master electives royal conservatoire the hague 2017-2018 · 1) un-notated performing practices:...
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Master Electives Royal Conservatoire The Hague 2017-2018
Schedules and Registration: In order to be able to schedule you for a Master Electives of your choice, you need to be registered in our study tracking system Osiris. Without your registration you will not be able to follow Master Electives in our school. You must register for the Master Electives BEFORE 11 SEPTEMBER 2017. IMPORTANT: Do not use your Codarts account/login/password, please register by creating a NEW ACCOUNT. Use the following link to register: http://osi6serv.kabk.nl:7777/osiris_io_inkomend_osiprd/WelkomPagina.do?proces=KC_CODARTS_MA_EL
In order to properly register, you need to fill in Preview questions. Here you can also upload the Elective(s) of your choice. You will receive an e-mail with your user name and password including a link with all course descriptions. Please wait for this e-mail to arrive before making your final choice(s)! You may choose one or two Master Electives, not more than that. After registration you will receive a provisional admission, and soon after a confirmation or a rejection (in case of an audition or a fixed maximum). After having completed your registration in Osiris, you will be linked to our scheduling system ASIMUT. You are then able to check the online schedules, times and venues of the Master Electives and all updates, from September on. You will receive a user name and password to be able to login into ASIMUT. Please contact Bas Kalle ([email protected]). For questions please contact Coordinator Master Research Klarijn Verkaart ([email protected]). If you want to receive the precise schedule before you make your final choice, please contact her as well.
Master Electives offered by the Music Theory, Classical, Early Music, Jazz and Vocal departments Course title: Analysis and Performance Osiris course code: KC-M-EL-AP Course Content: In this course students will study and discuss many examples from compositions in
which the connection can be made between analysis and performance. We will investigate and practically try in what way analytical observations may influence the interpretation of the music, and recordings from different performers will be compared. Examples will be chosen from the student’s repertoires. Students will also study recent literature in this research area. Therefore, a syllabus will be provided with a selection of chapters from recent publications and articles from journals, starting from the writings of Heinrich Schenker (first half of 20
th century).
Objectives: At the end of the course students should: Have an advanced understanding of the relationship between analysis and
performance. Have an advanced understanding of recent literature on analysis and
performance. Have developed concrete ideas about applying the results of an analysis to the
performance of compositions that they play or sing. Type of course: Elective Level: Master Teacher(s): Paul Scheepers Credit points: 3 EC Literature: Syllabus will be handed out Work forms: Group lesson/Seminar Assessment: Attendance results (80%) + Presentation: students analyze a composition that they
play/sing and apply the results to their own performance. They are also expected to refer to recordings and literature. The presentation will be judged by a committee.
Sort of grading: Pass-fail
Language: English Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Paul Scheepers: [email protected] Course title: Creative Performance Practices: Musical expression in 19
th and 20
th century
performance Osiris course code: KC-M-EL-CSA Course Content: More than ever before, performers must be able to think critically about their artistic
practices. Critical engagement with the history of performance practices is one of the ways today’s musicians can broaden their expressive pallet as performers. Historical recordings and sources reveal to us that our current performance practices are often far removed from the vibrant performing traditions associated with the canonic repertoires of the 19
th and 20
th centuries.
This course aims to provide students with the opportunity to experiment with expressive devices and practices that are no longer part of our current aesthetic vocabularies as performers. The course focuses on three key areas: 1) Un-notated performing practices: rhythmic and tempo alteration, portamento, vibrato, ornamentation. 2) Hands on creative exploration of interpretative possibilities. 3) Broad historically informed interpretative adventure in standard canonic repertoires. Each of these areas propose challenges or disruptions to traditional modes of musical performance and study, they are intended to encourage students to think about how they might begin to experiment with[in] their own artistic practices. Each lecture will focus on practical demonstrations and lively group debates. Students will be invited to experiment with their own repertoires and to reflect on how the material studied might apply to their own musical practices. Concepts covered will include: musical expression, musical time and structure, changing performance practices, imagination, embodiment, interpretation, notation, authenticity, music criticism, recordings, listening, musical identity and performance analysis.
Objectives: At the end of the course the student should: ▪ Be able to make use of the expressive devices studied in this course.
▪ Be able to demonstrate an ability to actively engage in critical debates concerning a range of musical genres, styles, techniques, and ideologies.
▪ Be able to think critically about their artistic beliefs, knowledge and identities. ▪ Be able to creatively consider new understandings of traditional modes of
musical performance, interpretation and analysis. Type of course: Elective Level: Master Prerequisites: All master’s students from the Classical, Early Music, Vocal, Composition, Conducting
and Theory Departments are encouraged to attend. Teachers: Stefan Petrovic, Emlyn Stam, Andrew Wright Credit points: 3 EC Literature: Students will be assigned short readings and listening materials pertinent to the
lectures/workshops. Students should bring relevant repertoire they are studying (or have studied or wish to study) to the workshops.
Work forms: The course consists of 8 lecture/workshop/discussion sessions of 2 hrs. and a mandatory introductory lecture of 1 hr.
Assessment: Attendance results (80%) + Quality of effort/engagement in lectures and workshops Type of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Stefan Petrovic: [email protected], Emlyn Stam:
[email protected], Andrew Wright: [email protected]
Course title: Franco-Flemish polyphony from original sources Osiris course code: KC-M-EL-FP Course content: Students will be introduced to the rich world of Franco-Flemish polyphony, as
exemplified by the Alamire manuscript-complex. High-resolution images of these manuscripts, made available by the Alamire Foundation, will enable us to sing this music directly from 15
th century sources. In addition to reading the original mensural
notation, special attention will be paid to ensemble-specific singing technique. The practice of plainchant, solmisation and improvised counterpoint will provide further insight into this repertoire. Master’s students will also be coached in related research-topics such as preparing performance-editions, writing programme notes and leading rehearsals. The final aim of the course is to enable students to function
as informed, skilled, and independent performers of Renaissance polyphony. To commemorate the 500th anniversary of the death of the composer Pierre de la Rue (c. 1452-1518), the Franco-Flemish Polyphony Elective 2017-18 will focus on this master polyphonist. Over the course of the year students will sing music by La Rue and the composers of his circle at a court whose music making was the highest expression of the polyphonic culture in the Low Countries. We will work especially from the manuscripts produced in the workshops of Petrus Alamire, in which La Rue is represented more than any other composer. The course is organized as a partnership between the Alamire Foundation and the Royal Conservatoire. The Alamire Foundation (International Centre for the Study of Music in the Low Countries – KU Leuven) has as central mission the linking of the worlds of musical research and practice. The present project is part of the current major initiative New Perspectives on Polyphony (funded by the Flemish agency IWT), which aims to bring Franco-Flemish polyphony to a wider group of performers and listeners through the digitization and valorization of original sources.
Objectives: At the end of the course the student: Is able to perform Franco-Flemish polyphony from original sources in
performance. Has acquired practical knowledge of the musical grammar and style of 15
th
century polyphony. Has acquired vocal skills specific for this ensemble repertoire. Is able to lead a small ensemble in singing polyphony. Is able to show independent insights into research and performance practice of
15th
century polyphony. Type of course: Elective Level: Master Prerequisites: Experience with ensemble singing, good sight reading skills. Admission via audition.
Maximum 12 places. Teachers: Stratton Bull (Alamire Foundation/KU Leuven, Capella Pratensis),
Niels Berentsen (Royal Conservatoire, Leiden University). Credit points: 5 EC, of which 3 EC can count as a Master Elective Literature: Reader, selected musicological articles, excerpts from historical treatises Work forms: The course consists of three weekly lessons of one hour, offering instruction in
singing from mensural notation and monthly three-hour sessions focusing on the performance of the repertoire led by Stratton Bull. At the end of the course, a work- week will be held at the House of Polyphony in Leuven (Belgium), which concludes with a public performance. Students are encouraged to also take part in related subjects offered by the by the conservatoire (Musica Practica, Counterpoint, Gregorian Chant etc.).
Assessment: Attendance results (80%) + Assignment (performance edition of a 15th century composition)
Grading system: Pass-fail Language: English Schedule/time/venue: Please check any updates via ASIMUT:
Audition: 20/9 10:00-16:00 Weekly lesson t.b.a. Preliminary schedule session/excursions: Session 1: 26/10, 16:00-19:30 Session 2: 18/11, 16:00-19:30 Session 3: 16/12, 16:00-19:30 Excursion 1: 14 and 15/1, Leuven Session 4: 17/2, 16:00-19:30 Session 5: 27/3, 16:00-19:30 Excursion 2: 16 to 19/4, with presentation on 18/4, Leuven Final presentation: 23/4, Den Haag
Registration: Via Osiris before 11 September and by sending an email to: [email protected]
Information: Niels Berentsen: [email protected] http://www.alamirefoundation.org/
Course title: Leonard Bernstein: The unanswered question Osiris course code: KC-M-EL-UQ Course Content: At the beginning of his first Norton Lecture, Leonard Bernstein explained the
importance of "inter-disciplinary values”, that the best way to 'know' a thing is in the context of another discipline. In six lectures Bernstein communicated his ideas of the universality of musical language through wide-ranging analogies to linguistics, aesthetic philosophy, acoustics as well as music history. Bernstein based much of the lectures on the linguistic theories Noam Chomsky set out in his book ‘Language and Mind’. In the first three lectures, Bernstein analyzed music in linguistic terms phonology (sound), syntax (structure) and semantics meaning), focusing on music from the Classical period. In the fourth lecture (‘The Delights and Dangers of Ambiguity’), Bernstein looked at music from the Romantic period, with its heightened harmonic uncertainties and structural freedoms. The fifth lecture (‘The Twentieth Century Crisis’) outlined the movement toward atonality and the crisis provoked by this crucial change in our musical language. Charles Ives' ‘The Unanswered Question’, one of the primary musical examples, became Bernstein's title for the entire series of lectures. The final lecture (‘The Poetry of the Earth’) concentrated on the work of Igor Stravinsky, whom Bernstein thought had found a musical answer to "the unanswered question", one that kept tonality at its centre.
Objectives: At the end of the course students should : Have an advanced understanding of the origin and meaning of music. Have an advanced understanding of late 19
th and early 20
th century music.
Have an advanced understanding of interpretation and musical structure in general.
Type of course: Elective Level: Master Prerequisites: Music theoretical interest and basic knowledge of English grammar Teachers: Kolja Meeuwsen Credit points: 3 EC Work forms: Lecture on film Assessment: Attendance results (80%) + Paper/essay, 2000 words about subject discussed by
Leonard Bernstein Sort of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Kolja Meeuwsen: [email protected]
Course title: Performance Practice 1850-1950 Osiris course code: KC-M-EL-PP Course Content: The performance practice during the period 1850-1950 will be studied based on
historical information and authentic video and audio recordings from this period, including some of the Bernstein lectures “the unanswered question”.
Objectives: At the end of the course students should: Have an advanced understanding of early 20
th century performance practice.
Have an advanced understanding of the performance practice of so-called encore pieces as recorded on the first wax roles and 78' records.
Have an advanced understanding of performance practice in general of the music of the Romantic period.
Type of course: Elective Level: Master Teacher(s): Kolja Meeuwsen Credit points: 3 EC Literature: ‘A performer’s Guide to music of the Romantic period’, ABRSM Publishing. Work forms: Group lesson Assessment: Attendance results (80%) + Presentation Sort of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Kolja Meeuwsen: [email protected]
Course title: Literature Workshop Osiris course code: KC-M-EL-LW Course Content: In this class we will investigate the nature and practical features of late 18
th and early
19th
century style and performance practices. The first half of the classes will focus on literature research leading up to an individual presentation. The second half of the season is devoted to repertory research. All performance practice subjects are allowed. Topics may be related to the topic of the final master presentation.
Part 1. October – November – December: 18th
and early 19th
century performance practice. Depending on instrument and interest, each student will choose a subject in order to present a lecture demo. Besides using key treatises and literature, research can include using your own instrument.
Presentations can take any form: lecturing, PowerPoint, via hand-outs, video, live playing and any combination. Possible topics could be performance practice basics like articulation, fingering, bowing (etc.); style features like rhetoric, vibrato; historical topics like instrument development, genre research; instrumental or vocal techniques; focusing on a performer or composer, geographical area, city or musical school. Students will be expected to prepare a hand-out or show examples on screen as well as present a selected and annotated bibliography on their subject.
Part 2. January - February – March: Presenting a programme. With focus on the classical and early 19
th century repertory, students are being asked
to prepare a coherent, marketable concert programme within certain parameters in time, geographical location and genre. Every assignment will be cut to the particular interest of the student. In addition to making the programme, students will be asked to write an actual letter to a concert organization in which they present themselves and propose this programme for inclusion in their concert series or festival. This letter must include a biography, short but attractive programme notes and a list of concert organizations including names and addresses.
Objectives: At the end of the course students should: Have and advanced understanding of classical and early 19
th century style.
Have an advanced understanding of the repertoire in these periods. Be able to exchange knowledge about the subject in class.
Type of course: Elective Level: Master
Teacher(s): Bart van Oort Credit points: 3 EC Literature: Treatises and secondary literature, choice depending on each individual topic Work forms: Workshop Assessment: Attendance results (80%) + Research, presentation and written assignments Sort of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Bart van Oort: [email protected] Course title: Music Round the Corner, Wijkmuzikant editie Morgenstond Osiris course code: KC-M-EL-MC Course Content: This course aims to prepare students for work as a local area musician in a team
environment. The lesson material will be prepared in three sessions focusing on the general purpose and principles of this project:
1. Why was Music Round the Corner designed? 2. Analysis and evaluation of similar projects. 3. A visit to Morgenstond, and an informal brainstorming session in order to share ideas. In addition, practical skills like creative, innovative ways to communicate with and without your instrument, techniques to make audiences participate in performances and improvisation will be given in the NAIP master’s programme. This will include participation in the intensive week Leading and Guiding (for information: NAIP module). There will also be three lab sessions in the NAIP programme to further explore creative skills, a weekend of intensive improvisation, and three lectures by professionals to enhance understanding of the project from the perspective of the Royal Conservatoire.
Objectives: At the end of the course the student should:
Be able to design, organize and perform a musical programme to improve the understanding and appreciation of classical music in a local area.
Have an advanced understanding of performing and communicating with various audiences.
Be able to make choices in selecting repertoire and ways of performing that are artistically convincing as well as a contribution to the understanding of music in a local area.
Be able to cooperate in a team in which they have a specific task in the organization.
Be able to communicate with partners in a local area. All members of the team take part in regular evaluations.
Type of course: Elective Level: Master Prerequisites: Bachelor Classical music Teachers: Ilona Sie Dhian Ho, Renee Jonker, Henk van der Meulen, Ginette Puylaert, Tim Sabel Credit points: 3 EC Literature: Abbing, H., ‘Van hoge naar nieuwe kunst’, Historische Uitgeverij, 2009.
Boekman, Kunst en politiek, in: ‘Tijdschrift voor kunst, cultuur en beleid 21’, p. 22-78, 2009.
Veldhuizen, A. van, Laat kunst werken: Hoe guur is het Kunstklimaat?, in: ‘Socialisme & Democratie’, jaargang 67, 2010.
Work forms: Group lessons, discussions, rehearsals, workshops and performances in local area. Contact hours: 20-30h. It is possible to do this Elective for 1 study year or for 2 study years.
Assessment: Attendance results (80%). In addition, assessments are given after every semester by the supervisor in an individual conversation. Competences that are evaluated are
quality of initiatives, cooperation in the team, interaction skills in performances, and conviction in the work in the local area.
Sort of grading: Pass-fail Language: This course is given in English, the content of the Dutch literature is translated. Schedule/time/venue: T.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Ilona Sie Dhian Ho (professor of violin): [email protected] or [email protected]
Course title: Music since World War II Osiris course code: KC-M-EL-MWW Course Content: The focus of these lessons will be on music composed since World War II. In the first
place, we will examine some important compositions. Secondly, we will also read texts of composers about their own composing or of other writers on music, to get an idea about the context of the music we study. To enrich this context we will read about ideas on Modernism, Post-Modernism and Intertextuality.
Objectives: At the end of the course students should: Have an advanced understanding of the performance practice of music
composed since World War II. Have an advanced understanding of the compositional practices of significant
composers of the period. Have an advanced understanding of certain theories and ideas that came up
after the World War II. Type of course: Elective Level: Master Teacher: Patrick van Deurzen Credit points: 3 EC Literature: Various articles that will be distributed during the course Work form: Group lesson Assessment: Attendance results (80%) + Presentation and a paper Sort of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Patrick van Deurzen: [email protected]
Course title: Performance Science Osiris course code: KC-M-EL-PS Course Content: In this course students will get acquainted with the wide field of performance science
pertaining to skill development, practicing and performance. Topics which will be explored include deliberate practicing, performance preparation, mastery during performing, an effective use of the body and the mind, focus and concentration and motivation. The course will offer approaches, methods, literature and strategies that have been developed from the fields of psychology, pedagogy and neuroscience. In addition bodywork and theatre themes will be included. The students will be encouraged to approach the topics from the point of view of their own practice and goals and their own research topics.
Objectives: At the end of the course students should: Have an advanced understanding of existing approaches, methods and strategies
concerning performance science. Be able to show how they have applied current knowledge in this field to their
own practice and research. Have gained insights into their own physical and mental states during practicing,
performance preparation and performing. Have a good understanding of relevant literature on performance science.
Type of course: Elective Level: Master
Prerequisites: A connection with the Research question is advisable. Applicants are required to send a short text describing how they propose using this course for their research.
Teachers: Susan Williams, Wieke Karsten, David Prins Credit points: 3 EC Literature: ‘From Potential to Performance’, Royal Conservatoire The Hague, 2014. Prom Potential to Performance Website:
http://web.uniarts.fi/practicingtipsformusicians/ Bandura, A., ‘Self-Efficacy: The exercise of Control’, Freeman, 1997. Dweck, C., ‘Mindset: The New Psychology of Success’, Ballantine Books, 2006. Goffman, E., ‘The Presentation of Self in Everyday Life’, Anchor Books, 1959.
Green, B., ‘The Inner Game of Music’, Pan Books, 1987. Mornell, A., ‘Art in Motion’, Peter Lang, Frankfurt am Main, 2009. Mornell, A., ‘Art in Motion II’, Peter Lang, Frankfurt am Main, 2012. Williamon, A., ‘Musical Excellence’, Oxford University Press, London, 2004. Williams, S., ‘Quality Practice: A musician’s Guide’, Bremen, 2017.
Work forms: Lectures, exercises, playing and discussion Assessment: Attendance results (80%) + Presentation relevant to the student’s own research topic Sort of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT (2
nd Semester)
Registration: Via Osiris before 11 September Information: Susan Williams: [email protected] Course title: Research and Improvisation Jazz Osiris course code: KC-M-EL-RJ Course Content: Research and improvisation will be discussed through four points of departure:
practice, methods, historical backgrounds and literature. The topics will be: Tonal, Modal, Atonal, and Chance (3 lessons with John Ruocco). Active participation is required because: “Practicing improvisation is different than practicing scales, licks, patterns or other technical or conceptual things”. One or two lessons will be spent on investigating methods of improvisation and two or three lessons on literature (Patrick Schenkius). In addition, students will present a mini-research of a self-chosen method or book on jazz improvisation. In the last lesson(s) every student will give a short lecture about his/her mini-research. The students can form their own opinions through discussion about the ideas and thoughts presented in the literature and the practical lessons of John Ruocco. The own opinion of the students regarding sources will also be trained in the short presentation during the last lessons.
Objectives: At the end of the course students should:
Have an advanced understanding of methods and books on improvisation. Judge the sources used on value and appropriateness. Be able to form their own opinions on the sources.
Type of course: Elective Level: Master Prerequisites: Knowledge about jazz and (jazz) improvisation Teachers: Patrick Schenkius and John Ruocco Credit points: 3 EC Literature: Bailey, D., ‘Improvisation’.
Monson, I., ‘Jazz Improvisation’. Crook, H., ‘How to Improvise’.
Berliner, P., ‘Thinking in Jazz’. Lovano, J., ‘Improvisation, Developing a Personal Approach’ (DVD).
Work forms: Group lesson Assessment: Attendance results (80%) + Presentation Sort of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September
Information: Patrick Schenkius: [email protected]
Course title: With and beyond music: curatorial practices in musical performance and composition
Osiris course code: KC-M-EL-CPMP Course Content: Open for performers, composers, sound artists, artist-researchers and others, this
course explores the use of curatorial strategies in musical creation and/or the performance of music from the past and present. Curatorial practices and strategies consist in bringing together artworks, objects, spaces, ideas or discourses, and in establishing dialogues or relations between them. Widely popular in the field of visual arts and increasingly so in theatre, these practices allow artists to orient themselves in the rapidly changing world of globalization, information and communication, and to create new contexts and forms of presentation for their art that is more directly connected to the world around them. In a series of modules that combine reflection and practical experimentation, participants become acquainted with methods and theories on curatorship from different art forms and investigate notions of process, information, space, performativity, dramaturgy and choreography as well as the interaction between artistic and non-artistic materials or art and society through 1) the analysis of artistic productions such as staged concerts, archival art, performance-lectures, context-specific works, interventions in public space or composed theatre; 2) the creation of own compositions and/or performance; 3) the development of related mediation activities; 4) interviews with music programmers or artist-curators and 5) the production of texts.
Objectives: To get acquainted with curatorial strategies and methods from different art
fields and with existing artistic work that makes use of these methods and strategies;
To reflect critically upon the notion of curatorship in the analysis of existing work;
To develop own works, performances and strategies from the realm of the curatorial;
To think music within broader social, cultural and/or political horizons and to develop mediation activities to present this music to the audience.
Type of course: Elective Level: Master
Teachers: Heloisa Amaral, PhD docARTES (Orpheus Institute/Leiden University), member of the
MusicExperiment 21 collective of the Orpheus Institute and advisor of the Defragmentation project on curatorship in music (DE).
Guest lecturers (music philosopher Marcel Cobussen, Leiden University, pianist and musicologist Paulo de Assis, Orpheus Institute/MusicExperiment21, musicologist and curator Maarten Quanten from De Bijloke, Ghent/University of Brussels, Lars Petter Hagen, composer and director of the Ultima Festival Oslo, et al, tbc with the University)
Credit points: 5 EC, of which 3 EC can count as a Master Elective Literature: Group lessons Assessment: A minimum of 80% attendance + Assignments (see course content) Sort of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September and by sending an email to:
[email protected] Information: Heloisa Amaral: [email protected]
Course title: Writing and playing your own cadenzas Osiris course codes: KC-M-EL-WPC Course content: This course will focus on the development of cadenzas in repertoire for wind and
string instruments from the second half of the 18th
century, the classical era. The objective of this course is to provide students with the knowledge and the tools to write and play their own cadenzas. We will study compositions and treatises for various instruments from the period and we will investigate different genres with their various kinds of cadenzas. There will be personal guidance and class discussions as to how to write and to play them.
Objectives: At the end of the course students should: Have an advanced understanding of the historical development of cadenzas in
the discussed eras. Be able to write a stylistically informed cadenza for a composition of their
choice. Be able to perform a cadenza on their instrument.
Type of course: Elective Teacher: Wouter Verschuren Credit points: 3 EC Literature: Brown, H.M., ‘Embellishing Eighteenth-Century Arias: on Cadenzas’.
Johansen, U., ‘The Instrumental Cadenza of the Period c.1700–c.1770’. Lasocki, D., B. Bang Mather, ‘The Classical Woodwind cadenza'.
Neumann, F., ‘Ornamentation and Improvisation in Mozart’. Work forms: Group lessons Assessment: Reading assignments, writing and playing cadenzas, presentation Sort of grading: Attendance results (80%) Language: English Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Wouter Verschuren: [email protected]
Master Electives offered by the Composition Department
Course title: MusicMultimedia Elective Osiris course code: 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 will be analyzed, as well as current practices in sound art and contemporary music. The course will assist the student in the process of choosing and working with personal relevant tools in the field of live electronics. It also provides the student with a thorough knowledge of ‘state of the art’ in live electronics as well as a broad historic overview.
Objectives: At the end of the course students should: Have an advanced understanding of recent developments in the areas of music
multimedia and expanded performance practices. Be able to analyze and reflect on realities between music and other disciplines. Be able to selectively work with live electronics. Have an advanced understanding of making music with an ensemble that
specializes in live electronics and multimedia. Be able to combine video with music and vice versa.
Type of course: Elective Level: Master Prerequisites: Numerus fixus of 12 students, restricted to and giving priority to 1. Composition
students, 2. Sonology, Art of Sound and ArtScience students. Teachers: Yannis Kyriakides will be the main teacher during the year but the course will be
augmented with various guest teachers.
Credit points: 4 EC, of which 3 EC can count as a Master Elective Literature: t.b.a. Work forms: Group lesson Assessment: Attendance results (80%) + Student participation Sort of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT
Music Multimedia is a course spanning the entire year, with regular meetings on Wednesday afternoons and some project/ensemble based activity.
Venue: Karlheinz Stockhausen Studio Registration: Via Osiris before 11 September Information: Yannis Kyriakides: [email protected] Course title: The Rejection Class Osiris course code: KC-M-EL-CRC Course Content: In our current day the idea of inclusivity, broadness and context reign supreme. To
such a degree perhaps that obtaining focus and making choices can become a difficult task for a young composer. The purpose of this class is the placement of an ‘antenna’, through the investigation and development of the ideas that lie at the basis of - often wildly differing - forms of artistic expression, regardless of style or discipline (and opposed to for example notions of historical development, context, meaning, style, or specific individuals). These ideas will be investigated within the realm of culture and music as well as outside of this realm, through applicable examples from the sciences, musical theory, visual arts and literature. The course will most likely be divided over four main categories: sound concepts - technical concepts - societal concepts and the art of translation. Topics will focus on the broad, including a.o. the expression of idea in notation, systematics, phenomenology, exterior models/sources (such as nature, language, mathematics etc) ‘sound’ and ‘microtonality’ as well as the narrow, focussing on specific compositional issues like ‘complexity’, ‘single-line writing’, ‘layering’, ‘counterpoint’, ‘syntax’ and structure (form, process, phrasing etc). The course will take the form of a discussion of these ideas on the basis of relevant compositions and comes mildly disguised as a repertoire class focussing on works from ca. 1980 until now. Purpose of the class is to find out which ideas could be pertinent to any individual and which could be dismissed i.e ‘rejected’.
Objectives: At the end of the course the student:
▪ Is able to distinguish between idea and style.
▪ Has acquired knowledge of specific terminology.
▪ Can link up convergent ideas in different artistic disciplines and can recognize them over time (throughout history).
▪ Has learned how to distinguish outer appearances from inner motivations. Type of course: Elective Level: Master Prerequisites: Numerus fixus of 16, giving priority to 1. Composition students 2. Sonology and Artscience students and 3. incidental Bachelor/pre Master Composition students. Teachers: Peter Adriaansz, main teacher throughout the year. Various guest teachers may be invited. Credit points: 3 EC Literature: Not applicable Work forms: bi-weekly group lesson Assessment: Attendance results (80%) + written assignment Sort of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Peter Adriaansz: [email protected]
Master Electives offered by the Master Music Education Course title: Concepts of instrumental and vocal education Osiris course code: KC-M-ED-CIVE Course Content: This course introduces concepts of music education in general and instrumental and
vocal education in particular. It focuses on various conceptual and practical approaches to teaching and learning music and its implications. Special attention will be given to the relation between theory and practice, subjective educational theories and the context of musical teaching and learning. Secondly, opinions about aims and approaches in instrumental and vocal education and the required competencies of instrumental and vocal teachers will be addressed. Finally, examples of research in instrumental and vocal education will be discussed.
Objectives: At the end of the course the student: • Has knowledge of the actual themes and approaches in research of music
education. • Is able to distinguish different concepts, approaches and aims in music
education. • Is able to find additional information to what has been discussed and
present this to others. Type of course: Elective (Compulsory for master’s students in Music Education) Level: Master Teachers: Adri de Vugt Credit points: 3 EC Literature: AEC Handbook Instrumental Vocal Teacher Education - European Perspectives, 2010.
www.polifonia-tn.org Bowman, W., Music’s place in education, in: McPherson, G., G. Welch, ‘Oxford Handbook of Music Education Vol. 1’, Oxford University Press, 2012, p. 21-39. Creech, A., H. Gaunt, The Changing Face of Individual Instrumental Tuition: Value, Purpose and Potential, in: McPherson, G., G. Welch (Eds.), ‘Oxford Handbook of Music Education’, vol. 1, Oxford: Oxford University Press, p. 694-711. Creech, A., S. Hallam, Parent-teacher-pupil interactions in instrumental music tuition: a literature review, in: ‘British Journal of Music Education’, 20:1, 2003, p. 29-44. Hallam, S., A. Bautista, Processes of Instrumental Learning: The Development of Musical Expertise, in: McPherson, G., G. Welch (Eds.), ‘Oxford Handbook of Music Education’, vol. 1, Oxford: Oxford University Press, 2012, p. 658-676. Jorgenson, H., ‘Research into higher music education’, Novus AS – Oslo, 2009.
Kelchtermans, G., Stories Making Sense. Teacher Development from a Narrative-Biographical, in: De Baets, T., T. Buchborn, ‘International Perspectives on Music Education: The Reflective Music Teacher’, Helbling, Innsbruck, 2014, p. 71-83. Kupers, E., M. van Dijk, G. McPherson, P. van Geert, A dynamic model that links skill acquisition with self-determination in instrumental lessons, in: ‘Musicae Scientiae’, vol. 18 (I), 2014, p. 17-34. Lehmann, A., H. Jorgensen, Practice, in: McPherson, G., G. Welch (Eds.), ‘Oxford Handbook of Music Education’, vol. 1, Oxford: Oxford University Press, p. 667-693. Renwick, J., G. McPherson, ‘“I’ve got to do my scale first!” A case study of a novice’s clarinet practice’, ICMPC Proceedings paper, 2000.
Schippers, H., Toward a global understanding of learning and teaching music, a framework, in: ‘Faces of Music, Shaping Music Education from a global perspective’, Oxford University Press, 2010, p. 119-136. Swanwick, K., In praise of Theory, does it matter what we think?, in: ‘Music, Mind and Education’, Routledge, 1986, p. 6-18.
Work forms: Group lesson Assessment: Paper + presentation. Attendance results (80%) Sort of grading: Pass-fail Language: English Schedule/time/venue: September – December 2017. T.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Adri de Vugt: [email protected] Course title: Musical development and education Osiris course code: KC-M-ED-MDL Course Content: This course introduces concepts of (musical) development and education. It informs
on (music) developmental psychological aspects and addresses issues like potential and talent, measurement, influence of parents – peers and teachers, creativity and concepts of musicality. The issues will be discussed in relation to the practice of music education.
Objectives: At the end of the course the student: • Is able to comprehend literature concerned with theories of (musical)
development can explain the essentials. • Is able connect data derived from observations to the studied literature. • Has a theoretical insight in the relevant aspects of musical development and
education and the practical implications . Type of course: Elective (Compulsory for master’s students in Music Education) Level: Master Prerequisites: (Only) for master’s students in Music Education, the course ‘Concepts of
instrumental and vocal education’ has to be finalized adequately. Teachers: Adri de Vugt Paul Deneer, Jan Jacob Mooij (guest teachers) Credit points: 3 EC Literature: Biesta, G., Giving Teaching Back to Education: Responding to the Disappearance of
the Teacher, in: ‘Phenomenology & Practice’, vol. 6, No. 2, 2012, p. 35-49.
David, T., Looking at children, in: Arthur, J., T. Grainger, D. Wray (Eds.), ‘Learning Teach in the Primary School’, Abingdon: Routledge, 2006.
Hodges, D., W. Gruhn, Implications of neurosciences and brain research for music teaching and learning, 2012, in: McPherson, G. Welch, ‘Oxford Handbook of Music Education Vol. 1’, Oxford University Press, p. 205-225. Lamont, A., Music in the school years, in: Hallam, S., I. Cross, M. Thaut (Eds.), ‘The Oxford handbook of music psychology’. Oxford: Oxford University Press, 2009. McPherson, G., A. Williamon, Giftedness and talent, 2006, in: McPherson, G. (Ed.), ‘The child as musician. A handbook of musical development’, Oxford: Oxford University Press, 2017, p. 239-256. Nijs, L., The merging of musician and musical instrument: 1 incorporation, presence and the levels of embodiment, in: ‘Music Education Research’ (in press).
O’Neill, S., Becoming a music learner: toward a theory of transformative music engagement, 2012, in: McPherson, G., G. Welch (Eds.), ‘Oxford Handbook of Music Education’, vol. 1, Oxford: Oxford University Press, p. 164-186. Penn, H., ‘Understanding Early Childhood. Issues and controversies’, Maidenhead: Open University Press, Maidenhead, 2008. Renwick, J., J. Reeve, Supporting Motivation in Music Education, 2012, in: McPherson, G., G. Welch (Eds.), ‘Oxford Handbook of Music Education’, vol. 1, Oxford: Oxford University Press, p. 143-162.
Work forms: Group lesson Assessment: Attendance results (80%) + Presentations + Paper (approx.. 4 pages). Criteria include
quality of formulation, coherence, accuracy, critical reflection. Sort of grading: Pass-fail Language: English Schedule/time/venue: January – March 2018. T.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Adri de Vugt: [email protected] Course title: Processes of musical learning Osiris course code: KC-M-ED-MLP Course Content: This course focusses on the specific characteristics of music learning. Besides a
theoretical framework, the practical implications and applications will be discussed. First some general concepts of learning and teaching are discussed. After this two particular aspects of music learning will be addressed: aural learning processes and motoric learning.
Objectives: At the end of the course the student: • Is able to comprehend literature concerned with theories of musical learning
and can explain the essentials. • Is able to connect data derived from observations to the studied literature. • Has a theoretical insight in the relevant aspects of musical learning and
teaching and the practical implications. • Is able to present his/her findings concerned with the studied issues in a
written form. Type of course: Elective (Compulsory for master’s students in Music Education) Level: Master Teachers: Adri de Vugt, Suzanne Konings, Bastiaan van der Waals Credit points: 3 EC Literature: Bernstein, N.A., ‘The Coordination and Regulation of Movements’, Pergamon,
Oxford, 1967.
Biesta, G., Giving Teaching Back to Education: Responding to the Disappearance of the Teacher, 2012, in: ‘Phenomenology & Practice’, vol. 6, No. 2, p. 35-49.
Cranenburgh, dr. B. van, ‘Neurowetenschappen, een overzicht’, Elsevier/de Tijdstroom, Maarssen, 1997. Cranenburgh, dr. B. van, dr. Th. Mulder, ‘Van contractie naar actie’, Bohn Stafleu van Loghum, Houten/Diegem, 1986. Davids, K., C. Button, S. Bennett, ‘Dynamics of Skill Acquisition: a constraints-led approach’, Champaign: Human Kinetics Publishers, 2008.
Hallam, S., ‘Instrumental teaching’, Heinemann, Oxford, 1998.
Hargreaves, D., D. Miell, R. MacDonald, ‘Musical imaginations, multidisciplinary perspectives on creativity, performance and perception’, 2012.
Klashorst, G.O. van de, ‘The disposition of the musician’, Broekmans & van Poppel, Amsterdam, 2002. Simons, R.J., J. van der Linden, T. Duffy, ‘New learning’, Kluwer, 2000. Thorndike, E.L., The law of effect, in: ‘American Journal of Psychology, 39’, 1927, p. 212-222. Todorov, E., M.I. Jordan, Optimal feedback control as a theory of motor coordination, in: ‘Nature, volume 5 no. 11’, 2002, p. 1226-1235. Wulf, G., A. Mornell, Insights about practice from the perspective of motor learning: a review, in: ‘Music Performance Research, volume 2’, 2008, p. 1-25.
Work forms: Group lesson Assessment: Paper + Attendance results (80%) Sort of grading: Pass-fail Language: English Schedule/time/venue: March – June 2018. T.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Adri de Vugt: [email protected] Course title: Philosophy, locating cultural events: a philosophy of contemporary culture Osiris course code: KC-M-ED-FI Course Content: Professionals in the music education sector need to have insight into the political-
social, aesthetic and ethical role of music (education) in contemporary, multicultural society. There should be clarity in the way that arts and music education contributes to content and form of cultural life and the way it is experienced, as well as the way in which education itself is formed by underlying aesthetic, political, economic, social and ideological choices. By means of critical and methodical study of a number of thematically structured texts from (music) philosophy and sociology, the student is confronted with a theoretical perspective on music (practice), as well as their abilities as musician/pedagogue.
Objectives: At the end of the course the student should: Be able to situate and reflect his/her activities as a teacher and professional
within a diversity of sectors of contemporary culture. Be able to comprehend literature concerned with cultural studies. Have an advanced theoretical insight into the relevance of cultural locations
and have a developed a sensibility for interdisciplinary and intermediary in contemporary art.
Have deepened his acquaintance with some conceptual tools for self-reflection on his practice as an artist, teacher of cultural, advisor or policy-maker in the art-sector.
Type of course: Elective (Compulsory for master’s students in Music Education) Level: Master Teachers: Tom Dommisse Credit points: 3 EC Literature: T.b.a.: a series of short texts/outlines from analytic or continental theorists of
culture in the western philosophical tradition (Rorty, Foucault, Beauvoir, Eco, Adorno, Derrida, Mouffe, Fukuyama).
Work forms: Group lesson Assessment: Attendance results (80%) + Written essay (3-5000 words) on a thematic issue or
‘location’ of cultural philosophy, linking this topic to the cultural embedding of personal learning-process in music education.
Sort of grading: Pass-fail Language: English
Schedule/time/venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Adri de Vugt: [email protected]
Course title: Course Music Education according to the Kodály Concept Osiris course codes: KC-M-EL-KC Course Content: A practical and theoretical course that consists of three main elements: musicianship,
methodology, singing and repertoire, all in relation to music education. International guest teachers will be invited twice a year. Music teaching concepts in the 19
th, 20
th
and 21st
centuries will be studied. 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 active music making. Then awareness and practising can lead to musical literacy. The understanding of the musical learning process is brought into relation with the student’s teaching practice. Students develop their own teaching material.
Singing and repertoire Students sing to develop their own voice and learn how to sing with children. Activities also include the building of suitable teaching material: song repertoire with games, canons and part songs. Repertoire for different music teaching situations will be offered by the teachers and collected by the students.
Musicianship A group lesson on the development of practical musicianship skills, analytical hearing and musical imagination. Students practice their own musical skills needed for teaching. Techniques used in Kodály-based music teaching are learned: relative solmisation, hand signs and rhythm language.
Objectives: At the end of the course students should: Have a good understanding of and be able to teach music to children according
to the Kodály philosophy. Have a good understanding of historical and pedagogical background of teaching
music. Have a good understanding of the musical learning process and be able to design
music lessons in small and logical steps that lead to high quality music making and real understanding of music by children from the earliest ages.
Be able to transfer musical content and musicality by means of their own voice, and be aware of the possibilities and impossibilities of the child's voice at certain ages and learn how to develop children’s singing.
Be 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.
Be able to translate sound into music notation, and to understand musical structure and form.
Have developed polyphonic skills to divide the different layers of attention needed in musical activities and teaching music. The student can translate these skills into lessons for children and can thus shape the learning on their way to musical performance and literacy.
Be able to integrate the theory and skills that are learned into the student’s own teaching practices. The student should be able to develop and structure lesson plans for his or her pupils that show a longer and clear line of learning in and through music.
Type of course: Elective Level: Master Prerequisites: Special interest in music education Teachers: Ewan Gibson, Daniel Salbert, Suzanne Konings, Anouk Vinders, Tim Tomassen,
Patricia Wisse, international guest teachers Credit points: 10 EC, of which 3 EC can count as a Master Elective
Literature: Reader and literature specified by the teacher Work forms: Group lesson and teaching Assessment: Attendance results (80%) and the evaluation of assignments Sort of grading: Pass-fail Language: English Schedule/time/venue: t.b.a. via ASIMUT
10 Saturdays and 2 Sundays from 10:00-17:00 Dates and more information on: http://www.koncon.nl/nl/studeren-aan-het-kc/cursussen/muziek-als-vak/ or http://www.koncon.nl/en/studying-at-the-rc/short-courses/music-education-training-course-muziek-als-vak/ and http://www.muziekalsvak.nl/
Registration: Via Osiris before 11 September Information: Suzanne Konings: [email protected]
Master Electives offered by the Music Master for New Audiences and Innovative Practice (MM NAIP) Course title: MM NAIP / Module Leading and Guiding Osiris course code: KC-M-NA-LG Course Content: This module introduces the student skills and knowledge necessary to be a
competent workshop/laboratory practitioner and creative leader. It gives the student the opportunity as an ensemble member to explore the combined role of composer, leader and performer within a creative, participatory workshop environment. The student is expected to engage convincingly in all the following activities as a professional practitioner: Voice, body and percussion work; coordination and communication; Improvisation as a group, generic activity; developing your own musical voice
within the group; organically building on the ideas of peer group members; Group composition skills; conceiving and creating ideas within a collaborative
environment; The psychology of leadership; the different levels of facilitating and guiding
within a team; leading and being lead. Objectives: Students will have to be able:
To demonstrate an understanding of and capacity for music-based activity in a variety of ensemble performance contexts and in facilitating group creative work both within exclusively musical contexts and in various cross-arts, intercultural and community situations.
To demonstrate skills of leadership in relation to the facilitation of ensemble and/or group participation in specialist and non-specialist environments.
Through the use of their imagination, intuition and emotional understanding, to demonstrate an ability to make decisions in a variety of contexts and situations.
To demonstrate effective communication and social skills for working with others on joint projects as well as being able to lead, negotiate with and organize others.
To demonstrate an ability to engage with a variety of musical styles and genres. Type of course: Elective Level: Master Prerequisites: Admission to the master’s programme. Compulsory for students MM NAIP and
Master Music Education. If more students apply than places are available, a selection will be made based on a written motivation of the applicant.
Teachers: Detta Danford, Guy Wood, Jo Wills, Renee Jonker Credit points: 7 EC, of which 3 EC can count as a Master Elective
Literature: Animarts, ‘The Art of Animateur: An investigation into the skills and insights required of artists to work effectively in schools and communities’, London International Festival of Theatre, 2003. Booth E., ‘The Music Teaching Artist’s Bible’, Oxford University Press New York, 2009. (ISBN 978-0-19-536839-0) Green, L., ‘How popular musicians learn: A way ahead for Music Education’, Ashgate, 2002. Odam, G., N. Bannan, ‘Lifelong Learning for Musicians: The place of mentoring’, Prince Claus Conservatoire and Royal Conservatoire The Hague, 2005. Robinson, K., ‘Out of our minds – Learning to be a Creative’, Capstone – Oxford, 2001. Small, C., ‘Music, Society and Education’, Wesleyan University Press, 1996.
Work forms: Laboratory, field study, tutorial, individual study Assessment: Attendance results (80%) + End of term peer-assessment based on filmed footage of
the students leading and guiding fellow students in laboratory sessions, as well as a written self-reflection, submitted at the end of the module, which draws on personal learning and peer feedback.
Sort of grading: Pass-fail Language: English Schedule: A. Introduction Course (two days from 10:00 – 16:00) in September 2017
B. Intensive week of workshops (Monday to Friday from 10:00 – 17:00) C. 8 LAB’s on Mondays from 10:00 – 13:00 Details of the schedule t.b.a. via ASIMUT Venue: Studio Tarwekamp Registration: Via Osiris before 11 September Information: Renee Jonker: [email protected]. Please note this course can only accept a limited
number of participants; early registration is recommended. Course title: MM NAIP / Performance and Communication Osiris course code: KC-M-NA-PC
Course Content: This module seeks to develop the students’ technical and artistic capacity for performance and communication in a variety of formal and non-formal contexts. Students prepare a small performance that can be seen as a sneak preview of their Professional Integration Project (to be realized in the 3rd and 4th semester of the Master). Students are challenged to present this so-called proto PIP for new audiences and/or in an unusual performance context. Students may work together or do solo-performances. To prepare for this proto PIP students will take part in a workshop exploring basics of stage technique (lightning).
Objectives: Students will have to be able: To communicate about a piece of music in word or images before letting the
music sound for itself. To let any piece of music example/excerpt, style or musical technique become
the starting point for a project that reaches out to new audiences. To explore the way music is perceived by presenting the music in a new context
or environment. To address new audiences in a creative, innovative and binding way. To function as a performing artist in a variety of contexts.
Type of course: Elective Level: Master Prerequisites: Admission to the master’s programme. Compulsory for students MM NAIP. If more
students apply than places are available, a selection will be made based on a written motivation of the applicant.
Teachers: Philip Curtis, Renee Jonker, Joshua Samson Credit points: 4 EC, of which 3 EC can count as a Master Elective Literature: Bernstein, L., ‘The Unanswered Question – Six Talks at Harvard’, Harvard University
Press, Cambridge Massachusetts, 1976. (ISBN 0-674-92001-5)
Green, B., W. Gallwey, ‘The inner game of music’, Double Day, New York Viewing , 1986. (ISBN-13: 9780385231268) Miles, B., ‘Zappa, a biography’, Grove Press, New York, 2004. (ISBN 906005556X)
Work forms: Laboratory, field study, tutorial, individual study Assessment: Performance followed by discussion and feedback from peers and tutor + Written self-reflection, submitted at the end of the module, which draws on personal
learning and peer feedback. Sort of grading: Pass-fail Language: English Schedule: t.b.a. via ASIMUT Time: Tuesdays 14:00 – 17:00 Venue: Studio Tarwekamp Registration: Via Osiris before 11 September Information: Renee Jonker: [email protected]. Please note this course can only accept a limited
number of participants; early registration is recommended. Course title: MM NAIP / Entrepreneurship and Project Management Osiris course code: KC-M-NA-PME Course Content: This module seeks to provide the students with opportunities to develop their
competencies and understanding of the skills required to effectively plan and implement projects and performance events in a variety of contexts. The course consists of two intensive projects, a study day for reflection and research and a series of two hour seminars. In the first intensive project students will be introduced to a basic set of skills needed in the learning process of becoming an entrepreneurial artist. The second intensive project will take the form of a bootcamp: students realize musical projects in small teams outside the conservatoire. A study day will focus on reflection and research. Based on these experiences, experts will lead a series of 8 seminars that will provide the students with a theoretical background and various tools that can be applied as an entrepreneurial artist. At the end of this course, students will have written a project plan for a project that actually will be realized and that they will present in a viva voce presentation.
Objectives: Students will have to be able: To demonstrate an understanding of a variety of project management topics
through a series of short assignments set during sessions. To actively participate in group discussions and exercises. To use the skills presented during the module to create a project plan and oral
presentation for a proposed project. Type of course: Elective Level: Master Prerequisites: Admission to the master’s programme. Compulsory for students MM NAIP. If more
students apply than places are available, a selection will be made based on a written motivation of the applicant.
Teachers: Ramon Verberne, Renee Jonker, e.a. Credit points: 4 EC, of which 3 EC can count as a Master Elective Literature: Course reader, including different articles/book chapters on Project Management &
Entrepreneurship topics. Cutler, D., ‘The savvy musician’, Helius Press – Pittsburg, 2010. (ISBN-13: 978-0-9823075-0-2) Hendriks, L., ‘Handbook Marketing and Communication for the Starting Musician Lectorate Lifelong Learning in Music’, Prince Claus Conservatorium, Groningen, Royal Conservatoire The Hague, 2008.
Work forms: Seminars, tutorials, workshops Assessment: 15-minute verbal presentation of a project plan, followed by reflection with the
teacher and peers + Written project plan Sort of grading: Pass-fail Language: English Schedule: A. first intensive project: 19, 20 and 21 September 2017
B. second intensive project/bootcamp: 31 October, 1 and 2 November 2017 C. reflection day: 22 November 2017 D. eight seminars Time: Tuesday afternoons in the second semester (t.b.a.) Venue: t.b.a. via ASIMUT Registration: Via Osiris before 11 September Information: Renee Jonker: [email protected]. Please note this course can only accept a limited
number of participants; early registration is recommended. Course title: MM NAIP / Elective Music and Dementia Osiris course code: KC-M-NA-MD Course Content: This module introduces the student the skills and knowledge necessary to be a
competent workshop practitioner and creative leader in the specific context of working with people with dementia and care workers in residencies for people with dementia. This course is being developed based on research into the practice Music for Life of Wigmore Hall in London, that has been conducted by the research group Lifelong Learning in Music of the Prince Claus Conservatoire in Groningen in collaboration with the Royal Conservatoire in The Hague. Students will be prepared to function as an improvising musician in a context with very vulnerable people and care staff members of the residential home or centres for day care. The student is expected to engage convincingly in all the following activities as a professional practitioner: Voice, body and percussion work to be used in the setting of workshops with
people with dementia and the care people surrounding them; Improvisation solo or in small groups, generic activity; developing your own
musical voice within this setting. Group composition skills; conceiving and creating ideas within a collaborative
environment. The psychology of leadership; the different levels of facilitating and guiding
within a team; leading and being lead. The psychology of working in a context in which musicians are trying to connect
to people with dementia and thus are exposed to fundamental questions about identity.
The reflective skills to deal with the challenges of this kind of musical interaction both individually and as a team player.
Objectives: Students will have to be able: To demonstrate an awareness of what is required to communicate with and
function well in relation to people with dementia in their everyday environment.
To demonstrate an understanding of and capacity for music-based activity in this very specific context in which the ability to communicate with others through music is at the core of this practice.
To demonstrate skills of leadership in relation to the facilitation of other participants in this setting.
To demonstrate, through the use of their imagination, intuition and emotional understanding, an ability to make decisions in a variety of contexts and situations.
To demonstrate an ability to engage with a variety of musical styles and genres. Type of course: Elective Level: Master Prerequisites: Admission to the master’s programme. Taking part in the module Leading and
Guiding (KC-M-NA-LG). If more students apply than places are available, a selection will be made based on a written motivation of the applicant.
Teachers: Renee Jonker Credit points: 7 EC, of which 3 EC can count as a Master Elective Literature: Kitwood, T., ’Dementia reconsidered: the person comes first’, Buckingham: Open
University Press, 1997.
Sacks, O., 'Musicophilia: tales of music and the brain', London, Picador, 2007. Smilde, R., ‘While the music lasts’, Prins Claus Conservatoire, Groningen, 2013. Zeisel, J., ‘I’m still here’, Penguin Books, 2009.
Work forms: Laboratory, field study, tutorial, individual study Assessment: End of term peer-assessment by fellow students in laboratory sessions, as well as a
written self-reflection, submitted at the end of the module, which draws on personal learning and peer feedback.
Sort of grading: Pass-fail Language: Dutch Schedule: 3 introductory workshops: t.b.a. (in September and October 2016) 8 sessions in a Residential Home in The Hague : Time: Fridays 10:00 – 13:00 Details t.b.a. via ASIMUT Venue: Studio Tarwekamp and a residential home in The Hague Registration: Via Osiris before 11 September Information: Renee Jonker: [email protected]. Please note this course can only accept a limited
number of participants; early registration is recommended.