JPW - pop creative producer H2

SEM 5

SEM 6

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

musician

instrument

70 20 70 20

music theory 3 60 3 60 6

creator / performer

band projects

75 11 75 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

to be filled with minors/electives

12

12

number of credits per semester 9 51 60

Generic module title Main Subject year 3 Specific module title Creative Producing Code Osiris Course type Course Year Year 3 Exam goal B Main Phase Bachelor Content/relation to professional practice

The module Creative Producing consists of a number of elements that together make up the main subject. They are: Art of Producing, Art of Somgwriting and Creative Producing. All elements are concluded, assessed and evaluated as part of the lessons. All parts must be concluded successfully in order to obtain the points of this module. A description of the various elements: Creative Producing: Students are trained to become independently working music producers who are not only able to work in the service of others but can also make use of their own creativity. The module Creative Producing is aimed at making students aware of the role of the producer in both the traditional sense of the profession, and in the modern form in which the producer has multiple responsibilities. In the third year students are given assignments whereby they must create productions that are conceived completely according to their own insights. The Creative Producing student also takes part in the 3rd-year assignment own-work-band, assuming a leading role. The student coordinates the entire production process, from the first recordings to the final mix. coordinates the entire production process, from the first recordings to the final mix.

Reference competencies • Composing/Arranging: (competences matrix domain composition) 1, 2a, 2b, 2c, 5b, 6, 7, 8, 9, 10, 11, 12a, 12b, 13, 14, 19a, 20, 21

• Mastering: (competences matrix domain composition) 4, 7, 9, 10, 13, 17, 20, 22, 25, 26, 27

• Creative Producing: 1,2,3, 4, 6, 7, 8, 10,11 Learning outcomes Composing/Arranging:

Students are able to: • compose an original work, using instruments that are not standard in a pop group

or pop context. • design an original musical vision and apply this vision to instrumentation and

musical form. • develop error-free, complete and executable scores and performance material. • reflect on their own work in a broad context by using their repertoire knowledge

of similar works and/or orchestrations and arrangements. • independently consult the relevant professional l iterature. • Independently solve problems related to the profession.

Mastering: Being able to work, based on the obtained knowledge, with the technological means mentioned above (content) (both software and hardware) relevant to the profession, in a technical/artistic and practice-oriented manner. Creative Producing: Students must be able to realise music productions by collaborating with others.

Coordinating department JPW Contact person Theo Janssen Language Dutch/English Work forms Composing/Arranging:

• group practical lesson • workgroup • individual practical lesson • individual coaching

Mastering:

• lecture

• group practical lesson Creative producing:

• group practical lesson • individual coaching

Teacher(s) Creative Producing: Thomas Bank and guest teachers Mastering: Martijn Alsters Composing/Arranging: Oscar van Dil len

Entrance requirements Composing/Arranging: Having completed the module Composing/Arranging 1 Material/l iterature Mastering: Mastering Audio by Bob Karz; various readers and articles; practice situations Exam Exam Exam description Main Subject year 3 Semester 2 Exam form Skills:

mixing/synthesis: practical Composing/Arranging:

• Theory – oral open questions • Theory – discussion • Theory – presentation • Theory – assignment (to be handed in)(including report)

Mastering: practical exam Creative Producing: practical

Content of the exam Composing/Arranging: The exam focuses on the technical and artistic assessment of the produced work, which consists of at least 1 assignment and 2 original productions/compositions/arrangements, each lasting at least 3 minutes and together lasting more than 10 minutes. Mastering: In the exam students must demonstrate knowledge and insight with regard to practical/theory related to the subjects treated during the lessons. Creative Producing: Handing in several productions for the teacher to assess, including tape recordings made with the own-work-bands.

Exam criteria Composing/Arranging: • error-free control of factional techniques • originality • innovative value. Does it add something to existing repertoire?

Mastering: Technical skills, artistic skills Creative Producing: The assignments are assessed according to the following criteria: 1. Having fulfi l led the assignment. 2. Quality of the production: - composition; structure, variation (tension arch), repeat-variation - creativity; originality, individuality, innovation-reuse - sound quality; balance, frequencies used, use of mixing tools (e.g., compression, reverb) 3. Analytical skill:

1. a) analyse the musical theme. 2. b) translate this analysis into musical, compositional, sound technical and

production elements. 3. c) create a new composition based on these elements.

4. Student’s work attitude:

Independence, abil ity to cope, knowing when to ask for help, reflective skil ls, communication, interaction, vision

Exam duration Composing/Arranging: 60 minutes Mastering: 25 minutes Creative Producing: continuous assessment

Weight 1 Study credits 20 Number of attempts 2 Result scale 20 points, 0,5 – 10, in halves

Generic module title General Theory Subjects year 3 Specific module title Pop Music Theory semester 5 Code Osiris Course type Course Year Year 3 Exam goal B Main Phase Bachelor Content/relation to professional practice

Theoretical knowledge of music, integrated with the associated skil ls of hearing and singing and reading and writing music notation provides an also partly style-independent, broad basis for working and thinking in a musically professional manner.

Reference competencies 2, 6, 10, 11 Learning outcomes Students will have mastered the techniques for analysing a piece of music (either jazz or

pop) with a more complex melodic and harmonic content: - Students can make a scale degrees analysis of the harmonic progression of a piece. - Students can make a melodic analysis of a section of music. Students can translate a more complex skil l degree progression into 7th chords. Students can harmonise a melody by applying voice leading (at least 4-part).

Coordinating department JPW Contact person Laetitia van Krieken Language Dutch and English Work forms Workgroup Teacher(s) Laetitia van Krieken Entrance requirements Having successfully concluded Music Theory year 2 Material/l iterature Sheet music (both classical and modern), realbook (jazz standards), transcriptions of

pop songs. Exam Exam Exam description POP Music Theory semester 5 Semester 1 Exam form Theory – written exam Content of the exam Melodic and harmonic dictation, melodic and harmonic analysis, harmonisation of

melody; assignments with closed questions. Exam criteria According to standard answer model Exam duration 60 minutes Weight 1 Study credits 3 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

Generic module title General Theory Subjects year 3 Specific module title Pop Music Theory semester 6 Code Osiris Course type Course Year Year 3 Exam goal B Main Phase Bachelor Content/relation to professional practice

All the music-theoretical knowledge of semesters one through five are now applied creatively by the student by independently making two assignments.

Reference competencies 2, 6, 10, 11 Learning outcomes A) Students can independently make a full analysis of a piece of music (jazz or pop) with

a more complex melodic and harmonic content. This analysis includes: • a transcription of at least three form elements (verse, chorus, et cetera;

melody and chords • an analysis of the lyrics • a harmonic analysis • a melodic analysis

B) Students can write a four-part arrangement for wind instruments, strings or vocals of an existing piece or a composition of their own. For both assignments A and B the teacher has to approve the student’s choice of music.

Coordinating department JPW Contact person Laetitia van Krieken Language Dutch and English Work forms Workgroup / Individual coaching Teacher(s) Laetitia van Krieken Entrance requirements Having successfully concluded Music Theory semester 5 Material/l iterature Existing or personal music from pop or jazz Exam Exam Exam description POP Music Theory semester 6 Semester 2 Exam form Combination:

• Theory – assignments to be handed in • Theory - discussion

Content of the exam The analysis and arrangement assignments are handed in for assessment, along with the associated piece of music. In a final discussion with the teacher and a fellow teacher, the student’s work is discussed and clarified by the student by answering questions.

Exam criteria Presentation and completeness of content of both assignments. A) Analysis assignment Analysis of form and lyrics Analysis of melody Analysis of harmony B) Arrangement assignment Originality Harmonisation Voice leading Orchestration Notation in Totalscore

Exam duration 20 minutes Weight 1 Study credits 3 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves

Generic module title Ensemble Play JPW year 3 Specific module title Band/ensemble year 3 Pop Code Osiris Course type Course Year Year 3 Exam goal B Main Phase Bachelor Content/relation to professional practice

The module ensemble play is one of the core modules of the curriculum. Besides developing their technical skills, students especially develop creative and communicative skills in a setting that is attuned to the professional practice. The module consists of two parts: the skills bands and the ‘own work’ bands. In the third year, students formed their own bands for their own work. This band may include students from other years or from outside the POP Department. The skills cause consists of 2 weekly projects. The own-work course is concluded with an exam in the form of a production/project. Some of these projects take place in collaboration with other parties from outside the school such as art academies, venues and cultural organisations. This ensures that students are continually challenged to regard their development from the perspective of the professional practice. The skills course is assessed by monitoring attendance. Own Work bands: In year 3, the Own Work bands may also include students from other departments/years, besides year three Pop students. This may mean that not all band members can always come together at the prearranged coaching moment. Still, all third-year students of Pop must attend this weekly moment. If not all band members are available to play live, a rehearsal must be scheduled for another time in the same week. The student must make a recording of this and presented at the coaching moment to the band coach, who can then provide feedback. In this module, the students work at writing 8 songs, from which they choose 4 to develop further. 2 songs will be recorded and worked out in a rough mix. 1 song will be recorded and worked out to a completely finished audio production and three bands will also make a video clip. Other than in year 2, not all bands will make a video clip but the bands that do, will do so together with professional filmmakers. In a first presentation, the bands pitch their music to a committee, which then decides which tree bands will be allowed to make a clip. These bands will also be given a budget. The same committee will also select the bands that are eligible for two other ‘incentives’: a gig at the Metropolis Festival or a gig for the Graphic Academy. To coach the students in this, additional lessons will be given by guest teachers. These lessons address the following subjects: Band management and marketing – by Daniel Raegan Video recording – by Stefan Mandersloot of the Willem de Kooning Academy Halfway semester 2, the four songs are presented live. In semester 2, work is done on the audio and video registration. At the end of semester 2, the EP will be evaluated. The skills course has two forms: the skills bands for students

instrumental/vocal and the skills course for students of Creative Producer. Skills bands (students instrumental/vocal): In the skills course of year 3, various professional themes are studied in four lessons (2 in semester 1 and 2 in semester 2). These themes are:

• group timing/rhythmic reading • rhythm/timing (percussion) • instant composing • writing scores (this will take 2 lessons) • group improvisation • backing the/heavy reading • instant arranging/songwriter-producer

Skills course (students Creative Producer): Mixing, part 2 In the lessons, self-made recordings of the students are used as working material to further develop mixing skills. The use of various effects and tools is treated in more depth and practical problems that present themselves are used to complement the ‘tool belt’ of the students. Composing/Arranging Students acquire creative decisiveness in applying the professional knowledge and skills in composing and arranging learned earlier, with an emphasis on the originality of the work, in relation to an adequate functional application in the chosen context for the work (for instance, concerts, mix, film/audio-visual); making connections to the students own work. Mastering Become familiar with translating audio productions into a master for application with the appropriate formats within the contexts of various production goals, such as: CD, Broad- en Podcast, Web-, Mobile Phone, IPod and Vinyl within artistic/technical contexts. This module requires a minimum attendance of 80%.

Reference competencies 1-21 Learning outcomes Students are able to enter into collaborative projects with fellow students,

whereby all students contribute equally, make working arrangements and set themselves realistic goals. Learning to take responsibility for the end result and call each other to account in this.

Own Work bands:

• Students are able to create personal work • Students are able to design a recording process under supervision of

a teacher and record their own work with a good sound. For the students Creative Producer:

• Students are able to mix a recording into a balanced whole with a good sound.

Skills ensemble (students Instrumental/Vocal): Group timing/rhythmic reading:

• students are able to quickly master the notated relatively complex rhythmic patterns and perform these in a group setting.

Rhythm/timing (percussion): • students are able to play rhythmic patterns tightly on an instrument

and to sing/play another rhythmic pattern at the same time (rhythmic independence)

Instant composing:

• students are able to write a song in little time and within a predefined framework (conditions).

• Students are able to independently set a framework/conditions in order to guide the creative process.

Score writing (by exception, this takes 2 lessons):

• Students are able to quickly convert a recording of a music production into a readable lead sheet (melody, chords, rhythm) while developing characteristic details such as accidents, breaks, riffs, et cetera.

Group improvisation:

• Students are able to create a joint improvisation/jam out of nothing together with fellow students.

• Students are able to independently set a framework/conditions in order to guide the creative process

Backing vocal/heavy reading:

• Students are able to create and perform a fitting backing for part based on a given lead sheet.

• Students are able to quickly master and perform relative complex/elaborated parts (for instance, parts of Earth Wind and Fire).

Instant arranging/songwriter-producer:

• Students are able to quickly arrange/produce an existing song into a fully-fledged end product, together with fellow musicians.

Skills course (students Creative Producer):

• Students are able to make a sound mix from a multitrack recording that is balanced in terms of frequency range and thus will sound good at different stereo systems.

Coordinating department JPW Contact person Ronald Kool/ Marco Dirne Language Dutch/English Work forms Group practical lesson Teachers Own work band:

Coaches : Ronald Kool, Marco Dirne, Arie Verhaar, Simone Roerade, Thomas Bank, Eelco de Boer, Theo Janssen. Guest teachers: Daniel Raegan, Stefan Mandersloot Skills ensemble: Marco Dirne, Eelco de Boer, Ronald Kool, Arie Verhaar, Simone Roerade, Brian Zalmijn, Linda Bloemhard Skills course Creative Producer: Ake Danielson, Oscar van Dillen, Martijn Alsters

Entrance requirements Having passed Ensemble Play year 2 Material/literature Creative Producer:

Mixing Part 2: various multitrack recordings made by the students themselves.

Exam Exam 1 Exam description Creative ensemble Semester 2 Exam form Practical - group exam Content of the exam • Delivering the audio productions in the form of an EP (some 2

weeks before the presentations; the exact deadline will be announced by the teacher): 2 songs in the rough mix 2 songs as complete audio productions The four audio products must be compiled into an EP and handed in such. The students Instrumental/Vocal will be assessed with regard to the musical material. The students Creative Producer will be assessed on the basis of mixed/mastering and their creative contribution.

• Live presentation of the EP

The bands will perform the material from the EP live. These presentations will be evaluated by a committee of teachers. This concerns the assessment of students Instrumental/Vocal. Students Creative Producer present a multitrack and a live stream recording.

• Music Management Exam: the lessons in music management will be concluded with handing in a marketing plan.

• Process evaluation: assessment of the course of the past semester. Exam criteria Audio production: production technique, quality of the songs

Presentation EP: technical skills, artistic skills Music Management Exam: development, feasibility Process: preparation, communication, initiative, attendance.

Exam duration 20 minutes per band Weight 50% Study credits 5.5 Number of attempts 2 Result scale 20 points, 0.5 – 10, in halves Exam Exam 2 Exam description Skills ensemble Semester 1 Exam form Instrumental/Vocal: practical - group exam

Creative Producer: practical Content of the exam Students Instrumental/Vocal:

All themes are assessed during the last lesson of each theme. The band coach will give assignments that have to be performed on the spot. Students either pass or fail depending on how they perform these assignments. If they score satisfactorily on all themes, they will have passed the module Skills Ensemble . If they fill one or more themes, they must try again at the end of August, by performing similar assignments as in the first attempt. Students Creative Producer:

Complete mixes by the students will be assessed. Exam criteria Students Instrumental/Vocal:

Accuracy, fluency, creativity (does not apply to the reading assignments) Students Creative Producer: Mixing Part2 volume proportions, frequency spectrum, correctness of style.

Exam duration Instrumental/Vocal: 75 minutes per theme Creative Producer: continuous monitoring during the year

Weight 50% Study credits 5.5 Number of attempts 2 Result scale Pass/Fail

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 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)

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/l iterature Differs per project week Exam Exam 1 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 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 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 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