JPW - jazz instrumental/vocal H1

SEM 3

SEM 4

TOTAL ects time ects time ects

musician

instrument

70 20 70 20

music theory

150 6 150 6 rhythmic training

60 2 60 2

solfège

60 2 60 2 practical harmony

15 4 15 4

creator/performer

ensembles

90 12 90 12 genre specific: home recording

60 3 60 3

entrepreneur

Portfolio, consisting of:

5

5 Individual Study Activities

(2)

Project weeks (1)

(1)

Introduction to education

(1)

onderzoeker

music world wide

75 3 75 3 genrespecifiek: jazzgeschiedenis

60 3 60 3

number of credits per semester 0 60 60

Generic module title Main subject year 2

Specific module title Jazz vocals

Code Osiris

Course type Course

Year Year 2

Exam goal B Main phase Bachelor

Content/relation to professional practice

The student will be educated to become a musician with a strong sense of self-efficacy, feel for swing, improvisation capability, musical flexibility, style typical sound and phrasing, good attention span in a performance, credibility, authenticity, skilled in interacting with band members, good cooperation, knowledge of jazz traditions and master English (pronunciation and diction). Improvisation capability will be developed more in cooperation with instrumental colleagues (Johan Clement, Jarmo Hoogendijk) in group lessons. The student is supposed to keep track of all extra curricular activities such as performances, sessions, workshops, master classes etcetera, for their portfolio, complemented with details like dates, places, fellow musicians and other relevant information. The student has 40 minutes interpretation lesson each week, 30 minutes technique lesson, every other week an hour improvisation lesson and every other week an hour of sight-singing. The goal of the technique lessons is to enter a development path in which the focus is on an increasing awareness of the voice use. First the voice will be used in a reflex. Awareness leads to the possibility to steer the own voice use. Besides attention for basic vocal elements like posture, breathing, voice leading, diction and articulation, the student will also use “EVTS voice training systems” as a format to isolate probable vocal problems. Besides that, sound qualities (on the basis of these physiological elements) will be put together as Speech/ sob/cry, belting & opera. The student will also study, train and apply sound modes according to “Cathrine Sadolin’s Complete Voval Technique” (neutral, Curbing, overdrive and Belt). The physiological possibilities of the student will be trained for good application within the Jazz vocabulary. In these lessons technique is conceived as a transportation mean for the expression and is not a goal in itself. The relation to the professional practice is evident. Singers will often be confronted with circumstances that are not “vocal friendly”; smoky, badly ventilated rooms and audio amplifiers as intermediate. A correct technique diminishes the chance of vocal problems drastically. In this module the student will work on: • Expanding knowledge of repertoire and knowledge of cross over styles • Text treatment, diction and interpretation • Freedom in improvising and improvisation tools. • Making leadsheets/arranging • Training in playing together, complementary to the ensemble lessons • Writing own repertoire

After successful conclusion of the module the student is able to apply a diverse range of sounds/modes adequately according to Catherine Sadolin in the Jazz vocabulary. The modes Neutral, Curbing, Overdrive & Edge will be trained individually and fitted to the repertoire accordingly.

Pitch: An ‘elevator pitch’ is a short and compact presentation in which you reflect on your studies, what things work well and what things not so well, what are your plans for the coming study year.

By situating this pitch in your main subject exam, your teachers will gain insight in how you experience your studies. This will give enable them to bring these developments into the context of the assessment, next to your interpretation and technique.

Reference competencies 1, 4, 7, 9, 21

Learning outcomes • The student is able to sing jazz standards in different styles, in the same level of pieces like: Joy spring, Twisted, It might as well be spring, Invitation

• The student is able to sing with a self evident sense of swing, musical flexibility (f.i. adequate reaction to on the spot changes in tempo or style changes) and improvisation skills..

• Specific singing techniques have to obviously be applied accordingly to the style that the student is singing in

• Singing attitude, presence and projection have to be present. • The student is able to lead a band, preferably using own arrangement ideas.

This is nog mandatory though. • The student must be able to sing and transcribe existing solos without much ado

after conclusion of this module. • After successful conclusion of the module the student is able to apply a diverse

range of sounds/modes adequately according to Catherine Sadolin in the Jazz vocabulary.

Coördinating department

JPW Contact person

Bart de Win Language

Dutch or English Work forms • Practical group lesson (sometimes in ensemble form, besides existing

ensembles) • Individual practical lesson • Individual coaching

Teacher(s) • Bart de Win, • Different guest teachers (Fay Claassen, Elizabeth SImonian, Kristina Fuchs,

Francien van Tuinen) • Technique: Harjo Pasveer

Entrance requirements Successful passing of main subject sem 2

Material/literature

Realbooks and original sheet music. Audio recordings of the addressed material. Improvisation lessons booklet by Johan Clement. Complemented with Scat! (Bob Stoloff) and Michelle Weir’s impro book. Ensemble repertoire.

Exam Exam

Exam description Main subject year 2

Semester 2

Exam form Practical

Content of the exam Singing 2 pieces in different styles from the jazz repertoire (or related to). In at least 1 piece the student must sing a solo. It can be a transcript of an improvisation. The third piece is free of choice (in consultation with the teacher). In principle in any preferred style. Accompaniment by band; put together independently. Besides that there’s a mandatory solo on a rhythm scheme. Student strives to show his/her own identity as much as possible, whereupon the strategy for the third year can be defined. More creative or more skill based. Pitch: the student will be asked to prepare a pitch as part of the main subject exam.

Exam criteria The standard practical criteria are applicable: technical and artistic skills. Important progress must be visible when it comes to: - Style orientation in phrasing, sound, swing and idiom - Musical flexibility - Knowledge of styles - Vocal skills - Singing attitude - Expression - Presence and projection

In an own composition:

- Concept and execution - Originality - Connection to the development/musical level of the student

Exam duration 30 minutes including debrief with student

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 2 Specific module title Jazz Music Theory year 2 Code Osiris Course type Cursus Year Year 2 Exam goal B Main phase Bachelor Content/relation to professional practice

The first half of the module will elaborate on the phenomenon of reharmonization. This will be done using the composition I Got Rhythm. All kinds of contrafacts based on known melodies using this chord scheme, such as Moose The Mooche by Charlie Parker and Suspense by Mike Stern, as well as different improvisations, will also be listened to and analyzed. The dim-chord phenomenon in all its forms and functions, including enharmonic modulations, is discussed and explained. The double diminished #IV and major seventh flat five II harmonies will be explained and listened to in compositions such as Take The “A” Train and Girl From Ipanema. Examples from classical compositions will also be used. Harmonically more complex Standards such as All The Things You Are will be discussed and listened to. Compositions by Monk. The blues in all its facets. Compositions based on “Beyond Functional Harmony” will be listened to and analyzed. Some titles: Humpty Dumpty and Windows by Chick Corea, Tell Me A Bedtime Story by Herbie Hancock. Compositions by Joe Henderson. In this semester too, 5-part or x-part settings will be made from the compositions. In the second half of the module, compositions by Monk and Wayne Shorter will be listened to and analyzed. Parallel harmony. The so-called Coltrane Changes will be treated extensively. Improvisations by Charlie Parker will be analyzed and compared with the “lines” as found in the compositions of J.S.Bach. The fugue and sonata form will be listened to and analyzed. Interesting phenomena from classical music history such as the “Tristan chord” will be discussed and listened to. Bartok’s racial theory, as described by Ernö Lendvai. An important phenomenon with regard to the form of a composition or improvisation, the so-called Golden Mean, is explained, and the related Fibonacci sequence.

Reference competencies

11,12

Learning outcomes ● After attending and completing this module, the student is able to analyze complex compositions (also classical) and improvisations, and apply the knowledge gained to his/her playing.

● The student is capable of a four-part harmonization of a given bass, with chord-unfriendly notes.

● The student is capable of analyzing a composition with regard to melody, harmony, form.

● On his/her own, the student is able to analyze more complex compositions and improvisations, where in addition to functional harmony, non-functional harmony such as parallel harmony also occurs.

● The student is able to transform simple Standards to completely different compositions through reharmonizations and the use of a contrafact.

● The student can make a 5-part/x-part setting from a chord scheme. ● The student can analyse a composition with Beyond Functional Harmony. ● The student can analyze a solo. ● The student is capable of reharmonizing a given chord scheme in which the

theme must be taken into account. ● The student can analyze a composition with dim-chords. ● The student can explain Coltrane changes and apply them to a II-V-I chord

progression. ● The student is able to notate a Standard of his/her own choice.

Coördinating department JPW Contact person Ab Schaap

Language Bilingual: English/Dutch Work forms ● Group lesson

● Individual coaching Teacher(s) Wobbe Kuiper, Ab Schaap Entrance requirements Music Theory sem 2 passed Material/literature Article by Ab Schaap about Coltrane and harmony in Tijdschrift voor Muziektheorie

(Journal for Music Theory), Nov. 1996 vol. 1 no. 3. Various books with written-out solos. Real Books. Harmony by Walter Piston. Material collected by the teacher over the course of time. Scores of various classical works. Guest lessons by, for example, Barbara Bleij about the composition technique of Wayne Shorter.

Exam Exam Exam description Jazz Music Theory year 2 Semester 2 Exam form ● 1.Theory - written

● 2.Theory - assignment to be handed in ● 3.Theory - interview

Content of the exam 1.Concluding written exam in which all subject matter from years 1 and 2 is examined. 2.Before the start of the written exam, 3 assignments should be submitted (entry requirement for the written exam):

● Analysis of 4 Standards, i.e. analysis of melody, harmony and form ● 5-part and/or x-part setting ● Transcription and analysis of 2 compositions and 1 solo.

Exam criteria ● The assessment of the exam will include looking for “unnecessary errors” such as forgetting naturals, incidental flats and sharps, hidden b9 intervals between the different parts etc. A thoughlessly notated major 9 on the 3rd minor scale degree and on a half-diminished chord will also be counted as an error. The melody of a composition may not “clash” with the underlying harmony. An insufficient answer can be compensated by a question that is answered excellently. Finally the results of all the questions are added together, and the mark may not be lower than a 5.5.

● With the final grade, the submitted assignment and the interview are also taken into account. In this interview, where a teacher colleague is present, the student can still give supplementary information and the teachers can still ask questions about both the exam and the homework. Every part has to be satisfactory. So if the assignment done for homework is satisfactory and the written exam is not, a pass cannot be awarded and the written exam has to be taken again.

Exam duration 2.5 hours Weight 100% Study credits 6 Number of attempts 2 Result scale 20-point, 0.5 – 10, rounded off to halves

Generic module title General theory subjects year 2 Specific module title JAZZ Rhythmic training year 2 Code Osiris Course type Course Year Year 2 Exam goal B Main phase Bachelor Content/relation to professional practice

Part 1: - Noteren, lezen en timen van ritmische thema’s/fragmenten met een binaire

onderverdeling van de tel/puls, en subonderverdeling met 16-den ( 1/16-de dan wel combinaties hiervan) of met een 16-den triolenfeel. Dit in verschillende tempi en even en oneven maatsoorten (ook alla breve). Uitleg en oefening (noteren en lezen) van kwartolen en hieraan gerelateerde patronen en ritmische modulatie.

- Notating, reading and interpreting of rhythmic fragments with binary and division of the beat plus subdivisions with 16th-notes (1/16 or combinations) or a 16th-note triplet feel. In different tempi, in even and odd time signatures, also alla breve. Explanation and practice (notating and reading) of quarter note triplets and related patterns and rhythmic modulation.

- Timing exercises (B. Langenberg) - Vormschema’s - Communicatie

Part 2:

- Notating, reading and interpreting of rhythmic fragments with binary and tertiary division of the beat plus any subdivisions.

- The time-table. Rhythmic exercises in clapping, singing of and switching between binary and tertiary divisions and subdivisions in different tempi and time signatures.

- Groove and Timing. Explanation and practice of ‘laid back’, ‘in the pocket’, ‘in front’ and ‘in the crack’. Explanation and practice of different ways of counting (anchor points-system by Bob Langeberg) and the influence these way have on groove/timing

- Form schemes - Rhythmic modulations - Communication

Reference competencies 4, 5, 6, 8, 9, 10, 11, 12, ,13, 15, 19, en 20. Learning outcomes

• The student is able to read, interpret and notate rhythmic pattern in the styles of Jazz, Pop and World music, with a binary or tertiary division/ subdivision and

• The student is able to read and interpret form schemes • The student is able to communicate about the practiced material using correct

terminology, for example during rehearsals or recordings.

Coördinating department JPW Contact person Bob Langenberg Language

Dutch/ English Work forms Seminar Teacher(s) Bob Langenberg Entrance requirements Rhythmic training sem 2 passed Material/literature Musical examples from Jazz, Pop and World music. Practice material handed out by the

teacher. Exam Exam Exam description JAZZ Rhythmic training year 2 Semester 2 Exam form Theory - written Content of the exam 3 to 4 different themes/ fragments in the styles of Jazz, Pop and World music will be

played for the student to notate(correct time signatures, division, subdivision and feel) in a reasonable amount of time.

Exam criteria Fluency, accuracy Attendance and participation in the lessons

Exam duration 60 minutes Weight 1 Study credits 1 Number of attempts 2 Result scale 20 point, 0,5 – 10, in halves

Generic module title General theory subjects year 2 Specific module title Jazz Solfège year 2 Code Osiris Course type Course Year Year 2 Exam goal B Main phase Bachelor Content/relation to professional practice

In this module you will work on ear training the classical way, that is without instrument. The teacher will play the different subjects on the piano. This in contrast to practical solfège. This module is a continuation of solfège semester 2, but more practically oriented. Students will practice a lot with notating played fragments from standards, both melody and chords. Next to playing these dictations on the piano, we will also use YouTube and Muziekweb. We will listen to common chord progressions of which the harmonic complexity will increase during the module. Many fragments will contain elements like parallel harmony, Beyond Functional Harmony, modulations and slash-chords. Students will also work on notating parts of improvisations. We will practice sight reading with the use of themes from the Real Book and fragments of solos.

Reference competencies 11 Learning outcomes After successfully completing this module the student is able to quickly and without

hesitation: • Notate melody and chord progressions from played fragments (on a piano or

audio device) from jazz standards • Read and sing notated musical fragments

Coördinating department JPW Contact person Ab Schaap Language Dutch/ English Work forms Seminar Teacher(s) Laetitia van Krieken, Ab Schaap Entrance requirements Solfège semester 2 passed Material/literature Ear Master, several websites, Melodic dictations by Paul Scheepers. Real Books, Song

Books. Practice material produced by the teacher. Exam Exam Exam description Solfège jaar 2 Semester 2 Exam form • Theory - written

• Theory – practical theory (individual) Content of the exam In de toets komen alle beoefende elementen in de module aan de orde. Binnen een kort

tijdsbestek moeten een voorgespeeld stuk op piano en een die wordt beluisterd via YouTube of Muziekweb worden genoteerd. Zowel het thema als het akkoordenschema. Tot slot moet iedere student individueel een muziekfragment van blad zingen The exam will cover all practiced elements. In a written group exam the student will have to recognize 7th chords in root position and inversions that are played in a steady (fairly high) tempo. For example 10 chords in 60 seconds. In a short amount of time the student will have to notate two played melodies (dictations). One will be in major, one in minor. Then the student will have to notate melody and chord progressions (in chord symbols) of a fragment from a jazz standard that is played on the piano. Lastly, every student will be asked to individually sing a notated musical fragment (sight reading).

Exam criteria According to answer model. The notated themes and chords schemes should each contain a maximum of five mistakes. The sight reading should contain a maximum of five mistakes.

Exam duration 1 hour Weight 1

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

Generic module title Practical harmony year 2 Specific module title Side subject Jazz Piano Code Osiris Course type Course Year Year 2 Exam goal B Main phase Bachelor Content/relation to professional practice

Side subject piano consists of 3 modules (semester 1, 2, year 2) in the form of weekly individual lessons for all student except for those who study piano or guitar. Students learn to play the piano as a support for their music practice and teaching profession. Students are trained to accompany themselves or others, make arrangements and play piano pieces. These skills will also help make a connection between the more theoretical knowledge from the music theory modules and practical performance. In year 2 the student works towards the final exam. The student is expected to have his own take on the repertoire which is conveyed in the way the repertoire is performed , timing, style, phrasing, choice of harmony.

Reference competencies 6, 9, 10, 11, 19, 20, 21 Learning outcomes After successfully completing this module, your are able to:

• play II– V – I chord progressions using 7th-chords with extensions in major and minor keys, in different positions

• extend 7th-chords with additions and extensions in the V th degree with b9, b10, #11, b13 and to use these chords to arrange at least 3 repertoire pieces

• play lessons 6 to 10 from the book Second-hand piano players (J. van Kleef/R. van der Linden)

• play the exercises from Chapter 3 to 5 from Harmonie aan de piano (Frans Elsen) • make a line harmonisation (melody line) • play at least 4 simple standard using II-V-I progressions • play notated music (see material/ literature)

Coördinating department JPW Contact person Johan Clement Language Dutch/ English Work forms Practical individual lesson Teacher(s) Johan Clement Entrance requirements Practical harmony semester 2 passed Material/literature • Second-hand piano players (J. van Kleef/R. van der Linden)

• Harmonie aan de piano (Frans Elsen) • Optional: Polyfony such as two or three voiced inventions (J.S. Bach) • Optional: Classical repertoire and etudes • Optional: Jazzparnass. (Manfred Schmitz)

Exam Exam Exam description Practical harmony year 2 Semester 2 Exam form Practical theory Content of the exam Performance. The exam consists of:

Prepared material from the lessons (see learning outcomes) and exercises that are given on the spot (chord progressions and line harmonization)

Exam criteria • Correct harmony • Voice leading • Finger positions • Touché • Pedal use • Timing • Phrasing

Exam duration 30 minutes Weight 1 Study credits 4 Number of attempts 2 Result scale 20 point, 0,5 – 10, rounded off in halves

Generic module title Ensemble JPW year 2 Specific module title Latin ensembles Code Osiris Course type Cursus Year Year 2 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 one’s own work.

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 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.

Coördinating department JPW Contact person Jarmo Hoogendijk Language English Work forms Group-practical lesson Teacher(s) Various teachers Entrance requirements Ensemble semester 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 Genre specific vakken year 2 Specific module title Home recording year 2 Code Osiris Course type Course Year Year 2 Exam goal B Main phase Bachelor Content/relation to professional practice

Music is present in the world around us in many forms. YouTube is full of music. The similarity between all these forms is that the music gas been recording in some form (with the exception of sheet music and live performance) The module home recording focuses on two aspects of music production: the registration of music (with microphones) and the creation of music with the use of a computer. Both ways enable the student to record and work out ideas. The computer plays a central role in both processes. Home Recording 2 focuses on the process of mixing multitrack audio material. When mixing all separate elements should find their way in the whole and that forces the student to make choices. In these choices both technical and artistic aspects play a role. The student will gain insight in style-specific use of (mixing) techniques.

Reference competencies 2, 4, 7, 9, 11, 15, 16, 18, 20, 25, 28 (competency set Music technology) Learning outcomes The student can make a musical idea audible with the use of a computer

The student can and is used to record (his own) music and can independently make demo productions. The student uses correct terminology in his communication about music recording and production.

Coördinating department JPW Contact person Åke Danielson, Aart de Jong Language Dutch/ English Work forms Seminar Teacher(s) Åke Danielson, Aart de Jong Entrance requirements Home recording 1 passed Material/literature Reader Home Recording Exam Toets Exam description Home Recording 2 Semester 2 Exam form • Assignment

• Attendance Content of the exam Assignment: handing in auditrack(s) with audio mix (stereo mp3 file) and Logic project file. Exam criteria - Practical part:

The mix is judged based on: balance, spacial interpretation,sound, dynamics, routing within the audio mixer. -Attendance: minimum 80% Not passing for one of the two parts of the exam means the credits will not be granted.

Exam duration n.a. Weight 1 Study credits 3 Number of attempts 2 Result scale - The mix is judged based on:

balance, spacial interpretation,sound, dynamics, routing within the audio mixer. Every of these five criteria will be scored sufficient/ not sufficient. 3 out of 5 criteria should score sufficient.

-Attendance: minimum 80%

Generic module title Portfolio year 2 Specific module title Portfolio year 2 Code Osiris Course type Course Year Year 2 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 2 consists of four elements:

• Individual study activities, (56 hours, or 2 ec) • Project week 1 • Project week 2 • Introduction to edcuation

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 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) Introduction to education In this course students are introduced to the (new) aspects of the teaching profession in the modern day music practice. Students will take part in the practical Edu day and will follow the course Introduction to methodology. During the Edu day the students will take part in several workshops that are related to the current music education practice. The student will get acquainted with aspects and possibilities of the teaching practice that he has not heard of before. The course focuses on themes that are geared to the students’ perception of the music practice. We will talk about own (first) learning experiences and inspiring examples, study techniques and didactical aspects. Student will prepare a lesson for a fellow student, be taught by a fellow student and observe teaching situations. The number of lessons, the form and the themes

that are covered, differs per department. Reference competencies ISA’s: 20, 21

Project weeks: 3, 5, 13, 15, 19 Introduction to education: 5, 19, 22, 23

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. Introduction to education: The education day serves as orientation on the possibilities of the teaching profession. Gaining new ideas and experiences are the main goal. No learning goals will be tested at the end of the day. The introduction to methodology gives an introduction to the different approaches in methodology and didactics of instrumental lessons. The student has taken note of this.

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

Projectweken: differs per project Introducation on education: lecture/ seminar

Teacher(s) ISA’s: n.a. Projectweken: differs per project week Introductie op educatie: differs per section

Entrance requirements None Material/literature 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/ audiovisual 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 • Detailed 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 40%

Study credits 2

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 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 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 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 20% Study credits 1 Number of attempts 2 Result scale Pass/ Not sufficient

Exam Exam 4 Exam description Introduction to education Semester 2 Exam form Edu day: deelname Attendance (with the use of attendance list)

Course Introduction to methodology : Theory – assignment (report) Content of the exam Edu day: the result (pass/not sufficient) is based on attendance. Students that have not

attended the Edu day will have to do an substituting assignment. The course Introduction to methodology will be concluded by handing in a number of assignments (form and theme differ per department) and a written report about the covered topics.

Exam criteria - The assignments are executed according to the instructions - The report contains reflection on the lessons that were given, received and observed.

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

Generic module title Music World Wide Specific module title Music World Wide Code Osiris Course type Cursus Year Jaar 1 (DM), Jaar 2 (JPW/KM) Exam goal D Propedeuse Bachelor (DM), B Hoofdfase Bachelor (JPW/KM) Content/relation to professional practice

The Music World Wide module consists of weekly lectures on different music cultures from all over the world, given by experts – musicians and musicologists and aims to convey an initial understanding of the music culture; Some of the teachers work in the different Codarts music departments, and others are guest teachers from outside. Semester 1 concentrates on ‘Inventions’ – musical themes such as modality/tonality, harmony and rhythm, and Semester 2 focuses on music genres worldwide. Music cultures which use a modal system such as the raga of Indian classical music and the makam of Turkish music are introduced, and the development of harmony in Western music is also examined. Different rhythmic concepts and systems are explained, such as polyrhythm, tala (Indian music), and the rhythms of Turkish and Arabic music. Flamenco and Argentinian tango are also outlined. Various musics such as Indonesian/Balinese gamelan, mbira music fom Zimbabwe, Brazilian vocal and Klezmer are presented, and the history of jazz is discussed. The lectures are interactive with video and audio excerpts, live music demonstrations, question and answer, learning a short piece from the music, depending on the different teachers and their methods. Reader handouts are provided on paper and/or digitally; these as well as music excerpts are available for consultation on the student website N@tschool. As part of this module two coaching sessions will take place, to help the student prepare for the final assignment, consisting of a Media Review. During these coaching sessions students will be taught the basic principles of source research.

Reference competencies 13, 15, 17 Learning outcomes • “Intermusical competency”, the ability to recognise and describe different music

cultures on the basis of the parameters presented (rhythm, harmony, modality/tonality),

• The student chooses a topic from the Music world wide lectures and is able to find relevant sources on this topic,

• The student is able to independently investigate different sources and write a media review about three sources,

Coördinating department DM Contact person Jane Harvey Language Dutch/ English (2 seperate groups) Work forms Lecture Teacher(s) Guest teachers, different per topic Entrance requirements Entrance audition passed Material/literature • Digital reader handouts and audio extracts on the N@tschool website

• Codarts Library Exam Exam Exam description Music world wide Semester 2 Exam form Theorie - in te leveren opdracht Content of the exam Written Assignment to be handed in. Exam criteria • Attendance: minimum 70% of the lessons. Under this percentage, assignment cannot

be submitted. If under 50%, the course has to be followed again. If attendance is 50-70%, 10 extra lessons need to be followed. The assignment may be handed in when all extra lessons are completed (the next year).

• Understanding of chosen topic demonstrated in media review on 3 sources: - The selection should be coherent and relevant for the topic - The students’ text should be original - Discussion of the information should be relevant for the question presented in

the introductory paragraph

- The layout, format and references should follow the rules and APA style guide - Texts should be written in English or Dutch

Exam duration n.a. Weight 1 Study credits 3 Number of attempts 2 Result scale 20 point, 0,5 – 10, rounded off in halves

Generic module title Genre specific subjects year 2 Specific module title Jazz history year 2 Code Osiris Course type Course Year Year 2 Exam goal B Main phase Bachelor Content/relation to professional practice

This course is a continuation of the previous year where the emphasis is on the historic development of jazz and its recorded history. As in the previous year the material is mainly CD’s (or LP’s and) and some DVD’s. In this course the focus is on specific subjects (capita selecta) in four- or five- week periods, that are explored in more detail and with specific attention to the “inside” of the music rather than the historic significance which, nonetheless, remains important and is further explored. A few examples of these chapters are: The Music Of Lennie Tristano, The Miles Davis Quintets, The Recording Career Of John Coltrane and The Music Of Chet Baker. N.B. Like in the previous course, the lessons are in the lecture format, no textbooks are used (some titles will be suggested) and students are required to make their own notes (on paper), as this is an “all-ears” course designed to sharpen aural awareness through intense listening and concentration. During the lessons the use of laptop computers, tablets and cell phones is therefore not permitted. Students arriving more than five minutes late (without good reason) will not be given access to the classroom and will be marked as absent.

Reference competencies 6, 10, 11, 12, 15, 19 Learning outcomes Having successfully completed this module the student will be able to make a thorough

analysis of a classic jazz album. This entails a full description of the harmonic structure of all the tunes on the album, an assessment of the various solos and arrangements, background information on the album and the musicians in its historic context and observations about the phonographic aspects. This analysis should be in correct English and no less than twenty pages long.

Coördinating department JPW Contact person Hans Mantel Language Engels Work forms Werkgroep Teacher(s) Hans Mantel Entrance requirements Jazz history year 1 succesfully completed Material/literature no textbooks are used (some titles will be suggested) and students are required to make

their own notes (on paper) Exam Exam Exam description Jazz history year 2 Semester 2 Exam form Theory – assignment to hand in Content of the exam The analysis can be written at home in a two-week period prior to a set date typically

somewhere in early June. The complete assignment should consist of Complete analysis of all the tunes and solos (including lead sheets)

Complete background information ( e.g. musicians, recording, studio, tunes) Personal opinion about the record

Exam criteria coherentness, factual correctness, insightfulness, all-encompassing Exam duration n.a. Weight 1 Study credits 3 Number of attempts 2 Result scale P/NS pas/ not sufficient