Curriculum Handbook Master Electives 18-19 PDF

2018-2019
Curriculum Handbook Master Electives

Contents page
Master Electives Royal Conservatoire The Hague 2018-2019 ............................................. 3
Master Electives offered by the Music Theory, Classical, Early Music, Jazz, Vocal departments ... 3
Acting while singing ........................................................................................................................................ 3
Analysis and Performance .............................................................................................................................. 4
An Investigation into the practice of writing classical cadenzas .................................................................... 5
Creative Performance Practices: Musical expression in 19th & early 20th century performance ................ 6
Essential Writing and Research Skills ............................................................................................................. 7
Improvisation: from score to creation. A European Joint Module ................................................................. 9
Leonard Bernstein: The unanswered question ............................................................................................ 10
Literature Workshop .................................................................................................................................... 11
Music Round the Corner, Wijkmuzikant editie Morgenstond ...................................................................... 12
Music since World War II ............................................................................................................................. 14
Performance Practice 1850-1950 ................................................................................................................. 15
Performance Science .................................................................................................................................... 16
Performing Polyphony from Original Sources .............................................................................................. 17
Questioning Research in Early Music ........................................................................................................... 19
Remedial Writing Workshop ........................................................................................................................ 20
Research and Improvisation Jazz .................................................................................................................. 21
Study and Performance with the Netherlands Mixed Youth Choir or the Netherlands Female Youth Choir
...................................................................................................................................................................... 22
With and beyond music: curatorial practices in musical performance and composition ............................ 23
Master Electives offered by the Composition department ....................................................... 24
MusicMultimedia Elective ............................................................................................................................ 24
The Rejection Class ....................................................................................................................................... 25
Master Electives offered by Music Education ........................................................................... 26
Concepts of instrumental and vocal education ............................................................................................ 26
Course Music Education according to the Kodály Concept .......................................................................... 28
Music Psychology ......................................................................................................................................... 30
Cultural Philosophy ...................................................................................................................................... 31
Processes of musical learning ....................................................................................................................... 32
Teaching practising ....................................................................................................................................... 34
Master Electives offered by New Audiences and Innovative Practice (NAIP) ............................. 35
MM NAIP / Module Leading and Guiding..................................................................................................... 35
MM NAIP / Performance and Communication ............................................................................................ 37
MM NAIP / Entrepreneurship and Project Management ............................................................................. 38
MM NAIP / Elective Music and Dementia .................................................................................................... 39
Electives Codarts Master of Music 2018-2019 ................................................................. 41

Playing with History ...................................................................................................................................... 41
Progressive Contemporary Jazz .................................................................................................................... 42
Best Practice in Modern Notation ................................................................................................................ 42
Playing the Tango ......................................................................................................................................... 45
Networking ................................................................................................................................................... 46
Makam/Raga: Microtonality, Modality and style in Ottoman Court Music and Indian music ..................... 47
Music Psychology & Music Therapy: Theory and application ...................................................................... 48
Performance Awareness Practicum (PAP) Exploring the mind, emotion, body connection in performing arts
(Integrating the pillars)................................................................................................................................. 49
Master Electives offered by the Academy for the Creative and Performing Arts/Leiden
University 2018-2019 ...................................................................................................... 52
Music between Work and Event .................................................................................................................. 52
Description ................................................................................................................................................... 52
Popular and Global Music ............................................................................................................................ 54
Music Cognition ............................................................................................................................................ 56
Language, Music and Text-setting ................................................................................................................ 58
Music x Technology ...................................................................................................................................... 60
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Master Electives Royal Conservatoire The Hague 2018-2019
Master Electives offered by the Music Theory, Classical, Early Music, Jazz, Vocal departments
Course title: Acting while singing
Osiris course code: KC-M-EL-PM

Course Content: Lessons consist of a practical component where you rehearse and perform your own
selection of scenes and react to what your fellow students present. You will work with
a piano accompanist. In addition, there is a theoretical component where you will
learn how to analyse scenes and how to prepare your work on stage.
Objectives: At the end of the course you should:
 Have an advanced understanding of how to build a role in opera or music theatre.
 Be able to find materials (literature, films, other art forms) to understand and
create the context and subtext of your role characters.
 Have developed skills to create your role character.
 Be able to use analyses to interpret and bring this to practice on stage.
 Have an advanced understanding of acting tools such as: improvisation,
concentration, reaction, association, organisation and discipline.
Type of course: Elective
Level: Master
Numerus fixus: 8 students
Prerequisites: Open for all master’s students, but students who are not from the Vocal Department
should send in a written motivation.
You should:
 Have a scene prepared.
 Be willing to prepare a duo-scene with a fellow course member.
 Know your repertoire by heart.
 Have knowledge of the piece, librettist, composer, role, scene.
 Have your scene translated into your mother tongue.
Teachers: David Prins
Credit points: 3 EC
Literature: Ostwald, D.F., ‘Acting for Singers’, Oxford University Press, 2005.
http://www.bol.com/nl/p/acting-for-singers/1001004002535840/
Bruder, M. (a.o), ‘A practical Handbook for the actor’, Vintage Books/Random House,
New York. [ISBN 978-394-74412-4]
http://www.bol.com/nl/s/boeken/zoekresultaten/Ntt/a+practical+handbook+for+th
e+actor/N/8299+8292/Nty/1/search/true/searchType/qck/sc/books_en/index.html?
_requestid=414499
Work forms: Group lessons + Self study
Assessment: Attendance results (80%) + Written evaluation and oral (group) evaluation
Sort of grading: Pass-fail
Language: Nederlands / English
Schedule/time/venue: t.b.a. via Asimut
Registration: Via online form by 17 September
Information: David Prins: d.prins@koncon.nl
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Course title: Analysis and Performance
Osiris course code: KC-M-EL-AP

Course Content: In this course you will study and discuss many examples from compositions in which
the connection can be made between analysis and performance. We will investigate
and practically try in what way analytical observations may influence the
interpretation of the music, and recordings from different performers will be
compared. Examples will be chosen from your own repertoires. You will also study
recent literature in this research area. Therefore, a syllabus will be provided with a
selection of chapters from recent publications and articles from journals, starting
from the writings of Heinrich Schenker (first half of 20th century).
 Have an advanced understanding of the relationship between analysis and
performance.
 Have an advanced understanding of recent literature on analysis and
performance.
 Have developed concrete ideas about applying the results of an analysis to the
performance of compositions that you play or sing.
Level: Master
Teacher(s): Paul Scheepers
Credit points: 3 EC
Literature: Syllabus will be handed out
Work forms: Group lesson/Seminar
Assessment: Attendance results (80%) + Presentation: you analyse a composition that you
play/sing and apply the results to your own performance. You are also expected to
refer to recordings and literature. The presentation will be judged by a committee.
Language: English
Information: Paul Scheepers: psmusico@kpnmail.nl
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Course title: An Investigation into the practice of writing classical cadenzas
Osiris course codes: KC-M-EL-WPC

Course content: This course will focus on the development of cadenzas in repertoire for wind and
string instruments from the second half of the 18th century, the classical era. The
objective of this course is to provide you with the knowledge and the tools to write
and play your own cadenzas. We will study compositions and treatises from the
period and we will investigate different genres with their various kinds of cadenzas.
There will be personal guidance and class discussions as to how to write and to play
them.
 Have an advanced understanding of the historical development of cadenzas in
the discussed eras.
 Be able to write a stylistically informed cadenza for a composition of your
choice.
 Be able to perform a cadenza on your instrument.
Teacher: Wouter Verschuren
Credit points: 3 EC
Numerus fixus: 8 students; open to players of wind and string instruments and vocalists, no players
of keyboard instruments.
Literature: Brown, H.M., ‘Embellishing Eighteenth-Century Arias: on Cadenzas’.
Johansen, U., ‘The Instrumental Cadenza of the Period c.1700–c.1770’.
Lasocki, D., B. Bang Mather, ‘The Classical Woodwind cadenza'.
Neumann, F., ‘Ornamentation and Improvisation in Mozart’.
Work forms: Group lessons
Assessment: Reading assignments, writing and playing cadenzas, presentation
Sort of grading: Attendance results (80%)
Language: English
Information: Wouter Verschuren: w.verschuren@koncon.nl
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Course title: Creative Performance Practices: Musical expression in 19th & early
20th century performance
Osiris course code: KC-M-EL-CSA

Course Content: More than ever before, performers must be able to think critically about their artistic
practices. Critical engagement with the history of performance practices is one of the
ways today’s musicians can broaden their expressive pallet as performers. Historical
recordings and sources reveal to us that our current performance practices are often
far removed from the vibrant performing traditions associated with the canonic
repertoires of the 19th and early 20th centuries. This course aims to provide you with
the opportunity to experiment with expressive devices and practices that are no
longer part of our current aesthetic vocabularies as performers. The course focuses
on three key areas:
1) Un-notated performing practices: rhythmic and tempo alteration, portamento,
vibrato, ornamentation.
2) Hands on creative exploration of interpretative possibilities.
3) Broad historically informed interpretative adventure in standard canonic
repertoires.
Each of these areas propose challenges or disruptions to traditional modes of musical
performance and study, they are intended to encourage you to think about how you
might begin to experiment with[in] your own artistic practices. Each lecture will focus
on practical demonstrations and lively group debates. You will be invited to
experiment with your own repertoires and to reflect on how the material studied
might apply to your own musical practices. Concepts covered will include: musical
expression, musical time and structure, changing performance practices,
imagination, embodiment, interpretation, notation, authenticity, music criticism,
recordings, listening, musical identity and performance analysis.
▪ Be able to make use of the expressive devices studied in this course.
▪ Be able to demonstrate an ability to actively engage in critical debates
concerning a range of musical genres, styles, techniques, and ideologies.
▪ Be able to think critically about your artistic beliefs, knowledge and identities.
▪ Be able to creatively consider new understandings of traditional modes of
musical performance, interpretation and analysis.
Level: Master
Prerequisites: All master’s students from the Classical (especially string players, pianists, woodwind
players, singers and chamber ensembles), Early Music, Vocal, Conducting and Theory
Departments are encouraged to attend.
Teachers: Stefan Petrovic, Emlyn Stam
Credit points: 3 EC
Literature: You will be assigned short readings and listening materials pertinent to the
lectures/workshops. You should bring relevant repertoire you are studying (or have
studied or wish to study) to the workshops.
Work forms: The course consists of 8 lecture/workshop/discussion sessions of 2 hrs.
Assessment: Attendance results (80%) + Quality of effort/engagement in lectures and workshops
Type of grading: Pass-fail
Language: English
Information: Stefan Petrovic: stefanpetrovic.music@gmail.com, Emlyn Stam:
emlynstam@gmail.com
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Course title: Essential Writing and Research Skills
Osiris course code: KC-M-EL-EWRS

Course Content: This course will give you the opportunity to practice and to improve your written
and oral presentation skills in English. This class will focus on assisting non-native
English speakers (or native speakers with writing challenges) improve their ability to
research, plan, organize their thoughts, and communicate their findings in formally
written English. Overall, this will help you to better articulate your ideas and thereby
produce written work more representative of a Master’s level. The above goal will
be achieved primarily through a combination of short assignments, group sessions,
and writing conferences where critical feedback will be given regarding your written
work and (when possible) overall research approach. Detailed questions of
grammar, vocabulary, sentence structure, punctuation, and proof-reading will also
be discussed. In addition, the importance of larger questions and related concepts
such as writing style, organization, citation, and the structuring of content will be
examined. Assignments will include the development of both formal academic
writing skills (thesis oriented) as well as providing practice for current and future
professional necessities (e.g. professional biographies). You will be expected to
prepare a concise description of your research in the form of a portfolio (a
document that ensures you can sufficiently articulate your research in written form).
From this, and the other mentioned course work, you will receive constructive and
critical feedback — both from your classmates and the instructor. It should be noted
that this course is not to provide remedial assistance for your English; therefore a
minimum requirement of a B2 in English is required (especially with regards to their
writing abilities).
Objectives: At the end of the course you will:
 Have acquired a far better ability to write in English at an academic level,
primarily from having improved your grammar; expanded your vocabulary;
attained better command of sentence structure and punctuation; gained a
greater understanding of the overall process of writing by way of proof-reading,
editing and revising your own work as well as the work of others.
 Have improved research skills both with regards to accessing online and offline
sources.
 Be able to organize and formally cite your research (citation). This will include
learning key aspects of Chicago style, largely for the purpose of knowing a viable
citation style that can be used when publishing your work on the Research
Catalogue or as a traditional document.
 Will have a received feedback on your present research and will have a more
focused direction towards your work and or thesis.
Level: Master
Teachers: Graham Flett
Credit points: 3 EC
Literature: Suggested Reading List:
Herbert, T., ‘Music in Words: A Guide to Researching and Writing about Music’,
Oxford UP, New York, 2009. Print.
Strunk, W., and E. B. White, ‘The Elements of Style’, Longman, New York, 2000, 4th
ed. Print.
Turabian, K.L., ‘A Manual for Writers of Research Papers, Theses, and Dissertations’,
U of Chicago, Chicago and London, 2010, 8th ed. Print.
Other articles, essays, and course materials will be provided by the lecturer.
Work forms: Group lesson
Assessment: Continuous assessment and final portfolio + Attendance results (80%)
Sort of grading: Pass-fail (with a specific grade for a pass)
Language: English
Schedule/time/venue: t.b.a. via ASIMUT
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Information: Graham Flett: gflett@koncon.nl
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Course title: Improvisation: from score to creation. A European Joint Module
Osiris course code KC-M-EL-EJM

Course Content: This module is constructed as a European Joint Module, which means it will be
offered in collaboration by three institutions: the Royal Conservatoire The Hague, the
Royal Conservatoire Antwerp and the Guildhall School of Music and Drama in
London. These institutions have agreed on a joint content and pedagogical approach
for this module on improvisation. Teachers in the three institutions will travel
supported by the ERASMUS+ programme to the institutions to teach this module
throughout the first semester. This module has been developed in the framework of
the European METRIC (Modernising European Higher Music Education through
Improvisation) project on improvisation (see https://www.aec-
music.eu/projects/current-projects/metric-). The module presents multiple
approaches to classical improvisation:
 independently of repertoire
 in the context of performing specific repertoire works
Starting from a reference/stimulus (score, a film, a composition, a musical structure
([ABA etc.])… moving towards an improvised creation, developing extended solo or
ensemble interaction.
Objectives: Encouraging creativity and personal voice in Art Music-making:
 Broadening perspectives as performer.
 Exploring different performance perspectives by means of improvisation (making
the connection between formal insight and expression).
 Personalising (taking ownership of) tonal/modal languages, forms (e.g. ABA,
rondo etc.) and modes of expression (playing in a ‘telling’ way).
 Familiarising with different international pedagogical approaches
Type of Course: Elective during the first semester
Level: Master (8 x 3 h + 1 session assessment)
Prerequisites: Previous experience in classical improvisation recommended.
Teachers: David Dolan (Guildhall School of Music and Drama), Bert Mooiman and Karst De Jong
(Royal Conservatoire The Hague), Yves Senden (Royal Conservatoire Antwerp)
Credit Points: 3 EC
Literature See Joint_Modules_Literature.pdf for recommended literature
Work forms: Local teachers: group sessions of (average) 3h
Visiting teachers: group sessions of (average) 3h + possibilities for further individual
coaching
Assessment: Public performance:
 The students use at least one of the ideas provided in the sessions.
 Includes solo and group improvisation
Sort of grading: Final assessment in the presence of the ‘local’ teacher plus one of the visiting
teachers + Attendance results (80%). The METRIC assessment criteria will be used in
the assessment process.
Language: English
Schedule/time/venue: Session 1, 3, 4, 6: given by the local teachers
Session 2, 5, 7, 8: given by the visiting teachers
Dates: 9/10 (K+B) 17.30 – 20.30, 16/10 (YS) idem, 30/10 (K+B) idem, 13/11 (K+B)
idem, 27/11 (YS) idem, 11/12 (K+B) idem, 18 + 19 / 12 DD. On 18 December: 17.30 –
20.30, 19 December: 9.30 – 12.30.
Venue t.b.a. via ASIMUT
Information: K.deJong@koncon.nl
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Course title: Leonard Bernstein: The unanswered question
Osiris course code: KC-M-EL-UQ

Course Content: At the beginning of his first Norton Lecture, Leonard Bernstein explained the
importance of "inter-disciplinary values”, that the best way to 'know' a thing is in the
context of another discipline. In six lectures Bernstein communicated his ideas of the
universality of musical language through wide-ranging analogies to linguistics,
aesthetic philosophy, acoustics as well as music history. Bernstein based much of the
lectures on the linguistic theories Noam Chomsky set out in his book ‘Language and
Mind’. In the first three lectures, Bernstein analysed music in linguistic terms
phonology (sound), syntax (structure) and semantics meaning), focusing on music
from the Classical period. In the fourth lecture (‘The Delights and Dangers of
Ambiguity’), Bernstein looked at music from the Romantic period, with its
heightened harmonic uncertainties and structural freedoms. The fifth lecture (‘The
Twentieth Century Crisis’) outlined the movement toward atonality and the crisis
provoked by this crucial change in our musical language. Charles Ives' ‘The
Unanswered Question’, one of the primary musical examples, became Bernstein's
title for the entire series of lectures. The final lecture (‘The Poetry of the Earth’)
concentrated on the work of Igor Stravinsky, whom Bernstein thought had found a
musical answer to "the unanswered question", one that kept tonality at its centre.
Objectives: At the end of the course you should :
 Have an advanced understanding of the origin and meaning of music.
 Have an advanced understanding of late 19th and early 20th century music.
 Have an advanced understanding of interpretation and musical structure in
general.
Level: Master
Prerequisites: Music theoretical interest and basic knowledge of English grammar
Teachers: Kolja Meeuwsen
Credit points: 3 EC
Work forms: Lecture on film
Assessment: Attendance results (80%) + Paper/essay, 2000 words about subject discussed by
Leonard Bernstein
Language: English
Information: Kolja Meeuwsen: k.meeuwsen@koncon.nl
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Course title: Literature Workshop
Osiris course code: KC-M-EL-LW

Course Content: In this class we will investigate the nature and practical features of late 18 th and early
19th century style and performance practices. The first half of the classes will focus on
literature research leading up to an individual presentation. The second half of the
season is devoted to repertory research. All performance practice subjects are
allowed. Topics may be related to the topic of the final master presentation.
Part 1. October – November – December: 18th and early 19th century performance
practice. Depending on instrument and interest, you will choose a subject in order to
present a lecture demo. Besides using key treatises and literature, research can
include using your own instrument.
Presentations can take any form: lecturing, PowerPoint, via hand-outs, video, live
playing and any combination. Possible topics could be performance practice basics like
articulation, fingering, bowing (etc.); style features like rhetoric, vibrato; historical
topics like instrument development, genre research; instrumental or vocal techniques;
focusing on a performer or composer, geographical area, city or musical school. You
will be expected to prepare a hand-out or show examples on screen as well as present
a selected and annotated bibliography on your subject.
Part 2. January - February – March: Presenting a programme.
With focus on the classical and early 19th century repertory, you are being asked to
prepare a coherent, marketable concert programme within certain parameters in
time, geographical location and genre. Every assignment will be cut to your particular
interest. In addition to making the programme, you will be asked to write an actual
letter to a concert organisation in which you present yourselves and propose this
programme for inclusion in your concert series or festival. This letter must include a
biography, short but attractive programme notes and a list of concert organisations
including names and addresses.
 Have and advanced understanding of classical and early 19th century style.
 Have an advanced understanding of the repertoire in these periods.
 Be able to exchange knowledge about the subject in class.
Level: Master
Teacher(s): Bart van Oort
Credit points: 3 EC
Literature: Treatises and secondary literature, choice depending on each individual topic
Work forms: Workshop
Assessment: Attendance results (80%) + Research, presentation and written assignments
Language: English
Information: Bart van Oort: bart@bartvanoort.nl
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Course title: Music Round the Corner, Wijkmuzikant editie Morgenstond
Osiris course code: KC-M-EL-MC

Course Content: This course aims to prepare you for work as a local area musician in a team
environment. The “wijkmuzikant” works with several programmers or artistic
directors of festivals or community art projects who try to make music in one area,
building a strong relation with the local audiences and collaborating with various
partners. Issues that are important are: choice of repertoire, inventive ways to
present music and innovative ways to attract, involve and educate audiences.
You will focus on learning and improving practical skills, develop creative ways to
communicate with audiences (with and without their instrument), and develop
techniques to make audiences participate in performances and presenting a concert
with conviction. In this course, you will work in an ensemble or chamber orchestra.
Ilona Sie Dhian Ho will give lectures on the background of the city musician and is
involved in rehearsals. Ginette Puylaert and Tim Sabel will be your teachers for the
group lessons and rehearsals with the whole chamber orchestra, including bachelor
students. Lessons and rehearsals focus on the “BuurtOpera”: a performance with
participants from the local area Morgenstond at the end of June. From February
until June: Preparation for the “BuurtOpera” are 2-3 concerts in small setting with
ensembles in the local area Morgenstond. Every concert is prepared as follows:
research of target audience(s): every concert starts with doing research on the
target audience(s). Through exercises and live meetings with citizens of
Morgenstond you will relate to the target groups (musical) interests, activities and
life stories. Development of musical programme: making decisions about the
formation of the orchestra/ensemble and repertoire according to the outcomes of
the research. Interaction/participation: integrate interactive and/or participation
elements within the musical programme according to the outcomes of the research.
Rehearsals/Performances: the orchestra performs the musical programme on
several occasions or locations in the neighbourhood of Morgenstond.
 Be able to design, organise and perform a musical programme to improve the
understanding and appreciation of classical music in a local area and specific
target audiences.
 Have an advanced understanding of performing and communicating with
various audiences.
 Be able to make choices in selecting repertoire and ways of performing that are
artistically and musically convincing as well as a contribute to the understanding
of music in a local area.
 Be able to cooperate in a team in which you have a specific task in the
organisation.
 Be able to communicate with partners in a local area.
Level: Master
Prerequisites: Bachelor Classical Music
Teachers: Ilona Sie Dhian Ho, Tim Sabel, Ginette Puylaert
Credit points: 4 EC, of which 3 EC can count as a Master Elective
Literature: Articles and videos about/of relevant projects, organisations and musicians are
shared by the teachers and students in the group lessons.
Work forms: Grouplessons, rehearsals and performances in local area
Contact hours: 40-50h, excl. self study. It is possible to do this Elective for 1 or 2 study years.
Assessment: Attendance results (80%) + an individual conversation.
Competences that are evaluated are professionality, quality of initiatives, and
communicative skills (with and without playing).
Language: English and Dutch
Schedule/time: t.b.a. via ASIMUT
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Information: Tim Sabel and Ginette Puylaert: orkestmorgenstond@gmail.com and
www.orkestmorgenstond.nl
13
Course title: Music since World War II
Osiris course code: KC-M-EL-MWW

Course Content: The focus of these lessons will be on music composed since World War II. In the first
place, we will examine some important compositions. Secondly, we will also read texts
of composers about their own composing or of other writers on music, to get an idea
about the context of the music we study. To enrich this context we will read about
ideas on Modernism, Post-Modernism and Intertextuality.
 Have an advanced understanding of the performance practice of music
composed since World War II.
 Have an advanced understanding of the compositional practices of significant
composers of the period.
 Have an advanced understanding of certain theories and ideas that came up
after the World War II.
Level: Master
Teacher: Patrick van Deurzen
Credit points: 3 EC
Literature: Various articles that will be distributed during the course
Work form: Group lesson
Assessment: Attendance results (80%) + Presentation and a paper
Language: English
Information: Patrick van Deurzen: Deurzen@koncon.nl
14
Course title: Performance Practice 1850-1950
Osiris course code: KC-M-EL-PP

Course Content: The performance practice during the period 1850-1950 will be studied based on
historical information and authentic video and audio recordings from this period,
including some of the Bernstein lectures “the unanswered question”.
 Have an advanced understanding of early 20th century performance practice.
 Have an advanced understanding of the performance practice of so-called
encore pieces as recorded on the first wax roles and 78' records.
 Have an advanced understanding of performance practice in general of the
music of the Romantic period.
Level: Master
Teacher(s): Kolja Meeuwsen
Credit points: 3 EC
Literature: ‘A performer’s Guide to music of the Romantic period’, ABRSM Publishing.
Assessment: Attendance results (80%) + Presentation
Language: English
Information: Kolja Meeuwsen: k.meeuwsen@koncon.nl
15
Course title: Performance Science
Osiris course code: KC-M-EL-PS

Course Content: This course is based on practical exploration of methods and approaches on
performing, performance preparation and practicing. You bring your current practice
and performance issues and these will be investigated within the group. Each
session, several participants will play. Information based on empirical research (from
psychology, pedagogy and neuroscience) connected with the themes that emerge
will be offered and discussed. Topics which can be explored include deliberate
practicing, effective performance preparation, current theories on motor learning,
working with goals and intentions, feedback, efficient use of the body and the mind,
focus and concentration, motivation and confidence. You will be encouraged to
approach the topics from the point of view of your own practice and goals and your
own research topics.
 Have an advanced understanding of existing approaches, methods and
strategies concerning performance science.
 Be able to show how you have applied current knowledge in this field to your
own practice and research.
 Have gained insights into your own physical and mental states during practicing,
performance preparation and performing.
 Have a good understanding of relevant literature on performance science.
Level: Master
Prerequisites: A connection with the research question is advisable but not obligatory.
Teachers: Susan Williams, Wieke Karsten
Credit points: 3 EC
Literature: ‘From Potential to Performance’, Royal Conservatoire The Hague, 2014.
Prom Potential to Performance Website:
http://web.uniarts.fi/practicingtipsformusicians/
Bandura, A., ‘Self-Efficacy: The exercise of Control’, Freeman, 1997.
Dweck, C., ‘Mindset: The New Psychology of Success’, Ballantine Books, 2006.
Goffman, E., ‘The Presentation of Self in Everyday Life’, Anchor Books, 1959.
Green, B., ‘The Inner Game of Music’, Pan Books, 1987.
Mornell, A., ‘Art in Motion’, Peter Lang, Frankfurt am Main, 2009.
Mornell, A., ‘Art in Motion II’, Peter Lang, Frankfurt am Main, 2012.
Williamon, A., ‘Musical Excellence’, Oxford University Press, London, 2004.
Williams, S., ‘Quality Practice: A musician’s Guide’, Bremen, 2017.
Work forms: Playing, discussion and exercises
Language: English
Information: Susan Williams: s.williams@koncon.nl
16
Course title: Performing Polyphony from Original Sources
Osiris course code: KC-M-EL-FP

Course content: The polyphonic repertoires that flowered in Europe between ca. 1300 and 1550
show a remarkable richness and variety. This course aims at introducing you to a
particular polyphonic repertoire (rotating yearly), by performing directly from the
manuscript sources. Besides reading the original mensural notation, attention will be
paid to ensemble-specific singing technique, tuning and intonation, the application of
accidentals, and ornamentation. Master students will also be coached in related
research-topics such as preparing performance-editions, writing programme notes
and leading rehearsals. The final aim of the course is to enable you to function as
informed, skilled, and independent performers of polyphonic music. The course is
principally intended for singers, but instrumentalists may – besides singing –
occasionally also participate with an instrument (recorder, lute, sackbut, shawm
etc.). The theme of 2018-2019 will be ‘Contenance Angloise: English Music on the
Continent 1400-1470’, tracing the influence of composers like John Dunstaple and
Walter Frye on continental musicians such as Guillaume Du Fay and Gilles Binchois.
The course is organised as a partnership between the Alamire Foundation (Leuven,
BE) and the Royal Conservatoire.
Objectives: At the end of the course you:
 Are able to perform the repertoire in question from original sources.
 Have acquired practical knowledge of the musical grammar and style in
question.
 Have acquired vocal skills specific for this ensemble repertoire.
 Are able to lead a small ensemble in singing polyphony.
 Are able to show independent insights into research and performance practice
of the repertoire in question.
Level: Master
Prerequisites: Experience with ensemble singing, good sight reading skills. Admission via audition.
Teachers: Dr. Niels Berentsen (main teacher)
Stratton Bull (ensemble singing coach)
Guest-teachers: Corina Marti, Lucien Kandel, t.b.a.
Literature: Syllabus with selected manuscript images (buy at repro)
Work forms: The course consists of weekly lessons of one hour, offering instruction in singing
from mensural notation and monthly three-hour sessions, focusing on a particular
performance-related aspect. At the end of the course, a project week will be held at
a church in or near The Hague, which concludes with a public performance. Further
performance-opportunities for the class, or a selection thereof, will be explored.
Assessment: A minimum of 80% attendance + Assignment (performance edition of a composition
from a manuscript source)
Grading system: Pass-fail
Language: English
Sat 6/10/18 11:00-17:00 Audition KonCon
Sat 3/11/18 16:00-19:30 Session with Stratton Bull KonCon
Sat 17/11/18 15:00-19:30 Masterclass with Corina Marti KonCon
Sun 2/12/18 12:00-16:00 Session with Stratton Bull KonCon
Sat 19/1/19 15:00-19:30 Masterclass with Lucien Kandel KonCon
Sat 23/2/19 12:00-16:00 Session with Stratton Bull KonCon
Fr 22/3/19 t.b.a. Workshop with David Fallows KonCon
Mon 22/4/19 10:00-18:00 Workweek/excursion t.b.a.
Tu 23/4/19 10:00-18:00 Workweek/excursion t.b.a.
Wed 24/4/19 10:00-18:00 Workweek/excursion t.b.a.
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Thu 25/4/19 10:00-18:00 Workweek/excursion t.b.a.
Registration: Via online form by 17 September and by sending an email to:

niels.berentsen@gmail.com
Information: Niels Berentsen: niels.berentsen@gmail.com
http://www.alamirefoundation.org/
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Course title: Questioning Research in Early Music
Osiris course code: KC-M-EL-RE

Content: Research and its impact on early music interpretation will be the main subject in this
course. This will be done through an intensive dialogue with you and based on the
long-time experience of the teacher with research and the effects of this research on
interpretation and historically informed performance. Among other subjects,
subjectivity related to the choices made in the process of research will be discussed
with the help of concrete examples. You will be expected to form an active dialogue
with each other and with the teacher about the subject of this course.
Objectives: You learn with the help of a very experienced teacher in the field, to judge the essential
information in relation to historical performance. To what extent will common
knowledge be completed by personal choices and what are the criteria in this
procedure? At the end of the course you should:
 Have an advanced understanding of how research impacts the interpretation of
early music performance.
 Have engaged in active dialogue with fellow students regarding your own research
process/choices.
Level: Master
Teacher: Peter van Heyghen
Credit points: 3 EC
Literature: t.b.a.
Assessment: Due to the limited number of sessions a 100% attendance is mandatory.
Language: English
Information: Johannes Boer: j.boer@koncon.nl
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Course title: Remedial Writing Workshop
Osiris course code: KC-M-EL-RWW

Course Content:
This course is specifically designed for assisting you to overcome obstacles and
issues with your ability to write in English. Students enrolling in this class should
nevertheless have a substantial grasp and comprehension of English with respect to
listening, speaking and reading (e.g. an A2 or B1 level of English would be adequate).
Overall, this course will review basic principles of sentence construction, grammar,
syntax, and improving your vocabulary. While keeping this fundamental goal in mind
the course will also ensure that you obtain the fundamental tools to research and
cite sources in an appropriate way.
Objectives: At the end of the course you will:
 Have improved your ability and your overall confidence with express yourselves
in written form in English.
 Understand key areas in your acquisition of English that requires attention.
 Have greater understanding of the needed vocabulary that must be mastered in
order to effectively discuss your research.
 Have an adequate understanding of citation and how it applies to your specific
research context.
Level: Master
Teachers: Graham Flett
Credit points: 3 EC
Literature: Readings, exercises, and other content will be provided on a weekly basis by the
lecturer.
Work forms: Group lesson with individual assignments and exercises
Assessment: Continuous assessment and final evaluation + Attendance results (80%)
Sort of grading: Pass-fail (with a specific grade for a pass)
Language: English
Schedule/time/venue: t.b.a. via ASIMUT
Information: Graham Flett: gflett@koncon.nl
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Course title: Research and Improvisation Jazz
Osiris course code: KC-M-EL-RJ

Course Content: Research and improvisation will be discussed through four points of departure:
practice, methods, historical backgrounds and literature. The topics will be: Tonal,
Modal, Atonal, and Chance (3 lessons with John Ruocco). Active participation is
required because: “Practicing improvisation is different than practicing scales, licks,
patterns or other technical or conceptual things”. One or two lessons will be spent on
investigating methods of improvisation and two or three lessons on literature (Patrick
Schenkius). In addition, you will present a mini-research of a self-chosen method or
book on jazz improvisation. In the last lesson(s) you will give a short lecture about your
mini-research. You can form your own opinions through discussion about the ideas
and thoughts presented in the literature and the practical lessons of John Ruocco. Your
own opinion regarding sources will also be trained in the short presentation during the
last lessons.
 Have an advanced understanding of methods and books on improvisation .
 Judge the sources used on value and appropriateness.
 Be able to form your own opinions on the sources.
Level: Master
Prerequisites: Knowledge about jazz and (jazz) improvisation
Teachers: Patrick Schenkius and John Ruocco
Credit points: 3 EC
Literature: Bailey, D., ‘Improvisation’.
Monson, I., ‘Jazz Improvisation’.
Crook, H., ‘How to Improvise’.
Berliner, P., ‘Thinking in Jazz’.
Lovano, J., ‘Improvisation, Developing a Personal Approach’ (DVD).
Kernfeld, B., ‘Improvisation’.
Language: English
Information: Patrick Schenkius: p.schenkius@koncon.nl
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Course title: Study and Performance with the Netherlands Mixed Youth Choir or
the Netherlands Female Youth Choir
Osiris course code: KC-M-ED-SPC

Course Content: A practical course where you study and perform with with one of the two
Netherlands Mixed Youth Choirs (mixed or female) in projects lead by international
guest conductors. By offering this course, where choir and ensemble singing is
performed at a high performance level, you can develop your broader musicianship
skills and musical experience. This can lead to further possibilities in your
professional practice. The course consists of two projects (two semesters) during one
study year. Concerts will be given at the end of each semester and will be lead by a
guest conductor. Vocal coaching will be available during rehearsals and study days.
Musicianship training (aural skills development for choir singing) will be integrated in
the study programme. Master’s students will reflect on the process of studying
repertoire and the development of musicianship skills.
 Have developed singing and musicianship skills to be able to sing in a mixed
youth chamber choir at performance level.
 Have an advanced understanding of the musical learning process that takes
place during the process of preparing a chamber choir concert.
 Be able to transfer musicality by means of your own voice in a chamber choir
setting.
 Be able to read music well in order to study the music independently and with
understanding of musical structure and form.
 Have developed polyphonic skills to divide the different layers of attention
needed in musical activities such as choir singing and ensemble playing.
 Have a good understanding of the process of studying repertoire and the
development of musicianship skills in a chamber choir.
Level: Master
Prerequisites: Audition organised by Vocaal Talent Nederland. The course is open after audition for
master’s students with instrumental main subjects, Theory of Music, Music Education,
Composition, Sonology, Conducting and NAIP. Age: 16 until 30 years.
Teachers: Wilma ten Wolde, Irene Verburg, Daniël Salbert, Suzanne Konings and international
guest conductors as Ivan Fischer, Adrián Rodriguez van der Spoel, Sigvards Klava and
Ed Spanjaard. Cooperation with ensembles as Musica Temprana, Royal
Concertgebouw Orchestra, Black Pencil and Il Gardino Armonica.
Credit points: 3 EC
Literature: Choir repertoire to be performed in the project
Work forms: Study days with the choir and, if needed, extra musicianship classes in a smaller group
of students and members of the youth choir. Study days are ± 6 days per semester,
during weekends, from 10:30 – 17:00.
Assessment: Attendance (90%) + Evaluation of the performance
Language: Dutch and English
Schedule/time/venue: Study days and concerts t.b.a. via Asimut. Audition end of September.
Information: Suzanne Konings: s.konings@koncon.nl
www.nationalekoren.nl
22
Course title: With and beyond music: curatorial practices in musical performance
and composition
Osiris course code: KC-M-EL-CPMP

Course Content: Open for performers, composers, sound artists, artist-researchers and others, this
course explores the use of curatorial strategies in musical creation and/or the
performance of music from the past and present. Curatorial practices and strategies
consist in bringing together artworks, objects, spaces, ideas or discourses, and in
establishing dialogues or relations between them. Widely popular in the field of
visual arts and increasingly so in theatre, these practices allow artists to orient
themselves in the rapidly changing world of globalization, information and
communication, and to create new contexts and forms of presentation for their art
that is more directly connected to the world around them. In a series of modules that
combine reflection and practical experimentation, you become acquainted with
methods and theories on curatorship from different art forms and investigate
notions of process, information, space, performativity, dramaturgy and
choreography as well as the interaction between artistic and non-artistic materials or
art and society through 1) the analysis of artistic productions such as staged
concerts, archival art, performance-lectures, context-specific works, interventions in
public space or composed theatre; 2) the creation of own compositions and/or
performance; 3) the development of related mediation activities; 4) interviews with
music programmers or artist-curators and 5) the production of texts.
Objectives:
 To get acquainted with curatorial strategies and methods from different art
fields and with existing artistic work that makes use of these methods and
strategies.
 To reflect critically upon the notion of curatorship in the analysis of existing
work.
 To develop own works, performances and strategies from the realm of the
curatorial.
 To think music within broader social, cultural and/or political horizons and to
develop mediation activities to present this music to the audience.
Level: Master
Teachers: Heloisa Amaral, PhD docARTES (Orpheus Institute/Leiden University), member of the
MusicExperiment 21 collective of the Orpheus Institute and advisor of the
Defragmentation project on curatorship in music (DE).
Guest lecturer: Musicologist and curator Maarten Quanten from De Bijloke,

Ghent/University of Brussels for a session on critical discourse analysis.
Literature: Group lessons

Assessment: A minimum of 80% attendance + Assignments (see course content) + Attendance of
minimum one session of ARC (artistic_research_convergence)
Language: English
Registration: Via online form by 17 September and by sending an email to:
heloisa.amaral@orpheusinstituut.be
Information: Heloisa Amaral: heloisa.amaral@orpheusinstituut.be
23
Master Electives offered by the Composition department
Course title: MusicMultimedia Elective
Osiris course code: KC-EL-MM

Course Content: The aim of the course is to introduce you to how technology has and can be used in
creating new forms of music multimedia and other performance practice, from the
traditional contexts such as opera or dance to new contexts such as installation and
new media. The course will be broadly split into three phases: the first part deals
with concert multimedia forms, such as video in performance, expanded sound
technologies, and early paradigms of composition with non-musical elements. The
second part of the course will examine the history of sound art in an art context and
will look at current new media practices and key aesthetic issues. The last part of the
season the focus will be on new music theatre practices. The course stretches
throughout the year and encompasses both theoretical and practical work.
 Have an advanced understanding of recent developments in the areas of music
multimedia and expanded performance practices.
 Be able to analyse and reflect on realities between music and other disciplines.
 Be able to selectively work with live electronics.
 Have an advanced understanding of making music with an ensemble that
specialises in live electronics and multimedia.
 Be able to combine video with music and vice versa.
Level: Master
Prerequisites: Numerus fixus of 16: priority to 1. Master Composition students, 2. Sonology and
Artscience students and 3. pre-Master Composition students/contract students/PM
students.
Teachers: Yannis Kyriakides will be the main teacher during the year but the course will be
augmented with various guest teachers.
Literature: t.b.a.
Assessment: Attendance results (80%) + Student participation
Language: English
Music Multimedia is a course spanning the entire year, with regular meetings on
Wednesday afternoons and some project/ensemble based activity.
Venue: Karlheinz Stockhausen Studio
Information: Yannis Kyriakides: y.kyriakides@koncon.nl
24
Course title: The Rejection Class
Osiris course code: KC-M-EL-CRC

Course Content: In our current day the idea of inclusivity, broadness and context reign supreme. To
such a degree perhaps that the making of choices can become a difficult task for a
young composer. The purpose of this class is thus the placement of an ‘antenna’,
through the investigation of some of the common ideas that can lie at the basis of -
often wildly different - forms of artistic expression, regardless of style or discipline (and
opposed to for example notions of historical development, context, meaning, style, or
specific individuals). These ideas will be investigated within the realm of contemporary
composition as well as outside of this realm, through examples from the sciences,
musical theory, non-Western cultures, visual arts and literature. The course is divided
over four main categories (sound concepts - technical concepts - societal concepts and
Translation) and focuses on the broad (for example the expression of idea through
notation, systematics, phenomenology, exterior models/sources, Sound, Form etc.) as
well as on the narrow (specific compositional tissues such as ‘complexity’, ‘single-line
writing', ‘layering’, ‘counterpoint’, ‘syntax’, ‘Mass’, ‘repetition’, ‘tuning’, ‘speech’ etc.).
Classes take place in the form of a discussion of these ideas on the basis of relevant
compositions and come mildly disguised as a repertoire class focusing on works from
ca. 1980 until now. Purpose of the class is to find out which ideas could perhaps be
pertinent to any individual participant and which could henceforth be dismissed - i.e
‘rejected’.
▪ Are able to distinguish between idea and style.
▪ Have acquired knowledge of specific terminology.
▪ Can link up convergent ideas in different artistic disciplines and can recognize
them over time (throughout history).
▪ Have learned how to distinguish outer appearances from inner motivations.
▪ Have hopefully learned something about personal artistic choices.
Level: Master
Prerequisites: Numerus fixus of 16, giving priority to 1. Composition students 2. Sonology and
Artscience students and 3. incidental Bachelor/pre Master Composition students.
Teachers: Peter Adriaansz, main teacher throughout the year. Various guest teachers
may be invited.
Credit points: 3 EC
Literature: Not applicable
Work forms: bi-weekly group lesson
Assessment: Attendance results (80%) + written assignment
Language: English
Information: Peter Adriaansz: p.adriaansz@koncon.nl
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Master Electives offered by Music Education
Course title: Concepts of instrumental and vocal education
Osiris course code: KC-M-ED-CIVE

Course Content: This course introduces concepts of music education in general and instrumental and
vocal education in particular. It focuses on various conceptual and practical
approaches to teaching and learning music and its implications. Special attention will
be given to the relation between theory and practice, subjective educational theories
and the context of musical teaching and learning. Secondly, opinions about aims and
approaches in instrumental and vocal education and the required competencies of
instrumental and vocal teachers will be addressed. Finally, examples of research in
instrumental and vocal education will be discussed.
 Have knowledge of the actual themes and approaches in research of music
education.
 Are able to distinguish different concepts, approaches and aims in music
education.
 Are able to find additional information to what has been discussed and present
this to others.
Type of course: Elective (Compulsory for master’s students in Music Education)
Level: Master
Teachers: Adri de Vugt
Credit points: 3 EC
Literature: AEC Handbook Instrumental Vocal Teacher Education - European Perspectives, 2010.
www.polifonia-tn.org
Bowman, W., Music’s place in education, in: McPherson, G., G. Welch, ‘Oxford
Handbook of Music Education Vol. 1’, Oxford University Press, 2012, p. 21-39.
Creech, A., H. Gaunt, The Changing Face of Individual Instrumental Tuition: Value,
Purpose and Potential, in: McPherson, G., G. Welch (Eds.), ‘Oxford Handbook of
Music Education’, vol. 1, Oxford: Oxford University Press, p. 694-711.
Hallam, S., A. Bautista, Processes of Instrumental Learning: The Development of

Musical Expertise, in: McPherson, G., G. Welch (Eds.), ‘Oxford Handbook of Music
Education’, vol. 1, Oxford: Oxford University Press, 2012, p. 658-676.
Kelchtermans, G., Stories Making Sense. Teacher Development from a Narrative-

Biographical, in: De Baets, T., T. Buchborn, ‘International Perspectives on Music
Education: The Reflective Music Teacher’, Helbling, Innsbruck, 2014, p. 71-83.
Renwick, J., G. McPherson, ‘“I’ve got to do my scale first!” A case study of a novice’s
clarinet practice’, ICMPC Proceedings paper, 2000.
Schippers, H., Toward a global understanding of learning and teaching music, a

framework, in: ‘Faces of Music, Shaping Music Education from a global perspective’,
Oxford University Press, 2010, p. 119-136.
Swanwick, K., In praise of Theory, does it matter what we think?, in: ‘Music, Mind and
Education’, Routledge, 1986, p. 6-18.
Assessment: Paper + Presentation + Attendance results (80%)
Language: English
26
Schedule/time/venue: September – December 2017. T.b.a. via Asimut.
Information: Adri de Vugt: a.devugt@koncon.nl
27
Course title: Course Music Education according to the Kodály Concept
Osiris course codes: KC-M-EL-KC

Course Content: A practical and theoretical course that consists of four main elements: musicianship,
methodology, singing and repertoire, all in relation to music education. International
guest teachers will be invited twice a year. Music teaching from the 19th to the 21st
century will be studied. The course is open for singers, instrumentalists and
classroom (music) teachers.
Methodology
Music education according to the Kodály concept forms the basis of the
methodology classes. The starting point is always active music making. Then
awareness and practising can lead to musical understanding and literacy. The
understanding of the musical learning process is brought into relation with your
teaching practice. You learn to develop your own teaching material.
Singing and repertoire
You sing to develop your own voice and learn how to sing with children. Activities
also include the building of suitable teaching material: song repertoire with games,
canons and part songs. Repertoire for different music teaching situations will be
offered by the teachers and collected by the students.
Musicianship
A group lesson on the development of practical musicianship skills, analytical hearing
and musical imagination. You practice your own musical skills needed for teaching.
Techniques used in Kodály-based music teaching are learned: relative solmisation,
hand signs and rhythm language.
 Have a good understanding of and be able to teach music to children according
to the Kodály philosophy.
 Have a good understanding of historical and pedagogical background of teaching
music.
 Have a good understanding of the musical learning process and be able to design
music lessons in small and logical steps that lead to high quality music making
and real understanding of music by children from the earliest ages.
 Be able to transfer musical content and musicality by means of your own voice,
and be aware of the possibilities and impossibilities of the child's voice at certain
ages and learn how to develop children’s singing.
 Be able to learn to read music well in order to imagine how difficult something
is, for which age group a piece of music is suitable and where potential problems
are.
 Be able to translate sound into music notation, and to understand musical
structure and form.
 Have developed polyphonic skills to divide the different layers of attention
needed in musical activities and teaching music. You can translate these skills
into lessons for children and can thus shape the learning on their way to musical
performance and literacy.
 Be able to integrate the theory and skills that are learned into your own teaching
practices. You should be able to develop and structure lesson plans for your
pupils that show a longer and clear line of learning in and through music.
Level: Master
Prerequisites: Special interest in music education
Teachers: Ewan Gibson, Daniel Salbert, Suzanne Konings, Anouk Vinders, Tim Tomassen,
Patricia Wisse, international guest teachers
Literature: Reader and literature specified by the teacher
Work forms: Group lesson and teaching
Assessment: Attendance results (80%) + Evaluation of assignments
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Language: English
10 Saturdays and 2 Sundays from 10:00-17:00
Dates and more information on:
http://www.muziekalsvak.nl/
Information: Suzanne Konings: s.konings@koncon.nl
29
Course title: Music Psychology
Osiris course code: KC-M-ED-MP

Course Content: In this course several aspects of musical behaviour will be explained and discussed. It
will focus on what music psychology says about how music is perceived, memorised,
experienced, created or performed. Firstly, the music listener is considered. A human
being is born with several musical skills. This innate musicality affords him or her to
enjoy music and implicitly understands music. Through exposure to music in one’s
own culture, innate skills are developed as very effective and selective skills. We will
look at how we perceive musical parameters as loudness and pitch. We will address
as well issues of musical cognition like: How do we memorise music? How do we
create expectations based on tonality or beat induction? Further, we will discuss how
we feel specific emotions when listening to music, or why music has the power to
bring us in a specific mood. For example, why is it that minor chords often evoke a
sad mood, compared to major chords that are more experienced as happy sounds?
Secondly, the psychology of playing music is discussed. What is expertise and what is
needed to achieve it? What happens in our brain when we learn to play an
instrument? Which psychological processes take place simultaneously when we
make music? How are we able to play in time and with other musicians? Finally, we
will look at the effects and importance of (formal) training and practice.
 Have knowledge of the main and actual themes and approaches in music
psychology.
 Are able to explain music psychological processes in both listener and musician.
 Are able to explain the implications of music psychological processes for music
education.
Level: Master
Teacher: Mathias Moors
Credit points: 3 EC
Literature: Deutsch, D., ‘The Psychology of Music’, San Diego: Academic Press, 2013.
Hallam, Cross & Thaut, ‘The Oxford Handbook of Music Psychology’, Oxford: Oxford
University Press, 2008.
Hargreaves, D., A. Lamont, ‘The Psychology of Musical Development’, Cambridge:
Cambridge University Press, 2017.
Honing, H., ‘Musical Cognition. A Science of Listening’, New Brunswick, N.J.:
Transaction Publishers, 2013.
Levitin, D. J., ‘This Is Your Brain on Music: The Science of a Human Obsession’, New
York: Dutton, 2006.
Margulis, E. H., ‘On Repeat: How Music Plays With The Mind’, New York, N.Y.: Oxford
Thompson, W. F., ‘Music, Thought, and Feeling: Understanding the Psychology of
Music’, New York, N.Y.: Oxford University Press, 2009.
Assessment: Written examination + Attendance results (80%)
Sort of grading: Pass-Fail
Language: English
Schedule/time/venue: February 2019 – June 2019. T.b.a. via Asimut.
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Course title: Cultural Philosophy
Osiris course code: KC-M-ED-FI

Course Content: As musical barriers are crumbling, we need to enlarge the perspectives through
which we look and think about music. It is crucial in our time to perceive music
practices in a larger cultural horizon. Professionals in the music sector (composers,
performers, educators etc.) therefore need to have insights into the major themes
that are debated today in the music field and to understand their underlying
ideologies and their political and social implications. In this course you discover how
fundamental questions of Aesthetics and Musicology regarding musical meaning
reappear in different cultural contexts. Rearticulated in authenticity, identity
ownership, originality, event and gesture, these questions present themselves as:
Whose music are you playing? Where does this music happen? Why, for whom and
how? We will proceed by means of the introductory reading of: “Music. A very short
introduction” (Cook, N.). This text will serve as a platform to deepen our
investigation of these questions which will be individually explored and analysed by
reading other relevant literature from contemporary philosophers, musicologists,
and art critics. This debate we will allow us to broaden theoretical perspectives on
music practice.
 Be able to critically discuss the major themes and understand the dominant
positions in the debates on music culture in contemporary society.
 Have deepened your acquaintance with conceptual tools for self-reflection on
your practice as teacher and performer.
 Are able to read and disentangle contemporary literature concerned with
cultural studies.
 Have developed a sensibility for interdisciplinary work.
Level: Master
Numerus fixus: 12 students (in case there will be more, there should be formed two groups)
Teachers: Tom Dommisse, Cristiano Viviani
Credit points: 3 EC
Literature: Adorno, T. W., M. Horkheimer, Dialectic of Enlightenment (Extracts).
Benjamin, W., The work of art in the age of mechanical reproduction (Extracts).
Cook, N., ‘Music - A very short introduction’: Musical Values, Back to Beethoven, A
state of Crisis? An Imaginary Object, A Matter of Representation, Music and the
Academy.
Danto, A., From Aesthetics to Art - Criticism and Back.
Eco, U., ‘The Poetics of the Open Work’ (Extracts).
Goehr, L., ‘The imaginary Museum of Musical Works’ (Extracts).
Kramer, L., ‘Classical Music and its Values’.
Russolo, L., The Art of Noises, Futurist Manifesto.
Small C., Musicking - The Meanings of Performing and Listening - A Lecture
Work forms: Lectures, group discussions, reading assignment.
Assessment: Attendance results (80%) + Oral examination
Sort of grading: Qualification
Language: English
31
Course title: Processes of musical learning
Osiris course code: KC-M-ED-MLP

Course Content: This course focusses on the specific characteristics of music learning. Besides a
theoretical framework, the practical implications and applications will be discussed.
First some general concepts of learning and teaching will be discussed. After this two
particular aspects of music learning will be addressed: aural learning processes and
motoric learning.
 Are able to comprehend literature concerned with theories of musical learning
and can explain the essentials.
 Are able to connect data derived from observations to the studied literature.
 Have a theoretical insight in the relevant aspects of musical learning and
teaching and the practical implications.
 Are able to present your findings concerned with the studied issues in a written
form.
Level: Master
Teachers: Adri de Vugt, Suzanne Konings, Bastiaan van der Waals
Credit points: 3 EC
Literature: Bernstein, N.A., ‘The Coordination and Regulation of Movements’, Pergamon,
Oxford, 1967.
Biesta, G., Giving Teaching Back to Education: Responding to the Disappearance of

the Teacher, 2012, in: ‘Phenomenology & Practice’, vol. 6, No. 2, p. 35-49.
Cranenburgh, dr. B. van, ‘Neurowetenschappen, een overzicht’, Elsevier/de

Tijdstroom, Maarssen, 1997.
Cranenburgh, dr. B. van, dr. Th. Mulder, ‘Van contractie naar actie’, Bohn Stafleu van
Loghum, Houten/Diegem, 1986.
Davids, K., C. Button, S. Bennett, ‘Dynamics of Skill Acquisition: a constraints-led

approach’, Champaign: Human Kinetics Publishers, 2008.
Hallam, S., ‘Instrumental teaching’, Heinemann, Oxford, 1998.
Hargreaves, D., D. Miell, R. MacDonald, ‘Musical imaginations, multidisciplinary

perspectives on creativity, performance and perception’, 2012.
Klashorst, G.O. van de, ‘The disposition of the musician’, Broekmans & van Poppel,
Amsterdam, 2002.
Simons, R.J., J. van der Linden, T. Duffy, ‘New learning’, Kluwer, 2000.
Thorndike, E.L., The law of effect, in: ‘American Journal of Psychology, 39’, 1927, p.
212-222.
Todorov, E., M.I. Jordan, Optimal feedback control as a theory of motor coordination,
in: ‘Nature, volume 5 no. 11’, 2002, p. 1226-1235.
Wulf, G., A. Mornell, Insights about practice from the perspective of motor learning: a
review, in: ‘Music Performance Research, volume 2’, 2008, p. 1-25.
Assessment: Paper + Attendance results (80%)
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Language: English
Schedule/time/venue: March – June 2018. T.b.a. via Asimut.
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Course title: Teaching practising
Osiris course code: KC-M-ED-TP

Course Content: The main activity of a musician is practice. This module focuses on how to teach
practising. The seminars consist of information and exercises designed to explore the
following topics: mindset and conditions for practising, practice methods and
strategies, attentional focus for learning and performance, self-regulated practice
and preparing performances. The aim is that you are able to teach young musicians
to be able to work with goals, to be confident and intrinsically motivated and to
approach practising in an exploratory way. The course will include lectures, exercises
and group discussion.
 Have knowledge of methods and strategies that are important for practising.
 Have experienced your own way of explorative and self-reflective practising.
 Are able to apply methods and strategies that include exploration and self-
reflection in a teaching context.
Level: Master
Teacher: Susan Williams
Credit points: 3 EC
Literature: Williams, S., ‘Quality Practice. A musicians guide’, 2017.
Other materials to be handed out.
Work forms: Group lessons and seminars
Assessment: Individual application assignments + Attendance results (80%)
Language: English
Schedule/time/venue: October 2018 – May 2019. T.b.a. via Asimut.
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Master Electives offered by New Audiences and Innovative Practice (NAIP)
Course title: MM NAIP / Module Leading and Guiding
Osiris course code: KC-M-NA-LGA
Course Content: This module introduces you skills and knowledge necessary to be a competent
workshop/laboratory practitioner and creative leader. It gives you the opportunity as
an ensemble member to explore the combined role of composer, leader and
performer within a creative, participatory workshop environment. You are expected
to engage convincingly in all the following activities as a professional practitioner:
 Voice, body and percussion work; coordination and communication;

 Improvisation as a group, generic activity; developing your own musical voice
within the group; organically building on the ideas of peer group members;
 Group composition skills; conceiving and creating ideas within a collaborative
environment;
 The psychology of leadership; the different levels of facilitating and guiding within
a team; leading and being lead.
Objectives: You will be able:
 To demonstrate an understanding of and capacity for music-based activity in a
variety of ensemble performance contexts and in facilitating group creative work
both within exclusively musical contexts and in various cross-arts, intercultural
and community situations.
 To demonstrate skills of leadership in relation to the facilitation of ensemble
and/or group participation in specialist and non-specialist environments.
 Through the use of your imagination, intuition and emotional understanding, to
demonstrate an ability to make decisions in a variety of contexts and situations.
 To demonstrate effective communication and social skills for working with others
on joint projects as well as to lead, negotiate with and organise others.
 To demonstrate an ability to engage with a variety of musical styles and genres.
Level: Master
Numerus fixus: 20 students. If more students apply than places are available, a selection will be
made based on a written motivation of the applicant.
Prerequisites: Admission to the master’s programme. Compulsory for students MM NAIP and
Master Music Education.
Teachers: Renee Jonker e.a.
Credit points: 3 EC
Literature: Animarts, ‘The Art of Animateur: An investigation into the skills and insights required
of artists to work effectively in schools and communities’, London International
Festival of Theatre, 2003.
Booth E., ‘The Music Teaching Artist’s Bible’, Oxford University Press New York, 2009.
(ISBN 978-0-19-536839-0)
Green, L., ‘How popular musicians learn: A way ahead for Music Education’, Ashgate,
2002.
Odam, G., N. Bannan, ‘Lifelong Learning for Musicians: The place of mentoring’, Prince
Claus Conservatoire and Royal Conservatoire The Hague, 2005.
Robinson, K., ‘Out of our minds – Learning to be a Creative’, Capstone – Oxford, 2001.
Small, C., ‘Music, Society and Education’, Wesleyan University Press, 1996.
Work forms: Laboratory, field study, tutorial, individual study
Assessment: Attendance results (80%) + End of term peer-assessment based on filmed footage of
the students leading and guiding fellow students in laboratory sessions, as well as a
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written self-reflection, submitted at the end of the module, which draws on personal
learning and peer feedback.
Language: English
Schedule/time/venue: A. Introduction Course (two days from 10:00 – 16:00)
B. Intensive week of workshops (Monday to Friday from 10:00 – 17:00)
C. 8 three hour LAB’s
Details of the schedule t.b.a. via Asimut

Information: Isa Goldschmeding: i.goldschmeding@koncon.nl.
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Course title: MM NAIP / Performance and Communication
Osiris course code: KC-M-NA-PCA
Course Content: This module seeks to develop your technical, physical, verbal and artistic
communicative skills in a variety of formal and non-formal contexts. You prepare a
short performance in which you explore the communicative aspects of a musical
performance in various ways. These performances are presented in three ‘open
stages’. MM NAIP students do additional projects in a corporate context.
Objectives: At the end of the course you are able:
 To communicate about music in words or images.

 To let any piece of music example/excerpt, style or musical technique become
the starting point for an introductory speech, an educational workshop, a pitch
or a project that reaches out to new audiences.
 To explore the way music is perceived by presenting the music in different
contexts or environments.
 To address new audiences in a creative, innovative and binding way.
 To function as a performing artist in a variety of contexts.
 To have awareness about what your body communicates when you are on stage.
Level: Master
Prerequisites: Admission to the master’s programme. Compulsory for students MM NAIP.
Teachers: Philip Curtis, Renee Jonker, Juliette van Ingen

Literature: Bernstein, L., ‘The Unanswered Question – Six Talks at Harvard’, Harvard University
Press, Cambridge Massachusetts, 1976. (ISBN 0-674-92001-5)
Goebbels, H., ‘Aesthetics of Absence’, Routledge – Oxford, 2015. (ISBN-13: 978-

0415831048)
Green, B., W. Gallwey, ‘The inner game of music’, Double Day, New York Viewing ,
1986. (ISBN-13: 9780385231268)
Miles, B., ‘Zappa, a biography’, Grove Press, New York, 2004. (ISBN 906005556X)

Assessment: Attendance results (80%) + Performance during one of the ‘open stages’
Language: English

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Course title: MM NAIP / Entrepreneurship and Project Management
Osiris course code: KC-M-NA-EPMA
Course Content: This module seeks to provide you with opportunities to develop your entrepreneurial
competencies and understanding of the skills required to effectively plan and
implement projects and performance events in a variety of contexts. The course
consists of two sets of intensive days and online tutorials. At the end of this course,
you write a project plan for a project to be realised in a professional context. You
present this project plan in a viva voce presentation.
Objectives: At the end of this course you are able:
 To demonstrate an understanding of a variety of project management topics

through a series of short assignments set during sessions.
 To formulate your own professional integration goals.
 To create a plan for a professional integrated project and give an oral
presentation of this plan.
Level: Master
Numerus fixus: no numerus fixus
Prerequisites: Admission to the master’s programme. Compulsory for students MM NAIP.
Teachers: Ramon Verberne, Renee Jonker, e.a.

Literature: Course reader, including different articles/book chapters on Project Management &
Entrepreneurship topics.
Cutler, D., ‘The savvy musician’, Helius Press – Pittsburg, 2010.
(ISBN-13: 978-0-9823075-0-2)
Work forms: Seminars, tutorials, workshops

Assessment: Submission of a written project plan
Language: English
Schedule/time/venue: A. first set of intensive days: 15 to 17 October 2018
B. second set of intensive days: 19 to 22 November 2018

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Course title: MM NAIP / Elective Music and Dementia
Osiris course code: KC-M-NA-MD
Course Content: This module introduces students to the skills and knowledge necessary to be
competent workshop practitioner and creative leader in the specific context of
working with people with dementia and care workers in residencies for people with
dementia. This course is being developed based on research into the practice Music
for Life of Wigmore Hall in London. You will be prepared to function as an
improvising musician in a context with very vulnerable people and care staff
members of the residential home or centres for day care. You are expected to
engage convincingly in all the following activities as a professional practitioner:
 Voice, body and percussion work to be used in the setting of workshops with
people with dementia and the care people surrounding them;
 Improvisation solo or in small groups, generic activity; developing your own
musical voice within this setting.
 Group composition skills; conceiving and creating ideas within a collaborative
environment.
 The psychology of leadership; the different levels of facilitating and guiding within
a team; leading and being lead.
 The psychology of working in a context in which musicians are trying to connect
to people with dementia and thus are exposed to fundamental questions about
identity.
 The reflective skills to deal with the challenges of this kind of musical interaction
both individually and as a team player.
Objectives: You will have to be able:
 To demonstrate an awareness of what is required to communicate with and
function well in relation to people with dementia in their everyday environment.
 To demonstrate an understanding of and capacity for music-based activity in this
very specific context in which the ability to communicate with others through
music is at the core of this practice.
 To demonstrate skills of leadership in relation to the facilitation of other
participants in this setting.
 To demonstrate, through the use of your imagination, intuition and emotional
understanding, an ability to make decisions in a variety of contexts and situations.
 To demonstrate an ability to engage with a variety of musical styles and genres.
Level: Master
Prerequisites: Admission to the master’s programme. Taking part in the module Leading and
Guiding (KC-M-NA-LG).
Teachers: René van Munster, Renee Jonker

Literature: Kitwood, T., ’Dementia reconsidered: the person comes first’, Buckingham: Open
Sacks, O., 'Musicophilia: tales of music and the brain', London, Picador, 2007.
Smilde, R., P. Alheit, K. Paige, ‘While the music lasts’, Prins Claus Conservatoire,
Groningen, 2013.
Zeisel, J., ‘I’m still here’, Penguin Books, 2009.
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Assessment: End of term peer-assessment by fellow students in laboratory sessions, as well as a
written self-reflection, submitted at the end of the module, which draws on personal
learning and peer feedback.
Language: Dutch
Schedule/time/venue: 3 introductory workshops
8 sessions in a Residential Home in The Hague :

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Electives Codarts Master of Music 2018-2019
Playing with History a practical course in Historically Informed Performance
Course title:
November 2018-May 2019
Osiris course code: KC-M-EL-PH
Course Content: This elective offers a basic course in historically informed performance
practice for musicians using modern instruments (or modern trained voice).
The course consists of three parts, with a general introduction. Students are
encouraged to form ensembles and to bring (relevant) solo repertoire.
- Introduction: what is Historically Informed Performance?

- Feel the Passions: Baroque music
- All Natural: the Classical style
- Free Playing: Romantic music
Objectives: Obtaining practical knowledge about 18th- and 19th century performance
practice.
Developing your own choices in the interpretation of 18th- and 19th century
music with this knowledge as a background, and applying it to repertoire of
your choice.
Teachers: Job ter Haar is a cellist, specialized in chamber music. He plays on both
modern and historical instruments. He is a member of the Van Swieten
Society and Music ad Rhenum, ensembles which specialize in the historical
performance practice of Baroque, Classical and Romantic music. Currently he
is working on a research project at the Royal Academy of Music in London,
focusing on 19th century performance strategies.
Study load: 56 hours (2 ECTS). Be aware: for all Master students studying at the Royal
Conservatoire at least 3 ECTS need to be used for a Master Elective!
Literature: Codarts Rough Guide Informed Performance, vol. 1
Work forms: Max. 10 students. Open to all classical instrumentalists + singers

Theory, discussion, practical application. 9 meetings of 3 hours +
assignments.
Assessment: An active participation is required, assignments. Proof of participation is

provided with at least 80% attendance. Making a short recording where
everything learned during the elective will be translated into practice.

Schedule: t.b.a starts middle of November 2018, check ASIMUT (Codarts!)
Time: Tuesdays 19:30-22:00
Venue: Kruisplein, room 5.22
Information: master@codarts.nl
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Course title: Progressive Contemporary Jazz
February 2019- May 2019
Osiris course code: KC-M-EL-PCJ
Course Content: This course provides information on the development in jazz music since
1989, far from the commercialism of swing and bebop. By looking in depth at
the oeuvre of outstanding artists the students will gain insight into what
makes them stand out amongst their peers. The course aims at students with
a strong affinity towards and sufficient experience in arranging and/or
composing.
This year's topic is: LARGE ENSEMBLE JAZZ.
Objectives: The student will gain insight in how to incorporate the ideas, concepts and
practices of progressive contemporary jazz in his/her own musicianship.

Teachers: Renard A. Aust
Studied composition with Paul van Brugge, Klaas de Vries and Gustavo
Beytelmann at Codarts (then Rotterdam Conservatory), with Rainer Lischka,
Marko Lackner at Hochschule für Musik Dresden.
Commissioned works for Rotterdam Philharmonic Orchestra, David
Kweksilber Big Band, Doelen Ensemble, Codarts symphonic jazz orchestra
(csjo – seasons 2005 – 2008), Tango Extremo, Kumi Kondo (cello) etc.
Arrangements for The Metropole Orchestra, Showcases MTA of Codarts
(2011-2018) Abbie Quant and Remco Campert and many more.
Performances all over Europe, Argentina, Turkey, South Korea, etc.
premieres at Dordrecht Cello Festival 2005, Sofia Music Weeks 2007 & 2009
& Jazz International Rotterdam 2008
Winner - VSB Poezieprijs 2007 - composition contest
Nomination - Berliner Opernpreis 2008
Study load: 84 hours (3 ECTS)
Literature: Scores of Geir Lysne , Maria Schneider, Darcy James Argue and others (will be
handed out in the course)
Work forms: Group lessons, discussions and practical lessons. Max. 12 students. Open to
all disciplines.
Assessment: An active participation is required (i.e. preparing a short lecture on a chosen
subject), arranging and/or composition assignments. Proof of participation is
provided with at least 80% attendance plus finished assignments.
Sort of grading: Pass-Fail.
Language: English
Schedule: Starting from 20th of February 2019 will continue until May 2019
(10 sessions)
Time: Wednesdays, 10:00- 12:00
Information: raust@codarts.nl
Course title: Best Practice in Modern Notation

November 2018- January 2019
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Osiris course code: KC-KCO-BP
Course Content: In an age where computers can do it all for us, what need is there for
expertise and a working knowledge of the principals of engraving a score and
preparing an instrumental part?
Why should we be busy discussing notation when there are expensive
computer programmes?
BUT, computer software can only take us so far, without the informed choices
of the human mind the output of even the best scoring applications can be
terribly frustrating to read and may stand in the way of the best possible
performance.
The Elective 'BEST PRACTICE IN MODERN NOTATION' sets out to complement

the armoury of skills, shortcuts and techniques that the modern
(composition) student working with a computer has to hand.
Besides general conventions and idiomatic notation principles there will be
plenty of room for examining scores ranging from Schneider to Ferneyhough,
from Schönberg to Mulligan and for closer looks at the students' own scores.
The Elective will not specifically be centered around one music software
(Finale or Sibelius or LilyPond or the recently developped Dorico) but will
focus on the result that should be achieved by whatever application the
student may use.
Objectives: At the end of the course the student should be able to engrave his music (or
the music of others) at a professional level.
Teachers: Renard A. Aust
Besides being a composer and arranger Renard A. Aust engraves music
professionally for publishers (Donemus, Deuss Music),
for composers (Klaas de Vries, Paul M. van Brugge, Marijn Simons, Aart
Strootman, Rozalie Hirs etc.)
and orchestras (Concertgebouworkest, Rotterdam Philharmonic, Metropole
Orchestra etc.)
Literature: ‘Behind Bars’, Elaine Gould, Faber Music, 2010
‘Music Notation in the Twentieth Century’, Kurt Stone, Norton, 1980
‘How to write for percussion’, Solomon, Solomon, 2002
Work forms: Group lessons, discussions and practical lessons. Max. 12 students. Open to
all disciplines.
Assessment: An active participation is required (i.e. preparing weekly engraving
assignments). Proof of participation is provided with at least 80% attendance
plus finished assignments.
Language: English
Schedule: Starting from14th of November and will continue until January 20
(10 sessions)
Time: Wednesdays, 10:00- 12:00
Venue: Kruisplein room 6.09
Information: raust@codarts.nl
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Course title: Playing the Tango
Osiris course code: KC-M-EL-PTT
Course Content: In this course students will learn how to use their own instruments to play
Tango music. They will be instructed in the playing, timing and feeling of this
music genre, under the direction of an expert. There will also be an
introduction to the theoretical background of this music form.
Objectives: At the end of the course students should:
 have an advanced understanding of the form of the Tango.
 be able to listen to the Tango with new ears and perform it on their
individual instruments.
 have an advanced understanding of the theoretical background of
the Tango.
Teachers: Christiaan van Hemert, Santiago Cimadevilla
Christiaan van Hemert is a versatile musician, who plays the violin, double
bass, piano and bandoneon. He was trained as a classical violin player, but
switched to Jazz Music at a young age and later on discovered the Tango. He
is frequently on tour with the Rosenberg Trio, Roby Lakatos and the
Christiaan van Hemert Orchestra and has travelled as artistic leader and
bandoneon player with Tango Dorado throughout Europe for eight years. He
is also an arranger, composer and director. Santiago Cimadevilla was born in
Buenos Aires, Argentina. At a young age, he studied classical piano and later
on switched to bandoneon, the instrument on which he completed his formal
studies at the Conservatory.
He has performed extensively throughout Europe with his own bands and
also as a guest with other groups and as a soloist with orchestras and
chamber ensembles. He has a broad experience of Argentine tango music,
both traditional and modern, and often performs classical and contemporary
music with various orchestras. Among other styles, he has specialized in the
original quintet repertoire of Astor Piazzolla, which he performs regularly
with several groups across Europe.
Currently he focuses on composing and arranging original music for
TRASNOCHE, his main performing group.
Literature: Arrangements will be handed out during the course.
Assessment: Attendance results (80%) including playing assignments
Schedule: t.b.a January through March
Time: Tuesdays, 11.00 – 14.00
Venue: Kruisplein , room 1.14
Information: master@codarts.nl
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Course title: Networking
Osiris course code: KC-M-EL-NW
Course Content: Many students dream of working nationally and internationally, but where to
begin?
- What are the possibilities to give national and international concerts?
- How do you build a network, what are the do’s and don’ts in building
a network?
- How do you get involved with the right kind of people?
- How do you negotiate? Do you draw up contracts? What about
payment?
- How do you make an effective computer database?
- Internet: advice for a smart use of social media, websites, etc.
Objectives: The students acquire contact skills and skills to establish and maintain
networks, write letters and present themselves.
Teachers: Mike del Ferro
Mike del Ferro is a popular composer, pianist and producer. He studied jazz
piano at the Amsterdam Conservatorium and has won several international
awards. Until now he has played music over the entire globe (130 countries).
He has worked with musicians of divergent cultures. A report will be
published on Challenge Records, on 10 CDs, called ‘The Journey’ .
www.mikedelferro
Literature: A personal laptop is required.
Work forms: Group Lessons. A minimum of 5 students is required.
Assessment: An active participation is required, practical assignments + a presentation.
Proof of participation is provided with at least 80% attendance.
Schedule: 4, 11, 18 February and 4 March 2019
Time: Mondays, 12:00- 16:00
Information: mikedelferro@mac.com
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Course title: Makam/Raga: Microtonality, Modality and style in Ottoman Court
Music and Indian music
Osiris course code: KC-M-EL-MR
Course Content: This course will introduce the student to the improvisation practice of:
1) Modal, linear melodic development and the functionality of the
microtones in the context of Ottoman court music. The notion and analysis of
Makam (eastern Mediterranean modal system) and how to utilise its
fundamental elements (both for musicians and composers). The
development of improvisation, compositional forms and possibilities, ideas
for implementation of such elements in polyphonic environments, both
theoretically and practically.
2) North and the South Musical systems, notion of Raga (a mode with a
complex set of rules) and Tala (rhythm cycles), Indian music compositions
and improvisation, the North Indian improvisation strategies, structures of
improvisation, the Indian microtonal system, how to use Indian culture
elements in your pedagogy and creative work.
3) A comparative study of the Indian Music System and the Ottoman Court
Music system.
Objectives: At the end of the course students should:
 have an advanced understanding of the Indian Musical culture and
Ottoman traditions elements mentioned above.
 be able to demonstrate the development of improvisation and
composition skills by utilising those elements in various musical
environments.
 be able to demonstrate an understanding of refined intonation
control through microtonal music practice.
 have an advanced understanding of Indian Music and Ottoman Court
Music approaches.
Level: Master
Teachers: Michalis Kouloumis and Henri Tournier
Literature: t.b.a.
Assessment: Attendance results (80%) including active participation, reading assignments,
presentation and work assignments.
Schedule: Starting from February 2019
Time: Wednesdays, 10:00-12:00
Venue: World Music and Dance Centre: P. de Hoochweg 125, 3024 BG, Rotterdam
Room: B1.08
Information: hgptournier@codarts.nl;
kouloumism@gmail.com
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Course title: Music Psychology & Music Therapy: Theory and application
Osiris course code: KC-KCO-MPT

Course Content: The relationship between music and human affective response has been
studied using psychological and physiological approaches, and through these
theoretical findings, we will work to see their relation to music therapy.
Through discussion and the exploration of their personal music preferences,
students will examine the theoretical concepts arising from music psychology
research and their application.
Music Psychology provides a frame from which we can examine and assess
musical behavior and experience by examining the processes through which
music is created, perceived, affects, and is incorporated into everyday life. Topics
covered in this course will include musical perception, cognition, and emotional
response.
Receptive music therapy (RMT) provides real-time experiences for exploring,

sharing and controlling emotions and feelings. RMT employs diverse types of
music: pre-composed or improvised, based on client need. Music listening
experiences may be used to promote psychological insight, relaxation, evoke
imagery, structure movement, alter mood, summon memories, assist
learning, and foster creativity.
Objectives: Student: - understands the theoretical framework of music psychology

- has introductory knowledge of currently used music
psychological methods and approaches
- has introductory knowledge of contemporary RMT methods - is
able to identify characteristic features of their own musical
preferences.
Teachers: Nicole Jordan & Meertine Laansma
Study load: 56 Hours (2 ECTS). Be aware: for all Master students studying at the Royal
Conservatoire at least 3 ECTS need to be used for a Master Elective!
Literature: Will be handed out in the course

Workforms: Group lessons. Max 12 students. Open to all disciplines.
Assessment: Active participation with proof of participation provided with at least 80%
attendance plus completed assignments.
Schedule: Starts from October
Time: Wednesdays, 18:00 – 20:00
Information: njordan@codarts.nl
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Course title: Performance Awareness Practicum (PAP) Exploring the mind,
emotion, body connection in performing arts (Integrating the pillars)
October 2018 - June 2019

Osiris course code: KC-KCO-PA
Course content: As a musician we want to honor the score as well as express our musical
choices. This is not always easy: we have ideas, habits, expectations- all of
them are not always our own-, fears, doubts or lack of time and an almost
constantly talking inner voice telling us what to do and not to do, what is
bad or good. We want to last a lifetime in our profession, preferably in a
healthy and meaningful way. On top of all of that we want to make an
impact, leave our mark.
Becoming an independent musician is an enormous work of transition. Next

to technique, knowledge and talent, we need to develop a sensory
awareness and an environmental and instrumental understanding which
we can trust. You and your instrument are equal partners in obtaining this
understanding and trust which will lead to a meaningful individual
expression.
During the sessions we discuss weekly topics, complemented with practical

work through presentations. We reflect on what we see and hear,
redefining and fine-tuning our observations and words.
Topics: Breathing & impact of breathing

Power of intention
Interpretation, score and sub-score, nuances in expression (Berio)
Emotion management through Karate Kid.
Understanding control through kite-flying
Somatic / autonomic nervous systems
Issues in your tissues: where we hold emotions in our body
Influence of choices
Imagination and incorporating
Touché, framing - free sound
Focus, addressing your instrument
Focus, addressing your audience
Limitations, tensions, fear
The psychological gesture
Silence, sound connection, time in time
Preparation, presence, armor
Function in ensemble work/ solo
Creative individuality
Masters of illusion
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Objectives: -The course aims to give information and insight in observational study of
habits in the performance context through sensory awareness;
-Reflection, feedback and exchange of experience and knowledge in the
wider study and performance
-Practice;
-Training the ability to make independent choices;
-Environmental connection, understanding of context; -
Weighing tradition and innovating simultaneously;
-Personal professional signature development.
Teacher: Connie De Jongh, obtained BA and MA at both Rotterdam- and Amsterdam

Conservatory where she studied multiple main subjects: Classical Singing
(lieder/ contemporary repertoire) and Opera-course at Rotterdams (BA) &
Sweelinck Conservatorium Amsterdam(MA), simultaneously to DM at
Rotterdam Conservatorium with the famous voice teacher Margreet Honig
a.o. Before that she completed the Academy for Pedagogical Studies. She
has extensive international experience as a performing soloist, numerous
recordings for radio& television, is a teacher and coach and has been
working at Codarts as a main-subject teacher, in performance awareness- &
education subjects in many departments for 29 years. She has been
guest teacher at WDKA, Ismae Conservatorium/Porto and ITU/ Istanbul and
various Dutch art education institutes. Additionally she initiates & develops
artistic concepts as well as educational programs such as Yellow House,
writes essays about music, performing and education in a wide
context. She creates Art&SocialDesign projects and is connected to Student
Life and Codarts Health and MR. She works with singers, instrumentalists
and actors and is known for her unconventional approach in the alignment
of personal artistry, -technique and professionalism.
She is currently researching for her book on the subject ‘The

approach to music’. ( worktitle)
Language: English
Study load: 84 hrs (3 ECTS)
Literature: M. Strom. A life worth breathing
M. Tsjechov. Lesson for actors
I. Middendorf. Der erfahrbare Atem. Eine Atemlehre
D. Lewis. The Tao of natural breathing
D. Bairenboim. A life in music/ everything is connected
Workforms: Group lessons and individual work, discussion, practical work sessions,
max. 12 students per group. Open to all disciplines.
Assessment: An active participation attitude is required. Proof of attendance 80% min.

Assignment: Performance and writing a paper on one of the subjects above.
Schedule: Starting from October 2018- until June 2019
Time: Wednesdays 10:00 – 12:00
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Information: CCJMdejongh@codarts
51
Master Electives offered by the Academy for the Creative and
Performing Arts/Leiden University 2018-2019
Course title: Music between Work and Event
Osiris course code: KC-KVL-MWE
Year: 2018-2019
Catalog number: 5100KM26
Teacher(s):
Tom Dommisse
Language: English
Blackboard: Yes
EC: 5 EC, of which 3 EC can count as a

Master Elective
Level: 200
Period: Semester 1, Block I, II
Description
Aesthetics of music is about essential questions like What is music?, Do musical works imitate
something? Is there any meaning or idea? Is something expressed, or is it just free play of forms,
signifying nothing? However, this course deals also with music in a slightly different perspective,
asking: Where is music as event?, Whose music is this?, does it address someone’s cultural identity?,
When is music as performance? Thus we enter the terrain of cultural philosophy, to explore artistic,
social-political and ethical aspects of music within the historical context of our contemporary,
multicultural society.
This course elucidates perspectives of aesthetics and cultural philosophy of music in 12 lessons, by
contrasting concepts of an “open work” with “performances as events”. It faces questions on musical
meaning, authentic performances and idolatry of originality. We look at the role of technological
reproduction, media audience and its effects on listening and music education. We follow discussions
on cultural capital, artistic entrepreneurship, the dynamics of social-economic forces, but also on
conflicts between globalizing tendencies, cultural imperialism and musical practices in local
communities.
Key-insights are offered by reading texts and clarifying concepts from philosophers (Benjamin,
Gramsci, Adorno, Danto, Derrida, Sloterdijk, Scruton and Zizek), cultural theorists (Bauman, Kramer,
McClary, Eco, Attali), composers (Cage, Stockhausen, Boulez) and performers (Gould, Barenboim).
They help us analyzing our present “culture of liquid modernity”, retracing the origins of current
musical practices in some radical philosophical debates: on the influences of cultural contexts on
artistic and musical practices, on the way cultural identities today are experienced, as well as ways in
which cultural education itself is formed by an underlying dynamics of ethical, aesthetic, political,
52
economic, social and ideological choices.
Course objectives
At the end of the course the student:
- has gained some conceptual tools within theoretical perspectives on music (-practice) which
enables a reflection on their abilities as musician/pedagogue.
- is able to situate and reflect his/her activities as a teacher and professional within a diversity of
sectors of contemporary culture;
- is able to comprehend some crucial texts of philosophers, cultural theorists, composers and
performers
- has theoretical insight in relevance of cultural locations in an age of liquid modernity, and has a
developed a sensibility for interdisciplinary and intermediary in contemporary art
Timetable and location
2017-2018, First or second semester.
The classes take place at the Lipsius Building, room 308, Cleveringaplaats 1, Leiden on Thursday
evenings 19.00 – 21.00 hrs. First meeting is on 20 September 2018, last meeting is on 13 December
2018.
Mode of instruction
Lecture/seminar
Assessment method
• 40% weekly seminar assignments

• 50% final essay
• 10% active participation in class
Sort of grading
Numeric
Blackboard
Blackboard course ID: t.b.a.
Required reading
To be announced a.s.a.p.
53
Course title: Popular and Global Music
Osiris course code: KC-KVL-PGM
Year: 2018-2019
Teacher(s):
Dr. Carlos Roos
Language: English
Blackboard: Unknown

Master Elective
Level: 200
Period: Semester 2, Block III, IV
Description
With the transnational opening of the media market in the 1950s, the popular song made in the US
and the UK reached new audiences on an unprecedented international scale. Figures such as Elvis,
Little Richard and Billy Haley became icons of an emerging global space of interaction. The rest is
history: the British invasion, punk and disco, pop and grunge, rap and EDM. Popular music came to
stay. But is this ‘global’ dimension of popular music all there is to it?
From the Latin 'popularis', ‘popular’ means ‘prevalent among the people’, definition from whence its
meaning as ‘widely supported’ derives in the first place. If that is right, then countless musical
practices from every corner of the world (considered one’s own and that of others) should be labeled
popular too. In addition, most of such traditions are engaged in the global space of interaction,
significantly so in terms of marketing and distribution, which adds to the complexity of today’s
musical picture.
In this course, the students explore the tension between the definitions of ‘popular’ and ‘global’ by
examining a number of musical materials with an eye to formal features and socio-musical practices.
Said materials include (but are not limited to) diverse styles of rock, pop and R&B as well as traditions
from the Balkans, South America, East Asia, the Middle East and South Africa.
Schedule
2018-2019, Second semester.
The courses take place at the PJ Veth Building (Nonnensteeg 3, 2311 VJ Leiden), room 0.06, Mondays
from 10.00-12.00 hrs. The first meeting is on 11 February 2019, the last meeting on 29 April 2019.
54
Mode of instruction
Lectures and workshops
Assessment Method
Assessment will be made on the basis of:
1. Examination of the assigned literature and information given in the lectures
2. Attendance (at least 5 sessions – will be checked by means of an attendance list)
3. Homework assignments based on the listening to music examples
4. Final exam
Sort of grading
Numeric
Literature
Compulsory: – Articles, to be disseminated via Blackboard and read in advance to every lecture; –
Handouts
Recommended: – Philip V. Bohlman, World Music: A Very Short Introduction. Oxford: Oxford
University Press, 2002. – Simon Broughton & Mark Ellingham (eds.), The rough guide to world music.
London and New York: Rough Guides, 2000. 2 vols – Nicholas Cook, Music: a very short introduction.
Oxford: Oxford University Press, 1998, reprint 2000.
Other literature to be announced.
55
Course title: Music Cognition
Osiris course code: KC-KVL-MC
Year: 2018-2019
Teacher(s):
Dr. R.S. Schaefer
Language: English
Blackboard: Unknown

Master Elective
Level: 300
https://studiegids.leidenuniv.nl/en/courses/show/86009/music-cognition
Description
This course offers an accessible introduction and overview of the multidisciplinary topic of music
cognition, which deals with the perceptual and cognitive bases of performing, composing, and
listening to music. Covered topics will include perceptual mechanisms underlying pitch and rhythm
perception; interactions of musical processing with emotion, language, memory and movement;
music acquisition processes and expertise; brain processes related to music and applications of music
in health settings. Assignments will include engaging with the scientific literature, constructing a
research proposal, and a final exam.
Course objectives
After this course, you will:
* Have a broad overview of the field of music cognition and its main relevant topics and findings
* Have an understanding of musical building blocks that are relevant to perception, understanding
and creation of music
* Have an understanding of the methods by which music cognition research achieves its results
* Gain experience in creating your own research proposal
* Gain experience in interdisciplinary collaboration
Schedule
The courses take place at the PJ Veth Building (Nonnensteeg 3, 2311 VJ Leiden), room 0.07, Mondays
from 15.00-17.00 hrs. The first meeting is on 11 February 2019, the last meeting on 13 May 2019.
Mode of instruction
Lectures and workshops
56
Assessment Method
Assessment will be made on the basis of:
- Mini-assignments per session (20%)
- Final presentation: selected topic (30%)
- Written assignment (research proposal) (50%)
- (alternative: exam, part mc part essay)
Sort of grading
Numeric
Literature
- Textbook: Tan & Pfordresher, Psychology of Music
- With added articles and chapters from other books e.g. Huron (Sweet anticipation; Voice
leading), Temperley (Cognition of basic musical structures), London (Hearing in Time), Patel
(Music and Language), etc
- Articles from specialist and general journals
- Other literature to be announced.
57
Course title: Language, Music and Text-setting
Osiris course code: KC-M-EL-TIL
Year: 2018-2019
Teacher(s):
Dr. Teresa Proto
Language: English
Blackboard: Unknown

Master Elective
Level: 300
Admission requirements
Some prior knowledge of music theory is desirable, but not necessary.
Description
This course is concerned with the relationship between language and music. We will examine their
structural features as well as their interaction in the mapping of linguistic material onto musical
structures in songs (so-called ‘text-setting’).
It has often been observed that language and music are structurally similar. Both display some kind
of hierarchical organization, alongside a temporal and a melodic structure; moreover, they have a
common timeframe of acquisition. In this course, we will review the main similarities and differences
between the two systems.
Despite the similarities displayed by music and language at a very general level, little is known about
their actual interaction in vocal music. Given the nature of the two systems involved, we would
expect interactions to show up at one or more structural levels.
By means of examples drawn from different languages and vocal genres, we will examine the way
features of speech such as stress, pitch and vowel length interact with analogous features in music,
e.g. beats, intervals and durations, in singing.
Readings will cover topics related to the design and neurobiology of language and music, as well as
current literature on text-setting.
Course objectives
Students have acquired the basic concepts and technical terminology related to the topic.
Students are able to compare language and music from a structural and functional perspective.
Students are able to identify the linguistic features relevant for text-setting.
58
Schedule
The courses take place at the PJ Veth Building (Nonnensteeg 3, 2311 VJ Leiden), room 0.07, Tuesdays
from 9.30-11.00 hrs. The first meeting is on 5 February 2019, the last meeting on 30 April 2019.
Mode of instruction
Lecture/seminar
Assessment Method
Written examination with both closed and short open questions.
Weighing
The final mark for the course is established by determining the weighted average.
Resit
Resit is possible only for the parts that were insufficient.
Sort of grading
Numeric
Literature
Reading materials will be made available on Blackboard.
59
Course title: Music x Technology
Osiris course code: KC-KVL-MXT
2018-2019
Year:
Teacher(s):
dhr. E.F. van der Heide MMA
Language: English
Blackboard: Yes
EC: 5
Level: 300
Admission requirements
No admission requirements for this course.
Description
The main topic of this course is the question how technological developments have resulted and will
result in new forms of music. However, the relationship between technology and music is not just
one-directional, technology has been shaped by developments in music as well. In this course we are
primarily interested in music creation including composition processes, musical language and musical
instruments or sound sources. Besides that, we are interested in developments in musical
performance, presentation and distribution.
The course will address both academic, contemporary and popular electronic music. We will address
the democratization of electronic music, the role of the internet, automatic music recognition,
generative music and artificial intelligence.
In the course we will come across instruments like the Theremin, the Trautonium, the Mellotron,
analogue synthesizers (Moog, Buchla, Arp, EMS), digital synthesizers while not forgetting the studio-
based electronic music tradition that originates from the 1940’s.
In order to develop hands on experience we will use and zoom into the following open source
software (Audacity, VCV Rack, Ardour, Pure Data, Automatonism, Google Magenta and more)
In the course a historical perspective will be created to not only create a context for discussion, it is
meant to inspire new ideas and concepts. Although history plays an important role it is not a history
course. Students are asked to study certain concepts that relate to their interest, try-out their ideas,
present their work and engage in discussions.
Course objectives
• The course aims to create a stimulating basis for critical thinking regarding the interrelation of
Music and Technology
60
• The course aims to stimulate the creation of new ideas and concepts focusing on the interrelation
of Music and Technology
Timetable
2018-2019, second semester
8 sessions
Tuesday evenings, from 19.00 to 21.00 hrs.
First meeting: 5 February 2019

Last meeting: 23 April 2019
Exam: 30 April 2019
No meeting on 19 March and 16 April 2019.
The sessions take place at the Lipsiusgebouw, (Cleveringaplaats 1, 2311 BD Leiden) , room 001
Mode of instruction
Interactive seminar.
Course is taught by Edwin van der Heide.
Course Load
The course has a study load of 5 ECTS.
Assessment method
The grading of the course is based on the homework assignments, student presentations, an essay
and a creative work. Full attendance is a requirement in order to receive the credits for the course.
Blackboard
Blackboard will be used for:
* sharing reading materials, classroom aids and similar
* announcements
Reading list
Texts and other materials on or via Blackboard / Brightspace.
Contact
Dhr. ir. R.T.W.L. Schneemann
Dhr. E.F. Van der Heide
Remarks
This course is intended for bachelor students and open to master students. The course is open for
students of Leiden University, the Royal Conservatoire, the Royal Academy of Art and other
institutions of higher education. The course has a maximum capacity of 22 participants.
61

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2018-2019

Curriculum Handbook Master Electives

Electives Codarts Master of Music 2018-2019 ................................................................. 41

Osiris course code: KC-M-EL-PM

Osiris course code: KC-M-EL-AP

Osiris course codes: KC-M-EL-WPC

Osiris course code: KC-M-EL-CSA

Osiris course code: KC-M-EL-EWRS

Osiris course code KC-M-EL-EJM

Osiris course code: KC-M-EL-UQ

Osiris course code: KC-M-EL-LW

Osiris course code: KC-M-EL-MC

Osiris course code: KC-M-EL-MWW

Osiris course code: KC-M-EL-PP

Osiris course code: KC-M-EL-PS

Osiris course code: KC-M-EL-FP

Registration: Via online form by 17 September and by sending an email to:

Osiris course code: KC-M-EL-RE

Osiris course code: KC-M-EL-RWW

Osiris course code: KC-M-EL-RJ

Osiris course code: KC-M-ED-SPC

Osiris course code: KC-M-EL-CPMP

Guest lecturer: Musicologist and curator Maarten Quanten from De Bijloke,

Credit points: 5 EC, of which 3 EC can count as a Master Elective

Literature: Group lessons

Course title: MusicMultimedia Elective

Osiris course code: KC-EL-MM

Osiris course code: KC-M-EL-CRC

Course title: Concepts of instrumental and vocal education

Osiris course code: KC-M-ED-CIVE

Hallam, S., A. Bautista, Processes of Instrumental Learning: The Development of

Kelchtermans, G., Stories Making Sense. Teacher Development from a Narrative-

Schippers, H., Toward a global understanding of learning and teaching music, a

Osiris course codes: KC-M-EL-KC

Osiris course code: KC-M-ED-MP

Osiris course code: KC-M-ED-FI

Osiris course code: KC-M-ED-MLP

Biesta, G., Giving Teaching Back to Education: Responding to the Disappearance of

Cranenburgh, dr. B. van, ‘Neurowetenschappen, een overzicht’, Elsevier/de

Davids, K., C. Button, S. Bennett, ‘Dynamics of Skill Acquisition: a constraints-led

Hallam, S., ‘Instrumental teaching’, Heinemann, Oxford, 1998.

Hargreaves, D., D. Miell, R. MacDonald, ‘Musical imaginations, multidisciplinary

Osiris course code: KC-M-ED-TP

Course title: MM NAIP / Module Leading and Guiding

Osiris course code: KC-M-NA-LGA

 Voice, body and percussion work; coordination and communication;

Teachers: Renee Jonker e.a.

B. Intensive week of workshops (Monday to Friday from 10:00 – 17:00)

C. 8 three hour LAB’s

Details of the schedule t.b.a. via Asimut

Registration: Via online form by 17 September

Osiris course code: KC-M-NA-PCA

Objectives: At the end of the course you are able:

 To communicate about music in words or images.

Prerequisites: Admission to the master’s programme. Compulsory for students MM NAIP.

Teachers: Philip Curtis, Renee Jonker, Juliette van Ingen

Credit points: 4 EC, of which 3 EC can count as a Master Elective

Goebbels, H., ‘Aesthetics of Absence’, Routledge – Oxford, 2015. (ISBN-13: 978-

Work forms: Laboratory, field study, tutorial, individual study

Schedule/time/venue: t.b.a. via Asimut

Registration: Via online form by 17 September

Osiris course code: KC-M-NA-EPMA

Objectives: At the end of this course you are able: