In case of low interest, electives can still be cancelled. Please note that a maximum number of students applies for some electives.

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1 Master s Codarts Master of Music Below you can find the list of electives you can follow during the study year You must register for the Master s via the online form BEFORE 11 SEPTEMBER 2017, and by sending an to master@codarts.nl. In case of low interest, electives can still be cancelled. Please note that a maximum number of students applies for some electives. The exact schedule will be visible in Asimut (of Codarts!), once you have been added to the course. Questions about the schedule can be asked at the scheduling office, via Roosterbureau@codarts.nl. For information regarding compensation of travel expenses, please contact Kathryn Cok: k.cok@koncon.nl. MASTER ELECTIVES CODARTS Course title: Playing with History a practical course in Historically Informed Performance KC-M-EL-PH Type of Course: This elective offers a basic course in historically informed performance practice for musicians using modern instruments (or modern trained voice). The course consists of three parts, with a general introduction. Students are encouraged to form ensembles and to bring (relevant) solo repertoire. - Introduction: what is Historically Informed Performance? - Feel the Passions: Baroque music - All Natural: the Classical style - Free Playing: Romantic music Obtaining practical knowledge about 18 th - and 19th century performance practice. Developing your own choices in the interpretation of 18 th - and 19th century music with this knowledge as a background, and applying it to repertoire of your choice. Job ter Haar is a cellist, specialized in chamber music. He plays on both modern and historical instruments. He is a member of the Van Swieten Society and Music ad Rhenum, ensembles which specialize in the historical performance practice of Baroque, Classical and Romantic music. Currently he is working on a research project at the Royal Academy of Music in London, focusing on 19 th century performance strategies. 56 hours (2 ECTS). Be aware: for all Master students studying at the Royal Conservatoire at least 3 ECTS need to be used for a Master!

2 Codarts Rough Guide Informed Performance, vol. 1 Workforms: Max. 10 students. Open to all classical instrumentalists + singers Theory, discussion, practical application. 9 meetings of 3 hours + assignments. An active participation is required, assignments. Proof of participation is provided with at least 80% attendance From 3th year Bachelor s; in the case of oversubscription, master s students have priority. November 2016-May 2017, check ASIMUT. Time: master@codarts.nl ; Course title: The Sound of the Sixties The sound of the 60's: early electronic sound in studio, Rock, Jazz and Avant- Garde KC-M-EL-SOS This course informs students about development and background regarding the first hey-day of the electronic studio and rock & pop music. One of the subjects will be how, in the course of only a few years, the function of recording techniques changed from means of registration to a creative source of music in its own right. As a consequence of this new world of sound new influential music styles emerged. We will look at how innovative musicians, composers and technicians made these developments in rock, pop and composed music possible and how the paradox of popular subcultures in the sixties became a driving force for experiments. The recording engineer evolved into a musical producer, a creative mind behind an overall experience. We will investigate how the specific sound of ground breaking recordings was realized, and follow this analysis with a synthesis: we will realize a section of this world of sound in the analogue studio and also translate its methods to contemporary software. We will compare recordings of the world of Rock music with those of the avant-garde and look for differences and similarities. We will analyse the careers and methods of examples such as George Martin, Phil Spector, Joe Meek, Jimi Hendrix, Frank Zappa and the studio improvisations of Pierre Henry en Karlheinz Stockhausen. We will proceed to the transformation into virtuosity, psychedelic shows and art rock like jazz rock, Pink Floyd en Brian Eno in the early seventies. The reaction of the mid-seventies: the back to basics of punk, will conclude this course. During the course, students work with their own instruments and/or use their own material to conduct analysis. They transform all of their own recordings into a specific world of sound. Experiences based on this music of the recent past give participants the insight to strengthen their individual talent in the present.

3 Type of course: René Uijlenhoet René Uijlenhoet studied composition with Ton Bruynèl. He works as a composer, performer, lecturer and researcher, builds art installations and is an expert of electronic music. Since 1997, he is part of the composition department of the Rotterdam Conservatory (Codarts). On behalf of composing and education, he investigates new forms of synthesis of sound and spectralism, the relationship between colour and timbre, microtonality, spatcial presentation (by Ambisonics) and algorithmic composing strategies. He also studies live electronics in combination with acoustic instruments, the history of electronic music and analogue studio techniques, improvised live programming and also sonification of medical research data. 56 hours (2 ECTS). Be aware: for all Master students studying at the Royal Conservatoire at least 3 ECTS need to be used for a Master! Electronic Music, Scott Wilson, Nick Collins, Margaret Schedel Electronic and Computer Music, Peter Manning Making Music, ed. George Martin Electronic Music: Systems, Techniques, and Controls 2nd Edition, Alan Strange Welsh's Synthesizer Cookbook: Synthesizer Programming, Sound Analysis, and Universal Patch Book Back to Mono, Phil Spector Pet Sounds, Beach Boys Sgt. Pepper's Lonely Heart Club Band, The Beatles Essay, Gottfried Michael Koenig The Complete Tapemusic, Jan Boerman The Complete Tapemusic, Dick Raaijmakers The Complete Tapemusic, Ton Bruynèl Hymnen, Karlheinz Stockhausen Stimmung, Karlheinz Stockhausen e.v.a. Group lessons, discussions and practical sessions. A minimum of 5 students, no more than 15 students. An active participation is re quired; reading assignments, audio assignments, practical assignments, evaluation Sort of grading: Pass-Fail. Proof of participation is provided with at least 80% attendance plus finished assignments. Semester 1 or 2 Time: master@codarts.nl

4 Type of course: Sort of grading: Progressive Contemporary Jazz KC-M-EL-PCJ This course provides information on the development in jazz music since 1989, far from the commercialism of swing and bebop. By looking in depth at the oeuvre of outstanding artists the students will gain insight into what makes them stand out amongst their peers. This year's topic is: STRINGS & JAZZ. The course therefore aims at a) students with a strong affinity towards and sufficient experience in arranging and/or composing and/or b) String players (Violin, Viola, Cello, Double Bass). The student will gain insight in how to incorporate the ideas, concepts and practices of progressive contemporary jazz in his/her own musicianship. The aim is furthermore to connect String-players with Jazz-composers and - arrangers. Renard A. Aust 84 hours (3 ECTS) (will be handed out in the course) Group lessons, discussions and practical lessons. Max. 12 students. Open to all disciplines. An active participation is required (i.e. preparing a short lecture on a chosen subject), arranging and/or composition assignments Proof of participation is provided with at least 80% attendance plus finished assignments the weekly lessons start on Thursday January (& will continue until April) [the lessons will not overlap with the Best Practice in Modern Notation, so both s can be chosen without schedule-difficulties] Time: 14:00-16:00 Registration: master@codarts.nl raust@codarts.nl

5 Playing the Tango KC-M-EL-PTT Type of course: In this course students will learn how to use their own instruments to play Tango music. They will be instructed in the playing, timing and feeling of this music genre, under the direction of an expert. There will also be an introduction to the theoretical background of this music form. At the end of the course students should: have an advanced understanding of the form of the Tango. be able to listen to the Tango with new ears and perform it on their individual instruments. have an advanced understanding of the theoretical background of the Tango. Christiaan van Hemert, Santiago Cimadevilla Christiaan van Hemert is a versatile musician, who plays the violin, double bass, piano and bandoneon. He was trained as a classical violin player, but switched to Jazz Music at a young age and later on discovered the Tango. He is frequently on tour with the Rosenberg Trio, Roby Lakatos and the Christiaan van Hemert Orchestra and has travelled as artistic leader and bandoneon player with Tango Dorado throughout Europe for eight years. He is also an arranger, composer and director. Santiago Cimadevilla was born in Buenos Aires, Argentina. At a young age, he studied classical piano and later on switched to bandoneon, the instrument on which he completed his formal studies at the Conservatory. He has performed extensively throughout Europe with his own bands and also as a guest with other groups and as a soloist with orchestras and chamber ensembles. He has a broad experience of Argentine tango music, both traditional and modern, and often performs classical and contemporary music with various orchestras. Among other styles, he has specialized in the original quintet repertoire of Astor Piazzolla, which he performs regularly with several groups across Europe. Currently he focuses on composing and arranging original music for TRASNOCHE, his main performing group. 84 hours (3 ECTS) Arrangements will be handed out during the course. Group lessons Attendance results (80%) including playing assignments Pass/No pass January through February Sort of grading: Time: Kruisplein CC Rotterdam master@codarts.nl 5

6 Networking KC-M-EL-NW Type of course: Sort of grading: Many students dream of working nationally and internationally, but where to begin? - What are the possibilities to give national and international concerts? - How do you build a network, what are the do s and don ts in building a network? - How do you get involved with the right kind of people? - How do you negotiate? Do you draw up contracts? What about payment? - How do you make an effective computer database? - Internet: advice for a smart use of social media, websites, etc. The students acquire contact skills and skills to establish and maintain networks, write letters and present themselves. Mike del Ferro Mike del Ferro is a popular composer, pianist and producer. He studied jazz piano at the Amsterdam Conservatorium and has won several international awards. Until now he has played music over the entire globe (130 countries). He has worked with musicians of divergent cultures. A report will be published on Challenge Records, on 10 CDs, called The Journey hours (3 ECTS) A personal laptop is required. Group Lessons. A minimum of 5 students is required. An active participation is required, practical assignments + a presentation. Proof of participation is provided with at least 80% attendance. October through November Time: :00 Kruisplein Rotterdam mikedelferro@mac.com, master@codarts.nl 6

7 Makam/Raga: Microtonality, Modality and style in Ottoman Court Music and Indian music KC-M-EL-MR This course will introduce the student to the improvisation practice of: 1) Modal, linear melodic development and the functionality of the microtones in the context of Ottoman court music. The notion and analysis of Makam (eastern Mediterranean modal system) and how to utilise its fundamental elements (both for musicians and composers). The development of improvisation, compositional forms and possibilities, ideas for implementation of such elements in polyphonic environments, both theoretically and practically. 2) North and the South Musical systems, notion of Raga (a mode with a complex set of rules) and Tala (rhythm cycles), Indian music compositions and improvisation, the North Indian improvisation strategies, structures of improvisation, the Indian microtonal system, how to use Indian culture elements in your pedagogy and creative work. 3) A comparative study of the Indian Music System and the Ottoman Court Music system. At the end of the course students should: have an advanced understanding of the Indian Musical culture and Ottoman traditions elements mentioned above. be able to demonstrate the development of improvisation and composition skills by utilising those elements in various musical environments. be able to demonstrate an understanding of refined intonation control through microtonal music practice. have an advanced understanding of Indian Music and Ottoman Court Music approaches. Type of course: Level: Master Michalis Cholevas and Henri Tournier 84 hours (3ECTS) Group lessons Attendance results (80%) including active participation, reading assignments, presentation and work assignments. Sort of grading: Pass/no pass Wednesdays, from January, once per month Time: World Music and Dance Centre: P. de Hoochweg 125, 3024 BG, Rotterdam master@codarts.nl; mcholevas@codarts.nl; hgptournier@codarts.nl 7