StudiegidsKlassiekMaster2014 2014 Eng (1)

Study Guide Master Clasical Music 2014-2015

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Classical Music

Master's Degree Programmes

2014-2015


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Table of contents Classical Masters Degree Programme 4 Plan of Study 5 Principal subject 5 Research 5 Master Electives 7 Individual Credits 10 Master of Music in Voice 11 Voice 11 Opera 13

Master of Music in Keyboard Instruments 14 Piano 14 Organ 16 Modern Harpsichord 19 Rptiteurship 21 Piano Trio (see under String Instruments)

Master of Music in String Instruments 23 Violin 23 Viola 25 Cello 27 Double Bass 30 String Quartet 32 Piano Trio 32 Guitar 37 Harp 40

Maste of Music in Woodwinds 42 Recorder 42 Panpipes 44 Flute 46 Oboe 48 Clarinet 51 Bass Clarinet 53 Bassoon 56 Saxophone 58 Master of Music in Brass 60 Horn 60 Trumpet 62 Trombone/Bass Trombone 64 Tuba 66 Master of Music in Percussion 68

Master of Music in Conducting, Theory of Music and Composition 71 Orchestral Conducting 71 Choral Conducting 72 Conducting Concert and Brass Bands 74 Theory of Music 75 Composition 76


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Master of Music in Early Music 80

Master of Music in Other Subjects 80 Live Electronics 80 Instruments in Historical Persprective 83

Master Specialisations as part of a principal subject 87 Orchestral Practice 87 Chamber Music 94 Contemporary Music 99 Profile Contemporary Music 105

Attachment: Education and examination regulations


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Classical Master's Degree Programme The Conservatorium van Amsterdam offers a two-year master's programme focused on continued development of the student's principal study, the aim being to train and produce versatile musicians of the highest level, whether they be performers and/or composers.

Students on the master's programme focus on broad, in-depth study of their principal subject. The programme is designed in such a way that students can map out their own course of study. This they lay down in the study plan drawn up prior to the entrance examination, which forms part of the selection procedure.

With a highly varied study programme, students have every opportunity to prepare themselves for professional careers. They are able to combine flexibility and a broad approach with complete mastery of their own particular area of study, receiving optimum guidance that fully enhances their own talents and qualities. The master's programme maintains a careful balance between knowledge and capability on the one hand and thought and practice on the other. Students completing the course combine full mastery of their instrument with critical reflection and artistic originality. For the master's programme the conservatorium works in close association with other leading academic programmes. The Jazz Department, for instance, has concluded an agreement with Manhattan School of Music, New York. Students on the master's programme can also attend lectures and study groups at the University of Amsterdam in certain subjects.

Please view the menu on the left for the plan of study and a description of the course components. A description of the study programme principal subject may be found below.

Programme details

Study load 120 EC Study length 2 years, full-time Language of instruction Dutch and English CROHO code 44739 (M Music) Title Master of Music


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Plan of Study

Fill out the plan of study form on www.ahk.nl/en/conservatorium/study-programmes/master/master-classical-music/study-programme/plan-of-study. Since the plan of study serves as a basis for the master's degree programme as a whole, it is important that it is well-prepared from the start. Candidates are therefore recommended to draw up this outline in consultation with the (intended) principal subject teacher, the student advisor and/or the master electives and research coordinator.

* Not required for candidates who apply for the master programme in Live Electronics.

The master's degree programme in music comprises 120 credits (based on ECTS; the European Credit Transfer System) to be obtained in two years of study (1 credit = 28 study hours).

Credits

principal subject 75 research 15 master electives 20 individual electives 10 Contacts

Dorine Jansma, Student Advisor office hours: Tuesdays 9.30 a.m. - 12.00 p.m. in room 1034, appointments through telephone 020-5277563 or e-mail Michiel Schuijer, Master Electives and Research Coordinator room 1002; telephone: 020-5277531; appointments through e-mail

Principal subject

Students on the master's programme focus on broad, in-depth study of their principal subject. Programme details per principal subject may be found per instrument.

Research

Subject Research

Course content The student works independently (with assistance from a coach) on research related to his/her principal study, thoroughly pursing a line of inquiry. To broaden students knowledge of their specialization, it is recommended to choose a research topic related to the specialization.


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Learning objectives To be able to signal problems and challenges in the research field, and to couch these in a good research topic. To be able to conceive a methodological approach to solve the central question. To be able to position oneself in relation to those who have dealt with the same or related topics. To be able to convincingly and engagingly present ideas, both written en verbally.

Course type Mandatory, part of principal study

Level MA 1 and MA 2

Teacher(s) Research coordinators Michiel Schuijer, Walter van de Leur, Yaniv Nachum and Jed Wentz. Students may choose their own research coach from the list of teachers at the CvA. In exceptional cases an external expert may be consulted.

Course credits 15 credits for two years

Literature, repertoire

Research Guide for Master Students. Further literature and/or repertoire to be determined individually, in relation to the chosen research topic.

Course format Independent, with coaching

Assessment A written report of the research and a public presentation. Students may choose from four formats: a lecture-recital (45 minutes) a workshop or masterclass (45 minutes) a lecture (30 or 45 minutes, dependent on the topic) a thesis presentation, consisting of a short report lasting

five to ten minutes and a discussion with the committee lasting 20 to 25 minutes

Assessment criteria originality of the topic quality of research

o line of inquiry o methodology o written report

quality of presentation (verbal and written) motivation and commitment

Language English (Dutch is also possible; please consult research coordinators)


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Schedule Planning conform to agreements with research coordinator and research coach

Location CvA, Oosterdokskade 151

Information Coordinators MA research: Michiel Schuijer, Walter van de Leur, Yaniv Nachum, Jed Wentz

Master Electives

By taking master's electives students will get acquainted with the specialities of our teachers. Most electives are taught in the form of study groups, which means that the students are expected to participate actively. The study load is 5, 10 or 15 credits per subject. For registration, please use the plan of study form.

There are two kinds of electives: * Category A: history, theory, analysis, arranging * Category B: music practice (performance, composition, improvisation) Some subjects fall in both categories.

NB: Each student should take at least two electives and earn a minimum of 20 credits with them. At least one of these courses should fall in Category A (or in both categories).

NB. The list of subjects is subject to alteration. More information can be obtained from Michiel Schuijer

Categorie A: History, Theory, Analysis, Arranging

Please find below an overview of the master electives in Category A.

department subject teacher(s)

classical department Introduction to Gregorian Chant Richard Bot

Interpreting and editing an unfinished work: Mozart's Requiem and 'Great Mass'

Clemens Kemme

Mahler and Adorno Wim Markus

Time Constructions in 20th-century Music Andr Douw


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Orientations on Intercultural Music - 'The Other' as Inspiration

Jol Bons

Historiography of Music Theory Michiel Schuijer

Sources and Resources: From Manuscript to Edition Andrea Friggi

Watching Music: The Basics of Music Iconography Michel Khalifa, Jan Derk van den Berg

The Musical Mind: Issues in Music Psychology Marieke Oremus, Lolke van Diggelen

Baroque Dance: Practice and Notation Rachel Davies-Farr

Playing with Treatises Thrse de Goede

Writing Cadenzas Herman Jeurissen

Russian Chamber Music and Songs from the Twentieth Century

Michel Khalifa, Frans van Ruth

Contemporary Music through Non-Western Techniques Rafael Reina, Jos Zwaanenburg

jazz department Reading Black Music Walter van de Leur

Duke Ellington and Billy Strayhorn: A Musical Legacy Walter van de Leur

Debussy, Ravel, and Stravinsky Clemens Kemme

Conservatorium van Amsterdam/ University of Amsterdam

World Music Studies Adri Schreuder, Wim van der Meer et al


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Category B: Music Practice

department subject teacher(s)

classical department Orchestral Practice and Audition Training Jan Kouwenhoven

Music Theatre and Stage Performance Jorge Isaac

Advanced Rhythm Jos Zwaanenburg

Tuning and Temperament Jorge Isaac, Rafael Reina, guest teachers

Electronic Music Jorrit Tamminga

Building a Successful Professional Practice Leo Dijsselbloem, guest teachers

The Musical Body Marja Mosk, Boni Rietveld, guest teachers

Baroque Dance: Practice and Notation Rachel Davies-Farr

Playing with Treatises Thrse de Goede

Writing Cadenzas Herman Jeurissen

Russian Chamber Music and Songs from the Twentieth Century

Michel Khalifa, Frans van Ruth

Contemporary Music through Non-Western Techniques Rafael Reina, Jos Zwaanenburg

jazz department Practical Studio Technique Attie Bauw

Into the Box - The EWI (Electronic Wind Instrument) for the Woodwind Player

Itay Weissman

Conservatorium van Amsterdam/University of

World Music Studies Adri Schreuder, Wim van der Meer et al


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Amsterdam

Individual Credits

To a certain extent master's students are free to spend time on professional activities in addition to the curriculum. They may, for instance, gain professional experience by being placed in a professional orchestra or ensemble. They may also choose to take masterclasses, attend workshops or international competitions, or concentrate on an early instrument, improvisation, ensemble playing or world music. Another alternative is to deepen their theoretical knowledge by taking extra master's electives or attending a single or even several series of lectures at the University of Amsterdam.


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Master of Music in Voice

Voice

Learning Objective

After the two-year course, students will have been able to develop their talents in line with the plan of study. They will then be ready to enter the professional music world at the highest level.

Principal Study

Principal subject Solo voice. Principal private lessons by appointment. Final project Te student will adopt a more specialized approach to the repertoire of his/her principal study and will undertake research, on which he/she will report. To be determined by the student himself/herself. Additional instruction in the principal study * introduction to Baroque singing/historical performance * ensemble singing * contemporary techniques and styles Student activities Singing, performing, participating in ensembles and projects. Methods of instruction Individual lessons, group lessons, masterclasses. In consultation with the teachers the study programme will be tailored according to the student's wishes.

Principal subject 'free space' selection * Lied class * internships with professional Dutch choirs and ensembles * jazz singing * contemporary music

Other Subjects

Students may choose from a number of master's subject module descriptions and additional 'free space' electives. Information on research is provided separately.

Evaluation

First-Year Assessment Ongoing assessment. A meeting lasting approximately 10 minutes during which the student's progress throughout the year will be discussed will take place at the end of the first year.


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Final Examination The candidate will give a final recital; he/she will present a cohesive programme based on a personal vision, in addition to a presentation of the final project and an accompanying lecture or written programme notes, or will present a master's thesis. The final examination will be evaluated by a committee comprising a representative of the Board of Directors, principal study teachers and the research mentor. Together, the concert and the lecture will not exceed 70 minutes. The candidate must submit his/her programme no later than 1 March to the study secretariat using the forms provided for that purpose.

Criteria for Completion

1. Credits to be earned in connection with the final examination: credits in respect of the principal subject, final project, research/lecture will be earned separately. 2. Principal study 'additional instruction' credits to be earned. 3. Master's subjects and 'free space' credits to be earned.

Students will be admitted to the final examination only after the credits referred to above in the second and third points of the list of criteria have been earned.

Teachers

principal subject Harry van Berne section representative Valrie Guillorit Sasja Hunnego Pierre Mak

masterclasses and workshops Maarten Koningsberger Claron McFadden

voice as a subsidiary subject Elise Galama Rene Harp methodology

jazz voice as a subsidiary subject teachers from the jazz voice department

Italian Valentina di Taranto

German Sra Gutvill

French Nathalie Doucet

drama Irene van den Boogaard Floris Visser


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physical acting Ide van Heiningen Virag Desz

breathing technique Paul Triepels

Alexander technique Jos Peeters

posture and movement, Feldenkrais Irthe Aya Engelhard

rptiteurs Jan-Paul Grijpink David Bollen

Opera Introduction Course Jaap Dieleman

Admissions

CvA Students 1. Upon taking the final examination for the bachelor's degree programme in Voice, CvA candidates must have received the distinction 'eligible for acceptance to the master's degree programme'. 2. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

External Candidates 1. The candidate will give a performance of min. 20 and max. 30 minutes. 2. The candidate must submit a list of repertoire with a proposed programme for the entrance examination to the CvA study secretariat before 1 March. This programme will include a variety of musical styles and languages. The admissions committee will evaluate the proposed programme and make any necessary changes. Requirements may be obtained from the student administration. 3. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan. The committee attaches great importance to the candidate's motivation for the study.

Opera

Please find the course description for Opera on the website of the Dutch National Opera Academy: www.opera-academy.nl


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Master of Music in Keyboard Instruments

Piano

Learning Objective

At the time of the final examination, students will exhibit specific qualities which will ensure them their own places in the world of professional music. To this end, a distinctly personal profile of the student has been developed.

Principal Study

Principal subject Because pianists can be active in many areas, a differentiated approach by each individual student is required. Although one teacher (the mentor) is mainly responsible for a particular student, the student will be able to have lessons with several teachers, depending upon the repertoire and affinity. Emphasis may be placed on * solo playing * vocal accompaniment * chamber music * opera coaching

Final project The student will adopt a more specialized approach to the repertoire of his/her principal study and will undertake research, on which he/she will report. To be determined by the student himself/herself.

Additional instruction in the principal study * historical performance as a subsidiary subject (fortepiano, clavichord) * introductory courses in contemporary music * coached ensemble playing * giving concerts (if possible) * vocal accompaniment (Lied class) * chamber-music projects * repertoire class with regular and guest teachers

Student activities Playing, performing, participating in ensembles and projects.

Methods of instruction Individual lessons, group lessons, masterclasses.

Principal subject 'free space' selection * orchestral conducting as a subsidiary subject (contingent on audition) * score-reading and transposing

Other subjects

Students may choose from a number of master level subjects and additional 'free space' electives. Information on research is provided separately.


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Evaluation

Assessment Following the First Academic Year 1. A performance on the basis of which the student's progress in the area of the principal study will be assessed. The performance must demonstrate the student's positive development in respect of his/her: * musical personality * instrumental skills and quality 2. The concert may not exceed 60 minutes. 3. When this test is passed, the student will be admitted to the second year of study.

Final Examination The test consists of a number of components which can be taken over the course of the two years. 1. Ongoing assessment of participation in lunchtime concerts, projects, evening group recitals and other concerts. The mentor will co-ordinate this evaluation. 2. The concert concluding the first year of study, see above. 3. A lecture-recital or detailed programme notes accompanying a special performance during the second year of study as presentation of a research project. 4. A final concert that may not exceed 70 minutes (intermission not included). The programme must be evaluated and approved by the examination committee. The candidate must submit his/her programme no later than 1 April to the study secretariat using the forms provided for that purpose.

The final examination will be evaluated by a committee comprising a representative of the Board of Directors, principal study teachers and an external committee member. Research to be evaluated seperately.


1. Credits to be earned in connection with the final examination: credits in respect of the principal subject. Research/lecture credits will be earned separately. 2. Additional subject credits, as part of the principal study, to be earned. 3. Master level subjects and 'free space' credits to be earned.



Teachers

David Kuijken head of keyboard instruments Mila Baslawskaja Marcel Baudet + Sweelinck Academy Marjs Benoist Sweelinck Academy Willem Brons Naum Grubert Frank van de Laar Frank Peters Jan Wijn Richard Egarr fortepiano


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Ralph van Raat 20th-century repertoire class Marc Pauwels methodology Menno Dekker keyboard musicianschip

Admissions

CvA Students 1. Upon taking the final examination for the bachelor's degree programme, CvA candidates must have received the distinction 'eligible for acceptance to the master's degree programme'. 2. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

External Students 1. The candidate must submit a list of repertoire with a proposed programme for the entrance examination to the CvA study secretariat before 1 March. This programme will include a variety of musical styles and must have a minimal duration of 60 minutes. The programme must comprise at least: * a polyphonic work composed before 1750 * a classical sonata * a romantic piece * a twentieth-century piece * a piece composed after 1930

The list of repertoire will be examined and the candidate will be notified if it is deemed insufficient. He/she may then make the necessary changes. 2. The candidate himself/herself will choose up to 15 minutes of the programme and the committee will determine an additional 30 minutes (or less) from the remaining repertoire. 3. In addition to a high level of technical ability, the candidate must demonstrate an involved, personal approach to the musical material. He/she must be able to convince the committee that these aspects in particular can be further developed. A special affinity with unusual repertoire can play an important role. 4. In connection with the foregoing, a plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

Organ

Learning Objective

In this phase, the student develops into a fully mature performing musician, who is able to communicate at high technical and stylistic level with his/her audience. Emphasis is placed on the following components: * a solid and reliable technique and the ability to manage stress * the ability to deal with historical instruments from several style periods (tone production, registration, etc.) * mastery of repertoire-specific techniques * thorough knowledge of performance practice * communicative ability and personality


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There are possibilities for specialization (e.g. in the field of performance practice, pedagogy, improvisation, organ building, etc.)

Principal Study

Principal subject For the lessons, historical instruments tailored to several styles are used exclusively: * Waalse Kerk Amsterdam, C. Mller * St. Bavo Haarlem, C. Mller * St. Laurenskerk Alkmaar, v. Haagerbeer/F.C. Schnitger, van Covelens * Augustinuskerk Amsterdam, Cavaill-Coll * St. Nicolaaskerk Amsterdam, Sauer


Additional instruction in the principal study In addition to individual lessons, the weekly group lessons are of vital importance. These group lessons focus specifically on two elements: performing and the collective discussion to which this gives rise, and short presentations given by the teacher concerning certain aspects of performance practice (e.g. rhetoric, theory of the affects, etc.). Projects (overseen by several international experts) and excursions supplement the foregoing.


Methods of instruction Individual lessons, group lessons, masterclasses with guest teachers, projects involving specific repertoire or instruments, excursions.

Principal subject 'free space' selection * internship: the advanced study programme offers candidates the opportunity of giving a number of concerts on important historical instruments

Other Subjects


Evaluation

Assessment Following the First Academic Year An interim evaluation at the end of each academic year will take place in the form of an instrumental recital. The repertoire is split up into two parts (up to ca. 1800 and from 1800 to the present day). Candidates will perform on two instruments during the evaluation. The evaluation will last a total of 40 minutes (two 20-minute segments). A committee consisting of the three permanent teachers will assess the candidates.

In principle, the same qualitative standards will be applied as during the final examinations. The level of difficulty of the repertoire will vary, however. The main


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assessment criterion will be the student's development between two evaluation periods and how the level demonstrated at the end of a particular academic year relates to the final qualifications.

Final Examination * a recital lasting approximately 70 minutes with repertoire chosen by the candidate on one or two instruments to be chosen by the candidate * a paper in a form to be chosen by the candidate and concerning the specialization chosen by the candidate (in consultation with the teachers)

The highest technical and artistic standards will be applied at the time of the assessment. The assessment will take place before a jury who will comprise the three teachers and an outside expert and will be chaired by a representative of the Board of Directors.




Teachers

Jacques van Oortmerssen Pieter van Dijk section representative + methodology Henny Heikens hymnology/community singing Piet van der Heijden liturgy

Admissions


External Candidates 1. An examination lasting approximately one hour, during which the various style periods are represented. The candidate must demonstrate a high level of artistic and technical ability at the organ. Furthermore, it is assumed that the candidate has knowledge of performance practice in respect of the different musical styles. 2. The candidate must submit a list of repertoire with a proposed programme for the entrance examination to the CvA study secretariat before 1 March. This programme will include a variety of musical styles. The admissions committee will evaluate the proposed programme and make any necessary changes. Programme guidelines and requirements may be obtained from the department co-ordinator. 3. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.


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Modern Harpsichord

NB: For information on the Master of Music in Harpsichord Early Music please see the Early Music pages/Study Guide.

Modern Harpsichord as Subsidiary Subject

If the candidate has earned a post-bachelor's degree in harpsichord, he/she may study it as a subsidiary subject while enrolled in the master's degree programme. Candidates who do not possess the aforementioned diploma will be required to perform several contemporary solo works attesting to their insight and talent at the time of the master's programme entrance examination. Time allotted to this component: no more than 30 minutes. Sample programme Jukka Tiensuu - Fantango (1984) 5' Geoffrey King - White Rose (1997) 8' Alexander Voormolen - Suite de clavecin (1921) 8' Jacqueline Fontyn - Shadows (1973/1991) 7'

Modern Harpsichord as Principal Subject

Learning Objective

Working in line with the plan of study and the requirements set out subsequently, students will exhibit specific qualities at the time of the final examination which will ensure them their own places in the world of professional music. To this end, a strongly personal profile of the student has been developed.

Principal Study

Principal subject Solo playing. Principal private lessons by appointment. Final project The student will adopt a more specialized approach to the repertoire of his/her principal study and will undertake research, on which he/she will report. To be determined by the student himself/herself. Additional instruction in the principal study * coached chamber music * chamber-music projects * orchestral/concert repertoire * history of contemporary harpsichord repertoire * methodology of contemporary repertoire

Student activities Playing, performing, participating in ensembles and projects. Methods of instruction Individual lessons, group lessons.


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Other Subjects

Students may choose from a number of master's subjects and additional 'free space' electives. Information on research is provided separately.

Evaluation

Assessment Following the First Academic Year 1. The student will give two recitals, both of which will feature works from several style periods of the twentieth century, as well as a work with tape. In conjunction with these recitals, the candidate will present a lecture or a set of written programme notes. The performance will not exceed 50 minutes. 2. The student will write a master's thesis on a subject taken from the history of contemporary harpsichord repertoire or will analyse a contemporary work. Final Examination 1. The candidate will give a final recital; he/she will present a cohesive programme based on a personal vision, in addition to a presentation of the final project and an accompanying lecture or written programme notes, or will present a master's thesis. This recital can take one of two forms, these being: a. A solo recital which has been put together on the basis of the student's personal vision and which includes at least three works composed after 1980 and two works written for him/her. b. The student will give a recital of chamber-music works, which will also include a work with tape. Neither recital may exceed 60 minutes, not including the lecture. 2. The candidate must submit his/her programme no later than 1 March to the study secretariat using the forms provided for that purpose. The final examination will be evaluated by a committee comprising a representative of the Board of Directors, principal study teachers and the research mentor.


1. Credits to be earned in connection with the final examination: credits in respect of the principal subject, final project, research/lecture will be earned separately. 2. Principal study 'additional instruction' credits to be earned. 3. Master's subjects and 'free space' credits to be earned. Students will be admitted to the final examination only after the credits referred to above in the second and third points of the list of criteria have been earned.

Teachers

historical harpsichord Menno van Delft section representative + methodology Richard Egarr Mikls Spanyi

continuo Thrse de Goede

early music improvisation Mikls Spanyi


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modern harpsichord Goska Isphording

additional study clavichord Menno van Delft

additional study harpsichord Tilman Gey Thrse de Goede Johan Hofmann

Admissions

CvA Students 1. Upon taking the final examination for the bachelor's degree programme in harpsichord, CvA candidates must have received the distinction 'eligible for acceptance to the master's degree programme'. 2. The final examination programme must demonstrate that the candidate possesses sufficient affinity with contemporary harpsichord repertoire. 3. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan. External and Internal Candidates 1. The candidate will perform a programme which may not exceed 50 minutes. 2. The candidate must submit a list of repertoire with a proposed programme for the entrance examination to the CvA study secretariat before 1 March. This programme will include a variety of musical styles. The admissions committee will evaluate the proposed programme and make any necessary changes.

Sample programme: Gyrgy Ligeti - Passacaglia Ungerese (1978) 5' Hungarian Rock (1978) 5' Continuum (1968) 4' Louis Andriessen - Overture to Orpheus (1982) 13' Maurice Ohana - Carillons (1980) 6' Erik Bergman - Energien (1970) 5' Alexander Voormolen - Suite de clavecin (1921) 8' 3. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan. The candidate must demonstrate an enquiring mind and broad interest. He/she must be extremely versatile (and available!) and prepared to experiment. Candidates enrolled in this programme must be able to stimulate the creation of new repertoire with their musical personalities.

Rptiteurship Head of Keyboard Instruments: David Kuyken The specialization The master degree programme Rptiteurship educates students for the profession of rptiteur. In addition, students work on an individual basis to further the development


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of their own instrumental and artistic skills. Central to the curriculum is the performance of duets combined with the role of coach. Students are trained to function in a wide variety of professional fields, such as rptiteur at opera houses, with choirs, at competitions and at training institutes, and also learn how to develop a freelance practice. Entrance qualifications are a completed BA degree in piano, demonstrable chamber music qualities and convincing communicative and didactic skills. The principal study is directed to actual practice and mainly consists of an internship, working within the triangle of teacher student co-rptiteur. The student first chooses between two profiles: vocal or instrumental. Although similar, these two profiles differ in essential parts, preparing students for the specific features of vocal or instrumental rptiteurship. During the first year, the curriculum concentrates on a wide range of repertoire. In the second year the student then specializes in a specific direction. During the degree programme the student works on a research project, exploring in depth a subject related to rptiteurship. The degree programme Rptiteurship is similar to the specialization Chamber Music, especially with respects to performing as a duet. The prime differences are that the relationship of the rptiteur to his counterpart includes coaching and that the repertoire is more all-round. An essential part of this degree programme is the performance of orchestral reductions. Because the principal study largely takes place as an internship, the student regularly performs as rptiteur with students from various departments. Music history and keyboard musicianship ground the programme in a theoretical and contextual framework. Other subjects Besides the principal study rptiteurship, research, electives and individual credits, the following courses are part of this curriculum: * Individual instrumental lessons * Keyboard Musicianship * Language or Lieder (depending on the profile chosen) * Didactics * Repertoire & Context These courses will be detailed for the 2015-2016 academic year.

Admission requirements (specific or additional) * Intake is possible with a successfully completed BA Music, piano or rptiteurship (Lyons) as principal subject. Admission is also occasionally possible with another keyboard instrument as principal subject. * Students who have completed their Bachelor exam at the CvA must take an entrance exam for this masters degree programme. * Candidate must have excellent musical and instrumental qualities at a potential masters level. Artistry and a viewpoint on the profession and repertoire are important prerequisites for admission. * Candidate must have demonstrable chamber music qualities, a good level in sight-reading, and sufficient communicative and didactic qualities. Entrance programme The entrance exam, lasting 50 minutes, consists of: * The performance of a relevant work for piano solo, which the jury selects on the spot from two prepared works.


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* Performing repertoire together with two CvA students. The repertoire is announced to the candidate two months prior to the entrance exam. During the entrance exam we will ask the candidate to perform with each student separately, followed by a short coaching session, so that the jury can get an impression of the candidates performance qualities and coaching skills. * Instrumental rptiteurship:

- One work with a wind instrument, - One work with stringed instrument (one of these two works must be an orchestral reduction)

* Vocal rptiteurship - An excerpt from an opera - Two songs from different style periods

* Sight-reading test * A short conversation with the candidate about his/her areas of interest potentially leading to a research project.

Piano Trio (see under String Instruments)

Master of Music in String Instruments Students on the master's programme focus on broad, in-depth study of their principal subject. The programme is designed in such a way that students can map out their own course of study. This they lay down in the study plan drawn up prior to the entrance examination, which forms part of the selection procedure, read more

Violin

Learning Objective


Principal Study

Principal subject Candidates may choose to focus on solo playing, chamber music, orchestral playing or a special style period (from the Baroque to the twenty-first century). Principal private lessons by appointment.

Final project The student will adopt a more specialized approach to the repertoire of his/her principal study and will undertake research, on which he/she will report. To be determined by the student himself/herself. Additional instruction in the principal study supplementary to the chosen principal subject


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* coached ensemble playing * course on orchestral playing/training for auditions * introduction to a style period (from the Baroque to the twenty-first century) * chamber-music projects * orchestra projects



Other Subjects

The student may choose from a number of master level subjects and additional 'free space' electives. Information on research is provided separately.

Evaluation

Assessment During/Following the First Year 1. An examination attended by a committee made up of faculty members from the department of the student's principal subject with a view to assessing the progress made in the area of the principal study. The examination must clearly demonstrate the student's development. 2. The length of the programme and the works to be performed will be determined jointly by the student and his/her principal study teacher.

Final Examination 1. Orchestral playing as principal subject: the student will play a given number of orchestral parts and excerpts for the committee, which, in any event, will comprise the Orchestra Class teacher, the student's principal study teacher and a representative of the Board of Directors. 2. The candidate will give a final recital; the programme will include an accompanying lecture or written programme notes; the student may alternatively present a advanced level thesis. Research to be evaluated seperately. 3. Together, the concert and the lecture will not exceed 90 minutes. The candidate must submit his/her programme no later than 1 March to the study secretariat using the forms provided for that purpose.

The final examination will be evaluated by a committee comprising a representative of the Board of Directors, principal study teachers and the research mentor.





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Teachers

Vera Beths Peter Brunt Marc Danel string quartets Ilya Grubert Kees Koelmans head of strings Lex Korff de Gidts Johannes Leertouwer head of Sweelinck Academy Janet Krause orchestra training Wiesje Miedema methodology Reinette Thiadens Sweelinck Academy Coosje Wijzenbeek Sweelinck Academy

additional study violin and contemporary chamber music Emma Breedveld

Admissions


External Candidates 1. The candidate will give a performance which may not exceed 60 minutes. He/she is required to play at least one piece from memory. 2. The candidate must submit a list of repertoire with a proposed programme for the entrance examination to the CvA study secretariat before 1 March. This programme will include a variety of musical styles. The admissions committee will make a selection from the programme and propose any necessary changes. Programme guidelines and requirements may be obtained from the representative of the section. 3. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

Viola

Learning Objective

After the two-year course, students will have developed their talents in line with the plan of study. They will then be ready to enter the professional music world at the highest level.

Principal Study



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Additional instruction in the principal study supplementary to the chosen principal subject * coached ensemble playing * course on orchestral playing/training for auditions * introduction to a style period (from the Baroque to the twenty-first century * chamber-music projects * orchestra projects

Student activities Playing, performing, participating in ensembles and projects. Methods of instruction Individual lessons, group lessons, masterclasses.

Other Subjects


Evaluation

Assessment During/Following the First Year1. An examination attended by a committee made up of faculty members from the department of the student's principal subject with a view to assessing the progress made in the area of the principal study. The examination must clearly demonstrate the student's development.2. The length of the programme and the works to be performed will be determined jointly by the student and his/her principal study teacher.

Final Examination 1. Orchestral playing as principal subject: the student will play a given number of orchestral parts and excerpts for the committee, which, in any event, will comprise the Orchestra Class teacher, the student's principal study teacher and a representative of the Board of Directors. 2. The candidate will give a final recital; the programme will include an accompanying lecture or written programme notes; the student may alternatively present a advanced level thesis. Research to be evaluated seperately. 3. Together, the concert and the lecture will not exceed 90 minutes. The candidate must submit his/her programme no later than 1 March to the study secretariat using the forms provided for that purpose.



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Teachers

Marjolein Dispa Nobuko Imai Francien Schatborn section representative Sven Arne Tepl Richard Wolfe Wiesje Miedema methodology Jrgen Kussmaul guest teacher Judith Wijzenbeek Sweelinck Academy

Admissions

CvA Students 1. Upon taking the final examination for the bachelor's degree programme, CvA candidates must have received the distinction eligible for acceptance to the master's degree programme. 2. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.


Cello

Learning Objective



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Principal Study



Additional instruction in the principal study supplementary to the chosen principal subject * coached ensemble playing * course on orchestral playing/training for auditions * introduction to a style period (from the Baroque to the twenty-first century) *chamber-music projects * orchestra projects



Other subjects


Evaluation

First Year * audition training in January/February: Haydn - first movement of Concerto in D, including cadenza, (or Dvork - first movement of Concerto (no other concertos)); seven orchestra parts; duration: 25 minutes * recital in May/June, 45 minutes of music

Second Year * audition training in January/February: Dvork - first movement of Concerto (or Haydn - first movement of Concerto in D, including cadenza, seven orchestra parts; duration: 25 minutes * final exam in May/June, maximum 75 minutes of music + intermission. Complete works.



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Teachers

Maarten Mostert section representative Monique Bartels Dmitry Ferschtman Jeroen den Herder Floris Mijnders Jelena Oi Michael Stirling Quirine Viersen Danil Esser orchestra training Viola de Hoog Baroque cello Wiesje van Eersel methodology

viola da gamba Mieneke van der Velden

Admissions

CvA Students 1. Upon taking the final examination for the bachelor's degree programme, CvA candidates must have received the distinction eligible for acceptance to the master's degree programme. 2. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.



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Double Bass

Learning Objective


Principal Study

Principal subject specialization a) Orchestral/ensemble player b) Soloist and/or concert repertoire from Baroque to contemporary Principal private lessons by appointment. Final project The student will adopt a more specialized approach to the repertoire of his/her principal study and will undertake research, on which he/she will report. To be determined by the student himself/herself. Additional instruction in the principal study * introduction to historical performance (violone) * introduction to jazz or jazz as a subsidiary subject * coached ensemble playing * course on orchestral playing/training for auditions * chamber-music projects * orchestra projects Student activities Playing, performing, participating in ensembles and projects. Methods of instruction Individual lessons, group lessons. Principal subject 'free space' selection * internships with the Royal Concertgebouw Orchestra, Radio Philharmonic Orchestra, The Hague Residentie Orchestra.

Other Subjects

The student may choose from a number of master?s subjects and additional 'free space' electives. Information on research is provided separately.

Evaluation

Assessment Following the First Academic Year 1. In his/her first year, the candidate will have given performances, to which relevant committee members will have been invited. The candidate will be deemed to have successfully completed the second year of study after obtaining a sufficient score on an examination administered at this time. 2. The programme will not exceed 50 minutes.


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Final Examination The final examination is divided into an assessment of: 1. the student's playing of orchestral and/or ensemble repertoire 2. the student's playing of both a slow and fast movement from a concerto for double bass (as is customary in auditions for Dutch symphony orchestras). 3. The soloist's final examination will consist of giving one or two recitals comprising works of various style periods (see also the list of repertoire for the Advanced Study). 4. As part of the final examination, the candidate will present his/her final project and a lecture (lecture recital) or accompanying written programme notes, or will present a master's thesis. 5. Together, the concert and the lecture will not exceed 90 minutes. The candidate must submit his/her programme no later than 1 March to the study secretariat using the forms provided for that purpose. The final examination will be evaluated by a committee comprising a representative of the Board of Directors, principal study teachers and the research mentor.


1. Credits to be earned in connection with the final examination: credits in respect of the principal subject, final project, research/lecture will be earned separately. 2. Principal study 'additional instruction' credits to be earned. 3. Master's subjects and 'free space' credits to be earned. Students will be admitted to the final examination only after the credits referred to above in the second and third points of the list of criteria have been earned.

Teachers

Peter Leerdam Margaret Urquhart violone Rick Stotijn Olivier Thiery Peter Stotijn orchestra training

Admissions


External Candidates 1. The candidate will give a performance which may not exceed 30 minutes. He/she is required to play at least one piece from memory. 2. The candidate must possess orchestral and ensemble experience, as well as sufficient musical and technical ability in music of various style periods. 3. The candidate must submit a list of repertoire with a proposed programme for the entrance examination to the CvA study secretariat before 1 March. This programme will include a variety of musical styles. The admissions committee will evaluate the proposed programme and make any necessary changes. 4. The candidate may choose to perform solo works, sonatas, shorter pieces, concertos,


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orchestral and/or ensemble repertoire, contemporary repertoire (Please see the list of repertoire for the master's degree programme, available from the representative of the section.) 5. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

String Quartet

A description of this principal subject is being prepared. More onformation may be obtained from the Head of Strings.

Piano Trio

Head of Strings: Kees Koelmans Principal Study The master degree Piano Trio trains existing piano trios to attain an excellent level. The principal study concentrates on both the artistic and technical development of the ensemble as well as business aspects. In addition, instrumental and artistic skills are developed on an individual basis. The goal is to prepare piano trios for a successful (international) professional career. Part of the study also includes preparation for the participation in competitions. Students take the admissions exam as a piano trio, but the formula is flexible. This master degree allows working with other instrumentalists and vocalists if called for by the repertoire. Lessons in the principal study Piano Trio are primarily given by the renowned Osiris Trio. Additional masterclasses and lessons are given by (international) specialists. CvA specialists in early and contemporary music can also be consulted, with attention given to the theoretical basis of the repertoire. Another aspect is working together with composers on very recent music, including works fresh from the pen. The course Entrepreneurship concentrates on acquiring knowledge and insights into how the professional field operates. This includes learning to programme, based both on artistic considerations as well as on market-orientated principals. The lessons are given by chamber music specialists, including cooperation with the Netherlands String Quartet Academy (NSKA). Exams are organized by the ensembles themselves at extramural locations. This undertaking includes tending to publicity. Students also work on a research project, studying in depth a topic related to the piano trio. Other Subjects Besides the principal study Piano Trio, research, electives and individual credits, the curriculum includes the following subjects: * Individual instrumental lessons * Analysis & Performance * Building a Successful Professional Practice * Arranging (recommended elective in MA 2) The principal study and the above related courses are described below.


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It is also possible to join courses offered in the MA specialization Contemporary Music. In their second year students can also orientate themselves in the principal study in the authentic performance practice of classic and early romantic repertoire.

Admission Requirements (specific or additional) * A successfully completed bachelor degree in violin, cello or piano. A BA profile with chamber music or piano trio is recommended. * The trio demonstrates a potential masters level in a recital of 30 minutes. This may not be combined with the individual instrumental bachelor exam. * A discussion with the ensemble about their motivation and plan of study. Entrance examination A trio recital of 30 minutes including repertoire from at least two style periods

Subject Principal study (Piano trio)

Course content The principal study forms the core of the curriculum. Developing the quality of the ensemble, expanding its repertoire

Learning objectives Performing as piano trio at the highest (international) level


Level MA 1 and MA 2

Teacher(s) CvA piano trio in residence, master ensemble teachers


Literature, repertoire Choice from the large and rich piano trio repertoire

Course format Group lessons (as trio)

Assessment Practical exam for transition from MA 1 to MA 2: * A trio recital of 50 minutes without intermission, organized by the trio; * A portfolio of successfully organized extramural recitals with convincing hall occupancy. Practical final exam MA 2: * A trio recital organized by the trio, consisting of a complete recital lasting 75 minutes including intermission; * A portfolio of successfully organized extramural concerts with convincing hall occupancy.

Assessment criteria A masters level, both individually and as an ensemble, successful extramural performances, hall occupancy; see also the assessment form.

Language Dutch, English


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Schedule 3 hours per week (two lessons lasting 1.5 hours each)


Information Head of Strings

Subject Individual instrumental lessons

Course content Continued development of individual instrument and artistic level.

Learning objectives Individually learning to master and interpret the most demanding parts in the trio repertoire in both technical and artistic respect


Level MA 1 and MA 2

Teacher(s) Principal study teachers of violin, cello, piano


Literature, repertoire Piano trios and ensemble parts, and related solo repertoire

Course format Individual lessons or otherwise, to be determined by the teacher

Assessment Exams and assessments are an integral part of the principal study. See Study Guide Master Classical Music for assessment on principal instrument.

Assessment criteria Masters level in relevant repertoire. See Study Guide Master Classical Music for information on principal instrument.


Schedule On average 0.5 hours per week


Information Headsof Strings and Keyboard instruments

Subject Analysis & Performance (A&U)


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Course content Theory teachers work with the trio on its repertoire. The theory subject analysis is directly applied to the repertoire being studied by the Piano Trio in the principal subject.

Learning objectives To develop the skills with which to use the knowledge of form, content and background of a composition as a basis for students own interpretation.


Level MA 1 and MA 2

Teacher(s) Paul Scheepers, music theory and music history teachers


Literature, repertoire Trio repertoire being studied

Course format Group lessons with students own ensemble

Assessment Assessment occurs at the principal study (see above).

Assessment criteria Audible knowledge, insight and understanding of the repertoire performed


Schedule On average 20 hours per year


Information Head of Strings

Subject Building a Successful Professional Practice

Course content 1st period: intensive lessons, given by renowned musicians, festival organizers, concert and label managers, music educators and media specialists. They give their views on the professional field and critically reflect upon proposals and ideas. 2nd period: under extensive supervision, theory and practice are related to each other in an artistic project representative of your career after graduation.


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Learning objectives

This course teaches soloists and chamber music performers to develop and present recital programmes, music events and education projects that relate to the artistic profile of themselves or the ensemble, and that attract the attention of concert organisations and audiences.

Course type Mandatory elective

Level MA 1 (1st period) and Ma 2 (2nd period)

Teacher(s) Leo Dijsselbloem and visiting teachers


Literature, repertoire

To be announced or handed out by (visiting) teachers

Course format Group lessons 1st period: together with students with string quartet as principal study and chamber music as specialization. 2nd period: mainly with ones own ensemble.

Assessment 1st period: active participation in lessons and assignments 2nd period: the realization of artistic projects

Assessment criteria

attendance, commitment and concrete progress

Language English (Dutch)

Schedule 1st period: weekly lessons January-April 2nd period: by appointment September-December


Information Coordinator MA electives

Subject Arranging

Course content Making arrangements for specific ensemble instrumentations and for specific uses

Learning objectives Realizing a version for a new instrumentation and/or for other than the original, based on existing repertoire

Course type Recommended elective

Level MA 2


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Teacher(s) Arranging instructors

Course credits 5 credits

Literature, repertoire To be announced at a later date.

Course format Group lessons, workshop

Assessment Performance of the arrangements by students own ensemble

Assessment criteria Convincing rendition of the character of the original work and/or a convincing presentation for another use of the arrangement

Language

Dutch, English

Schedule To be announced at a later date.


Information Coordinator MA electives

Guitar

Learning Objective

The student will concentrate on the further mastering of all aspects of guitar playing. After two years, the student will be ready to enter the professional music world at the highest level as a soloist and as a chamber player.

Principal Study

Principal subject The candidate may choose to focus on solo playing, chamber music or a particular style: contemporary repertoire, some variant of nineteenth-century guitar, flamenco guitar. Principal private lessons by appointment. Final project The student will adopt a more specialized approach to the repertoire of his/her principal study and will undertake research, on which he/she will report. To be determined by student and teacher. Additional instruction in the principal study * introductory courses: students may choose historical performance or Baroque guitar, vihuela * subsidiary subject: nineteenth-century guitar or flamenco guitar or electric guitar * coached ensemble playing


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Student activities Playing, giving concerts, participating in ensembles and projects. Methods of instruction Individual lessons, group lessons. Principal subject 'free space' selection Introductory courses in lute music and/or lute playing.

Other Subjects

The student may choose from a number of master's subjects and additional 'free space' electives.

Evaluation

Assessment Following the First Academic Year 1. A performance on the basis of which the student's progress in the area of the principal study will be assessed. The performance must demonstrate the student's positive development in respect of his/her: * musical personality *instrumental skills and quality 2. The programme will not exceed 50 minutes.

Final Examination 1. The candidate will give a final recital; he/she will present a cohesive programme based on a personal vision, in addition to a presentation of the final project and an accompanying lecture or written programme notes, or will present a master's thesis. 2. The final recital is based on the choices within the principal subject. The requirements are as follows: Solo: * transcriptions of older music will be permitted to a limited extent * important works in various styles from ca. 1800: * classical sonatas (e.g. by F. Sor) * Spanish and South American repertoire (sonatas by M. Ponce, J. Turina and A. Ginastera) * twentieth-century works (by composers including B. Britten, L. Andriessen, T. de Leeuw) * emphasis on the contemporary period with music by e.g. L. Berio, H.W. Henze, but also by various Dutch composers.

Chamber music may include: * a more traditional selection of classical chamber works (e.g. N. Paganini, F. Schubert/Matiegka) * twentieth-century composers like I. Stravinsky, H. Villa-Lobos or F. Martin * contemporary alternative, including works by e.g. G. Petrassi, G. Crumb and G. Kurtg, but also new Dutch compositions (T. Keuris, T. Loevendie) * song accompaniment parts are also permitted

Nineteenth-century guitar: * concert works (sonatas and variations) by composers including F. Sor, M. Giuliani and J.K. Mertz.


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Specialization in flamenco guitar: * knowledge of all basic forms: sole, alegras and buleras; tangos, rumba, tientos and farucca; fandangos (malaguea, taranta, granana), seguiriyas, cantes de ida y vuelta (South American influences). In theory, candidates must be able to perform all these forms both in solo settings and as vocal and dance accompaniment. * knowledge of historical backgrounds and, in particular, contemporary developments in ensemble and collaborative playing

3. Together, the concert and the lecture will not exceed 90 minutes. The candidate must submit his/her programme no later than 1 March to the study secretariat using the forms provided for that purpose. The final examination will be evaluated by a committee comprising a representative of the Board of Directors, principal study teachers, the research mentor.




Teachers

principal subject Lex Eisenhardt section representative + Baroque guitar Lydia Kennedy + methodology Erik Vaarzon Morel flamenco

additional study electric guitar Hans Kunneman

lute Fred Jacobs

Admissions

CvA Students 1. Upon taking the final examination for the bachelor's degree programme, candidates attending the Conservatorium van Amsterdam must have received the distinction 'eligible for acceptance to the master's degree programme'. 2. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

External Candidates 1. The candidate will perform a programme which may not exceed 30 minutes. He/she is required to play at least one piece from memory. 2. The candidate must submit a list of repertoire with a proposed programme for the entrance examination to the CvA study secretariat before 1 March. This programme will include a variety of musical styles. The admissions committee will evaluate the


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proposed programme and make any necessary changes. Programme guidelines and requirements may be obtained from the representative of the section. 3. If the student chooses a specialization, it must be noted in the admissions examination programme. Such specializations may include: * contemporary repertoire * historical performance * chamber music 4. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

Harp

Learning Objective

The student will concentrate on the further mastering of all aspects of harp playing. After two years, the student will be ready to enter the professional music world at the highest level as a soloist, chamber player and orchestral musician.

Principal Study

Principal subject Solo playing. Principal private lessons by appointment.


Additional instruction in the principal study * coached ensemble playing * course on orchestral playing/training for auditions * introductory courses: candidates may choose from historical performance or introduction to non-Western harp traditions (African kora) * chamber-music projects * orchestra projects * classes in avant-garde music and techniques


Methods of instruction Individual lessons, group lessons, masterclasses. Principal subject 'free space' selection * preparation for and participation in competitions * additional musical introductory courses

Other Subjects

The student may choose from a number of master's subjects and additional 'free space' electives. Information on research is provided separately.


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Evaluation

Assessment Following the First Academic Year 1. The candidate will give an end-of-year recital on the basis of which the progress he/she has made in the area of the principal study will be assessed. The performance must demonstrate the student?s positive development in respect of his/her: * musical personality * instrumental skills 2. The candidate's own views and initiative with respect to the course will also be considered in the assessment. 3. The candidate will give an end-of-year recital and must perform at least one piece from memory. The concert may not exceed 50 minutes.

Final Examination 1. The candidate will give a final recital; he/she will present a cohesive programme based on a personal vision, in addition to a presentation of the final project and an accompanying lecture or written programme notes, or will present a master's thesis. 2. The standard of the final examination must meet the requirements established by the world of professional music, which means successfully taking auditions and participating in competitions. 3. The student will demonstrate his/her ability to perform well as a soloist and in chamber-music ensembles. 4. The candidate will perform at least one piece from memory. Together, the concert and the lecture will not exceed 90 minutes. 5. The candidate must submit his/her programme no later than 1 March to the study secretariat using the forms provided for that purpose.





Teachers

Erika Waardenburg section representative + methodology Constance Allanic Baroque harp Sandrine Chatron orchestra and audition training

Admissions

CvA Students 1. Upon taking the final examination for the bachelor's degree programme, CvA candidates must have received the distinction 'eligible for acceptance to the master's degree programme'.


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2. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

External Candidates 1. The exam will take 30 minutes playing time. The candidate is required to play at least half of the exam programme from memory. 2. The candidate must submit a list of repertoire with a proposed programme for the entrance examination to the CvA study secretariat before 1 March. The programme to be prepared (duration: 45 minutes), should comprise at least: * first movement from a solo concerto of the candidate's choice * a J.S. Bach suite or C.Ph.E. Bach - solo sonata in G * a Romantic virtuoso piece * an impressionist piece * a modern piece 3. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

Master of Music in Woodwinds Students on the master's programme focus on broad, in-depth study of their principal subject. The programme is flexible and students are expected to map out their own course of study. This they lay down in the study plan drawn up prior to the entrance examination, which forms part of the selection procedure.

Recorder

Learning Objective


Principal Study

Principal subject Candidates may choose between solo playing and ensemble playing with an emphasis on the specialization. Principal private lessons by appointment. Final project The student will adopt a more specialized approach to the repertoire of his/her principal study and will undertake research, on which he/she will report. To be determined by the student himself/herself. Additional instruction in the principal study * introductory courses: historical instruments (for example traverso or viola da gamba) or improvisation * coached ensembles * projects


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Student activities Playing, performing, participating in ensembles and projects. Methods of instruction Individual lessons, group lessons

Other Subjects


Evaluation

Assessment Following the First Academic Year Halfway through the master level study the student's progress will be discussed during an examination (recital/presentation/discussion). The examination will last approximately 30 minutes and the student, teacher(s) and a representative of the Board of Directors will take part in the discussion regarding the student's progress.

Final Examination 1. The candidate will give a final presentation. He/she will present a programme of works from various style periods or originating from the specialization. The recital must also be supported by an academic paper, which must be presented in the form of a lecture (lecture recital) and/or as a publication in a renowned professional journal. 2. Together, the concert and the lecture will not exceed 90 minutes. The candidate must submit his/her programme no later than 1 March to the study secretariat using the forms provided for that purpose.

The final examination will be evaluated by a committee comprising a representative of the Board of Directors, principal study teachers and one or more outside experts, depending on he possible specialization.




For more information please visit the website of the Recorder Department: www.blokamsterdam.info

Teachers

Jorge Isaac section representative Erik Bosgraaf


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Admissions

CvA Students 1. Upon taking the final examination for the bachelor's degree programme in recorder, CvA candidates must have received the distinction 'eligible for acceptance to the master's degree programme'. 2. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

External Candidates 1. The candidate will perform a programme which may not exceed 30 minutes. He/she is required to play a substantial part of the programme from memory. 2. The candidate must submit a list of repertoire with a proposed programme for the entrance examination to the CvA study secretariat before 1 March which must reflect the candidate's specific, distinctive features. The admissions committee will evaluate the proposed programme and make any necessary changes. Programme guidelines and requirements may be obtained from the department co-ordinator. 3. Individual presence and distinctive qualities as a soloist are the main factors used to determine whether a candidate is admitted to the master's degree programme. An original and well-thought-out programme in which extremes need not be avoided will attest to the candidate's unequivocal artistic merit. Additionally, the student must also demonstrate his/her far-reaching insights into planning, organizing and developing workshops, courses and projects, all of which meet international standards. 4. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

Panpipes

Learning Objective


Principal Study

Principal subject: candidates may choose between solo playing and ensemble playing with an emphasis on the specialization.

Final project and research: the student will adopt a more specialized approach to the repertoire of his/her principal study and will undertake research, on which he/she will report. For research, a separate guidance process has been established.

Additional instruction in the principal study: * introductory courses in related instruments or in improvisation * coached ensembles * projects

Student activities playing, performing and participating in ensembles and projects


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Methods of instruction individual lessons, group lessons

Other Subjects

The student also enrols on various masters subjects and earns free space credits.

Evaluation

Assessment following the first academic year The students progress is assessed during an examination (recital/presentation/discussion). The examination lasts approximately thirty minutes, and the student, teacher(s) and a representative of the Board of Directors participate in the discussion regarding the students progress.

Final Examination 1. The candidate will give a final recital; he/she will present a programme of works from various style periods. This recital will be supported by an academic paper, which must be presented in the form of a lecture or lecture recital and/or as a publication in a renowned professional journal. 2. Together, the concert and the lecture will not exceed 90 minutes. The candidate must submit his/her programme no later than 1 March to the study secretariat using the forms provided for that purpose.

The final examination is assessed by a committee consisting of a representative of the Board of Directors, principal study teachers and one or more outside experts.


1. Credits to be earned for the final examination in the principal subject 2. Credits to be earned for research/lecture 3. Masters subjects and free space credits to be earned


Teachers

Matthijs Koene section representative

Admissions

CvA Students 1. Upon taking the panpipes final examination for the bachelors degree programme, CvA candidates must have received the distinction eligible for acceptance to the masters degree programme. 2. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

External Candidates 1. The candidate will perform a programme which may not exceed 30 minutes. He/she is required to play at least one piece from memory.


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2. The candidate must submit a list of repertoire with a proposed programme for the entrance examination to the CvA study secretariat before 1 March. The programme must reflect the candidates specific, distinctive features. The admissions committee will evaluate the proposed programme and make any necessary changes. Programme guidelines and requirements are available on request from the department representative. 3. Individual presence and distinctive qualities as a soloist are the main factors used to determine whether a candidate is to be admitted to the masters degree programme. An original and well-thought-out programme in which extremes need not be avoided will attest to the candidates unequivocal artistic merit. Additionally, the student must also demonstrate his/her far-reaching insights into planning, organizing and developing workshops, courses and projects, all of which must meet international standards. 4. A plan of study drawn up by the candidate and a follow-up discussion regarding the structure of the plan.

Flute

Learning Objective

The student will concentrate on the further mastering of all aspects of flute playing. After two years, the student will be ready to enter the professional music world at the highest level as an orchestral musician, chamber player and soloist.

Principal Study

Principal subject Solo playing and orchestral playing. Principal private lessons by appointment. Final project The student will adopt a more specialized approach to the repertoire of his/her principal study and will undertake research, on which he/she will report. To be determined by the student himself/herself. Additional instruction in the principal study * coached ensemble playing and orchestral playing (including piccolo and alto flute) * introductory courses: students may choose from traverso/ bansuri or other non-Western tradition/historical performance on their own instrument * Master's New Music Ensemble * chamber-music projects * orchestra projects * training for auditions and stage presentation

Student activities Learning repertoire, playing, performing, participating in projects.

Methods of instruction Individual lessons, group lessons, repertoire class with various teachers (also geared towards modern techniques like circular breathing); students will have the o

StudiegidsKlassiekMaster2014 2014 Eng (1)

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