Contact person Nancy Braithwaite Language Dutch or English Work forms • group practical lesson

• individual practical lesson Teacher(s) Nancy Braithwaite, Jan Jansen Entrance requirements Material/literature • Hindemith: Sonate

• Loevendie: Ten easy sketches • Baermann: Adagio and etudes for clarinet and piano • Schumann: Fantasiestücke • Martinu: Sonatine • Poulenc: Sonate • Arnold: Sonate • Milluccio: Rhapsodien pour clarinette seule • Vaughan Williams : Six Studies in English Folk Song

Exam Exam Exam description Main Subject Clarinet (orchestral instruments) semester 2 Semester 2 Exam form Practical Content of the exam The above is evaluated on the basis of a performance pieces and/or technical

etude. The student will also perform a number of orchestral parts.

Exam criteria • expressiveness • vision • effectiveness self-study and preparation with pianist • articulation • breath management • fingering • tone building • intonation

Exam duration 30 minutes Weight 1 Study credits 10 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

Generic module title General Theory subjects year 1 Specific module title KM Music-theoretical education semester 1 Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Bachelor Content/relation to professional practice

• The 8 modules Analysis, the first of which starts in the first semester of the propaedeutic phase, are intended to teach students basic analytical skills and give them inside into music processes in relation to various style periods. This series of modules also promote insight into music processes in general. The analysis modules are a preparation for the lecture-recital in the fourth year and also support the performance practice.

• The 4 modules Harmony, the first of which starts in the first semester of the propaedeutic phase, are intended to teach students basic knowledge about diatonic and enhance their insight into harmonic processes. At the same time, these modules support the analysis modules.

• De module Analysis Techniques teaches students the terminology and concepts with regard to Harmony and music theory, in support of the classes in analysis, harmony and sight-singing (solfège).

Reference competencies • 11, 19, 20 Learning outcomes • After having successfully completed the module Analysis 1, students are able to

analyse works from the Classical period by using basic analytical skills. • After having successfully completed the module Harmony 1, students are able

to write simple chords connections and cadences and to elaborate a simply figured bass in four-voice. Also, students are able to analyse basic harmonic progressions from the classical period.

• After having successfully completed the subject Analysis Techniques by the end of the first year, students possess sufficient knowledge to further train themselves in the subjects Harmony, analysis and solfège. This means that they are able to quickly read and identify keys, intervals, chords and musical notation of transposing instruments. Also, students will be able to recognise the main classical forms from music history.

Coordinating department KM Contact person Rijnhard Bokelmann Language Bilingual (Dutch/English) Work forms • Formal lecture

• Group-practical class • Study group

Teacher(s) Frans de Berg, Rijnhard Bokelmann, Oscar van Dillen, Jan Jongbloed, Willem Tanke, Gustavo Trujillo

Entrance requirements Successful passing of entrance exam Material/literature • Leon Stein: Structure & Style

• Leon Stein: Anthology of Musical Forms • Charles Rosen: Sonata Forms • Robert Gauldin: Harmonic Practice in Tonal Music • Bernard Nelleke: Algemene Muziekleer (General Music Theory) • Ulrich Michels: Sesam Atlas van de Muziek • Readers and practice material provided by the conservatory

Exam Exam 1 Exam description Harmony 1 Semester 1 Exam form Theory - written exam Content of the exam Students take a written harmony exam that covers the material of the first semester of

the first year. Exam criteria In the exam, students must demonstrate sufficient knowledge and insight with regard to

the study material. The elaborations of the harmony exam are judged against a model elaboration. The assessment criterion is that the voicing or part writing must be correctly

applied in the elaborations. A minimum of roughly 70% of the elaborations must be faultless.

Exam duration 2 hours Weight 50% Study credits 1 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves Exam Exam 2 Exam description Analysis 1 Semester 1 Exam form Theory – written exam Content of the exam One week before the exam, students will be presented with two compositions from the

Classical period, in preparation for the exam. Assessment of the student’s knowledge of these works takes place in the form of open questions.

Exam criteria • In the exam, students must demonstrate sufficient knowledge of the study material.

• In the exam, students must demonstrate to have insight into the works they have been given in preparation.

The answers given in the exam will be scored by using a standards and answer sheet that also lists the distribution of points over the questions.

Exam duration 2 hours Weight 50% Study credits 1 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

Generic module title General Theory subjects year 1 Specific module title KM Music-theoretical education semester 2 Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Bachelor Content/relation to professional practice

• The 8 modules Analysis, the first of which starts in the first semester of the propaedeutic phase, are intended to teach students basic analytical skills and give them inside into music processes in relation to various style periods. This series of modules also promote insight into music processes in general. The analysis modules are a preparation for the lecture-recital in the fourth year and also support the performance practice.

• The 4 modules Harmony, the first of which starts in the first semester of the propaedeutic phase, are intended to teach students basic knowledge about diatonic and enhance their insight into harmonic processes. At the same time, these modules support the analysis modules.

• De module Analysis Techniques teaches students the terminology and concepts with regard to Harmony and music theory, in support of the classes in analysis, harmony and sight-singing (solfège).

Reference competencies • 11, 19, 20 Learning outcomes • After having successfully completed the module Analysis 2, students are able

to analyse polyphonic works from the Baroque period by using basic analytical skills.

• After having successfully completed the module Harmony 2, students are able to write simple chords connections and cadences, to elaborate a given bass in four-voice and provide a bass line for a given melody. Also, students are able to analyse basic harmonic progressions from the Baroque and/or Classical period.

• After having successfully completed the subject Analysis Techniques 2, students possess sufficient knowledge to further train themselves in the subjects harmony, analysis and solfège.

Coordinating department KM Contact person Rijnhard Bokelmann Language Bilingual (Dutch/English) Work forms • Formal lecture

• Group-practical class • Study group

Teacher(s) Rijnhard Bokelmann, , Jan Jongbloed, Gustavo Trujillo, Frans de Berg, Oscar van Dillen Entrance requirements • For Analysis 2: Analysis 1

• For Harmony 2: Harmony 1 • For Analysis Techniques 2: Analysis Techniques 1

Material/literature • Leon Stein: Structure & Style • Leon Stein: Anthology of Musical Forms • Charles Rosen: Sonata Forms • Robert Gauldin: Harmonic Practice in Tonal Music • Bernard Nelleke: Algemene Muziekleer (General Music Theory) • Ulrich Michels: Sesam Atlas van de Muziek • Readers and practice material provided by the conservatory

Exam Exam 1 Exam description Analysis Techniques 2 Semester 2 Exam form Theory – written exam Content of the exam Students take a written exam with open questions about the study material discussed

during the second semester of the first year. Exam criteria In the exam, students must demonstrate sufficient knowledge of the study material.

Exam duration 2 hours Weight 33%

Study credits 1 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves Exam Exam 2 Exam description Analysis 2 Semester 2 Exam form • Theory – open questions, oral

• Theory – discussion Content of the exam • One week before the exam, students are presented with two polyphonic works

from the Baroque period, in preparation for the exam. Students are asked open questions about these works during the oral exam.

• Students are also questioned about the works that were discussed during classes.

Exam criteria • In the exam, students must demonstrate sufficient knowledge with regard to the study material.

• In the exam, students must demonstrate insight into the works they studied in preparation.

Exam duration 20 minutes Weight 33% Study credits 1 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves Exam Exam 3 Exam description Analysis 2 Semester 2 Exam form • Theory - oral open questions

• Theory - discussion Content of the exam • One week before the exam, students are presented with two polyphonic works

from the Baroque period, in preparation for the exam. Students are asked open questions about these works during the oral exam.

• Students are also assessed orally about the works discussed during classes. Exam criteria • In the exam, students must demonstrate sufficient knowledge and skills with

regard to the study material. • In the exam, students must demonstrate insight into the works they studied in

preparation. Exam duration 20 minutes Weight 33% Study credits 1 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

Generic module title General Theory subjects year 1 Specific module title KM Solfège semester 1 Code Osiris Code (16) Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

The subject Solfege consists of modules that must be taken during the first two years of the study programme. Their goal is to develop the student’s imaginative powers in the area are of melody, rhythm, meter and harmony as well as the relationship between these components. This leads to an awareness of music processes which supports the main subject study. Enhancing the student’s auditive understanding also benefits the study of the other music-theoretical subjects.

Reference competencies 6, 11 Learning outcomes • sight-singing (solfège)

• executing rhythms • insight into the relationship between parts and the whole • developing a methodical approach

Coordinating department KM Contact person Rijnhard Bokelmann Language Dutch or English Work forms Group-practical classes Teacher(s) Frans de Berg Entrance requirements Having passed the entrance exam Material/literature • Pozzoli III-IV, solfège exercises until page. 108 + teacher exercises

• Van der Horst, Time and rhythm part I + teacher exercises Exam Exam Exam description Solfège semester 1 Semester 1 Exam form Theory – practical theory Content of the exam Exam criteria Exam duration 20 minutes Weight 1 Study credits 2 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

Generic module title General Theory subjects year 1 Specific module title KM Solfège semester 2 Code Osiris Code (16) Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

The subject Solfege consists of modules that must be taken during the first two years of the study programme. Their goal is to develop the student’s imaginative powers in the area are of melody, rhythm, meter and harmony as well as the relationship between these components. This leads to an awareness of music processes which supports the main subject study. Enhancing the student’s auditive understanding also benefits the study of the other music-theoretical subjects.

Reference competencies 6, 11 Learning outcomes • sight-singing (solfège)

• executing rhythms • insight into the relationship between parts and the whole • developing a methodical approach

Coordinating department KM Contact person Rijnhard Bokelmann Language Dutch or English Work forms Group-practical classes Teacher(s) Frans de Berg Entrance requirements Having passed the entrance exam Material/literature • Pozzoli III-IV, solfège exercises until page. 108 + teacher exercises

• Van der Horst, Time and rhythm part I + teacher exercises Exam Exam Exam description Solfège semester 2 Semester 2 Exam form Theory – practical theory Content of the exam The student must be able to:

• correctly execute rhythms with changes of meter • recognise harmonic changes • sing from sight • correct any mistakes

Exam criteria • are the meter changes correctly executed? • are the harmonic changes correctly identified? • are any mistakes corrected within the timeframe of the exam?

Exam duration 20 minutes Weight 1 Study credits 2 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

Generic module title Practical Harmony semester 1 Specific module title Minor Subject Piano with Main Subject Orchestral Instruments semester 1 Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

The minor Subject Piano with Main Subject Orchestral Instruments starts in the first semester of the propedeutic phase and runs for four semesters. While reading scores and playing the piano, students develop harmonic, analytical and interpretive thinking, which makes this subject an essential supporting element to the main subject. The modules help students to gain insight into complex music scores and make the content of the theoretical subjects more specific. Students learn to accompany others and how to reduce accompaniment parts. The repertoire is adjusted as closely as possible to the individual student’s level of development and his/her personal interests. The module consists of 16 classes of 20 minutes each and requires 3 hours of self-study per week. In order to acquire adequate development, suppleness and skills, at least 8 solo and/or accompaniment pieces must be studied.

Reference competencies The minor supports competencies 1, 2, 4, 6, 7, 9, 11 and 21 Learning outcomes • Playing the piano with correct posture, basic technique and artistic expression.

• Mastering the accompaniment principles ‘making a dynamic balance’ and ‘phrasing together’ • Mastering simple tonal cadences with at least 4 different three-voice fingering for the right

hand and a bass in the left-hand, in keys up to a minimum of 3 accidentals. Being able, at this technical level to harmonise the melodies that go with it and playing or reducing accompaniments from the main subject’s repertoire.

Coordinating department Classical Music Contact person Martin Lekkerkerk Language Dutch; English (for non-Dutch speakers and during group activities) Work forms Individual practical lesson Teacher(s) Eli 't Hart, Martin Lekkerkerk, Irja Zeper, Annette Rogers Entrance requirements Successful passing of the entrance exam Material/literature Examples of solo repertoire (see also the description of the exam below):

Repertoire at a fitting and challenging level: at least step I of drs. W. Chr. M. Kloppenburg. For instance: Strawinsky, S.: Piano Music for Children; Loeschhorn, A.: Kinderetuden opus 181 Band I; Bartok, B.: Mikrokosmos I & Die erste Zeit am Klavier; Türk, D.G.: Anfängerstücke für Klavier; Paporisz, Y.: Entdeckungen am Klavier; Gurlitt, C: Der Anfänger; binders at a basic level. Examples of harmony assignments: Assignments given by theory and piano teacher, including hand-out ‘Quick instruction Harmonic skills: exercises 1 t/m 14’. Simpson: Keyboard Harmony and Improvisation Examples of accompaniment repertoire Andriessen, C: Easy Pieces for open strings; Binders such as 'My first concert' (fluit, hobo e.d.); (Pedagogical) repertoire, also arrangements, for the main subject, in consultation with the teacher Examples of four-handed repertoire Hess, W.: 12 kleine Tonstucke op.43; Beethoven, L. von: Deutsche Tänze Gretchaninoff, A.: Album leichte Stücke Norton, C.: (More) Microjazz Piano Duets

Exam Exam Exam description • a solo piece of at least 16 bars,

• a harmonisation created by the student, • one accompaniment of the main subject and • either a second solo or accompaniment, or a four-handed piece

Semester 1 Exam form Practical exam: performing rehearsed repertoire Content of the exam • feedback from the teacher

• group session with feedback from fellow students and a teacher (in December) • student concert

Exam criteria • technical level (level of difficulty corresponding to the example repertoire) • control and finishing (fluent and accurate play) • expressive presentation • skills in playing together

Exam duration 12 minutes Weight 1 Study credits 2 Number of attempts 2 Result scale 2 points Pass/Fail

Generic module title Practical Harmony semester 2 Specific module title Minor Subject Piano with Main Subject Orchestral Instruments semester 2 Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

While reading scores and playing the piano, students develop harmonic, analytical and interpretive thinking, which makes this subject an essential supporting element to the main subject. The modules help students to gain insight into complex music scores and make the content of the theoretical subjects more specific. Students learn to accompany others and how to reduce accompaniment parts. The repertoire is adjusted as closely as possible to the individual student’s level of development and his/her personal interests. The module consists of 16 classes of 20 minutes each and requires 3 hours of self-study per week. In order to acquire adequate development, suppleness and skills, at least 8 solo and/or accompaniment pieces must be studied.

Reference competencies The minor supports competencies 1, 2, 4, 6, 7, 9, 11 and 21 Learning outcomes • Playing the piano with correct posture, basic technique and artistic expression.

• Mastering the accompaniment principles ‘dynamic balancing’ and ‘phrasing together’ • Mastering simple tonal cadences with at least 7 different three-voice fingering for the right

hand and a bass in the left-hand, in keys up to a minimum of 4 accidentals. Being able, at this technical level to harmonise the melodies that go with it and playing or reducing accompaniments from the main subject’s repertoire.

Coordinating department Classical Music Contact person Martin Lekkerkerk Language Dutch; English (for non-Dutch speakers and during group activities) Work forms Individual practical lesson Teacher(s) Eli 't Hart, Martin Lekkerkerk, Irja Zeper, Annette Rogers Entrance requirements Successful passing of the module of semester 1 Material/literature Examples of solo repertoire (see also the description of the exam below):

Repertoire at a fitting and challenging level: at least step I. For instance: Strawinsky, S.: Piano Music for Children; Loeschhorn, A.: Kinderetuden opus 181 Band I; Bartok, B.: Mikrokosmos I & Die erste Zeit am Klavier; Paporisz, Y.: Entdeckungen am Klavier; Gurlitt, C: Der Anfänger; binders at a basic level. Examples of harmony assignments: Assignments given by theory and piano teacher, including hand-out ‘Quick instruction Harmonic skills: exercises 15 t/m 23’. Simpson: Keyboard Harmony and Improvisation Examples of accompaniment repertoire Andriessen, C: Easy Pieces for open strings; Binders such as 'My first concert' (fluit, hobo e.d.); (Pedagogical) repertoire, also arrangements, for the main subject, in consultation with the teacher Examples of four-handed repertoire Haydn, J: Deutsche Tänze Delft, M. van: Daphne’s music book Moser, J.: Just for fun Part 1 Schönmehl, M.: Jazz for two Part 1 Hellbach, D.: Piano for Two vol. 1

Exam Exam Exam description • a mandatory solo piece,

• a harmonisation created by the student, • one accompaniment of the main subject and • either a second solo or accompaniment, or a four-handed piece, from a light genre if

desired. Semester 2 Exam form Practical exam: performing rehearsed repertoire Content of the exam • feedback from the teacher

• group session with feedback from fellow students and a teacher (in December) • student concert

Exam criteria • technical level (level of difficulty corresponding to the example repertoire) • control and finishing (fluent and accurate play) • expressive presentation • skills in playing together

Exam duration 12 minutes Weight 1 Study credits 2 Number of attempts 2 Result scale 2 points Pass/Fail

Generic module title Playing Together year 1 Specific module title Playing Together Orchestral Instruments and Harp year 1 Code Osiris Code (16) Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

The module Playing Together Orchestral Instruments and Harp focuses mainly on the competencies ‘collaborative skills’ and ‘communication’ in a musical context. The subject Propaedeutic Choir teaches students how to use their singing voice and apply it during the solfège classes. The subject Chamber Music is directly linked to the professional practice of students of orchestral instruments and harp. Besides the already mentioned social competencies, artistic competencies most definitely are addressed here too. The subject Orchestra Projects is specifically aimed at gaining experience in the practice of orchestra culture and concert stages.

Reference competencies 1-10, 21 Learning outcomes Propaedeutic Choir: taking part in the propaedeutic choir stimulates the development

of reading, listening and vocal skills. Chamber Music: • you demonstrate good skills in playing together (such as balance and musical

communication) • you demonstrate good tone quality • you demonstrate good intonation • you demonstrate good social communication (such as stage skills) Orchestra Projects: these modules are taken in all study years to gain experience in the practice of orchestra culture and concert stages, so that you know the general rules that orchestra musicians must follow. You will play in the projects that are part of your study schedule, usually four each year.

Coordinating department KM Contact person Frans Koevoets Language Dutch or English Work forms • Group practical lesson

• individual practical lesson Teacher(s) Propaedeutic Choir: Wiecher Mandemaker

Chamber Music: Nancy Braithwaite, Sander Sittig, Henk Guittart, Jeroen den Herder, Bart van de Roer, Bram van Sambeek, Tomi Shimon Orchestra Projects: depending on the project

Entrance requirements Having passed the entrance exam Material/literature In consultation with the teacher (chamber music) Exam Exam 1 Exam description Propaedeutic Choir Semester 2 Exam form Presence Content of the exam Attendance Exam criteria A minimal attendance of 80% for all classes Exam duration none Weight 1 Study credits 3 Number of attempts 2 Result scale Fail/Pass Exam Exam 2 Exam description Chamber Music Semester 2 Exam form Practical exam

Content of the exam Performing the prepared composition Exam criteria • Functioning of the group throughout the year

• Technique, ensemble play, rhythm, intonation, tone production, balance and knowledge of styles

• Charisma • Attendance (100% mandatory) • Communicative skills • Professional attitude, musicality, artistry

Exam duration 30 minutes Weight 1 Study credits 3 Number of attempts 2 Result scale 20-points scale, in halves Exam Exam 3 Exam description Orchestra Projects Semester 2 Exam form Attendance Content of the exam Throughout the year, the orchestra inspection checks the attendance records of all

students. Exam criteria • Attendance

• Discipline To be judged by the orchestra inspection.

Exam duration none Weight 1 Study credits 6 Number of attempts 2 Result scale Fail/Pass

Generic module title Genre- specific Subjects year 1 Specific module title Orchestral Play year 1 Code Osiris Code (16) Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

The modules Orchestral Play are mandatory for students of the main subjects Orchestral Instruments or Harp. These modules are taken in the study years 1, 2 and 3, in order to gain experience in the practice of playing together within the group to which you belong. We distinguish between the following groups: low strings, high strings, woodwinds, brasses, harp and percussion.

Reference competencies 4-6, 8-10, 12 Learning outcomes • You know what general rules and musician in an orchestra should follow.

• You have gained experience in playing together within a group Coordinating department KM Contact person Erik Zwiep Language Dutch or English Work forms Group practical lesson Teacher(s) Same as the subject teacher(s) Entrance requirements Having passed the entrance exam Material/literature Orchestral repertoire as chosen by the main subject teachers Exam Exam Exam description Orchestral Play year 1 Semester 2 Exam form Practical exam Content of the exam • Part of the solo concert with piano accompaniment

• Two mandatory orchestra excerpts • One orchestra excerpts prima vista

Exam criteria The committee, consisting of two teachers, judges whether the exam was passed with sufficient results. This must be evident from having mastered parts of the orchestral repertoire.

Exam duration 15 minutes Weight 1 Study credits 3 Number of attempts 2 Result scale Pass/Fail

Generic module title Portfolio year 1 Specific module title Portfolio year 1 Code Osiris Course type Course Year Year 1 Exam goal D Propedeuse Bachelor Content/relation to professional practice

General: The portfolio is a module that contains several activities. Some activities are organized by Codarts (such as the project weeks), other activities are designed by the student (individual study activities) Both types of activities have an common that they are focused on orientation on making informed choices in study and professional practice. They confront the student with different aspects of the art profession, both with regards to the different professional roles and other art disciplines. This broad orientation on the art profession stimulates the student to reflect on his own ambitions and profile and to translate this into concrete choices during and after study. The Portfolio year 1 consists of five elements:

• Individual study activities, (28 hours, or 1 ec) • Project week 1 • Project week 2 • Bizz day • Health & Performance day

Individual study activities (ISA’s) Isa’s are activities designed and performed by the student, such as participation in extra ensembles, own ensembles outside of Codarts, workshops, courses, etc. The ISA’s stimulate the self-directed or authentic learning. The ISA must answer to a fixed set of criteria. The ISA:

• Is executed on initiative of the student • Is supported by a learning question • Is aimed at a desired result • Gives a broader perspective or a deepened understanding • Has a relation to the broader context of the art profession

At the start of the study year the student discusses his ISA plans with his study coach and writes his account of the executed activities in an ISA report at the of the year. (see below under Exam 1.) Deadline for handing in the report is 15 June. Deadline for the retry is 25 August. Project weeks Every year two project weeks are organized. At least one of these weeks has a department transcending character in the sense that students of different departments and disciplines participate in joined projects. Form and theme vary per project week. During the project week the student is given the opportunity to get acquainted with disciplines/ genres/ aspects of the professional practice that were still unknown to him. When a student has attended the project(s) to which he was assigned, he obtains a positive result. Students that have not sufficiently attended the project(s) will have to do an substituting assignment (see below under Exam 2) Bizz day During this day first year students are stimulated to already start thinking about life after Codarts. Guest speakers that are active as musical professionals explain how to earn their income in the music business and what kind of activities you can organize after your music studies and how important parties in the business work. Students will pitch ideas they already have to these guest speakers. Information is also given about what the first steps should be when starting your own business, for example when it comes to taxes and copyright. Health & Performance day

In project week 1 a special Health & Performance day will be organized for first year music students. This days consists of lectures and workshops that help you gain insight in the important role of health in the performing arts. Examples of covered themes are ear protection, injury prevention, healthy nutrition and performance preparation.

Reference competencies ISA’s: 20, 21 Project weeks: 3, 5, 13, 15, 19 Bizz day: 17 Health & Performance day: 21

Learning outcomes ISA’s: Learning outcome is presented by the student Projectweeks/Health & Performance day: the project weeks serve as an orientation on several aspects of the art profession. Broadening of perspective and gain new experiences are the main goal. There are no pre-set learning goals that are tested at the end of the module. Bizz day: The student is able to pitch a business idea in maximum 300 words.

Coördinating department Music (JPW+KM) Contact person Renske Wassink Language Dutch/ English Work forms ISA’s: individual coaching by study coach

Projectweken: differs per project Bizz day: lecture/ seminar Health & Performance day: lecture/ seminar

Teacher(s) ISA’s: n.a. Projectweken: differs per project week Bizz day: Ewout van der Linden Health & Performance day: guest teachers

Entrance requirements none Material/literature N.a. Exam Exam 1 Exam description ISA’s Semester 2 Exam form ISA Content of the exam Isa evaluation report in the standards ISA format. If applicable, add programme booklet/

flyer/ audiovidual material. The report covers the following aspects: motivation, description of the activity, learning outcome, evaluation of the activity, time investment.

Exam criteria • Validity: relevance for music studies • Size of the evaluation report: 1 to 2 pages A4 (Calibri 11) • Sufficient explanation of motivation • Detailled and clear description of the activity • Is the desired learning outcome achieved? • Sufficient reflection on the activity • Sufficient time investment (28 hours per ec)

Exam duration N.a. Weight 20%

Study credits 1

Number of attempts 2

Result scale Pass/ Not sufficient

Exam Exam 2 Exam description Project week 1 Semester 1 Exam form Attendance (with the use of attendance list) Content of the exam The result (pass/not sufficient) is based on attendance. Students that have not sufficiently

attended the project(s) will have to do an substituting assignment (see below under Exam 2).

Substituting assignment: • The substituting assignment for the project week has the form of extra

Individual Study Activities. The writes an account of these activities in a report, according to the standard Isa procedure (same format, deadline, handing in at study coach)

• The substituting activities should cover at least 28 hours. • Every project week has a theme. The extra ISA’s will have to take this theme

into account. The manager of the department sees to it that with the design of the project week the theme is translated to a clear framework for the substituting assignment. When the different departments/ programmes have different themes, this will be translated into the substituting assignment.

• The theme for the substitution for the second (inter-departmental) project week will be equal for all departments.

• The theme for the substituting assignment will be communicated within two weeks after the project week or as soon it is known which students did not attend.

• When a students has only followed parts of the project week, these hours may be included in the report of the substituting assignment.

Exam criteria Attendance of minimum 75%.

This means that of a project of 8 daily periods, you may miss 2 periods. Of a project of 4 daily periods, you may miss 1.

Exam duration N.a. Weight 20% Study credits 1 Number of attempts 2 Result scale Pass/ Not sufficient

Exam description Exam 3 Semester Project week 2 Exam form 2 Content of the exam Attendance (with the use of attendance list) Exam criteria See Project week 1 Exam duration Attendance of minimum 75%.

This means that of a project of 8 daily periods, you may miss 2 periods. Of a project of 4 daily periods, you may miss 1.

Weight N.a. Study credits 20% Number of attempts 1 Result scale 2 Exam Pass/ Not sufficient

Semester Exam 4 Exam form Bizz day Content of the exam 1 Exam criteria Attendance (with the use of attendance list)

For those who missed the Bizz day, a second Bizz day will be organized in semester 2. Exam duration Attendance Weight Student should be present during the entire day Study credits N.a. Number of attempts 20% Result scale 1 Exam 2 Exam description Pass/ Not sufficient Exam Exam 5 Exam description Health & Performance day Semester 1 Exam form Attendance (with the use of attendance list)

Content of the exam Attendance (with the use of attendance list) For those who missed the Health & Performance day, a second Health & Performance day will be organized in semester 2.

Exam criteria Student should be present during the entire day. Attendance will be checked at a random moment.

Exam duration N.a. Weight 20% Study credits 1 Number of attempts 2 Result scale Pass/ Not sufficient

Generic module title General Theory Classes Year 1 Specific module title KM Music History 1 Code Osiris Code (16) Course type Course Year Year 1 Exam goal D Propaedeutic Bachelor Content/relation to professional practice

Music History 1 discusses the music and cultural history of the Middle Ages and Renaissance (700-1600). The module presents a historical overview of the music of this period against the background of its cultural context, using audio fragments, scores and visualisations.

Reference competencies 2,5,7,12,15, 21 Learning outcomes After having successfully completed this module, students will have a historic insight into

the music of the Middle Ages and Renaissance (700-1600) and will have mastered the conceptual framework relevant to this period. They are able to name and distinguish between the various types and styles of music of those times, both by ear and by reading scores.

Coordinating department KM Contact person Marcel Zijlstra Language Bilingual (Dutch/English) Work forms • Lectures

• Workgroup Teacher(s) Marcel Zijlstra Entrance requirements Material/literature • Donald Grout, Claude Palisca: Een geschiedenis van de Westerse Muziek (NL)

• Donald Grout, Claude Palisca, A History of Western Music (8th ed.) (EN) Exam Exam 1 Exam description Music History 1 Semester 1 Exam form Written Exam Content of the exam The exam tests the students’ historical overview and insight, the relevant conceptual

framework and their ability to name and distinguish between the various types and styles of music, both by ear and by reading scores.

Exam criteria In the exam, students must demonstrate to possess sufficient knowledge and skills in relation to the studied material.

Exam duration 75 minutes Weight 100% Study credits 3 Number of attempts 2 20 points, 0,5 – 10, in halves

Generic module title General Theory Classes Year 1 Specific module title KM Music History 2 Code Osiris Code (16) Course type Course Year Year 1 Exam goal D Propaedeutic Bachelor Content/relation to professional practice

Music History 2 discusses the music and cultural history of the Baroque up to and including Classicism. The module presents a historical overview of the music of this period against the background of its cultural context, using audio fragments, scores and visualisations.

Reference competencies 2,5,7,12,15, 21 Learning outcomes After having successfully completed this module, students will have a historic insight into

the music of the Baroque up to and including Classicism and will have mastered the conceptual framework relevant to this period. They are able to name and distinguish between the various types and styles of music of those times, both by ear and by reading scores.

Coordinating department KM Contact person Marcel Zijlstra Language Bilingual (Dutch/English) Work forms • Lectures

• Workgroup Teacher(s) Marcel Zijlstra Entrance requirements KM Music History 1 Material/literature • Donald Grout, Claude Palisca: Een geschiedenis van de Westerse Muziek (NL)

• Donald Grout, Claude Palisca, A History of Western Music (8th ed.) (EN) Exam Exam 1 Exam description Music History 2 Semester 2 Exam form Written Exam Content of the exam The exam tests the students’ historical overview and insight, the relevant conceptual

framework and their ability to name and distinguish between the various types and styles of music, both by ear and by reading scores.

Exam criteria In the exam, students must demonstrate to possess sufficient knowledge and skills in relation to the studied material.

Exam duration 75 minutes Weight 100% Study credits 3 Number of attempts 2 20 points, 0,5 – 10, in halves