JPW - LA propedeuse

SEM 1

SEM 2

totaal tijd = gemiddelde lesduur per week ects time ects time ects

musician

instrument 10 70 10 70 20 music theory 3 120 3 120 6 rhythmic training 2 90 2 90 4 practical harmony 2 20 2 20 4 genre specif ic: latin transcription 3 60 3 60 6

creator / performer

ensembles 6 75 6 75 12

entrepreneur

Portfolio, consisting of:

5

5

Project weeks (1)

(1)

Health day

(1)

Entrepreneurship

(2)

researcher

genre specif ic: latin music history 1 60 2 60 3

number of credits per semester 27 33 60

Generic module title Main subject semester 1 Specific module title Brazil ian guitar Code Osiris Course type Course Year Year 1 Exam goal D Propedeuse Bachelor Content/relation to professional practice

The student will be educated to become an independent guitarist that can obtain a certain stature in the international Brazilian music scene, because he/she has the knowledge of the right technics in repertoire and general technical skills concerning the instrument, and also has knowledge of the style and historical context of the genre. INTERPRETATION: INTERPRETATION: The interpretation lessons have as main goal the development of musical skills in the Brazil ian genre; in these lessons a diverse range of rhythms, styles and left and right hand technics will be covered. This will be done on the basis of exercises, repertoire pieces, orchestra- and ensemble parts. In these lessons there will also be a focus on jazz improvisation and arranging within the Brazil ian idiom. TECHNIQUE: The technique lessons have as main goal the development of the technical skil ls of the student, such as motorics, use of pedals, finger positions, and musical phrasing. The exercises will be given to the student fitted to his/her means (this differs per student). The classical repertoire will be discussed and addressed with the student. The student will play one of these pieces, or a smaller part of it (when it concerns a longer piece) at the end of the year and in some cases, if desired, also in the exam after the first semester. MODULE MAIN SUBJECT SEMESTER 1:

• Basic bossanova and samba rhythms will be addressed in different tempo’s. Also focus on maintenance of a steady tempo

• Extending knowledge in repertoire (bossanova pieces of Antonio Carlos Jobim), melody and chords

• The student will get exercises in which major and minor scales (harmonic minor and melodic minor) wil l have to be played in Brazil ian rhythms (taken from patterns in Brazil ian percussion) in 5 positions

• In terms of technique lessons the student will work on the following facets: RH arpeggios, medleys (im, ia, ma), apojando/tirando tone production, dynamics, LH bindings, synchronization with RH.

• In terms of jazz-improvisation the student will work on playing solo’s in standard progressions (for example II-V-I progression).

Reference competencies 4,5,7,9 Learning outcomes After successful conclusion of this module the student:

• Extended his/her repertoire in different genres • Must show progress in guitar techniques (by means of etudes) • Can play 5 pieces by heart • Can improvise over a bossanova of for example Antonio Carlos Jobim

Coordinating department JPW Contact person Maurice Rugebregt & Kees Gelderblom Language English / Dutch (differs per student)

Work forms • Practical group lesson

• Practical individual lesson • Individual coaching

Teacher(s) Maurice Rugebregt (interpretation), Kees Gelderblom (technique) Entrance requirements Successful conclusion of entrance exam Material/l iterature Lumiar Songbooks, Brazil ian Guitar book (Nelson Faria), etudes of Sor, Carcassi, Carulli

Exam Exam

Exam description Main subject semester 1 Semester 1 Exam form Practical exam Content of the exam Student must perform 2 pieces in different styles:

• A solo piece (to show technique and tone production), this piece must be executed acoustic.

• 1 piece in which the guitar accompaniment (for instance accompanying a singer) will be judged

Exam criteria The standard practical criteria are applicable: Technical skills, artistic skills, performance skil ls

On the basis of the performed pieces there has to be a distinct progress visible when it comes to:

• Understanding of Brazil ian rhythms and all the earlier discussed basic styles • Maintenance of a steady tempo • Guitar technique (righthand) and alternate picking

Exam duration 30 minutes including debrief with teachers and evaluation with student Weight 1 Study credits 10 Number of attempts 2 Result scale 20 points 0,5 – 10, rounded off in halves

Generic module title Main subject semester 2 Specific module title Brazil ian guitar Code Osiris Course type Course Year Year 1 Exam goal D Propedeuse Bachelor Content/relation to professional practice

The student will be educated to become an independent guitarist that can obtain a certain stature in the international Brazilian music scene, because he/she has the knowledge of the right technics in repertoire and general technical skills concerning the instrument, and also has knowledge of the style and historical context of the genre. INTERPRETATION: INTERPRETATION: The interpretation lessons have as main goal the development of musical skills in the Brazil ian genre; in these lessons a diverse range of rhythms, styles and left and right hand technics will be covered. This will be done on the basis of exercises, repertoire pieces, orchestra- and ensemble parts. In these lessons there will also be a focus on jazz improvisation and arranging within the Brazil ian idiom. TECHNIQUE: The technique lessons have as main goal the development of the technical skil ls of the student, such as motorics, use of pedals, finger positions, and musical phrasing. The exercises will be given to the student fitted to his/her means (this differs per student). The classical repertoire will be discussed and addressed with the student. The student will play one of these pieces, or a smaller part of it (when it concerns a longer piece) at the end of the year and in some cases, if desired, also in the exam after the first semester.

MODULE MAIN SUBJECT SEMESTER 2: • The basic baiao rhythm will be addressed and rhythmical variations in bossanova

and samba in different tempo’s. Also focus on maintenance of a steady tempo. • Extending knowledge in repertoire (samba pieces of Ary Barroso, Baden Powell),

melody and chords • The student will get exercises in which all the church chords & different arpeggio’s

will have to be played in Brazil ian rhythms (taken from patterns in Brazil ian percussion) in 5 positions

• In terms of technique lessons the student will work on the following facets: RH arpeggios, medleys (im, ia, ma), apojando/tirando tone production, dynamics, LH bindings, synchronization with RH. Also, the student will have to study different classical etudes.

• In terms of jazz-improvisation the student will work on playing solo’s in bossanova’s in standard progressions (pieces of Joao Donato, Antonio Carlos Jobim).

Reference competencies 4,5,7,9 Learning outcomes The student must be able to:

• Improvise over a piece from the MPB-repertoire (chosen by the teacher) • Play variations in accompaniment • Master de technique for a good tone production (with fingers and plectrum)

Coordinating department JPW Contact person Maurice Rugebregt & Kees Gelderblom Language English and Dutch (differs per student) Work forms • Practical group lesson

• Practical individual lesson • Individual coaching

Teacher(s) Maurice Rugebregt (interpretation), Kees Gelderblom (technique) Entrance requirements Successful conclusion of module main subject semester 1 Material/l iterature Brazil ian Guitar book (Nelson Faria), material teacher, Lumiar Songbooks, Songbook Baden

Powell Exam Exam

Exam description Main subject semester 2 Semester 2 Exam form Practical exam Content of the exam Student must perform 3 pieces in different styles:

• A solo piece (to show technique and tone production), this piece must be executed acoustic.

• 1 piece in which the guitar accompaniment (for instance accompanying a singer) will be judged

• 1 piece in which the student must improvise in a random Brazil ian piece

Exam criteria The standard practical criteria are applicable: Technical skills, artistic skills, performance skil ls On the basis of the performed pieces there has to be a distinct progress visible when it comes to:

• Understanding an being capable of executing variations in samba-accompaniment (partido alto)

• Being capable of producing a stable sound • Showing insight and progress in classic righthand technique

Exam duration 30 minutes including debrief with teachers and evaluation with the student Weight 1 Study credits 10 Number of attempts 2 Result scale 20 points 0,5 – 10, rounded off in halves

Generic module title General music subjects year 1 Specific module title Music Theory semester 1 Code Osiris Course type Cursus Year Year 1 Exam goal D Propedeuse Bachelor Content/relation to professional practice

Music-theoretical knowledge that is integrated with the associated skil ls of hearing and singing, as well as reading and writing music notation, offers a partly style-independent broad working and thinking foundation for musical professionality. The knowledge obtained enables the student to analyze music, reharmonize, and analyze improsizations based on these music pieces. All of this contributes to the attainment of a higher level of working and thinking as well as an independent position in the performing profession. To support the music theory modules, the student receives two years of lessons in practical harmony, including on the piano. This module consists of two different classes: Lecture: complete overview of general music theory and basic music theory, as a foundation for the higher education in music theory and the development of the integration of l istening and writing skil ls. The student becomes acquainted with the music-theoretical terms (vocabulary) that are used in music theory, concerning music notation in all aspects, scales and chords, rhythm, different times and basic form and harmony theory, consonance, dissonance, circle of fifths and transposition. Attention is also paid to the anatomy and neurology of hearing in humans. Practical: practice lessons with the lecture giving a complete overview of general music theory and basic music theory, as a foundation for the advanced study of music theory and the development of its integration in practice. These practicals are offered in classes organized according to study discipline (wm, jazz, pop) General In the theory lesson nothing new is invented, but the intention is to put into words what a student already knows by ear. The different diatonic scales with associated chords, in both major and minor, wil l be treated. The concept of enharmonization will be explained. Further, the principle of classical harmony will be explained. This harmony theory is based on the three main functions, namely tonic, dominant and subdominant on the scale degrees I, V and IV.

Specific jazz Using a diagram, the relationship of the subsidiary chords to these main scale degrees will be demonstrated. For the naming and showing the connection of the chords (also applied to the inversions), Roman script scale degree numbers will be used. This method is essential, given that chord symbols, as used in jazz music, do not show this relationship. Many common chord progressions such as deceptive cadence and Naples are treated and should be recognized by ear. The student learns to write triads and later four-note chords for four voices, with the associated rules for setting (voicing) and parts (voice leading). Some chorals, such as those composed by J.S.Bach, will be analyzed and l istened to. Naturally these classical rules will be treated in relation to jazz music. Many common chord progressions in jazz music will be explained and played. The following will also be discussed: simple diatonic modulations, chord-unfriendly notes, the blending of minor with major (flat-major), intermediate subdominants and tritone affinity. A start wil l already be made with the analysis of simple improvisations. At the end of this module, the student must have understood that jazz theory does not stand alone but builds on a centuries-long history. Both simple compositions from the classical l iterature, as well as compositions from The Great American Song Book, the so-called Standards, such as Autumn Leaves, There Will Never Be Another You, Lullaby Of Birdland, Days Of Wine And Roses, What’s New and Bye Bye Blackbird and compositions from jazz music such as In a Sentimental Mood and A Child is Born and comparable compositions, can be independently analyzed, taking into account the parameters of melody, harmony, rhythm and form.

Specific world music Study of musical form theory, harmony, with emphasis on jazz and Latin, with reference to improvisation and arranging skills. Pairing with ear training in particular and the musical experience as l istener and performer in general. Cross-connections with European classical music for historical framework and universally applicable terminology, that facil itates communication with musicians from other traditions. Extensive training in writing and reading correct advanced music notation Ear training: intervals, triads, seventh chords, scales Principles of functional harmony and the phrase model Diatonic harmony in major and minor Basic voice-leading principles Cadences

Specific pop music Study of musical form theory, harmony, with emphasis on jazz and pop, with reference to arranging skills. Pairing with ear training in particular and the musical experience as l istener and performer in general. Cross-connections with other music styles for historical style framework and universallly applicable terminology, that facil itates communication with musicians from other traditions. Extensive training in writing and reading correct advanced music notation Ear training: intervals, triads, seventh chords, scales Principles of functional harmony and the phrase model Diatonic harmony in major and minor Cadences

Reference competencies 2, 6, 10, 11 Learning outcomes • knowing and being able to apply music notation in melodic/harmonic respect

(using G key and F key skil lfully, knowledge of the alto and tenor keys, scales using the circle of fifths, correction of enharmonic notation of chords)

• knowing and being able to apply music notation in rhythmic/formal respect • being able to give meaningful descriptions of music-theoretical terms as given in

the Vocabulary for music theory (O. van Dil len)

Able to name, notate, recognize (in writing or by ear) and sing the building blocks: • Rhythmic: simple and compound times • Melodic: able to name, notate, recognize (in writing or by ear) and sing scales:

major, the 3 minor scales, the church modes, pentatonic major and minor and blues scale, whole-tone and chromatic scale

• Harmonic: able to name, notate, recognize (in writing or by ear) and sing intervals, triads, seventh chords, extensions, position types, keys, scale degree numbers of (cl iché) chord progressions, especially in classical and jazz music.

Supplement jazz:

• Four-part harmonizing of a given bass with Roman script numbers. This chord scheme, as well as diatonic chords, should also include flat-major and intermediate dominants. (pr jazz)

• Analyzing a 4-part setting with chord-unfriendly notes. (pr jazz) • Marking mistakes in a 4-part notated excerpt. (jazz) • Finding and notating chords (including inversions) under a given melody. (jazz) • Name chord-unfriendly notes that occur in a melody/improvisation. (jazz and

wm) • flat-major and intermediate (sub)dominants. • Notating a Standard of one’s own choice

Coördinating department

JPW

Contact person Oscar van Dil len Language Dutch/Eng (lecture 2 separate groups, practical mixed)

Work forms • lecture • practical

Teacher(s) Lecture: Oscar van Dil len, Practical: Wobbe Kuiper (wm), Laetitia van Krieken (pop), Ab Schaap (jazz)

Entrance requirements Admission exam passed Material/l iterature Online reader http://www.oscarvandillen.com/outline_of_basic_music_theory/

(including the practice material under further studies) Harmony and Voiceleading by E.Aldwell and C.Schachter. Real Books, Song Books, Youtube, Internet Sites, American Popular Song by Alec Wilder, The American Popular Ballad of the Golden Era by Allen Forte, 1001 Klassiek Amerikaans by Ruud Kuyper. All these books can be found in the l ibrary

Exam Exam 1 Exam description Lecture Semester 1 Exam form Theory - written Content of the exam Written Exam criteria According to standard response model. Points allocation per question indicated in detail

on exam form – 200 points to obtain; 110 = 5.5 and pass. Exam duration 120 min Weight 1 Study credits 1.5 Number of attempts 2 Result scale 20-point, 0.5 - 10, rounded off in halves

Exam Exam 2 Exam description Practical Semester 1 Exam form Theory - written Content of the exam Written Exam criteria According to standard response model Exam duration 90 min Weight 1 Study credits 1.5 Number of attempts 2 Result scale 20-point, 0.5 -10, rounded off in halves

Generic module title General Theory Subjects year 1 Specific module title WM Music Theory semester 2 Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

Study of the principles of form and harmony with an emphasis on jazz and latin, with frequent references to improvisation and arrangement skills. There is a l ink with the musical experience of the l istener and performer in general and with ear training in particular. Cross-links with European classical music for historical framing and universally applicable terminology, facilitating communication with musicians from other traditions. This module treats the following subjects:

• the principles of functional harmony and the phrase model • cadenzas • diatonic harmony in major and minor • five-voice texture, voice leading principles and extensions • source scale versus ‘chord scale’ • ♭10 • (V), (I I V) • embellishing tones • melodic harmonisation • IVmd

Reference competencies 6 (?), 11, 12(?) Learning outcomes Students are able to recognise the above in a given passage (analysis) and to combine

the relevant harmony in a stylistically consistent manner in voice leading assignments and melodic harmonisation. Furthermore, they are able to define/describe the concepts relevant to this module and i l lustrate them by giving examples of their own invention.

Coordinating department JPW Contact person Wobbe Kuiper Language Engels Work forms Workgroup Teacher(s) Wobbe Kuiper, Oscar van Dil len Entrance requirements Having passed Music Theory WM semester 1 Material/literature Handouts

‘Harmony and Voice Leading’ - Edward Aldwell, Carl Schachter, Allen Cadwallader ‘The Chord Scale Theory and Jazz Harmony’ - Barrie Nettles, Richard Graf YouTube Listening samples

Exam Exam Exam description Practical semester 2 Semester 2 Exam form Combination: written exam and assignments to hand in (including the report) Content of the exam The exam consists of the following:

1. Handing in the assignments melodic harmonisation and voice leading. 2. A written exam with assignments of analysis, melodic harmonisation and voice leading; open questions.

Exam criteria The students answers are compared with the standard answer model. Exam duration 2 hours Weight 1 Study credits 3 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

Opmerking [LR1]: Brontoonladder?

Opmerking [LR2]: Normantwoordmodel?

Generic module title General Theory Subjects year 1 Specific module title WM Rhythm Education semester 1 Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

Rhythm is an essential element in music. This module treats rhythmic concepts, sense of tempo, reading skil ls and coordination.

Reference competencies 6, 10 Learning outcomes Being able to fluently read syncopated rhythms in the most common metres, such as

4/4, a la breve, 6/8. Coordination of counting, clapping and singing, including the use of clave patterns.

Coordinating department JPW Contact person Nils Fischer Language Dutch/English Work forms Workgroup Teacher(s) Nils Fischer Entrance requirements Having passed the entrance exam Material/l iterature • Modern Reading Text (Louie Bellson)

• Syncopation (Ted Reed) • Transcriptions of percussion solos (by Nils Fischer) • Oral Cuban tradition

Exam Exam Exam description WM Rhythm Education semester 1 Semester 1 Exam form Theory - written exam Content of the exam The study material that was treated in this semester is evaluated by a dictation. Exam criteria According to standard answers Exam duration 30 minutes Weight 1 Study credits 2 Number of attempts 2 Result scale 20 points 0.5-10 in halves

Generic module title General Theory Subjects year 1 Specific module title WM Rhythm Education semester 2W< Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

Rhythm is an essential element in music. This module treats rhythmic concepts, sense of tempo, reading skills and coordination.

Reference competencies 6, 10 Learning outcomes Being able to fluently read syncopated rhythms in the most common metres, such as

4/4, a la breve, 6/8, 3/4, 12/8 and, where possible, 7/8. Triplets. Coordination of counting, clapping and singing, including the use of clave patterns. Higher tempos than in semester 1.

Coordinating department JPW Contact person Nils Fischer Language Dutch/English Work forms Workgroup Teacher(s) Nils Fischer Entrance requirements Having successfully concluded Rhythm Education semester 1 Material/literature • Modern Reading Text (Louie Bellson)

• Reading Text (N. Fischer) • Group Exercises (N. Fischer) • Syncopation (Ted Reed) • Transcriptions of percussion solos (by Nils Fischer) • Oral Cuban tradition

Exam Exam Exam description WM Rhythm Education semester 2 Semester 1 Exam form Theory - written exam Content of the exam The study material that was treated in this semester is evaluated by a dictation. Exam criteria According to standard answers Exam duration 30 minutes Weight 1 Study credits 2 Number of attempts 2 Result scale 20 points 0.5-10 in halves

Opmerking [LR1]: ???

Generic module title Practical Harmony semester 1

Specific module title Minor Subject Latin Percussion Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

On concluding this profile module, the student will have a basic knowledge of Caribbean and Brazil ian rhythms on the various instruments and of how these are played together in an ensemble in an authentic manner.

Reference competencies 2,3,11 Learning outcomes The abil ity to recognize the various genres of Brazil ian and Cuban music and apply standard

rhythm patterns in a musical way. Cuban genres: Son: Guajira, Cha Cha, Son Montuno, Guaracha Brazil ian genres: Baião, Samba, Maracatú

Coordinating department JPW Contact person Nils Fischer Language English, Dutch Work forms Group practical lesson Teacher(s) Nils Fischer, Bart Fermie Entrance requirements none Material/l iterature "Los Cueros" reader by Nils Fischer, l ibrary Codarts Exam Exam Exam description Practical Harmony semester 1 Semester 1 Exam form Practical Theory Content of the exam Playing (also together) of the specific rhythms Exam criteria • orientation regarding the various genres/patterns

• sound, coordination on the respective instruments • inner pulse, sense of time • abil ity to play correctly in a poly-rhythmic ensemble

Exam duration 30 minutes Weight 1 Study credits 2 Number of attempts 2 Result scale 20 points scale 0-10, in halves

Generic module title Practical Harmony semester 2

Specific module title Minor Subject Latin Percussion Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

On concluding this profile module, the student will have a basic knowledge of Caribbean and Brazil ian rhythms on the various instruments and of how these are played together in an ensemble in an authentic manner.

Reference competencies 2,3,11 Learning outcomes The abil ity to recognize the various genres of Brazil ian and Cuban music and apply standard

rhythm patterns in a musical way. Cuban genres: Son, Folklore: within those Guajira, Cha Cha, Son Montuno, Guaracha, Guaguanco Brazil ian genres: Baião, Samba, Maracatú

Coordinating department JPW Contact person Nils Fischer Language English, Dutch Work forms Group practical lesson Teacher(s) Nils Fischer, Bart Fermie Entrance requirements Having passed Practical Harmony semester 1 Material/l iterature "Los Cueros" reader by Nils Fischer, l ibrary Codarts Exam Exam Exam description Practical Harmony semester 2 Semester 2 Exam form Practical Theory Content of the exam Playing (also together) of the specific rhythms Exam criteria • orientation regarding the various genres/patterns

• sound, coordination on the respective instruments • inner pulse, sense of time • abil ity to play correctly in a poly-rhythmic ensemble

Exam duration 30 minutes Weight 1 Study credits 2 Number of attempts 2 Result scale 20 points scale 0-10, in halves

Generic module title Genre Specific Subjects year 1 Specific module title Transcription Latin year 1 Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

The two modules Transcription Latin start in the propaedeutic phase of the study programme and are followed by the two modules Arranging Latin in years 3 and 4. The goal of these modules is to coach students in making transcriptions of various Brazilian and Cuban salsa arrangements. After completing a series of modules, students are able to independently make transcriptions of recordings of both small and large formations. As beginning band or ensemble the, graduates must be able to make transcriptions, as this enhances the insight in the performed repertoire and thereby increases the quality of performances. Through having to apply this knowledge in making their own arrangements, the students’ insight and creativity are stimulated. The first module consists of two elements: Brazilian (1 semester) and Afro-Cuban (1 semester). In groups of more than 8 students, one half first takes the subject Brazilian and then Afro-Cuban, and the other half vice versa.

Reference competencies 11, 12 Learning outcomes • being able to distinguish between basic harmonies (e.g. V-I, II-V-I )

• being able to transcribe your own instrument from a recording • being able to recognise the various functions of instruments in salsa or a

Brazilian band Coordinating department JPW Contact person A. E. De Jong Language English Work forms Workgroup Teacher(s) A. E. de Jong (Brazilian), Abel Marcel (Afro-Cuban) Entrance requirements Having passed the entrance exam Material/literature Material provided by the teacher Exam Exam 1 Exam description Brazilian transcription year 1 Semester 1 (or 2 if there are two groups) Exam form • Theorie – written exam 66%

• Theorie – assignment 33% Content of the exam Solfège audio test, also assessing knowledge, and transcribing one piece;

during the year: handing in 5 transcriptions Exam criteria The students are assessed by looking at the progress they have made in regard to

transcribing, insight into instruments and how they apply themselves. Exam duration 60 minutes Weight 50% Study credits 3 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves Exam Exam 2 Exam description Afro-Cuban transcription year 1 Semester 2 (or 1 if there are two groups) Exam form • Theorie – schriftelijk 66%

• Theorie – in te leveren opdracht 33%

Content of the exam Solfège audio test, also assessing knowledge, and transcribing one piece;

during the year: handing in 5 transcriptions Exam criteria The students are assessed by looking at the progress they have made in regard to

transcribing, insight into instruments and how they apply themselves. Exam duration 60 minutes Weight 50% Study credits 3 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

Generic module title Samenspel JPW semester 1 Specific module title Latin ensembles Code Osiris Course type Cursus Year Jaar 1 Exam goal D Propedeuse Bachelor Content/relation to professional practice

Introductie tot de stijlen Braziliaanse MPB / Bossa Nova en Afro Cubaanse Charanga / Son / Salsa in ensemblevorm. De student leert in het eerste jaar basisrepertoire uit te voeren in een ensemblesetting samen met andere studenten. Ritme / groove en improvisatie zijn belangrijke onderdelen van de taal die onderwezen wordt. De student krijgt in principe allereerst de skil ls aangereikt om bestaand repertoire uit te voeren, maar zal in de loop van het jaar ook in de gelegenheid worden gesteld om zelf deel te nemen aan het gezamenlijk arrangeren van de geboden stukken. Gedurende de vier jaar dat de Samenspel modules worden aangeboden, verwerft de student een overzicht van ‘begin tot nu’ van alle muzikale sti jlen en belangrijke musici van Brazil ië , Cuba en Caribisch gebied. In elke module wordt de student ingedeeld in meerdere ensembles, met een minimum van twee ensembles.

Reference competencies

4,5,6,7,9,11

Learning outcomes • De student is in staat om binnen de bovengenoemde stijlen enkele eenvoudige repertoirestukken uit te voeren in een ensemble met medestudenten, met inachtneming van de juiste sti jlbenadering m.b.t. harmonie, ritme en improvisatie.

Coordinating department JPW Contact person Anna Elis de Jong Language Engels Work forms Groeps-praktijkles Teacher Diverse docenten Entrance requirements Toelatingsexamen behaald Material/literature Door docent aangereikt repertoire Exam Toets 1 Exam description Ensemble 1 Semester 1 Exam form Praktijk - groepstentamen Content of the exam Evaluatie van de gemaakte vorderingen in het afgelopen semester. Exam criteria Aanwezigheid, communicatie, initiatief, voorbereiding

Vordering op het gebied van artistieke vaardigheden en technische vaardigheden Exam duration 15 min spelen Weight 50% Study credits 3 Number of attempts 2 Result scale 20 punts, 0,5 – 10, af te ronden op halven

Exam Toets 2 Exam description Ensemble 2 Semester 1 Exam form Evaluatie Content of the exam Evaluatie van de gemaakte vorderingen in het afgelopen semester. Exam criteria Aanwezigheid, communicatie, initiatief, voorbereiding

Vordering op het gebied van artistieke vaardigheden en technische vaardigheden Exam duration 15 min spelen Weight 50%

Study credits 3 Number of attempts 2 Result scale 20 punts, 0,5 – 10, af te ronden op halven

Generic module title Ensemble Play JPW semester 2 Specific module title Latin ensembles Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

An introduction to the styles Brazilian MPB / Bossa Nova and Afro-Cuban Charanga / Son / Salsa in ensemble play. In the first year, the students learn to perform basic repertoire in an ensemble together with other students. Rhythm/groove and improvisation are important elements of the language here. Basically, students learn the skills to perform existing repertoire in the first place, but in the course of the year they will also be given the opportunity to partake in collaboratively arranging provided pieces of music. Over the course of the four years of these Ensemble Play modules, students acquire an overview ‘from the beginning until now’ of all the musical styles and important musicians/composers from Brazil, Cuba and the Caribbean. In each module, students are assigned to various ensembles, but at least two.

Reference competencies 4,5,6,7,9,11 Learning outcomes The student is able to perform a number of simple repertoire pieces in the

abovementioned styles in an ensemble with fellow students, taking into account the correct stylistic approach in terms of harmony, rhythm and improvisation.

Coordinating department JPW Contact person Anna Elis de Jong Language English Work forms Group-practical lesson Teacher Various teachers Entrance requirements Having passed Ensemble Play semester 1 Material/literature Repertoire provided by the teacher Exam Exam 1 Exam description Ensemble 1 Semester 2 Exam form Practical - group exam Content of the exam Playing 2 or 3 pieces from the idiom, for 15 minutes. Students who fail the

exam must form their own ensemble and play 2 pieces for the examination committee during the re-examination week.

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

Exam duration 15 minutes of playing Weight 50% Study credits 3 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves Exam Exam 2 Exam description Ensemble 2 Semester 2 Exam form Assessment Content of the exam Playing 2 or 3 pieces from the idiom, for 15 minutes. Students who fail the

exam must form their own ensemble and play 2 pieces for the examination committee during the re-examination week.

Exam criteria Process (25%): attendance, communication, initiative, preparation.

Presentation (75%): artistic skills, technical skills, performance. Exam duration 15 minutes of playing Weight 50% Study credits 3 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

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

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

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

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

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

At the start of the study year the student discusses his ISA plans with his study coach and writes his account of the executed activities in an ISA report at the of the year. (see below under Exam 1.) Deadline for handing in the report is 15 June. Deadline for the retry is 25 August. Project weeks Every year two project weeks are organized. At least one of these weeks has a department transcending character in the sense that students of different departments and disciplines participate in joined projects. Form and theme vary per project week. During the project week the student is given the opportunity to get acquainted with disciplines/ genres/ aspects of the professional practice that were sti l l 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) wil l have to do an substituting assignment (see below under Exam 2) Entrepreneurship Codarts educates self counscious music students. At the end of their studies all Codarts detutns should be well informed about the workings of the music business and master the basic principles of entrepreneurship. They know how to transfer their talents and creativity to a saleable product and/ or service and they know how to manage a profitable business in music. In the first year student will be introduced to the music branch. They learn about the different parties, interests and relevant trends. The student will be asked to reflect on what entrepreneurship in the music business means and what their personal relationship is to

the music business and entrepreneurship. Because many student will already be busy in the professional practice during their studies they need to know about the most important rules regarding administration, taxes, VAR and ways of payment. The material wil l be offered by guest speakers, excursions, lessons and self-study. Also the knowledge and experience of the teaching team regarding entrepreneurship will be incorporated. The Bizz day is a part of Entrepreneurship. During this day first year students are stimulated to already start thinking about l ife after Codarts. Guest speakers that are active as musical professionals explain how to earn their income in the music business and what kind of activities you can organize after your music studies and how important parties in the business work. Students will pitch ideas they already have to these guest speakers. Information is also given about what the first steps should be when starting your own business, for example when it comes to taxes and copyright. Health & Performance day In project week 1 a special Health & Performance day will be organized for first year music students. This days consists of lectures and workshops that help you gain insight in the important role of health in the performing arts. Examples of covered themes are ear protection, injury prevention, healthy nutrition and performance preparation.

Reference competencies ISA’s: 20, 21 Project weeks: 3, 5, 13, 15, 19 Entrepreneurship: 16, 17, 18 Health & Performance day: 21

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

• The student is able to pitch a business idea in maximum 300 words • The student is able to write a report in which he reflects on the many possible

forms of entrepreneurship and ways to make a l iving in the music business and to show insight in the concept of entrepreneurship

• The student is able to write a report about the construction and workings of parts of the music business that are relevant for him

• The student is able to apply theory about time management when working in projects

• The student is able to apply the basic rules of business administration for his own professional practice

• The student is able to define to added value of a good presentation such as in pitches and stage performances in different situations

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

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

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

Entrance requirements none Material/l iterature N.a. Exam Exam 1 Exam description ISA’s

Semester 2 Exam form ISA Content of the exam Isa evaluation report in the standards ISA format. If applicable, add programme booklet/

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

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

Exam duration N.a. Weight 20%

Study credits 1

Number of attempts 2

Result scale Pass/ Not sufficient

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

attended the project(s) wil l 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 wil l be translated into the substituting assignment.

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

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

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

Exam criteria Attendance of minimum 75%.

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

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

Exam Exam 3 Exam description Project week 2 Semester 2 Exam form Attendance (with the use of attendance l ist)

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 Weight 20% Study credits 1 Number of attempts 2 Result scale Pass/ Not sufficient Exam Exam 4 Exam description Entrepreneurship Semester 1 Exam form Combination of report, written exam and attendance (Bizz day) Content of the exam For those who missed the Bizz day, a second Bizz day will be organized in semester 2. Exam criteria Written report: Knowledge of relevant parties, reflective skil ls

Written exam: according to norm answers Exam duration Weight 20% Study credits 1 Number of attempts 2 Result scale Pass/ Not sufficient Exam Exam 5 Exam description Health & Performance day Semester 1 Exam form Attendance (with the use of attendance l ist) Content of the exam Attendance (with the use of attendance l ist)

For those who missed the Health & Performance day, a second Health & Performance day will be organized in semester 2.

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

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

Generic module title Genre Specific Subjects year 1 Specific module title Latin History semester 1 Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

Using the syllabus ‘History of the Caribbean’, students are confronted with the most important Cuban/Caribbean popular music traditions of the past 100 years through audio fragments and musical analyses. The lessons address the influence of Cuban and Caribbean music on North American jazz (and vice versa) as well as on music worldwide. Armed with this knowledge, students will possess a larger behavioural repertoire and have information about 100 year musical repertoire from Cuba and the Caribbean, once they enter the professional practice of perform are and/or teacher. This module also provides students with ideas for their graduation paper.

Reference competencies 12 Learning outcomes After having successfully completed this module, students are able to:

• relate the most important elements from Cuban and Caribbean history to processes that take place elsewhere in the world.

• place the music history of the region in its political-historical context. • recognise style elements of a specific tradition. • recognise and know various artists from the Cuban and Caribbean musical

tradition Coordinating department JPW Contact person A. E. De Jong Language English Work forms • lecture

• workgroup Teacher Abel Marcel Entrance requirements Having passed the entrance exam Material/literature All music fragments as well as the syllabus ‘History of the Caribbean’ are

available from the media library of Codarts. Students must buy the book itself! Videos are available from the media library or will be presented during lessons. With regard to presentations during lectures, students are expected to place their presentations online so that they are accessible to all other students.

Exam Exam Exam description Latin History semester 1 Semester 1 Exam form • Theory – written 33%

• Theory – presentation 33% • Theory – written auditive theory 33%

Content of the exam In the course of the module, all students give a presentation of 15 minutes about a subject of their own choice. At the end of the module there is an exam consisting of two elements: open questions and auditive questions.

Exam criteria The module is assessed in a written exam in the form of open questions and music fragments chosen by the teacher. Grading is done in percentages. The total of points per correct answer, divided by the number of questions is then reflected on a scale from 1 to 10. It may happen that the student passes the written part, but fails the auditive part, or vice versa. In that case, the student may resit the failed part. Presentation: correctness of content, presentation skill, creative design/support of the presentation.

Exam duration 60 minutes (written exam), 15 minutes (presentation)

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

Generic module title Genre Specific Subjects year 1 Specific module title Latin History semester 2 Code Osiris Course type Course Year Year 1 Exam goal D Propaedeutic Phase Bachelor Content/relation to professional practice

Using the book 100 Years of Brazilian Music in a 100 Pages, students are confronted with the most important Brazilian popular music traditions of the past 100 years through audio fragments and musical analyses. The lessons address the influence of Brazilian music on North American jazz (and vice versa) as well as on music worldwide. Armed with this knowledge, students will possess a larger behavioural repertoire and have information about 100 year musical repertoire from Brazil, once they enter the professional practice of perform are and/or teacher. This module also provides students with ideas for their graduation paper.

Reference competencies 12 Learning outcomes After having successfully completed this module, students are able to:

• recognise the most important Brazilian traditions by ear and use this skill and knowledge in both the performing practice and teaching role.

• recognise style elements of a specific tradition. • recognise and know various artists from the Brazilian musical tradition • place the music history of the region in its political-historical context.

Coordinating department JPW Contact person A. E. De Jong Language English (in case there is only one group) Work forms • lecture

• workgroup Teacher Abel Marcel Entrance requirements Having passed the entrance exam Material/literature All music fragments as well as the book 100 Years of Brazilian Music in a 100

Pages are available from the media library of Codarts. Students must buy the book itself! Videos are available from the media library or will be presented during lessons. With regard to presentations during lectures, students are expected to place their presentations online so that they are accessible to all other students.

Exam Exam Exam description Latin History semester 2 Semester 2 Exam form • Theory – written 33%

• Theory – presentation 33% • Theory – written auditive theory 33%

Content of the exam In the course of the module, all students give a presentation of 15 minutes about a subject of their own choice. At the end of the module there is an exam consisting of two elements: open questions about the book and auditive questions.

Exam criteria The module is assessed in a written exam in the form of open questions and music fragments chosen by the teacher. Grading is done in percentages. The total of points per correct answer, divided by the number of questions is then reflected on a scale from 1 to 10. It may happen that the student passes the written part, but fails the auditive part, or vice versa. In that case, the student may resit the failed part.

Presentation: correctness of content, presentation skill, creative design/support of the presentation.

Exam duration 60 minutes (written exam), 15 minutes (presentation)

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