Programme Description Master of Music 2017

PROGRAMME DESCRIPTION MASTER OF MUSIC
2016-2017
Location: Maastricht
1
Contents
1. PROGRAMME QUALIFICATIONS AND LEARNING OBJECTIVES .................................................... 3
2. CURRICULUM OUTLINE ............................................................................................................................. 5
3. PROGRAMME DESCRIPTION .................................................................................................................... 8
3.1 Artistic/technical development: individual ................................................................................. 8
3.1.1 PROGRAMME DESCRIPTION CLASSICAL INSTRUMENTAL .................................................................... 8
Bassoon.....................................................................................................................................................................................10
Cello ............................................................................................................................................................................................11
Clarinet .....................................................................................................................................................................................12
Double Bass.............................................................................................................................................................................13
Flute ...........................................................................................................................................................................................14
Guitar.........................................................................................................................................................................................16
Harp ...........................................................................................................................................................................................17
Horn ...........................................................................................................................................................................................20
Oboe ...........................................................................................................................................................................................22
Organ .........................................................................................................................................................................................24
Percussion ...............................................................................................................................................................................25
Piano ..........................................................................................................................................................................................27
Repetiteuring .........................................................................................................................................................................29
Saxophone ...............................................................................................................................................................................31
Trombone ................................................................................................................................................................................32
Trumpet....................................................................................................................................................................................33
Tuba and Euphonium ........................................................................................................................................................34
Viola ...........................................................................................................................................................................................36
Violin ..........................................................................................................................................................................................38
3.1.2 PROGRAMME DESCRIPTION CHAMBER MUSIC ........................................................................................40
Chamber music .....................................................................................................................................................................40
3.1.3 PROGRAMME DESCRIPTION CLASSICAL VOCAL .......................................................................................42
Opera .........................................................................................................................................................................................43
Singing ......................................................................................................................................................................................44
3.1.4 PROGRAMME DESCRIPTION CONDUCTING PROGRAMMES ................................................................ 45
Choral Conducting ...............................................................................................................................................................47
Orchestral Conducting.......................................................................................................................................................49
Wind Band Conducting .....................................................................................................................................................51
3.1.5. PROGRAMME DESCRIPTION COMPOSITION..............................................................................................52
Composition ............................................................................................................................................................................52
3.1.6. PROGRAMME DESCRIPTION MUSIC THEORY ...........................................................................................54
Theory .......................................................................................................................................................................................54
3.1.7. PROGRAMME DESCRIPTION JAZZ ...................................................................................................................56
Jazz: all main subjects........................................................................................................................................................56
3.2 PROGRAMME DESCRIPTION GENERAL COMPONENTS ............................................................. 61
Ensemble performance and international orientation/masterclasses ......................................................61
Music philosophy ..................................................................................................................................................................63
Personal and professional development ...................................................................................................................65
Research skills .......................................................................................................................................................................67
Cultural entrepreneurship ...............................................................................................................................................69
Communication and Collaboration .............................................................................................................................71
Education.................................................................................................................................................................................73
APPENDIX 1 EQF/SQF Level 7 Descriptors for Music ....................................................................... 76
2
1. PROGRAMME QUALIFICATIONS AND LEARNING
OBJECTIVES
Domains of qualification:
The qualifications of the Master of Music are in line with the international level 7 EFQ/SQF
descriptors for music degree programmes. These level descriptors are described with their
codes in appendix 1 on page 78. The codes of the relevant EFQ/SQF descriptors are stated in
brackets behind the qualifications below.
1. Artistic and technical development

General qualification:
The HBO Master of Music has the instrumental/vocal expertise required for the profession and the
appropriate technical skills and knowledge. Based on these, he has developed a musical and artistic
personality. He can create, realise and express personal artistic concepts independently on a high
professional level. He has insight into general cultural movements and is familiar with the international
world of music.
Learning objectives:
The Master
Can perform music independently at a professional level from a personal artistic vision in
accordance with the stylistic requirements of the music (S1, S2.2, S4, K1.1, K1.2, K2.3, K3,
C1);
Can compile his own programme, present and perform it with knowledge of the historical
context and performance practice (S1, S2.1, S4, S5, S6, K1.1, K2.2, K3, C1, C3, C4, C5.1,
C5.2);
Has mastered a broad or specialist repertoire and/or extensive improvisation skills (S2.1, S4, S7);
Has the capacity for interpretation and can render an interpretation independently (S1, S4, C1,
C4);
Has knowledge of literature and extensive repertoire knowledge (S2.1, S4, K1.1);
Is internationally oriented and has insight into music as a means of social integration (C5.1);
Can function in various forms of collaboration (S3, S4, S6, C5);
Can make functional connections between his own discipline and other disciplines and
translate these into concrete activities (S3, S4, C5.1).
2. Personal and professional development

The HBO Master of Music works consciously and independently on his own professional development.
He has self-insight and can identify his own strong and weak points. This enables him to indicate how
he can develop further as a professional musician.
The Master:
Can express his own vision and substantiate it (S5, C1, C2, C3);
Can indicate how and in what direction he wants to develop his vision (S5, C2);
Can reflect on his own progress and give direction to his own career (C2);
Can steer further education independently (C1, C3).
3. Research skills
General qualification
The HBO Master of Music can conduct practical research into his profession and is familiar with
common and suitable methods. The Master is capable of formulating a researchable problem and the
correct research questions and can draw up and carry out a research plan based on these. The
Master is capable of presenting his own research in its own musical context.
The Master:
Has an inquisitive attitude with which to approach new, unfamiliar circumstances (C3);
3
Can formulate and answer a research question based on a theoretical or practical artistic
problem (S1, S5, K2.3, C1);
Can obtain relevant information independently and convert this into a researchable problem
(S1, K2.3, C1);
Can draw up a research plan with an outline of the problem, questions, research model,
planned approach, time schedule (S1, K2.3, C1);
Can find specific expertise in the field of research methods and techniques and apply this if
necessary (S1, K2.3);
Can test personal views and judgements against scientific and/or artistic findings and place
them in a specific musical context as well as a broader cultural-historical and social context
(k2.2, K2.3);
Can present and defend the results of his own research in an artistic essay, a lecture-
recital/workshop/registration with an explanation (S5, S6, K2.2, K2.3, C5).
4. Social positioning
The HBO Master of Music can establish a professional career in the world of music and has insight
into the social meaning of music and specialist music education while having an eye for general
cultural movements and the role of music in a social context.
The Master:
Knows how the world of music is organised and how to relate to public institutions, such as
orchestras, venues and agencies (K2.1, C5);
Can realise his own productions or those of others as an entrepreneur and lead these
artistically and commercially if necessary (K2.1, K2.2, K2.3, C5);
Can deal with contacts in a musical and/or cultural context effectively (networking) (C5).
5. Communication and collaboration

The HBO Master of Music is capable of conveying ideas, views on his work and/or studies and
research results clearly and engagingly to target audiences within and outside of his own professional
musical field. The Master can encourage people to cooperate. The Master is capable of representing
an institution or group in their contacts with external parties, and of taking strategic action.
The Master:
The student is capable of drawing up a structured argument, conveying its essence in an
artistic context and adapting form and style to the demands of the subject, target audience
and situation (S5, S6, C3, C5);
Can collaborate with colleagues and work purposefully with groups towards a joint product in a
musical-cultural context and fulfil a leading role in this (S3, C1, C5);
Can communicate effectively with professionals and lay people (S3, S5, C5);
6. Deepened methodological, didactical and pedagogical knowledge

The HBO Master of Music deepens his knowledge of methodology, didactics/pedagogy and
educational theory and develops useful insights into these fields, enabling him to contribute to
specialist music education and art and culture education.
Learning objectives
The Master:
Can develop methodologically sound concepts for specialist music education and art and
culture education, based on a personal vision and contemporary learning theories (K2.3, K4,
S5, S8, C1, C5.2);
Can develop methods for specialist instrumental and vocal music education (S8, C4, C5.2);
Can design and implement educational curricula (S8, C2, C4);
Can create, when applicable, a stimulating learning environment using up to date ICT tools
(S8, C4);
4
2. CURRICULUM OUTLINE
Profile: Performing
Graduation Profile Performing

Year 1
Unit of study credits Content
Artistic/ technical Max. 34 Individual playing
development
Min. 5 Ensemble,incl. projects
Min. 2 International orientation and masterclasses

2 Orchestral parts
1 Philosophy of Music
Personal/ professional 2 Self-direction of learning process
development
Research skills 8 Lectures, workshops, research circle, coaching
Social positioning 5 Lectures, workshops, Group assignments, individual exploration of field of
activity, debate
Communication and
collaboration 1 Stage presentation
Graduation Profile Performing

Year 2
Unit of study Credits Content
development
Min. 5 Ensemble, incl. projects
International orientation and masterclasses

Min. 2
2 Orchestral parts
Personal/ 2 Self-direction of learning process
professional
development
Research skills 7 Execution of research, report and presentation
5
Profile: Performing with focus on education
Graduation Profile Performing with emphasis on education

Year1
Artistic/ technical Max.33 Individual playing
development

2 Orchestral parts
1 Philosophy of Music
professional
development
Research (focused 8 Lectures, workshops, research circle, coaching
on education)
Social positioning 1 Lectures, workshops, group assignments, individual orientation of the field
of activity, debate
Communication and 1
collaboration
Education 5 Lectures, literature studies and assignments
Graduation Profile Performing with the emphasis on education

Year 2
development

2 Orchestra parties
professional
development
Research (focused on 6 Execution of research, report and presentation
education)
Education 4 Draft educational learning trajectory, incl. educational entrepreneurship in
own teaching practice, related to the research
6
Profile: Performing Talent Track
Graduation Profile Performing Talent Trajectory

Year 1
development
Min. 5 Ensemble

professional
development
Research skills 8 Lectures, workshops, research circle, coaching
Social positioning 3 Music and law, marketing, project management
Communication and 3 PR, programming, (stage)presentation, collaboration
collaboration
Graduation Profile Performing Talent Trajectory

Year 2
development
Min 5 Ensemble
International orientation and masterclasses

Min 2
Personal/ 2 Self-direction to learning process
professional
development
Research skills 7 Execution of research, report and presentation
7
3. PROGRAMME DESCRIPTION
3.1 Artistic/technical development: individual

3.1.1 PROGRAMME DESCRIPTION CLASSICAL INSTRUMENTAL
PROGRAMME DESCRIPTION MASTER OF MUSIC CLASSICAL INSTRUMENTAL
Name of curriculum component:

Artistic/technical development: individual performance
Name of programme:
All main subjects
Place in the curriculum:

Year 1 and 2
Teachers:
See main subject and list of lecturers
ECs
Year 1: 34 ECs (performing profile),
33 ECs (performing/education profile)
39 ECs (performing/talent track)
world of music.
The Master
C1);
C5.2);
C4);
Programme content
See specific main subjects
8
Instructional format:
- independent study and practical experience
- individual and group lessons
Test format and duration:

1. Recital 1: end of year 1
2. Recital 2: end of teaching period 2 year 2
Recital 1 45
Recital 2 30
Recital 3 45-60
Assessment Criteria:
professional skills - technical skills (S1, S2.1, S2.2, S4, K1.2)
- performance practice (S1, S2.1, S2.2, S3, S4, K1.1, K1.2, K2.2, K3)
- stage presentation (S6, C3, C5.1, C5.2)
B. interpretive skills - musical expression (artistry) (S1, S2.2, S6, S7, K1.2, C4)
- personal vision (originality) (S1, S2.2, S6, K1.2, C1, C4)
Each assessment criterion is weighed. The performance in its entirety will be expressed in a mark with
one decimal by each member of the examining board. This serves as a starting point for the
discussion and finalisation of the final mark by the examining board. All assessment criteria will be
considered in the discussion. The result is sufficient if a mark of 5.5 or higher has been awarded. A
consensus will be reached on the basis of intersubjectivity. The chair of the examining board leads the
discussion and has no vote.
9
Programme name:
Bassoon
Lecturers:
Christian Kunert
Adrie Bisschop
Albrecht Holder
Programme content
1.Solo performance: (repertoire for solo bassoon)
Example repertoire:
Yun, I. Monolog
Bach, J. S. Cello Suites 1 to 6
Beurden, B. Van Music for solo bassoon 1987
Martin, F. Psaume XXll
2. Duo repertoire with piano (may be a concerto)

Example repertoire:
Jolivet, A. Concerto
Bozza, E. Concerto
Boutry, R. Interfrences 1
Takaro, T. Mirror Images (with marimba)
3a. Chamber music:

Example repertoire:
Beurden, B. Van Sonata di Chiesa ( mandolin orchestra)
Mozart, W. A. Gran Partita
Reicha, A. Variations pour le Basson (string quartet)
Stravinsky, I. LHistoire du Soldat
or
3b. Orchestral parts/audition repertoire

Example audition repertoire:
Mozart, W. A. Concerto KV 191
Weber, C. M. Concerto in F
Examples repertoire orchestra parts:

Baroque Rameau, J.P. Suite from Dardanus
Hndel, J. F. Messiah
Bach, J. S. Orchestral Suite in C
Classical Mozart, W. A. Overture Figaro
Beethoven, L. van Symphony no 3, 4, 5, 9
Romantic Beethoven, L. van Violin concerto
Berlioz, H. Symfonie Fantastique
Tchaikovsky, P. Symphony no 4 and 5
Verdi, G. Requiem
20th century Stravinsky, I . Le Sacre du Printemps
Stravinsky, I. Firebird
Ravel, M. Bolero
20th c. aft. 1950 Loevendie, T. Suite from the opera Naima
Stockhausen, K. H. Groups for Three Orchestras
Messiaen, O. LAscension
Brown, E Available Forms II
Britten, B. Sinfonietta
Sporck, A. Dialogues Op. 6 (2004)
Tippet, M. Ritual Dances ( 1953)
Vriend, J. A Hymn to Ra (2001/2002)
Ketting, O. De Aankomst
10
Programme name:
Cello
Lecturers:
Mirel Iancovici
Alexander Petrasch
Gustav Rivinius
Ursula Smith
Programme content
1.Solo performance: (repertoire for solo cello)
Example repertoire:
Bach, J. S. Suites
Britten, B. Solo suite
Penderecki, K. Per Slava
Hindemith, P. Solo sonata

Example repertoire:
Beethoven, L. van Sonatas
Brahms, J. Sonatas
Shostakovich, D. Sonata
Webern, A. Opus 11
Dvorak, A. Cello concerto
3a. Chamber music:

Example repertoire:
Mendelssohn, F. Piano Trio no 1d Op 49
Shostakovich, D. Piano Quintet in G
Webern, A. String Quartet Op 28
Schubert, F. Octet
or

Examples audition repertoire:
Haydn, J. Cello Concerto 1 & 2 (D major tr.)
Lalo, E.
Elgar, E.
Schumann, R.
Dvorak, A.

Baroque ad libitum
Classical Mozart, W. A. Jupiter Symphony
Beethoven, L. van Symphony no 5, part 2
Beethoven, L. van Symphony no 9, part 4
Haydn, J. Symphony no 104
Romantic Brahms, J. Symphony no 2, slow part
Mahler, G. Symphony no 1
Tchaikovsky, P. Symphony no 4, slow part
Dvorak, A. Symphony no 8
20th century Debussy, C. La Mer
Strauss, R. Don Juan
Bartok, B. Concerto for Orchestra
20th c. aft.1950 Loevendie, T. Suite from the opera Naima
11
Programme name:
Clarinet
Lecturers:
Leon Bosch
Roeland Hendrikx
Programme content
1.Solo performance: (repertoire for solo clarinet)
Example repertoire:
Berio,L. Sequenza 9
Escher, R. Sonata
Stravinsky, I. 3 Pieces
Krenek, E. Monologue
Stockhausen, K. H. In Freundschaft
Messiaen, O. Labimes des oiseaux
Example repertoire:
Brahms, J. Opus 120
Weber, C.M. von Duo concertante
Berg, A. Pieces Op 5
Poulenc, F. Sonata
Denisov, E. Sonata
3a. Chamber music:

Example repertoire:
Schubert, F. Der Hirt auf dem Felsen
Bartok, B. Contrasts
Stravinsky, I. LHistoire du Soldat (Trio)
Brahms, J. Clarinet trio Op 114
Mozart, W. A. Quintet in E flat, KV 452
Mozart, W. A. Clarinet quintet KV 581
Brahms, J. Clarinet quintet Op 115
or

Mozart, W. A. Clarinet concerto KV 622
Nielsen, C. Concerto
Weber, C.M. von Concertos
Debussy, C. Premire Rhapsody
Boulez, P. Domaines
Example repertoire orchestra parts:

Baroque
Classical Beethoven, L. van Symphony no 6
Romantic Rachmaninov, S. Symphony no 2
20th century Ravel, M. Daphnis et Clo
Hindemith, P. Mathis der Maler
20th c. aft.1950 Loevendie, T. Suite from the opera Naima
12
Programme name:
Double Bass
Lecturers:
Paolo Borsarelli
Programme content
1.Solo performance: (repertoire for solo double bass)
Example repertoire:
Ellis, D. Sonata Op 42
Klebe, G. Six Pieces Op 68
Bottesini, G.
Dragonetti, D. Studies

Example repertoire:
Hindemith, P. Sonata
Schubert, F. Arpeggione
Dragonetti, D. Duet for Double Bass and Cello
Koussevitzsky, S. Concerto
3a. Chamber music:

Example repertoire:
Dittersdorf, C. D. von Sonata for Viola and Double Bass
Schubert, F. Octet
Prokofiev, S. Quintet Opus 39
Dvorak, A. String Quartet
or
Bruckner, A.. Symphony no 7 (1st part)
Mozart, W. A. Symphony no 40 (1st part)
Beethoven, L. van Symphony no 9 (Recitative)
Beethoven, L. van Symphony no 5
Verdi, G. Solo from: Othello
Mahler, G. Solo from the 1st Symphony
Stravinsky, I. Pulcinella Suite
Milhaud, D. Le Creation du Monde
Haydn, J. Symphony no 31 Horn Signal

Baroque ad libitum
Classical Mozart, W. A. Symphony no 40
Schubert, F. Symphony no 10
Romantic Dvorak, A. Symphony no 8
Bruckner, A. Symphony no 7
Tchaikovsky, P. Symphony no 5
20th century Strauss, R. Don Juan
Shostakovich, D. Symphony no 5
Ravel, M. Tombeau de Couperin
20th c. after 1950 Loevendie, T. Suite from the opera Naima
Vlijmen, J. van Quaterni I
Messiaen, O . Chronochromie
Maderna, B. Giardino Religioso
13
Programme name:
Flute
Lecturers:
Philippe Benoit
Peter Rijkx
Valerie Debaele
Programme content
1. solo repertoire
Example repertoire:
Debussy, C. Syrinx
Jolivet, A. Cinq Incantations
Bach, J. S. Partita
Bach, C. P. Solo sonata
Halftter, P. C. Oebl
Takemitsu, T. Air
Takemitsu, T. Voice

Example repertoire:
Liebermann, R. Sonata
Jolivet, A. Chant de Linos
Prokofiev, S. Sonata in D Op 94
Reinecke, C. Sonata Undine Op 167
Nielsen, C. A. Concerto
Jolivet, A. Concerto
Ibert, J. Concerto
Reinecke, C. Concerto
Schubert, F. trockne Blumen
Muczynski, R. Sonata
Dutilleux, H. Sonatina
piccolo: Myers:
Liebermann: Concerto
3a. Chamber music:

Example repertoire:
Martinu, B. Trio no 1
Debussy, C. Sonata for flute, viola and harp
Saint-Sans, C. Caprice opus 79
Bach, J. S. Das musikalisches Opfer
Jolivet, A. Chant de Linos
Roussel, A. Quintet
Ravel, M. Introduction et Allegro
or

Bach, C. P.
Mozart, W. A.
Stamitz, C.
Reinecke, C.

Baroque Bach, J. S. Passions and oratoria
Classical Beethoven, L. van Overture 'Leonore III'
Romantic Brahms, J. Symphony no 1 and 4
14
Tchaikovsky, P. Symphony no 4, part 3
Mendelssohn, F. Midsummer Night's Dream, Scherzo
Rossini, G. Overture 'William Tell', Andante
Bizet, G. Carmen/intermezzo
20th century Strauss, R. Saloms Dance
Debussy, C. Prlude l'aprs-midi d'un faune
Ravel, M. Daphnis et Clo suite no 2
Stravinsky, I. Petrouchka
Stravinsky, I. Firebird (+picc)
Stravinsky, I. Dumbarton Oaks
Strauss, R. Till Eulenspiegel
Hindemith, P. Symphonic Methamorphoses
Mahler, G. Symphony no 9, part 1
Prokofiev, S. Peter and the Wolf
piccolo Ravel, M. Ma mre l'oye

Berlioz, H. Menuet des Follets
Stravinsky, I . Firebird Suite
Mozart, W. A. Magic Flute
Rossini, G. l a Gazza Ladra
Rossini, G Semiramide
Delibes, L. Coppelia
Ravel, M. Piano Concerto in G
Janacek, L. Sinfonietta
Shostakovich, D. Symphony no 8 and 10
15
Programme name:
Guitar
Lecturers:
Roman Krejci
Carlo Marchione
Programme content
1.Solo performance: (repertoire for solo guitar)
Example repertoire:
J. Dowland Fantasia in E
J.S. Bach Lute Suites
M. Ponce thme vari et final
W. Walton 5 Bagatelles

Example repertoire:
M. Giuliani Guitar Concerto in A
M. Castelnuovo Tedesco Guitar Concerto in D
J. Rodrigo fantasa para un gentilhombre
R.R. Bennett Guitar Concerto
3a. Chamber music:

Example repertoire:
F. Schubert Quartet for guitar, flute, violin and cello
M. Castelnuovo Tedesco Quintet for guitar and strings
H. Villa Lobos sextuor mystique
V. Nees Tweeklank van Aarde en Water, for choir and guitar
or


G. Verdi Otello
G. Mahler Symphony no 7
I. Stravinsky ebony concerto
A. Webern Orchesterstcke opus 10
16
Programme name:
Harp
Lecturers:
Masumi Nagasawa
Anneleen Lenaerts
Programme content
1.Solo performance: (repertoire for solo harp)
Example repertoire:
Bach, C.Ph. E. Sonata in G wq. 139
Britten, B. Suite Op 23
Alvars, P. Serenade
Renie, H. Lgende
Grandjany, M. Rhapsodie
Berio, L. Sequenza
Salzedo, C. Variations sur un thme dans style ancien
Spohr, L. Variations in F op. 36
Studies:
Posse, W. 8 great concert studies
Salzedo, C. Modern study of the harp
Krenek, E. Sonata
Damase, M. Sicilienne Varie
2. Concerto
Example repertoire:
Mozart, W. A. Concerto for Flute and Harp KV 299
Alvars, P. Concerto Op. 98
Glire, R. Harp Concerto E flat major Op 74
Debussy, C. Danse Sacr et Dance profane
Ginastera, A. Concerto Op 25
Reinecke, C. E Minor Op 182
Boieldieu, F. Concerto in C
3a. Chamber music:

Example repertoire:
Debussy, C. Sonata for flute, viola and harp
Jolivet, A. Alla Rustica for flute and harp
Ibert, J. Trio for violin, cello and harp
Yung, I. Novelette for flute, harp, violin and cello
Ravel, M. Sonatina and Trio for flute, cello and harp
Ravel, M. Introduction et Allegro
Crumb, G. Federicos little songs for children
Spohr, L. Sonata for flute and harp
Spohr, L. Trio for violin, cello and harp
Takemitsu, T. Toward the sea for alto flute and harp
Bax, A. Elegiac trio
Caplet, A. Conte Fantastique
or

Tchaikovsky, P. Cadence from "Waltz of the Flowers"
Berlioz, H. Symphonie Fantastique
Ravel, M. Tzigane
Britten, B. Young persons guide to the orchestra
Verdi, G. Overture: La Forza del Destino
Stravinsky, I. Symphony in 3 parts
17
Baroque
Classical
Romantic Strauss, R. Saloms Dance
Strauss, R. Tod und Verklrung
Weber, C.M. von Aufforderung zum Tanz
Wagner, R. Tristan und Isolde
Wagner, R. Feuerzauber
Tchaikovsky, P. Cadence from Swan Lake
Tchaikovsky, P. Sleeping Beauty
Donizetti, G. Lucia di Lammermoor
20th century Dutillieux, H Symphony no 2
Debussy, C La Mer
Debussy, C. Prlude a lapres midi dun
faune
Martin, F. Petite Sinfonie Concertante
Ravel, M. Tzigane
Bartok, B. Violin Concerto no 2
20th cent. after 1950 Andriessen, L. De Staat
Wagenaar, J. Saul en David
Programme name:
Single-action pedal harp
Lecturers:
Masumi Nagasawa
Programme content:
The goal of this study is to achieve new approach towards classical repertoire of the harp and to
master the performance on a historical instrument, Single-action pedal harp.
This study demands thorough studies on the method books from the period. To adjust from the
double-action harp pedal by learning different performing techniques for the single-action harp is
essential. The study will also contribute in comparing diverse publications from important harp
repertoires and finally will be achieviing a high standard of performance on the Single-action pedal
harp.
Study Plan:
*History of the pedal harp (around 1720-1830)
*Reading and studying the major Harp Treaties (Mthode) from the 18th century and the beginning of
the 19th century:
P.J. Meyer (1737-1819) Essai sur la vraie maniere de jouer 1763
Nouvelle Mthode 1774
J.G.Cousineau (1760-1836) Mthode de Harpe 1784
J.B. Krumpholtz (1747-1790) / J.M. Plane(1774-?) Principes pour la harpe 1800
Comtesse de Genlis (1746-1830)Nouvelle Mthode 1811
Ch. Bochsa (1789-1856) Mthode de Harpe 1814
J.G.H.Backofen (1768-1830) Anleitung zum Harfenspielen 1827
Etc.
*Reading from the other Treatise on musical performances of the 17th ,18th centuries, depending on
the repertoire one will be playing
18
C.Ph.Bach, J.J.Quantz, L.Spohr, D.Corri
*Restudy of the performance technique, according to the treatise

(Fingering, Pedaling, retuning and playing on different keys, pitch )
*Writing cadenzas, preludes, accompaniment, making variations and improvisations
Contents of the repertoire:

1. Solo pieces
C.Ph,Bach Solo in G wq.139
Ph.Meyer Sonata
F.Dizi Grande Sonate
L.Spohr Variations in F op 36 Je suis encore dans mon printemps
J.B. Krumpholtz Sonate I , Quatre Sonates
A. Rosetti Six sonates op.2
G.B.Viotti Sonata
M.M.Marin Sonata op.15 n.1,n.2,n.3
2. Concertos
W.A. Mozart Concerto in C for Flute and Harp K.v. 299
F.A.Boeildieu Concerto in C
M.P.Dalvimare Concerto in c-minor
D.Steibelt Concerto in Es
L.Spohr Concertante Nr.I for Violin and Harp
F.Petrini Concerto in F
3.Chambermusic
L.Spohr Sonata concertante op.113. 114, 115, (Hp./ Vl.),Fantasie op.118 (Hp.Vl.), Trio (Hp. / Vl./ Vc.)
J.L.Dussek Duo Concertant op. 69 I,II, III (Pianoforte / Harp)
F.Ries Sextuor (Pianoforte/ Harp/ Cb. / Fg. /Hr. / Cl.)
M.M.Marin Trio (Hp./ Vl./ Vc.)
F.J.Naderman Fantasie (Hp. Hrn.)
C.Bochsa Nocturne Concertant op.71.no.3 (Hp. Fl.)
W.A.Mozart Six sonates (Hp./ Vl.)
*Performing Keyboard repertoire from the 17th ,18th century

Scarlatti, Couperin, Bach, Rameau etc.
19
Programme name:
Horn
Lecturers:
Willy Bessems
Will Sanders
Programme content
1.Solo performance: (repertoire for solo horn)
Example repertoire:
Bujanovsky, V. Pieces for solo horn
Maxwell Davies, T. Sea eagle
Messiaen, O. Appl interstellare
Persichetti, V. Parable for solo horn

Example repertoire:
Benton, N. V. Sonata Op 47
Bozza, E. Sur les cmes
Danzi, F. Concerto E
Frster, C. Concerto E flat
Francaix, J. Divertimento
Jacob, G. Concerto
Kirchner, V. G. Lamento dorfeo
Schumann, R. Adagio and Allegro
Vignery, J. Sonata Op 7
Weber, C.M. von Concertino op 45
3a. Chamber music:

Example repertoire:
Brahms, J. Horn trio Op 40
Ligeti , G. Trio
Ligeti, G. Six Bagatelles
Filas, J. Portrait der Zeit
Britten, B. Serenade opus 31
Schubert, F. Auf dem Strom
Schubert, F. Oktett
or

Beethoven, L. van Symphony no 2, Symphony no 7
Stravinsky, I. Petrouschka (1st horn)
Bruckner, A.. Symphony no 4
Franck, C. Symphonie in D minor
Tchaikovsky, P. Symphony no 5 (slow part)

Baroque ad libitum
Classical Mozart, W. A. Cosi fan Tutte
Beethoven, L. van Symphony no 3, 6, 9,
Mendelssohn, F. Nocturne from Midsummer Night's Dream
20
Mahler, G. Symphony no 5, 6 or 7,
20th century Shostakovich, D. Symphony no 5
Stravinsky, I . Firebird
Schoenberg, A. Chamber symphony
Vermeulen, M. Symphony no 6
Messiaen, O. Chronochromie
21
Programme name:
Oboe
Lecturers:
Mark Schaeferdieck
Peter Steyvers
Ralph van Daal
Programme content
1.Solo performance: (repertoire for solo oboe)
Example repertoire:
Stockhausen, K. H. In Freundschaft
Dorati, A. 5 Pices pour hautbois
Berio, L. Sequenza 7
Castiglioni, N. Alef

Example repertoire:
Bozza, E. Fantasie pastorale
Bach, J. S. Sonata in G BWV 1030b
Shinohara, M. Obsession
Rntgen, J. Sonata no 1
Marcello, B. Oboe Concerto
Poulenc, F. Sonata
Goossens, E. Concerto
Dutilleux, H. Sonata
Saint-Sans, C. Sonata
3a. Chamber music:

Example repertoire:
Escher, R. Chamber music for 10 players
Saint-Sans, C. Caprice opus 79
Bach, J. Chr. Quintet in B Flat
Mozart, W. A. Quartet in F KV
Mozart, W. A. Quintet KV 452
Beethoven, L. van Quintet Opus 16
Poulenc, F. Sextuor
Jolivet, A. Suite Liturgique
or

Bizet, G. Symphony in C Major
Brahms, J. Variations on a theme by J. Haydn
Mendelssohn, F. Symphony no 3 in A Minor
Ravel, M. Le Tombeau de Couperin
Smetana, B. Die verkaufte Braut
Baroque Mattheus Passion

Classical Beethoven, L. van Symphony no 3 and 9
Mozart, W. A. Symphony no 41
Schubert, F. Symphony no 9
Mendelssohn, F. Symphony no 4
Romantic Brahms, J. Violin concerto
22
Wagner, R. Siegfried Idyl
Rossini, G. Overture L'Italiana in Algeri'
Rossini, G. La Scala di Seta
20th century Prokofiev, S. Symfonie Classique
Stravinsky, I . Pulcinella Suite
Debussy, C. Iberia
Andriessen, L. De Staat
23
Programme name:
Organ
Lecturers:
Hans Leenders
Marcel Verheggen
Programme content
1.Solo performance: (repertoire for solo organ)
Example repertoire:
Bach, J. S. Dritter Theil der Clavierbung
Franck, C. Grande Piece Symphonique
Liszt, F. Ad nos ad salutarem undam
Messiaen, O. Les corps glorieux
Vierne, L. Symphonie no 3 and no 5
Heiler, A . Tanztokkata
2. Concerto
Example repertoire:
Bossi, E. Concerto in A
Poulenc, F. Organ concerto
Keuris, T. Organ concerto
Schoonenbeek, K. Organum
3a chamber music
Example repertoire:
Krebs, J. L. Fantasia in G ( oboe/organ )
Bach, J. C. Concertos in E flat, F, B flat (organ/2 violins/cellos)
Klerk, A. Concerto for organ and brass
Mozart, W. A. Church sonatas
3b. n/a
4.continuo playing
Example repertoire:
Bach, J. S. Cantatas, passions, Hohe Messe, chamber music
Monteverdi, C. Marian Vespers
Rameau, J.P. Grand motet Quam Dilecta
24
Programme name:
Percussion
Lecturers:
Pieter Jansen
Raymond Curfs
Programme content
A. Timpani
solo performance and concerto: (repertoire for solo percussion)
Example repertoire:
Carter, E. Eight pieces for four timpani
Putte, J. van der Om mij mijzelf met mijn aan mezelf en mezelf en mijn
eigen
Thrichen, W. Timpani concerto
Woud, N. Symphonic studies for timpani
2a. chamber music:

Example repertoire:
Antheil, G. Ballet mechanique
Bartok, B. Sonata for two pianos and percussion
Kabelac, M. 8 Inventions
Weinberger, J. Concerto for timpani and brass
2b. orchestra parts/audition repertoire

Beethoven, L. van Symphony no 7 and 9
Stravinsky, I. Le Sacre du Printemps
B. Non-pitched Percussion
1.solo performance and concerto: (repertoire for solo percussion)
Example repertoire:
Ishii, M. Thirteen Drums
Norgard, P. I Ching
Volans, P. She who sleeps with a small blanket
Xenakis, I. Rebonds A&B
2a. chamber music:

Example repertoire:
Hartmann, K. A. Kleines Konzert
Jolivet, A. Rapsodie a Sept
Milhaud, D. Le Creation du Monde
Xenakis, I. Persephassa

side drum
Rossini, G. La Gazza Ladra
Rimsky-Korsakov, R. Sheherazade
Rimsky-Korsakov, R. Capriccio Espagnol
Ravel, M. Bolero
Ravel, M. Alborada del Gracioso
Supp, F. von Overture Pique Dame
Delecluse, J. Etude no. 6
25
Prokofiev, S. Peter and the Wolf
triangle
Tchaikovsky, P. Nut Cracker
Bizet, G. Carmen
tambourine
Dvorak, A. Carnival Overture
Bizet, G. Carmen
cymbals
side drum
Rimsky-Korsakov, R. Sheherazade
Stravinsky, I. Petrouska
Ravel, M. Daphnis et Clo
bass drum / cymbals
Tchaikovsky, P. Romeo and Juliet
Stravinsky, I. Le Sacre du Printemps
tambourine
Debussy, C. Iberia
Dvorak, A. Carnival Overture
C. Melodic Percussion
1.solo performance and concerto: (repertoire for solo percussion)
Example repertoire:
Druckman, J. Reflections on the nature of water
Leeuw, T. de Midare for marimba
Schwantner, J. Velocities
Takaro, T. Two movements for marimba
2a. chamber music:

Example repertoire:
Andriessen, L. Hout
Crumb, G. Music for a summer evening ( Makrokosmos III )
Takemitsu, T. Rain Tree
Wagemans, P. J. Ewig

Example repertoire orchestra parts/audition repertoire
xylophone
Gershwin, G. Overture Porgy and Bess
Katchaturian, A. Ballet Gayane
Stravinsky, I. Ballet Firebird
Hindemith, P. Kammermusik no 1
Saint-Sans, C. Danse Macabre
glockenspiel
Dukas, P. L'apprenti Sorcier
Debussy, C. La Mer
Glazounov, A. Violin concerto
vibraphone
Bernstein, L . Symphonic dances from West-Side Story
Boulez, P. Pli Selon Pli
tubular bells
Hindemith, P. Symphonic Methamorphoses
marimba
26
Programme name:
Piano
Lecturers:
Joop Celis
Jeroen Riemsdijk
Katia Veekmans
Enrico Pace
Igor Roma
Programme content
1.Solo performance: (repertoire for solo piano)
1.1. Example repertoire polyphony:
Bach, J. S. .
Hindemith, P. Ludus tonalis
Shostakovich, D. Preludes and Fugues Op 87
1.2. Example repertoire Classical Sonata:

Haydn, J.
Mozart, W. A.
Beethoven, L. van
Schubert, F.
1.3. Recital pieces

Example repertoire:
Chopin, F.
Liszt, F.
Schumann, R.
Brahms, J.
Rachmaninov, S.
Debussy, C.
Ravel, M.
Ligeti, G.
Adams, J.
Schoenberg, A.
2. Concerto
Example repertoire:
Bach, J. S.
Haydn, J.
Mozart, W. A.
Beethoven, L. van
Schumann, R.
Liszt, F.
Chopin, F.
Brahms, J.
Etc
3a. Chamber music:

Example repertoire:
Duorepertoire (also 2 pianos)
Piano trios
Piano quartets
Piano quintets
Etc.
or
27

20th cent. Pijper, W. 6 Adagios
Dutilleux, H. Symphony no 2
Bartok, B. music for strings, percussion and celesta
Baaren, K. van Variations for orchestra
Stravinsky, I. Petrouska
Martin, F. Petite Sinfonie Concertante
Ketting, O. Capricio for violin and instruments
28
Programme name:
Repetiteuring
Lecturers:
Jeroen Riemsdijk
Programme content
Playing/adjusting the orchestral reduction of a concerto from the large repertoire
Programme examples
Bach, J. S. Concerto
Dvorak, A. Cello concerto
Ibert, J. Flute or Saxophone Concerto
Jolivet, A. Percussion Concerto
B. Playing the orchestral reduction of an opera, oratorio or cantata

Programme examples
Bach, J. S. Oratorio or cantata
Mozart, W. A. Opera with recitative
the great Romantic repertoire
Stravinsky, I. Rakes Progress
C. Playing a work of chamber music

Programme examples
Brahms, J. Chamber music
Messiaen, O. Cantate pour la fin des temps
Schoenberg, A. Pierrot Lunaire
D. Preparing a piece the candidate is not familiar with in two weeks' time
E. Playing at sight
F. Coaching a vocalist / instrumentalist in a teaching situation
Test format:
1. Recital 1, end of year 1
1.1. Complex contemporary ensemble music.
Specific difficulties regarding metre, rhythm, overview, playing together well
E.g. clarinet alto saxophone sonata Denishof/Milhalevitsi/Isul Yung/Phantasie Schnberg/ Partita
Lutoslawski/Gotkowski
1.2. World music (music with influences from jazz, tango etc.)
Two pieces Tacaz/Grande Tango Piazolla/Jazztrio Bollinger/Sonatina Horowitz. The repetiteur must
master rhythm at a percussion level and be able to convince with his infectious sense of rhythm.
1.3. Song recital
Late Romantic Mahler and Strauss, 20th and 21st century repertoire, e.g. Britten cycle, Dallapicola

Repertoire research: Rediscovering repertoire or world premiere (dialogue with composer)
methodological addition in the field of repetiteuring
3.1. Interim assessment of coaching skills year 2: period 1 or 2

Demonstrating coaching skills with 3 students:
20 mins vocal
20 mins wind instrument
20 mins string instrument
The repetiteur will receive the works to be played 1 week in advance. The following is assessed:
repertoire-specific difficulties in playing together and technique, dialoguing, interpretation advice,
knowledge of instruments, playing at sight, leadership and support and result-oriented coaching
29
3.2.Recital 3: end of year 4
Preparing 30 minutes of vocal accompaniment, divided in:
10 mins Repertoire art song (e.g. Wolf, Debussy)
10 mins Oratorio repertoire (e.g. Bach, Haydn)
10 mins Opera repertoire (e.g. Strauss, Rossini)
Preparing 45 minutes of instrumental accompaniment, divided in:
15 mins String/wind orchestra repertoire (e.g. Brahms, Dvorak, Shostakovich)
15 mins Wind/string duo repertoire (e.g. CM von Weber, Copland, Creston)
15 mins playing at sight, 2 parts of a Baroque piece with 45 mins' preparation)
30
Programme name:
Saxophone
Lecturers:
Norbert Nozy
Jean-Pierre Cnoops
Eva van Grinsven
Programme content
1.Solo performance: (repertoire for solo saxophone)
Example repertoire:
Noda, R. Improvisation
Bonneau, P. Caprice en forme de valse

Example repertoire:
Denisov, E. Sonata
Creston, P. Sonata
Glasunov, A. Concerto
3a. Chamber music:

Example repertoire:
Piern, G. Introduction et variation sur une ronde populaire
Koechlin, C. Epitaphe
Desenclos, A. Quatuor
Tomasi, H. Printemps
or

Glasunov, A.
Ibert, J.
Villa-Lobos, H.

19th century Ravel, M. Bolero
Mussorgsky, M. Pictures at an Exhibition
20th century Pijper, W. Symphony no 3
Hindemith, P. Neues vom Tage
20th c. aft.1950 Escher, R. Symphony no 2
Boulez, P. Ritue; in memoriam Maderna
Husa, K. Two Sonnets from Michelangelo
31
Programme name:
Trombone
Lecturers:
Bart Claessens
Programme content
1.Solo performance: (repertoire for solo trombone)
Example repertoire:
Berio, L. Sequenza
Xenakis. I. Keren
Crespo, E. Basta

Example repertoire:
Chaynes, C. Impulsion pour trombone et piano
Defay, P. Deux danses
Larsson, L. E. Concertino
3a. Chamber music:

Example repertoire:
Bozza, E. Trois pices pour quatuor de trombones
Dutilleux, H. Choral, Cadence et Fugato
Martin, F. Ballade for trombone and orchestra
Brown, E Dialogue and Dance for tuba and trombone
or

David Concertino
Albrechtsberger, J. Concerto

Baroque ad libitum
Classical Haydn, J. Die Jahreszeiten
Mozart, W. A. Requiem 'Tuba Mirum'
Schumann, R. Symphony no 3 and 4
Romantic Bruckner, A.. Symphony (of your choice)
Brahms, J. Symphony no 1
Reger, M. Romantic Suite
20th century Ravel, M. Bolero
Berg, A. Violin concerto
Boulez, P. Rituel in memoriam Maderna
Andriessen, L. De Staat
32
Programme name:
Trumpet
Lecturers:
Benny Wiame
Theo Wolters
Programme content
1.Solo performance: (repertoire for solo trumpet)
Example repertoire:
Friedman, S Solus
Takemitsu, T. Path

Example repertoire:
Martinu, B. Sonatina
Bitsch, M. Variations on a theme by Scarlatti
Haydn, J. Concerto
3a. Chamber music:

Example repertoire:
Poulenc, F. Sonata for horn, trumpet and trombone
Koetsier, J. Quintet Opus 65
Stravinsky, I. Octet
or

Beethoven, L. van Leonore Overture 2 and 3
Mussorgsky, M. Pictures at an Exhibition
Mahler, G. 3rd symphony, 5th symphony
Strauss, R. Heldenleben Till Eulenspiegel
Stravinsky, I. Petrouchka

Baroque ad libitum
Classical Mozart, W. A. Symphony no 32 in G, KV 318
Beethoven, L. van Symphony no 3, 6 and 9,
Mendelssohn, F. Nocturne from Midsummer Night's Dream
Mahler, G. Symphony no 5, 6 or 7,
20th century Shostakovich, D. Symphony no 5
Loevendie, T. Suite from the opera Naima
Ketting, O. Time Machine
33
Programme name:
Tuba and Euphonium

Lecturers:
Hans Nickel
Programme content
1a. .solo performance (repertoire for solo tuba)
Example repertoire:
Hartley, W. S. Suite for unaccompanied tuba
Gabrieli, G. Ricercar
Persichetti, V. Parable
Penderecki, K. Capriccio
1b. Solo performance (repertoire for solo euphonium)
Example repertoire:
Wiggins, C. Soliloquy
Corbell, N. Odyssey (with tape)
2. Duo repertoire with piano (may be a concerto) tuba

Example repertoire:
Eccles, H. Sonata
Madsen, T. Sonata
Williams, J . Concerto
2. Duo repertoire with piano (may be a concerto) euphonium
Example repertoire:
Golland, J. Concerto 2
Elleby, M. Concerto
Elgar, E. Romance
3a1. chamber music: tuba

Example repertoire:
Steven, J. Power
Steven, J. Dances
Steven, J. Manhattan Symphony
Koetsier, J. Brass quintet
3a1. chamber music: euphonium
Example repertoire
Ewald, V. Symphony for brass
3b1. orchestra parts/audition repertoire tuba

Vaughn Williams, R.
Strauss, R. Concerto in E flat
Romantic Bruckner, A.. Symphony no 7
Wagner, R. Overture Fliegender Hollnder
20th century Stravinsky, I. Firebird
Boulez, P. Le soleil des Eaux
Stockhausen, K. H . Groups for Three Orchestras
Berg, A. Violin concerto
Schoenberg, A. 5 Pieces for orchestra Op 16
34
3b2. orchestra parts/audition repertoire euphonium
Elleby, M. Concerto
Golland, J. Concerto no 2
Romantic Ravel, M. Bydlo from Pictures at an Exhibition
20th century Strauss, R. Till Eulenspiegel
Strauss, R. Tod und Verklrung
Various pieces from the wind/brass band repertoire
35
Programme name:
Viola
Lecturers:
Michal Kugel
Marc Tooten
Ioula Dinerchtein Matioukova
Programme content
1.Solo performance: (repertoire for solo viola)
Example repertoire:
Ravel, M. Ma Mere lOye
Debussy, C. Iberia Suite
Debussy, C. Six Epigraphes Antiques
Elgar, E. Enigma variations
Vaughn Williams, R. Fantasia on a Theme by Thomas Tallis
Delibes, L. Coppelia Ballet Suite

Example repertoire:
Brahms, J. 2 Sonatas Op. 120
Clarcke, R. Sonata
Bartok, B. Viola Concerto
Hindemith, P. Sonatas for Viola and Piano
3a. Chamber music:

Example repertoire:
Bruch, M. 8 Pieces Opus 83
Schumann, R. Mrchenerzhlungen
Mozart, W. A. Kegelstatt-Trio
Gubaidulina, S. Garten von Freuden und Traurigkeit
Beethoven, L. van String Trio
Martinu, B. String Trio
or

Examples of audition repertoire:
Strauss, R. Don Quichotte
Prokofiev, S. Romeo and Juliet Suite no 1
Prokofiev, S. Romeo and Juliet Suite no 2
Prokofiev, S. Classical Symphony
Berlioz, H. Carnaval Romain
Berlioz, H. Benvenuto Cellini
Kodaly, Z. Hry Jnos Suite
Smetana, B. Die verkaufte Braut

Baroque ad libitum
Romantic Brahms, J. Symphony no 2
Bruckner, A.. Symphony no 7, part 1
36
Brown, E . Available Forms II
37
Programme name:
Violin
Lecturers:
Boris Belkin
Robert Szreder
Piotr Jasiurkowski
Kyoko Yonemoto
Yuzuko Horigome
Programme content
1.Solo performance: (repertoire for solo violin)
Example repertoire:
Bach, J. S. Sonatas and Partitas
Ysae, E. Solo sonatas
Bartok, B.
Bacewicz, G. Caprices
Paganini, N.
Wieniawski, H. Lcole moderne op.10
Ernst, H. W. 6 Polyphonic Studies
2.duo repertoire with piano:

Example repertoire:
Mozart, W. A. Sonatas
Beethoven, L. van Sonatas
Brahms, J. Sonatas
Franck, C. Sonata
Schoenberg, A. Fantasia
Lutoslavsky, W. Partita
Debussy, C. Sonata
Ravel, M. Sonata
Janacek, L. Sonata
Strauss, R. Sonata
Faur, G. Sonata in A
Schubert, F. Duo in A Op 162
Schubert, F. Fantasia in C Op 159
Poulenc, F. Sonata
Escher, R. Sonata Op 18
Martin, F. Sonata
Shostakovich, D. Sonata
Bartok, B. Sonata 1 or 2
Pijper, W. Sonata
Cassado, G. Sonata
3a. Chamber music:

Example repertoire:
Piano trios
Piano quartets
String trios
String quartets
or

Violin concertos:
Mozart, W. A. Symphony no 39, 4th part Finale
38
Bach, J. S. Matthuspassion, Solo 2nd chorus
Beethoven, L. van Symphony no 8, Finale Allegro vivace
Missa Solemnis, Violin solo
Strauss, R. Vier letzte Lieder, Im Abendrot (solo)
Don Juan
Rossini, G. Ouv. William Tell
Schumann, R. Symphony no 2, Scherzo
Debussy, C. La Mer, Pointed part
Verdi, G. La Forza, Solo from no 7 Finale (pointed part)

Baroque ad libitum
Mozart, W. A. Symphony no 39
Beethoven, L. van Symphony no 3 (Scherzo)
Romantic Brahms, J. Symphony no 2
Schumann, R. Symphony no 2 Scherzo
Tchaikovsky, P. Symphony no 4, slow part
Bartok, B. Concert for Orchestra
Stockhausen, K H. Groups for Three Orchestras
Vlijmen, J. Quaterni I
For Leader:
The solos from:

Strauss, R. Ein Heldenleben
Der Brger als Edelmann
Also sprach Zarathustra
Rimsky- Korsakov, A. Sheherazade
Shostakovich, D. Symphony (Scherzo)
Beethoven, L. van Missa Solemnis
Bach, J. S. Mattheus Passion (both solos)
Mozart, W. A. Haffner Serenade in D
39
3.1.2 PROGRAMME DESCRIPTION CHAMBER MUSIC
3.1.2 PROGRAMME DESCRIPTION MASTER OF MUSIC CHAMBER MUSIC

Artistic/technical development
Programme name:
Chamber music
Year 1 and 2
Lecturers:
Henk Guittart
ECs
world of music.
The Master
accordance with the stylistic requirements of the music (S1, S2.2, S4, K1.1, K1.2, K3, C1, );
C5.2);
C4);
Programme content
- group lessons and individual lessons
- projects, international orientation, masterclasses
40
Recital 1 45
Recital 2 30
Recital 3 45-60
A. professional skills - technical skills (S1, S2.1, S2.2, S4, K1.2)
Programme content
The chamber Music Master is the ideal education for young ambitious ensembles. You enroll as an
ensemble (from Piano Duo to String Quartet) and work on your performance skills with Henk Guittart -
it is also possible to choose a combination of teachers, depending on your goals.
You will also benefit from the course Entrepeneurship and all concert possibilities Conservatorium
Maastricht offers. The repertoire depends on the line-up and preference of the ensemble.
41
3.1.3 PROGRAMME DESCRIPTION CLASSICAL VOCAL
Opera
Singing
3.1.3 PROGRAMME DESCRIPTION MASTER OF MUSIC CLASSICAL VOCAL

Artistic/technical development: individual performance
Programme name:
All main subjects

Year 1 and 2
Lecturers:
See main subject and list of lecturers
ECs
world of music.
The Master
C5.2);
C4);
Programme content
42
Test format opera:
1. Performance in production: end of year 1
2. Performance in production: end of year 2
Duration:
Performing
Production 1 variable
Production 2 variable
Test format and duration singing:

Recital 1 45
Recital 2 30
Recital 3 45-60
Programme name:
Opera
Lecturers:
Axel Everaert
Frans Kokkelmans
Yvonne Schiffelers
Roger Smeets
Jeremy Hulin
Susanne Schimmack
Programme content
Performing a leading or major supporting role in an opera production
Role examples:
Cosi fan Tutte: Fiordiligi, Dorabella, Ferrando, Guglielmo, Despina, Don Axel
Der Freischtz: Agathe, Max, nnchen,
Il Barbiere di Siviglia: Rosina, Almaviva, Figaro, Bartola
Llisir damore: Nemorino, Adina, Belcore, Dulcamara
Gianni Schicchi: Gianni, Lauretta, Rinuccio, Zita, Simone
The Turn of the Screw
43
Programme name:
Singing
Lecturers:
Axel Everaert
Frans Kokkelmans
Yvonne Schiffelers
Susanne Schimmack
Programme content
1. Song, Melody and chamber music
Example repertoire:
Schubert, F. Der Hirt auf dem Felsen
Chausson, E. Chanson Perptuelle
Debussy, C. Chansons de Billitis
Britten, B. Serenade
Strauss, R. Mdchenblumenlieder op 22
Webern, A. Pieces Op 8
Menotti, G. Canti della lontananza
2. Oratorio and Concert arias

Example repertoire:
Bach, J. S. Oratorio and cantatas
Mozart, W. A. Konzertarien
Haydn, J. Oratorio
Mendelssohn, F. Oratorio
Stravinsky, I. Oedipus Rex
Britten, B. War Requiem
3. Opera
Example repertoire:
Mozart, W. A. Opera arias
G. Rossini, G. Donizetti, V. Bellini
G. Verdi, G. Puccini, Verismo school
C. M. Weber, R. Wagner, R. Strauss
C. Gounod, J. Massenet, C. Debussy
B. Britten, G. Menotti, S. Barber, J. Adams, A. Previn
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3.1.4 PROGRAMME DESCRIPTION CONDUCTING PROGRAMMES
Choral Conducting
Orchestral Conducting
Contemporary Music Ensemble Conducting
Wind/Brass Band Conducting
PROGRAMME DESCRIPTION MASTER OF MUSIC - CONDUCTING

Artistic/technical: individual performance
Programme name:
All conducting main subjects

Year 1 and 2: all teaching periods
Lecturers:
See main subjects or list of lecturers
ECs
world of music.
The Master
C5.2);
C4);
Programme content
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Test format:
1. Conducting 1, end of year 1
2. Conducting 2, end of year 2
Duration:
Performing
Conducting 1 variable
Conducting 2 variable
Assessment Criteria
A. professional skills - conducting technique (S1, S2.1, S2.2, S4, K1.2)
- aural skills (S1, S2.1, S2.2, S4, K1.2)
- (non-verbal) communication with the choir/orchestra/ensemble (S6,
C3, C5.1, C5.2)
B. interpretive skills - musical personality (S1, S2.2, S6, S7, K1.2, C4)
- interpretation (S1, S2.1, S2.2, S3, S4, K1.1, K1.2, K2.2, K3)
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Programme name:
Choral Conducting
Lecturers:
Ludo Claesen
Programme content
Renaissance
Josquin: Miserere
Missa Gaudeamus
Lassus: Penitential psalms
Palestrina: Missa Pape Marcelli
Baroque
Monteverdi: Marian Vespers 1610
Schuetz: Psalms Davids
Chormusik 1648
Buxtehude: Membra Jesu Nostri
Purcell: Dido and Aeneas
Bach, JS: Passions
Oratoria
Hohe Messe
Motets
Handel: Messiah
Israel in Egypt
Rameau: Grand motets
Classical
Mozart: Requiem
Missa in c-moll
Haydn: Schoepfung
Jahreszeiten
Harmoniemesse
Beethoven: Missa Solemnis
Chor Fantasie
Romantic
Schubert: Messe in E flat and A flat
Mendelssohn Paulus
Elias
Motets
Schumann: Szenen aus Goethes Faust
Brahms: Ein Deutsches Requiem
Motets
Bruckner: Messe in F-moll und e-moll
Motets
Mahler: Das Klagende Lied
Dvorak: Stabat Mater
Verdi: Requiem
Gounod: Messe Solennelle de Sainte Cecile
Caplet: Miroir de Jesus
Franck: Les Beatitudes
20th century
Poulenc: Gloria
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Stabat Mater
Figure Humaine
Mass in G
Martin: Golgotha
Mass for double choir
Honneger: Le Roi David
Schoenberg: a capella choral music Opus 28
idem Op 27, op.35, op.49, op.13, op. 50 a and b
Distler: Totentanz
Hindemith: Apparebit repentina dies
Durufle; Requiem
Stravinsky: Symphony of Psalms
Missa ( 1948 )
Britten: War Requiem
Walton: Belshassar's Feast
Tippet: A Child of our Time
Kodaly: Te Deum
Bartok: Cantata profana
after 1950
Stravinsky: Requiem canticles
Threni
Boulez: Le Visage nuptial
Ligeti: Lux aeterna
Berio: Coro
Nono: Liebeslied
Henze: Das Floss der Medusa
Moralities
Rautavaara: Ludus verbalis
Gorecki: Amen op.34
Penderecki: Lukas-Passion
Credo
Stabat Mater
Paert: Berliner Messe
Nees: Magnificat
Tavener: Ikon of Light
Rihm: Depart
Deus Passus
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Programme name:
Orchestral Conducting
Lecturers:
Arjan Tien
Programme content
Orchestral conducting
Baroque
Bach, JS: Brandenburg concertos
Orchestral Suites
Handel: Concerti Grossi op. 6
Classical
Haydn: London Symphonies
Sturm und Drang Symphonies
Mozart: Symphonies KV 504, KV 543, KV 550, KV, 551
Overtures
Beethoven the 9 Symphonies
Overtures
Fidelio
Violin concerto
the 5 piano concertos
Romantic
the symphonic works of:
Schubert, Mendelssohn, Schumann, Berlioz, Brahms, Bruckner Liszt, Mahler, R. Strauss, Sibelius
Mendelssohn Violin concerto
Schumann: piano concerto
Brahms: Violin concerto
the 2 piano concertos
Grieg: piano concerto
Bruch: Violin concerto
Elgar: Cello concerto
Liszt: piano concertos
Impressionism
Ravel: Daphnis et Clo
La Valse
Ma Mere lOye
Debussy La Mer
Prelude a l'pres midi d'une Faune
Trois Nocturnes
Images
20th century
Stravinsky: Firebird
Petrousjka
Le Sacre du Printemps
Symphony in C
Prokofiev: Classical Symphony
Hindemith: Mathis der Maler
Bartok: Concerto for Orchestra
Music for strings, percussion and celesta
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Janacek: Sinfonietta
Lacian Dances
Shostakovich Symphony no 5 and 7
Varese: Ionisation
Webern: Variations for orchestra
Passacaille op.1
Six orchestral pieces op.6
Symphony op.21
Schoenberg Variations for orchestra
Five orchestral pieces 0p 16
Kammersymphonie no. 2 op.38
Verklaerte Nacht op.4
Berg: Lulu Suite
Violin concerto
Honnegger: Pacific 231
Symphony no 1 and 3
Krenek: Symphony no 2 op.12
Ives: Symphony no 2
after 1950
Copland: Symphony no.3
Martinu: Symphony no 3 and 5
Lutoslawsky: Symphonic Variations
Symphony no.2
Penderecki: Symphony no 4
Britten: Sinfonia da Requiem op.20
Passacaglia op.33b
Shostakovich Symphony no.10
Varese: Deserts
Stockhausen Gruppen
Carter: Symphonia: Sum Fluxae Pretium Spei
Schnittke: Ritual
Andriessen: De Staat
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Programme name:
Wind Band Conducting

Lecturers:
Jan Cober
Pieter Jansen
Programme content
Programme examples concert
Programme 1:
Barber, S Essay no 2
Stravinsky, I Piano concerto, part 1
Villa, R Fantasie Espagnol
Programme 2:
Hindemith, P Symphonic Methamorphoses
Rimsky-Korsakov, N Oboe Concerto
Guilman, A Premier Sonate pour GrandeOrgue en R mineur
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3.1.5. PROGRAMME DESCRIPTION COMPOSITION
Composition
PROGRAMME DESCRIPTION MASTER OF MUSIC CLASSICAL COMPOSITION

Programme name:
Composition
Lecturers:
Robert Platz
Vykintas Baltakas
ECs
world of music.
The Master
Can create music independently at a professional level from a personal artistic vision in
accordance with the requirements of the commission/objectives (S1, S2.2, S4, K1.2, K3, C1,
C4, );
Can formulate his own objectives and develop these in a composition, with thorough
knowledge of the connected performance practice (S1, K1.1, K2.2, C1, C2, C4);
Has mastered a broad or specialist repertoire of composition techniques and/or extensive
improvisation skills (S2.1, S2.2, S4, S7);
Is capable of reflection and can develop a reflection about a composition independently (S1,
S5, C1, C2);
Has knowledge of literature and extensive repertoire knowledge (S2.1, S2.2, K1.1, K1.2,
K2.2);
Programme content
composing one work for one instrument (not: piano/organ/harp)
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composing chamber music
composing vocal music
composing orchestral music or a work for a large ensemble
- masterclasses
Test format:
1. Presentation 1, end of year 1
Duration:
Presentation 1 45
Presentation 2 45-60
A. Professional skills - compositional/technical skills (S1, S2.1, S2.2, S4, S7)
K1.1, K1.2, K2.2, K3)
- communication (S6, C3, C5.1, C5.2)
B. interpretive skills - musical expression and personality (S1, S2.2, S6, S7, K1.2, C1, C2,
C4)
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3.1.6. PROGRAMME DESCRIPTION MUSIC THEORY
Music Theory
PROGRAMME DESCRIPTION MASTER OF MUSIC CLASSICAL MUSIC THEORY

Programme name:
Theory
Year 1 and 2
Lecturers:
Inge Pasmans
David Lodewyckx
ECs
world of music.
The Master
Can study music theory independently at a professional level from a personal artistic vision in
accordance with the requirements of the subject/composition (S1, S2.2, S4, K1.1, K1.2, C1);
Can formulate his own objectives and develop and present these in a study, with thorough
knowledge of the historical context (S1, S2.1, S5, S6, K1.1, K2.2, C1, C2, C4, C5.1, C5.2);
Has mastered a broad or specialist repertoire (S2.1, S4, );
Is capable of reflection and can develop a reflection about a subject in the field of music theory
independently (S1, S5, C1, C2);
Has knowledge of literature and extensive repertoire knowledge (S2.1, S2.2, K1.1, K1.2,
K2.2);
Programme content
Auditory analysis
Theoretical analysis
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Study of specialist literature in a historical context
- masterclasses (conferences)
Test format:
Duration:
Presentation 1 45
Presentation 2 45-60
A. Professional skills - theoretical-technical skills (S1, S2.1, S2.2, S4,
K1.1, K1.2, K2.2, )
- presentation (S5, S6, C3, C5.1, C5.2)
B. interpretive skills - musical expression (artistry) (S1, S2.2, S6, K1.2, C4)
- personal vision (originality) (S1, S2.2, S6, C1, C2, C4)
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3.1.7. PROGRAMME DESCRIPTION JAZZ
Jazz - all main subjects
PROGRAMME DESCRIPTION MASTER OF MUSIC JAZZ

Performance, artistic/technical: individual performance
Programme name:
Jazz: all main subjects

Year 1 and 2
Lecturers:
Bass guitar
Alexander Boerner
Composing/arranging
Wolfgang Braun
Double bass
John Goldsby
Matthias Akeo Nowak
Jan van den Boomen
Drums
Arnoud Gerritse
Ron van Stratum
Guitar
Joachim Schnecker
Jan Formannoy
Joep van Leeuwen
Piano
Frank Giebels
Math Scheffer
Saxophone
Claudius Valk
Trombone
Jack Coenen
Trumpet
Rob Bruynen
Carlo Nardozza
Vocals
Esmee Bor-Stotijn
Sabine Khlich
Susanne Schneider
Roderik Povel
ECs
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world of music.
The Master
accordance with the stylistic requirements of the music (S1, S2.2, S4, S7, K1.1, K1.2, K3, C1);
Can compile his own programme, present and perform it, with thorough knowledge of the
historical context and performance practice (S1, S2.1, S4, S5, S6, S7, K1.1, K2.2, K3, C1, C3,
C4, C5.1, C5.2);
C4);
Has knowledge of literature and extensive repertoire knowledge (S2.1, S4, K1.1, K3);
Programme content
1. A master recital is a programme which is centred on the instrument/voice concerned.
2. The programme is compiled in consultation with the main subject teacher.
3. The programme forms a coherent whole.
4. The recital gives an idea of the personal musical development of the student.
5. The pieces performed are characterised by a personal interpretation, arrangement, groove,
sound, approach, different from any standard performance.
6. Compositions by the student are preferable, though not obligatory.
7. The following is assessed: musical value of the entire recital, quality of the time, feel and
grooves, technical mastery, expressiveness, dynamics, playing together and interaction, level
of difficulty of the pieces, stylistic conceptions, interpretation of the arrangements, creative
content, phrasing, articulation, sound and improvisation.
8. The organisation and presentation of the recital as a whole.
Ensemble performance
Stylistically interpreting the jazz repertoire in a heterogeneous ensemble setting.
The focus is on the quality of the way students play and sound together (rhythm section / horn section
/ vocal section) by listening to each other and creating a feel/groove/sound/attitude/presentation
together that suits the repertoire.
The following is assessed:
Playing in an ensemble setting:
- theme: may include intro, outro, interlude, shout chorus, coda, fours
- improvisation: in an arrangement or open
This is done using (a) good:
- accompaniment ( make the others sound good....)
- groove / drive / timing / rhythmic interpretation / tempo
- dynamics
- interaction / reaction /call + response
- phrasing, intonation
- choice of notes / melody structure (for improvisation)
- timbre / overall sound
- arrangement: form / instrumentation / voicings / rhythm arrangement
- emotion / expression / mood
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It is assessed how each instrument performs the varying functions in each part of the arrangement
stylistically and how this affects the band sound / overall sound.
MASTERY
Mastery is defined by:
- stylistic interpretation of the theme
- stylistic improvisation on the theme as a soloist or in a collective improvisation
- stylistic accompaniment of these improvisations.
STYLISTIC
Stylistic improvisations are defined by:
1) Music recordings that define this style.
2) - choice of notes / melody formation
- choice of rhythm
- sound formation
- dynamics
- phrasing
- timing / pulse treatment
- rhythmic interpretation
- beat
This in turn is determined by the musical characteristics of the various modern jazz styles, such as:
- Swing / New Orleans / Dixie
- Bebop
- Cool Jazz (orchestral and Small Band)
- Hard bop
- Soul Jazz
- Third Stream Music
- Latin (Jazz) / Bossa Nova / Samba
- Free (Jazz)
- Mainstream
- Fusion
- Motown / Soul / Funk / Pop jazz
REPERTOIRE
Compositions from various styles (jazz and pop standards) as well as the students own compositions
which may have been influenced by these styles. The pieces can be divided into triple and duple
rhythmic interpretations.
(Historical) audio recordings of these pieces give an indication of the interpretation of the repertoire.
The compositions may be played in an open or arranged form.
Style characteristics
BEBOP
- Line themes (compositions by Parker, Gillespie etc.)
- Standards in Bebop style characterised by:
- fast tempos / fast rhythms in slow pieces
- improvisation drives the arrangement
- expressive way of playing (hot)
COOL JAZZ
- Themes written for this style, such as:
- Gerry Mulligan repertoire (Line For Lyons, Walkin' Shoes)
- Bill Evans (Interplay)
- Oliver Nelson (Stolen Moments)
- Standards arranged in this style with the following characteristics:
- Subdued, introverted way of playing, lyric, relatively lacking in contrasts
- Large share compositional element
- Use of counterpoint / polyphony (either composed or improvised)
- Transparent sound, various registers not full.
HARD BOP
- Horace Silver repertoire (Filthy McNasty, Nica's Dream, Nutville, Sister Sadie)
- Charles Mingus repertoire & interpretation
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- Sonny Rollins repertoire (Pent-Up House, Waltz Hot)
- Benny Golson (Along Came Betty)
- Extroverted way of playing, dynamic, full of contrasts
- Large share improvisational element
- Compact, earthly overall sound
- Interactive way of playing
SOUL JAZZ
- Horace Silver repertoire (The Preacher, Opus de Funk)
- Bobby Timmons (Moanin', Dis Here)
- Joe Zawinul (Mercy. Mercy. Mercy)
- Hancock (Watermelon Man)
- Harmonically blues/gospel-oriented often using plagal cadence and dom. 7th as
tonic
- Melodically blues / gospel oriented
- Referring to the black church (call + response)
THIRD STREAM MUSIC
- All combinations of music in which composed sections are alternated with improvised sections.
Music by the Modern Jazz Quartet and Ornette Coleman's Third Stream / Free Jazz experiments up to
collaboration of Joe Lovano and Gunther Schuller on Rush Hour (1995).
LATIN JAZZ
- From CuBop to Bossa Nova / Samba to Fusion with Latin elements.
FREE JAZZ
- From Ornette Coleman to European improvised music.
MAINSTREAM
Jazz style that does not clearly belong to one of the main styles, but contains elements of one or more
of these.
FUSION
From Jazz Rock to Fusion with a high Jazz content".
- Repertoire of Steps Ahead, Pat Metheny, Chick Corea, John Scofield,
Yellowjackets, Weather Report, Miles Davis etc.
- electronic instruments in Fusion: synthesiser, bass guitar, electric guitar with
effects unit, EW.
MOTOWN / SOUL / FUNK / POP JAZZ
From the 60s Motown / Soul Standards (Marvin Gaye, James Brown, Stevie Wonder, Temptations,
Jackson 5, Four Tops, Smokey Robinson, Supremes, Otis Redding, Gladys Knight etc.) to the
Commodores, Earth Wind & Fire, Kool & The Gang, Steely Dan, George Duke, Incognito etc.
- Songs (vocals)
- Electric rhythm section with background vocals / horns.
- ensembles
Test format:
Duration:
Recital 1 45
Recital 2 30
Recital 3 45-60
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A. professional skills - technical skills (S1, S2.1, S2.2, S4, K1.2, K3)
- improvisation/creativity (S1, S2.1, S2.2, S3, S4, K1.1, K1.2, K2.2,
K3)
- personal vision (originality) (S1, S2.2, S6, S7, K1.2, C1, C4)
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3.2 PROGRAMME DESCRIPTION GENERAL COMPONENTS
PROGRAMME DESCRIPTION MASTER OF MUSIC GENERAL COMPONENTS

Artistic/technical development: Ensemble performance and international orientation/masterclasses
Programme name:
Ensemble performance and international orientation/masterclasses

Year 1 and 2
Lecturers:
Study coaches and main subject teachers
EC
Ensemble
Year 1: at least 5 ECs
International orientation/masterclasses:
world of music.
The Master
C1);
C5.2);
C4);
Programme content
Ensemble performance:
The student takes part in projects organised by the academy, such as orchestra projects, opera, choir,
wind ensemble, masterclasses and workshops. Participation in projects is obligatory for selected
students (in particular strings and wind instruments). In addition, the student decides upon the content
of the programme, for instance by rehearsing and performing with a combo or chamber music
ensemble. Orchestra instrumentalists prepare themselves, together with their main subject
61
teacher/subject coach, for the yearly orchestral scores examination. Cello, viola and violin students
follow an orchestra audition course, led by professional orchestra musicians. Students document their
ensemble activities in a portfolio.
Dutch students take part in masterclasses abroad. Foreign students can choose where they follow
masterclasses. Masterclasses are documented in the students portfolio.
- combo/band
- workshops
- training
- orchestra and choir projects
- chamber music
- international orientation
- masterclasses
- ensemble performance
Test format:
Ensemble:
Orchestral scores examination, end of Year 1 and Year 2 (only orchestral instruments)
Attendance requirement in projects (only for selected students)
Portfolio with documentation of all ensemble activities, proof and time involvement schedule, related to
PDP goals.
Portfolio with documentation of all masterclasses, proof and time involvement schedule, related to
PDP goals.
The portfolio is handed in in May of Year 1 and 2.
Projects:
The conductor/project leader assesses the individual student based on effort, teamwork and
performance quality (S1, S3, S4, S6, C5).
Portfolio:
The portfolio contains evidence of participation in ensemble activities/masterclasses;
The student shows he is able to relate these activities to his own goals, abilities, restrictions and
ambitions, as described in the PDP (S5, C1, C2, C3);
The student shows that he is capable of reflecting on his own progress (S5, C1, C2);
Detailed criteria are published on Blackboard Zuyd and Fontys Portal.
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Artistic/technical development: Music philosophy
Programme name:
Music philosophy
Year 1
Teacher:
Leo Samama
EC
Year 1: 1 EC
world of music.
The Master
C1);
C5.2);
C4);
Programme content and specific goals:

The HBO Master of Music is capable of contemplating and evaluating music (and culture in general) in
a philosophical and social framework in a clear manner. The Master can think and act across borders
within his field. The Master can apply the various methods of contemplation to his own field, when
choosing his performance repertoire and communicating with clients and audiences.
The Master has thorough knowledge of the different ways in which music has been thought and
written about though the ages.
The Master can think about music (and other forms of cultural expression) philosophically,
regardless of his own specific cultural background or convictions.
The Master can use this knowledge to evaluate, substantiate and improve music in general, but
also specific musical forms of expression, as well as the daily concert and lesson practice and his
own research.
The Master can transfer his knowledge of music philosophy to others.
The course consists of (a) an overview of the ways in which music as a representation of mankind can
be considered in its social, cultural and spiritual context, and (b) an overview of the most important
thinkers through the ages (from the ancient Greeks to our time) and the connecting lines in thinking
about music (and culture) which have defined Western culture for over 2500 years. In view of the
mixed composition of the student population, non-Western ideas will be discussed whenever possible.
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Lectures
Test format
Oral assessment
During the assessment, the student demonstrates thorough knowledge of the different ways in
which music has been thought and written about though the ages (K1.1, K1.2, K2.2);
The student shows that he can think about music (and other forms of cultural expression)
philosophically, regardless of his own specific cultural background or convictions (C2);
The Master can apply the acquired knowledge to one of the pieces of music from his repertoire
(K2.3, S2.1, S2.2, C2, C5, S5).
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Personal and professional development
Programme name:
Personal and professional development

Year 1 and 2
Lecturers:
Study coaches
ECs:
Year 1: 2
Year 2: 2
The HBO Master of Music works consciously and independently on his own professional development.
He has self-insight and can identify his own strong and weak points. This enables him to indicate how
he can develop further as a professional musician.
The Master:
Can express his own vision and substantiate it (S5, C1, C2, C3);
Can indicate how and in what direction he wants to develop his vision (S5, C2);
Can reflect on his own progress and give direction to his own career (C2);
Can steer further education independently (C1, C3).
Programme content
During the Bachelor's programme, the student has developed artistically and technically and has
become acquainted with many aspects of his/her field, which included participation in masterclasses
and projects with interesting musicians. The Master's student is therefore considered to be a musical
personality, capable of introspection and of making the right choices regarding his or her ongoing
musical development.
The student is at the centre of the programme and is largely responsible for determining the set-up
and course of his studies.
In order to make his choices concrete, the student writes his CV and first Personal Development Plan
(PDP) before the entrance examination, outlining how he intends to achieve his final qualifications.
Apart from the musical qualities, the examining board also assessed this PDP and the Curriculum
Vitae. The PDP is assessed on content and feasibility.
The PDP is revised and made concrete at the start of the first year. The student describes which
learning objectives he wants to achieve in the first year and how, based on a SWOT analysis. Which
lessons, masterclasses, projects, work placements and with which internal or external lecturers?
At the end of the first year, the student writes a reflection report and a PDP for year 2. At the end of
year 2, the student writes a reflection report.
- group meetings
- individual guidance
- oral and written reflection
Test format:
Portfolio with
- Personal Development Plans
- Reflection reports
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Schedule:
Schedule PDP and

reflection report
February/March Information meeting for Bachelor's students, explanation PDP.
Student writes PDP and CV as part of the entrance examination.
May/June Entrance examination with recital.
Assessment PDP and CV by examining board.
Entrance interview with transfer students.
Year 1
September Meeting about PDP, student receives support in making the PDP
concrete and drawing up a financial plan.
Assessment definitive PDP including financial plan.
May Student writes reflection report on year 1 and draws up the 2nd PDP;
June Portfolio assessment
Year 2
May Student writes reflection report on year 2
June Portfolio assessment
PDP:
In the PDP, the student shows that he is capable of formulating his own learning objectives, which are
related to the final qualifications of the Master of Music programme and suit his own potential,
limitations and ambitions (S5, C1, C2, C3). For detailed criteria, see format PDP on Blackboard.
Reflection report:
In the reflection report, the student shows that he is capable of reflecting on his own progress. The
student looks back on the learning objectives set in the PDP, reflects on the achieved results and uses
this as a basis to draw up learning objectives for the next phase (S5, C1, C2). For detailed criteria, see
format reflection report on Blackboard.
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Research skills
Programme name:
Research skills
Year 1 and 2: all profiles
Lecturers:
Lectures and workshops: Rik Bastiaens
Research coaches:
Rik Bastiaens
Inge Pasmans
Marcel Verheggen
Kathinka Poismans
Elisbeth Dumont
David Demuynck
EC:
Year 1: 8EC
Acquiring research skills
Drawing up a research plan
Carrying out practical research
Year 2: 7EC
Carrying out and presenting practical research
The HBO Master of Music can conduct practical research into his profession and is familiar with
common and suitable methods. The Master is capable of formulating a researchable problem and the
correct research questions and can draw up and carry out a research plan based on these. The
Master is capable of presenting his own research in its own musical context.
The Master:
Has an inquisitive attitude with which to approach new, unfamiliar circumstances (C3);
Can formulate and answer a research question based on a theoretical or practical artistic
problem (S1, S5, K2.3, C1);
Can obtain relevant information independently and convert this into a researchable problem
(S1, K2.3, C1);
Can draw up a research plan with an outline of the problem, questions, research model,
planned approach, time schedule (S1, K2.3, C1);
Can find specific expertise in the field of research methods and techniques and apply this if
necessary (S1, K2.3);
Can test personal views and judgements against scientific and/or artistic findings and place
them in a specific musical context as well as a broader cultural-historical and social context
(K2.2, K2.3, C2);
Can present and defend the results of his own research in an artistic essay, a lecture-
recital/workshop/registration with an explanation (S5, S6, K2.2, K2.3, C5).
For the comprehensive programme content, instructional formats, test formats, schedules and
all (formal) assessment criteria, see Research Protocol 2016-2018 on Blackboard. You will find
a summary below.
Programme content
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The Master of Music can carry out practical professional research. He is introduced to suitable
methods; he learns to formulate research questions and draw up a research plan. The Master
presents his own research in its own musical context.
The preparation for and execution of the research and the research presentation is phased. The
student is supervised by a research coach during the entire course. In the first year, students follow a
short lecture programme, aimed at acquiring research skills.
Kick-off, lectures and research skills workshops, assignments, individual guidance, tutorials,
intervisions.

Research plan
Research report
Research presentation (30 minutes)
Research plan:
The topic is directly related to the main subject. There is a direct link between the research and the
musical performance practice of the student. With students who have chosen the education profile,
there is a direct link between the research and the teaching practice of the student (K2.3, C1, C2);
The specialist knowledge required to complete the research successfully must be present at the
institution, unless the student himself has access to the required sources (C1);
The research of a student with an education profile must have an educational content. The
research of a student with a performing profile must not have an educational subject.
The research plan is drawn up according to the prescribed structure (S5);
Each paragraph meets the criteria as described in the prescribed structure (S5);
The proposed research makes a relevant contribution to the research area (K2.3);
The introduction contains a clear line of thought towards the goal and the research questions (S5,
C1, C2);
Sufficient scientific and professional literature has been used to underpin the research plan (C2);
The research plan is written in correct Dutch or English (S5);
References in the text and bibliography are made correctly; the APA standards apply (S5).
Research report
Quality of question (K2.3, S5);
Handling sources (K1, S5, K2.2);
Argumentation (C1, C2, C4, C5)
Written presentation (S5, C5);
Quality of content (K2.3, C2, C5);
Originality (C1, C4).
Indicators belonging to these criteria are described in the research protocol.
Research presentation
The student's research presentation fits in with his own musical performance or teaching practice.
(K2.3, C1, S1, S7, S8);
The research presentation must not be a literal repetition of the research report, but should be
aimed primarily at the conclusions and the applicability of the results (C5);
The student is capable of drawing up a structured argument, conveying its essence in an artistic
context and adapting form and style to the demands of the subject, target audience and situation.
(K2.3, S5, S6, C1, C4, C5).
68

Social positioning
Programme name:
Cultural entrepreneurship
Year 1
Lecturers:
Frans Brouwer
ECs
Year 1: 5 ECs
The HBO Master of Music can establish a professional career in the world of music and has insight
into the social meaning of music and specialist music education while having an eye for general
cultural movements and the role of music in a social context.
The Master:
Knows how the world of music is organised and how to relate to public institutions, such as
orchestras, venues and agencies (K2.1, C5);
Can realise his own productions or those of others as an entrepreneur and lead these
artistically and commercially if necessary (K2.1, K2.2, K2.3, C4, C5);
Can deal with contacts in a musical and/or cultural context effectively (networking) (C5).
Programme content
OBJECTIVES:
1. Gaining insight in the value of marketing and creativity by learning to appreciate the market
value of your art (K2.1);
2. Developing fundamental marketing skills which you can use to promote your own projects and
develop your career (K2.1, C4, C5);
3. Gaining practical experience by organising a project as a group. This will enable you to use that
knowledge and experience for your own projects and dreams for the future (K2.1, K2.2, K2.3,
C4, C5).
CONTENT:
The lectures contain basic theory, group discussion and participative case studies. In addition tot his
students set up a project. In this way students immediately apply the theory; they learn to develop
projects in a methodical way and experience in a safe learning environment. They expose themselves,
their fellow students and the academy and contribute to the marketing of the academy.
For detailed content, see the course description on Blackboard.
Lectures and assignments
Literature study
Individual tasks and group work
Organisation and practical implementation project day

Individual: Written assessment
69
Project group: Business plan and project presentation
Test criteria:
Individual:
The assessment is based on the book and the topics discussed in the lectures; the powerpoints and
hand-outs are guidelines (K2.1).
Project group:
Evaluation of student performance in the project group during the (preparation of the) project day.
Assessment criteria are: individual effort, feedback by group members (peer-assessment), feedback
by other workgroups, achieving the workgroup KPIs, quality of the business plan and the presentation
in the project day (K2.1, K2.2, K2.3, C4, C5).
For detailed information about assessment, criteria and resits, see the course description on
Blackboard.
70
Communication and Collaboration

Programme name:
1. Cultural entrepreneurship
2. Writing and Presenting
3. Stage Presentation

1. Cultural entrepreneurship: Year 1
2. Writing and Presenting: Year 1 and 2
3. Stage Presentation: Year 2
Lecturers:
1. Cultural entrepreneurship: Frans Brouwer
2. Writing and presenting: Rik Bastiaens and research coaches
3. Stage Presentation: Tamara Jongerden
ECs
Year 1: 5
Year 2: 1
The HBO Master of Music is capable of conveying ideas, views on his work and/or studies and
research results clearly and engagingly to target audiences within and outside of his own professional
musical field. The Master can encourage people to cooperate. The Master is capable of representing
an institution or group in their contacts with external parties, and of taking strategic action.
The Master:
Is capable of drawing up a structured argument, conveying its essence in an artistic context
and adapting form and style to the demands of the subject, target audience and situation (S5,
S6, C3, C5);
Can collaborate with colleagues and work purposefully with groups towards a joint product in a
musical-cultural context and fulfil a leading role in this (S3, C1, C5);
Can communicate effectively with professionals and lay people (S3, S5, C5);
Programme content
See Social Positioning (page 70)
2. Writing and presenting

Lectures about writing research plan and report, research presentation, try-outs to practice the
research presentation
Making contact with the audience, learning how to come on stage, speak and play.

Lectures, assignments, presentation, tutorials, workshops
Workshop and applying the skills in project day (see Cultural entrepreneurship) and recitals
71
Test format

Is assessed in the research plan, research report and research presentation.
Is assessed in workshop (attendance), project day, recitals.
See Social Positioning (page 70).

See criteria for the research plan, research report and research presentation.
See assessment criteria for recitals and project day cultural entrepreneurship. Workshops stage
presentation: active participation
72
Education
Programme name:
Deepened knowledge of methodology, teaching strategies and pedagogy

Year 1 and 2: Performing profile with the emphasis on education
Lecturers:
Sabine de Lat
EC
Year 1: 5 EC: deepened theoretical knowledge
Year 2: 4 EC: development or innovation of an educational course or part of a teaching
method; programme development for art and culture education
General learning outcome

The HBO Master of Music deepens his knowledge of methodology, teaching strategies/pedagogy and
educational science and develops useful insights into these fields, enabling him to contribute to
specialist music education and art and culture education.
Learning objectives
The Master:
is capable of thinking about and forming a considered opinion on the main learning theories
(K4);
is capable of abstracting relevant information from a broader context and capable of
formulating complex theories in his own words and explaining these to others (S5, C5.2);
is capable of reflecting on the individual difference that influence learning, such as motivation,
learning style, talent and musical development (K4);
is capable of formulating a clear, personal educational vision based on theoretical analysis
and practical experience (K2.3, K4, S5, C2);
is capable of designing and teaching lessons in group education, well-organised and with
high-quality content (S8, C2, C4).
is capable of developing methods for specialist instrumental and vocal music education (S8,
C4, C5.2);
is capable of designing and implementing educational curricula/courses (S8, C2, C4);
is capable of developing high-quality teaching methods for his/her own work practice based on
a clear personal vision and knowledge of teaching strategies (S8, C2, C4, C5.2).
Curriculum content
The curriculum is aimed at enabling the Master of Music to achieve competencies which will make him
capable of realising the methodological, didactic/pedagogical and educational training at a
(professional) music programme or institution for art and culture education.
Insight into and knowledge of historical and recent specialist literature is relevant to teaching, and to
the development of educational courses and methods.
The focus in the first year is on deepened knowledge of methodology, teaching strategies and
educational science through literature study.
A number of important processes that play a part in learning will be discussed. The following 7 themes
will be dealt with:
Theme 1: Learning objectives and assessment
Theme 2: Learning theories
Theme 3: Learning styles
Theme 4: Musical talent and the development of musicality and creativity
Theme 5: Motivation
73
Theme 6: Group education and group processes
Theme 7: Subjects of teaching materials using new instructional resources and
learning tools.
Students summarise each theme in their own words based on learning questions formulated
beforehand (see PBL description below). The module is concluded with a written assignment. In
addition, each student will teach a short lesson within the Education lectures.
In the curriculum component 'Research', students will conduct research into an educational theme
(See curriculum component 'Research Skills'). Apart from the lessons, students are also obliged to
attend the research presentations of second-year education students.
In year two, following on the research, new methodological materials will be created which can be
used in teaching practice straight away. Students will be coached individually, and they will meet six
times.
Meeting 1: Assessment criteria with regard to methodology + presentation of progress own method
Meeting 2: Final learning objectives and competencies
Meeting 3: Presentation of method analysis.
Meeting 4: Outline and structure of the method
Meeting 5: Designing and selecting practice materials
Meeting 6: Assessment and evaluation.
The student's definitive methods will be presented in May during a seventh and last meeting.
Problem-Based Learning:
The course will be taught in the form of Problem-Based Learning (PBL). The student will go through
the following three steps for each theme:
1. Preliminary discussion & formulating learning questions (as a group) activating old
knowledge about a theme.
2. Independent study & summarising on the basis of learning questions extending old
knowledge by reading (international) literature.
3. Subsequent discussion & answering the learning questions (as a group). discussing new
knowledge.
Assessment format and duration:

Year 1:
Lesson within one theme
Written final assignment
Year 2:
'Student's own method'
Assessment criteria:
Year 1:
Assessment criteria for teaching: When teaching his own lesson within one of the themes during the
Education lectures, the student will be assessed on quality of content, demonstrated teaching skills,
lesson organisation and structure, lesson preparation and quality of the subject matter and
instructional resources (K4, S5, S8, C5.2).
Assessment criteria for the written final assignment:

The analysis of the discussed theories is concrete and in-depth. The student demonstrates
that he has processed the information (K4);
The student is capable of formulating his own criteria on the basis of which he assesses the
discussed theories (C2);
The student is capable of weighing various theories and visions against each other based on
his own criteria and making decisions regarding the usefulness of theories for his own
teaching practice (K2.3, C2);
The student is capable of substantiating his own choices (S5, C2);
The student is capable of linking theories to examples from teaching practice (K2.3, K4);
The student is capable of synthesising educational theories of various themes into a sound
74
educational vision (K4, S5, C2, C4, C5.2).
Year 2:
The new materials must meet the following requirements:
The material must be substantiated with the knowledge about learning and instruction
acquired in year 1 (K4);
The material follows on from the student's research (K2.3);
The material must be innovative in the field (S8, C4);
The student has tested the new material with people in the field (C2, C5.2);
The material shows a logical methodical structure (S5, S8);
The material must have been tested on 'users' (students) in the field (S8);
The material suits the students of today and uses the 'modern tools' known to them, such as
YouTube, MP3, Facebook etc. (C4, C5.2);
Students are allowed to adapt existing materials using the criteria above.
75
APPENDIX 1 EQF/SQF Level 7 Descriptors for Music
Knowledge Skills Competence
Level
At Level 7, music students are expected At Level 7, music students are expected to emerge as At Level 7, music students are expected to
to have highly specialised knowledge of well-developed personalities, having developed to a be able to draw upon experience gained
7
the theories, principles, patterns, high professional level their ability to create, realise within their musical studies to manage and
processes, repertoires, materials and and express their own artistic concepts. They will transform work or study contexts that are
contexts of music, providing a basis for demonstrate specialised skills in creation, innovation complex, unpredictable and require new
creative originality and/or research in and/or research and the ability to integrate elements strategic approaches, taking responsibility
their work. Some of this knowledge will from different fields in order to develop new for contributing to professional knowledge
be at the forefront of their field, and approaches, awareness and insight. and practice and/or for reviewing the
informed by a critical awareness of More specifically, they are expected: strategic development of other groups and
issues at the interface between their individuals.
field and others. (S1) Skills in artistic expression
More specifically, they are expected to to emerge as well-developed personalities, In particular, in addition to the profile of
have highly specialised knowledge and having developed to a high professional level competence displayed by Level 7 students
critical understanding of: their ability to create, realise and express their more generally, as musicians they are
own artistic concepts. expected to be able to make extended use
(K1) repertoire and musical materials (S2) Repertoire skills of their:
(K1.1) a comprehensive (S2.1) to have built upon their experience of (C1) Autonomy
repertoire relevant to the main representative repertoire within the main area (C2) Critical awareness
area of musical study and beyond of musical study either by broadening it to a fully internalised critical awareness
(K1.2) the common elements and comprehensive level and/or by deepening it (C3) Psychological understanding
organisational patterns of music, within a particular area of specialisation psychological understanding in a
so as to express their own artistic (S2.2) to be fluent across a comprehensive variety of situations
concepts range of styles and/or to have developed a (C4) Creativity
(K2) context distinctive and individual voice in one creativity and some originality in
(K2.1) musical entrepreneurship particular style approaches of various contexts and
(K2.2) relevant musical styles and (S3) Ensemble skills within real-time situations
their associated performing where they are engaged in ensemble activity as (C5) Communication skills
traditions, so as to be able to part of their level 7 studies, to be able to take a (C5.1) Ability to integrate with
develop, present and leadership role in this activity others individuals in a variety of
76
Knowledge Skills Competence
Level
demonstrate programmes that (S4)Practising, rehearsing, reading, aural, creative and cultural contexts
7
are coherent and suitable to a re-creative skills (C5.2) Ability to present complex
wider range of different to have continued to develop independently work in accessible form to
performing contexts their technical and musicianship skills such that specialized and non-specialized
(K2.3) the interrelationship these offer no impediment to the creation, audiences (or in some various
between their theoretical and realisation and expression of their own artistic contexts)
practical studies, so as to concepts
strengthen their own artistic (S5) Verbal skills
development to talk or write in a mature and sophisticated
(K3) Improvisational skills way about their specialist area of music and/or
musical improvisation, this being music-making
sufficiently internalised to be (S6) Public performance skills
applied freely in a variety of to master fully the behavioural and
contexts communicative demands of public
(K4) Music pedagogy performance
the theories of music pedagogy at (S7) Improvisational skills
a high level, where relevant to to improvise to a high level of fluency, where
the main area of study relevant to the main area of study
(S8) Teaching skills
to engage at a high level with the practical and
theoretical aspects of music teaching, where
relevant to their main area of study, at a
variety of levels
77

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PROGRAMME DESCRIPTION MASTER OF MUSIC

1. Artistic and technical development

2. Personal and professional development

5. Communication and collaboration

6. Deepened methodological, didactical and pedagogical knowledge

Graduation Profile Performing

Min. 5 Ensemble,incl. projects

Min. 2 International orientation and masterclasses

Graduation Profile Performing

Min. 5 Ensemble, incl. projects

International orientation and masterclasses

Graduation Profile Performing with emphasis on education

Min. 2 International orientation and masterclasses

Graduation Profile Performing with the emphasis on education

Min. 5 Ensemble, incl. projects

Min. 2 International orientation and masterclasses

Graduation Profile Performing Talent Trajectory

Min. 2 International orientation and masterclasses

Graduation Profile Performing Talent Trajectory

International orientation and masterclasses

Research skills 7 Execution of research, report and presentation

3.1 Artistic/technical development: individual

PROGRAMME DESCRIPTION MASTER OF MUSIC CLASSICAL INSTRUMENTAL

Name of curriculum component:

Place in the curriculum:

Test format and duration:

2. Duo repertoire with piano (may be a concerto)

3a. Chamber music:

3b. Orchestral parts/audition repertoire

Examples repertoire orchestra parts:

2. Duo repertoire with piano (may be a concerto)

3a. Chamber music:

3b. Orchestral parts/audition repertoire

Examples repertoire orchestra parts:

3a. Chamber music:

3b. Orchestral parts/audition repertoire

Example repertoire orchestra parts:

2. Duo repertoire with piano (may be a concerto)

3a. Chamber music:

Examples repertoire orchestra parts:

2. Duo repertoire with piano (may be a concerto)

3a. Chamber music:

3b. Orchestral parts/audition repertoire

Examples repertoire orchestra parts:

piccolo Ravel, M. Ma mre l'oye

2. Duo repertoire with piano (may be a concerto)

3a. Chamber music:

3b. Orchestral parts/audition repertoire

Example repertoire orchestra parts:

3a. Chamber music:

3b. Orchestral parts/audition repertoire

*Restudy of the performance technique, according to the treatise

*Writing cadenzas, preludes, accompaniment, making variations and improvisations

Contents of the repertoire:

*Performing Keyboard repertoire from the 17th ,18th century

2. Duo repertoire with piano (may be a concerto)

3a. Chamber music:

3b. Orchestral parts/audition repertoire

Example repertoire orchestra parts:

2. Duo repertoire with piano (may be a concerto)

3a. Chamber music:

3b. Orchestral parts/audition repertoire

Example repertoire orchestra parts:

Baroque Mattheus Passion