17-18 Bachelor Jazz Study Guide 1. Bachelor’s Degree in Jazz Studying at the Jazz Department With an exquisite population of four hundred students from more than fifty different

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ConservatoriumvanAmsterdam

StudyGuideJazzBachelor2017-2018

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TableofContents

1. Bachelor’sDegreeinJazz 3StudyingattheJazzDepartment 3Management 3Programmedetails 3Mission 4Vision 4

1.1 Learningobjectivesandareasofexpertise 4

1.2 Generalstructureoftheprogramme 6Descriptionofthefivecoursecategories 9Genericcoursedescriptions 11

2. Principalsubjects 16Saxophone 16ClarinetandBassClarinet 20Trumpet 24TromboneandBassTrombone 28Guitar 32Piano 37DoubleBass 41BassGuitar 45Drums 52Percussion 57Voice 59Composition/Arranging 65TheoryofMusic 68Othersubjects 70

3. EnsemblesandChoirs 71

4. MusicTheorySubjectsProgramme 97

5. EducationandEntrepreneurship 116

6. Electives 120

7. JazzPreparatoryCourse 121

8. PracticalMatters 121

Attachment:EducationandExaminationRegulations

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1.Bachelor’sDegreeinJazz

StudyingattheJazzDepartment

Withanexquisitepopulationoffourhundredstudentsfrommorethanfiftydifferentcountries,theJazzdepartmentoffersoneofthemostinspiringandup-to-datestudyprogramsinEurope,withagreatdealofattentionforprofessionalpractice.Ourapproachiscontemporary;allimportantmusicstreamsofthismomentaregivenfullattention.Ourteachingteamconsistsofinternationalandprominentnamesfromthecontemporaryjazzscenethatguaranteeauniversal,currentandinspiringvisionofthestudyprogram.Withoneandahalfhoursofmainsubjectandtechnicallessonsperweek,morethaneightyensemblesandathoroughsolfègeandtheoryprogram,weofferourstudentsadynamiclearningenvironmentinwhichtheycanfullyutilizetheirpotential.Throughaversatileandbalancedstudyprograminthebachelorandmasterprogramstheydeveloptheirskillsasasoloistandensemblemusiciantoanexcellentlevel.Theyalsolearntotapintothecreativitytheyneedtodeveloptheirtalentsanddeveloptheirmusicalpersonality.Thestudyprogramisconstantlyadaptedtonewdevelopmentsandinfluences;withthis,thedepartmentisandremainsacurrentreflectionoftoday'sversatilemusicpractice.‘Guiding students to unfold their own musical talents and become accomplished, innovative and meaningful musicians is our ultimate commitment.’ EdoRighini–AssociateDirector/HeadoftheJazz&PopularMusicDepartment

Management

EdoRighini AssociateDirector/HeadoftheJazz&PopularMusicDepartmentBramStrijbis ProgrammeCo-ordinator,StudyAdviser

Programmedetails

Studyload240credits

Studylength4years,full-time

LanguageofinstructionDutchandEnglish

CROHOcode34739(BMusic)

TitleBachelorofMusic

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MissionTheCvAisdeeplycommittedtoexcellenceineducation,performanceandcreativeactivityandtotheculturalenrichmentofthelargercommunity.Apremierinternationalconservatory,theCvAinspiresandempowershighlytalentedindividualstorealisetheirpotential.Forthis,theCvAoffersBachelor’sandMaster’sdegreecoursesinClassical,JazzandPopularmusic,aMusicinEducationProgrammeandtheNationalProgrammeforYoungTopTalent.Throughthiscomprehensiveofferofgenresandcourses,theCvArepresentsafullreflectionofthepresent-daymusicallandscape.Itaccordinglyplaysanactivepartinshapingnationalandinternationalmusicallife,bothnowandinthefuture.WetakefulladvantageofAmsterdam’sexcellentlearningandperformanceopportunities,preparingourstudentstobepassionateperformers,composersandteachers,andimaginative,effectivecontributorstotheartsandsociety.Inordertoachievethismission,theCvAoffersanexceptionalteachingstaffofinternationalreputationandstanding,acurriculumcontainingstate-of-the-arteducationineverygenreandpathwayofthepresent-daymusicallandscapeandclosecollaborationwithrenownednationalandinternationalmusicalinstitutions.

VisionTheConservatoriumvanAmsterdampreparessome1250highlytalentedstudentsforcareersaspassionateperformersandcomposers,andasimaginative,effectiveleadersintheinternationalmusicscene.Ourguidingprincipleis‘excellenteducation’.Ourinternationalstudentbodythrivesinasupportiveatmospherethatencouragesexcellence,valuesindividualsandwelcomesinnovation.TheCvAinspirestheperformance,creationandknowledgeofgreatmusic,whileexchangeprogrammes,distantlearningandentrepreneurialopportunitiesexpandtheschool’sreach.Everyyear,hunderdsofconcertsandcommunityandoutreacheventstakeplace.TheCvAisasteadycontributortotheculturalfabricofAmsterdamandanimportantplayerontheworldstage.Themusicalworldisalwaysinmotion.Thishasamajorimpactontheinfrastructure,artisticconceptsandhowwereachouttoaudiences.Themusicianofthefuturewillbeaspecialistwhoisinfullchargeofhisprofession,andwhopossessesskillsbeyondhisexcellenceinperformance.TheCvAfollowsaclearpaththroughallthis:excellenceaboveall.Everyelementofthemusicalprofessionispractisedatahighlevel;musicalcraftmanship,artisticauthenticity,butalsodidacticandentrepreneurialskills.AllofthisprovidesgraduateCvAstudentswiththebestpossiblestartingpositionforacareerintheinternationalmusicworld.

1.1Learningobjectivesandareasofexpertise

Themusicprogrammelearningobjectiveshavebeenidentifiedatthenationallevel,andcanbebrokendownintothreecategories:• artisticexpertise;• technicalexpertise;and• professionalandsocialexpertise.

Withinthesecategories,nineareasofexpertisearefurtheridentified:• visionandcreativity;• communication;• theabilitytocollaborate;

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• technique;• analyticalability;• contextualfocus;• entrepreneurship;• innovation;and• amethodicalandthoughtfulapproach.

Upongraduation,thestudentwillhaveacquiredthevarioustypesofexpertisereferredtointheoverview.Thefollowingchartliststhespecificskillsforeachareaofexpertise,alongwiththenumericcodesreferredtointhecoursedescriptions(p.9etseq.).

Artisticexpertise

Visionandcreativity:Themusicianisartisticallydrivenandiscapableofformingopinionsandconvictionsrelatingtohisownspecialistfieldandcancommunicatetheseintheprofessionalmusicworld.hasdevelopedamusicalandartisticpersonalitywhichenableshimtomakemusicemployinganexpressivelanguageandbeingprofessionallydrivenpossessestheability,whencreatingorperformingmusic,toworkwithvariousmusicalconcepts,stylesandformsofinterpretation,givingexpressiontotheseinmusic

Communication:Themusiciancancommunicatehisapproachefficientlyandeffectivelyinvariouscontextsandconveytheartisticmeaningofmusictoothers.exploresartisticopportunitiesininteractionwithtargetgroupscanpresenthimself,eitheraloneorwithothers

1.3 Theabilitytocollaborate:Themusicianiscapableofmakinganactivecontributiontoajointproductorprocesstogetherwithothers.

1.3.1hasthesocialandcommunicationskillstoparticipateinvariousmusicalcollaborativeforms

Technicalexpertise

Technique:Themusicianmaintainsawiderangeoftechnicalknowledgeandskills,whichenablehimtofunctioninthenationalandinternationalprofessionalmusicworld.possessesadistinctivemusicalimaginationthatsupportshiminreal-lifesituationspossessestheinstrumental/vocalmusicalskillstoprepareandperformmusicfromachosenfieldofrepertoire,aswellasaknowledgeofthehistoricalandstylisticcontextofthemusichasamasteryofenoughrepertoire(solo/band/ensemble/choral/orchestra)tobeabletofunctioninaprofessionalcontextiscapableofmakingnewrepertoirehisownknowshowtomakeuseofandmanageanyrelevantparameters

Analyticalability:Themusiciancanbreakdownandcognitivelydissectmusic.iscapableofanalysingmusichehears,ornotatedmusicwithwhichheispresented,basedonhisunderstandingofrhythmic,melodicandharmonicstructuresandforms,andonthatbasis,caninterpretandperformithasknowledgeoftherelevantmusicliteratureandthehistoricalandstylisticcontextofperformance

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3.1 Contextualfocus:Themusicianisalerttodevelopmentsinsocietyandintegratestheseintohisworkasamusician.

3.1.1 canmakeconnectionsbetweenhisownartisticwork,developmentsinmusicandtheotherartsdisciplines,andthesocialcontext

3.1.2 iscapableofseeingthemusicalactivitiesheundertakesfromamusicalvantagepointinvolvingdifferenttraditions,styleperiods,culturesandregions

3.1.3 iscapableofparticipatinginmusicallifeandcannetworkwithothermusicians,listenersandpotential

3.2 Entrepreneurship:Themusiciancancreateanindependentprofessionallifeforhimselfintheworldofmusic.

3.2.1 canfunctionasaculturalentrepreneurinrespectofhisownproductions3.2.2 presentshimselfandhismusicalproduct(functionally,organizationallyandfinancially)topotentialclients3.2.3 maintainsaprofessionalattitudewhendealingwithclientsandcustomers

3.3

3.3

Innovation:Themusicianiscapableofexploring,andexperimentingwithinhisownspecialistfield,whichisreflectedininnovativemusicalprocessesandproductions.hasanenquiringmindwhenitcomestothefurtherdevelopmentofhisspecialistfieldandtherelevant

3.4 Amethodicalandthoughtfulapproach:Themusicianiscapableofconductinghimselfinamethodicalandprofessionalway,canreflectonhisconduct,isindependent,andcangiveandreceivefeedback.

3.4.1 hassufficientprofessionalknowledge,understandingandexperiencetoexaminehisownartisticperformanceand,onthatbasis,topermanentlyevaluateitsqualityandfurtherdevelopit

3.4.2 iscapableofsettingrealisticgoals,canplanandadoptastructuredapproachtohiswork,andiscapableofreflectingonhisownapproach

3.5 Didactics:Themusiciancanstructureandundertaketeachingsituationsinsuchawaythatstudentsareencouragedtolearninthebestpossibleway.

3.5.1 possessesdidacticandmethodologicalknowledge,insightandskillsinordertoprepare,undertakeandevaluaterelevantlearningsituations

3.5.2 iscapableofdesigningbothshort-andlong-termlearningprocesseswhichfocusontheabilitiesandaspirationsofthetargetgroups

3.5.3 iscapableofcoachingamateur-levelensembles3.5.4 iscapableofcreatingand/orarrangingpracticematerialforuseinvariouslearningsituations

1.2 Generalstructureoftheprogramme

Propaedeuticyear

Theprincipalsubjectsfocusprimarilyonthedevelopmentofanimprovisatorylanguage.Theensembleprogrammefocusesondevelopingpossibilitiesrelatedtoensembleplayingandonaseamlessintegrationwiththeprofessionalworld.Thetheoryprogrammeischaracterizedbyanapproachoriginatingfromtheidiomoftheindividual,jazzandrelatedmusic.Theresultisanentirelyunique,practicallyorientedtheoryprogramme.Thesamecanbesaidforthetechniquelessons,althoughthesedodependsomewhatonthespecificinstrument.Thus,thetheoryprogrammeand

Professionalandsocialexpertise

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thetechniquelessonsactivelyservetosupportstudents’development,asisalsothegoaloftheprincipalprivatelessonsandtheensemblelessons.Thefirstyearisconcludedwithapropaedeuticexamination,whichcanresultinabindingrecommendationthatthestudentdiscontinuehis/herstudiesintheeventthathis/heracademicperformanceinthecoresubjectsisdeemedunsatisfactory.Coresubjectsincludetheprincipalsubject,solfège/ear-training,generaltheoreticalsubjects(GTS)andensembleplaying.AstudentforwhomsucharecommendationhasbeenissuedmaynotpursuethesamedegreecourseattheCvA.TheprincipalsubjectpropaedeuticexaminationisheldinMayorJune.Ifstudentspasstheexamandhavecompletedallfirst-yearcourses,theywillhaveearnedallsixtycreditsforoneyearandwillbeawardedapropaedeuticcertificate.HoldersofthecertificatemaycontinuetheirstudiesattheCvA.Inotherwords,thecertificateisproofthattheholderhasbeenacceptedtocompletetherestofthedegreeprogramme.Mainphase

Asthecourseprogresses,theinfluenceexertedbythestudentonthegeneraldirectionofhis/hercourseofstudyincreasesthankstoadditionaloptionsfromwhichhe/shemaychoose.

Withrespecttotheprincipalsubjectandinsomecasestechnique/vocaldevelopment,astudentmaybeallowedtochangeteachersbeforethebeginningoftheacademicyear.Notethatthisisnotpossiblehalfwaythroughtheacademicyearifthestudenthasnotrequestedachangeinadvanceandifsuchachangeisnotlistedonhis/herschedule.Studentsshouldthuscarefullyconsidertheirchoiceofteacher,anddiscussthischoicewiththeircurrentteacherand/ordepartmenthead.

Ensembleplayingisalsoanimportantcomponentofthemainphaseofthecourse.Whileanumberofensemblesarerequired,studentscansometimeschoosetheteacher.Inaddition,studentscantakecertainensemblesaselectives,therebydeterminingthedirectionoftheirstudies.Bychoosing‘StudentEnsemble’,studentscanputtogetheranensemblethemselves,determineanobjectiveand/orrepertoire,andchooseateacher.Inthiscase,itisimportantthattheyconsultallthoseinvolvedwellbeforethesummer.Uponapprovalofthecoordinator,suchanensemblecanserveasanalternativetooneoftherequiredensembles.Studentsinapartiallyorfullyformedgroupmayalsoregisterforoneoftheregularensemblesand,inthatcase,willbegivenpriority.

Duringthemainphase(fromthesecondtothefourthyear),examinationsforallrequiredsubjectsaregivenatleastonceayear.Thestudent’sacademicgoalswillbeoutlinedincloseconsultationwiththeprincipalstudyteacher.StudentswithinstrumentalandvocalprincipalsubjectssuccessfullycompletingallfouryearsareawardedaBachelorofMusicdegree.ThisisalsothecasefortheprincipalsubjectofComposition/Arranging.

FinalexaminationPreparingforthefinalexaminationconstitutesthefinalcomponentofthestudent’sstudies.Studentswhoplantotakethefinalexaminationmustseetoagreatmanythings,e.g.* puttingtogetheraprogramme,* findingotherplayers,* instruments,

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* sheetmusicand* sendingoutinvitations.

Bystartingtheirpreparationsontime,studentswillbeabletoavoidunnecessarystress.

Severalimportantpoints* Studentsmayscheduletheirfinalexaminationonlyiftheyhaveconcludedallothersubjects.Seealsothegraduationrequirementsforboththebachelor’sandmaster’sdegreeprogrammes.* Forjazzstudents,theexaminationdatemustbesetbefore1Marchandforclassicalstudents,before1February.* Theexaminationmaynotexceed60minutes(includingstagechangesandannouncements)andmustbeatleast45minuteslong(fortheclassicalmaster’sexamination,thesetimesare90minutesand75minutesrespectively).* PostponementofthefinalexaminationispossibleonlyifthestudenthasobtainedthewrittenconsentoftheBoardofDirectors.* Allexaminationswilltakeplaceintheconcerthallsoftheconservatory(exceptfororgan).* Anyspecialcostsresultingfromthestudent’schoiceofrepertoirewillbebornebythestudent.

Thegeneralstructureofthebachelorprogrammeisoutlinedinthetablebelow.Thespecificrequirementsforeachprincipalsubjectmaydiffer,andthediagrambelowispresentedprimarilyasanindicationofthegeneralcourseoffering.Thecoursesaredividedintosixcoursecategories.Onlyfortheprincipalsubjectofmusictheoryareseveralcoursecategoriesemployedwhichdifferslightlyfromthisstandard.

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Descriptionofthefivecoursecategories1. Principalsubjectandrelatedsubsidiarysubjects

Theprincipalstudyistheunifyingelementinthecurriculumfromthepropaedeuticyearandintothemainphaseandconsistsofaninterpretiveandatechnicalcomponent,taughtbyvariousteachers.Studentsmayswitchprincipalstudyteachersonayearlybasis;insomeprincipalsubjects,studentsareevenexpectedtodoso.

Inthesecondtermofthethirdyear–possiblyinthefirsttermofthefourthyear–,thestudentwillbeassessedbymeansofarecitalgiveninpreparationforthefinalexamination.Theprogrammeofthefinalexaminationwillbedeterminedjointlybythestudentandhis/herprincipalstudyteacher,andwillprovidethestudentwiththeopportunityofpresentinghis/heruniquemusicalpersonality.

2. EnsemblesandprojectsTheJazzDepartmenthasanextendedensembleprogramme.Therearetwobigbands,twochoirsandalargenumberofensembles,varyinginsizefromoctettotrioandgroupedby* style(jazz,funk,Latin,fusion,Brazilian,etc.),* instrument(saxophonequintetandquartet,tromboneensemble,guitarensemble,etc.),* function(triowithsoloist,triowithvoice),* year(ensembleskillsinthefirstyear,preparatorydivisionensembles,master’sensembles)and* theme(Monkensemble,compositionensemble).

Withintheframeworkofthisprogramme,thestudentisgivenmanyoptions.Inallensembles,improvisation,inadditiontoensembletechnique,isanimportantpointofinterest.Thegoalofeachensembleistogiveaperformance.

Forthebigbands,aprojectdedicatedtoaspecialsubjectandledbyaguestteacherisheldatleastonceayearinadditiontotheregularprogramme.Theseprojectswillbeconcludedwithaconcert.

Inadditiontooccasionalguestteachingpositions,thereisanextensiveArtistinResidenceprogramme,inwhichbignamesfromtheinternationalworldofjazzgiveprivateandgrouplessons,clinicsandmasterclassesforoneweek.Theseprojectswillalsobeconcludedwithaconcertgivenbythestudents,theArtistinResidenceandtheteachers.

3. MusictheorysubjectsandmusicandculturalhistoryTheprogrammeincludesthefollowingcomponents:* GTS:theintegratedsubjectsofharmony,analysisandear-training;* generalmusictheory;* solfègepracticums;and* musichistory(jazzandclassical).

Thebasictheoryandhistorycoursesareconcludedinthesecondyear;inthethirdyear,studentsarerequiredtochoosefromanumberofarrangingandanalysismodules.

4. Educationandentrepreneurship

Holdersofabachelor’sdegreeinmusicfromtheCvAhaveearnedthequalificationtoteachatamusicschoolorartscentre.

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Thepedagogicalsubjectsonofferinvolvethemethodologyofthestudent’sowninstrument,teachingandaninternship.Foundationsarebuiltwhichwillallowstudentstosetuptheirownprivateteachingstudiosandtoworkinmusiceducationinthebroadestsense.Theyarealsotaughthowtopreparethemselvesfororganizationalandbusinessaspectsoftheprofessionalworld.AspecialcurriculumcalledtheProgrammeforResourcefulTeachingArtists(knowninDutchasDeOndernemendeKunstenaar,orDOK)hasbeendevelopedtoequipmusicianswiththoseskillsnecessarytoestablishthemselves.Guestlecturersareenlistedtoteachsomeoftheclasses.Theprogrammeissupportedbythewww.beroepkunstenaar.nlwebsite,developedincollaborationwithKunstenaars&Co.Bychoosingaprofileandproject,studentslargelydecideforthemselveshowtoshapetheDOKprogramme.

TheprogrammebeginswithacourseentitledIntroductiontoEducationandCareer.Thestudentlearnsabouthowthecourseofstudyandtheprofessionalworldrelatetoeachotherandaboutspecificrelatedaspects,suchasmanagingstressandpreventinginjuries.Thisisfollowedinthesecondyearbydidacticsandmethodology.Inthethirdyear,studentsaregiventheopportunitytospecialize(musicschoolteacher,workshopleader,bandinstructor,clinician,etc.),whichinvolvesanextensiveregionalinternshipprogramme.

5. AdditionalsubjectsAportionofthecurriculum,knownas‘freespace’,ismadeupofelectives,givingstudentstheopportunitytofocusmoreonthingslikeensembleprojects,worldmusic,improvisation,liveelectronics,studioengineeringandsubsidiaryinstrumentsrelatedtotheprincipalsubject.Deepertheoreticaloreducationalstudyisalsoanoption.Finally,studentsmayalsoearncreditsbyparticipatinginactivities,suchasperformancesorotherprojects,outsidetheconservatory.Permissiontoparticipateinsuchactivitiesmustbeobtainedfromtheprogrammecoordinator.

ArtistsinResidence

TheCvAhasdevelopedanoutstandingArtistinResidenceprogramme.Foreachdepartment,aninternationallyacclaimedguestwillgiveclinics,workshops,masterclassesandprivatelessonsforoneweekatleastonceayear.ThisweekwillbeconcludedwithaconcertgivenbytheArtistinResidenceandthestudents.

Careerpreparation

Thankstoourcontactsintheworldofbroadcasting,atthestudios,inshowbusinessandnewmedia,wecanhelpstudentsestablishthecontactstheyneed.Additionally,aspecialsetofcoursespreparesstudentsforthebusinessaspectsofthemusicindustry.Exchangeprogrammes

TheCvAJazzDepartmentoffersexchangeprogrammeswiththeManhattanSchoolofMusic,NewYork;NewEnglandConservatory,Boston;FrostSchoolofMusic,UniversityofMiami;TempleUniversityPhiladelphiaenStateUniversityofNewYorktePurchase,CentralConservatoryofMusicBeijingenEscoladeMúsicadoEstadodeSãoPaulo,inadditiontonumerousexchangeprogrammesinEurope.

Eujam

Eujam,aninternationalmaster’sprogrammecreatedbytheconservatoriesofAmsterdam,Berlin,Copenhagen,ParisandTrondheim,waslaunchedin2010.

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Genericcoursedescriptions

Belowisabriefdescriptionofeachcourseinthegeneraldegreeprogramme.Certainfeaturesand/orcontentmayvarydependingontheprincipalsubject.Differencesarelistedelsewherewheretherelevantprincipalsubjectisdealtwithinsofarasthesesubjectsarecourserequirementsforthatparticularprincipalsubject.

Title Principal subject

Course contents The principal subject forms the core of the study. The CvA Jazz Department offers a wide range of specializations including Brazilian, Afro-Cuban, R & B, pop, funk, fusion and crossover. In addition to group lessons, there are evening group recitals and masterclasses.

The degree programme gives students ample freedom to discover their own personal interests. Ensemble is an important component – from trios with voice or soloist to special groups devoted to particular principal subjects, Latin and crossover groups, jazz choir and big band.

Learning objectives 1.1, 1.2, 1.3, 2.1, 2.2, 3.1, 3.2, 3.3, 3.4. Course type Required

Level Ba 1, Ba 2, Ba 3 and Ba 4

Teacher(s) Principal study teachers, see description of each principal subject.

Credits See the overview of credits for each principal subject elsewhere in the Prospectus.

Literature/repertoire See description of each principal subject.

Method of instruction Private lessons and ensemble lessons plus projects, masterclasses and workshops.

Means of evaluation Practical examinations – Ba 1: propaedeutic examination; Ba 2 and 3: end-of-year examinations; Ba 4: concluding examination as part of the final examination.

Assessment criteria See description of each principal subject.

Language(s) Dutch and English

Scheduling One-hour private lessons once a week, projects contingent on project participation.

Location CvA, Oosterdokskade 151

Information Bram Strijbis at [email protected]; see also description of each principal subject.

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Title Technique

Course contents Lessons in technique are provided in respect of all performance principal subjects. Attention is given to technical skills including posture, breathing, finger-picking (guitar), general technical skills for wind players (brass), etc.

Learning objectives 1.3, 2.1, 2.2, 3.4.1.

Course type Required

Level Ba 1, Ba 2, Ba 3 and Ba 4 Depending on the principal subject, technique will be taught only in Ba 1 and 2 or in the upper years.

Teacher(s) Technique teachers, see description per principal subject.

Credits Ba 1: 7 points; Ba 2 and 3: 5 points; Ba 4: 2 points. See the overview of credits for each principal subject elsewhere in the Prospectus.

Literature/repertoire See description of each principal subject.

Method of instruction Private lessons.




Scheduling Weekly one-hour private lessons.


Information Bram Strijbis at [email protected]; see also description of each principal subject.

Title Ensembles

Course contents The objective is to allow students to acquire the necessary practical experience and to stimulate their individual creativity so that, upon leaving the degree programme, they can successfully function in the various styles common to their instrument. Because instrumental and individual needs can be rather diverse, a wide variety of ensembles are offered. These are described in the ‘Ensembles’ section of this Prospectus.

Learning objectives 1.1, 1.2, 1.3, 2.1, 2.2, 3.1.2, 3.4.


Level Ba 1, Ba 2, Ba 3 and Ba 4

Teacher(s) David de Marez Oyens coördinator, Eva Baggerman, Rob van Bavel, Albert Beltman, Berend van den Berg, Jonas Bisquert, Jasper Blom, René Brijker, Arnold Dooyeweerd, Bart Fermie, Harmen Fraanje, Ernst Glerum, Maarten van der Grinten, Frits Heimans, Achim Heine, Frans van der Hoeven, Yuri Honing, Danny van Kessel, Marijn Korff de Gidts, Debby Korfmacher, Sylvia Langelaan, Erik van Lier, Abel Marcel, Michael Moore, Yaniv Nachum, Jan Oosthof, Ruud Ouwehand, Johan Plomp, Niti Ranjan Biswas, Rafael Reina, Maurice Rugebregt, Hernán Ruiz, Martijn Sohier, Henk Sprenger, Bodhi Sykora, Erik Vaarzon Morel, Lilian Vieira, Lené te Voortwis, Hans Vroomans, Jos Zwaanenburg

Credits Ba 1: 4–9 points; Ba 2 and 3: 7 or 8 points; Ba 4: 3–6 points. The number of points depends on the principal subject; for more information, see the overview of credits for each principal subject in the Prospectus.

Literature/repertoire During the first year, the emphasis in all principal subjects is on ensemble skills in jazz and related types of music. In addition to a specially created ensemble, there are trios with voice, a choir and a funk/crossover group. Nearly all the ensembles give performances at the Amsterdam Blue Note. In subsequent years, there are, on the one hand, the style-oriented ensembles, such as jazz octets, jazz trios with a vocal or instrumental soloist, improvisation ensembles, big bands, flamenco, Latin rhythm

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section, Brazilian and various crossover groups. On the other, there are the instrument-oriented groups, such as the guitar ensembles, bass guitar ensembles, saxophone ensembles, trombone ensembles and both choirs – Ladies Only and Vocal Inchoiry. A number of groups are required. Students can also take certain ensembles as electives, choosing from a wide selection, and thus determine the direction of their studies. In the third and/or fourth year, students can even form their own group, determine an objective and/or repertoire and choose a teacher.

Method of instruction Group lessons (ensembles) plus projects, masterclasses and workshops.




Scheduling Varies, see relevant schedule.


Information David de Marez Oyens at [email protected].

Title Ensemble skills

Course contents This ensemble explores collective improvisation. In this regard, the registering of and reacting alertly to stimuli and the development of initiatives are of primary importance. The various aspects of ensemble playing – volume/choice of sound, dynamic development, improvised section playing, choice of playing method, etc. – are isolated in these lessons and addressed. Students’ imaginations are also trained, as participants are assigned the task of choosing a composition and then leading the group. During these lessons, the teacher will also pay particular attention to students’ interest in subjects like arranging and ensemble conducting.

Learning objectives 1.1, 1.2, 1.3, 2.1, 2.2, 3.1, 3.3, 3.4.


Level Ba 1

Teacher(s) Maarten van der Grinten Credits 2

Literature/repertoire By agreement with the teacher

Method of instruction

Ensemble lessons

Means of evaluation Practical examinations

Assessment criteria Being alert and responding to stimuli, and developing initiative and the imagination, which means that the performance will be assessed on the volume/choice of sound, dynamic development, improvised section playing and choice of playing method.


Scheduling One hour a week for the entire year Location CvA, Oosterdokskade 151

Information Maarten van der Grinten at [email protected]

Title Music theory subjects and music and cultural history

Course contents The final examination for all instrumental and vocal principal subjects, as well as the principal subjects of arranging and music theory will all include the music theory subjects of general music theory, ear-training, harmony, analysis, arranging, harmony at the piano and the subject of music history, with one exception: the subject of harmony at the piano will not

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be included in the final examination for the principal subject of piano. These subjects must be concluded before a student may take the final examination.

In the first academic year (the propaedeutic phase), the selection of courses consists of the following: * general music theory; * General Theoretical Subjects (GTS); * solfège practicum; * rhythmic solfège; * harmony at the piano; and * history of jazz music. Except for general music theory and rhythmic solfège, these courses will be continued in the main phase. Students will be given the chance to study three subjects in depth in the third year; they will choose one of the courses on arranging, one of the analysis courses and additional subjects, and one of the music history courses.

Learning objectives 1.1, 1.2, 1.3, 2.1, 2.2, 3.1, 3.3, 3.4.


Level Ba 1, Ba 2, Ba 3

Teacher(s) See course descriptions in the section on music theory subjects and music and cultural history.

Credits Idem

Literature/repertoire Idem

Method of instruction Idem

Means of evaluation Idem

Assessment criteria Idem


Scheduling See course descriptions in the section on music theory subjects and music and cultural history.


Information Bram Strijbis at [email protected]

Title Education and music management Course contents The syllabus for the pedagogical subjects consists of three components:

Propaedeutic year 1. Introduction to education and career

Post-propaedeutic phase 2. Core requirements (education, methodology and internship) 3. Elected specialization (music management)

1. Introduction to education and career The aim of the first-year course is to introduce students to a number of important aspects of the professional world and the structure of the conservatory. Students also get to know one another during the course. Ten lectures and tutorials will cover the following aspects: * the structure of the conservatory: absentee policy, accommodation, medical care, the dean’s office, a binding recommendation that a student discontinue his/her studies, and reserving rooms; * study skills; * introduction to the Dutch professional music world; * gaining an understanding of the Dutch tax system as it applies to musicians; * the VAR (Declaration of Independent Contractor Status) and contracts; * injuries and how to prevent them; * motivational problems, psychological help; and * workshop on giving feedback.

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2. Core requirements (education, methodology and internship) The core requirements introduce students to methodology, education and the internship. During this year, the student will thus gain an understanding of the most important aspects of teaching his/her own principal subject and small ensembles, and will become familiar with an important component that will supplement his/her future career. At the end of the second year, a final discussion will be held during which the student and all relevant teachers (principal subject, methodology, education) will jointly draw up a draft concerning the elected specialization (DOK programme) and the student’s further study goals.

3. Elected specialization (music management) In the third year, the student will choose one of the profiles listed below. in this year is practically oriented and project-based with a great deal of individual input from the student. Guest teachers will be invited to discuss business aspects of the professional world. The music management programme is supported by the www.beroepkunstenaar.nl website. Music management enables students to prepare themselves intensively and personally for today’s professional world.

Learning objectives 1.1, 1,2, 1.3, 3.1, 3.2, 3.4, 3.5 Course type Required Level Ba 3 and 4 Teacher(s) Various teachers Credits Ba 3: 5 and Ba 4: 5. Literature/repertoire

Method of instruction

Means of evaluation Practical examinations Assessment criteria

Language(s) Dutch and English Scheduling

Location CvA, Oosterdokskade 151 Information [email protected] (Onderwiskundige vakken) [email protected] (Music

Business & Career)

Title Additional subjects

Course contents This course component allows students to earn a minimum of ten credits by specializing in a particular subject or focusing on a special interest in their second, third and fourth year of study. The electives programme is published on the intranet each year in May, when students can sign up for the subjects they wish to take in the following academic year.

Learning objectives 1.1, 1.2, 1.3, 2.1, 2.2, 3.1, 3.2, 3.3, 3.4.

Course type Electives

Level Ba 3 and Ba 4

Teacher(s) Various teachers

Credits Each academic year, the student must earn at least ten elective credits.

Literature/repertoire Depends on subject, see electives guide.

Method of instruction Depends on subject, see electives guide.

Means of evaluation Depends on subject, see electives guide.

Assessment criteria Depends on subject, see electives guide.


Scheduling Depends on subject, see electives guide.


Information

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Descriptionsoftheprincipalsubjects

Saxophone

Thewindfacultyseekstotrainstudentstobecomeall-roundmusicianscapableoffunctioninginallareasoftheprofessionalpractice:frommusicalorchestrastobigbandsthroughtojazz,fusion,popandLatinensembles,bothliveandrecorded.Studentsgainexperienceinavarietyofmusicalsituations,withensembleplaying,soloperformanceandimprovisationasfocalpoints.

TheteachingstaffofthesaxophonesectionincludesAlbertBeltman,JasperBlom,BenvanGelder,MarcScholtenandSimonRigter.InthepastyearsBranfordMarsalis,MiguelZenonandJoshuaRedmanwereguestteachers.DickOatts(ManhattanSchoolofMusic)isregularguestteacherattheConservatoriumvanAmsterdam.

Coordinator:JasperBlom

Studyprogramme

Objective

Theobjectiveofthecourseistwofold:thegreatestpossibledevelopmentofthestudent'smusicalpotentialontheonehand,andthegreatestpossibledevelopmentofthestudentasamusicianreadytoenterthe

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professionalmusicworldontheother.Thisisaccomplishedbyallowingthestudenttotakepartinvariousmusicalsituationsinwhichensembleplayingandthedevelopmentofsoloisticqualities(improvisation)arekey.Thestudent'sowncontribution(creativity)isalsostimulated.

PropaedeuticYear

PrincipalsubjectIntheprincipalprivatelessons,thestudentbecomesacquaintedwithbasicmusicalstructuresonwhichimprovisationisbased.Thefollowingareaddressed:* thedevelopmentoftheear* thedevelopmentofasenseofrhythmandtempo* toneproduction* understandingofharmonyinrelationtoimprovisation* thedevelopmentofapersonalmusicallanguage.

TechniqueInthetechniquelessons,attentionisgiventothedevelopmentofspecifictechnicalskillsrelatedtothesaxophone.Thefollowingareaddressed:* scales* arpeggioswithvariations* étudesandtranscriptionsfocusingonthejazzperformancetradition.

Studentswillbeginstudyingtheclarinetasasubsidiaryinstrument.InlateApril,atechniqueexaminationwillbeheld.

EnsemblesInthisyear,thefollowingensemblesarerequired:* ensembleskills* jazzgroup* saxophonegroup

Fortheremainingsubjects,pleaseseethecreditlist.

Examination(summary)

PlayingabilityProgramme:thestudentwillprepareanumberofpiecesthatexhibithis/hermusicaldevelopment.

EarandreadingabilityReflex,sight-reading,ear-training.

AssessmentThefollowingwillbeassessed:* musicality;ear,understandingofmelody/harmony,senseofrhythmandtempo* affinitywiththeinstrument* technique,toneproduction,readingability* thedevelopmentofthestudent'svocabulary

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Secondandthirdyear

PrincipalsubjectTheapproachoutlinedinthepropaedeuticyearwillbecontinued.

ImprovisationThefollowingareaddressed:* creativity* thedevelopmentofapersonalstyle* analysisofsolotranscriptions* knowledgeoftherepertoire* ear-traininginconjunctionwiththeinstrument* interpretationofvariousstyles

Technique*études:Londeix,Allard* fusion/funkperformancetradition* compoundmetres(Karg-Elert,Lacour)* orchestralplaying* flageolets,doubletones,circularbreathing,etc.

Ensembles* jazzgroupinyear2and3* trioplussoloistinyear3* Latingroup,requiredelectiveinyear2or3* crossovergroupand/orothertraditionsarearequiredelectiveinyear3or4* bigbandinyear3andyear2and/oryear4

Thisphasewillbeconcludedwitharecital.Thisrecitalwillconstitutethelastassessmentbeforethefinalexaminationandwilltakeplaceduringthesecondtermofyear3.

Examination

Thestudentwillpreparenomorethansixpieces.Formoreinformation,pleaseseethesectiononthepropaedeuticyear.InlateAprilofthethirdyear,atechniqueexaminationwillbeheld,andaflute/clarinetexaminationinlateJune.

Fourthyear

Thisfinalyearwillbedevotedtopreparationsforthefinalexamination.

PrincipalsubjectIndividualdevelopmentisparticularlyemphasizedatthispoint.

EnsemblesTwoensemblesarerequired:trioplussoloistandoneensembleofthestudent'schoice.

Finalexamination* performanceofatleast50minutes,nottoexceedonehour* thestudentwillchoosethesetting(s)andtherepertoire;theprogrammewillbeasvariedaspossibleandchoseninconsultationwiththeprincipalstudyteacher

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* thequalityofthearrangements,thestudent'sowncompositionsandoriginalitywillallweighheavilyintheassessment* thestudentshouldpresenthimself/herselftothebestofhis/herabilityasanimproviserandsaxophonist.

Teachers

JasperBlom+co-ordinatorSimonRigterBenvanGelderDickOatts,regularguestteacher–ArtistinResidenceAlbertBeltman,methodology+clarinetasasubsidiarysubjectMarcScholten,technique,clarinetasasubsidiarysubjectJaspervanDamme,methodicsRaymondHoningfluteasasubsidiarysubject

Admissionrequirements

1. Playingskilla. Thecommitteewillchoosefromthreepiecesofadifferentcharacter,tempoandkeypreparedbythecandidate,inwhichhe/sheshowsthecommitteebothcommandoftheinstrumentandaffinitywithjazz.Inplayingthesepiecesimprovisationshouldbeanimportantpart.Forcandidateswhogiveprioritytoplayinginanorchestra,therearealsopossibilities.Inthiscaseimprovisatorialskillsarelessimportant.b. Thecandidatemustalsoplaywrittenmaterial,e.g.jazzsolos,jazzetudes,and/orclassicaletudes(bring4copiesofsheetmusicforthecommittee).c. Beingabletoplayallmajorandminorscalesandtriadsatareasonabletempo.

Thecommitteereservestherighttointerruptthecandidate'splayingasaccordingtothecommittee,he/shehassuppliedenoughinformation(becauseofthelimitedtimeof30minutes).Thereforeitisimportantforthecandidatetoshowhis/herskillsasquicklyaspossible:nottoomanyand/ortoolongsolosoffellowplayers,nounnecessaryrepetitions.

2. Hearing,tempo/timingandreadingskillsThismayconsistof:* playingbyearonharmonicprogressionswhicharegivenbythecommitteemembers* repeatingofplayedfragments* beingabletoplayaprimavistaapieceinjazzidiom(forinstanceasectionfromanorchestralpartorasimpleetude)

Thecommitteesupplementstheexaminationwithsomeexerciseswhichmustshowthecandidate'sskillswhichhavenotbeensufficientlydiscloseduptillthen.

3. AssessmentThepossibilitiestofollowaprincipalsubjectstudywillbediscussedbythecommittee.Importantissuesfortheassessmentare:* musicalityandhearing* feelingforrhythmandtempo* dispositionfortheinstrument* sightreading,technique,tonequality

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ClarinetandBassClarinet

Thewindfacultyseekstotrainstudentstobecomeall-roundmusicianscapableoffunctioninginallareasoftheprofessionalpractice:frommusicalorchestrastobigbandsthroughtojazz,fusion,popandLatinensembles,bothliveandrecorded.Studentsgainexperienceinavarietyofmusicalsituations,withensembleplaying,soloperformanceandimprovisationasfocalpoints.Separatecoursesareofferedforleadtrumpetandleadalto,theseareuniqueinEurope.

Coördinator:JasperBlom

Studyprogramme

Objective

Theobjectiveofthecourseistwofold:thegreatestpossibledevelopmentofthestudent'smusicalpotentialontheonehand,andthegreatestpossibledevelopmentofthestudentasamusicianreadytoentertheprofessionalmusicworldontheother.Thisisaccomplishedbyallowingthestudenttotakepartinvariousmusicalsituationsinwhichensembleplayingandthedevelopmentofsoloisticqualities(improvisation)arekey.Thestudent'sowncontribution(creativity)isalsostimulated.

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PropaedeuticYear

PrincipalsubjectIntheprincipalprivatelessons,thestudentbecomesacquaintedwithbasicmusicalstructuresonwhichimprovisationisbased.Thefollowingareaddressed:* thedevelopmentoftheear* thedevelopmentofasenseofrhythmandtempo* toneproduction* understandingofharmonyinrelationtoimprovisation* thedevelopmentofaccompanyingandmelodicskillsonthebassclarinet* thedevelopmentofrepertoireknowledgeinthefieldofclassicalmusicandjazz

TechniqueInthetechniquelessons,attentionisgiventothedevelopmentofspecifictechnicalskillsrelatedtothesaxophone.Thefollowingareaddressed:* scales* arpeggioswithvariations* étudesandtranscriptionsfocusingonthejazzperformancetradition.* historicaldevelopmentoftheinstrument

EnsemblesInthisyear,thefollowingensemblesarerequired:* ensembleskills* jazzgroup* clarinetquartets/quintets,woodwindsgroup


PlayingabilityProgramme:thestudentwillprepareanumberofpiecesthatexhibithis/hermusicaldevelopment.


AssessmentThefollowingwillbeassessed:* musicality;ear,understandingofmelody/harmony,senseofrhythmandtempo* affinitywiththeinstrumentandwithjazzz* technique,toneproduction,readingability* thedevelopmentofthestudent'svocabulary

Secondandthirdyear


ImprovisationThefollowingareaddressed:* creativity* thedevelopmentofapersonalstyle* analysisofsolotranscriptions* knowledgeoftheclassicalandjazzrepertoire

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* ear-traininginconjunctionwiththeinstrument* interpretationofvariousstyles

Technique* etudes* performancepractice* compoundmetres* orchestralplaying* flageolets,doubletones,circularbreathing,etc.

Ensembles* jazzgroupinyear2and3* trioplussoloistinyear3* ‘freespace’ensembles* ensembleswithbassclarinet(forinstanceZappagroup)* crossovergroupand/orothertraditionsarearequiredelectiveinyear3or4* (optional,saxophoneasasubsidiarysubject)bigbandinyear3andyear2and/oryear4


ExaminationThestudentwillpreparenomorethansixpieces.Formoreinformation,pleaseseethesectiononthepropaedeuticyear.InlateAprilofthethirdyear,atechniqueexaminationwillbeheld

Fourthyear



EnsemblesOneensembleisreqiored:trio+soloist

Finalexamination* performanceofatleast50minutes,nottoexceedonehour* thestudentwillchoosethesetting(s)andtherepertoire;theprogrammewillbeasvariedaspossibleandchoseninconsultationwiththeprincipalstudyteacher* thequalityofthearrangements,thestudent'sowncompositionsandoriginalitywillallweighheavilyintheassessment* thestudentshouldpresenthimself/herselftothebestofhis/herabilityasanimprovisingclarinettist

Teachers

JorisRoelofsHarmendeBoerclarinettechniqueErikvanDeurenbassclarinettechniqueMarcScholtendidactics

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1. Playingskilla. Thecommitteewillchoosefromthreepiecesofadifferentcharacter,tempoandkeypreparedbythecandidate,inwhichhe/sheshowsthecommitteebothcommandoftheinstrumentandaffinitywithjazz.Inplayingthesepiecesimprovisationshouldbeanimportantpart.Forcandidateswhogiveprioritytoplayinginanorchestra,therearealsopossibilities.Inthiscaseimprovisatorialskillsarelessimportant.b. Thecandidatemustalsoplaywrittenmaterial,e.g.jazzsolos,jazzetudes,and/orclassicaletudes(bring4copiesofsheetmusicforthecommittee).c. Beingabletoplayallmajorandminorscalesandtriadsatareasonabletempo.

Pleasenote:writtenmaterialinconsultationwithErikvanDeurenandHarmendeBoer

2. Hearing,tempo/timingandreadingskillsThismayconsistof:* playingbyearonharmonicprogressionswhicharegivenbythecommitteemembers* repeatingofplayedfragments* beingabletoplayaprimavistaapieceinjazzidiom(forinstanceasectionfromanorchestralpartorasimpleetude)Thecommitteesupplementstheexaminationwithsomeexerciseswhichmustshowthecandidate'sskillswhichhavenotbeensufficientlydiscloseduptillthen.

3. AssessmentThepossibilitiestofollowaprincipalsubjectstudywillbediscussedbythecommittee.Importantissuesfortheassessmentare:* musicalityandhearing* feelingforrhythmandtempo* dispositionfortheinstrument* sightreading,technique,tonequality

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TrumpetThewindfacultyseekstotrainstudentstobecomeall-roundmusicianscapableoffunctioninginallareasoftheprofessionalpractice:frommusicalorchestrastobigbandsthroughtojazz,fusion,popandLatinensembles,bothliveandrecorded.Studentsgainexperienceinavarietyofmusicalsituations,withensembleplaying,soloperformanceandimprovisationasfocalpoints.Separatecoursesareofferedforleadtrumpetandleadalto,theseareuniqueinEurope.

TheteachingstaffofthetrumpetsectionconsistsofRuudBreuls,JanWesselsandJanOosthof(leadtrumpet).BobbyShew,EarlGardner,ChuckFindley,TerellStafford,AmbroseAkinmusire,andAvishaiCohenwereguestteachersinthepastyears.

Co-ordinator:JanOosthof

Studyprogramme

Objective

Theobjectiveofthecourseistotrainmusicianstobeasversatileaspossible.Theprogrammeoffersstudentsvariousmeansofspecialization,whichcorrespondstotheindividualtalentsofthestudent.Thisobjectiveisaccomplishedbyallowingthestudenttotakepartinvariousmusicalsituationsinwhichgoodensembleskills

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andthedevelopmentofsoloisticqualities(improvisation)arekey;additionally,thestudent'sowncontribution(creativity)isstimulatedtothegreatestextentpossible.

PropaedeuticYear

PrincipalsubjectIntheprincipalprivatelessons,thefollowingissueswillbeaddressed:* becomingacquaintedwithbasicmusicalstructuresonwhichimprovisationisbased.Attentionispaidtotoneproduction,articulation,phrasing,timingandanunderstandingofharmonyinrelationtoimprovisation.* thedevelopmentofapersonalmusicallanguage* playingtranscriptionsthatfocusontheperformancetraditionofjazzmusic* playingallmajorandminorscales,arpeggioswithvariations

Theselessonsaregivenbytheimprovisationteacher.

TechniqueThetechniqueteacherwillfocusparticularlyontechnicalskillsincludingposture,breathing,embouchureandtoneproduction.

EnsemblesInthisyear,thefollowingensemblesarerequired:* ensembleskills* jazzgroup* trumpetsection


*playingfourpiecesofdifferentcharacterfrommemory*playingfourclassicalsolopiecesofdifferentcharacter

Secondandthirdyear

PrincipalsubjectInthelessonsinimprovisation,thefollowingpointswillreceiveextraattention:* ear-traininginconjunctionwiththeinstrument* stimulatingcreativityandhelpingtodevelopthestudent'sownindividualstyle* theanalysisofsolotranscriptions* knowledgeoftherepertoire* furtherexplorationofscalarmaterialinvariousintervalsandwithvariousarticulations* continueddevelopmentofthestudent'srangeontheinstrument

Inaddition,attentionisnowdevotedtotheperformancetraditionoffusion/funkmusic.Thestudent'sjazz,classicalandensemblerepertoireisexpanded.Inthethirdyear,classesareputtogetherforthepurposeofstudyingandperformingvariousstyles.

Ensembles* jazzgroupinyear2and3* trioplussoloistinyear3* crossovergroupand/orothertraditionsarearequiredelectiveinyear3or4* bigbandinyear2and3andyear1and/oryear4

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Examination(summary)Thestudentwillpreparenomorethansixpieces.Formoreinformation,pleaseseethesectiononthepropaedeuticyear.

FourthYear

PrincipalsubjectDuringthisyear,thestudentwillprepareavariedprogrammewiththehelpofhis/herprincipalstudyteacher.

TechniqueInlateJanuary,thefinaltechniqueexaminationwillbeheld.


Finalexamination(summary)

Theexaminationwilllastatleast50andnomorethan60minutes.Allstudentswillberesponsibleforputtingtogethertherepertoirethattheywillperformforthefinalexaminationsothattheycanpresentthemselvestothebestoftheirability.

TeachersJanOosthoflead-trumpet,techniek,methodiek,coördinatorRuudBreulsJanWesselsTerellStaffordregularguestteacher–artistinresidenceAlexSipiaginregularguestteacher–artistinresidence


1. PlayingskillThecommitteewillchoosefromthreepiecesfromthestandardjazzrepertoire(themeandimprovisation)ofdifferentcharacter,tempoandkey,preparedbythecandidate,inwhichhe/sheshowsthecommitteebothcommandoftheinstrumentandareasonablerhythmic,harmonicandmelodicunderstanding.Inplayingthesepiecesimprovisationmustbeanimportantfactor.Forcandidateswhogiveprioritytoplayinginanorchestratherearealsopossibilities.Inthiscaseimprovisatorialskillsarelessimportant.b. Thecandidatemustalsoplaywrittenmaterial,e.g.jazzsolos,jazzetudesand/orclassicaletudes(bringfourcopiesofsheetmusicfortheexaminationcommittee).c. Beingabletoplay:* allmajorandminorscales* allmajorandminortriadsanddominantseventhchords

2. Hearing,tempo/timingandreadingskillsThismayconsistof:* repeatingbyearasungorplayedline* fillingin(playingsolo)ofaharmonicprogressionofgivenchordsymbols* playingofawrittenmelodyaprimavista

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3. AssessmentThepossibilitiestofollowaprincipalsubjectstudywillbediscussedbythecommittee.Importantissuesfortheassessmentare:1. musicality,hearingandmelodicunderstanding2. feelingforrhythmandtempo3. affinitywithjazzorderivedformsissupposedtobepresent4. harmonicunderstanding,readingchords5. techniqueandtonequality6. sightreading

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TromboneandBassTromboneThewindfacultyseekstotrainstudentstobecomeall-roundmusicianscapableoffunctioninginallareasoftheprofessionalpractice:frommusicalorchestrastobigbandsthroughtojazz,fusion,popandLatinensembles,bothliveandrecorded.Studentsgainexperienceinavarietyofmusicalsituations,withensembleplaying,soloperformanceandimprovisationasfocalpoints.Separatecoursesareofferedforleadtrumpetandleadalto,theseareuniqueinEurope.

ThemembersofthetrombonesectionareBertBoeren,MartijnSohier,IljaReijngoud,ErikvanLier,MartinvandenBergandJiltJansma.BillReichenbach,BartvanLier,AdrianMeansandRobinEubankswereguestteachersinthepastyears.

Co-ordinator:ErikvanLier

Studyprogramme

Objective

Theobjectiveofthecourseistotrainmusicianstobeasversatileaspossible.Theprogrammeoffersstudentsvariousmeansofspecialization,whichcorrespondstotheindividualtalentsofthestudent.Thisobjectiveisaccomplishedbyallowingthestudenttotakepartinvariousmusicalsituationsinwhichgoodensembleskillsandthedevelopmentofsoloisticqualities(improvisation)arekey;additionally,thestudent'sowncontribution(creativity)isstimulatedtothegreatestextentpossible.

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PropaedeuticYear

PrincipalsubjectIntheprincipalprivatelessons,thefollowingissueswillbeaddressed:* becomingacquaintedwithbasicmusicalstructuresonwhichimprovisationisbased.Attentionispaidtotoneproduction,articulation,phrasing,timingandanunderstandingofharmonyinrelationtoimprovisation.* thedevelopmentofapersonalmusicallanguage* playingallmajorandminorscales* acquaintingthestudentwithII-V-Iprogressions,alsounaccompaniedovertwobars* learningthemesbyheartandtheiraccompanyingchordcharts* collectingjazzrepertoireonLPrecords,CDsandcassettetapes

Theselessonsaregivenbytheimprovisationteacher.

TechniqueInthetechniquelessons,attentionwillbegivento:* improvinggeneralhorntechnique:posture,breath,breathsupport,embouchure,slidetechnique,toneproduction,articulation,rangeandflexibility* becomingacquaintedwithvariouspracticemethodsandwarm-upexercises* apracticalintroductiontovarioustromboneschoolsandthemethodsandvariousstyles(solopieces)* improvement/developmentofreadingaccidentalsandclefsincommontrombonematerial* improvementoftoneconception(toneproduction)bylisteningtotrombonists(CD,LP)

Bothclassicalandjazz.ThejazzteacherwillalsochecktechniqueusingmaterialbyRemington,Slokar,VanLier,BequetandKleinhammer.Thesetechniquebookswillcontinuetobeexploredanddiscussedthroughoutthefour-yearperiod.

EnsemblesInthisyear,thefollowingensemblesarerequired:* ensembleskills* jazzgroup* trombonegroup


*playingfourpiecesofdifferentcharacterfrommemory* playingtwoétudesrequiringdifferentarticulation* playingtwoclassicalsolopiecesofdifferentcharacter

Secondandthirdyear

PrincipalsubjectInthelessonsinimprovisation,thefollowingpointswillreceiveextraattention:* ear-traininginconjunctionwiththeinstrument* stimulatingcreativityandhelpingtodevelopthestudent'sownindividualstyle* theanalysisofsolotranscriptions* knowledgeoftherepertoire* furtherexplorationofscalarmaterialinvariousintervalsandwithvariousarticulations* continuingtodevelopstaminaforleadparts;rangeshouldextenduptoahighDatleast

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* becomingawareofdifferenttypesoftoneandbeingabletoproducetheseaswell* developingdynamicability(pp?ff)* refiningtheconditioningroutinesandlearningtheeffectofthevariousexercises* beingabletoexecutethesolosofDickNash,J.J.JohnsonandCarlFontano* studyingtheoldbandsandtheirtrombonesound,aswellasclassicaltrombonesoloists

Inhis/herlessonplan,thestudentwilldrawuphis/herownimprovisationteachingmethodtobeimplementedatthreedifferentlevels:foramateurs,musicschoolsandconservatories.

TechniqueFirst-yearmaterialwillbetakentoahigherlevel.Inthelessons,attentionwillbegiventoplayingclassicalétudesandconcertpieces.

Ensembles*jazzgroupinyear2and3* trioplussoloistinyear3* crossovergroupand/orothertraditionsarearequiredelectiveinyear3or4* trombonegroupinyear2and3* bigbandinyear2and3andyear1and/oryear4



Thestudentwillpreparenomorethansixpieces.Formoreinformation,pleaseseethesectiononthepropaedeuticyear.

Fourthyear

PrincipalsubjectPreparationforthefinalexamination.Extendingthestudent'srangeontheinstrumentuptoahighF.Increasedynamicsandstamina.

TechniqueInlateJanuary,afinaltechniqueexaminationwillbeheldinwhichthestudentwillperformclassicalétudesandconcertpieces.


FinalexaminationTheexaminationwilllastatleast50andnomorethan60minutes.Allstudentswillberesponsibleforputtingtogethertherepertoirethattheywillperformforthefinalexaminationsothattheycanpresentthemselvestothebestoftheirability

TeachersErikvanLierbastrombone,co-ordinatorBertBoerenIljaReijngoudMartijnSohiertechnique,co-ordinator

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MartinvandenBergtechnique(basstrombone)JiltJansmamethodicsNilsWogramregularguestteacher–artistinresidence


1. Playingskilla. Thecommitteewillchoosefromthreepiecesfromthestandardjazzrepertoire(themeandimprovisation)ofdifferentcharacter,tempoandkey,preparedbythecandidate,inwhichhe/sheshowsthecommitteebothcommandoftheinstrumentandareasonablerhythmic,harmonicandmelodicunderstanding.Inplayingthesepiecesimprovisationmustbeanimportantfactor.Forcandidateswhogiveprioritytoplayinginanorchestratherearealsopossibilities.Inthiscaseimprovisatorialskillsarelessimportant.b. Thecandidatemustalsoplaywrittenmaterial,e.g.jazzsolos,jazzetudesand/orclassicaletudes(bringfourcopiesofsheetmusicfortheexaminationcommittee).c. Beingabletoplayallmajorandminorscalesandtriadsatareasonabletempo.


2. Hearing,tempo/timingandreadingskillsThismayconsistof:* repeatingbyearasungorplayedline* fillingin(playingsolo)ofaharmonicprogressionofgivenchordsymbols* playingofawrittenmelodyaprimavista


3. AssessmentThepossibilitiestofollowaprincipalsubjectstudywillbediscussedbythecommittee.Importantissuesfortheassessmentare:1. musicality,hearingandmelodicunderstanding2. feelingforrhythmandtempo3. affinitywithjazzorderivedformsissupposedtobepresent

butbesidesthesealso:4. harmonicunderstanding,readingchords5. techniqueandtonequality6. sightreading

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GuitarThebachelorprogrammeforguitaristsprovidestraininginjazzfromallperiods.Studentsareencouragedtodeveloptheirownstyle.Theycanbetaughtbyvariousprincipal-studyteachersthroughoutthestudyandthereareopportunitiestoplayinawiderangeofensembles(Latin,fusionetc.).

TheteachingstaffconsistsofMaartenvanderGrinten,MartijnvanIterson,JessevanRuller,DurkHijma(MethodologyandTechnologyIandII)ReinierBaas(guestteacher)GeorgeDumitriu(guestteacher)andEricVarzonMorel(Flamenco).Aselectionfromtheinternationalguestteachers:JohnScofield,MikeStern,LeonardoAmuedoandPeterBernstein(regularguestteacher-ArtistinResidence)Co-ordinator:MaartenvanderGrinten

Studyprogramme

Objective

Theobjectiveofthecourseistwofold:thegreatestpossibledevelopmentofthestudent'smusicalpotentialontheonehand,andthegreatestpossibledevelopmentofthestudentasamusicianreadytoentertheprofessionalmusicworldontheother.Inthecourse,anapproachfocusingonjazzandrelatedmusichasbeenchosen.Consequently,studentswillbefullyequippedtodealwithallstylesuponenteringtheprofessionalworld.

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PropaedeuticYear

PrincipalsubjectIntheprincipalprivatelessons,thefollowingissueswillbeaddressed:* theplayingofmelody(singlenote):toneproduction,left-handtechnique(legatowithoutoverlappingnotes),right-handtechnique(plectrum,hybridpicking),knowledgeandanalysisofmelodiesfromtherepertoire,timing,notionofswing,varyingmelodythroughrhythm,transposition* improvisation:1. rhythmicawareness,timing,notionofswing,tempo(metronome,foot),phrasing,rests,feelforfour-andeight-measurephrases(alsowithoutchordchart)2. playinginakey,melodicvariation,auxiliarynotes(diatonicandchromaticsuspensionsandpassingnotes),arpeggios,diatonicnon-harmonictones,alterednon-harmonictones,scales(churchmodes,harmonicandmelodicminor,octatonic,altered,whole-tone,pentatonic),awarenessofintervals,sequences3. dynamicsandamplification4. chordchartsforrepertoirepieces5. thetranscribingandplayingofrecordings(ofanimprovisationbyaguitaristandbyawindplayer)

* Accompaniment:knowledgeofchords,terminology,useoftheleftthumb,omittingfifths,playingrhythmandcompinglikeonthepiano,one-andtwo-voiceaccompaniment(fills),creatingintrosandcodas,becomingawareofthedifferencebetweentwo-andfour-beataccentuation,knowledgeofchordcharts,functionalanalysisofthesechartswithvariationsandnon-harmonicnotes,scaledegrees(ofthemajorandharmonicminorscales),ensembleskillsandconcentratingonlisteningtoone'sfellowplayers,amplificationanddynamics,tempo* solfègeinrelationtotheinstrument:repeatingmelodies,improvisingonchordsbyear,learningastandardwithoutusingmusic,workingoutsolosontheinstrumentwithouthavingtonotatethem* sight-reading:(althoughdealtwithintheprincipalsubject,isfocusedonparticularlyinSightreadingIandII)melodies(jazzandpopstandards,classicalworkforclarinet,classicalworkforviolin),chords,chordswithmelodyintheuppervoice

Theprincipalprivatelessonisgivenonanindividualbasis.Muchofthistimewillbespentplayingpieceswiththeprincipalstudyteacher(melody,improvisationandaccompaniment);thestudent'sinitiativewithrespecttothechoosingofpiecesisencouraged.Duringthecourse,thestudentwillswitchprincipalstudyteachersatleastonce.

Secondandthirdyear

Principalsubject* takingthelessonmaterialworkedonduringthepropaedeuticyeartoahigherlevel* dealingwiththecomponentsoftheétudeexaminationandallrelatedissues* dealingwiththepiecestobeplayedduringtheperformanceexaminationandallrelatedissues* developinganawarenessofdifferentstylesoftherepertoireandofcomposers,familiarizationwiththeoriginofthepieces* basslines* beingabletoaccompanyamelodywithchords* sweeping* transposingchordcharts

Technique* BasicTechniqueII(second-yeargrouplessontaughtbyPeterMingaars)isacontinuationofBasicTechniqueI.Thefollowingwillalsobeaddressed:classicalétudes(single-string:inventionsandpartitasbyBach,PerpetuummobilebyPaganini,etc.);transcribingandplayingalongwithsoloschosenbythestudent;andalistofsolos

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fromwhichthestudentmustchooseonetoperform.* Sight-readingII(ifnotcompletedinthepropaedeuticyear)

Ensembles* guitarquintet,HenkSprenger:arrangementsforfiveguitarsplusrhythmsectioninbig-bandstyle.Toenrol,studentsmustfirsthavecompletedSight-readingIandII.* guitargroupIII(taughtbyMaartenvanderGrinten):thepiecesfortheétudeexaminationaredealtwithfromapracticalperspective;inthisrespect,communicationwiththerhythmsectionisoneofthefocalpoints* bigband(optional)* trioplussoloist(optionalinthethirdyear)* othertraditionsand/orcrossovergroup(studentsmustchooseatleastonetermofbothofthese)


Étudeexamination(thirdyear,secondterm)Alistofrequiredrepertoirepiecesinthefollowingstyles:* mediumtwo-beat* up-tempo(bopor'cool'four-beatcomposition)* chordarrangementofaballad(partlyrubato)* Coltranepiece(parallelthirdsrelationship)* Brazilian(emphasisonaccompaniment)* modal(oneornochordinimprovisationchart)* post-bop(chartwithnon-functionalchords)

Performanceexamination(fourthyear,firstterm)Aprecursortothefinalexamination;theprogrammewilllastapproximately40minutes.Thestudentisfreetochoosethepiecesthathe/shewillperform.Onepiecemusthavebeencomposedrecently-apiecethatexhibitsotherinfluencesinadditiontojazzand/orLatininfluences.

Studentsareexpectedtoperformatleastonceayearonaneveninggrouprecital;theyareresponsibleforfindingtheirownrhythmsection.

Fourthyear

Performanceexaminationinthefirstterm;pleaseseeabove.

PrincipalsubjectEverythingrelatedtotherepertoireofthefinalexamination.Preparingtofunctionindependentlyinthemusicalarena.

Ensembles* ensemblesasdescribedinthethird-yearsection,basedonchoiceandavailability.

FinalexaminationStudentsarefreetochoosethepiecesthattheywillperform;theyare,however,expectedtochoosepiecesthatillustratetheirtechnicalversatility.Thecandidatemustdemonstrategoodorganizationalskills,skillinarranging(atleastforsmallensemble)andpossessmusicalexpressivity.Lengthoftheprogramme:50minutes.

Teachers

MaartenvanderGrintencoordinator

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MartijnvanItersonJessevanRullerReinierBaasguestteacherGeorgeDumitriuguestteacherPeterBernsteinregularguestteacher–artistinresidenceDurkHijmatechnique,methodology


Candidatesfromabroadfortheprincipalsubjectguitarjazzwillbeselectedbeforehandbymeansofarecording(cdorminidisc)ofthreepieces,eachonepreferablyshorterthan3minutes,tobesentinbythecandidate.Thecandidateisfreeinhischoiceofthepieces.Ifthereisthepossibilitytosenditbye-mailinmp3format(orAAC,m4a),[email protected],subject:application.Pleasedonotforgettorepeatyournameinthee-mailtext.Ifthecandidate'splayingontherecordingdoesnotmatchtherequiredlevel,thecandidatewillnotbeinvitedtotheentranceexamination.NB:Nobodywillbeadmittedonthebasisoftherecordingonly,andbeinginvitedtotheentranceexamdoesnotmeanthecandidateisadmittedtotheschool.

1. Playingskilla. Repertoire:thecommitteewillchoosefromthreepiecesfromthestandardjazzrepertoirepreparedbythecandidateincludingone(jazz-)bluesthemeandatleastonejazzstandard.Thecandidatewillbeexpectedtoplaythechosenjazzstandardmelodysinglestringed(withouttheunderlyingchords).Eachpiecemustcontaintheme,improvisationandaccompaniment.Thecandidatewillbeaccompaniedbyoneoftheguitarteachersunlesshe/shehasbroughtownaccompaniment.Thecommitteereservestherighttointerruptthecandidate'splayingasaccordingtothecommittee,he/shehassuppliedenoughinformation(becauseofthelimitedtimeof30minutes).

b. Technique:thecandidatemustshowsufficientknowledgeofchordsandmajorandminorscalesinposition.Whenthisisnotevidentinthechosenrepertoire,thecandidatemaybeaskedtoprovidefurtherprove.Thecourseassumestheuseofaplectrum.Whenthecandidatedoesnotuseaplectrum,thecommitteewillgivespecialattentiontothequalityofthesinglestringmelody)playing.

2. Hearing,tempo/timingandreadingskillsThismayconsistof:* repeatingbyearaplayedline* accompanyingbyearaplayedharmonicprogressionwithouthavingreceivedanyindication* playingofawrittenmelody;afterashortpreparation,alsoinposition* playingofaharmonicprogressiontogivenchordsymbols

Thecommitteesupplementstheexaminationwithsomeexerciseswhichmustshowthecandidate'sskillwhichhavenotbeensufficientlydiscloseduptillthen.

3. AssessmentThepossibilitiestofollowaprincipalsubjectstudywillbediscussedbythecommittee.

Importantissuesfortheassessmentare:1. musicality,hearingandmelodicunderstanding2. feelingforrhythmandtempo

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3. affinitywithjazz

butbesidesthesealso1. harmonicunderstanding,readingchords2. technique,tonequality3. sightreading

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PianoPrincipal-studypianistsaretrainedassoloists,orchestramusiciansandaccompanistsinallspheresofthemusicalprofessionandasimprovisersinmodernjazzsettingsaswell.Alongsidetheprincipalstudytherearespecialtechnicalcourseswhichfocusoncomposedmusic,pianotechniqueandsight-reading.

TeachersareRobvanBavel,KarelBoehlee,HansVroomans,HarmenFraanje;techinqueteachersareMatthijsVerschoorandGertjanVermeulen.OverthepastyearsguestteachershaveincludedBradMehldau,JasonMoran,JoeyCalderazzo,LarryGoldings,DaniloPerezandVijayIyer.

Coordinator:KarelBoehlee

Studyprogramme

Objective


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PropaedeuticYear

PrincipalsubjectIntheprincipalprivatelessons,thefollowingissueswillbeaddressed:* thedevelopmentoftheear* thedevelopmentofasenseofrhythmandtempo* harmony:developinganunderstandingofharmonicprogressions* readingnotesandchordsymbols* developingmusicalmemory* improvising* technique* accompanying/ensembleplaying* learninghowtopractice

TechniqueInadditiontotheprincipalsubject,specialtechniquelessonswillfocusoncomposedmusic,pianotechnique,sight-reading,etc.

EnsemblesInthisyear,thefollowingensemblesarerequired:* ensembleskills* jazzgroup* crossovergroup

Fortheremainingsubjects,pleaseseethecreditlist.


PlayingabilityProgramme:* threepiecesofdifferentcharacter,twoofwhicharesetfortrioandonewithasoloist,becauseoftheaccompanimentalaspect* onecomposedpiece(concertpiece,polyphonicorétude),whichdemonstratesmasteryofthebasictechnique* demonstratingknowledgeofmajorandminorscales,pentatonic,octatonic,chromaticscales,churchmodes


AssessmentThefollowingwillbeassessed:* musicality:ear,understandingofmelody/harmony,senseofrhythmandtempo* affinitywiththeinstrument* technique,toneproduction,readingability

Secondandthirdyear


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TechniqueInthethirdyear,afinalexaminationwilltakeplace.Requirements:oneconcertpiece,onepolyphonicpiece,twoétudesandonepiecetobesight-read

Ensembles*jazzgroupinyear2* trioplusvoiceinyear2* trioplussoloistinyear3* crossovergroupand/orothertraditionsarearequiredelectiveinyear2or3* principalsubjectgroupinyear2or3* bigbandoptional


Examination*candidatesshouldpresentawell-preparedandvariedprogrammelastingapproximately40minutes;itisalsorecommendedthatcandidatesincludeontheprogrammeapiecethattheyhavecomposed* asolopiece:along,rubatosolointroductiontoanensemblepieceisalsoacceptable* theprogrammeshouldbeperformedmainlyatthepiano;theuseofelectronics(e.g.synthesizers)forcolouringispermitted* varioussettingsinwhichthestudentcanbeheardasasoloistandasanaccompanist.

Fourthyear



EnsemblesTwoensemblesarerequiredunlessthestudenthasfulfilledallhis/herobligations.Formoreinformation,pleaseseetheensembleoverview.

Finalexamination*performanceofatleast50minutes,nottoexceedonehour* thestudentwillchoosethesetting(s)andtherepertoire;theprogrammewillbeasvariedaspossibleandchoseninconsultationwiththeprincipalstudyteacher* thequalityofthearrangements,thestudent'sowncompositionsandoriginalitywillallweighheavilyintheassessment* studentsmaydeviatefromtheaboveshouldtheyhavedevotedthemselvestothestudyofastyletosuchanextentthattheyhavemasteredit(tobeassessedbythedepartment).

Throughouttheprogramme,allpianostudentsarerequiredtoperformatleastonceeachyearonaneveninggrouprecital.

Teachers

KarelBoehleecoordinatorRobvanBavelHarmenFraanje

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HansVroomansMatthijsVerschoortechniqueGert-JanVermeulentechniqueJacoBenckhuijsenmethodology


1. Playingskilla. Thecommitteewillchoosefromthreepiecesfromstandardjazzrepertoirepreparedbythecandidate(amongwhichonebluesandoneballad),inwhichthecandidateshowsthecommitteethathe/shebothmasterstheinstrumentandhasareasonablerhythmic,harmonicandmelodicunderstanding.

b. Twopiecesfromtheclassicalrepertoire,orwrittenoutjazzetudesandsolos(bring4copiesofsheetmusicforthecommittee).Thecommitteereservestherighttointerruptthecandidate'splayingasaccordingtothecommittee,he/shehassuppliedenoughinformation(becauseofthelimitedtimeof30minutes).Thereforeitisimportantforthecandidatetoshowhis/herskillsasquicklyaspossible:nottoomanyand/ortoolongsolosoffellowplayers,nounnecessaryrepetitions.

2. Hearing,tempo/timingandreadingskillsThismayconsistof:* repeatingbyearlinesandchords* accompanyingbyearanunknown,simplepiece,withoutanypreviousinformation* fillingin(withalogicalbassline)ofaharmonicprogressiontogivenchordsymbols* beingabletoplayagivenpiece(melodyandchordsymbols)


3. AssessmentThepossibilitiestofollowaprincipalsubjectstudywillbediscussedbythecommittee.Importantissuesfortheassessmentare:1. musicality,hearingandmelodicunderstanding2. feelingforrhythmandtempo3. affinitywiththeinstrumentandthemusicstyleswhicharedirectlyconnectedwiththisinstrument

butbesidesthesealso:4. creativeskills(arrangementsandimprovisation)5. knowledgeofchords(major,minor,dominantseventhandhalfdiminishedchordswiththeiraugmentations)andplayingskillofchords(two-handvoicing)6. technique,amongwhichfingering,toucher,majorandminorscales,brokenchords7. sightreading(chords,notesandrhythm)

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DoubleBassThedoublebassfacultyoffersaworld-classtrainingprogrammewithteachersFransvanderHoeven,ErnstGlerumenRuudOuwehand.Studentsaretrainedtobecomegoodaccompanistsandimprovisersinanyjazzstyle.OverthepastyearsguestteachershaveincludedJoynClayton,JohnPattituci,BusterWilliams,LarryGrendierandMattPenman.

Co-ordinator:FransvanderHoeven

Studyprogramme

Objective


PropaedeuticYear

PrincipalsubjectIntheprincipalprivatelessons,thefollowingissueswillbeaddressed:* musicaldevelopment.Naturally,noteverystudentwilldevelopinthesameway;nothingismorepersonal

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thanthisdevelopment!Theapproachadoptedwillthereforehavetobequiteindividual.Students'musicaldevelopmentcan,inanyevent,bebrokendownintothefollowingcomponents:harmonic,rhythmic,melodicandauditory.* technicaldevelopment.Technicaldevelopmentcanbebrokendownintothedevelopmentofleft-handtechniqueandthedevelopmentofright-handtechnique.Goodpostureiscrucialforaneffectivetechnique.Relaxationisofprimaryimportanceinthisregard.* readingability.Masteryofmusicalnotation,begunduringthepreparatorycourse,willbefurtherdeveloped.Inaddition,studentswillbetrainedintheswiftanalysisandplayingofchordsymbols.

TechniqueInthetechniquelessons,whichwillfocusprimarilyonbowing,thefollowingissueswillbeaddressed:

Technical:* threebowspeeds(slow-medium-fast)* simplebowdivision(whole-half)* consistentlyplayingonthestringandchangingbows* applyingtheabovetechniquesinapieceofmusic,playinglegato,bowingtechnique

Conceptual:beingabletodistinguishbetweenso-calledfunctionalbass-playingandmoresoloisticapproaches.

Ensembles

Inthisyear,thefollowingensemblesarerequired:* ensembleskills* jazzgroup* trioplusvoice(optional)

Participationincertainensemblesmayberequiredthroughouttheentireprogramme.Asregardstheadditionalsubjects,pleaseseethecreditlist.


PlayingabilityThreepiecesthatclearlydemonstratethestudent'srhythmic,harmonicandmelodiccapabilities.Duringthepropaedeuticexamination,thestudent'stechnicalabilitytoprovidesupport(bowing)willalsobeassessed,inadditiontotheapplicationoftheaforementionedtechniquesinapiecethathe/sheisfreetochoose.

Ear,tempo/timingandreadingabilityThefollowingwillbeevaluated:techniqueandacoustictoneproduction,understandingofmelody,readingnotesandrhythm,developmentoftheearandknowledgeoftherepertoire.

AssessmentTheassessmentwillfocusonmusicality,senseofrhythmandtempo,ear,understandingofmelody/harmony,affinitywiththeinstrument,ensembleplayingandimprovisatoryskills,technique,readingabilityandtoneproduction.

Secondandthirdyear


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TechniqueFirst-yearsubjectswillbestudiedingreaterdetail.

EnsemblesEachyear,threeensemblesarerequired,eachlastingatleastoneterm.Jazzgroup(inthesecondyear),jazzgroupand/orbigband(inthethirdyear),guitartrioand/ortriowithvoice(secondyear)andwithsoloist(thirdyear)andatleastonetermofsaxophone,trumpetortrombonegroup.Studentsmayadditionallyelectcrossover,Brazilianand/orLatingroupandcontemporarymusicemployingnon-Westerntechniques.



PlayingabilityThecandidatewillprepareapproximatelysixpiecesthatbestdemonstratehis/herability.Totaldurationincludingtheassessmentandsettingupisapproximately45minutes.Inatleastonepiece,thepotentialofthebassasastringinstrumentmustbeaccentuated.Forthemostpart,therecitalmustconsistofpiecesfromthejazzandimprovisationrepertoire.Althoughthestudentisnotrequiredtoperformhis/herowncompositions,thisislookeduponquitefavourably.

Techniques

*accompanyingsoloists* playingthemes* soloingatareasonablyhighlevel(onachart)* tone,intonationandtimingwillallbeimportantfactorsintheassessment* convincinglyskilledinarco(bowed)bass-playing

AssessmentProvidedthatfundamentalaspectslikerhythmicandharmonicinterpretationarefoundtobeinorder,attentionwillbepaidprimarilytothestudent?sall-roundmusicianship(withrespecttomusicalstyles,techniques,pizzicato,arco,accompanyingasaspecialization,playingsolos,functionality,intensityandtaste).Specializationandoriginalityarelookeduponfavourably.

Fourthyear

PrincipalsubjectAsthefinalexaminationapproaches,theprincipalstudyteacherwillplayanincreasinglyadvisoryroleinrelationtothemake-upoftheprogrammeandthegroup(s)andthemusicalchoicesmade.

EnsemblesTwoensemblesarerequiredunlessthestudenthasfulfilledallhis/herobligations.Formoreinformation,pleaseseetheensembleoverview.


PlayingabilityInconsultationwiththeprincipalstudyteacher,candidateswillprepareavariedprogrammeinwhichtheycanpresentthemselvesasaccompanistsandsoloiststothebestoftheirability.Theteachermustreceivethedraftprogrammeatleastthreemonthsbeforetheexamination.Students'ownviewsarehighlyvalued.Techniquesandassessment:pleaseseethesectionontherecital.

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Teachers

FransvanderHoevencoordinatorRuudOuwehandErnstGlerumtechnique+methodologyJohnClaytonregularguestteacher–artistinresidence


1. Playingskilla. Thecommitteewillchoosefromthreepieces(onebluesoronerhythmscheme)preparedbythecandidate,whichshowthecommitteethathe/shebothmastershis/herinstrumentandhasareasonablerhythmic,harmonicandmelodicunderstanding.

b. Beingabletoplaythemostimportantmajor(G,C,F,Bflat,Eflat,Aflat)andminor(E,A,D,G,C,F)scales,preferablybowed,reasonableknowledgeandcommandofthechordsmajor,minor,diminishedandaugmentedatareasonabletempo.


2. Hearing,tempo/timingandreadingskillsThismayconsistof:* repeatingbyearasungorplayedline* accompanyingbyearanunknown,simplepiece,withoutanypreviousinformation* fillingin(withalogicalbassline)ofaharmonicprogressiontogivenchordsymbols* playingofawrittenbassline/melody



Importantissuesfortheassessmentare:1. musicality,hearingandmelodicunderstanding(alsoinbasslines)2. feelingforrhythmandtempo3. affinitywiththeinstrumentandthemusicstyleswhicharedirectlyconnectedwiththisinstrument

butbesidesthesealso:4. harmonicunderstanding,readingchords5. technique,tonequality,playingintune6. sightreading

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BassGuitarThissectionprovidestraininginallstyleswithelementsofimprovisationavailableforthisrelativelyyounginstrument:fromtheearlyyearswithblues,jazz,rock,latin,soul,funkandfusiontocomtemporarystylesincludingelectronicjazz,rhythmicallyadvancedjazzandcontemporarymusic.Thecourseaimstotrainstudentstobecomecreativeall-roundbassguitaristswithapersonalstyleandawarenessofthetraditions.

InadditiontoteachersCharlyAngenois,TheodeJong,DaviddeMarezOyens,LenéteVoortwisandJeroenVierdag,suchguestteachersasGaryWillis,JefBerlin,TimLeFevbre,DomoniqueDiPiazza,ReggieWashingtonandKaiEckhardt,GlennGaddumandPaedraKwanthavealsocontributedconsiderablytothecourse.

Co-ordinator:DaviddeMarezOyens

Studyprogramme

Objective

Theobjectiveoftheprogrammeistoproducecreative,all-roundbassguitaristswiththeirownpersonalitieswhocanalsoteachatvariouslevels.Inotherwords,'aftergraduation,thebassplayershouldbeabletoperformhisroleadequatelyinagreatnumberofdifferentprofessionalsituationsandtoplayanactiveroleinthecreativeprocesswhenevertheopportunityshouldarise'.Moreover,bassplayersshouldbeabletocontinueindependentlytodeveloptechnicallyandmusicallyafterhavingcompletedtheprogramme.

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PropaedeuticYear

PrincipalsubjectAssumingthatstudentswillbebrimmingwithallsortsofmusicalideas,theprincipalprivatelessonswillinitiallybedevotedtostructuringtheseideas.Ontheonehand,thiswillentailworkingonsongsandbasspartswithwhichthestudentisfamiliarwithaviewtorefiningand,wherenecessary,correctingthese;ontheotherhand,thiswillinvolvebringingthestudent'sownideastothesurface.Theskillofmakingassociationsbetweenchordprogressionsandthepositionsofthehandwillbeaddressednearlyeveryweek.Onthebasisofmusicwithwhichthestudentisalreadyfamiliar,thestudentwillgraduallyacquirenewideaswhichrunparalleltothetheorylessonsandtheensemblestowhichthestudenthasbeenassigned.Astheyearprogresses,thestudentwillincreasinglydevotehis/herattentiontopreparingforthepropaedeuticexamination,focusingonareassuchasear-training,senseoftempo,understandingofharmonyandmelody,andreadingability.He/shewillalsodevoteattentiontotherepertoiretobeprepared:threepieceswithband,tobearrangedbythestudent,andatleastthebassparttosevenadditionalpieces;studentsmustperformallmusicfrommemory.Attentionwillbedevotedinthelessonstothestandardjazzrepertoire,thetraditionalbassguitarstyles,suchassoul(Motown),R&Bandfusion.

ReadingskillsTodevelopreadingskills,studentswillfollowtheonlinecourse‘ReadingBassGuitar’.Infivemodulesofsixweekseach,thestudentscandownloadanexercisesheet.Inadditiontoreadingskills,aspectssuchasstyleawareness,developingyourownbasslinesorcertainrhythmical,harmonicortechnicalchallengeswillbecovered.

Studiotest-exam:TheSongIndecemberthefirststudiotest-examtakesplace.Thisconsistsofatrackandasheetwithcontainsonlyformandharmonicdetails.Thestudentisexpectedtocreateandrecordin30minutesabasslinebasedonthebackingtrack.

TechniqueThetechniquelessonswillfocus,basedontheprogrammebyJanHollestelle,ontoneproduction,steadybeat,string-dampeningandposition-playing.Thefirst-yeartechniquewillbecompletedwithanetudewhichwillincorporateallaspectsthathavebeenaddressed.

EnsemblesInthisyear,thefollowingensemblesarerequired:* ensembleskills* jazzgroup* crossovergroup

AllbassguitarstudentsperforminthepropaedeuticyearinJanuary,inconnectionwiththebindingrecommendationregardingthecontinuationofthestudy.Attheendoftheyeartherewillbeapropaedeuticexam.


PlayingabilityAlistoftenpieceswhichthestudenthasworkedon,withashortdescription,shouldbehandedinaweekbeforetheexamatthelatest.Ofthesetenpieces,threeshouldbepeparedwithensemble,pieceswhichallowtheplayerstointeractandtopresentdifferentcharacters,tempos,rhythms(binaryandternary)andkeys.Atleastthebassparttosevenadditionalpiecesisalsorequired.

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Ear,tempo/timingandreadingabilityThefollowingwillbeevaluated:playingalongandrepeatingbyear,tempotest,readingchordsymbols,notesandrhythm.

AssessmentTheassessmentwillfocusonmusicality,ear,understandingofmelody/harmony,toneandfingering,senseofrhythmandtempo,affinitywiththeinstrument,ensembleplayingandimprovisatoryskills,technique,readingabilityandtoneproduction,andtheprogressontheseitems.

Secondyear

PrincipalsubjectStudentenrichmentwillcontinueinconjunctionwiththetheorylessonsandtheensembles.Studentswilldeveloptheirrhythmicawarenesstoanevengreaterextentnowbyinventingdrumandbassgrooveswithinasongstructure;thisisputintopracticeduringthestudioexamination(first-andthird-yearSong).Fromaharmonicperspective,theinterpretationofchordchartsandreharmonizationsareemphasized.Additionally,attentionisdevotedtostylessuchasLatin,Brazilianandfusion,aswellastoslightlymoredifficultjazzstandardsandjazzblues.Throughouttheyear,studentswillalsoworkonthenewrepertoirefortheinterimexamination.

ReadingskillsContinuationoftheonlinecourse‘ReadingBassGuitar’;fivemodulesofsixweekseach,withnewmaterialeveryweek.Inadditiontoreadingskills,aspectssuchasstyleawareness,developingyourownbasslinesorcertainrhythmical,harmonicortechnicalchallengeswillbecovered.Theend-of-yearexamwillcontainaselectionofthismaterial.

Studiotest-exam:TheJingleThestudioexamalsofocusesonreadingskills.Aone-minutejinglewillbewrittenout.Thestudentsareexpectedtorecordthisaccuratelywithin30minutes.

TechniqueFirst-yearsubjectswillbestudiedingreaterdetail,suchasplayingpatternsontheentirefinger-boardandharmonicprogession.Studentswillnowbeexpectedtoinventtheirownexercisestosolvetheproblemsthattheyfacewhileworkingontheirownrepertoire.Theywillalsodevoteattentiontotheproductionofanevenmorerefinedtone,variousmeansofattack,e.g.placement,slapping,playingwiththemute.Approximatelyonemonthbeforethefinaltechniqueexamination,thestudentwillhandoutthesheetmusicforthepiecestobeplayed,whichwillincorporatevariousaspectsthathavebeenaddressed.Thestudent'sownexerciseswillalsobeincludedintheassessment.Additionally,thestudentmaychoosetostudythedoublebassasasubsidiarysubject.Thestudentisrequiredtopurchasehis/herowndoublebassandshouldplantoconcludestudyingthesubjectwithintwotothreeyears.

Ensembles* jazzgroupinyear2* trioplusvoice(optional)* crossovergroupandothertraditionsarerequiredelectivesinyear2or3* bassguitargroupinyear2fortheentireyearorforoneterm(intheeventofhighdemand)* bigbandoptional

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PlayingabilitySameasforthepropaedeuticexamination,withanewlistoftenpieces,oneofwhichshouldbeajazzbluesinaninterpretationofthestudent'schoice,andanextensivereadingabilitytest.Theotherexerciseswillnolongerbetestedunlessthecommitteeconsidersthisnecessary.

AssessmentTheassessmentwillfocusonmusicality,ear,understandingofmelody/harmony,senseofrhythmandtempo,ensembleplayingandimprovisatoryskills,styleawareness,techniqueandtoneproductionandtheprogressionontheseparts.

Thirdyear

PrincipalsubjectStudentswillincreasinglybeencouragedtoarrangeandevencomposepiecesthemselvessothattheirideascanbeplacedwithinabroadercontext.Alongtheway,theywillalsobeguidedintheirpreparationsforarecitalinwhichtheirownviewswillbegivenfreerein.Naturally,requirementswillbesetinrespectofthebreadthoftheprogrammetoensurethestudent'sall-roundmusicianship.Ifnecessary,timewillbedevotedintheprincipalsubjectlessonstopreparingforthestudioexam.Asregardsrhythmicdevelopment,irregularmetresandthephenomenonofcross-rhythmwillnowbeaddressed,amongotherthings.Thestudent'scapacitytomaintainasteadytempowillbeassessedduringtherecitalinafragmenttobeplayedwithoutdrumsorpercussion.Harmonic,melodicandrhythmicideaswillcontinuetocrystallizeinthestudent'simprovisations.

Studioexam:SongandJingleStudentshave50minutestorecordasongandashortpiecelikethoseusedfortheexaminationsheldinthesecondandthirdyears

Ensembles* trioplusvoice(optional)* advancedjazz/improvisationgroup(optional)* crossovergroupandothertraditionsarerequiredelectivesinyear2or3* bigbandoptional

Atleastthreeensemblesarerequired.Jazzgroupand/ortriowithvoice(preferablydoublebass),improvisationgroup,guitarquintet,fusiongroupand/orLatingroupand/orBraziliangroup,bassguitargrouporastudentgroup

Examination

Guidelinesfortherecital,thepracticalexam.Thisisthelastexambeforethefinalexamandshouldthereforebepreparedthoroughly.

TheprogrammeInconsultationwiththeprincipalstudyteacher,candidateswillprepareavariedprogrammeinwhichtheycanpresentthemselvesasaccompanistsandsoloiststothebestoftheirability.StudentsmustsubmittheirdraftprogrammetotheteacherbeforeChristmasbreak.Aswasthecasewithpreviousexaminations,thestudent'sownviewsinthisregardarehighlyvalued.Thestudentshouldnotsimply'mimic'existingarrangements,asthesedemonstraterelativelylittleofthecandidate'sabilityandpersonality.Studentsshouldconsiderthefollowingaspectswhenchoosingrepertoire:rhythm,melody,harmonyandtechnique.Itisextremelyimportantthattheseaspectsbereflectedthroughouttheprogrammeinabalancedway.Thedurationofthe

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exam,includingtheassessment,is45minutes(max.30minutesofmusic).

Thefollowingisexpectedfromthecandidate:* abroadrepertoirewithatleast:− onejazzstandardwithcomplexharmoniesinswing− onecrossoverpiece(orjazzrockorfusion)− onepiecefromanothermusicaltradition(Brazilian,latin,flamencoetc.)* playingsolosatareasonablelevelinatleasttwopiecesincontrastingstyles,oneofwhichshouldbethejazzstandard* onepieceforsolobassguitarand/or* accompanyingasoloist(rubato)* onerhythmicfragmentwithoutdrums/percussion

Althoughthestudentisnotrequiredtoperformhis/herowncompositions,thisislookeduponquitefavorably,asistheplayingofhis/herownarrangementsandirregularmetres.

TheassessmentProvidedthatthestudenthasnomoreproblemsregardingrhythmandharmony,thecommitteewillpayattentiontothelevelofbeingan'allround'musician(inchoiceofmusicalstyles,techniques,acccompanying,playingsolos),intensity,taste,interactionandprogress.Specializingandoriginalitywillbeappreciated,butarenotdecidinginthecommittee'sfinalassessment.

Fourthyear

PrincipalsubjectAsthefinalexaminationapproaches,theprincipalstudyteacherwillplayanincreasinglyadvisoryroleinrelationtothemake-upoftheprogrammeandthegroup(s)andthemusicalchoicesmade.Nearingtheend,thingslikeastageplanandaprogrammebookletmayalsobediscussedduringthelessons.Additionally,thefirsttermwillfocusonpreparationsforthefinalstudioexam.

Studioexam:Thebassplayer-producer-arrangerDuringthisexam,thecanditateisnotonlybassplayer,butalsoarrangerandproducer.Aweekbeforetheexam,thecandidatewillgetalead-sheetwiththemelodic/harmonicbasicmaterial,forinstance1stand2ndtheme.Thecandidatehasaweektomaketheirownversion,whichshouldberecordedwitalivebandwithin60minutes.Uponarrivalinthestudio,thebandshouldbereadytostart.

EnsemblesTwoensemblesarerequiredunlessthestudenthasfulfilledallhis/herobligations.Formoreinformation,pleaseseetheensembleoverview.Jazzgroupand/ortriowithvoice(preferablydoublebass),improvisationgroup,bigband(onlyinthecaseofdoublebassasasubsidiaryinstrument),fusiongroupand/orLatingroupand/orBraziliangroupandbassguitargroupand/orastudentgroup.


Thefinalexamrequiresabroadrepertoireinwhichallthepartsoftherecitalhavebeendevelopedintoafullconcertprogramme.

PlayingabilityInconsultationwiththeprincipalstudyteacher,candidateswillpreparethisvariedprogrammeinwhichtheycanpresentthemselvesasaccompanistsandsoloiststothebestoftheirability.Studentsmustsubmittheir

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draftprogrammetotheteacherbeforeChristmasbreak.Aswasthecasewithpreviousexaminations,thestudent'sownviewsinthisregardarehighlyvalued.Thestudentshouldnotsimply'mimic'existingarrangements,asthesedemonstraterelativelylittleofthecandidate'sabilityandpersonality.Studentsshouldconsiderthefollowingaspectswhenchoosingrepertoire:rhythm,melody,harmonyandtechnique.Itisextremelyimportantthattheseaspectsbereflectedthroughouttheprogrammeinabalancedway.

Additionally,thefollowingisexpectedfromthecandidate:* animprovisationinatleasttwopiecesofcontrastingstyles,oneofwhichatleastshouldbebasedonaharmonicprogression* onepieceforsolobassguitaraccompanyingasoloist(rubato)* onerhythmicfragmentwithoutdrums/percussion

Althoughthestudentisnotrequiredtoperformhis/herowncompositions,thisislookeduponquitefavourably,asistheplayingofhis/herownarrangements,varioustempiandirregularmetres.Theconcertmaynotexceed60minutes,includingannouncementsandstagechanges.

AssessmentThecommitteewilldecideifallexamcomponentshavebeenperformedsufficientlyandwilltakeintoaccountthemeasureinwhichthecandidatehasdevelopedintoanall-roundbassguitaristwithadistinghuishedownstylewhowillbeabletomakeaprofessionalcareerforhim/herself.

Teachers

CharlyAngenoisTheodeJongDaviddeMarezOyenscoordinator+methodologyJeroenVierdagLenéteVoortwis


1. Playingskilla. Thecommitteewillchoosefromthreepiecespreparedbythecandidatewhichshowthathe/shebothmastershis/herinstrumentandhasareasonablerhythmic,harmonicandmelodicunderstanding.Thismeansthatacompleterepetitionofexistingarrangementsorclassicpiecesisnotappreciated,becausethisshowslittleofthecandidate'sskill(takethisintoaccountespeciallywhenselectingpopandfusionpieces).

b. Beingabletoplayallmajorandminorscalesandtriadsatareasonabletempo.

Futurestudentsoftenthinktheyareobligedtoplay'swing'attheentranceexamination.Thisisnotthecase;wewouldliketohearyouplaythemusicthatyoufeelrelatedto.


Itisnotrequiredtoplay'swing';thecommitteepreferstohearcandidatesplaythemusictheyfeelrelatedto.

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2. Hearing,tempo/timingandreadingskillsThismayconsistof:* accompanyingbyearanunknownsimplepiece,withoutanypreviousinformation* repeatingbyearasungorplayedline* playingofaself-selectedpartatagiventempo(clicktrack)* fillingin(accompanying/soloplayingofaharmonicprogressiontogivenchordsymbols)* playingofawrittenbassline/melody

Thecommitteesupplementstheexaminationwithsomeexerciseswhichmustshowthecandidate'sskillwhichhavenotbeensufficientlydiscloseduptillthen.


Importantissuesfortheassessmentare:1. musicality,hearingandmelodicunderstanding(alsoinbasslines),andtheabilitytorelatethistotheinstrument2. feelingforrhythmandtempo3. affinitywiththeinstrumentandthemusicstyleswhicharedirectlyconnectedwithit

butbesidesthesealso:4. harmonicunderstanding,readingchords5. technique,tonequality6. sightreading

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DrumsThedrumsfacultyischaracterizedbyversatility.Studentsaretrainedall-round,acquiringexperiencebothinthestudioandonstage,withallkindsofensembles:bigband,jazzcombo,Latinandfusionensemblesandrockbands.

TeachersareLucasvanMerwijk,MarcelSerierseandMartijnVink.GuestteachershaveincludedJohnRiley,AdamNussbaum,BrianBlade,JeffBallardandBillStewart.

Co-ordinator:LucasvanMerwijk

Studyprogramme

Objective


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PropaedeuticYear

PrincipalsubjectIntheprincipalprivatelessons,thefollowingaspectswill,intheory,beaddressed:1. Perfectingthosestyle(s)withwhichthestudenthaslessaffinity;themostimportantstylescanberoughlydividedintothreecategories:jazz,fusionandLatin.Thecharacteristicfeaturesofeachstylewillbedealtwith,aswellaswell-knownstandardsandgrooves.Muchattentionwillbegiventoplayingalongwithinfluentialdrummersofthe20thcentury,listeningtoCDsandwatchingDVDsandvideos.Inaddition,itisimportantthatstudentsbeallowedtocontinuedevelopingtheirowntalentstoboosttheirmotivationandself-confidence.Thereforestudentswillbringtheirownrecordingsofconcerts,studiosessionsetc.tothelessontobediscussed.

2. Playingatempobothwithaclicktrack(drumcomputer)andwithplay-alongrecordings,suchasduoswithoutdrumsandrecordingsthatareespeciallydevelopedfortimingexercises.

3. Technique:* jazzcoordination(importantforallstyles)* therudimentsofthedrums* soundproductionandstrikingagoodbalancebetweenthevariouspercussionelements* brushes

4. Style/knowledgeofrepertoire:attentionwillbefocusedprimarilyonjazzrepertoirebeginninginthe1920s(Warren'Baby'Dodds,ZuttySingleton,PhillyJoeJones,JimmyCobb,KennyClarke,MaxRoach),inadditiontotheotherstyles).

5. Sight-readinginthevariousstyledisciplines.Ensemblepartswillbedealtwithinthelessons.

6. Playing,learningtorecognizeandworkingwithformcharts(12-and32-barcharts,irregularform,e.g.40bars).Studentswillalsoworkondynamics,soloingandaccompanyingsoloists.

7. Ensembleplaying:atleasttwiceayear,lessonswillbecombinedwiththoseofthebassstudents.Additionallydrumstudentsmayplaywiththeirownensembleinthelessons.* Eveningperformance(lateJanuary)inpreparationforthepropaedeuticexamination.* Anumberofmethodswillbeused,aswellasagreatdealofthestudents'ownmaterial.

SidedrumtechniqueSupplementarytotheprincipalprivatelessons.Sidedrum(privatelessonsgivenbyHayeJellema).Objective:toimprovethestudent'soveralltechniqueandsound.Foradetailedobjective,materialcoveredandexaminationrequirements,pleaseconsultthesidedrumsyllabus.

EnsemblesAllensemblesinthisyeararerequired:* jazzgroup* ensembleskills* fusiongroup

Examination

PlayingabilityProgramme:threepiecesinthethreestylesmentionedabovewillbeplayedwithagroupputtogetherbythe

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student.Repertoirewillbechosenincloseconsultationwiththeprincipalstudyteacher(s);therehearsalsmustberecordedandthetapeswillbelistenedtoandgoneoverduringthelessons.

N.B.Asageneralrule,examinationsmaytakeplaceonlyifthestudenthassubmittedhis/herrecordedrehearsalsforreviewwellbeforetheexamination,andtheteacherhasgivenhisapproval.

AssessmentThefollowingwillbeassessed:* musicality:ear,understandingofmelody/harmony,senseofrhythm,tempoanddynamics* affinitywiththeinstrument* techniqueandsound

N.B.Thecommitteecandecide(generallyonthebasisofthepropaedeuticexamination)thataninterimexaminationisnecessarytocheckthestudent'sprogressinthesecondyearbeforehe/shecontinueswiththethird.Toreceiveasbroadaneducationaspossible,thestudentmustswitchprincipalstudyteachersatleastonceduringtheentirecourse.

Secondandthirdyear

PrincipalsubjectFirst-yearmaterialwillbestudiedingreaterdepth;additionally,thespecificrole(s)ofthedrummerinvariousgroupswillbeaddressed;functioningastheband'smotorwillconstitutetheunifyingelementthroughoutthelessons.* jazz:3/4,6/8and12/8metres,practisingswitchingfromLatinrhythmstojazztime('GreenDolphinStreet'),focusonthebebopandhardbopperiods,includingRoyHaynes,ArtTaylor,ElvinJones,TonyWilliamsandJackdeJohnette,inadditiontotheyounggenerationoftopdrummersincludingBillStewart,JeffWatts,VictorLewisandBrianBlade.Transcriptionandexecutionofsimplesolos.Partofthebigbandrepertoirewillbedealtwith.* fusion:focusonfunk,soul,rock,jazzrock,secondline,reggae* Latin:mainlytheBrazilianandAfro-Cubanrepertoirewillbedealtwithhere.Brazilian:samba,bai'o,bossaandpartidoalto;Afro-Cuban:mambo,rumba,mozambiqueandsongo.AnimportantaspectrelatingtotheBrazilianandAfro-Cubanrepertoireisthatthestudentmustknowhowtoholdbackwhenplayingwithoneormorepercussionists.* irregularmetres* workinginthestudio.Adjustingdrums,placementofmicrophones,clicktrack,ensembleplayinganddynamics.* sight-reading,writingoutandplayingdrumpartsanddrumsolos* rhythm-sectionlessons* inthethirdyear,polyrhythmsandmetricmodulations(DennisChambers,DavidGaribaldiandRoyalHartigan)andpreparationfortherecital

TechniqueThesubsidiarysubjectofsidedrumwillbeconcludedinthethirdyearunlessthestudentwishestocontinuestudyingitforoneadditionalyear.

Ensembles*trioplusvoice(requiredinthesecondyear,optionalinthethird)* trioplussoloist(requiredinthethirdyear,optionalinthesecond)* Latingroup,Braziliangroup,fusiongroup(studentmayelectatleasttwoofthethree,onetermeach)* bigband:thirdyearoptional,providedthatthestudenthasdevelopedsufficientlyandhasanaffinitywiththerepertoire.Inadditiontothetuttirehearsals,separaterhythm-sectionrehearsalswillbeheld.* jazzgroup,optional

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Examination

* finalexamination:thestudent'sabilitytoplayandfunctioninthestudiowillbeassessed(attheendofthefirstterm)* therecitalwillbegivenattheendofthesecondterm.Inthisphase,itisexpectedthatthestudentgraduallydevelophis/herownstyleandidentity,preferablyinallstyledisciplines;thismustbedemonstratedduringtherecital.Therecitalmustbeseenasablueprintofthefinalexaminationtobeheldinthefollowingyear.* ifelected,finalbigbandexamination(statedonthediploma).Ifthestudentcompletesthecoursesuccessfully:opportunitytoplaywiththebigbandduringthefinalexaminationaswell.

Fourthyear

PrincipalsubjectDuringthisyear,anyshortcomingsinallareaswillbeaddressedandimproved;muchofthisperiodwillbedevotedtopreparingfortheapproachingfinalexamination.Depthandmusicalexperiencewillconstituteparticularlyimportantareas,aswilltheintensityofthestudent'splaying;additionally,studentswillworkonbecomingmentallypreparedforapossibleprofessionalcareer.Finally,instructionalvideosofahigherlevelwillbeshownduringthelessons.

EnsemblesAsdescribedinthethird-yearsection,basedonchoiceandavailability.

Finalexamination

Studentsareaskedtochooseasvariedaselectionfromtherepertoireaspossible,buttheyarealsowelcometodemonstrateaparticularspecialization,ofcourse;theyshould,however,ensurethattheprogrammedoesnotbecometoomonotonous.Theexaminationmustbeseenasaconcertandthestudentshouldbearthisinmindwhenputtingtogethertheprogramme.Lengthoftheprogramme:50minutes.

Teachers

LucasvanMerwijk+coordinatorMarcelSerierseMartijnVinkHayeJellematechniqueJoostLijbaarttechnique,methodology


Candidatesfromabroadfortheprincipalsubjectdrumsjazzwillbeselectedbeforehandbymeansofarecordingofthreepiecestobesentinbythecandidate.Thecandidateisfreeinhischoiceofthepieces.Ifthecandidate'splayingontherecordingdoesnotmatchtherequiredlevel,thecandidatewillnotbeinvitedtotheentranceexamination.

N.B.Nobodywillbeadmittedonthebasisoftherecordingonly,andbeinginvitedtotheentranceexamdoesnotmeanthecandidateisadmittedtotheschool.

Duringtheentranceexaminationthecandidateistestedfor:

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1. Playingskilla. Thecommitteewillchoosetwopiecesfromthreepiecespreparedbythecandidateinwhichthecandidateshowsthecommitteebothcommandoftheinstrumentandmusicalunderstanding,preferablyinvariousstylessuchasjazz,latinorfusion.b. PlayingàvueofashortlittledrumetudeatthelevelofMitchellPeters'IntermediateSnareDrumStudiesno.14.Thecommitteereservestherighttointerruptthecandidate'splayingasaccordingtothecommittee,he/shehassuppliedenoughinformation(becauseofthelimitedtimeof30minutes).Thereforeitisimportantforthecandidatetoshowhis/herskillsasquicklyaspossible:nottoomanyand/ortoolongsolosoffellowplayers,nounnecessaryrepetitions.

2. Hearing,tempo/timingandreadingskillsThismayconsistof:* playingbyearanunknown,simplepiece,withoutanypreviousinformation* playingofsomerhythmsatagiventempo(clicktrack)* playingàvueofsomerhythmsforpercussion.Intheserhythmssomerudimentshavebeenincorporated.* playingasimple'playalong'of8bars,includingwrittenpart



Importantissuesfortheassessmentare:1. musicalityandhearing2. feelingforrhythmandtempo3. affinitywiththeinstrumentandthemusicalstylesthatareconnectedwiththisinstrument

butbesidesthesealso:4. techniqueandtonequality5. readingofrhythms

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PercussionTheprincipalstudyPercussionattheCvAoffersamany-sidedprogramwhichfocusesonvariousmusicalstyles,suchasjazz,crossover,rock,pop,salsa,flamencoandmusicofAfrican,CubanandBrazilianorigin.Thesestylesareamodelforthemanymusicalstylesinwhichanall-roundpercussionistincontemporaryWestern-European/USmustbeabletoexpresshimself.

Theobjectiveofthecourseistotrainstudentstobecomeall-roundpercussionistswithoptimumpossibilitiesforasuccessfulcareer.Besidestheabilitytoplayalargenumberofinstruments-liketimbales,conga,repeniqueaswellascajon,uduandmiscellaneoussmallpercussioninstruments-theall-roundpercussionistmustalsobeawareofeachinstrument'sculturalbackgroundanditsindividualqualities.Thecreativedevelopmentofthestudentisalsoofgreatimportancefor(future)performing,studiosessions,and/orapossibleteachingposition.Thisenableshim/hertocombineinstrumentsandtechniquesinsuchawaythattheywillcomeupwithuniquegroovesandsound.

TeachersareBartFermieandLucasvanMerwijk.EnsembleswillbetaughtbyAbelMarcelandDannyvanKessel.

Studyprogramme

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Teachers

principalsubjectBartFermieLucasvanMerwijkNitiRanjanBiswastabla

ensemblesAbelMarcelDannyvanKessel


1. Playingskilla. Thecommitteewillchoosefromthreepiecespreparedbythecandidateinwhichthecandidateshowsthecommittee,inadditiontocommandoftheinstrumentandareasonablerhythmicunderstanding,adistinctmusicalunderstanding,preferablyinvariousstylessuchasCuban/Brazilian/African.b. Thestudentistoproveinthesepiecesthathehasmasteredsufficientskillsondifferentinstruments,playedbyhandaswellassticks.Thecommitteecanaskforthis,ifnecessary.Thecommitteereservestherighttointerruptthecandidate'splayingasaccordingtothecommittee,he/shehassuppliedenoughinformation(becauseofthelimitedtimeof30minutes).

2. Hearing,tempo/timingandreadingskillsThismayconsistof:* playingbyearanunknown,simplepiece,withoutanypreviousinformation* singingandplayingbyearasungandplayedrhythm* playingofapartofthestudent?schoiceatagiventempo(clicktrack)* playingàvueofawrittenrhythm


3. AssessmentThepossibilitiestofollowaprincipalsubjectstudywillbediscussedbythecommittee.Importantissuesfortheassessmentare:1. musicality,hearingandrhythmicunderstanding2. feelingforrhythmandtempo3. affinitywiththeinstrumentsandthemusicalstylesthatareconnectedwiththeinstruments

butbesidesthesealso:4. senseofform5. techniqueandtonequality6. readingofrhythms,sightreading

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VoiceStudentsaretrainedtobeprofessionalvocalistscapableoffunctioninginanybranchofthemusicalprofession,bothonthestageandinthestudio.Thereforetheylearntointerpretandimproviseinvariousjazzstylesandinblackmusic,rock,fusion,popandLatin(Brazilian).Allthisismadepossiblebythevocalfaculty'sbroadrangeofteachers,andguestteacherssuchasKurtElling,PeterEldridge,DeborahBrown,DianneReeves,NancyMarano(ManhattanSchoolofMusic)andAnne-MarieSpeed.

Eachstudentistaughtbytwoprincipalteachers,forvocal-technicalandartisticaspectsrespectively.Thetwoteachersarejointlyresponsiblefortheendresult.Itispossibleforvocalstudentstostudywithvariousteachersinthecourseoftheirfour-yearstudy.Candidatesarerequestedtoascertainthatthestudywillnotpresentmedicalproblems.Candidateswillbeselectedbeforehandbymeansofanaudioorvideorecordingtobesentinbythecandidate.

Co-ordinator:SylviaLangelaan

Studyprogramme

Objective

Theprincipalsubjectofjazzvoiceisacoursedesignedtotrainstudentstobecomevocalistsandvocalteachersinthebroadfieldofjazzandpopularmusic.Theprogrammefocusesonthestudent'smusicaldevelopment-particularlythroughexposuretojazzmusic-andvocaldevelopment.Therearetwoprincipalstudyteachers,oneofwhomfocusesontechnicalissuespertainingtothevoice,andtheotheronartisticaspects.Together,theyareresponsiblefortheendresult.Intheirfouryearsofstudy,studentsmaystudywithseveralteachers.

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PropaedeuticYear

Principalsubject,interpretationclassIntheseclasses,thefollowingsubjectsareaddressed:* timing* introductiontoAmerican'standard'repertoire

Consequently:* afewothergenres,e.g.Brazilianorfusion,areaddressed(pleaseseesecondandthirdyear)* thereareasyetnorequirementsinvolvingtheuseofthevoice(pleaseseevocaldevelopmentclass)* studentswilldemonstratewhattheyhavelearntbytakingpartineveninggroupperformances

VocaldevelopmentclassThevocaldevelopmentteacherinitiallyworksonvocaldevelopmentand/orrepairindependentlyofotherclasses.Intime,alinkwiththerepertoirestudiedintheinterpretationclasswillbeestablished;pleaseseesecondandthirdyear.Theobjectiveoftheselessonsistoinstilinthestudentasolidvocaltechnique;thisisaccomplishedbymeansof:* developingandmaintainingthehealthofthestudent'svoice* providinginsightintoandinstructionwithrespecttotheuseofthevoiceandtheworkingsofthevocalapparatus:correctbreathing,diction,treatmentofthetext,keepingthevoicesupple,etc.

Ensembles,choirs,workshopsInthisyear,thefollowingensemblesarerequired:* choir* ensembleskills* triowithvoice


Playingability(thepracticalcomponent)* atleasttwopiecesonthebasisofwhichthequalityanduseofthevoicewillbeassessed;studentsmaynotuseamicrophone* atleasttwopiecesfromthe'standard'repertoirewithmicrophone

EarandreadingabilityAnauralskillstestandpossiblyasight-readingtest.

AssessmentThefollowingchecklistwillbeused:* musicality:ear,understandingofmelody/harmony,senseofrhythmandtempo* affinitywithsingingandwithvocalstyles* techniqueandtoneproduction,presentationandreadingability* intonationandvocalmaterial* dealingwithaccompaniment

Secondandthirdyear

Principalsubject,interpretationclassContinuationofthematerialstudiedduringthepropaedeuticyear.Beginningthesecondhalfofthesecondyear:* morecontemporarypopularmusicandfusion* Brazilianrepertoire,seealsoworkshops

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* continuationofthejazzrepertoire

VocaldevelopmentclassTherepertoirewillconsistof:* standardrepertoiretobesungstraight* repertoireaddressedintheinterpretationclasses* repertoireaimedatdevelopingthevoice

Wherepossible,theprojectsscheduledfortheacademicyearwillbepreparedinrelationtothechoiceofrepertoireandlanguage.

Ensembles,choirs,workshops* jazz/improvisation(optional)inthethirdyear* triowithvoice,requiredinthesecondyear,optionalinthethirdyear* Latin,optional* Brazilian,requiredinthesecondandthirdyears* crossover,requiredforoneterm,tobeconcludedwithacrossovereveninginthesecond,thirdorfourthyear* choir,requiredinthesecondandthirdyears* bigband,oneunit(threerehearsals)requiredinthethirdorfourthyear* workshoponstagepresence


Transitionfromthesecondtothethirdyear− Vocaldevelopmentcomponent

Repertoire:onevocalise,oneballad,onechanson− Interpretationcomponent

Repertoire:threesongs.Assessmentwillbecarriedoutasitwasinthepropaedeuticyear.Repertoireandtimingareparticularlyimportant.

Transitionfromthethirdtothefourthyear(recital)Repertoire:sixsongs,choicebyanalogywiththerepertoireofthefinalexamination,q.v.Theoverallperformancewillcarrymoreweightwithrespecttotheassessmentthanitdidinpreviousexaminations.Thepropaedeuticchecklistwillremainineffect.

Fourthyear

Principalsubject,interpretationclassThestudentisfreetochoosetheteacherandtherepertoire.Preparationforthefinalexamination.

VocaldevelopmentclassTheobjective-asolidvocaltechnique-willserveastheguidingprincipleinthecourseandinthepreparationsforthefinalexamination.ThevocaldevelopmentexaminationwillbeheldinDecemberorJanuary.

Vocaldevelopmentexamination(=techniqueexamination)Evaluationofthetechniquenecessaryforsingingandteachingjazz/popularmusicrepertoire.Checklist:brokenthirds,scales,articulation,singinglegato,breathing,staccato,necessaryvocalcolours.Theseareevaluatedbymeansofexercises,vocalisesandthreestandards.

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EnsemblesAllensemblesareoptionalunlessbigbandorcrossoverhasnotyetbeenconcluded.

Finalexamination(summary)

*jazz/swingrepertoire* fusion/popularrepertoire* Brazilianrepertoire

Thecandidatemustdemonstrategoodorganizationalskillsandmustperformaspartofvariouskindsofgroups;theprogrammemayalsoconsistpartlyofthecandidate'sownarrangements.Forpracticalreasons,certaincomponentsmaybeconcludedbeforetheactualfinalexaminationisheld.

Teachers

principalsubjectSylviLanecoordinatorLydiavanDamHumphreyCampbellDavidLinxregularguestteacher–ArtistinResidenceLieveGeuenstechniqueWiebe-PierCnossentechniqueEstherKuipertechniqueSannavanVlietimprovisationMichelleMallingerEnglish/AmericanpronunciationLilianVieiraBrazilianBodhiSykoramethodology

Audition

ThefirstqualifyingroundForforeigncandidatesPleasesendinarecordingofyourselfofthreesongsonCD,orputtherecordingsonyourmyspace-siteandsendustheurl.Twosongsaretobechosenfromthejazz-songlist(http://www.ahk.nl/en/conservatorium/study-programmes/bachelor/bachelor-jazz/voice/list/#c23695):onejazz-swingandonejazz-ballad.Thethirdsongisafreechoice.Theaccompanimentshouldbebass,drumsandpianoorguitar,butpianoorguitaronlywilldo.Therecordingdoesn’thavetobemadeinaprofessionalstudioaslongasthesoundisclearenoughtogiveagoodimpressionoftheperformer.

Onthebasisofthisrecordingcandidateswillbeselectedfortheaudition.Itisnotpossibletocorrespondabouttheassessmentoftherecordings.

AuditionThecandidateswillpreparethefollowingsongsandasolo:1. onejazz-swing2. onejazz-ballad3. oneongofthecandidate’sownchoice4. oneongchosenfromthetechnique-songlist:www.ahk.nl/en/conservatorium/study-programmes/bachelor/bachelor-jazz/voice/technique-list/#c25081

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5. performatranscribedimprovisation/solo.Thiscanbeeitheraexistingsolotranscribedfromtherecordingorself-writtenone.Oneofthesongshastobechosenfromthethejazz-songlist(http://www.ahk.nl/en/conservatorium/study-programmes/bachelor/bachelor-jazz/voice/list/#c23695);thismustbeanothersongthantheonesyouhavesentforthequalifyinground.

Theauditioncommitteechoosesfromthislistatleastthreesongsforthecandidatetoperform.

Theconservatorywillprovideaccompanimentbyatrioofpiano,drumsandbass.Pleasebringchartsofyoursongs,intherightkey,foreachinstrumentalist.

Attheendoftheauditionthecandidatewillbetoldifhe/shemaybeadmittedtothefirstyearofthebachelor’sprogrammeandwillbeputonthewaitinglist.

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Composition/ArrangingThisfaculty'sprogrammecentresonwritingmusicforbothsmallandlargeensembles.Awell-equippedstudiohelpsstudentspreparethemselvesforadiversityofsituationstheymayencounterasprofessionalmusicians.ThesizeoftheJazzDepartment,intermsofnumbersofstudents,offersampleopportunityforstudents’workstobeperformedinalmostanyinstrumentalorvocalsetting.

PrincipalteachersareJurreHaanstraandHenkHuizinga.OverthepastyearsguestteachershaveincludedJohnClayton,TomTrappandFlorianRoss.

Coordinator:BramStrijbis

Studyprogramme

Objective

TheComposition/Arrangingcoursefocusesondevelopingthestudent'smusicalpersonalitytothegreatestextentpossible,thusenablinghim/hertodevelopintoaversatilecomposer/arranger,byteachinghim/hermanypracticalskills.Inadditiontotheprincipalsubject,thecourseofstudyincludesthesubjectsofinstrumentation,counterpoint,harmonyatthepiano,musichistory,generaltheoreticalsubjectsandsolfège/ear-training.

Thecoursefocusesonjazzandjazz-basedmusic,offeringstudentsthepossibilitytoextendtheprogrammetosymphonicmusic.Variousensemblesmadeupofdifferentcombinationsofinstruments,choirsandbigbandsareallavailabletoperformapprovedarrangements.

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Duringtheentranceexamination,thestudentmustconvincethecommitteeofhis/hermeritbymeansofhis/herowncompositionsand/orarrangements,whichwillbeevaluatedonthebasisoftheirnotation,form,instrumentation,playability,etc.

Althoughexceptionsarepossible,candidatesshouldfirsthavecompletedthebasictheorysubjectsaspartofaninstrumentalprincipalstudy.

PropaedeuticYear

PrincipalsubjectIntheprincipallessons,thefollowingissueswillbeaddressed:* harmony,developinginsightintoharmonicandmelodicprogessionsand* writingforsaxophones* writingforbrass* writingofcombinationscoresofsaxophonesandbrass* writingforrhythmsection* dynamicsandphrasing* outliningarrangementsandcompositions:form,treatmentofthemes/motifs,dosage(climax,dynamics)etc.* writingofarrangementsforoctetand/orbigband

Assessment* afterthefirstterm:theprogresswillbediscussedwiththeteacherandthecoordinator* afterthepropaedeuticyear:assessmentbyacommitteeonthebasisofanumberofarrangementsforoctetand/orbigbandwrittenbythestudent

Importantissuesfortheassessmentaremelodicandharmonicinsight,rhythm,form,instrumentation,inventiveness.

Secondandthirdyear

Examinationaccordingtotheproceduresasoutlinedinthepropaedeuticyear.Additionalsubjectsduringtheprincipalsubjectlessonsare:* writingforstrings* analysisofexistingscores

Fourthyear

Preparationforthefinalexamination.Thestudentchooseshis/herrepertoireinconsultationwiththeprincipalsubjectteacher.

FinalexaminationThestudentpreparesawellthought-outandvariedprogramme,lastingapproximatelyfortyminutes,inwhichhe/shepresentssomeworksforbigband,andpossiblysomeworksforoctetand/orchambermusicensemblewithguestsoloist(s).

Additionalsubjectsbasedontheprincipalsubject

Instrumentation,Year1,2,3Thiscourseexplainsinapracticalwaythehistoryofwritingfororchestras.Studentsmakepianoextractsoforchestrascoresandscorepianopiecesfororchestra.Thefirstyear('about1800')focusesonthecomposers

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Haydn,BeethovenandSchubert,thesecondyear('the19thcentury')onWagner,BrahmsandFranck.Thethirdandfinalyearcentreson,amongothers,thecomposersDebussy,StravinskyandXenakis.

HarmonyandanalysisofClassicalmusic,Year1,2Thistwo-yearcoursecentresontheClassicalrepertoirefromtheBaroqueperiodtotheearlytwentiethcentury.Thecoursefollowsachronologicalplan,inwhichanalysisandharmonyrunparallel.TheoryofharmonyisbasedontheClassicalfourpartwriting,whichoriginatesfromtheearlycounterpointalstyles.Duringthefirstyear,thecoursecoverstheperiodfromtheBaroquestyleuptothesimplechromaticwritingoftheearlynineteenthcentury.Thesecondyearcentresonmorecomplexchromatics,enharmonics,newmodality,octotonicwriting,etc.asusedinthelatenineteenthandearlytwentiethcentury,onwhichthejazzcloselyfollows.

TheanalysiscoursecentresinthefirstyearontheworkofcomposerssuchasBach,Haydn,Mozart,BeethovenandSchubert,inthesecondyearone,g,Chopin,Schumann,Brahms,Tchaikovsky,Debussy,RavelandStravinsky.

Counterpoint,Year2,3Arrangerswillbeginwiththetwo-yearcounterpointcourseinthesecondyear.Thiscoursecentresontheperiodofmodalcounterpoint,the16thcentury.Objectiveofthiscourseistolearntowritetwo-,three-andfourpartcompositions,inwhichthestudentdistinguishesbetweencantusfirmusscoresandpieceswithimitations.ItispossibletofollowthecourseBaroquecounterpointafterthefirstyear,thisshouldbediscussedwiththecoordinatoroftheClassicalDepartmentfirst.Thiscoursealsotakestwoyears.

Elective-ComposingforFilmThird-yearstudentsmaychooseasanelectivethisuniqueandcomprehensivetheoreticalandpracticalcourse.

Teachers

JurreHaanstraHenkHuizingaTheoVerbeyinstrumentationWaltherStuhlmacherharmonyandanalysisClassicalmusicLucasVisconductingPaulScheeperscounterpoint


Thecandidateistosendinthreearrangementsonemonthpriortotheexamination.Theseworkswillbeassessedastotheirartisticpossibilitiesandtechnicalstandard.Strength:bigbandoratleastfourwindinstrumentplayersandarhythmsection.Inadditiontothistherewillbeaninterview.Ifpossible,arecordingcanbesupplied.

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TheoryofMusicStudentsaretrainedtoteachtheoreticalsubjectsatconservatories.Thecourseaimstoprovidestudentswiththenecessaryandthoroughknowledgeofalltheoreticalaspectsofjazz,jazz-relatedstylesandtheirpracticalapplications.Admissionnormallytakesplaceafterthethirdyearofaninstrumentalorvocalprincipalstudy,thoughtheyemaybeexceptions.RegularteachersareBarbaraBleij,ClemensKemmeandHenkHuizinga(arranging).

Thecourseincludesasprincipalsubjecttheitemsharmony/analysis,eartraining('solfège'),harmonyatthepiano,arranging,methodology(includingjazz'solfège')andhistoryofjazz.

Asadditionalsubjectthelessonsincludeclassicalmusictheory(harmony/analysisandmodalcounterpoint)andanalysisoftwentieth-centurymusic.Writingathesiswhichinprinciplecanbepublishedisanimportantfeatureofthefinalexamination.

Co-ordinator:BarbaraBleij

Studyprogramme

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TheJazzMusicTheoryprincipalstudy(courseintendedtopreparecandidatestobecometeachersoftheorysubjectswithinajazzdegreeprogramme)isaPostgradutateCourseprogrammeandshould,inprinciple,beseenasanopportunityforcandidatesalreadyhavingcompletedorabouttocompleteaninstrumentalorvocalprincipalstudyinjazztocontinuethisstudy.

Althoughexceptionsarepossible,thisinstrumentalprogrammeiscrucialforgaininginsightintoanddevelopingabondwiththemusicworld.Beforecandidatesmaytaketheentranceexaminationtoparticipateinthefirsttrialyearoftheprincipalstudy,theymusthavecompletedthetheoryandadditionalsubsidiarysubjects.Thisentranceexaminationwillconsistofawrittenandanoralpart.

Thestudyincludesthefollowingprincipalsubjectcomponents:* harmony/analysis(1.5lessonunits)* harmonyatthepiano(0.5lessonunit)* arranging(1lessonunit)* methodology(alsoofjazzsolfège)andthesissupervision(0.5lessonunit)* historyofjazz(1lessonunitforoneyear)

Thestudyincludesthefollowingsubsidiarysubjectcomponents:* classicalharmony/analysis* modalcounterpoint(two-yearcourseuptoandincludingthreevoices)

Thesesubsidiarysubjectsmustbecompletedsatisfactorilybythestudent.ThestudentmayalsoelecttotakeothertheorysubjectsintheClassicalDepartment.

Teachers

BarbaraBleijcoordinatorWaltherStuhlmacheradditionalstudyclassicalmusicHenkHuizingaarrangingPaulScheeperscounterpoint


Theentranceexaminationfocusesespeciallyon:* affinitywithjazz* knowledgeofjazzhistory* aptitudetowardsandproficiencyinthespecificrhythmandharmonyofjazz* earperception(harmonic,rhythmicandmelodichearing)*harmonyatthepiano* certainknowledgeofclassicalmusictheory* readinesstodomusic-theoreticalresearch

Theaspiringjazztheoristisexpectedtoplayatanacceptablelevelaninstrumentcustomarywithinjazzortofollowastudyprogramthatcanleadtothatlevel.

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OthersubjectsOtherprincipalsubjects,suchasviolin,viola,cello,flute,clarinetandFrenchhorn,followthegeneralstudyprogrammeadaptedtotheinstrument.

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3. Ensemblesandchoirs

TheJazzdepartmentfocusesonjazzandalltypesofmusicrelatedtoit.Theobjectiveoftheensemblesistoprovidestudentswiththenecessarypracticalexperiencewiththeirinstrumentandtostimulatetheirindividualcreativitysothattheycansuccessfullyfunctioninthevarioustypesofmusiccommontotheirinstrument.Becauseinstrumentalandindividualneedscanberatherdiverse,awidevarietyofensemblesareoffered.Inadditiontothevariousjazzandimprovisationgroups,bigbandsandchoirs,studentscanparticipateinrhythmandblues,Brazilian,Afro-Cuban,flamenco,popandvariouscrossovergroups.

Duringthefirstyear,theemphasisinallprincipalsubjectswillbeonensembleskillsinjazzandrelatedtypesofmusic.Allstudentsareassignedtooneoftheensemble-skillsgroups.Additionally,allinstrumentalistsareassignedtooneofthejazzgroupsandinsomecasestooneoftheprincipalsubject-basedgroups,suchasthetrumpetgroup,thetrombonegroup,theguitargroup,oroneofthechoirs.Forbassguitarists,guitarists,pianistsandpercussionists,thesearesupplementedbyasix-month-longfunk/crossovergroup.

Overviewofensembles

Jazzensemblescoordinator:DaviddeMarezOyens;tel:020-5277533

Whileanumberofensemblesarerequired,studentscansometimeschoosetheteacher.Inaddition,studentscantakecertainensemblesaselectives,therebydeterminingthedirectionoftheirstudies.Bychoosing'StudentEnsemble',studentscanputtogetheranensemblethemselves,determineanobjectiveand/orrepertoire,andchooseateacher.Inthiscase,itisimportantthattheyconsultallthoseinvolvedbeforesigningupbeforethesummer.Suchanensemblecan,withthecoordinator'sconsent,serveasanalternativetooneoftherequiredensembles.Studentsinapartiallyorfullyformedgroupmayalsoregisterforoneoftheregularensemblesand,inthatcase,willbegivenpriority.

PleaseconsulttheundefinedEnsembleDiagrambyPrincipalSubjectwhenyoumakeyourchoice.Thediagramshowswhichensemblesyouarerequiredtotake(v)andthetypeofensemblefromwhichyoucan(f),andsometimesarerequiredto(k),choose.Creditsareawardedperensemble;besurethatyourchoicewillindeedallowyoutoearnthecreditsthatyouneed.Whereverpossible,pleaseindicateasecondchoicesothatyoucanbeplacedinanotherensembleifyourpreferredgroupisalreadyfull.

Priortofinalassignment,thestudent'sprincipalstudyteacherand/ordepartmentheadissometimesconsulted.Undercertaincircumstances,studentsmayevenbeassignedtoaparticularensembleforthepurposeofcompletingthegroup.

NB:Participatinginanensembleconstitutesacommitment;students'attendanceisalwaysrequired.Ifastudentistrulyunabletoattendasessionorrehearsal,he/shewillberesponsible,inconsultationwiththeteacher,forfindinganadequatereplacementwhomhe/shemustinstructinadvanceforthepurposeofensuringcontinuity.Afterwards,he/shewillthenaskthereplacementtoinformhim/heroftheagreementsandheadwaymade.Failuretodosocouldleadtothewithholdingofcredits.

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Principal Subject Piano Year ssv Ja12

impr Trioi-v Od1er

trJditions Cro - over

P ubj •3

BB Credits 28

VOP

v+

1 v + 2

V

v 2 6

2

3

v 2

v +3

v 2

k2

v 2

k 2

f

k

V -

k

k(3)

8

8

4

f f f f f f 6

*3 Special groups related to other prmc1pal subjects like sa,.;ophone-, trombone-, gu1targroup etc..

Principal subject drums Year ssv Jazz

impr Trioi-v OU1er

traditions Cross- over

P ubj •3

BB Credits 28

VOP

v +

1 v + 2 v 2

v 2 6

2

3

v 2

v 2

v 2

k 2

L

V -

k

v 2

v 2

k

8

8

4

f f f f f f 6

*3 Special groups related to other prmc1pal subjects ltke saxophone-, trombone-, g111targroup etc..

Principal subject Voice

Year ssv Jazz impr

Trioi-v Oilier Tra,lilions (Brasil)

Cross- over

Vocal groups

BB Credits 28

VOP

v +

I v + 2

v 2

v + 3 7

2

3

k2

v 2

k

r k

v 2

v _

r v 2

v +

v + 3

f

7

9

4

f f f

f f f 5

73

74

74

75

76

75

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1.JazzandImprovisationGroups

EnsembleskillsInthisensembletheimprovisingensembleplayingishighlighted.Thealertregistrationandresponsetoimpulsesaswellasthedevelopmentofinitiativesarecentraltothis.Thevariousaspectsofensembleplayingasvolume/soundchoice,dynamiccourse,improvisedsectionplay,choiceofstyleandthelikeareisolatedanddiscussedintheselessons.Theimaginationwillalsobetrained:participantsareinstructedtochooseacompositionthemselvesandthenleadthegroup.Duringtheseclasses,theteacheralsopaysattentiontotheinterestofastudentinsubjectssuchasarrangingandleadingofensembles.CoursedetailsTeacher MaartenvanderGrintenperiod 1stand2ndperiod,1.0hoursgroupsize approx.8assessment Attendance(atleast80%),performanceduringclasscredits 2foranentireyearcode GPSJazzgroupfirstyear,bySimonRigterOnthebasisofa"ScaleOutline",piecesfromthejazzrepertoirearetaught.Thereisnosheetmusicusedinthelesson,inthislessoneverythingisplayedbyheart."Tools"aredealtwith,suchas"Voiceleading","6thDimScales,""ChromaticMajorScale",etc.,whicharereleasedonthepieces,andcontrastfactsaretreatedand,oftentogetherwiththestudents,headarrangementsaremade.CoursedetailsTeacher SimonRigterperiod 1stor2ndperiod,1.5hoursgroup sizeapprox.8assessment attendance(atleast80%),performanceduringclassandafinalconcertcredits 2foraperiod,3forawholeyearcode 1SRJazzgroupfirstyear,byRobvanBavelOnthebasisofvariousjazzpiecesweworkoninterplay,interaction,improvisingandguiding.CoursedetailsTeacher RobvanBavelperiod 1stor2ndperiod,1.5hoursgroupsize approx.8assessment attendance(atleast80%),performanceduringclassandafinalconcert

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credits 2foraperiod,3forawholeyearcode 1RBSecond-YearJazzGroup,taughtbyRuudOuwehandTheselessonsarebasedonthe'standard'jazzrepertoire,andwillcovergroupskills,improvisation,transposing,reading,modulating,practicaleartraining,instantarrangingandplayingbyheart,amongotherthings.

Coursedetails

teacher RuudOuwehandperiod 1stor2ndsemester,1.5hourperweekclasssize around8examination beingpresent(min80%),evaluationsduringthelessons,andafinalconcertcredits 2foronesemester,3forthewholeyearcode 1RO

ContemporaryJazzEnsemble,taughtbyYuriHoningInthisensemble,thefocusliesonthemusicofWayneShorter,HerbieHancock,DaveHollandandOrnetteColeman.Whileplayingthecompositions,emphasisisputontheuseofsubstituteharmonyandthetechniqueofmodalimprovisation.

Coursedetails

teacher YuriHoningperiod 1stor2ndsemester,1.5hoursperweekclasssize around8examination beingpresent(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2foronesemester,3forthewholeyearcode 1YHHJ’

'AtuneaWeek':Howtodealwithcomposingasanexercise,taughtbyYuriHoningInspiredbythepublicationATuneaDaybytheBraziliancomposerHermetoPascoaltheobjectiveofthiscourseistoexerciseyourcomposingskillsinaverypracticalfashion.Everyweekoneofthemembersoftheensemblehastocomposeapieceforthewholegroup.

Nogenrelimitationswillbeset,andalotofattentionwillbegiventohowtoproduceagoodmelody,agoodsetofsignaturechordsandhowtore-arrangeapiecetoalevelofunexpectedquality.

Coursedetails

teacher YuriHoningterm 1stor2ndterm,1,5hoursclasssize around8examination beingpresent(min.80%)andperformanceduringthelessonsandafinal

concertcredits 2foratermcode 1YHTW

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JazzOctettaughtbyJuanMartinezTheoctetgivesallthebandmembersmuchopportunitytosolo.TheexistingrepertoireconsistsofcomposerssuchasRobvanBavel,CeesSlinger,ChuckIsraelsandPhilWoods,butstudentscanalsobringtheirownarrangements.

Coursedetails

teacher JuanMartinezperiod 1stand2ndsemester,1.5hoursperweek.1semesterforrhythmsectionclasssize 8(trpt,alt.sax,ten.sax,trb,bar.sax,pno,cbs,perc.)requirements foradvancedstudentsexamination beingpresent(min80%),evaluationsduringthelessons,andafinalconcertcredits 2foronesemester,3forthewholeyearcode 1ELd

JazzEnsembletaughtbyBerendvandenBergWiththeuseofinstrumentaljazzpiecesandsongstandardsfrom1930-1965,thefollowingskillsarepractised* dynamicsinwalkin'bass:howcantherhythm-sectionkeepplayingastrongandongoingpulseandatthesametimegivethemusicanopenanddynamiccharacter* interpretationofmelody* interactionbetweenthesoloistandtherhythmsection* awell-writtenchordchart* improvisedarranging-intro'sandoutro'sincluded* structure,build-upinsolo's.

Thelineupisarhythmsectionandguitar-pianoandguitarsoundgreattogether!- andmax.fourhornplayers,everybodylearnsallthepieces,sometimeswewillmakeanarrangementforabiggerensemble.Wewillfocusonjazzmusic.

Coursedetails

teacher BerendvandenBergperiod 1stor2ndterm,1.5hoursperweekclasssize around8examination beingpresent(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2foroneterm3forthewholeyearcode 1BB

Jazzgroup,taughtbyRobvanBavelInthisensemble,thefocusliesbesideshardbop,modaljazzandthemusicofHerbieHancockandChickCoreamainlyoncompositionsmadebythestudentsandtheteacher.

Coursedetails

teacher RobvanBavelperiod 1stand2ndsemester,1.5hoursperweekclasssize 6-8

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examination beingpresent(min80%),evaluationsduringthelessons,andafinalconcertcredits 2foronesemester,3forthewholeyearcode 1RB

TristanoClinicEnsembletaughtbyJasperBlomLennieTristanowasajazzpianistandcomposerwhobecameaveryinfluetialteacherdesigninghisownmethodforjazzimprovisation.Manygreatjazzmusicianssuchas LeeKonitz,WarneMarsh,BillEvansandmanyothershavespentyearsstudyingwithTristano.HisinfluenceisstillpresentintheplayingofmusicianslikeMarkTurnerandothersandhismethodoffersanendlessvarietyofwaystoapproachjazz-harmony.

Inthiscoursewewilllistentohismusic,studysomeofhisexercises,wewilltranscribeandstudyexemplararyjazzsolosthatTristanogaveashomeworktohisstudentsandofcoursewewillbeplayinghiscompositions,mainlyalternativethemesonexistingchordchanges.

Therequirementsforthisensembleareaffinitywithjazz,anadvancedplayinglevelandenoughtime(onehouraday)tostudythemes,exercisesandtranscriptionsandpractice.

Coursedetails

teacher JasperBlomperiod 1stor2ndterm,1,5hoursperweekclasssize 8-11requirements passingJazzTheorylevel2,higheryearlevelsandmasterprogrammeexamination attendance(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2code 1JBLT

MonkGroup,taughtbyJasperBlomMonkwasoneofthefoundersofbebopandisconsideredtobeoneofthegiantsofjazz.Hisplayingandwritingwereuniqueandhemadesomemajorcontributionstothestandardjazzrepertoire.

ThisensemblefocusesentirelyonMonkcompositions,thereisnosheetmusic,everybodywillplayfrommemory.Additionallywewillstudyandtranscribesomeofhisvoicings,listentohismusicandwatchthedocumentaryStraightnoChaseraboutthelifeandmusicofTheloniousMonk.

Coursedetails

teacher JasperBlomperiod 1stor2ndsemester,1.5hoursperweek.classsize 8-11requirements passingJazzTheorylevel2(higheryearlevelsandmasterprogramme)examination beingpresent(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2code 1JBTM

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CompositionGroup,taughtbyYanivNachumInthislesson,studentscomposeorarrangetheirownmusicalongwithaccompaniment.Differentcompositiontechniquesareaddressedanddiverseformsareused,fromthetraditionaljazzformstothestructured/freeimprovisationforms.Studentsarealsoencouragedtogivesuggestionsaboutthecompositionsofothersinthegroup.Thisensembleisonlyopentostudentsofthehigheryearswhohavethetimeanddisciplinetotakepartactivelyeveryweek.Studentsareexpectedtowriteanewcompositioneverythreeweeks,eachoneinanewstyle.Creditsareonlyawardediftheassignmentsarecompletedwithinthegiventimeframe.

Coursedetails

teacher YanivNachumperiod 1stsemester1.5hoursperweekclasssize 8-11requirements passingJazzTheorylevel2(higheryearlevelsandmasterprogramme)examination presence(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2forasemester,3forthewholeyearcode 1YN1

ThemusicofJoeHenderson,taughtbyYanivNachumJazzsaxophonistandcomposerJoeHendersoniswellknownforhisdistinctpowerfulyetwarmandgracefulsound.AlthoughHenderson’searliestrecordingsweremarkedbyastronghard-bopinfluence,hisplayingencompassednotonlythebeboptradition,butrhythmandblues,latin,andavant-gardeaswell.

ThisensemblewillexploreHenderson'sstyleandcompositionandgiveanoverviewofhismusicaldevelopmentfromhisearlyrecordingstohistrademarkrecordingsduringthe90s.

Coursedetails

teacher YanivNachumterm 1stor2ndterm,1,5hoursperweekclasssize 8-11requirements passingJazzTheorylevel2,higheryearlevelsandmasterprogrammeexamination attendance(min.80%)andperformanceduringthelessonsandafinal

concertcredits 2code 1YNJH

JohnColtraneGroup,taughtbyYanivNachumThisgroupfocusesonthemusicoftheJohnColtraneQuartet(especiallytheclassicquartetyears,1962-1965).CompositionssuchasAfroBlue,Impressions,LoveSupreme,MyFavoriteThingsenMeditationswillbecovered,aswellasColtrane'sapproachtomodaljazzandsuperimposedchanges.

Coursedetails

teacher YanivNachum

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period 1stor2ndterm,1.5hoursperweekclasssize 8-11requrements passingJazzTheorylevel2(higeryearlevelsandmasterprogramme)examination beingpresent(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2code 1YNJC

OrnetteColeman,TheshapeofJazztocome,taughtbyYanivNachumSaxophonistOrnetteColemanisunarguablyoneofmostimportantfiguresintheavant-gardeandwhatbecametobeknownas'freejazz'style.Coleman'sapproachtoimprovisationandcompositionbroughtanewsounds,newcolorsandnewattitudetowhatjazzhasbecame.

ThisensemblewilllookintoColeman'sapproachtocomposition,improvisationandColeman'suseoftimeandrhythm.Thematerialwillrevolvemostlyaroundthe'Atlanticperiod'.

Coursedetails

teacher YanivNachumterm 1stor2ndterm,1,5hoursperweekclasssize 8-11requirements passingJazzTheorylevel2,forhigheryearlevelsandmasterprogrammeexamination attendance(min.80%)andperformanceduringthelessonsandafinal

concertcredits 2code 1YNOC

Outofthebox

Outofwhatf***ingboxanywayThestudentswillgetweeklycompositionassignmentsfocusingonvariouscompositionandarrangingtechniques.Thiswillinvitethemtoexplorenewwaysofcomposingandarrangingandtodiscovernewandfreshviews.Asaresultstudentswillbuildupauthenticrepertoireandamorepersonalapproachtomusic.

Duringthelessonsthestudentswillbeintroducedtoseveraltechniques.Theywillgetampleopportunitytoplaytogetherandtoanalyzetheirplayingthoroughly.

Coursedetails

teacher HarmenFraanjeterm 1stand/or2ndterm,1,5hoursclasssize about8examination attendance(min.80%)andperformanceduringthelessonsandtheconcertscredits 2forasemester,3forthewholeyearcode 1HFR

InstantcomposingInstantcomposing.Theskillsvitaltoplayingthismusicareworkedon,aswellasgeneralskillsrequiredforplayingmusictogether.ForexampleMusicalawareness:Thisistheabilitytointroduce,

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developandconveymusicwhichisunfamiliartofellowbandmembers(initiative),andtheabilitytobeabletoplaymusicfromtheinitiativeofothers(following).FocusedListeningisalsoworkedon:Theabilitytolistentocertainaspectswhichareimportantforthemusic.

Coursedetails

teacher ArnoldDooyeweerdperiod 1stand/or2ndsemester,1.5hoursperweekclasssize 10maximumrequirements for3rdand4th-yearstudents.Participantsmustbepreparedtoplaybyearexamination beingpresent(min.80%)andevaluationsduringthelessons,andafinal

concertcredits 2for1semester,3forawholeyearcode 1ADW

'AmsterdamRealBook'GroupInthe1970sand1980sinAmsterdamtherewasalotofresearchdoneintotherelationshipbetweencompositionandimprovisation.Thecomposersinvolved,MishaMengelberg,WillemBreuker,GuusJanssen,TheoLoevendie,MaartenvanRegterenAltena,MauriceHorsthuis,etc.,weretrainedinboththeclassicaland,tosomeextent,thejazztraditions.Theydevelopedtheirownaestheticsandsystemsoforganization.

Inthisgroupyouwillexperiencesomeoftheirpiecesaswellasthoseoflatergenerations(AbBaars,CorFuhler,EricBoeren,JoostBuis),andotherswhoinfluencedandwereinfluencedbythesedevelopments(SeanBergin,FrankyDouglas,JohnZorn,MichaelMoore).

Coursedetails

teacher MichaelMooreterm 1stand/or2ndterm,1.5hoursperweekclasssize about8exam attendance(min.80%)andperformanceduringthelessonsandthefinal

concertcredits 2foraterm,3forthewholeyearcode 1MMAR

SixtiesMiles:Amodalapproach,taughtbyYuriHoningAttheendofthefiftiesMilesDavissetthetrendbyreintroducingthemodalapproachwithKindofBlue.Withhissecondgreatquintet,withShorter,Hancock,CarterandWilliamsherecordedmanynewtuneswiththisapproach,mainlynewworksbyShorter.

Duringtheliveconcertsthough,MileskeptusingtheAmericanSongbookasasourceforrepertoirebutusedthenewmodaltechniquestofindalternativewaystoplaythesefamiliarsongs.WithLiveatthePluggedNickelasmainsourcethiscoursewillprovidemoreinsightsinawayofplayingthatbecameprettyrare.

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Coursedetails

teacher YuriHoningterm 1stor2ndterm,1,5hoursclasssize 8-11examination attendanceandperformanceduringthelessonsandafinalconcertscredits 2forasemestercode 1YHSM

2./3.Pianotrios

PianoTrio/QuartetwithVoice,taughtbyHansVroomansandBerendvandenBergDuringtheselessonsbothvocalistsandaccompanimentgetthechancetochoosesongs,tostudyandplaysoloswithsongstandardsfromthejazzrepertoire.Includedare:beingattentive,musicalinteractionandarrangingforandwithinagroup.Thedivergentstylesandvoicesofthesingersinthegroupdemandaveryspecificapproachintheaccompaniment.Whatistherelationbetweenthelyricsofthesongandtheaccompaniment?Howtoplayarubatoverse?Guitaristscanalsoparticipate.NB:Itisalsopossibletosignupwithanexistingtrio,aslongasthisisdiscussedwithallinvolved.

Coursedetails

teacher BerendvandenBerg(BB);HansVroomans(HVR)period 1stor2ndterm1.5hoursperweekclasssize about7(3xvoice,pno,git,bas,drs)exam beingpresent(min.80%),evaluationsduringthelessonsandthevocalnightcredits 2forasemester,3forawholeyearcode 2TZBB;2TZHV

PianoTrio:TheArtoftheTrio,taughtbyFransvanderHoevenThepracticalandanalyticalaspectsofthe'Classical'repertoire,suchasBillEvans,BradMehldau,HerbieHancockandKeithJarrett,isthefocusforthispianotrio.NB:Itisalsopossibletosignupwithanexistingtrio,aslongasthisisdiscussedwithallinvolved.

Coursedetails

teacher FransvanderHoevenperiod 1stor2ndsemester,1.5hoursperweek.classsize 3requirements passingJazzTheorylevel2(higheryearlevelsandmasterprogramme)examination beingpresent(min.80%),evaluationsduringthelessonscode 3FVH

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4. Musicfromothercultures

LatinCrossoverGroup,taughtbyBartFermieStartingpointforthisgroupis:Afro-Brazilian,-Caribbean,and-Americanmusicandinstruments.Traditionalelementsfromthismusicareplacedinamodernsetting.Theensembleisusedinaconventionalandpercussivecontext.

Coursedetails

teacher BartFermieperiod 1stand/or2ndterm1.5hoursperweekclasssize around8examination beingpresent(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2forasemester,3forawholeyearcode 4BF

NewYorkSalsaGroup,taughtbyDannyvanKesselandAbelMarcelSalsagroupinthestyleofWillieColon,RubenBladesandotherbandsfromtheFaniaAll-Starlabelthatworkwithmoresingersandahornsection.

Coursedetails

teacher DannyvanKessel(1stterm),AbelMarcel(2ndterm)period 1stand/or2ndsemester,1.5hoursperweekclasssize ±10(pno,bas,conga,timb,bongo,2trp,1or2sax,1or2trb,3voc)requirements forhigheryears'instrumentalistsandvocalistsexamination beingpresent(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2forasemester,3forawholeyearcode 4Las1,4Las2

LatinJazzGroup,taughtbyDannyvanKesselandAbelMarcelLatinjazzisagenreofmusiccombiningLatin-AmericanrhythmswithAmericanjazz.Intheselessonscompositionsbygreatlatinjazziconswillbeanalyzedandplayed.Danny'slessonswillfocusonbandsandmusicianssuchasNuevaManteca,EddiePalmieri,PaquitoD’Rivera,JerryGonzalesandGonzaloRubalcaba;Abel'slessonswillfocusonIrakere,EmilianoSalvador,MaracaandTimbalaye.

Coursedetails

teacher DannyvanKessel(1stterm),AbelMarcel(2ndterm)period 1stand/or2ndsemester,1.5hoursperweekclasssize ±8(pno,bas,drs,conga,timb,2trp,ten/trb)requirements forhigheryears'andmasterprogrammeinstrumentalistsexamination beingpresent(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2forasemester,3forawholeyearcode 4Laj1,4Laj2

LatinRhythmSection,taughtbyDannyvanKesselandAbelMarcelTheseclassestakeamorein-depthlookatensembleplayingwithintherhythmsectioninthevariouslatinstyles.Topicscoveredintheseclassesare,forinstance:theroleoftheclave,patternsforforeach

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memberoftherhythmsection,jazzcompingusinglatinrhythms,basstumbaos,theroleoftheguitarplayerwhenplayingwithorwithoutpiano,forthedrummerwhentoplay'up'or'down',andpianomontunos.

Coursedetails

teacher DannyvanKessel(1stterm),AbelMarcel(2ndterm)period 1stand/or2ndterm,1hourperweekclasssize about5requirements forhigheryears'andmasterprogrammeinstrumentalistsexamination beingpresent(min.80%)andevaluationsduringthelessonscredits 2forasemester,3forawholeyearcode 4Lar1,4Lar2

FlamencoGroup,taughtbyEricVaarzonMorelThecomplexrhythmicalstructuresarebroughtintopracticeafterseveralintroductorylessons.Thiscourseisfocusedoncontemporaryflamenco:'flamencodehoy',whichsharesmusicaldimensionswithlatin,jazz,NorthAfricanandEasternmusiccultures.

Especiallyfor:1)guitaristsfromthemasterprogrammewhospecialiseinflamenco,2)bassguitarists,3)percussionists.Alsoforsaxophonistsorpianists,andanyonewillingtoclapalongwiththepalmas.

Coursedetails

teacher EricVaarzonMorelperiod 1stor2ndterm,1,5hrsperweekgroup ±8examination beingpresent(min.80%),evaluationsduringthelessonsandafinalconcertcredits 2code 4FLG-1(1stterm);4FLG-2(2ndterm

AdvancedRhythmThejazzoftodayasksforaradicalnewapproachinrhythmicaltraining.Everystudentwilleventuallycomeincontactwithmusicfrom,(ormusicwhichhasbeeninfluencedby)DaveHolland,ZappaandIrakere.OrelementsofmusicfromtheBalkans,India,orAfrica.WiththehelpoftheSouth-Indiansystemofrhythmicalsyllables(Solkattu),studentslearnhowtoplaypoly-rhythmandphrasesinquint-andseptuplets,andstrengthentheirfeelfortime.

Practicalexercisesbringstudentstoahigherlevelofrhythmicalaccuracywithoutlosingthefeelforphrasingormusicalemotion.

Coursedetails

teacher JosZwaanenburg,DaviddeMarezOyensperiod 1stor2ndsemester,2hoursperweekclasssize 8-12requirements passingSolfege-Practicum1withatleastan8workform ensembleexamination presence(minimum80%)andanoralexamattheendofcoursecredits 3

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code 4ADVR

ContemporaryImprovisationthroughNon-WesternTechniques,taughtbyRafaelReina,JosZwaanenburgandDaviddeMarezOyensForstudentswhowanttodevelopawiderviewonthedevelopmentsofthestructuralandrhythmicalpossibilitiesofimprovisation,andastronginternalfeelfortime.TherhythmicalelementsofSouthIndianmusictheorygiveastartingpointtotheflexibleyetstructuredincorporationofpolyrhythmic,poly-timing,antimetricandvariationwithpermutationsystems.Butalsothedevelopmentofafeelingforformandstructure.Thesyllabuscanspanonetofourcourseyears.Theraga-system,fromthesecondyear,showsthewaytoamoreopenuseofpitchandtonecolourwithinimprovisation.Duringthelasttwomonthsoftheyearstudentswillorganizeagroup,orparticipateinone(trio-quintet),withwhichwilltheyprepareaguidedimprovisation,whichwillbeperformedattheend-of-yearconcert.

Coursedetails

teacher JosZwaanenburg,RafaelReina,DaviddeMarezOyensperiod wholeyear,2hoursperweekclasssize 6-8requirements courseinAdvancedRhythmorstudentswithaprovensuitablelevelexamination beingpresent(min.80%),qualityofwork(includinghomework),evaluations

duringthelessons,atheoryexamandafinalconcertcredits 9peryearNB:Inconnectionwiththisstudyload,thecreditscanbepartly

collectedinstudents''freespace',andthecoursecanalsocountasasecondJazzTheorysubject

code 4NWT1,4NWT2,4NWT3,4NWT4

JavaneseGamelan,taughtbyElsjePlantemaAgamelanorchestraconsistsofbronzegongsandsupportingsounds,tunedinpentatonicprogressions.Thesound-cultureofJavaneseensemblesisdecidedthroughthedifferentinstruments,eachwithitsownfunction:mainmelody,decorations,punctuationbythegongs,andmusicalcoordinationbythepercussion.GamelanmusicwascultivatedaroundtheJavanesedynastyandhasexpandedtobecomethebasisofamany-facetedmusicculturewithclassical,light-classicalandpopularmusic.ThegamelanisinseparablyconnectedwithformsofJavanesetheatresuchaswajangtheatre,dancedramaandcabaret.Theaimofthiscourseistoteachstudentstobealertandreacttothemusical'cues',tobeabletorecogniseSouthEastAsiantuningsandtotryoutthenewwaysofplayingtogether.

Coursedetails

teacher ElsjePlantemaperiod 2ndtermroom 708workform studygroupofroughly10studentsexamination beingpresent(min.80%),evaluationsduringthelessonsandafinalconcertcredits 2code 4GAM

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AfricanpercussionfusiongroupInthisensemblestudentsplayandimproviseWest-Africanrhythmsonjembes,sabarsandtheirowninstruments.WiththetraditionalpercussionmusicfromcountriessuchasSenegalandMaliasastartingpointstudentswillexperiencemusicinthisfusionbandinanewway.TheWest-Africantraditionalmusicoffersmanyopportunitiestoexplorepolyrhythm,groovesandcyclicpatterns.StudentswilllearninthisgrouptoadaptAfricantraditionalmusictotheirowninstrumentorvoice.Allparticipantsgettoarrangeandorchestratetheserhythmsforthegroup,thuscreatinganewanduniquefusionofAfricanandWesterntraditions.InstrumentalistsandsingersdevelopskillsinadaptingAfricantraditionalmusictotheirowninstrumentsorvoices.

Coursedetails

teacher AchimHeineperiod 2ndtermclasssize 8-10examination attendance(80%)evaluationsduringthelessonsandafinalconcertcredits 2code 4APF

TablaFusionGroup,taughtbyNitiRanjanBiswasInthisgroupstudentswilldiscoverandexperimentwithNorthIndianrhythmsandmelodiesontablaorontheirowninstruments,andwithsingingthetalaandrhythmiccompositions.Themulti-layeredcomplexrhythmswillallowstudentstoexperiencerhythmandmusicinanewway.InstrumentalistsandvocalistswilldevelopskillsintranslatingIndiantraditionalmusictotheirowninstrumentsandgaininsightintothemusicfromNorthIndia.

Coursedetails

teacher NitiRanjanBiswasperiod 2ndterm,1.5hoursperweekclasssize 4-8examination beingpresent(min.80%),evaluationsduringthelessonsandafinalconcertcredits 2code 4TFG

AnatolianmakamensembleInthisgroupstudentswillplayontheirowninstruments.Thelessonsarebasedonthemakams(keys)ofAnatolianfolkmusic.Inpracticesessionsthebasicelementsofthemakamswillbeexplained,playedandimprovisedon.Also,Anatolianrhythmswillbeexploredinthesepracticesession.ThusstudentswillacquaintthemselveswithvariousaspectsofTurkish-Anatolianmusic.

Coursedetails

teacher EmirhanTugaperiod 1stterm,1.5hoursperweekday t.b.a.examination attendance,evaluationsduringthelessonsandafinalconcertcredits 2code 4TUG

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Tangogroup,taughtbyJoséLuisLoprettiMusicfromRíodelaPlata,theriverbetweenArgentinaandUruguay.Folkloricmusicfrombothsidesandfusionessuchastango,milongaandcandombeinacontemporaryapproach.InspiredbymusicianslikePiazzolla,inthisclassmusicwillbeplayedwiththeuseoftraditionalrhythms,melodies,harmonies,andform,inanewsetting.

Coursedetails

teacher JoséLuisLoprettiperiod 2ndterm,1.5hoursperweekclasssize max.8(alsoopenforstudentsfromtheclassicaldepartment)examination beingpresent(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2code 4JLL

5. Musicfromothercultures,Brazilian

BrazilianSingingWorkshop,taughtbyLilianVieiraThiscourseismeantfor2ndand3rdyearsingingstudents.Duringthecourse,studentsareintroducedtotheBrazilianrepertoireingraduallyincreasinglevelsofdifficulty.Variousstylesareused,includingbossanova,samba,partidoaltoandbaião.Brazilianistheonlylanguageusedforsinging,becausetherhythmofthelanguageisvitaltothemusic.

Studentsarejudgedon:* pronunciationofBrazilianPortuguese* howthelyricsare'experienced'* timingandarticulationappropriatetothestylebeingsungin* howwellpercussivepatternsaretranslatedintosinging* ensembleskills* levelandexecutionofrepertoire* stagepresentation

Coursedetails

teacher LilianVieiraperiod 1stterm,1hourperweek.Twoyearcourse.classsize max.5.Besidesthesinging/languagelessons,therearealsoweekly

rehearsalswiththeaccompanyingensembleaccompaniment MauriceRugebregtrequirement theBrazilianlanguagecourse(Portuguese)iscompulsoryandrequired

becauseofthepronunciation.Studentsmayonlycontinuewiththe2ndyear(5LV2)iftheypassedthe1styear(5LV1)

examination beingpresent(min.80%),evaluationsduringthelessonsandafinalconcert.Theclosureofthe1styearconsistsofseveraltutti-pieceswithsmallsolofragments.Attheendofthe2ndyearstudentswillperformaself-chosen

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solopieceaswellasthetuttisongs.credits 2peryearcode 5LV1(firstyear)/5LV2(secondyear)

BrazilianAccompanimentGroup,taughtbyMauriceRugebregtThemainfocusoftheselessonsistoaccompanythevocalistswhotakepartinLilianVieira'sworkshop,andalsoduringthefinalconcert.TheinstrumentalistscomeincontactwithawiderangeoftypicalBrazilianstyles,harmoniesandrhythms.

Coursedetails

reference cdteachers MauriceRugebregtperiod 1stterm,1.5hoursperweekclasssize around6examination beingpresent(min.80%),evaluationsduringthelessonsandafinalconcertcredits 2code 5MR1

BrazilianFusionGroup,taughtbyHansVroomansInthisinstrumentalgroup,thenewerBrazilianfusion(MúsicaPopular)isstudied,amongotherthings.Additionally,theblendingofformswillbecovered,astheyarenowplayedunderEuropean,AfricanandNorthAmericaninfluence.

Coursedetails

teachers HansVroomansterm 1stor2ndterm,1.5hoursperweekclasssize around8examination beingpresent(min.80%),evaluationsduringthelessonsandafinalconcertcredits 2code 5HVR

6. Specialprincipalsubjects

Third-YearGuitarGroup,taughtbyMaartenvanderGrintenThepiecesfortheetudeexams(asiswrittenintheGuitarlearningschedule)arebroughtintopractise.Communicationwiththerhythmsectionisoneoftheskillsfocusedon.

Coursedetails

teacher MaartenvanderGrintenperiod 1stand2ndsemester,1.5hoursperweekclasssize ±7(5git,bas,drs)examination beingpresent(min.80%),evaluationsduringthelessons,andtheetudeexam

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credits 2code 6g3MG

GuitarQuintet,taughtbyHenkSprengerWiththeuseofmaterialespeciallywrittenforthissetting(fiveguitarsandrhythm),skillssuchasreading,accompanying,improvisingandmixinginthisunusualsettingarefocusedon,amongothers.Therepertoireconsistsofawiderangeofstyles,fromjazzandlatintofusion.Studentsarealsoinvitedtowritetheirownarrangements/compositionsforthisensemble.

Coursedetails

teacher HenkSprengerperiod 1stand/or2ndsemester,1.5hoursperweekclasssize ±7(5git,bas,drs)requirements compulsoryfor3rdyearguitarstudents.2ndyearstudentsmayparticipate

onlywithexceptionalreadingskillsexamination beingpresent(min.80%)andperformanceduringthelessons,andafinalconcertcredits 2code 6g3HS

BassGuitarGroup,taughtbyDaviddeMarezOyensDuringtheselessons,materialwrittenoradaptedespeciallyforthisunusualsettingisplayed.Withthehelpofthismusic,allsortsofissuesarefocusedonsuchasspecialtechniques,mixingandcolouringthesoundinunusualsituations,alternativefunctionsthatyoucanachieveinanensemble,keepingthetempowithoutdrumsorpercussionandsightreading.Asidefromthat,thereisplentyofroomforimprovisationandlearningtowriteforthissetting.

Coursedetails

teacher DaviddeMarezOyensperiod 1stor2ndsemester,1.5hoursperweekclasssize about4examination beingpresent(min.80%)andevaluationsduringthelessons,aself-written

arrangementandafinalconcertcredits 2code 6DMb

SaxophoneGroup,taughtbyAlbertBeltmanTheobjectiveofthisensembleistolearntoplaytogetherinasaxophonesection,andasapreparationforplayinginabigbandamongotherthings.(Mainlyforfirstandsecondyearsaxophonestudents).Coursedetails

teacher AlbertBeltmanperiod 1stand/or2ndsemester,1.5hoursperweekclasssize ±5examination beingpresent(min.80%)andevaluationduringthelessons,andafinal

concert

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credits 2foronesemester,3forawholeyearcode 6sd

SaxophoneGroupwithRythmSection,taughtbyAlbertBeltmanTwothingsarefocusedon:workingonspecificrepertoireforasax-sectionwithrhythm,andpiecesfromthebigbandrepertoireofEllington,Basie,GlennMillerandespeciallythechallengingThadJones/MelLewisrepertoire.Saxophonequartetsarealsoincluded.

Coursedetails

teacher AlbertBeltmanperiod 1stand2ndsemester,1.5hoursperweekclasssize 8requirements saxophonists,piano,bassanddrumsfromhigheryearlevelsexamination beingpresent(min.80%)andevaluationduringthelessons,andafinal

concertcredits 2foronesemester,3forawholeyearcode 6sc

TromboneGroup,taughtbyMartijnSohierWiththehelpofmaterialespeciallywrittenforthissetting(±7tromboneswithrhythmsection),skillssuchasreading,sectionplayingandimprovisingareworkedon.

Coursedetails

teacher MartijnSohierperiod 1stand2ndsemester,1.5hoursperweek(rhythmfor1semester)classsize ±10examination beingpresent(min.80%)andevaluationsduringthelessons,andaconcertcredits 2code 6TRB

VocalGroupsTakingpartinoneofthevocalgroupsiscompulsoryforallvocalistsforthedurationofatleastthreeyears.Asidefromthat,anaccompanyingtrioisalsoneededtobeabletoaccompanythechoirsforconcerts.

Studentsofthejazzvoicestudyprogrammemayparticipateinfourvocalgroups:VocalBasic,VocalInchoiry,VocalTopandVocalSummit.Thecompositionofthegroupsdependsonthestudent'syearofstudyandlevel.Thiswillenablestudentstochosetheirgroupsaccordingtotheirprincipalsubjects(VocalBasic)andfindachallengeingroupsofahigherlevel,suchasVocalTop.Thestudentwillhavetwovocalgrouplessonsperweekinthesecondterm.Thismeansthattherewillbeextratimescheduled,whichthegroupmayusetoworkindependently,toworkwiththeensemblesteacherorwiththeVocalSummitgroup.Thethemepergroupwillbechosendependingonthecompositionofthegroupandtheexperienceandinterestsofthestudents.

ThevocalgroupswillpresentthemselvesatacomboeveninginDecemberandtheOpenDayinJanuary.ThegroupswillcompletethestudyyearinApril/Maywithafinalconcertinschool.

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VocalBasicAvocalgroupforallfirst-yearsofthevoicestudyprogramme.Thisensemblewillworkonthebeginningsofcloseharmonyinthebroadestsense.Thestudentswillbecomeacquaintedwithcloseharmonyisandhowtoapplyitinthisensemble.Thestudentswillparticipateinthisgroupforoneyear.

Coursedetails

teacher EvaBaggermanperiod 1stand2ndsemester,1.5hoursperweekclasssize about7examination beingpresent(min.80%)andevaluationsduringthelessons,andseveral

concertscredits 2code 6EBVB

VocalInchoiryVocalgroupsforsecond-andthird-yearsofthevoicestudyprogramme.Inadditiontosinginginthegroup,thereisthepossibilityinthesecondtermtoformlargerorsmallergroupsinordertoworkonmusicalpreferences,level,etc.Thiswillenablestudentstofindtheirchallengesinthefieldofensemblesinging.Thestudentswillparticipateinthisgroupfortwoyears,unlesstheyareaskedtojoinorauditionforVocalTop.

Coursedetails

teacher EvaBaggermanperiod 1stand2ndsemester,1,5hoursperweekclasssize 6to±12requirements VocalBasicmustbecompletedwithsufficientresultsexamination beingpresent(min.80%)andevaluationsduringthelessons,andseveral

concertscredits 2code 6EBV2;6EBV3

VocalTopThisensembleconsistsoffourtofivevoicestudentsfromthejazzdepartmentandpossiblytheclassicaldepartment,whohavebeenaskedtojoinorhaveauditionedforthegroup.Thestudentsinthisensemblearegreatlyresponsiblethemselvesforselectingmusic,rehearsingandperforming,forcreatinganddevelopingmusicalideas.Alargeamountofself-disciplineandindependenceisrequired.VocalTopisthestartingpointofaprofessionalattitudenecessarytoworkintheprofession.In2014-2015thereareplansforaSwingleSingersproject.Thestudentswhohavebeenselectedwillparticipateinthisgroupforoneyear.

Coursedetails

teacher EvaBaggerman

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term 1stand2ndterm,1-2x1,5hoursperweekclasssize 4-5requirements forVocalTopstudentshavetoaudition,pleasecontactEvaBaggermanfor

anappointment.examination attendance(atleast80%),evaluationsduringthelessonsandafinalconcertcredits 2code 6EBVT

VocalSummitThisvocalgroupconsistsofallstudentsfromtheabovementionedgroups.Singinginagroupofthissize,insteadofsmallergroups,givessingingaspecialdimension.Thisgroupworksintensivelywithinanarrangedperiodofanumberofweeks.AllstudentswillparticipateinVocalSummitforthreeyears.

Coursedetails

teacher EvaBaggermanterm 2ndterm,withinarrangedperiodsanumberofweeks,1,5hoursperweekclasssize approx.20examination presence(min80%)andperformanceduringthelessonsandconcertscredits 1code 6EBVS

VoiceLab,taughtbySylviaLangelaanEspeciallyforinstrumentalists.Thereisaweeklyrehearsal,duringwhichinstrumentalistsgetthechancetoexperiencemusicinatotallydifferentway.Closeharmony,backingvocals,buildingupchordstogetherandhavingacompletelydifferentfunctionwithinagroupthanusual.Technique,intonation,blendingandpresentationarealsoincluded.Opentoeveryone.NBIfyousignup,youmustcompletetheyear.

Coursedetails

teacher SylviaLangelaanperiod 1stand2ndsemester,1.5hoursperweekclasssize 2-33examination beingpresent(min.80%)andevaluationsduringthelessons,andafinal

concertcredits 2code 6NVC

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7. Crossovergroups

Second-YearFunk/CrossoverGroup,taughtbyLenéteVoortwisandHenkSprengerRhythmsection,chordconception,melodyandimprovisationwithinthejazzrock/fusionrepertoireisworkedonduringtheselessons,withtheaimofcreatingacompletepieceofresoundingmusicoutofwrittennotes.Ifstudentswanttointroducepiecesfromtheirownrepertoire,thisispossiblethroughdiscussionwiththeirteacher.

Coursedetails

teacher LenéteVoortwis(LV),HenkSprenger(HS)period 1stand/or2ndterm1.5hoursperweekclasssize ±6examination beingpresent(min.80%)andevaluationsduringthelessons,andafinal

concertcredits 2foronesemester,3forawholeyearcode 7LV,7HS

AdvancedFusionGroup,taughtbyHansVroomansThisensemblefocusesonthemusiccomposedbyjazzrock/fusiongroupssuchasWeatherReport,ReturntoForeverandBreckerBrothers,andmusicianssuchasPatMetheny,HerbieHancockandChickCorea.

Coursedetails

teacher HansVroomansperiod 1stor2ndterm1.5hoursperweekclasssize 6-8requirements passingJazzTheorylevel2,higheryearlevelsandmasterprogrammeexamination beingpresent(min.80%),evaluationsduringthelessons,andafinalconcertcredits 2foronetermcode 7AFG

ZappaAndAssociatesGrouptaughtbyJosZwaanenburgThisensemblefocusesontransciptionsofmusiccomposedbyFrankZappa,TimSmith(Cardiacs),DavidVorhaus(WhiteNoise)andothers.Compositionsbyparticipatingstudentsmayalsobeplayed,providedtheyhavebeeninspiredbyoneoftheabovementionedmusiciansortheirassociates.

Coursedetails

teacher JosZwaanenburgperiod 1stsemester,1,5hoursperweekclasssize 6-8requirements passingJazzTheorylevel2,higheryearlevelsandmasterprogrammeexamination attendance(min.80%),evaluationsduringthelessonsandafinalconcertcredits 2code 7JZ

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AdvancedCrossoverGroup,taughtbyLenéteVoortwisandDaviddeMarezOyensTheobjectiveofthesegroupsistoallowstudentstobringtheirownideasintostylesofmusicthatarerelatedtojazz,suchaspopandlatin.Singersmustbringtheirownpieces,andinstrumentalistscanbringtheirownpiecesiftheychooseto.Studentsarerequiredtoarrangetheirchosenpiece,andthisoccursundersupervision.Thisiscompletedbyaperformanceattheendofeachsemester.

Coursedetails

teacher LenéteVoortwis(LV),DaviddeMarezOyens(DM)period 1stand/or2ndterm1.5hoursperweekclasssize 8-10examination beingpresent(min.80%)andevaluationsduringthelessons,andafinal

concertcredits 2foronesemester,3forawholeyearcode 7LV,7DMa

Funk/Rock/R&BGroup,taughtbyDaviddeMarezOyensandSylviaLangelaanTherepertoireandarrangementswillbedecidedoninconsultationwithallparticipants.Fromasmallbasis-repertoire,studentsstrivetowardsanexpansiveprogrammewhichisdirectedtowardsstage/performance.Suitableforthehigheryearlevelsofthebachelorprogramme,andstudentsofthemasterprogramme.

Coursedetails

teachers DaviddeMarezOyens,SylviaLangelaan(vocalcoaching)period wholeyear,1.5hoursperweekclasssize ±12(4-6vocalists,4hornsandanextensiverhythmsection)requirements forvocalistsandinstrumentalistsfromthehigheryearlevelsandthemaster

programmeexamination beingpresent(min.80%)andevaluationsduringthelessonsandtheconcertscredits 3forawholeyearcode 7DMc

8. Bigbands

MondayBandandTuesdayBandTheyearsinwhichstudentscansignupfortheseensemblesvarydependingontheirprincipalsubject.Sectionalsareheldinadditiontoweeklyrehearsals.

Coursedetails

teachers ErikvanLier,JohanPlompandseveralguestteachersperiod 1stand/or2ndterm,3.5hoursperweek.Hornsarerequiredthewholeyear,

andrhythmsectionforonetermclasssize 17-18examination beingpresent(min.80%)andevaluationsduringthelessons,workshopsand

concerts

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credits 3foronesemester,5forawholeyear(includingsectionrehearsals)code 8BBMor8BBT

Sectionrehearsalsinstrument teachersaxophone AlbertBeltmantrumpet JanOosthoftrombone ErikvanLierrhythm JohanPlomp

9. Studentensemble

StudentEnsembleStudentshavethepossibilitytoorganiseabandthemselves(beforesigninguptothiscourse).Pleasediscussthiswiththegroupbeforesigningup.ThisgroupmaybepartofyourDOKproject.

Thestudentwhosignsupwillbeconsideredasthegroupleader.He/sheisresponsibleforallcommunicationstothegroupmembers,thebandcoach,theBookingsDepartmentforbookingarehearsalroom,andtheensemblescoordinatorforthehalf-termandfinalconcerts.Thegroupleaserisalsoresponsibleforpreparing,organizingandleadingtherehearsals.

Thegroupmaygetasetweeklyrehearsaltime,andcanchoosefromaselectionofteacherseveryyear.Theteacherisnottheleaderwhodecideswhathappens,butmoreofacoachwhogivesfeedbackroughlysixtoeightstimesayear.Afteronesemestertheprogressofthegroupisreviewed,anddependingonthedevelopment,theywillbeallowedtocontinuetodothenextsemester.

Coursedetails

teachers choiceofBerendvandenBerg(EEBvB),JasperBlom(EEJB),Arnold

Dooijeweerd(EEADW),BartFermie(EEBF),HarmenFraanje(EEHF),ErnstGlerum(EEEG),FransvanderHoeven(EEFH),SylviaLangelaan(EESL),HansMantel(EEHMA),DaviddeMarezOyens(EEDM),YanivNachum(EEYN),RuudOuwehand(EERO),MartijnSohier(EEMS),JanWessels(EEJW).Otherteacherscanbechosenthroughdiscussion.

period1stterm;awholeyearispossible,dependentonprogressshownatamid-yearpresentation;1.5 hoursperweek

classsize ownchoice

requirements aclearwrittensummaryof:

* theensemblesetting(namesandinstruments)* theobjectiveandrepertoire* thedesiredteacher

examination beingpresent(min.80%)andevaluationsduringtherehearsalsandafinal

concert

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credits 2forasemester,3forawholeyear

code BerendvandenBerg(EEBvB),JasperBlom(EEJB),ArnoldDooijeweerd(EEADW),BartFermie(EEBF),HarmenFraanje(EEHF),ErnstGlerum(EEEG),FransvanderHoeven(EEFH),SylviaLangelaan(EESL),HansMantel(EEHMA),DaviddeMarezOyens(EEDM),YanivNachum(EEYN),RuudOuwehand(EERO),MartijnSohier(EEMS),JanWessels(EEJW)

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4. MusicTheorySubjectsJazzProgramme

Thefinalexaminationforallinstrumentalandvocalprincipalsubjects,aswellastheprincipalsubjectsofarrangingandmusictheorywillallincludethemusic-theorysubjectsofgeneralmusictheory,ear-training,harmony,analysis,arranging,harmonyatthepianoandthesubjectofmusichistory,withoneexception:thesubjectofharmonyatthepianowillnotbeincludedinthefinalexaminationfortheprincipalsubjectofpiano.

Jazzpropaedeuticprogramme

Thepropaedeuticphaseincludesthefollowingsubjects:*GeneralMusicTheory*GeneralTheoreticalSubjects(ATV)*EarTraining*RhythmicTraining*HarmonyatthePiano*JazzHistory

Thesesubjectswillbecontinuedinthepost-propaedeuticphase,withtwoexceptions:generalmusictheoryandrhythmictraining.Inthethirdyearstudentswillgetthechancetostudythreesubjectsindepth;oneofthecoursesonarranging,oneoftheanalysiscoursesandadditionalsubjects,andoneofthemusic-historycourses.

Additionalinformationcanbefoundinthejazzpost-propaedeuticprogramme.

GeneralProvisions*ClassattendanceandsittingforexaminationsisrequiredofeverystudentunlesstheBoardofDirectorshasgrantedhim/herexemption(pleasesee(7)below).

*Thecoordinatorofthemusic-theorysubjects/musichistorywillensurethatacompleteexaminationscheduleforthemusic-theorysubjectsandmusichistoryisavailablenolaterthan15Aprilofeverycourseyear.Studentsareresponsibleforacquaintingthemselveswiththeexaminationdatesapplicabletothembyconsultingayearlyoverviewpublishedatthebeginningofeachyearandtheaforementionedexaminationschedule.Studentswillnotbenotifiedindividuallyoftheexaminationdates.Thecoordinatorwillalsoberesponsiblefororganizingtheexaminations.Committeeswillalwaysconsistoftwomembers-asarule,thestudent'sownteacherandafellowteacher,whowillalsofunctionaschairman.Theassessmentandresults('satisfactory'or'unsatisfactory')willbeenteredonanexaminationreporttobesignedbythechairman.Thecandidatewillbeprovidedwiththeoriginalreportandacopywillbefiledwiththestudysecretariat,whokeepsafileforeverystudent.

*If,attheendofthecourseyear,astudenthasnotsuccessfullycompletedoneofthecoursesorcoursecomponentsforoneofthesubjectsreferredtointheseprovisions,he/shewillbeassignedtotherelevantcourseorcoursecomponentagaininthefollowingcourseyear.Studentswillbeallowedsuchanopportunityonlyonce.Inthecaseofexcessiveandunexcusedabsence,however,theBoardofDirectors-orthecoordinatorinconsultationwiththeBoard-maydecidenottoallowthestudent

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totakethecourseasecondtime,inwhichcase,he/shewillbepermittedonlytoresittheexaminations.

*Studentsmaybeexemptedfromattendingclassesandtakingexaminationsinoneofthecoursesorcoursecomponentsreferredtointheseprovisionsby:a. thecoordinatoroftheoreticalsubjectsorarelevantteacher,inconsultationwiththecoordinator,ifastudentcanproduceevidenceshowingthathe/shehascompletedthecourseorcoursecomponentinquestionatanotherconservatoryorbyhavingtakenastateexamination[staatsexamen]b. thecoordinatorandarelevantteacherif,despiteastudent'sinabilitytoproducetheevidencerequiredunder(a),theybelievethatthestudentotherwisedemonstratessufficientknowledgeand/orskillswithrespecttothecourse/coursecomponentforwhichexemptionhasbeenrequested.

ExemptionisgrantedbytheBoardofDirectors.Oncegranted,exemptionwillbeconsideredequivalenttothestudenthavingcompletedthecoursecomponentinquestion.Exemptionwillbegrantedbymeansoftheformprovidedforthatpurpose,whichisavailablefromthestudysecretariat.Anydocumentaryevidencewillbeadded,alongwiththeexemptionformwhichhasbeensignedbythecoordinatorand/ortherelevantteacher,tothestudent'sfile.

GeneralMusicTheory

LearningObjectiveTheobjectiveofthecourseistoprovideunderpinningforboththeprincipalsubjectandtheadditionalmusic-theorysubjectsbyprovidingstudentswithknowledgeofandskillsrelatingtothemusicalmaterialandthecorrespondingterminology.

ContentsThefollowingareaddressed:tonalsystemandnotation;metre,rhythm,tempo;scales,keys,tonalityandmodality;overtones,consonanceanddissonance;intervals,triads,seventhchords;articulationandphrasing;dynamics;organology;theoryofmusicalforms;terminologyinvariouslanguages.

Coursedetails

teacher BramStrijbisperiod 1stand2ndsemesterworkform one-hourlectureperweekmaterial tobeannouncedbytheteacherexamination writtenexamattheendofeachcourseitemexamperiods October,DecemberandAprilcredits 2

GeneralTheoreticalSubjectsThesubjectsofear-training,analysis,harmonyandarrangingarealltaughtinparallelintheGeneralTheoreticalSubjectscourse.

LearningobjectiveTheobjectiveofthecourseistodevelopstudents'musicalandinnerear(eartraining),understandingofmusicalstructure(analysis),harmonicunderstandingandskill(harmony)and

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arrangingskills(arranging).Thesefoursubjectswillbetaughtusinganintegratedapproachwheneverpossibleonthebasisofrepresentativepiecesfromthejazzrepertoire.

Coursedetails

teachers BarbaraBleij,JanFaas,HenkHuizinga,PatrickSchenkius,WalterStuhlmacherperiod wholeyearworkform studygroup,3hoursperweekmaterial tobeannouncedbytheteacherexamination 1.testinDecember/Januaryconsistingofanear-trainingassingnmentandan

analysis/scoringassignment

2. propaedeuticexamlateMay/earlyJune.Thisexamtakesplaceontwodays,withtwoassignmentsof60minuteseachperday.Thefourcomponentsare:a. ear-trainingassignmentwithanMP3andearphonesonthecomputerb. analysisc. scoringd. harmonizingagivenmelody.ThestudentmayuseakeyboardandearphonesoncetoplaytheharmonizationthroughAllcomponentsmustbeassessedassufficient,beforethefinalmarkcanbegiven.

credits 8

EarTrainingSkills

SkillsTomakeatranscriptionofthefollowingcomponents:1. leadsheet(melodyandchordsymbols)ofthe(partofa)themefromajazz-relatedpiece2. soloimprovisation3. asimplearrangement

ContentsThecontentsoftheanalysisandharmonycomponentswillbeputinpracticeandexaminedduringtheeartraininglessons.

Analysis

SkillsToperceive(visuallyand/orauditively)andtoanalyseinwritingform,melody,harmony,sheetmusicandarrangements/instrumentation.

Contents1. form:allusualformsofthestandardrepertoireaswellasfamiliardifferent,irregularforms(alsooriginals)2. melody:melodicstructure.Therelationshipbetweenmelodyandharmony.3. harmony:chordfunctions,therelationshipbetweenchords,verticalstructures.Theharmonic

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idiomisthe'classicaljazzharmony',piecesfromTheAmericanSongbook,RealBookandthebebopera.4. sheetmusic:tointerpretarrangementsand/orchordsymbolsfromsongbooksandleadsheetsfromuitfakeandrealbooks.5. arrangement/instrumentation:toanalyzebyearthecompositionofanarrangement,torecognizedifferentinstruments.

Harmony

SkillsTowriteanarrangementwithgivenchordsymbols:1. arrangementofanaccompaniment(closearrangement)2. arrangementwiththemelody(givenmelody)

Arranging

SkillsToinventandwriteaharmonization:1. harmonizationwithchordsymbolsunderagivenmelody2. reharmonizationofstandards

ContentsTopresentamethodwithwhichaharmonizationcanbemade.

EarTraining

LearningObjectiveTheobjectiveofthiscourseistodevelopthestudent'smusicalearbytrainingthemusicalimaginationandtoformabroadandsolidbaseforsight-reading,sight-playingandsight-singing.

ContentsTheexercisescovervarioustechniquesforthesingingofmelodies,chordprogressionsandseparatechords.Onthebasisofwell-knownpiecesfromthejazzrepertoirestudentswilldeveloptheirmusicalimagination.

Coursedetails

period wholeyearworkform studygroup1.5hoursperweekmaterial tobedecidedandhandedoutbytheteacherexamination anindividualoralexaminwhichthecontentsofthelessonswillbetestedexamperiod Maycredits 4

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RhythmicTraining

LearningobjectiveTheobjectiveofthiscourseistolearnhowtowritedownrhythms,howtointerpretthisnotation,howtoperformthis'swingfeel'andtotrainrhythmicalsight-reading.

ContentsExercisesinwritingdownswingrhythmsandsingingexercisesfromthelessonbook.

Coursedetails

teacher JohanPlompperiod 1stor2ndsemesterworkform studygroupofonehourperweekmaterial tobedecidedandhandedoutbytheteacherexamination *written:tobeabletowritedownrhythmicalfragments

*oral:tobeabletosight-singjazzrhythmsexamperiod DecemberandAprilcredits 1

Harmonyatthepiano

LearningObjectiveTheobjectiveofthistwo-yearcourseistoteachstudentshowtousethepianotoassistthemindevelopingtheirunderstandingofharmonyandharmony-relatedskills.

ContentsTheexercisesconsistofplaying:*chordsandchordprogressions*settings/arrangementswithagivenmelodyinthesoprano

Inthefirstyear,studentsbeginwithkeyboard-orientationexercisesfollowedbysimpleprogressionsinthemostusualkeys.Allthisisthenappliedtosimplepieces-melodywithsimpleaccompaniment− withinthecontextofrepresentativepiecesfromthejazzrepertoire.Subsequently,thenumberofkeys,setting,choiceofchordsandrepertoirewillbegraduallyexpanded.

Coursedetails

teachers BerendvandenBerg,ÖrjanGraafmans,DirkKeijzer,WaltherStuhlmacherperiod wholeyearworkform studygroupofonehourperweekmaterial tobedecidedandhandedoutbytheteacherexamination practicalexam:thisexamistakenindividuallyandtakes20minutes.

Requirements1. prepared:tobeabletoplayapiecewiththemelodyastopvoice,andtobeabletoplayaccompanimenttoamelody2. unprepared:tofigureoutatthepianomelodyandasimpleaccompanimentofanottoodifficultpiece

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examperiod Maycredits 3

JazzHistoryInthiscoursethreestronglyinterrelatedsubjectsarediscussed:1) Theoriginsanddevelopmentofjazzinboththenarrowandthewidersense.2) Thedevelopmentoftheskillsneededtolistentorecordedmusicintelligentlyandtoswiftlyandefficientlydecodethematerial.3) Introductiontophilosophicalaspectsconnectedtobecomingagoodjazzmusicianandhowdiscographyhasdocumentedthis.

ad1)Thisisthebackboneofthecourse.StartingwithitsAfricanroots,thecoursedealswithspecificblackaspectsthat,incloseconjunction,eventuallygaverisetoatotallynewmusicandanewwayofdoingthings.Thehistoriclineisfollowedandunderlinedbyinformationaboutracialstrifeandconnectedsocio-economicaspectsthatpropelledthemusicandwithoutwhichjazzwouldnothaveexisted.Thestrictlyhistoriclineofdevelopmentisfolloweduntiltheseventies,whenlinesbetweenjazzandothertypesofmusicbegantofade.Morerecentdevelopmentsarediscussedagainstthisbackdrop.ApartfromCD’s,thiscourseusesuniquematerialonfilmandtheKenBurnsvideoseries.

ad2)Nexttomasteringaninstrument,'understandingwhatyou’rehearing'isofparamountimportance.Comprehensiononlythroughauralinformationisvitalforanyjazzmusician.Arecordingisadocumentationofawayofdoingthings;muchofthatcanbetranscribed,buteveryrecordcontains(atleast)asmuchimportantinformationthatcannotbetranscribed.Thisbecomesclearbydeveloping'CreativeListening'and'AuralAwareness'wherebyhistoricalandsonologicaldetailsarecombinedwithaspectsofstyle,form,harmony,melodyandrhythmtoquicklyandeffectively'decode'andunderstandthematerial.Inotherwords:listeningtorecordsisaskill.

ad3)Beingagoodinstrumentalistorvocalistisonething;beingagoodjazzmusicianisanother.Playingjazzisastylizedformofsocialbehaviorwhichinvolves(collectivelyandcreatively)solvingaconstantlychangingproblemofcoordinationinwhichjusttechnicalskillsarenotthemostimportantfactor.Bothliveandonrecord,jazzhistoryshowsushowgreatmusiciansexcelatpreciselythat.Thiscoursediscussesanddemonstratestheawarenessandmusicalempathythestudentneedsforthis,howtoachieveandmaintaindevelopmentthereofandfindoutwhichquestionswillalwaysneedtobeasked.Whatconnectsthesethreesubjectsistheimportanceofunderstandingwhathasbeen,whatisnow,andwhathasyettobeaccomplished.Study,throughrecordings,ofthetraditioninallitsformsisthereforeessential.

Coursedetails

teacher HansMantelperiod wholeyearworkform lecturematerial tobedecidedbytheteacherexamination writtenexamwhichconsistsofaquestionnairepertainingtofouroffive

recordingsplayedattheexam.

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examperiod latterhalfofMaycredits 4

Jazzpostpropaedeuticprogramme

Thesepagescontaininformationontherequiredcoursecomponentsandelectivesfortheory,ensemblesandotherelectivesfollowingthepropaedeuticyear,aswellasinformationon'freespace'.Alimitednumberofsecond-yeartheorycoursesareavailable;studentswillbesignedupbythecoordinatororscheduler.Asregardsthethird-yeartheorycoursesandensembles,studentscanlargelydeterminethecourseoftheirstudiesthemselves.

Inanefforttocontrolclasssizeandmake-upoftheensembles,werequestthatyoualwayslistafirstandsecondchoice.Studentswishingtotakebothclassesshouldstatethisclearly.NB:Pleaseindicate'additionalchoice'insteadof'secondchoice'.

Pleaseusethepost-propaedeuticelectivesform(ontherightsideofthispage)forindicatingyourchoice,andsubmititnolaterthan14June2015.Formsreceivedafterthisdatewillnotbeprocessed.

Ifyouthinkthatyoumaynotneedtotakeacoursebecauseofpreviousstudy,pleasestatethisontheform,orgetintouchwithoneoftherelevantcontacts.

Whenchoosingyourelectives,itisimportantthatyoukeepinmindthat,beforebeingallowedtotakethefinalexamination,youmusthavecompletedallthesubjectsmakingupyourcourseofstudy(i.e.requiredcoursesandelectives)!

Second-yeartheorycourses

Choicesinthesecondacademicyeararelimited,sinceallsubjectsarerequired.Studentsarescheduledtotakethefollowingcourses:

*GeneralTheoreticalSubjects*Solfegepracticum*IntroductiontoClassicalWestern-CultureMusic*MusicHistoryClassicalMusic20thCentury*English(onlyfortheprincipalsubjectVoice)*TheoreticalsubjectsfortheprincipalsubjectArranging

StudentsmayonlychooseateacherforHarmonyatthePiano.

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GeneralTheoreticalSubjectsThematerialwhichwascoveredinthefirstyearisexpandedoninthesecondyear.

TopicsHarmonytopics('advancedjazzharmony')thatmaybecovered:*modulations(withandwithoutcommonchord)*morecomplexharmonicies,suchasoctotonics,subdominantalterations,leading-tones,parallelharmony,chromaticbassesandminorline-clichés*openharmoniesthatcannotbeexplainedbyscaledegrees*blockchords*slashchords*Coltranechanges*analysingarrangementswiththreepartsormore*comparativeanalysis*writinganarrangement(withblockchords,forinstance)forsaxophonesection(whichcaneventuallyberecorded)

Coursedetails

teachers seefirst-yearGeneralTheoreticalSubjectsperiod thewholeyear,3hoursperweekday tobedecidedclasssize 6-7requirements propedeuse(1styear)JazzTheoryworkform studygroupexamination a.handinginthreeassignments(May).Thestudentisfreetochoosethe

musicforeachassignment.Theassignmentscomprise:1. transcriptionofasolo,includingmelodyandchordsymbols.Writtenanalysisoftheimportantpartsofthesolo(e.g.motifs/arpeggios/scales/patterns).2. transcriptionofanarrangementofamelodyofthreepartsormore(the'head').Writtenanalysisofaharmonyandtypesofvoicings(e.g.close/open/upperstructure/triads/seventhchords).3. comparativeanalysis.Transcriptionofastandardororiginalwillbeanalysedandcomparedtothesongsheetorarecordingofanearlyversion.Writtenanalysis:harmonicdifferences,rhythmicalalterations,newgroove/styleetc).Theteachermayadapttheabovementionedexamplestothelevelofthegroup.Furthermore,theteachermayaskformoreworktobehandedin.b. writtenexam(May/June)1. ear-trainingexam2. arrangement/analysis3. harmonization4. blockchordsTheteachermayadapttheabovementionedexamplestothelevelofthegroup.c. oralexam(June)Theassignmentsandthewrittenexamwillbediscussedwiththestudent

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duringanindiviualexam.Thestudentwillanswerquestionsabouttheirwork.Thecoursewillbecompletedwithageneralmarkof6orhigher.

credits 8

SolfegepracticumThematerialwhichwascoveredandpractisedinthefirstyearisexploredatahigherlevelinthesecondyear.

Coursedetails

teacher PatrickSchenkius,WaltherStuhlmacherperiod wholeyear,1hourperweekday tobedecidedclasssize 12-14requirements propedeuse(1styear)solfegeworkform studygroupexamination oralexaminJunecredits 4

IntroductiontoClassicalWestern-CultureMusicThiscourseisanintroductiontothehistoryofwesternclassicalmusic.Theemphasisisonthemusicbetween1600and1900,theperiodwhentonalitywasdeveloped.

Coursedetails

teacher WaltervandeLeurperiod 1stsemester,1.5hoursperweekday tobedecidedclasssize 24requirements propedeusejazzmusichistoryworkform lectureexamination examinDecembercredits 2

20thCenturyMusicHistoryThiscoursegivesaninsightintothemodern-classicalmusicofthe20thcentury.Inadditiontoacomprehensiveintroductiontosomeofthemostinnovativecomposers,theirworkandtechniques,thecourselooksatwhatmotivatedimportanttrends.Inordertogainknowledgeandunderstanding,muchtimeisspentlisteningtomusicalexamples.

Coursedetails

teacher WaltervandeLeurperiod 2ndand3rdterm,1.5hoursperweekday tobedecidedclasssize 24requirements Classicalmusichistory1600-1900workform lecture

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examination examinJunecredits 3

English(onlyfortheprincipalsubjectVoice)Thematerialcoveredinthefirstyearisexploredatahigherlevel.Moretimeisspentontheanalysisandinterpretationofsonglyrics.Theexamconsistsofawrittensection(thecontentofthewholesyllabus)andanoralsection(readingoutthelyricsfortwosongs,andalongerpieceofprose).Thisexamtakesplaceattheendofthecourseyear.

Coursedetails

teacher EileenFissperiod wholeyear,1hourperweekday tobedecidedclasssize 10requirements propedeuseworkform studygroupexamination anoralexaminMay(handinginacassettetape),awrittenexaminJunecredits 2

TheorysubjectsfortheprincipalsubjectArranging

InstrumentationDuringthiscourse,thehistoryofwritingfortheorchestraistaughtinapracticalway.Orchestrascoresareturnedintopianoextracts,andpianoextractsareorchestrated.Theemphasisliesmainlyonlisteningtoorchestrapieceswhilereadingalongwiththescore.

Inthefirstyear('Around1800')thecomposersHaydn,BeethovenandSchubertarecentral.Inthesecondyear('The19thCentury')thecentralcomposersareWagner,BrahmsandFranck.InthethirdyearthecomposersfocusedonareDebussy,StravinskyandXenakis,amongothers.Thefinalexamofthiscoursetakesplaceinthethirdyear.

Coursedetails

teacher AndréDouwterm wholeyear,1hourperweekworkform studygroupday t.b.a.classsize 4requirements propaedeuseexamination reviewoftheworkcompletedduringthecoursecredits 5

HarmonyandanalysisofclassicalmusicThistwo-yearcoursecoverstheclassicalrepertoirefromthebaroqueerauntiltheearly20thcentury.AnalysisandHarmonyarefollowedchronologically.Theharmonytaughtinthisclassisbasedontheclassical4-voicenotationthatarosefromtheoldcontrapuntalstyles.Inthefirstyearthecourseincludesmaterialuptothesimplechromaticismoftheearly19thcentury.Inthesecond

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yearthisisexpandedandmorecomplextopicsareintroduced:chromaticism(ataharderlevel),enharmonicism,newmodalityetc.whichwereusedinthe19thandearly20thcentury.Thisiswhereitconnectswithjazzmusic.

Inthefirstyearoftheanalysiscourse,worksofcomposerssuchasBach,Haydn,Mozart,BeethovenandSchubertarecovered.InthesecondyearcomposerssuchasChopin,Schumann,Brahms,Tchaikovsky,Debussy,RavelandStravinsky.

Coursedetails

teacher ClemensKemmeterm wholeyear,2hoursperweekworkform studygroupday t.b.a.classsize 6-7requirements propaedeuseexamination reviewofworkcompletedduringthecoursecredits 6

CounterpointInthesecondyear,arrangingstudentsbeginthecoursecounterpoint.Thiscourseistwoyearslong,andfocusesonthemusicfromthe16thcentury(modalcounterpoint).

Theaimistocreatecompositionswithtwo,threeandfourvoicesandtoshowthedifferencebetweencantus-firmussettingsandthosewithimitations.

Afterthefirstyearitisalsopossibletofollowthecourse'BaroqueCounterpoint'-althoughthisneedstobediscussedwithateacheroftheClassicaldepartment.Thiscoursealsotakestwoyears.

Coursedetails

teacher t.b.a.term wholeyear,2hoursperweekworkform studygroupday t.b.a.classsize 5-10requirements propaedeuseexamination reviewofthecompositionscredits 4

HarmonyatthePiano(notforprincipalsubjectPiano)Thematerialpractisedinthefirstyearisexpandedandexploredatahigherlevelinthesecondyear.Thefinalexamtakesplaceattheendofthecourseyear.Youcanselectyourownteacher.

Coursedetails

teachers BerendvandenBerg,DirkKeijzer,ÖrjanGraafmans,WaltherStuhlmacherperiod wholeyear,1hourperweek

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classsize 3-4requirements propedeuse(1styear)harmonyatthepianoworkform studygroupexamination finalexaminJunecredits 3code BVB:BerendvandenBerg;DK:DirkKeijzer;OG:ÖrjanGraafmans;WS:

WatherStuhlmacher

Third-yeartheorycourses

AfterhavingcompletedtheGeneralTheoreticalSubjectsattheendofthesecondyear,studentsarerequiredtostudyatleastthreesubjectsindepth:onefromtheselectionof'coursesinarranging',andtwofrom'coursesinanalysisandothersubjects'.Studentsmustearnatotalofeightcreditsfortheelectedcomponents.

Insteadofchoosingasecondsubjectfromthe'Analysis/Othersubjects'category,studentsmayenrolonatheorycoursegivenintheClassicalDepartment.Pleaseconsulttheclassicalpost-propaedeuticprogrammeorcontactthecoordinatorsofclassicaltheorycoursesundefinedJohnKoslovskyandMichelKhalifa.

Inadditiontotherequiredelectives,studentsmayalsosignupforextrasubjects,whichcanbeusedtoearn'freespace'credits.Studentsshouldrememberthatbyelectingtoenrolonacourse,theyaremakingacommitmenttoattendandtocompletethatcourse.

Electedcomponent:arranging*Arrangingforsmallandlargeensembles*Arrangingforoctet*Arrangingforbigband*Arrangingforvocalgroup*Arranging/songwriting:popmusic

Electedcomponent:analysisandothersubjects*Analysis/composition:filmmusic*Analysis:bigband*Analysis:solovocabulary*Analysis:WhatIsHip?The'Cool'StylesinJazz*Analysis:ClareFischer*Analysis:popmusic*Analysis:Debussy,Ravel,Stravinsky*Analysis:JohnScofieldandPatMetheny*Composition

ArrangingforsmallandlargeensemblesThiscoursefocusesonmakingarrangementsforsmallandlargeensemblesindifferentstyles.Theemphasisisinthepracticalaspectssuchasnotation,theuseofguitar,synthesizerandhorns,andtheaccompanimentofsingers.

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Coursedetails

teacher DirkKeijzer,RikElingsperiod wholeyear,1.5hoursperweekday tobedecidedclasssize 5-8requirements passingJazzTheorylevel2workform studygroupexamination anarrangementmadeduringthecourse;ultimatedeadlineforhand-in:

April,1.credits 4code ARKGk;ARKGe

ArrangingforoctetThiscourseisfocusedonmakingarrangementsfor5horns(trumpet,altosax,tenorsax,trombone,baritonesax)plusrhythmsection.Youhaveachoiceoftwoteachers:HenkHuizingaorJohanPlomp.

Coursedetails

teachers HenkHuizinga,JohanPlompperiod wholeyear,1.5hoursperweekday Mon/Tue/Thu(H.Huizinga);Mon/Tue/Wed(J.Plomp)classsize 10requirements passingJazzTheorylevel2workform studygroupexamination anarrangementforoctetthatismadeduringthecourse,whichmaybe

performeddependingontheavailabilityofmusicians;ultimatedeadlineforhand-in:April,1.

credits 4code OCTh(H.Huizinga),OCTp(J.Plomp)

ArrangingforbigbandThiscourseconsistsoflearningtomakearrangementsofrepresentativejazzpiecesforbigband.Itispreferabletofollowthiscourseincombinationwiththecourse'Analysis:Bigband'.Youhaveachoiceoftwoteachers:HenkHuizingaorJohanPlomp.

Coursedetails

teachers HenkHuizinga,JohanPlompperiod wholeyear,1.5hoursperweekday Mon/Tue/Thu(H.Huizinga);Mon/Tue/Wed(J.Plomp)classsize 10workform studygrouprequirements passingJazzTheorylevel2examination anarrangementforbigbandthatwillbeperformeddependingontheavailabilityof

musiscians;ultimatedeadlineforhand-in:April,1credits 4code ARBBh(H.Huizinga),ARBBp(J.Plomp)

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ArrangingforvocalgroupInthiscourse,studentslearntomakethree-sixvoicearrangementsforvocalgroups,withorwithoutarhythmsectionwhileexploringdifferentstyles.Thiscourseiscompulsoryforallsingers.

Coursedetails

teacher RikElingsperiod wholeyear,1.5hoursperweekday tobedecidedclasssize 5-10workform studygrouprequirements passingJazzTheorylevel2examination anarrangementforavocalgroup;ultimatedeadlineforhand-in:April,1.credits 4code ARVOC

Arranging/songwriting:popmusicInthiscoursewewilldealwithpopsongwritinginallitsstages:puttingtogetherchords,melodiesandwords,makinggrooves,arrangingforbackingvocals,hornsandstrings,recordingandproduction,synthprogramming,etcetera.Thestudentcanpickthemaintopicofhisinterest,buttheendgoalistogetamoreorlesscompleteoverviewoftheskillsrequiredforpopsongwriting.

Twoeventswillbeorganizedforapracticalpresentationofourwork:apresentationconcertintheAmsterdamBlueNote,whereyoucanperformyourownsongs,andanexcursiontoapoprecordingstudio,wherewewillgointothetechniqueofstudiosoundsandproduction(amps,microphones,positioning,compressors,mixingetc.),whilerecordingoneofoursongs.

Studentsareexpectedtocollectlittleideasonaregularbasis.Inthelessonsweinvestigatehowtheseideascanbeworkedoutintosongswithagoodbalancebetweenexpressivevalue,musicalcontentandtaste.Youwillalsobestimulatedtothinkaboutthebasisofyoursongwriting:creativity,motivation,musicalphilosophy.Originalityandexperimentationisencouraged!

Itisimportantthatyouhavethepossibilitytoexperimentwithyourmaterial,e.g.withacomputerorarehearsingband.Writtenmusicisonlyusedasatool:studentsareinvitedtobringrecordingsortoperformthesonginclass.Thesubjectofwritinglyricswillalsobecovered,butonlyinthecontextofthewholesongwritingprocess.

Ifwritinginthepopidiomitquitenewtoyou,itisstronglyrecommendedthatyoutakethecourseofAnalysePopmuziekincombinationwiththiscourse.

Coursedetails

teacher JacoBenckhuijsenday tobedecidedclasssize 5-8requirements passingJazzTheorylevel2workform privatelessonsexamination arecordingofasongresultingfromacreativeprocessduringthecourse

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credits 4code ARPOP

Analysis/composition:FilmmusicThiscourseconsistsofthestudyoffilmmusicbycomposerssuchasJohnBarry,JerryGoldsmith,BernardHerrman,EnnioMorricone,NinoRota,JohnWilliamsandHansZimmer.Differentstylecharacteristicsandcompositiontechniqueswillbeanalysedwiththehelpofexamples.Theanalysisisaccompaniedbyseveralsmallcompositionandarrangingassignments.Forthefinalassignment,studentsarerequiredtowriteapieceoffilmmusicforacertainscene.

Coursedetails

teacher WaltherStuhlmacherperiod 1stor2ndsemester,2hoursperweekday Thursdayclasssize 5-8workform studygrouprequirements passingJazzTheorylevel2examination atranscriptionandanarrangement/compositioncredits 2code FILM

Analysis:bigbandThiscourseconsistsoflookingatdifferentbigbandarrangementsfromThadJones,SammyNesticoandDukeEllington(amongothers)inananalyticalway.Arrangementsofthesamepiecebutbydifferentarrangersarecompared,andconnectionsaremadewithotherworkssuchasarrangementsforsmallergroupsandclassicalpieces.

Coursedetails

teacher PatrickSchenkiusperiod 1stor2ndsemester,2hoursperweekday Thursdayclasssize 5-8workform studygrouprequirements passingJazzTheorylevel2examination ananalysisassignmentofabigbandarrangementcredits 2code ANBB

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Analysis:SolovocabularyThiscourseconsistsofanalysingsolosbyauthoritativejazzsoloistssuchasCharlieParker,CliffordBrown,MilesDavis,SonnyRollins,JohnColtrane,WayneShorterandHerbieHancock.

Coursedetails

teacher BarbaraBleijperiod 1stor2ndsemester,2hoursperweekday tobedecidedclasssize 5-8workform studygrouprequirements passingJazzTheorylevel2examination adiscussionaboutatranscriptionofyourownchoice,withthe

accompanimentofselfmadetranscriptionsandanalysescredits 2code SOLO

Analysis:WhatIsHip?The'Cool'StylesinJazzCooljazzhasitsrootsinthe1940s.Thetermisusedfrequently,butitisbynomeansevidentwhatthecharacteristicsofthis'style'or'genre'are.Additionally,thewordisalsousedtodenoteacertainestheticalattitudeinjazz.Thisanalysisclassfeaturestheworkofsomeoftheartistswhichareusuallyconsideredtobe'cool'.Thecoursedoesnottakeachronological-historicalapproach.Rathertheworkofaselectionofmusicianswillbeconsidered.ForalargepartofthecoursethefocuswillbeontheLennieTristano-LeeKonitzschool,includingTristano'steachingmethod,onGilEvansandonMilesDavis,andalsoontheircollaboration.

Foreveryclassstudentswillfulfillanalyticalassignments;shortindividualpresentationsmaybepartoftheassignments.

Coursedetails

teacher BarbaraBleijperiod 1stor2ndsemester,2hoursperweekday tobedecidedclasssize 5-8workform studygrouprequirements passingJazzTheorylevel2examination analysisofapieceofthestudent'schoice,followedbyadiscussionofthe

analysiscredits 2code COOL

Analysis:ClareFischerClareFischerisreallya'MusiciansMusician'.Hisfascinatingharmoniesarewhatheistypicallyknownfor.FischerwritesfordiversemusicianssuchasGillespie,Prince,theHigh-Lo's,RobertPalmerandDianeSchuur,aswellasforhisowngroup.Duringthiscourse,themainfocuswillbethepiecesforsmallensembles,whichincludeswell-knowncompositionssuchasMorningandPensativa.

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Coursedetails

teacher BarbaraBleijperiod 1stor2ndsemester,2hoursperweekday tobedecidedclasssize 5-8workform studygrouprequirements passingJazzTheorylevel2examination theanalysisofaself-chosenpiece(onthebasisofaself-madetranscription)

followedbyadiscussionoftheanalysiscredits 2code CF

Analysis:popmusicSincetheBeatles,popmusichasdevelopedauniquemusicallanguagethroughanewapproachtooldermusicalstructures,heavliyinfluencedbytechnology,popcultureandthenon-academicmusicaleducationofitsmakers.Andhoweversimplethemusicmaysound,itisinfactamusicallanguagerichinstyles,quotations,sounds,andproductiontechniques.

Theobjectiveofthecourseistolearntorecognizeandappreciatethemusicalstructuresthatpopmusicianshaveused.Wewillgettherebylisteningto(non-commercial)recordedpopmusicfromthe1960suntilnowandanalyzingit.

Wewillnotonlylookatthetraditionalmusicalparameterslikemelody,harmonyandform,butalsothetypical'pop'elements:studioproduction,useofinstruments,lyrics,historiccontext.Whatistheoriginoftheserhythms?Howdidtheymaketheguitarsoundlikethat?Whatproductiontechniqueswereused?Whatarethelyricsabout?

ItisagoodideatotakethiscoursetogetherwiththecourseofPopSongwriting/arranging,especiallyifpopmusicwritingisrelativelynewtoyou.

Coursedetails

teacher JacoBenckhuijsenperiod 1stor2ndsemester,2hoursperweekday tobedecidedclasssize 5-8workform studygrouprequirements passingJazzTheorylevel2examination aselfmadeanalysis/transcriptioncredits 2code ANPOP

Analysis:Debussy,Ravel,StravinskyDebussy,Ravel,andStravinskylivedinatimeofrichculturalexchangeaswellasrisingpoliticaltensions,likeours.Allthreecomposershadtheirownfascinatingwayofreactingcreativelytothesetrends,combiningthewesternmusicaltraditionwiththerhythmsandmodalitiesofforeigncultures,fromSpaintoEastAsia.Andallofthemstronglycontributedtothedevelopmentofnewtechniques

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likemodalmixture,chordalextension,harmonicparallellism,whole-toneandoctatonicharmony,andbitonality.

Thesecomposerswerealsokeenlyawareoftheriseofjazz,ascanbeheardinDebussy’sGolliwog’sCakewalk,Stravinsky’sRagtime,andRavel’stwopianoconcertos.Andthey,inturn,haveinspiredmanyjazzmusicians,ascanbeheardinBillyStrayhorn’sChelseaBridge,JohnColtrane’sGiantStepsandthepianostylesofBillEvansandHerbieHancock.

Inthecourse,wewillcloselystudyabouttenrepresentativeworksofthesecomposers(Stravinsky:onlyhis‘Russianperiod’).Thegoalistodevelopathoroughinsightinthemusicallanguagesofthreekeycomposersfromthefirsthalfofthetwentiethcentury.

Coursedetails

teacher ClemensKemmeperiod 1stor2ndtermday MondayorTuesdayworkform studygroup(max.10),1,5hoursperweek)requirements AnalysisII(classical)/ATV2(jazz)examination analyticalpaper(annotatedscore+essayof500-1500words),presentation,

interviewcredits 2code DRS

Analysis:JohnScofieldandPatMethenyThiscoursefocusesoncompositionsandimprovisationsbyScofieldandMetheny.

Coursedetails

teacher PatrickSchenkiusperiod 2ndsemesterday tobedecidedclasssize 5-8workform studygrouprequirements passingJazzTheorylevel2examination transcriptionoftwocompositionsandanexambasedonthosetwo

compositionscredits 2code JSPM

CompositionInthiscoursevariouscompositiontechniqueswillbediscussedandanalyzed.Studentswillpractisevariousmethodsandapproachestowritingmusic.Additionallystudentswillgetfeedbackontheirownworkandassignments.

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Coursedetails

teacher JohanPlompterm 1stor2ndterm,2hoursperweekwork formstudygroupday t.b.a.classsize 5-8requirements passingJazzTheorylevel2examination handinginonenewlycomposedpiecewitharecordingandashort

descriptionofthecompositionprocessandthetechniquesusedcredits 2code CMP

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5.EducationandEntrepreneurship

TheEducationandEntrepreneurshipcourseisspreadoutoveralltheacademicyearsmakingupthebachelor’sdegreeprogramme.

EducationconsistsoftheMusicEducation,MethodologyandInternshipcomponents.

EntrepreneurshipconsistsofMentoring,IntroductiontoEducationandCareer,andMusicManagement.

Learningobjectives

TheEducationprogrammegivesstudentsanunderstandingofthemostimportantaspectsofteachingtheirownprincipalsubjectandsmallensembles.Theymayalsospecializeincertainaspectsofteaching,suchasorganizingworkshops,workinginacommunitysetting(e.g.communitymusic),workingwithschoolchildrenorwritingamethodorlessonplan.

Entrepreneurshipintroducesstudentstoanimportantcomponentthatwillplayapartinhis/herfuturecareer.Theywilldesigntheirownindividualprojectrepresentingallaspectsoftheprofession,includingproject-basedmethodology,givingpresentations,networking,organizationalskills,identityinvestigationandfinancialmanagement.

Programmestructure:

Year Semester Course Credits1 1 IntroductiontoEducationandCareer 12 2 MusicEducation1 12 2 Methodology1 13 1 MusicEducation2 23 1 Methodology2 23 1 Internship 23 1 MusicManagement1 34 1 MusicManagement2 6

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MentoringandIntroductiontoEducationandCareer

Propaedeuticyear

Inthefirstsemesterofthefirstyear,studentsreceiveguidancefromseniorstudents(mentors)inorganizingtheirstudy(enrolment,studyskills,networking,etc.),theinsandoutsoflifeinAmsterdam(jamsessions,concertvenues,housing,etc.)andashortIntroductiontoEducationandCareer,whichcoverssuchtopicsashearingprotection,injuryprevention,organizingthestudy,andabasiccoursetopreparethemfortheprofessionalworld.

MusicEducation,MethodologyandtheInternship

Bacheloryear2

TheMusicEducationandMethodologycoursesgetunderwayinthesecondhalfofthesecondyear.

MusicEducation1InMusicEducation1,studentslearntoleadtheirownband(bandcoaching).

Theoretically,thecourseisdividedintotwospecialistfields:didacticsandcommunicationskills.Thecoursecoversteachinggroupandensemblelessons.Thecourseistaughtinanensemblesetting.Bandleadersworkonarotationalbasisandcoachstudentsonworkstheyperforminrehearsals.Particularemphasiswillbeplacedonflexibilityandtheconsistentapplicationofvariousdidacticmethods.

Anumberoflearningtheorieswillalsobeaddressed.Variousformsoflearningwillbecovered,aswillanumberoflearningstyles.Othertopicsincludememory,intelligenceandtalent.Thecoursewillalsofocusonseveralcommunicationprinciples,including

*observationandinterpretation,*non-verbalbehaviour,*listening,*summarizingand*givingfeedback.

Conclusion1:examinationonthematerial,whichstudentscanaccessusingacompilationofvarioustexts.Conclusion2:twenty-minute-longmocklesson.

Methodology1Themethodologyclassistaughtingroupsandfocusesonthekeyaspectsofindividuallessons:

*outlookonteaching;*compilingteachingmaterial;*ananalysisofmultiplebeginners’methods;

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*workingfromrepertoire,songs;*designingalessonplanforbeginners(firsttenlessons);and*ananalysisofimportantplayerswhochangedhistory.

Conclusion:oraldiscussion,portfolioofmaterialscollectedusingachecklist.

Bacheloryear3

Bothcoursesarecontinuedinthefirstsemesterofthethirdyear.

MusicEducation2InMusicEducation2,studentscanspecializeincertaintypesofteachingbyenrollingonshortmodules.Theseincludemusicpsychology,leadinganamateurpopband,leadinganamateurjazzband,conducting,playingadifferentinstrumentinapopsetting,communitymusic,outsideinternshipsande-learning.

Methodology2InthesecondhalfoftheMethodologycourse,studentswill*focusoninstrumentbuildingandhistory,*analysemultiplejazzmethods,*presenttheirownpapersonspecifictopics,*designalessonplanforadvancedstudents(firsttenlessons)and*developtheirownteacherprofile.

Conclusion:oraldiscussionofstudent’sowncurriculumframework(usingachecklist).Conclusionofinstrumentbuildingandhistory:writtentestandlisteningtest.Additionaloption:presentationusingane-learningvideo.

Internship(firstsemester,thirdyear)Theinternshipinvolvesasmallgroupofinstrumentalistsgivinglessonstoanamateurpupil.Theinternshipwillconsistofseveralstudentsgivingprivatelessonsontheirowninstrumentstoanindividualpupilforashorttime.Thisactivitywillbeoverseenbythemethodologyandpedagogyteachers.

Structure:thestudentsaredividedintogroupsbyprincipalinstrument;eachgroupwillgivelessonstoaninternshippupil,whowillbeavailableforthattermandwillreceivelessonsfreeofcharge.

Thestudentsinaparticulargroupwillsetupajointlessonplanandtaketurnsteachingthepupil.Theteachers’observationswillservetoguidetheprocess.

Conclusion:twenty-minute-longmocklesson.Boththegroupasawholeandtheindividualstudentswillbeassessed.

MusicManagement1Inthefirsthalfofthethirdyear,anintroductionwillbeheldduringwhichindividualstudentsandallrelevantteachers(theMusicManagementteamandprincipalsubjectteachers)willjointlydrawupaplanoutlininghowthestudentwillcompletetheMusicManagementprogrammeandmeethis/her

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furtherstudygoals.Examplesincludestartinghis/herownbandandorganizingatour,recordingaCD,organizinganevent,anddevelopingandgivingaworkshop.

TheMusicManagementprogrammegetsunderwayinthesecondsemesterofthethirdyear.

Studentstaketheirfirststepsindrawingupaprojectplan(abusinessplan).Eachstudentisresponsibleforhis/herownproject.

Teachinginthissemesterispracticallyorientedandproject-basedwithagreatdealofindividualinputfromthestudent.Guestteacherswillbeinvitedtodiscussbusinessaspectsoftheprofessionalworld.TheMusicManagementprogrammeissupportedbythewww.beroepkunstenaar.nlwebsite.

ThemainobjectiveofMusicManagementistoteachstudentsentrepreneurialskillstheywillneedintheprofessionalmusicworld.Severalqualitiesthatwillbedevelopedareteamwork,leadership,knowledgeofprojectmanagement,knowledgeofrecentdevelopments,specializationsinone’sownfield,theartssectorandtheInternet,knowledgeandskillsrelatingtopromotion,financesandlaw,andestablishingoneselfasaperformer.Studentswillbeentrustedwiththegreatresponsibilityofputtingtogethertheirowncurricula.Theywillbeguidedbyapersonalmentor.

Requiredmodules:* presentationtraining;* buildingawebsite;* bookkeeping;and* amodulerelatedtothestudent’sprofile.

ThecourseconcludesinDecembersimultaneouslywithMusicManagement2.

Bacheloryear4

MusicManagement2ThesecondhalfofMusicManagement(whichtakesplaceduringthefirsthalfofthefourthyear)seesstudentscompletingtheirchosenprojectandtheremainingrequiredmodules.

ConclusioninDecember:aprojectpresentationwhichincludesaPowerPointslideshowandapossibleperformanceattheAmsterdamBlueNote.

MusicManagement3Aftertheprojecthasbeenconcluded,studentswillcompleteacomponentinwhichamentorhelpsthemorganizeandprepareforthefinalexamination.

Theconclusionofthiscourseisintegratedwiththepracticalfinalexamination.

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6.Electives

Thiscoursecomponentallowsstudentstoearnaminimumof10creditsbyspecializinginaparticularsubjectorfocusingonaspecialinterestintheirsecond,thirdandfourthyearofstudy.TheelectivesprogrammeispublishedeveryyearinMayonMyAHK;studentsmaythensignupforthesubjectstheywanttofollowinthenextstudyyear.

Anoverviewofthesubjectsthatareofferedin2015-2016.

practicalsubjectsWritingFilmMusicAdvancedRhythmMusicNotationMusicTechnologyMusicProductionbyComputerLiveElectronicsIntroductiontoMax/MSPPrivateSubsidiarySubjectPopBassGuitarasaSubsidiarySubjectImprovisationasaSubsidiarySubjectLyricLabPianoAccompanimentforVocalistsStageSkillsFlowonstageHistoryofpopandrockmusicAdaptingstandardsfortrio/quartet

WorldMusicGrouplessonsinAfro-CaribbeanandLatinAmericanhandpercussionIndiantablaJembeAfricanMbiraFlamenco:Music,DanceandCultureGrouplessonsinArabdarbukaandsingingLecturesinWorldMusic

EducationalsubjectsMusicInternshipinDayCareCentreMusicianintheClassroomIntroductiontoChildren'sChoirConducting

Otheranextracoursefromthe'third-yeartheorycourses'categoryaccompanyingprincipalprivatevocallessonsanextracoursefromthe'ensembles'categorymasterclasses,specialprojects

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acoursefromtheClassicalelectivesprogrammeacoursefromthePopmusicelectivesprogramme,pleasecontactLiSangOng

7. JazzPreparatoryCourseNoteverymusicianwhoisreadyfortheentranceexaminationhasalreadyfinishedsecondaryeducation.Andnoteverymusicianhavingfinishedsecondaryeducationandconsideringaconservatoryeducationhasreachedtherequiredlevel.Forthesestudentsthepreliminarytrainingprogrammeconstitutesofoneortwoyearsofpreparatoryworkontheprincipal-studysubject,theoryandeartraining('solfège'),allincombinationwithschoolorwork.

Therearenoseparateentrancerequirementsfortheprincipalstudy;theexaminingboardwillassessastowhetherstudentsshowsufficientpotentialanddevelopmenttoattaintherequiredlevelwithinoneortwoyears.Thesameappliestotheoreticalknowledgeandeartraining.Inthiscasetoo,theexaminerswill'measure'potentialandknowledgealreadyacquired.Studentswhocompletethetheoreticalsubjectsduringthepreliminarytrainingprogrammemay-inconsultationwiththeboardofdirectors-alreadystartattendingclassesintheoreticalsubjectsatfirst-yearlevel.

8. PracticalmattersStudyadviceForinformationandadviceregardingthecontentsandprogessofyourstudy,suchasexemptions,extrasubjects,electives,individualcredits,youmaycontact:

BramStrijbis,[email protected]:TuesdaysandThursdays10.30-12.30h,orbyappointment

StudentCounsellorTheConservatoryStudentcounsellorisHeleendeKam,telephone020-5277584,walk-inofficehours:TuesdaysandThursdays11.00-13.00h,andbyappointment.

Thestudentcounsellorinformsandguidesstudentswithrespecttoconditionsofthecourse,i.e.allsortsofpracticalandpersonalmattersrelatingtothestudent’ssituationandbeingastudent(financialassistance,lawsandregulations,insurance,residencepermits,etc.).Thestudentcounsellorcanalsobeconsultedaboutpersonalmatters,suchasinjuries,psychicproblems,familymatters,lackofmotivationorotherpersonalproblemswhichmaycausestudentstofallbehindintheirstudies.

Thestudentcounsellor’sobjectiveistotrytohelpthestudentfindwaystosolveproblemsandresolveissues.Thestudentcounsellorisalsothecontactpersonforforeignstudentsandstudentswithahandicap.Inmanycases,thestudentcounsellorcanreferthestudenttootherindividualsorauthoritiesatoroutsidetheconservatory.Allconsultationswiththestudentcounsellorarestrictlyconfidential.Pleasefindmoreinformationonourintranet.

StudysecretariatThestudysecretariatishousedonthe10thfloorandisopeneveryweekdayfrom10.00-12.00and14.00-16.00htohelpyouwithvariousstudymatters,Forinstance,theycanprintanoverviewofyourstudyresultsorhelpyougetcertaindocumentsorcertificates.Youcanalsocontacttheofficewhenyouhavequestionsaboutexamdatesoftheexamschedule.Formattersconcerningthepaymentofyourtuitionfeeoryourenrolment,youshouldcontacttheCentralStudentRegistrarOfficeoftheAHK,Jodenbreestraat3.

Annex:TheEducationandexaminationregulations2017-2018ConservatoriumvanAmsterdamcanbefoundontheCvAintranetMyAHK

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Conservatorium van Amsterdam Education and examination regulations 2017 - 2018 For the study programmes

* bachelor's degree in music – CROHO no. 34739

* bachelor's degree in music in education – CROHO no. 39112

* master's degree in music – CROHO no. 44739

* master's degree in opera – CROHO no. 49105

of the faculty of Music of the Amsterdam School of the Arts

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Table of contents

Section 1: General

Section 2: Conditions for registration and selection

Section 3: Propaedeutic Phase of the Bachelor's Degree Programmes

Section 4: Post-Propaedeutic Phase of the Bachelor's Degree Programmes

Section 5: Master's Degree Programmes

Section 6: Taking Examinations

Section 7: Examination Results

Section 8: Exemption

Section 9: Temporary interruption and cessation of study

Section 10: Reviews

Section 11: Academic Guidance

Section 12: Evaluation of the programmes

Section 13: Preservation of student work

Section 14: Final Provision and Provisions Pertaining to Implementation

Addendum: joint regulations for DNOA

The general articles in this OER also apply to the master's program opera (DNOA). For a number of specific articles

for the master's program opera, a common regulation has been prepared with the Royal Conservatory, described in

the addendum to this OER.

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Conservatorium van Amsterdam Education and examination regulations 2017-2018 Section 1: General

Article 1: Applicability of the Regulations

The Board of the Amsterdam School of the Arts, hereby represented by the Conservatory Board [directie] of the

Conservatorium van Amsterdam, has, with the consent of the Faculty Participation Council [faculteitsraad], resolved

to establish the following regulations regarding the content and structure of the tuition and examinations of the

Bachelor of Music, Bachelor of Music in Education, Master of Music and Master of Opera programmes. This will be

done in accordance with section 7(13) of the Dutch Higher Education and Research Act (Wet op het Hoger onderwijs

en Wetenschappelijk onderzoek (WHW)). These programmes are offered by the Faculty of Music of the Amsterdam

School of the Arts, hereinafter referred to as the Conservatorium van Amsterdam. In accordance with section 7(14)

of the Act, the Executive Board [College van Bestuur] will also regularly assess and where appropriate amend these

regulations, taking into account the time thus involved for the students.

The student’s rights and obligations which are connected with these Education and Examination Regulations, are

formulated in the Student Statute of the Amsterdam School of the Arts. This statute is available on the School of the

Arts’ website. These regulations apply to the education and examinations of the Bachelor of Music, Bachelor of

Music in Education, Master of Music and Master of Opera programmes unless it is explicitly indicated or it is clear

from the context that the relevant passage is only applicable to one or a limited number of these four programmes.

Any reference in these regulations to the programme or programmes without any additions being given is a reference

to all four programmes.

Article 2: Definitions

In these regulations, the following will be taken to mean:

a. the Law: the Higher Education and Research Act [Wet op het hoger onderwijs en wetenschappelijk onderzoek,

WHW]

b. student: he or she who is enrolled in the Amsterdamse Hogeschool voor de Kunsten to receive training and/or to

take the examinations and undergo the reviews connected with the programme

c. the 'hogeschool': the Amsterdamse Hogeschool voor de Kunsten

d. the Conservatory: The Conservatorium van Amsterdam, the faculty of Music of the Amsterdamse Hogeschool voor

de Kunsten

e. examination board: the committee as referred to in Article 7(12) of the Act, which is charged with, inter alia,

guaranteeing the quality of the examinations;

f. exam: final test of the propedeuse, the Bachelor’s programme and the Master’s programme.

g. board of examiners: with regard to the preparation and/or implementation of parts of examinations, boards of

examiners can be established as referred to in section 7(12) of the Act. The board of examiners will be appointed by

the examination board;

h. examiner: a member of the board of examiners, as referred to in section 7(12)(3) of the Act. Examiners are

charged with administering and assessing examinations and other forms of testing.

i. admissions board: the board of examiners charged with administering the admissions examination.

j. programme: a coherent whole made up of units of study, aimed at realizing well-defined objectives in the areas of

knowledge, insight and skills that those completing the programme should possess

k. bachelor's degree programme: degree programmes in higher education pursuant to Article 7(3)(a)(2) of the Law

with a study load of 240 credits

l. master's degree programme: an advanced programme in higher education pursuant to Article 7(3)(a)(2) of the Law

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with a study load of 120 credits

m. term: uninterrupted period of lessons acctoring tot the annual academic calendar

n. propaedeutic year: the propaedeutic phase of the programme as referred to in Article 7(8) of the Law.

o. post-propaedeutic phase: that part of the bachelor's degree programme which follows the propaedeutic year

p. component: a unit of study of the programme within the meaning of the Law.

q. examination: each unit of study is concluded with an examination, which constitutes an investigation of the

candidate's knowledge, insight and skills, as well as an assessment of the results of that investigation

r. practicum: a practical exercise in one of the following forms:

- writing a bachelor's or master's thesis

- writing a paper or creating a project or recording

- carrying out a research assignment

- participating in fieldwork or an excursion

- doing an internship

- or participating in another educational activity aimed at achieving certain skills

s. departments: the Conservatory has the main departments Classical Music, Jazz and Pop music and Music in

Education

t. study guide: the electronic guide to the programmes containing specific information about them, published on the

Conservatory's intranet

u. recognition of competences: activities carried out or programmes participated in or completed as a result of which

exemptions from programme components may be granted

v. fraud: conduct whereby a student endeavours to reduce or eliminate the possibility of an accurate assessment

being formed of his or her or other students’ knowledge, understanding and skills

w. plagiarism: the reproduction or paraphrasing or passing off as one's own work, either wholly or in part, of projects,

papers and other written assessments of texts or other works such as compositions and

arrangements of other authors without providing proper source references and without clearly indicating where

citations begin and end.

Article 3: Objective of the Programmes

3.1. The primary objective of the programmes is to provide students with the knowledge, insight and skills necessary

for successful careers as teachers, performing musicians and/or composers. The programmes focus on the artistic

and professional world in the broadest sense and the teaching profession to which it is connected. In addition to

performing with orchestras, ensembles and on stage, graduates will also work at cultural institutions, in education

and as independent entrepreneurs.

3.2. The substance of each study programme has been incorporated in the study guide.

The exit qualifications of each programme has been incorporated in the study guide.

The relationship between objectives and exit qualifications in the individual programmes or principal subject has

been incorporated in the study guide.

3.3. The programmes are 'socially relevant' in that the exit requirements have been tailored to the greatest extent

possible to meet the demands of the professional world. To this end, direct contact with the professional world is a

necessity.

Article 4 Languages and Language requirements

The programmes are conducted in two languages: Dutch (Classical Music, Jazz, Pop Music and Music in Education

divisions) and English (Classical Music and Jazz departments). Non-Dutch or Non-English speaking foreign students

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are required to show a positive test result on the English language. The requirements are further explained on the

website.

Article 5 Programmes

5.1. Bachelor's Degree Programme in Music

subject clusters for musicians

* instrumental and vocal principal subjects (classical music, jazz and pop music)

* conducting (choral, orchestral, concert and brass band)

* theory of music (classical music and jazz)

subject clusters for composition students

* composition (classical music)

* composition/arranging (jazz)

5.2. Bachelor of Music in Education Degree Programme

subject clusters for music in education

* music teacher in primary education

* music teacher in secondary education

* music teacher special education

* community music teacher

5.3. Master's Degree Programme in Music

subject clusters for musicians

* instrumental and vocal principal subjects (classical music, jazz and pop music) and associated graduation

programmes

* conducting (choral, orchestral, concert and brass band)

* theory of music (classical music and jazz)

subject clusters for composition students

* composition (classical music)

* composition/arranging (jazz)

* composing for film (in collaboration with the Netherlands Film Academy)

5.4. Master's Degree Programme in Opera

subject clusters for opera

Article 6: Full-time

The programmes are offered on a full-time basis.

Article 7: The Examinations

7.1. In the bachelor's degree programmes the propaedeutic phase will be concluded with the propaedeutic

examination and the main phase with the final examination.

7.2. The examinations mentioned in 5.1 will be considered passed if all course components belonging to the

corresponding study phase have been completed successfully, or if the student has been exempted for those

components.

Article 8 Participation in excursions

8.1. Excursions to which a student's financial contribution is linked can, if the student therefore is unable to

participate in this excursion, be replaced by an alternative assignment. To do this, the student submits a written

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request to the Examination Board.

8.2. Exceptions to article 8.1 are for excursions that are irreplaceable. This concerns the CKV excursion in the third-

year ODM curriculum. This excursion is described in the ODM study guide.

Section 2 Conditions for registration and selection

Article 9: Conditions for registration

9.1. To be registrated in the programme, students must pass an entrance examination in accordance with Article

7(26)a of the Higher Education and Research Act. This entrance examination is described on the website.

9.2. To be accepted to the course, the candidate (in accordance with article 7(24) of the Higher Education and

Research Act) must have earned a senior general secondary education diploma [diploma havo], a pre-university

education diploma [diploma vwo], or a (foreign) diploma of an equal or higher rank. Students who have earned a

senior secondary vocational education diploma (middenkaderopleiding of van een specialistenopleiding, in

accordance with article 7 (2)(2)(1) of the Education and Professional Education Act) may also be admitted.

If candidates are not eligible because they lack a required diploma, they may still be admitted in the event of positive

results of the investigation stated in the first paragraph of article 7.29 of the WHW to eligibility for education at the

conservatory, if they:

- have earned at least a junior general secondary education diploma [diploma VMBO, theoretische leerweg]; or

- are over the age of 21

In special cases and according to Article 7(29), fourth paragraph of the Higher Education and Research Act the

board may decide to deviate from this age or diplomathe selection committee may specify another age or required

diploma).

Article 10: The Entrance Examination for the Bachelor's programme

10.1. The entrance examination will be administered by a selection committee consisting of at least three members

and will be chaired by the department representative.

10.2. The entrance examination for the bachelor's programme consists of two parts: a general component in which

the candidate's inner ear and knowledge of theory are evaluated, and a practical component in which his/her specific

skills in relation to the principal subject are assessed. Additionally, an assessment as to whether the candidate will

be able to pass the final bachelor's examination will be made.

Depending on the principle subject, the entrance examination can contain more components. Preselection can also

be part of the entrance examination. This is described on the website

10.3. The candidate must pass both components to be accepted to the programme. Rematch of one of the parts of the

entrance examination is only possible in exceptional cases, to be determined by the artistic direction.

10.4. The entry requirements are determined individually by principal subject by the department and have been

published on the website.

10.5. The Board of Directors will determine in advance the number of places available per department. Naturally, up

to the number of places available can be filled. Final admission of students on the waiting list will be effected by order

of the Artistic Directorship. The department will indicate the level of priority of candidates on the waiting list.

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10.6. The results of the bachelor's entrance examination can be as follows:

- rejected

- admissible to the preparatory course

- admissible to the degree programme

10.7. The chairman will inform the candidate orally of the results immediately after the entrance examination. The

Examination Board will inform of the final admissions decision.

10.8. Immediately after all entrance examinations for one department have been taken, the Examnination Board will

make a decision regarding the final admission of candidates who have been approved for admission.

Article 11: The Entrance Examination for the Master's Degree Programme

11.1. For candidates already enrolled in the Conservatorium van Amsterdam, the final bachelor's examination can, in

case the candidate wants to enrol on the master’s programme, also serve as an entrance examination for the

master's degree programme.

11.2. Candidates wishing to enrol on the master's programme must, together with their application, submit an

individual plan of study for the master's programme at least three weeks before the entrance examination. The study

plan is part of the assessment of the entrance examination.

11.3. Candidates not enrolled in the Conservatorium van Amsterdam must prepare a recital consisting of fifty

minutes of music in accordance with the final examination requirements of the Conservatorium van Amsterdam.

During the entrance examination, the committee may decide not to hear all the repertoire.

11.4. If the final bachelor's examination also constitutes the entrance examination for the master's programme, the

deliberation in respect of the result will first be concluded, after which the committee will make a decision regarding

the candidate's admissibility to the master's programme.

11.5. The number of candidates to be admitted is determined by the management. Below this number, placement is

possible. Final admission from the waiting list takes place by decision of the artistic leadership. Each section sets the

order of priority of candidates on the waiting list.

11.6. The results of the master's programme entrance examination can be as follows:

- rejected

- admissible to the master's degree programme

11.7. The chairman will inform the candidate orally of the results immediately after the entrance examination.

11.8. The Management Board decides after all admission examinations of the relevant section on the placement of

candidates who are admissible and ensures that candidates are informed.

Section 3: Propaedeutic Phase of the Bachelor's Degree Programmes

Article 12: Structure and Study Load

The course components of the propaedeutic year have been defined on the website by department, programme and

8

principal subject along with the corresponding study load, term and type of examination

administered (written, oral or practical). Students must earn a total of 60 credits during the propaedeutic phase.

Article 13: Binding Recommendation Regarding the Discontinuation of the Student's Studies

13.1.a. At the end of the first year of enrolment in the propaedeutic phase at the latest, each student will be issued a

recommendation regarding the continuation of his/her bachelor's studies by or on behalf of the Board.

13.1.b. Notwithstanding Article 7.1.a, in case personal circumstances (in accordance with Article 7.2) play a role in

the delays in the first year of enrollment, the study advise may be postponed until the end of the second year of

enrollment. In this case, the student will be placed in an extended propaedeutic course. The agreements for the

extension of the first year will be confirmed in writing.

13.1.c. Students enrolled on a bachelor's programme who have yet to pass the propaedeutic examination may be

dismissed pursuant to Article 7(8)(b) of the Law for an indefinite period if their academic performance fails to meet

the following requirements:

I. the student must have earned all credits for the core subjects

II. the student must have earned at least 70% of the credits for the additional theoretical subjects

III. the student must have earned at least 50% of the credits for any introductory or auxiliary subjects included in

his/her course of study.

The core subjects, additional theoretical subjects and introductory and auxiliary subjects for each programme and

principal subject are described in the study guide.

13.1.d. Students who are dismissed may not enrol again in the 'hogeschool' for the degree programme for which the

dismissal was issued.

13.2. The Executive Board [College van Bestuur] will issue the dismissal at the Conservatory Board's

recommendation and with due regard to the personal circumstances of the student in question.

The personal circumstances will be limited to:

a. illness of the student in question

b. physical, sensory or other functional impairment of the student in question

c. pregnancy of the student in question

d. special family circumstances

e. membership in or chairpersonship of the Central Participation Council [Centrale Medezeggenschapsraad], the

Faculty Participation Council [Facultaire Medezeggenschapsraad] or another formal faculty council

f. other circumstances to be indicated by the 'hogeschool' in which the student in question carries out activities within

the context of the organization and the management of the affairs of the 'hogeschool'

g. membership in the board of a student organization of considerable size having full legal capacity, or in a similar

organization of considerable size for which the protection of the general interests of society are focal and which does,

in fact, carry out activities to this end. The provisions apply only to the positions of chairperson, secretary and

treasurer.

13.3. Prior to dismissal, the student in question will receive a written warning from or on behalf of the Conservatory

Board no later than in February of the current academic year. If a considerable deterioration in the student's study

results shows only after February, this warning will still be issued, at such a time that the improvement of the results

is still possible. The Student Counsellor and the Study Adviser will be informed of this warning, as a result of which

the Student Counsellor or the Study Adviser may issue a recommendation to the Conservatory Board.

9

13.4. If the Conservatory Board intends dismissing a student on behalf of the Executive Board, it will notify the

student counsellor in writing, who will have five working days to issue a recommendation to the Conservatory Board

at his or her discretion. The student will also be informed of the Conservatory Board’s intention as well of the option

to explain his or her position to the student counsellor based on personal circumstances. The student will be heard

by the chairperson of the examination board regarding the intention of the Conservatory Board. If the student

expresses the wish to be heard in relation to the Conservatory Board’s intention, he or she may meet with the

chairperson of the examination board.

13.5. Any student claiming to be affected by personal circumstances as referred to under 3(b) will be required to

submit the necessary evidence of such circumstances to the Student Counsellor's Office or programme coordinator.

In the event of illness, special family circumstances, a physical, sensory or other functional impairment or pregnancy

of the student in question, he/she must submit a doctor's certificate attesting to such a condition.

13.6. If the Student Counsellor does not issue a recommendation to the Conservatory Board, he or she will notify it in

a timely manner. The Conservatory Board will inform the student of the Student Counsellor decision in writing,

providing a copy to the Student Counsellor.

13.7. If the Student Counsellor does issue a recommendation based on personal circumstances, the Conservatory

Board will inform the Executive Board of its intention to issue a dismissal notice regarding the student’s studies,

making the complete file available. In such instances the Executive Board will decide on whether to issue a binding

recommendation and will notify the student of it in writing, providing copies to both the Conservatory Board and the

Student Counsellor.

13.8. Dismissal will be effected at the end of the last term, but no later than on 15 July of the current academic year.

The student will be notified in writing of his or her dismissal, at the address that he or she has most recently

registered with the central student office. The decision of the Conservatory Board or the Executive Board will set

forth the appeal procedure.

13.9 If the propaedeutic phase is extended, the conditions and requirements to be satisfied by the student as well as

the time limit for meeting them in order to preclude the issue of a dismissal notice will be recorded in writing.

Section 4: Post-Propaedeutic Phase of the Bachelor's Degree Programmes

Article 14: Structure and Study Load

The course components of the post-propaedeutic phase have been defined in the study guide by department,

programme and principal subject along with the corresponding study load, term and type of examination

administered (written, oral or practical). Students must earn a total of 180 credits during the post-propaedeutic

phase.

Section 5: Master's Degree Programmes

article 15: Structure and study load

The master's degree programmes are structured by means of an individual plan of study. The committee of

examinators of the master's programme will assess the individual plan of study submitted by the student. The

subjects that can be taken in the master's degree programmes are defined in the study guide and in the programme

description of the master's subjects. The master's degree programmes are concluded with a final examination.

10

Students must earn a total of 120 credits during the master's programme.

The following stipulations in respect of the structure, the taking and administering of examinations and reviews for

the bachelor's degree programmes will, to the greatest extent possible, apply mutatis mutandis to the master's

degree programmes.

Section 6: Taking Examinations

Article 16: Order of the Examinations

16.1. Students may not take an examination until they have successfully passed all other examinations from previous

terms or academic years in that same subject unless the syllabus of a certain subject explicitly permits this.

16.2. Under the following conditions, the examination board may, at the student's request, allow him/her to take

certain post-propaedeutic examinations before he/she has passed the propaedeutic examination: I. the student must

have successfully passed the minimum required propaedeutic components so as not to risk being issued a binding

recommendation to discontinue his/her studies as referred to in Article 13;

II. the student will be allowed to take only the examinations for those components of which the student has already

passed the propaedeutic examination;

III. permission to take the examinations will be valid for a period to be determined but not to exceed twelve months.

Article 17: Examination Periods and Frequency of Examinations

17.1. For the components referred to in Articles 12and 14, students will be given at least one opportunity during the

academic year in which the examination is offered to resit that examination. The examinations taken initially and

resat by students of the components referred to in Article 12 have no influence on the time periods stipulated in

Article 13, within which students must earn the required number of credits in each category of subjects in the light of

the regulations pertaining to the binding recommendation regarding the discontinuation of studies set forth therein.

17.2. Notwithstanding the provisions of the foregoing subclause, students will be given but a single opportunity to

take the examination of a component in which he/she is not enrolled in a given academic year.

17.3. Students may not take any particular course component more than twice. If a student fails to complete the

course component, then in consultation with study supervisors he or she must independently acquire the requisite

knowledge in order thus to complete the course component successfully.

Article 18: Qualifying examination for moving up from the first to the second study year of the master's

degree programme

18.1. All students take a qualifying examination at the end of the first study year of the master's degree programme.

If the result of this examination is insufficient, the student is entitled to a re-examination during the re-examination

week at the end of August of the same year. If the qualifying examination takes place outside the examination period

from May to July, the re-examination will take place within two months after the examination which the student has

failed.

18.2. Students may only participate in the lessons and examinations of the second study year of the master's degree

programme after they have passed the qualifying examination from the first to the second year.

18.3. If a candidate has not shown up at the examination without a valid reason (please see article 13.2 of these

regulations), he/she forfeits the right to a re-examination.

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Article 19: Form of the Examinations

19.1. The examinations of the components referred to in Articles 12 and 14 will be taken in the manner indicated in

the study guide. At the student's request, the examination board may allow an examination to be given in a manner

other than that referred to above.

19.2. Physically disabled students and students suffering from a sensory impairment will be given the opportunity to

take their examinations in a manner most suited to meet any special needs they may have. Where necessary, the

examination board will obtain the opinion of one or more experts before rendering a decision.

Article 20: Oral and Practical Examinations

20.1. Oral and practical/performance examinations are administered individually unless the make-up of the

examination requires otherwise or the examination board has determined differently.

20.2. Oral and practical/performance final examinations, the research presentation and the exam at the end of the

first year of the master's programme are open to the public unless the examination board or the examiner in question

exceptionally determines otherwise.

Section 7: Examination Results

Article 21: Determining and Announcing the Results

21.1. After having administered an oral/practical/performance examination, the examiner will determine the results

and issue these to the student in a written statement, accompanied by a list of reasons in support of the results.

21.2. The examiner will determine the results of a written examination within 30 days of the day on which the

examination was administered and will provide the Conservatory Registrar Office with the necessary information for

issuing written proof of the results to the student.

21.3. In the written statement notifying the student of his/her results in respect of an examination, the student will be

informed of his/her right of inspection as referred to in Article 23.

21.4. The examiner is responsible for promptly notifying the Conservatory Registrar Office of students’ examination

results by means of a report card.

Article 22: Period of Validity

Examination components passed are in generalvalid for six years. However, after this period, credits can only expire

as tested knowledge, insight and skills are demonstrably outdated. With respect to a certain component for which the

examination was taken more than six years subsequently, the examination board can, notwithstanding the foregoing

and based on a reasoned recommendation by a teacher and in case results have expired due to the above reason,

require that the student take an additional or alternative examination.

Article 23: Right of Inspection

For at least 30 days after the results of a written examination have been announced, the student may request to

inspect his/her evaluated work. He/she may request a copy of the aforementioned work, which will be provided at

cost.

12

Section 8: Exemption

Article 24: Exemption from Examinations

24.1. At the request of the student and recommendation of the relevant study advisor/study coordinator, the

examination board can exempt a student from an examination of a component referred to in Article 12, 14 or 15 if

that student meets one of the following conditions:

I. the student has passed an examination of a similar component with respect to content and study load as part of a

professional training course in the Netherlands

II. the student has passed an examination of a similar component with respect to content and study load as part of a

university degree programme in the Netherlands

III. the student can produce evidence that he/she has worked for a number of years to be determined by the

examination board in an area relevant to the examination in question or has practised a profession relevant to the

examination in question

IV. the student has passed an examination of a similar component with respect to content and study load as part of a

comparable course abroad, possibly after a Nuffic committee charged with comparing the foreign diploma with that of

a comparable programme offered in the Netherlands has recognised the examination.

24.2. The exemption can in principle be requested in September and October, for the subjects in the curriculum of

the current academic year.

24.3. The recommendation of the study advisor/study coordinator will be made using the designated form and will be

accompanied by the requisite supporting documents.

24.4. If a student is exempted from one or more examinations, he or she will not participate in any course(s) in

preparation for that/those examination(s).

Section 9: Temporary interruption and cessation of study

Article 19 Temporary interruption and cessation of study

25.1. A student may submit a reasoned request to the study supervisors to interrupt his or her study for a specific

period. The study supervisors will decide whether to grant this request.

25.2. If the student’s request is granted, the study supervisors and the student will agree in advance about when and

under what conditions the student will be entitled to resume his or her study.

25.3. A student must de-register in order to interrupt his or her study.

25.4. A student may not interrupt his or her study for more than one year.

25.5. If a student prolongs the agreed interruption of study without obtaining permission from the head of division, he

or she will be deemed to have ceased studying without being automatically entitled to resume studies. In that case

the study supervisors may deny a request for a renewed entrance examination.

25.6. A student who interrupts his or her study by de-registering without complying with the stipulations laid down in

paragraphs 1 to 4 will be deemed to have ceased studying and will not be entitled to resume studies. In that case the

study supervisors may deny a request for a renewed entrance examination.

25.7. To administer the entrance examination, the study supervisors will appoint an assessment committee which will

determine whether and at what level a student may resume his or her studies and which components of the

13

programme he or she must complete or repeat from the preceding phase of study. This recommendation will be

submitted for the approval of the examination board.

Section 10: Reviews

Article 26: Review Periods and Frequency of Reviews

26.1. Once the student has submitted sufficient proof that he/she has passed the examinations of the components

making up the course, he/she will be given the opportunity of undergoing a review.

26.2. The student will only receive his/her diploma after he/she has successfully completed all course components.

Article 27: Final Exam Results

27.1. The examination board will determine the results of the final exam once the student has submitted sufficient

proof that he/she has passed the required examinations.

27.2. Notwithstanding the provisions of the first subclause, the examination board can, prior to determining the

results of the examination, enquire into the student's knowledge, insight and skills with regard to one or more

components of the programme, if and to the extent that the results of the examinations in question give it cause to do

so.

Article 28 Degree Certificates

28.1. Once a student has passed the final degree programme examination, he or she will be awarded the

corresponding degree certificate by the examination board.

28.2. The examination board may mark a Bachelor’s Degree or Master’s Degree certificate 'cum laude' if in the

unanimous opinion of the examination board members the student has shown an exceptional level.

28.3. For the Music in Education department, the Board of Examiners may mark the Certificate "cum laude" if the

student has achieved an average of eight for all examinations during the training and had no figures lower than a

seven.

Article 29: Fraud and plagiarism

29.1. Students will be informed in writing about the rules on fraud and plagiarism and how they can act correctly.

29.2. In case the teacher suspects any form of fraud in the preparatory phase of an examination, the teacher gives

the students a chance to improve.

29.3. If in any examination or any other form of assessment an examiner suspects that a student has committed

fraud, he or she will inform the examination board in writing as soon as possible.

29.4. The examination board will decide within two weeks on the measures it will take. It will not make that decision

before the student in question has been heard or at least proper action has been taken to summon the student to a

hearing. A report will be drawn up of the hearing.

29.5. The examination board will draw up its decision in writing. It may mean that the student is denied the right to re-

take the component in which he or she is found to have committed fraud for a period of time determined by the

14

board.

29.6. In case of serious fraud, the institutional board may, on a proposal from the Examination Board, permanently

terminate the enrollment for the programme of the student concerned. Serious fraud is, inter alia, if a thesis is not

self-written or an exam is made by someone else.

29.7. The examination board will stipulate that the examiner must mark the student 0 (zero) for the component in

which he or she has committed fraud. The decision will state the student’s options for appeal or objection and the

applicable time limits.

29.8. Articles 29.3, 29,4, 29.5 and 29.7 apply correspondingly to instances of plagiarism.

29.9. If a student commits fraud or plagiarism with the knowledge and/or cooperation of a fellow student, the latter

will be an accessory, to whom the relevant guidelines and procedures will apply correspondingly.

Article 30: The Examination Appeals Board

The student may appeal to the Examination Appeals Board as referred to in Article 7 (60) of the Law in respect of

decisions rendered by the examination board or examiners, or of decisions as referred to in Article 13 (Dismissal).

Section 11: Academic Guidance

Article 31: The Student's Performance and Academic Guidance

31.1. The Conservatory Board will ensure that the student's results are recorded such that each student can obtain

an overview of his/her results with respect to the course curriculum.

31.2. The Conservatory Board will ensure that the progress of students enrolled on the programme will be monitored

partly for the purpose of introducing them to possible learning tracks in and outside the programme.

Section 12 Evaluation of the programmes

Article 32

Education is evaluated in various ways, as described and established in the Faculty Quality Assurance Plan CvA.

Section 13: Preservation of student work

Article 33

33.1. Theses, recordings of final practical examinations, reports and assessments will be preserved seven years

following the date affixed to them.

33.2. The material referred to in paragraph 1 may be used to communicate about the programme or for educational

or accreditational purposes.

Section 14: Final Provision and Provisions Pertaining to Implementation

Article 34: Special Power of the Examination Committee

34.1. In respect of examinations and reviews governed by the present Education and Examination Regulations, the

Conservatory examination board is entitled to adopt additional regulations.

15

34.2. In individual cases the examination board is authorized to make an exception to the Education and

Examination Regulations in favour of a student if there are important reasons for doing so.

Article 35: Notification and Modification

35.1. Modifications to the present regulations will be adopted by means of a separate resolution, but not after the

proposed resolution has been approved by the Faculty Participation Council.

35.2a The Education and Examination Regulations in force will be made public before the start of the academic year.

35.2b. The Faculty Board will ensure that the present regulations, the rules and guidelines established by the

examination board, and any modifications of these documents are duly made public.

35.3. No modifications which apply to the current academic year will

be made unless reasonable standards dictate that the students' interests will not be prejudiced. In the eevent of

major changes from the previous Education and Examination Regulations a transitional arrangement will be made for

current students.

Article 36: Entry Into Force

36.1. These regulations will come into effect on 1 September 2017. Enacted by order of the Conservatory Board on 4

July 2017 having obtained the approval of the Faculty Participation Council on 29 June 2017.

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Addendum

to the Education and Examination Regulations (OER) 2015-2016 of the Conservatorium van Amsterdam and

the Education and Examination Regulations (OER) 2015-2016 of the Royal Conservatoire for the joint

master's degree programme in Opera.

1. general

The boards of the Amsterdam University of the Arts and the University of the Arts The Hague, herewith represented

by the directorates of the Conservatorium van Amsterdam and the Royal Conservatoire, attach this addendum to the

Education and Examination Regulations (OER) of both conservatories. The addendum is endorsed by the faculty

counsels of both conservatories and concurs with article 7.13 of the Dutch law for higher education and scientific

research. It concerns the content and form of the educational programme and examinations for the Master of Opera

degree at the Dutch National Opera Academy (DNOA). This DNOA master programme is jointly offered by the Music

Faculty of the Amsterdam University of the Arts (hereinafter Conservatorium van Amsterdam) and the Royal

Conservatoire of the University of the Arts The Hague.

The general provisions, including the enactment and the date of coming into operation of the Education and

Examination Regulations of both conservatories, apply fully to the DNOA. The purpose of this addendum is to

synchronize the DNOA programme and its student assessments with the regulations of both conservatories. 2. programme

The two-year DNOA programme consists of four semesters. Each semester is comprised of an instruction period and

a project period. The programme is presented each semester in the digital study guide, including course form,

assessment, and number of credits. 3. auditions

Audition requirements for enrollment at the DNOA are specified on the DNOA website. A successful audition for the

DNOA means that a student has demonstrated sufficient qualities to be able to attain the final qualifications. 4. sequence of exams

A prerequisite for admission to an exam is that all previous exams in said subject or academic year have been

successfully passed, unless the curriculum of a subject specifically allows exception to this prerequisite. 5. exams and re-exams

5.1 If a student fails an exam, he/she will be offered the opportunity to take the exam again within the same

academic year.

5.2 By way of derogation from article 5.1, students are offered only one opportunity to take an exam for a course not

on offer in said academic year.

5.3 Students can enroll a maximum of two times for each part of the programme. If still not completed successfully,

students must consult the head of the department on how to prepare for the exam on their own. 6. type of exams

The DNOA has two types of exams: written and practical. Exams for cognitive courses will be given as described in

the DNOA study guide. If requested by a student and after consent is obtained from his/her instructor, the committee

of examiners may permit a student to take another form of examination. 7. practical exams

7.1 Each semester students taking practical courses are assessed in a practical exam, consisting of the realization of

a project at the end of the semester. The practical exam is by its nature almost always a group exam, in which the

individual achievements of each student are judged as an integral part of the entire project.

7.2 Practical exams are open to the general public, unless determined otherwise in special cases by the principle

examiner or the committee of examiners. 8. exam results

8.1 At the end of each semester the integral development of a student is discussed at a plenary evaluation meeting.

During this meeting both the student’s achievements in the opera production and the student’s overall development

during the past semester are evaluated.

8.2 At the conclusion of the evaluation meeting, the chairperson of the committee of examiners meets with each

student to relay the evaluation. This is followed by a written and motivated statement concerning the student's study

progress, presented to the student by the chairperson of the committee of examiners.

8.3 Twice a year the chairperson of the committee of examiners is responsible for timely relaying student evaluations

to the administration of the appropriate conservatory. 9. final exam

9.1 The final exam consists of the successful completion of a project in the fourth semester, unless in exceptional

cases the central exam committee or the appointed committee of examiners determines otherwise.

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9.2 The final exam is an integral evaluation of the student’s development and level of achievement. Each student

final exam file includes:

* Overview of six complete roles (suited to the student’s type of voice), studied during enrollment in the programme

* Extensive list of audition repertoire, suited to the student’s type of voice

* Participation in two to four fully staged opera productions

* Written part of the exam, based on research into one of the roles performed

9.3 The committee of examiners for the final exam at the DNOA is comprised of staff members of the DNOA, the

principle vocal instructor of the candidate, and an external expert. Assessment of the student by the committee of

examiners takes place directly after the final exam performance. Directly after the committee’s assessment, the

results of the examination are verbally communicated.

9.4 The assessment criteria are described in the DNOA study guide. The result of the exam is expressed in a

grading system ranging from 1 to 10. 10. cum laude

If the student is unanimously judged to have demonstrated exceptionally high standards, the committee of examiners

can add the designation “cum laude” on the degree certificate. .

Additional Regulations With Respect to Reviews and Examinations in

Accordance with Article 7(12b)(3) of the Higher Education and Research Act

Article 1: Definitions

1.1. Types of examinations/reviews

The following methods of evaluation are employed at the Conservatorium van Amsterdam:

* examinations (practical, oral or written)

* practical final examinations

* entrance examinations

* other, such as papers/bachelor's and master's theses

* individual assessments

1.2. Artistic Directorship

For the purposes of these regulations, the Artistic Directorship is made up of the Associate Director /

Head of the Classical Department and the Associate Director/Head of the Jazz and Popular Music

Department.

1.3 Examination Board

The Board, referred to in article 7.12 of the Higher Education and Research Act. The Board’s

responsibilities include ensuring the quality of the examinations. The Examination Board is the objective

and expert body which determines whether a student meets the conditions imposed by the Education

and Examination Regulations regarding knowledge, understanding and skills required to obtain a degree.

See also article 5 of this act.

1.4 Examinors

The Examination Board will appoint the committees charged with assessing the examinations and

reviews referred to in article 7.12c of the Higher Education and Research Act.

1.5 Selection committee

For taking entrance exams and the determination of the results thereof the artistic directorship

designates a selection committee.

Article 2: Evaluation Methods

2.1. The results of an examination are measured in numbers or by means of a description. Marks in

number form will have one decimal place. If descriptions are used, these will be based on a list of

examples of accepted descriptions drawn up by the Student Registrar Office.

2.2. When numbers are used, a mark of 5.5 or higher will be deemed satisfactory. When descriptions are

used, 'sufficient' [voldoende] will be deemed satisfactory, and 'not sufficient' [onvoldoende] will be

deemed unsatisfactory.

2.3. Only whole and half numbers, or a description, may be used for the final practical examination.

Article 3: Setting the Date and Time

3.1. At least three months in advance, the relevant department/study coordinator will establish a

general schedule of dates and times.

3.2. At least twelve weeks in advance, the Student Registrar Office in conjunction with the relevant

department representative will determine a set timetable for the practical final examinations.

3.3. Up to eight weeks before the scheduled date, the student may inform the department

representative/study coordinator in writing of any wishes he/she may have in respect of the time in

question.

3.4. At least six weeks in advance, the Student Registrar Office in conjunction with the relevant

department representative will determine a set timetable for the other examinations.

Article 4: Method of Notification

Students will be informed of the date, time and location by means of written notification sent by the

Student Registrar Office at least six weeks in advance.

Article 5: Make‐up of the Examination and Review Committees

5.1. The Examination Board is appointed by the Executive Board of the AHK.

5.2: Tasks of the Examination Board:

a. The Examination Board is charged with ensuring the quality of the examinations and reviews and

whether a student meets the conditions imposed by the Education and Examination Regulations in

order to obtain a degree.

b. The Examination Board sets guidelines for assessments

c. The Examination Board appoints examiners for conducting examinations / tests and assessment of

students

d. The Examination Board shall decide on exemptions, adjustments for students with disabilities and

penalties for fraud by students

e. The Examination Board awards the certificate and, on behalf of the Executive Board, the degree

f. The Examination Board shall prepare an annual report on its performance

Article 6: Committees administering examinations

6.1. A committee administering a practical examination will consist of at least three members and will

be chaired either by one of the members of the exam committee or by an examiner who has been

authorized by the exam committee for this purpose.

6.2. A committee administering a final practical examination will consist of at least five members and

will be chaired by one of the members of the exam committee or by an examiner who has been

authorized by the exam committee for this purpose.

6.3 A committee administering a final practical examination in the master’s degree programme will

include at least one outside expert.

6.4. A committee administering an oral examination will consist of at least two members.

6.5. The examination or final examination may be cancelled if the make‐up of the committee deviates

from the requirements set out above, in which case a new opportunity to take the examination or final

examination must be offered to the candidate as quickly as possible and within a period not to exceed

one month. This could be overruled, in case of force majeure, and in consultation with the candidate.

Article 7: Individual assessments

Individual assessments will be carried out by the principal study teacher at the end of the academic year

in question. The study co‐ordinator or section representative will also sign the report sheet.

Article 8: Deliberation and Voting

8.1. The chairman will first determine whether a candidate has passed a practical examination or

entrance examination by having obtained a sufficient number of votes. Oral deliberation will then

follow, during which all members of the committee will express their views.

8.2. On the basis of this discussion, the chairman will then decide the result of the examination or

entrance examination.

8.3. For a final practical examination, the members of the committee, including the chairman, will cast

ballots, rating the student by means of a score. The average of these scores will constitute the basis for

deciding the student's final result.

8.4. Deliberation will then follow, during which all members of the committee will express their views.

Any outside committee member will speak first.

8.5. On the basis of this discussion and the average score of the ballots cast, the chairman will then

decide the final result for the final practical examination.

8.6. The chairman will ensure that the deliberation is accurately recorded in writing.

8.7. If the votes are equally divided, the chairman's decision will be binding.

Article 9: Results

9.1. The chairman will ensure that the results are accurately recorded in writing.

9.2. A result of either passing [geslaagd] or failing [gezakt] may be given. Practical entrance

examinations are governed by a separate set of regulations, which are set out under Article 14(6) and

15(5).

9.3. If it is decided that the candidate should be allowed to resit the examination, the department

representative will ensure that the date, time and location of the second examination are set as quickly

as possible.

9.4. The chairman will provide the candidate with an oral summary of the committee's observations.

Article 10: Determining the Final Examination Programme

10.1. The Examination Board will determine the programme for the final practical examination for the

bachelor's degree and master's degree programme at the relevant department representative's

recommendation at least four weeks prior to the set date.

10.2. The final examination programme for the bachelor's degree will consist of at least forty and no

more than fifty minutes of music.

10.3. The final examination programme for the master's programme Classical Music will consist of a

concert of seventy to seventy‐five minutes of music with an intermission. The final examination

programme for the master's programme Jazz will consist of a concert of forty to fifty minutes of music.

The final examination programme for the master's programme Opera consist of a role in an opera

production of the programme. In those cases involving individual courses which do not lend themselves

well to conclusion by means of a concert, the Examination Board will, at the recommendation of the

student and the department representative, decide on the manner in which the final examination will

take place.

10.4. The requirements pertaining to the repertoire to be played are listed individually by department in

the study guide.

Article 11: Illness and Emergencies

11.1. In the event of absence due to illness, the student must produce a doctor's certificate. The student

should inform the Student Registrar Office and the chairman of the involved committee of examiners.

11.2. Upon conferring with the relevant parties, the department representative will set a date on which

the student will be able to take the examination or final practical examination.

11.3. In the event of other emergencies, the Examination Board will, after conferring with the

department representative, determine how and when the student will be able to take the examination

or final practical examination.

Article 12: Entry Qualifications

12.1. To be accepted to the course, students must pass an entrance examination in accordance with

Article 7(26) of the Higher Education and Research Act. This entrance examination is described on the

website.

12.2. To be accepted to the course, the candidate (in accordance with article 7(24) of the Higher

Education and Research Act) must have earned a senior general secondary education diploma [diploma

havo], a pre‐university education diploma [diploma vwo], or a (foreign) diploma of an equal or higher

rank. Students who have earned a senior secondary vocational education diploma

(middenkaderopleiding of van een specialistenopleiding, in accordance with article 7 (2)(2)(1) of the

Education and Professional Education Act) may also be admitted. If candidates are not eligible because

they lack a required diploma, they may still be admitted in the event of positive results of the

investigation stated in the first paragraph of article 7.29 of the WHW to eligibility for education at the

conservatory, if they:

* have earned at least a junior general secondary education diploma [diploma VMBO, theoretische

leerweg]; or

* are over the age of 21

(in special cases, the selection committee may specify another age or required diploma).

Article 13: Language Requirements

Non‐Dutch or Non‐English speaking foreign students are required to show a positive test result on the

English language. The requirements are further explained on the website.

Article 14: The Entrance Examination for the Bachelor's Degree

14.1. The entrance examination will be administered by a selection committee consisting of at least

three members and will be chaired by the department representative.

14.2. The entrance examination for the bachelor's programme consists of two parts: a general

component in which the candidate's inner ear and knowledge of theory are evaluated, and a practical

component in which his/her specific skills in relation to the principal subject are assessed. Additionally,

an assessment as to whether the candidate will be able to pass the final bachelor's examination will be

made.

Depending on the principal subject, the entrance examination can contain more components.

Preselection can also be part of the entrance examination. This is described on the website

14.3. The candidate must pass both components to be accepted to the programme. Rematch of one of

the parts of the entrance examination is only possible in exceptional cases, to be determined by the

Artistic Director.

14.4. The entry requirements are determined individually by principal subject by the department and

have been published on the website.

14.5. The Board of Directors will determine in advance the number of places available per department.

Naturally, up to the number of places available can be filled. Final admission of students on the waiting

list will be effected by order of the Artistic Directorship. The department will indicate the level of priority

of candidates on the waiting list.

14.6. The results of the bachelor's entrance examination can be as follows:

* rejected

* admissible to the preparatory course

* admissible to the degree programme

14.7. The chairman will inform the candidate orally of the results immediately after the entrance

examination. The Examination Board will inform of the final admissions decision.

14.8. Immediately after all entrance examinations for one department have been taken, the

Examination Board will make a decision regarding the final admission of candidates who have been

approved for admission.

Article 15: The Entrance Examination for the Master's Degree Programme

15.1. For candidates already enrolled in the Conservatorium van Amsterdam, the final bachelor's

examination can, in case the candidate wants to enrol on the master’s programme, also serve as an

entrance examination for the master's degree programme.

15.2. Candidates wishing to enrol on the master's programme must, together with their application,

submit an individual plan of study for the master's programme. The study plan is part of the assessment

of the entrance examination.

15.3. Candidates not enrolled in the Conservatorium van Amsterdam must prepare a recital consisting of

fifty minutes of music in accordance with the final examination requirements of the Conservatorium van

Amsterdam. During the entrance examination, the committee may decide not to hear all the repertoire.

15.4. If the final bachelor's examination also constitutes the entrance examination for the master's

programme, the deliberation in respect of the result will first be concluded, after which the committee

will make a decision regarding the candidate's admissibility to the master's programme.

15.5. The results of the master's programme entrance examination can be as follows:

* rejected

* admissible to the master's degree programme

15.6. The chairman will inform the candidate orally of the results immediately after the entrance

examination. The Examination Board will inform of the final admissions decision.

Article 16: Additional Matters

In cases not provided for in the present regulations, the Examination Board's decision will be binding.

Article 17: Adoption and Entry Into Force

These modified regulations were adopted by the Examination Committee of the Conservatorium van

Amsterdam on [date] after conferring with the Programme Committee on October 5th 2015 and will

become effective as from 1 September 2015.

Internal Rules of the Conservatorium van Amsterdam

Having regard to Regulation 10(4) of the Board Regulations of the Amsterdam University of the Arts, the

Conservatory Board of the Conservatorium van Amsterdam has adopted the following Internal Rules

regarding conduct in/on and use of the building and the premises. These rules apply to all users:

students, staff and visitors.

Rule 1 Admission and proper use

Admission to and/or use of the buildings and its facilities is not allowed without the permission of the

Conservatory Board. Any use made of the buildings and facilities (with the Board’s permission) must be

appropriate and careful. Upon entering the buildings, visitors must immediately report to the reception.

Students must ensure that they carefully acquaint themselves with all notices issued by the competent

authorities, staff, teachers and Registrar Office.

Rule 2 Behaviour

Students, staff and visitors are expected to treat each other with respect, both inside the buildings and

on the Conservatorium premises as well as beyond its bounds, such as in correspondence and in the

social media.

Rule 3 Disciplinary measures for violations

3.1 If any statutory regulation or Internal Rule is contravened, the Conservatory Board may take

disciplinary measures without prejudice to its right to report such contravention to the police if the

Conservatory Board presumes that it constitutes a criminal offence.

3.2 The disciplinary measures consist of:

a. a reprimand by or on behalf of the Conservatory Board

b. suspension by the Conservatory Board

c. denial of admission to the Conservatorium by the Conservatory Board

3.3 The disciplinary measures will be communicated orally to the person concerned and confirmed in

writing.

3.4 If the person concerned considers that the measures taken are unfair, he or she may lodge an appeal

with the Appeals Tribunal for Higher Education (College van Beroep voor het Hoger Onderwijs) in The

Hague.

3.5 Before lodging an appeal, an objection must be submitted to the Executive Board of the Amsterdam

University of the Arts within six weeks of the Conservatory Board decision having been communicated

to the person concerned.

Rule 4 Appropriate use

It is not permitted to use the facilities in a manner which is contrary to any statutory regulation and/or

which can reasonably be perceived by others to be hurtful, offensive or distasteful, and/or, without the

prior permission of the Board, to use these facilities principally for activities or purposes that are

unrelated to the educational nature or organisation of the Conservatorium.

Rule 5 Timetables

5.1 The student undertakes to attend all lessons pertaining to his or her study during each academic

year, in accordance with the applicable timetable.

5.2 Any student who is compelled through circumstances beyond his or her control to miss one or more

lessons must make this known, if possible in a timely manner, to the Registrar Office or to the teacher

concerned.

5.3 A student may only miss one or more lessons for reasons other than circumstances beyond his or

her control if he or she receives permission from the Board in this regard, or the Board makes no

objection to this.

5.4 Unauthorised absence from lessons constitutes a violation of the Conservatorium rules. The

Conservatory Board may then deny the student admission to the lessons in question for the remainder

of the academic year.

Rule 6 Use of teaching and practice rooms

Aside from timetabled use, the use of teaching and practice rooms is only allowed with prior permission

from or on behalf of the Conservatory Board. Any fixtures and fittings, such as furniture and equipment,

may not be moved to a different room.

Rule 7 IT Code of Conduct

The IT Code of Conduct of the Amsterdam University of the Arts is applicable to the use of IT facilities

such as computers, printers and telephones (see www.ahk.nl).

Rule 8 Use of the library

8.1 Further rules apply to the use of the library (including library spaces and facilities). These rules are

available in the library; the staff involved can provide further information.

8.2 The person in whose name borrowed material is registered is responsible for it.

Rule 9 Smoking

Smoking is prohibited throughout the building.

Rule 10 Food and beverages

Food and beverages may only be consumed in the canteen or in other designated spaces.

Rule 11 Compliance with instructions

Students and visitors inside the buildings or on the Conservatorium premises, or who make use of the

available facilities, must comply with the instructions given by or on behalf of the Conservatory Board or

staff regarding the use of the areas and facilities in them.

Rule 12 Safety regulations

Users of the buildings must report to the on‐duty staff any situations that are or may be dangerous or

unlawful, and must avoid any such situations and/or prevent them from arising. Users must acquaint

themselves with the safety regulations that apply within the buildings and, in the event of emergencies,

strictly comply with any instructions given by on‐duty staff, emergency response team members and

security personnel.

Rule 13 Liability

13.1 Notwithstanding the relevant statutory provisions, the Conservatory Board is not liable for the loss

of or damage to property or possessions of persons using the building and premises.

13.2 The Conservatory Board will recover any damage to the building and premises and their fixtures

and fittings from the person(s) who is/are responsible and liable for the damage.

13.3 The person in whose name material borrowed from the Conservatorium is registered is responsible

for it.

Rule 14 Imposition of penalties

14.1 To maintain public order in the buildings and on the premises used by the Conservatorium, the

Conservatory Board is authorised to take appropriate measures, such as suspension, removal and

reporting incidents to the police.

14.2 The procedural rules adopted by Executive Board of the Amsterdam University of the Arts apply to

the imposition of measures (including disciplinary measures), as referred to in the Dutch Higher

Education and Research Act (Wet op het hoger onderwijs en wetenschappelijk onderzoek), on students

and external students. These rules are referred to in the Students’ Charter.

Rule 15 Announcement and amendment of Internal Rules

15.1 The Conservatory Board announces the Internal Rules in the customary manner. Any amendment

to them will be made by Conservatory Board, which will ensure that the amended rules are announced

immediately.

15.2 The Conservatory Board may issue further rules about the implementation of these Internal Rules.

Such rules may not be contrary to these Internal Rules.

Rule 16 Effective date

These rules replace all internal rules published previously and take effect on 1 September 2014.

Adopted by the Conservatory Board of the Conservatorium van Amsterdam on 1 October 2014,

following consultation of the Faculty Board on 29 September 2014.

Documents

17-18 Bachelor Jazz Study Guide 1. Bachelor’s Degree in Jazz Studying at the Jazz Department With an exquisite population of four hundred students from more than fifty different