JPW - jazz instrumental/vocal H2

SEM 5

SEM 6

TOTAL ects time ects time ects

musician

instrument

70 20 70 20

music theory 3 150 3 150 6

creator/performer

ensembles

90 11 90 11

entrepreneur

Portfolio, consisting of:

2

2 Project weeks (1)

(1)

teacher

education 6 75+60

6

researcher

thesis preparation

3 10 3

profile space

12

12 to be filled with minors/ electives

number of credits per semester 9 51 60

Generic module title Main subject year 3 Specific module title Jazz trumpet Code Osiris Course type Course Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

The main subject is the most important in the curriculum and consists of 5 modules (sem 1,2, year 2,3,4) and is divided in the components interpretation and technique. The goal of the modules interpretation is to teach the student a wide knowledge of repertoire and a wide knowledge of different jazz styles. Also, the student is trained to function within a trumpet section. During the study it’ll become clear which students will have benefit by being educated in a broad way and which students excel within a small terrain, which’ll show out of their exceptional talent for playing solos, their own specific sound and/or their talent to play lead in a section. The study material will be discussed in class, the focus in the first modules is mainly on learning a basic vocabulary, while in later modules the student is asked to bring along and develop own material: you must search for ideas that you can match with your personal sound. The teacher repeatedly confronts the student with his/her own ideas, in this way the student will develop a realistic self image during the study. Deze module: In this module the student learns how to deal with the different possibilities for substitute chords and extensions/alterations (in particular on dominant + major). Also, the student will be expected to apply tasteful changes in existing chord schemes and explain it to the accompanying rhythm section. Timing/phrasing and articulation in all tempos really have to have a good swing and groove at this point.

Reference competencies 1, 2, 4, 5, 6, 7, 8, 9, 11, 12 Learning outcomes After successful conclusion of the module the student must be able to:

• Play 60 jazz tunes from the repertoire list by heart, including chords and theme, and

perform these with a rhythm section. • Play major and minor scales in thirds + fourths, in jazz phrasing and in syncopes • Play major and minor scales in fourths, in jazz phrasing • Independently collect/think of and execute some variations on the pentatonic blues

scales. • Play the whole first + 5 lines of the second page of Chord Studies in all keys with

jazz phrasing. • Play pentatonic with a lowered sixth and all possible applications, in all keys • Play a diverse range of colorings of major: Lydian, augmented and B/C and apply

these in improvisation • Improvise over advanced chord progressions with a tritonus substitute in all keys • Play basic vocabulary on chomatic descending ll-V and apply it in improvisation. • Apply basic knowledge on outside improvisation (for example, with fours and

pentatonic) in an improvisation • Improvise with intervals such as small third, big third, augmented fourth and

knowing the possible applications • Play along with the CD: 3 advannced solo transcriptions like for instance Freddie

Hubbard, Miles Davis’ solos from the sixties (upbeat solos with a lot of chromatic), Randy Brecker, Tom Harrell, etc. Or a transcription of similar level.

Coördinating department JPW Contact person Jarmo Hoogendijk Language Dutch/English Work forms • Groeps-praktijkles

• Individuele praktijkles Teacher(s) Jarmo Hoogendijk (improvisatie/interpretatie/repertoire).

Wim Both (lezen, big band sectie, bereik, toonvorming en projectie). Entrance requirements Hoofdvak jaar 2 behaald

Material/literature Pieces from for example Herbert L. Clarck: Technical Studies, Arban part 1 and 2, Max Schlossberg, Daily Exercises, supplemented by scale and chord exercises, first given by the teacher, later supplemented by the student. Warming-up and breathing exercises (by the teacher). Pop fragments, musical themes, jazz standards themes, play-along pieces from for example the Lead Book by Count Basie or by Jim Snidero. Audio- and video material of the students’ “jazz heroes” Repertoire chosen from the list “Repertoire RJA” for example Ornithology, Confirmation, Groovin’ High

Exam Exam Exam description Main subject year 3 Semester 2 Exam form Practice Content of the exam • The student brings along a list with 60 pieces he/she knows by heart. The

commission will choose 1 piece, and the student will also pick 3 to play with a rhythm section.

• Besides that the student will be asked to play some scales and exercises. Exam criteria Technical and artistic skills, performance skills

High degree of swing/groove in all possible tempos. Very difficult keys and chord progressions must not hinder a swinging performance

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

Generic module title General theory subjects year 3 Specific module title Jazz Music Theory semester 5 – Large ensemble arranging Code Osiris Course type Cursus Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

In this module the student learns how to write for horn players with rhythm section, varying from 4 horn players to big band, possibly supplemented with vocals. Attention is paid to 5-part writing, for example for the saxophone section. Also for a whole orchestra (tutti), with both monophonic and polyphonic techniques. How to use “upper structures” for the trumpet section will be taught. The knowledge gained in the theoretical subjects is refreshed and applied in arrangement techniques. This mainly concerns voice leading, reharmonization, use of chord-unfriendly notes etc. Various instruments used a lot in jazz music, such as saxophone, trumpet, trombone and the instruments that belong to the rhythm section, will be treated. Attention will be paid to writing for the different sections (“each section has to sound good by itself”), the form, and/or flow of an arrangement. Existing arrangements will be listened to (with and without score). The student learns to write a new melody (contrafact) to an existing or possibly newly reharmonized chord scheme. After all, arranging is also partly composing. Jazz timing and how to notate this is also taught.

Reference competencies 11,12 Learning outcomes • After attending this module, the student is able to write an arrangement for a

large formation, possibly supplemented with vocals, in both jazz and related styles. All of this must take into account the register in which the horn players and the vocalist sound good and melt into a good form/flow.

• The student can produce knowledge about the usual instruments for jazz, concerning register, transposing or otherwise.

• The student is able to notate a chord, varying from 5 horn players to big band setting (tutti), both how it sounds and transposed.

• The student is able to reharmonize a given chord scheme. • The student is able to harmonize a scale in different ways. • The student is able to make a “jazzy” notation of a theme from the Real Book.

Coördinating department JPW Contact person Ab Schaap Language Bilingual: Dutch/Eng Work forms • seminar

• Individual coaching Teacher(s) Ab Schaap Entrance requirements Music Theory year 2 passed. Material/literature Scores transcribed by the teacher and scores he himself made. Scores published e.g. by

Second Floor. Linear Writing by Bill Dobbins. Writing for Large Ensemble, published by Berklee. Scores of various arrangementen by, for example, Horace Silver, Gerry Mulligan, Duke Ellington/Billy Strayhorn, Thad Jones, Maria Schneider, Gil Evans. Inside the Score by Rayburn Wright. The books of Dobbins and Wright and Berklee and a large number of scores are available at the school. Internet. YouTube. Muziekweb

Exam Exam Exam description Jazz Music Theory semester 5 Semester 1 Exam form • Theory - written

• Theory - assignment to be submitted Content of the exam Written exam. Before the start of the exam, the arrangement assignment should be

handed in. Exam criteria Regarding the exam: more than 5 errors per question means insufficient. An insufficient

answer can be compensated by a well-answered question. For a pass, a total mark of 5.5 or more is required. Regarding the submittted arrangement: this will be played by the big band and assessed for good sound, playability and form/flow.

Exam duration 2.5 hours

Weight 100% Study credits 3 Number of attempts 2 Result scale 20-point, 0.5 - 10, rounded off to halves

Generic module title General theory subjects year 3 Specific module title Jazz Music Theory semester 5 small group arranging Code Osiris Course type Course Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

In this module, the student learns to write for horn players with rhythm section, possibly with vocals. Attention is paid to 2-,3- and 4-part writing, both monophonic and polyphonic. The knowledge acquired in the theoretical subjects will be refreshed. This mainly concerns voice leading, reharmonization, use of chord-unfriendly notes etc. Various instruments used a lot in jazz music, such as saxophone, trumpet, trombone and the instruments that belong to the rhythm section, will be treated. Attention will be paid to the form and/or flow of an arrangement. The student has to transcribe an arrangement him/herself and existing arrangements (with or without score) will be listened to. The student learns to write a new melody (contrafact) to an existing or possibly newly reharmonized chord scheme. After all, arranging is also partly composing. Jazz timing and how to notate this is also taught.

Reference competencies 11,12 Learning outcomes • After attending this module, the student is able to write an arrangement for a

small formation, possibly supplemented with vocals, in both jazz and related styles. All of this must take into account the register in which the horn players and the vocalist sound good and melt into a good form/flow.

• The student can produce knowledge about the usual instruments for jazz, concerning register, transposing or otherwise.

• The student is able to notate a chord for 3 horn players in the right register, both how it sounds and transposed.

• The student is able to reharmonize a given chord scheme. • The student is able to make a “jazzy” notation of a theme from the Real Book.

Coördinating department JPW Contact person Ab Schaap Language Bilingual: Dutch/Eng Work forms • Seminar

• Individual coaching Teacher(s) Ab Schaap Entrance requirements Music Theory year 2 passed. Material/literature Scores transcribed by the teacher and scores he himself made. Scores published e.g. by

Second Floor. Recordings on YouTube and Muziekweb. Linear Writing by Bill Dobbins. Writing for Small Ensemble, published by Berklee. These books are available in the library.

Exam Exam Exam description Jazz Music Theory semester 5 Semester 1 Exam form • Theory - written

• Theory - assignment to be submitted Content of the exam Written exam. Before the start of the exam, three arrangements should also be handed

in. Exam criteria Regarding the exam: more than 5 errors per question means insufficient. An insufficient

answer can be compensated by a well-answered question. For a pass, a total mark of 5.5 or more is required. Regarding the submitted arrangements: these will be played by an ensemble assessed for good sound, playability and form/flow.

Exam duration 2.5 hours Weight 100% Study credits 3 Number of attempts 2 Result scale 20-point, 0.5 - 10, rounded off to halves

Generic module title General theory subjects year 3 Specific module title Jazz Music Theory semester 5 – impro/compo Code Osiris Course type Cursus Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

RULES: NECESSITY OR UNNECESSARY RESTRICTION Introductory performance with group discussion to follow, with the goal of making clear that to be able to create a composition time after time, the creation of frameworks and maintenance of rules can give guidance for a composition. Ultimately students can develop their own frameworks and rules and thereby decide for themselves the degree of guidance they accept. During the same presentation and succeeding discussion, the working process and practice of the composer will be addressed. TONES AND INTERVALS Our revolutionary tempered system, hierarchy of notes and intervals and the consequences of these for Western music will be addressed; the naturalness with which functional harmony is generally accepted and the careless way that functions are juggled with when there is no insight will be examined, with the goal of gaining insight; insight that should finally enable the student to maintain an overview with possible constructions and to recognize and understand the consequences of certain musical choices. FUNCTIONAL AND NON-FUNCTIONAL DIATONIC HARMONY, NON-FUNCTIONAL NON-DIATONIC HARMONY Explanation, examples and assignments drawing on harmony, with the goal of investigating harmonic tonal possibilities, accompanied by the prospect of topics and assignments that aim to begin with horizontal (melodic) development, which result in a harmonic picture, instead of the other way round! DIATONIC AND NON-DIATONIC TENSION NOTES IN MELODY In order to investigate the concept of tension in melody, in self-made harmonic constructions a multitude of melodies must be written in a previously determined sequence, in which different gradations and different forms of tension must be consciously introduced. NEW POLYPHONY, EMANCIPATION OF DISSONANTS While we move in a broadened tonality, in which degrees of keys are blurring, although the music is still tonal in character, using examples and assignments we will investigate in what ways chords can be constructed under melodies, how the differentiation melody/harmony can blur and what are the possiblities offered by such a blurring. DEVELOPMENT OF MELODY Departing from the cantus firmus tradition, methods of constructing melodies are discussed and assignments carried out. The possibilities offered by common notes in a broadened tonal way of writing are investigated. The way created basic constructions can be further developed will also be investigated. ALTERNATIVE SYSTEMS FOR ACCOUNTING FOR INTERVALS We investigate the melodic and harmonic consequences and possiblities of a number of other systems than the conventional, to name intervals. Using the other systems, alternative scales will be constructed and melodies and polyphonic works with a contrapuntal character will be created. DODECAPHONY, SERIALITY, ALEATORY AND OTHER TECHNIQUES We investigate how unconventional frameworks can be created or indeed can be demolished. We do so using a number of 20th century techniques. Applying these techniques, assignments will be carried out. FORM The last – but not the least important – topic. Different possibilities and methods will be investigated; form can be a result, but form can also be created using description or graphic reproduction; then form functions as a skeleton around which a composition is drawn up.

Reference competencies 1, 2, 6, 19, 20, 21 Learning outcomes The student possesses skills and insights that in developing musical ideas enable him

consciously to choose between starting with harmonic development on the one hand or melodic development on the other hand. He is able to create harmonic functional, non-

functional diatonic, broad tonal and atonal constructions. The student is able to perform his composition or have his composition performed.

Coördinating department JPW Contact person Stefan Lievestro Language English Work forms seminar Teacher(s) Stefan Lievestro Entrance requirements Jazz Music Theory year 2 passed Material/literature Practice material prepared by the teacher Exam Exam Exam description Jazz Music Theory semester 5 Semester 1 Exam form • Assignment to be submitted (composition)

• Presentation (including performing the composition) Content of the exam The student makes a composition, with own choice of style and combination of

techniques treated in the lessons, shows how the composition has developed from the beginning to the end (establishment and description of nature and goal, graphic reproduction of form, different stages) and performs the composition with an ensemble or submits a recording of a performance. The student is able to develop a musical idea using one or more of the working methods treated in the lessons. The student is able to employ ideas in the final composition that proceed from at least three different working methods. The student should give insight into his working method through a description of the workflow/logbook.

Exam criteria At least three of the techniques treated in the lessons should be used in combination in the composition. The stages of realization should be well-documented and the student should be able to verbally explain the working process. The performance should be good (material well-learned, rehearsed...)

Exam duration 30 minutes: introduction by student and performance (15 minutes), subsequent discussion (15 minutes)

Weight 1 Study credits 3

Number of attempts 2 Result scale 20-point, 0.5 – 10, rounded off to halves

Generic module title General theory subjects year 3 Specific module title Jazz Music Theory semester 5 – Theory in Practice (TIP) Code Osiris Course type Cursus Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

After two years of education in music theory, in year 3 students can choose a number of optional modules, including the Theory in Practice module. In this module, inspired by the lesson method of Barry Harris, students learn how they can apply the theory they have learned in practice. Whearas the emphasis lay on identifying and analyzing in the previous modules, in this module the focus shifts to the practical applicability. In this lesson, students get concrete handles with which they can get to work in private study. To give an impression of the kind of topics that can be treated, here follow two examples:

• How can you employ the principles of voice leading to help you learn to improvise better? Using these, how do you create exercises for yourself in order to make studying easier and more effective?

• How can you use passing notes in your playing with the goal of creating more flexibility in the area of rhythm, colour and variation?

Because it concerns practical application, there will be a lot of playing in the lesson, solo and with ensembles. At the beginning and during the module, the students indicate where their questions lie in the area of practical application. The material given connects to this and thus will vary per group. Therefore it is also possible to follow this optional module twice.

Reference competencies 2, 6, 7, 9, 10, 11, 12 Learning outcomes • The student is able to practically apply the theoretical knowledge acquired in the

previous modules on the stage and in the study room. Coördinating department JPW Contact person Simon Rigter Language Bilingual: Dutch/Eng Work forms Group-practical lesson Teacher(s) Simon Rigter Entrance requirements Jazz Music Theory year 2 passed Material/literature No fixed sources; in the lesson the teacher refers to usable material, to be found on

internet/in the library. Exam Exam Exam description Jazz Music Theory semester 5 Semester 1 Exam form Evaluation Content of the exam Evaluation of the progress and effort of the student throughout the module. The

assessment will be linked back to the student in a feedback interview. Exam criteria • Progress in practical application

• Initiative/involvement in the lesson • Preparation/private study • Attendance

Exam duration n.a. Weight 1 Study credits 3 Number of attempts 2 Result scale Pass/ not sufficient

Generic module title General theory subjects year 3 Specific module title Jazz Music Theory semester 6 – Large ensemble arranging Code Osiris Course type Cursus Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

In this module the student learns how to write for horn players with rhythm section, varying from 4 horn players to big band, possibly supplemented with vocals. Attention is paid to 5-part writing, for example for the saxophone section. Also for a whole orchestra (tutti), with both monophonic and polyphonic techniques. How to use “upper structures” for the trumpet section will be taught. The knowledge gained in the theoretical subjects is refreshed and applied in arrangement techniques. This mainly concerns voice leading, reharmonization, use of chord-unfriendly notes etc. Various instruments used a lot in jazz music, such as saxophone, trumpet, trombone and the instruments that belong to the rhythm section, will be treated. Attention will be paid to writing for the different sections (“each section has to sound good by itself”), the form, and/or flow of an arrangement. Existing arrangements will be listened to (with and without score). The student learns to write a new melody (contrafact) to an existing or possibly newly reharmonized chord scheme. After all, arranging is also partly composing. Jazz timing and how to notate this is also taught.

Reference competencies 11,12 Learning outcomes • After attending this module, the student is able to write an arrangement for a

large formation, possibly supplemented with vocals, in both jazz and related styles. All of this must take into account the register in which the horn players and the vocalist sound good and melt into a good form/flow.

• The student can produce knowledge about the usual instruments for jazz, concerning register, transposing or otherwise.

• The student is able to notate a chord, varying from 5 horn players to big band setting (tutti), both how it sounds and transposed.

• The student is able to reharmonize a given chord scheme. • The student is able to harmonize a scale in different ways. • The student is able to make a “jazzy” notation of a theme from the Real Book.

Coördinating department JPW Contact person Ab Schaap Language Bilingual: Dutch/Eng Work forms • seminar

• Individual coaching Teacher(s) Ab Schaap Entrance requirements Music Theory year 2 passed. Material/literature Scores transcribed by the teacher and scores he himself made. Scores published e.g. by

Second Floor. Linear Writing by Bill Dobbins. Writing for Large Ensemble, published by Berklee. Scores of various arrangementen by, for example, Horace Silver, Gerry Mulligan, Duke Ellington/Billy Strayhorn, Thad Jones, Maria Schneider, Gil Evans. Inside the Score by Rayburn Wright. The books of Dobbins and Wright and Berklee and a large number of scores are available at the school. Internet. YouTube. Muziekweb

Exam Exam Exam description Jazz Music Theory semester 6 Semester 2 Exam form • Theory - written

• Theory - assignment to be submitted Content of the exam Written exam. Before the start of the exam, the arrangement assignment should be

handed in. Exam criteria Regarding the exam: more than 5 errors per question means insufficient. An insufficient

answer can be compensated by a well-answered question. For a pass, a total mark of 5.5 or more is required. Regarding the submittted arrangement: this will be played by the big band and assessed for good sound, playability and form/flow.

Exam duration 2.5 hours

Weight 100% Study credits 3 Number of attempts 2 Result scale 20-point, 0.5 - 10, rounded off to halves

Generic module title General theory subjects year 3 Specific module title Jazz Music Theory semester 6 – impro/compo Code Osiris Course type Cursus Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

RULES: NECESSITY OR UNNECESSARY RESTRICTION Introductory performance with group discussion to follow, with the goal of making clear that to be able to create a composition time after time, the creation of frameworks and maintenance of rules can give guidance for a composition. Ultimately students can develop their own frameworks and rules and thereby decide for themselves the degree of guidance they accept. During the same presentation and succeeding discussion, the working process and practice of the composer will be addressed. TONES AND INTERVALS Our revolutionary tempered system, hierarchy of notes and intervals and the consequences of these for Western music will be addressed; the naturalness with which functional harmony is generally accepted and the careless way that functions are juggled with when there is no insight will be examined, with the goal of gaining insight; insight that should finally enable the student to maintain an overview with possible constructions and to recognize and understand the consequences of certain musical choices. FUNCTIONAL AND NON-FUNCTIONAL DIATONIC HARMONY, NON-FUNCTIONAL NON-DIATONIC HARMONY Explanation, examples and assignments drawing on harmony, with the goal of investigating harmonic tonal possibilities, accompanied by the prospect of topics and assignments that aim to begin with horizontal (melodic) development, which result in a harmonic picture, instead of the other way round! DIATONIC AND NON-DIATONIC TENSION NOTES IN MELODY In order to investigate the concept of tension in melody, in self-made harmonic constructions a multitude of melodies must be written in a previously determined sequence, in which different gradations and different forms of tension must be consciously introduced. NEW POLYPHONY, EMANCIPATION OF DISSONANTS While we move in a broadened tonality, in which degrees of keys are blurring, although the music is still tonal in character, using examples and assignments we will investigate in what ways chords can be constructed under melodies, how the differentiation melody/harmony can blur and what are the possiblities offered by such a blurring. DEVELOPMENT OF MELODY Departing from the cantus firmus tradition, methods of constructing melodies are discussed and assignments carried out. The possibilities offered by common notes in a broadened tonal way of writing are investigated. The way created basic constructions can be further developed will also be investigated. ALTERNATIVE SYSTEMS FOR ACCOUNTING FOR INTERVALS We investigate the melodic and harmonic consequences and possiblities of a number of other systems than the conventional, to name intervals. Using the other systems, alternative scales will be constructed and melodies and polyphonic works with a contrapuntal character will be created. DODECAPHONY, SERIALITY, ALEATORY AND OTHER TECHNIQUES We investigate how unconventional frameworks can be created or indeed can be demolished. We do so using a number of 20th century techniques. Applying these techniques, assignments will be carried out. FORM The last – but not the least important – topic. Different possibilities and methods will be investigated; form can be a result, but form can also be created using description or graphic reproduction; then form functions as a skeleton around which a composition is drawn up.

Reference competencies 1, 2, 6, 19, 20, 21 Learning outcomes The student possesses skills and insights that in developing musical ideas enable him

consciously to choose between starting with harmonic development on the one hand or melodic development on the other hand. He is able to create harmonic functional, non-

functional diatonic, broad tonal and atonal constructions. The student is able to perform his composition or have his composition performed.

Coördinating department JPW Contact person Stefan Lievestro Language English Work forms seminar Teacher(s) Stefan Lievestro Entrance requirements Jazz Music Theory year 2 passed Material/literature Practice material prepared by the teacher Exam Exam Exam description Jazz Music Theory semester 6 Semester 2 Exam form • Assignment to be submitted (composition)

• Presentation (including performing the composition) Content of the exam The student makes a composition, with own choice of style and combination of

techniques treated in the lessons, shows how the composition has developed from the beginning to the end (establishment and description of nature and goal, graphic reproduction of form, different stages) and performs the composition with an ensemble or submits a recording of a performance. The student is able to develop a musical idea using one or more of the working methods treated in the lessons. The student is able to employ ideas in the final composition that proceed from at least three different working methods. The student should give insight into his working method through a description of the workflow/logbook.

Exam criteria At least three of the techniques treated in the lessons should be used in combination in the composition. The stages of realization should be well-documented and the student should be able to verbally explain the working process. The performance should be good (material well-learned, rehearsed...)

Exam duration 30 minutes: introduction by student and performance (15 minutes), subsequent discussion (15 minutes)

Weight 1 Study credits 3

Number of attempts 2 Result scale 20-point, 0.5 – 10, rounded off to halves

Generic module title General theory subjects year 3 Specific module title Jazz Music Theory semester 6 small group arranging Code Osiris Course type Course Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

In this module, the student learns to write for horn players with rhythm section, possibly with vocals. Attention is paid to 2-,3- and 4-part writing, both monophonic and polyphonic. The knowledge acquired in the theoretical subjects will be refreshed. This mainly concerns voice leading, reharmonization, use of chord-unfriendly notes etc. Various instruments used a lot in jazz music, such as saxophone, trumpet, trombone and the instruments that belong to the rhythm section, will be treated. Attention will be paid to the form and/or flow of an arrangement. The student has to transcribe an arrangement him/herself and existing arrangements (with or without score) will be listened to. The student learns to write a new melody (contrafact) to an existing or possibly newly reharmonized chord scheme. After all, arranging is also partly composing. Jazz timing and how to notate this is also taught.

Reference competencies 11,12 Learning outcomes • After attending this module, the student is able to write an arrangement for a

small formation, possibly supplemented with vocals, in both jazz and related styles. All of this must take into account the register in which the horn players and the vocalist sound good and melt into a good form/flow.

• The student can produce knowledge about the usual instruments for jazz, concerning register, transposing or otherwise.

• The student is able to notate a chord for 3 horn players in the right register, both how it sounds and transposed.

• The student is able to reharmonize a given chord scheme. • The student is able to make a “jazzy” notation of a theme from the Real Book.

Coördinating department JPW Contact person Ab Schaap Language Bilingual: Dutch/Eng Work forms • Seminar

• Individual coaching Teacher(s) Ab Schaap Entrance requirements Music Theory year 2 passed. Material/literature Scores transcribed by the teacher and scores he himself made. Scores published e.g. by

Second Floor. Recordings on YouTube and Muziekweb. Linear Writing by Bill Dobbins. Writing for Small Ensemble, published by Berklee. These books are available in the library.

Exam Exam Exam description Jazz Music Theory semester 6 Semester 2 Exam form • Theory - written

• Theory - assignment to be submitted Content of the exam Written exam. Before the start of the exam, three arrangements should also be handed

in. Exam criteria Regarding the exam: more than 5 errors per question means insufficient. An insufficient

answer can be compensated by a well-answered question. For a pass, a total mark of 5.5 or more is required. Regarding the submitted arrangements: these will be played by an ensemble assessed for good sound, playability and form/flow.

Exam duration 2.5 hours Weight 100% Study credits 3 Number of attempts 2 Result scale 20-point, 0.5 - 10, rounded off to halves

Generic module title General theory subjects year 3 Specific module title Jazz Music Theory semester 6 – Theory in Practice (TIP) Code Osiris Course type Cursus Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

After two years of education in music theory, in year 3 students can choose a number of optional modules, including the Theory in Practice module. In this module, inspired by the lesson method of Barry Harris, students learn how they can apply the theory they have learned in practice. Whearas the emphasis lay on identifying and analyzing in the previous modules, in this module the focus shifts to the practical applicability. In this lesson, students get concrete handles with which they can get to work in private study. To give an impression of the kind of topics that can be treated, here follow two examples:

• How can you employ the principles of voice leading to help you learn to improvise better? Using these, how do you create exercises for yourself in order to make studying easier and more effective?

• How can you use passing notes in your playing with the goal of creating more flexibility in the area of rhythm, colour and variation?

Because it concerns practical application, there will be a lot of playing in the lesson, solo and with ensembles. At the beginning and during the module, the students indicate where their questions lie in the area of practical application. The material given connects to this and thus will vary per group. Therefore it is also possible to follow this optional module twice.

Reference competencies 2, 6, 7, 9, 10, 11, 12 Learning outcomes • The student is able to practically apply the theoretical knowledge acquired in the

previous modules on the stage and in the study room. Coördinating department JPW Contact person Simon Rigter Language Bilingual: Dutch/Eng Work forms Group-practical lesson Teacher(s) Simon Rigter Entrance requirements Jazz Music Theory year 2 passed Material/literature No fixed sources; in the lesson the teacher refers to usable material, to be found on

internet/in the library. Exam Exam Exam description Jazz Music Theory semester 6 Semester 2 Exam form Evaluation Content of the exam Evaluation of the progress and effort of the student throughout the module. The

assessment will be linked back to the student in a feedback interview. Exam criteria • Progress in practical application

• Initiative/involvement in the lesson • Preparation/private study • Attendance

Exam duration n.a. Weight 1 Study credits 3 Number of attempts 2 Result scale Pass/ not sufficient

Generic module title Ensemble JPW year 3 Specific module title Latin ensembles Code Osiris Course type Cursus Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

The student is trained to be an independent jazz musician who can forge a place for him/herself in the international jazz music scene because he/she possesses the right repertoire-bound techniques and general instrumental technical skills, and moreover has the stylistic knowledge and knows the historical context of the genre. During the four years that the Ensemble modules are given, the student gains an overview from ‘the beginning to now’ of all musical styles and important musicians/composers in jazz. In years 1 to 3, the student is assigned to several ensembles, with a minimum of two ensembles. (In this, an ensemble that is taught by two different teachers and thereby also works on its own repertoire is regarded as two ensembles). This module works on expanding and deepening in previously untreated styles. An in-depth approach is also maintained regarding improvisation within the jazz idiom and skills in arrangement.

Reference competencies 4,5,6,7,8,9,11 Learning outcomes After successfully concluding the module the student has at least the following abilities:

• has expanded his/her repertoire with a number of pieces in various genres • plays the various performance styles and rhythms within the jazz idiom at a higher

level • can improvise to more complex chord schemes from a 'Real Book'-style score with

only melody and chord scheme. • plays both accompaniment and melody within the idiom. • The student is able to play the pieces worked on in the module by heart . • If requested, the student is able to take charge of the ensemble. • The student is able to create a balanced set with repertoire pieces such as could be

performed in a concert setting. • The student is able independently to give form to the rehearsal process

Coördinating department JPW Contact person Jarmo Hoogendijk Language English Work forms Group-practical lesson Teacher(s) Various teachers Entrance requirements Ensemble year 2 passed Material/literature Repertoire provided by teacher Exam Exam 1 Exam description Ensemble 1 Semester 2 Exam form Practical – group exam Content of the exam Playing 3 varied pieces from the idiom Exam criteria Process (25%): attendance, communication, initiative, preparation

Presentation (75%): artistic skills, technical skills, performance skills Exam duration 15 min playing Weight 50% Study credits 6 Number of attempts 2 Result scale 20-point, 0.5 - 10, rounded off to halves

Exam Exam 2 Exam description Ensemble 2 Semester 2 Exam form Practical – group exam Content of the exam Playing 3 pieces from what is offered (from the idiom). Playing 15 min = 2 to 3 pieces

from the idiom. The student who does not make it must create an ensemble him/herself and perform 2 pieces in front of the teacher at a time chosen by the teacher and the student. Playing 15 min = 2 to 3 pieces from the idiom

Exam criteria Process (25%): attendance, communication, initiative, preparation Presentation (75%): artistic skills, technical skills, performance skills

Exam duration 15-20 minutes playing Weight 50% Study credits 6 Number of attempts 2 Result scale 20-point, 0.5 - 10, rounded off to halves

Generic module title Portfolio year 3 Specific module title Portfolio year 3 Code Osiris Course type Course Year Year 3 Exam goal B Main phase Bachelor Content/relation to professional practice

General: The portfolio is a module that contains several activities. Some activities are organized by Codarts (such as the project weeks), other activities are designed by the student (individual study activities) Both types of activities have an common that they are focused on orientation on making informed choices in study and professional practice. They confront the student with different aspects of the art profession, both with regards to the different professional roles and other art disciplines. This broad orientation on the art profession stimulates the student to reflect on his own ambitions and profile and to translate this into concrete choices during and after study. The Portfolio year 3 consists of two project weeks. Every year two project weeks are organized. At least one of these weeks has a department transcending character in the sense that students of different departments and disciplines participate in joined projects. Form and theme vary per project week. During the project week the student is given the opportunity to get acquainted with disciplines/ genres/ aspects of the professional practice that were still unknown to him. When a student has attended the project(s) to which he was assigned, he obtains a positive result. Students that have not sufficiently attended the project(s) will have to do an substituting assignment (see below under Exam 2)

Reference competencies 3, 5, 13, 15, 19 Learning outcomes The project weeks serve as an orientation on several aspects of the art profession.

Broadening of perspective and gain new experiences are the main goal. There are no pre-set learning goals that are tested at the end of the module.

Coördinating department Music (JPW+KM) Contact person Renske Wassink Language Dutch/ English Work forms Differs per project week Teacher(s) Differs per project week Entrance requirements none Material/literature Differs per project week Exam Exam 1 Exam description Project week 1 Semester 1 Exam form Attendance (with the use of attendance list) Content of the exam The result (pass/not sufficient) is based on attendance. Students that have not sufficiently

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

• The substituting assignment for the project week has the form of extra Individual Study Activities. The writes an account of these activities in a report, according to the standard Isa procedure (same format, deadline, handing in at study coach)

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

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

• The theme for the substitution for the second (inter-departmental) project

week will be equal for all departments. • The theme for the substituting assignment will be communicated within two

weeks after the project week or as soon it is known which students did not attend.

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

Exam criteria Attendance of minimum 75%.

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

Exam duration N.a. Weight 50% Study credits 1 Number of attempts 2 Result scale Pass/ Not sufficient

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

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

Exam duration N.a. Weight 50% Study credits 1 Number of attempts 2 Result scale Pass/ Not sufficient

1. Music education A 2. Music education B 3. Internship

Specific module title Music Education A (music pedagogy)

Code Osiris

Course type Course

Year 3

Exam goal B Main Phase Bachelor

Content/relation to professional practice

Music pedagogy The course music pedagogy combines theoretical subjects and practical training. The following subjects are treated: general didactics, communication and feedback, presentation skills, group dynamics, motivation, developmental psychology, teaching styles, teacher roles and core qualities. The theoretical subjects are reflected upon, also by using video recordings and reports from the students’ internships and observations. Finally, current developments in the field of music education are discussed. The various subjects are treated differently according to the associated genre (Classical Music, Jazz, Pop, World Music, Music Theatre).

Reference competencies 21, 22, 23

Learning outcomes • You are able to analyse music lessons in terms of the theoretical concepts treated in the lessons and use these concepts in preparing lessons.

• You are able to observe and analyse pupils and verbalise this analysis by using concepts you have learned.

• You are able to recognise and identify general didactic knowledge in learning situations such as the preparation of lessons (for instance, by articulating learning outcomes and the use of working methods).

• You are aware of personal characteristics of pupils, such as learning style, age and motivation and are able to recognise and identify these in the reflection moments.

• You are able to reflect on the theoretical subjects in relation to yourself and the lessons you give.

• You are able to provide functional feedback to fellow students or pupils.

• You are aware of the various roles and styles of a teacher (for instance your role as coach) and are able to recognise and identify these in the reflection moments.

• You have knowledge of the group dynamic processes that you can use in working with groups and are able to recognise and identify these in the reflection moments (does not apply to Classical Music).

Coordinating department KM-Jazz-Pop-WM-MT

Contact person Marjolijn Boersma/Frank v.d. Duin

Language Dutch or English

Work forms • group practical lesson • lecture • individual coaching

Teacher(s) Teachers music pedagogy

Entrance requirements Portfolio year 1: having passed Introduction to Education.

Material/literature Reader compiled by the teachers

Exam Exam

Exam description Music Education A Music Pedagogy

Semester 2

Exam form Theory – assignment Theory – interview

Content of the exam Making assignments, writing reflections on the subjects treated. Based on the completed assignments, and inter-vision interview will take place.

Exam criteria All required concepts are used correctly, motivated and described in the report.

Answers and reflection are presented with arguments. There is a clear link between theory and practice (i.e. students see and

understand the relation between one day have read and/or heard and what they actually observed during music lessons).

The written reports are worked out in the form of a clearly constructed narrative; they should not be simple listings.

Assignments are made based on the observations of your fellow student and your own lesson.

Assignments must be produced on the computer and contain at least 1600 words.

The inter-vision interview must be prepared. This means that the described video excerpts have been selected and are ready to be viewed.

During the inter-vision meeting, the student is able to name, use and apply the theoretical concepts to the video excerpts.

Exam duration 30 minutes (final interview per student)

Weight 1

Study credits 2

Number of attempts 2

Result scale Pass/Fail

1.

Specific module title Music Education B didactic methods

Code Osiris

Course type Course

Year 3

Exam goal B Main Phase Bachelor

Content/relation to professional practice

In the course Didactic Methods, the emphasis is on the methods of learning to master an instrument. Relevant subjects are studying forms of transference and various teaching material for the instrument, as well as historical developments. Current developments in instrument teaching are also discussed. Basic techniques specific to the instrument, such as tone building, posture and techniques are studied and explored. All this combined forms the basis for preparing lessons in practice. Instructions are given on how to make internship reports and self-reflections. Instrument presentations are given by students of the departments Classical Music, Jazz and World Music.

Reference competencies 4, 5, 21, 22, 23 , 25

Learning outcomes • You have the didactic and method knowledge and skills to give individual lessons and band coaching (Pop)/group lessons (Music Theatre).

• Compose a learning route for the short term for an individual pupil or a group and supply them with adequate study material.

• You have knowledge of the various forms of teaching material and are able to identify, analyse and apply them in a teaching situation.

• You are able to design a lessons structure by using various methods and ways of working.

• You have knowledge of other instruments in pop/jazz bands and are able to use this knowledge in the band coaching lessons (Jazz/Pop).

• You are able to give a presentation about your own instrument before a group (Classical Music, Jazz, World Music).

• You have knowledge of the historical development of your instrument and are able to apply this during your lesson and instrument presentation (Classical Music, Jazz, World Music).

Coordinating department DM

Contact person Ruud Spetter

Language Dutch or English

Work forms • group practical lesson • individual coaching

Group size Depending on the number of students

Teacher(s) Teachers Music Education B

Entrance requirements Portfolio year 1: having passed Introduction to Education.

Material/literature Methods for beginning /advanced students and own material of the teachers

Exam Exam

Exam description Music Education B Didactic Methods

Semester 1

Exam form Theory – assignment Theory – interview

Content of the exam Throughout the module, students work at various assignments that are related to the subjects treated. The instrument presentation with Classical Music, Jazz and World Music is also part of the exam. At the end of the course a final interview takes place with the teachers involved and the internship coach. This final interview concludes both Music Education B and the internship. In the interview, the assignments, internship and internship report are discussed. The final evaluation is either Pass or Fail.

Exam criteria • didactic and methodical knowledge and skills • designing a short learning route • analysis and application of study material • design of lessons structure • historical development • application of instrument knowledge band coaching lessons (Jazz/Pop) • The instrument presentation (Classical Music, Jazz and World Music) is

well-prepared and make use of the material treated in classes such as forms of transference, methods and historical development.

Exam duration 30 minutes (final interview)

Weight 1

Study credits 2

Number of attempts 2

Result scale Pass/Fail

Generic module title Thesis Preparation Specific module title Thesis Preparation Code Osiris Course type Course Year Year 3 Exam goal B Main Phase Bachelor Content/relation to professional practice

It is of crucial importance for all art professionals to adopt an inquisitive attitude towards their own professional field and to be able to present their findings. This module treats the basic research skills. Students learn to make and present a research design. The module Thesis Preparation consists of 10 group lessons and individual coaching and contributes specifically to the development of the professional roles of musician, maker/performer and researcher.

Reference competencies 3, 4, 12, 13, 14, 15, 19, 20, 21 Learning outcomes Students are able to:

• choose a relevant research subject and formulate a problem. This subject is always related to the own professional field or musical practice.

• delimit their field of research and problem. • choose a fitting research method and relevant sources. • argument their choices and ideas and process feedback constructively in

their process/work. • construct and present a relevant and thorough research proposal.

Coordinating department Music (JPW&KM) Contact person Marijke Tielenius Kruijthoff Language Dutch/English Work forms • Group practical lesson

• Individual coaching Teacher(s) Desmond Haneveer, Desiree Staverman and the various thesis coaches Entrance requirements Main Phase student Material/literature Codarts Thesis Manual and recommended literature Exam Exam Exam description Thesis Preparation Semester 2 Exam form Written assignment combine with the presentation Content of the exam • a written research proposal

• a 5-minute pitch of the research proposal before fellow students and committee

If the written research proposal has not been handed in or has not been accepted by the thesis coach and the main subject teacher, the student will not be allowed to do a five minute pitch and will have failed the exam. The written research proposal is assessed by the thesis coach. The 5-minute pitch is assessed by a committee of 3 thesis coaches/teachers. The exam is public. Students are assigned to groups and are present during the presentation of their fellow students.

Exam criteria • professional relevance of the research proposal • articulation and delineation of the main and sub- questions • connection of the choice of research methods and sources to the research

subject • level of care, structure and use of language of the research proposal • clarity and structure of the presentation • level of care and use of language of the presentation • reflection and handling of feedback

Exam duration 3 hours Weight The research proposal and presentation must be assessed as a ‘Pass’ to complete

the module. Study credits 3 Number of attempts 2 Result scale Pass/Fail