Content 1/ Codarts Music 1.1 Codarts Rotterdam

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1.2 Education Planning Music 2016-2017 (in Dutch)

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2/ Information by Study Programme 2.1 Classical Music

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2.2 Jazz

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2.3 Pop

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2.4 World music

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2.5 Curriculum Model Music (Performing)

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2.6 End Qualifications

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3/ General Educational Matters 3.1 STIP

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3.2 Registering and Deregistering

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3.3 Tuition Fees 2016-2017

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3.4 Codarts Account

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3.5 Student Life

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3.6 Studying with a Functional Impediment

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3.7 Study Delay

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3.8 Examination Committee

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3.9 Exchange Programmes

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3.10 Codarts Agency

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3.11 Quality Assurance and Options for Participation

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3.12 Complaints and Inspections of Regulations

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3.13 Inspection of Regulations

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4/ General and Technical Support Facilities 4.1 Locations

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4.2 Calamities

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4.3 BHV/EHBO

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4.4 Disabled Persons

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4.5 Theft

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4.6 Lost and Found

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4.7 Ban on Smoking and Drinking

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4.8 Posters/Flyers

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4.9 Catering

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4.10 Use of Computer Facilities

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4.11 Use of Classrooms and Study Rooms

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4.12 Guests and Outside Visitors

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4.13 Equipment/Instruments

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4.14 Instrument Storage

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4.15 Lockers

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4.16 Booking Study Rooms and Practice Rooms

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4.17 Lending Instruments and Equipment

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4.18 Piano Management

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4.19 Media Library

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Disclaimer: This study guide (as well as its translation into English) has been compiled while taking the greatest possible care. However, it is always possible that some information in it is incomplete or incorrect. No rights can be derived from this.

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1/ Codarts Music

End Qualifications The Bachelor Music is aimed at 11 end qualifications, subdivided into three domains: the artistic domain, the professional-vocational domain and the professional-social domain. A complete overview of these end qualifications and further information about them can be found at the end of this study guide.

1.1 Codarts Rotterdam Codarts Rotterdam is an international university that offers high quality, professional art education in the fields of music, dance and circus. The university has some 1000 students of 50 nationalities and approximately 240 employees. Codarts Rotterdam provides the following study programmes: • Bachelor Music • Bachelor Music in Education • Bachelor Dance • Bachelor Dance in Education • Bachelor Circus Arts • Master Music • Master Art Education • Master Dance Therapy

Artistic Competency Domain 1. Vision 2. Creative skills 3. Collaborative skills 4. Communicative skills 5. Analytical skills 6. Technical skills 7. Entrepreneurship 8. Context-orientation 9. Learning skills

Bachelor Music The bachelor Music is a four-year full-time course. The total study load of the programme is 240 study points (EC), consisting of a one-year propaedeutic phase of 60 EC and a three-year main phase of 180 EC. The official language in classes is either English or Dutch. After completing the programme you will have obtained the degree Bachelor of Music (BMus). The diploma opens up the possibility of continuing your studies with a Master Music, depending on qualification. Within the Bachelor Music there are five branches of studies: Classical Music, Jazz, Pop, World Music and Music Theatre. Each of these branches has its own characteristic profile and specialised study programme. At the same time, they share the same professional profile in which the end qualifications have been defined.

10. Reflective skills 11. Innovative skills

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Professionalvocational

Professionalsocial

Sustainability Codarts prepares students for a professional life of dozens of years. Therefore, students are coached intensively in developing and maintaining their health, resilience and flexibility.

Education at Codarts Codarts Rotterdam trains talented and driven dancers, musicians and circus performers to become dedicated and inspiring artists, leaders and facilitators, ready to spread their wings in a dynamic, international context.

Connectivity Codarts is the link between talents and the international professional field. In the end, everything is about connections. Connections between artist and colleagues, between artist and audience, between artist and society. Obviously, the international professional field comes to Codarts to scout talent. In addition, Codarts is in close contact with numerous local, national and international organisations in order to make those talents be seen and heard outside its own walls as well.

Our mission is founded on six concepts that together make up Codarts’ vision: Craftsmanship, Self-Management, Diversity, Inquisitiveness, Sustainability, Connectivity. Craftsmanship Codarts combines the oldest traditions and the latest trends in its professional arts education, which is based on international standards. Students immediately apply everything they learn in projects, performances and concerts.

Codarts Music It follows from Codarts’ mission as stated above that we provide a learning environment in which the attention is focused on you, the student. Codarts Music believes in idiosyncratic musicians who, on the basis of their personal artistic identity, are able to claim their own place in the world of music. This means that you are keenly aware of your own strengths and weaknesses and can use this to your advantage. Such insight doesn’t come naturally. This is why our learning environment challenges you to make choices in how you apply your creativity, helped by vocational skills and knowledge. The unique range in music styles and other art disciplines available at Codarts provide you with plenty of room to design your own music story, whether by specialising in a specific music style or by combining multiple styles and disciplines. Authentic learning is the didactic principle of this student-driven learning environment. In authentic learning the focus is on individual artistic development. The study programme provides frameworks for this without becoming a straitjacket. Own initiative and responsibility are key values, giving you the opportunity to go your own way while learning, in a motivated and inspired manner. This is why Codarts’ curriculum is characterised by openness, allowing space for research and experiments. In the course of your studies, you will be introduced to a

Self-Management Codarts regards students as self-conscious designers of their own future. From the very start they learn to both take and share responsibility. This means that everything is focused on developing their personal artistic identity to the greatest effect. Diversity Codarts is firmly rooted in Rotterdam and has always been passing on the most divergent cultures, styles and disciplines to new generations of performing artists who indeed see the world as their operational field. Inquisitiveness Codarts is a research-oriented community where ideas and questions are developed, exchanged and evaluated. This takes place in a constant collaboration between professors, teachers, students and external partners. At Codarts, doing follows naturally from thinking and the students are explicitly challenged to engage in both.

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you know, always looking for challenges and how to make your own unique contribution. Above all, it is important that you, as a young inspiring artist, are able to communicate your professional skills and vision to others. To your audience and the people you work with, but perhaps also to students of a music school or in your own music practice. You can be an important link in helping young people to realise their dream of becoming an artist.

wide range of music styles and the study programme gives you the opportunity to broaden or deepen your development. Classes are given by a varied team of teachers and guest teachers, so you can learn from different teachers and be inspired by them. In addition, you can make full use of the knowledge and expertise that other departments and study programmes have to offer: Classical Music, Pop, Jazz, World Music and Music Theatre, Dance and Circus, as well as the teacher training programmes in Music and Dance. In the Codarts community we learn from the challenges and solutions we meet on our journey, thus building an educational environment together that is always in motion. A fine example of this are the Full Moon Babylon Concerts, completely organised by students and alumni from all study programmes within Codarts, in which they present their projects to each other.

To help you find your way in all these aspects of being a professional artist, the Bachelor Music’s study programme is structured according to so-called professional roles: the musician, the maker/performer, the teacher, the entrepreneur and the researcher. The Musician As a musician you strive for the freedom of uninhibited self-expression in your main subject. This requires controlling that main subject on the highest possible level, both technically and artistically. Therefore, this professional role is of a professional-vocational nature. Solfège (ear training), rhythmic training, music theory subjects and practical harmony are all aspects of this professional role, as they provide insight into the art of music and strengthen the vocational side of your musical development. In your profile space you can choose minors that help deepen this professional role, for example the minor Improvisation Strategies or a specific music theoretical minor such as Tala (Indian music) or Makam (Turkish music).

Also, Codarts is part of an extensive network of partners in Rotterdam and far beyond. Together with these partners we frequently organise projects and events, such as band projects together with the Willem de Kooning Academy, concerts at the Erasmus Medical Centre, a multidisciplinary accompaniment of the annual Christmas dinner at the town hall and the big band concerts at the North Sea Jazz Festival. Codarts does more than provide the artistic facilities you need to become a successful performing artist. For a successful, sustainable career, injury prevention is essential. At Codarts, Student Life provides various facilities that can help you prevent or eliminate impediments, as well as good advice to have a long and healthy life in music.

The Maker/Performer Whether composing or performing, as a musician you relate to fellow musicians and your audience. Therefore this professional role combines modules that are about playing together, performing and stage presence, collaboration and experiment. In other words, starting from day one you will be putting your artistic profession into practice in ensembles, practical lessons, projects, concerts and performances. Codarts can provide a wide range of platforms and stages both within and outside of the institution and we encourage you to also look for

Professional Roles Codarts Music trains students to become self-willed, broadly employable musicians that can demonstrate their personal qualities in the contemporary artist practice. After all, today’s artist must have more skills besides producing high quality art. You also have to be able to market your art as a strong product, develop innovative ideas and concepts and shape your working environment. The key to this is an open and inquisitive attitude: looking beyond the boundaries of what 6

An inquisitive, explorative attitude is essential. It starts with selfreflection and a willingness to learn things. Sometimes this means you have to put your instrument or vocation aside in order to truly delve into the study matter. You have to be reflective, analytical and capable of distancing yourself from the subject in order to speak or write about it. At some departments, an extensive process of peer feedback is now going on. Students evaluate each other’s work in order to arrive at a better insight into their own work and functioning via this reflection on the work of others.

places to perform yourself. Within this professional role there are various minors to choose from, some oriented at performing, others at creating, such as the minors Flamenco playing, World singing, Creative Producing and Jazz Composition in practice, but also Classical Musical and Camera Acting with the Music Theatre department. The Teacher As a musician you must be able to communicate your view, knowledge and skills to others. In all professional roles you are dealing with fellow performers, readers, listeners, booking agents and visitors with whom you wish to share your view on music. First and foremost, however, you will need these skills in your role as teacher. This is why Codarts teaches you the basic skills in professional didactics and pedagogics that you absolutely need as a musician and that you will train during your studies. If you aspire to becoming a licensed teacher, you may follow the minors Education during the third and fourth study year.

At Codarts, research is rooted in your professional practice, helping you to become a better musician. This includes, for instance, knowledge of the history of music as well as the ability to have that knowledge influence the way you perform or compose music. Doing research with as end results a written thesis and a presentation is one of the modules of this professional role. Finally, by developing some research skills during the Bachelor phase you are preparing for research during the Master phase, where it is an essential part of the study programme. A Master’s degree then gives you the option to obtain your PhD in the DocArtes PhD programme, which has been set up in collaboration with Leiden University.

The Entrepreneur No matter how your professional practice may turn out, in the current cultural and economic climate a permanent full-time position up to retirement age seems highly unlikely. Today, an increasing number of musicians are therefore independent entrepreneurs. This requires an entrepreneurial attitude, as well as skills and knowledge of the professional environment you find yourself in. Obviously you know your own artistic and creative potential, chances and challenges, you know yourself and what you want, but you also know how to reach artistic partners and especially your audience. You will have to take initiatives and exert influence in order to bring about change. Our study programme pays much attention, both in specific ways and integrated within the practical education, to the many business aspects of your professional practice. Should you wish to study the business aspect of the arts in more depth, you may choose to take the minor Entrepreneurship.

Examinations at Codarts Our views on education also define our examination policy. Each module in your study programme is concluded with a proper examination. Three aspects are leading: 1. Validity An examination is valid if it tests what it is supposed to test. This means that the test is well aligned with the education, with what you have learned, but also with situations you are likely to encounter in your professional practice. This is why Codarts often uses practical exams and practical assignments in which you combine your knowledge and skills from various disciplines to arrive at a personal, individual product.

The Researcher

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The frameworks of these tests are fixed, but their content (for instance the choice of repertoire) is open to your own contributions. In the course of your studies you will make increasingly informed and deliberate choices in this. 2. Reliability An examination is valid if it is evaluated by means of fixed evaluation criteria. There can be no arbitrariness in this. The evaluation criteria are clear and unambiguous and students are aware of them in advance. Also, for each specific test, standards have been defined that specify what the least is you should do in order to pass the test. 3. Transparency Transparency means that, as a student, you know when examinations take place and what their subject matter is. The year planning explicitly lists examination weeks and the opportunities for resitting an exam. This year planning is included elsewhere in this study guide. For each module there is a module description, specifying what is expected of you by the end of the module (learning outcomes), the form the exam takes, the exam criteria that are used and the entry requirements. Transparency also means that you will be given a clear motivation of the evaluation as well as constructive feedback to help you further develop your learning process.

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1.2 Education Planning Music 2016-2017 (in Dutch)

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2/ Information by Study Programme

by other departments: Pop, Jazz, World Music and Music Theatre, but also Dance and Circus! Rotterdam as a city offers a wonderful and varied cultural environment. Codarts Classical Music has intensive collaborations with concert hall the Doelen and the Rotterdam Philharmonic Orchestra. Codarts Classical Music offers the following programmes: Orchestral instruments, including harp In classical music the symphony orchestra takes up a prominent position. The current cultural climate in Europe has led to a decrease in the number of large orchestras and many classical musicians are now working in other settings. This is why we no longer treat orchestral instruments exclusively as such, but also as solo instruments, chamber music instruments and ensemble instruments in non-classical line-ups.

2.1 Classical Music The department of Classical Music at Codarts focuses on the vocational training aspect of the study but also on entrepreneurial, educational and research skills. Codarts Classical Music regards these as strongly related aspects of the professional practice and therefore aims at a far-reaching integration of the professional roles associated with it. The curriculum clearly reflects these roles. See also the paragraph Didactic Model and the professional roles in the chapter ‘What is Codarts?’ As a student, from this basis you learn how to become a self-aware musician who can move professionally in a rapidly changing world in which classical music is part of a very broad musical and artistic culture. Codarts has teachers of classical music who not only train you to achieve the highest musical level but also take your uniqueness – and sometimes your idiosyncrasy – into account. Codarts Classical Music offers you an environment in which you can find your own way, stimulated by us. This is why we place great value in team teaching: a principal that doesn’t confront you with just one main subject teacher but with a team of teachers and guest teachers. There is also much attention for ensemble playing and practical lessons, which we place in a realistic context. This means you are not only working on the technical-vocational aspects of ensemble playing, but also on things such as organisation, profiling, and marketing and publicity. In addition, you can make full use of the musical inspiration and knowledge offered

Piano The study programme Piano is a wide ranging programme that not only pays attention to solo skills but also to ensemble playing and piano accompaniment. This wide range is also reflected in subjects such as practical harmony, which transcend the genre as such. Organ The study programme for organ players is strongly interwoven with the church music study. On the one hand, within the main subject and in subjects such as improvisation and organ accompaniment the programme focuses on contemporary organ practice, while on the other hand there is also attention for Protestant-Christian church music subjects such as hymnology and liturgy. Besides, connections are made with pop, jazz and world music. Voice The main subject classes form the backbone of your studies. Other important elements are the interpretation classes – given by our own teachers and sometimes by external experts – the chamber choir, language modules and other group lessons. Whether your ambition is to become an opera star, choir singer or teacher, you will always be part of 10

students. You choose one main subject, and then the other two are offered in the form of a weekly group lesson.

a larger whole. Besides developing your social skills in group lessons, you are given the opportunity to optimally develop your collaborative skills by taking part in challenging projects. For many years now, your main subject teachers have been putting their enormous expertise with regard to all aspects of the art of singing into practice. They do so by applying often centuries-old methods and insights, but also by keeping close track of the latest developments in their profession. You will find them at PEVOC (Pan-European Voice Conference), they are familiar with EVTS (Estill Voice Training System), they take part in conventions both here and abroad and they are familiar with ‘off-the-beaten-track’ methods. They put your personal development first, without losing sight of your future working field. Whichever career you eventually choose, you will want to be able to present yourself the best you can. This is why – and this is unique for the Netherlands – you will take the subject performing for four years. You will learn to communicate what you have to say to your audience in an appealing manner.

Music Theory The main subject Music Theory is intended for students who have a talent for and are interested in the theory of music, in ‘the mechanisms behind the notes’. If you have a gift for this main subject you are able to reflect on music on the basis of objective and abstract concepts. In the study programme Music Theory this mainly takes place through analysing music and studying the literature: the intense, meticulous and very serious study of the various phenomena that constitute music, seen in the context of the era in which the music was written. This requires well-developed hearing. You will also study the various writing techniques – modal and tonal counterpoint and tonal harmony – to gain insight in various matters of style. In the Master’s phase, 20th-century writing techniques are studied as well. Students taking the entry test for the main subject Music Theory have often already studied at a conservatory. This means that they enter at a high level, which makes it possible for them to complete the Bachelor’s phase in two or at most three years. After that, they can continue their studies by taking a two-year Master, depending on their level.

Conducting At Codarts, we think that the conductors of the future will have to be increasingly creative and enterprising if they are to respond to the rapid changes in society, which also put classical music increasingly under pressure. The study programme is aimed at training you in such a way that, besides craftsmanship, you also develop the ability to shape your own future, for instance by thinking of and organising new concepts. The programme offers you the opportunity to be active as conductor/musical director in choirs, symphony orchestras, opera, wind orchestras, musical, music theatre, multidisciplinary orchestras… in short, in any situation where a musical director is required. You will gain as much practical experience as possible, since conducting is a craft that is learned in collaboration with musicians and not at home in front of the mirror! There are three main subject choices: Choir Conducting, Orchestra Conducting, and Hafabra/Creative Director, represented by three main subject teachers. The idea is that all three teachers are involved with all

Composition The motto of the ‘inter-faculty’ Composition Classical Music and Jazz is that acquiring solid craftsmanship and developing creative skills should be coached and stimulated in an integrated way. Your ambition to acquire a personal signature as a composer is the first priority in this development! Structure of the Programme All programmes within the Bachelor Music are structured according to the same model. The modular structure of the various professional roles is reflected in each of the programmes. The content of the various programme elements differ with each branch of study. This modular 11

practical harmony for the harp, and pianists are trained in playing chord symbols.

system allows you (on certain conditions) to switch between different study branches, thus putting together your own unique profile. At the end of this study guide you will find a visual representation of the curriculum model. The study programmes Composition and Music Theory have a different structure. These two programmes will therefore be treated separately at the end of this chapter.

Ensemble Playing (professional role: musician) In the modules Ensemble Playing you learn how to make use of your own skills while collaborating with your fellow students. This collaboration may take place in the form of orchestra projects, chamber music rehearsals, group practical lessons, accompaniment, et cetera. Below is an overview of the various forms of ensemble playing for each programme.

Main Subject (professional role: musician) The main subject takes central stage throughout the four years of your studies. It is the part with the largest study load and the most study credits. Besides taking weekly lessons, you will spend much time in selfteaching. There is the opportunity to take master classes and renowned pedagogues will teach guess lessons.

Orchestra instruments

Theoretical Subjects (professional role: musician) The music theory subjects – solfège, harmony, analysis and analysis techniques, and counterpoint – are inextricably linked to the main subject classes and to each other. In the modules Music Theory Education (years 1 – 3) you master the principles of harmony theory and analysis. In the course of your studies you learn how to apply the knowledge you have acquired in practical situations. For instance, you learn how to analyse works from your performance repertoire. The finale is the lecture recital you will give in semester 7, in which you analyse one of the pieces of your graduation exam programme and present your findings to your teachers and fellow students. You show them how the insights from your analysis influence how you perform the piece. In the solfège classes (years 1 and 2) you work on ear training and sightsinging. Finally, students of harp, piano, organ and conducting follow the additional module Counterpoint in years 2 and 3.

Voice Piano Organ Conducting

Year 1 Propaedeutic choir Chamber music Orchestra projects Chamber choir Performance/ Drama Propaedeutic choir Chamber music Accompaniment Chamber choir Accompaniment Informed musicianship Chamber choir Internal practical lessons External projects

Year 2 Year 3 Chamber music Orchestra projects

Year 4

Chamber music Accompaniment Improvisation Church choir

If your main subject is an orchestral instrument, your training will also be aimed at playing in orchestras and ensembles. All students are expected to take part in four orchestra and ensemble projects each year. A scheme for all the projects is made available at the start of each study year. Starting in the second semester of the first year, chamber music is a mandatory subject for all students of orchestral instruments and pianists. In consultation with the coordinator for chamber music you

Practical Harmony (professional role: musician) The modules Practical Harmony support the theoretical subjects. They help you make the theory concrete on the piano. You also learn how to accompany yourself and others. Harp players are taught the specific

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genres and disciplines. Being confronted by contacts that are completely new to you, widens your horizon. Apart from that there is an introductory course Health and Performance Day, which is about how to be a professional musician in a healthy and sustainable manner. This introductory course helps you to get an idea of the professional practice and what is expected of you, early on in your studies. This helps you to make informed choices about the course of your studies.

form your own ensemble, which will be coached by various chamber music teachers. The lessons treat ensemble play, tone building, unity of playing style, choice of repertoire and social manners. Besides taking these classes, there are opportunities to gain practical experience on concert stages in Rotterdam and surroundings. If you are a singer, you will receive training in choir singing and drama/performance, besides your main subject. Voice students take part in the chamber choir and the practical choir once a week and up to four choir projects (often with orchestra). Organ players also take part in the chamber choir and in addition they follow the subjects accompaniment and informed musicianship. Starting in year 3, they also take church choir and Gregorian. Pianists usually do not take part in orchestra projects. They follow the specific subject ‘accompaniment and playing’ in chamber music ensembles (see the above overview under orchestra instruments). Students of conducting take part in the various practical lessons and practical weeks. During your studies you sing in the chamber choir and, together with the teachers, you work on your own working field activities, for instance with your own choir or ensemble. If, because you have fallen behind in your studies, you take more than four years to complete the Bachelor phase, you are expected to continue to take part in orchestra and ensemble projects, respectively choir projects, right up to your final examination.

First- and second-year students will start with a completely new course in entrepreneurship, which will be further elaborated in the course of their studies. This course treats all the aspects of entrepreneurship in relationship to your future professional practice: skills, professional attitude, leadership, imagination and creation, forming opinions. These elements will also be related to your personal artistic profile, which will result in a pitch in which you present yourself as a self-confident musician in your graduation year. Music Worldwide (professional role: researcher) The second-year module Music Worldwide is one you will not find at any other conservatory. The module consists of a kaleidoscope of interactive lectures on various music styles across the globe, both of the past and of the present. Also, you work on the professional role of research by doing independent additional research into one of the styles that were treated in the lectures. So, there is no mandatory subject, but you are challenged to find out more about what appeals to you and share this with your fellow students.

Portfolio modules under the professional role of entrepreneur The portfolio modules under this professional role are a recurring element in each study year. These modules consist of the various activities related to entrepreneurship, introduction, broadening and extracurricular activities. These include the project weeks. Each year, there are two project weeks, when there are no regular classes but instead special projects, workshops and master classes are organised. The first week is a project week specific for each department, with projects that fit within your study programme. The second project week is always a Codarts-wide project week in which all sorts of projects are organised that transcend

Education (professional role: teacher) In the first two years of your studies, you have taken big steps in your development as a musician and as a maker/performer. In year 3 you will work on the professional role of teacher. This educational element consists of three modules in one year. Education A: this module addresses all kinds of subjects that have to do with transference, such as general didactics, communication and feedback, presentational skills, group dynamics, motivation, 13

developmental psychology, learning styles, teacher roles and core qualities. Education B: in this module you start working with your own instrument in a practical setting. You study teaching methods and transference techniques as well as current developments in the field of instrumental education, such as the use of new media. Internship: the internship module gives you the opportunity to put into practice the things you have learned. After all, teaching can only be trained in real-life situations. This is done in an in-house internship in which you teach individual students or small groups of students under supervision of your internship coach. Should you have developed a taste for teaching after successfully finishing these modules, you can acquire further teaching skills by taking the minor Education. After passing this minor, you will be an officially qualified teacher for certified music schools.

plus de module Lecture-recital in year 4 (see above, under Theoretical Subjects). The other profile subjects differ with each programme, as listed below.

Thesis (professional role: researcher) The final stages of your studies offer a fine challenge: writing a researchbased thesis. You are free to choose your own subject, as long as your research contributes to your development as a self-aware musician. The preparatory module of semester 6 consists of classes in research skills and personal coaching in formulating your research design. The module is concluded with giving a research pitch before a committee and fellow students. In semester 7 you actually conduct your research, supervised by your research coach. By the end of semester 7 you demonstrate your research skills by handing in your thesis and giving a public presentation. The best theses are included in Codarts’ media library. This means you help build an ever-growing knowledge base for both students and teachers.

In years 3 and 4, the profile space is considerably larger and also has room for individual choices. In year 3 the profile space covers 6 EC and in year 4 even 18 EC. (Please note: students of Conducting and of Composition only ever profile space in the fourth year, of 12 EC). The profile space may be filled with miners and optional subjects. Codarts offers a wide range of minors, both theoretical and practice-oriented ones, for a more in-depth study of the various professional roles. At the end of each academic year, the third- and fourth-year students-tobe are invited to sign up for one or more minors. Some minors take place during only one semester, while others may continue throughout the year. There are light minors of 6 EC more substantial ones of 12 EC, so make sure that you will earn enough points in your profile space when signing up for minors.

Orchestra instruments Voice Piano Organ Conducting

Year 1 Year 2 Orchestra playing

Year 3

Year 4

Languages (German, French, English) Performance practice Improvisation Ear training Choir and orchestra training

Study Programme Composition The study programme Composition is provided within an inter-faculty of Composing Classical Music and Composing Jazz. Both programmes have a substantial overlap with the instrumental/vocal programmes of the departments concerned. As a student of Composition you will take a

Profile Space The profile space offers classes that are unique to your study programme and therefore define your graduation profile. In years 1 and 2 these include the mandatory profile modules. For all students of Classical Music these are the modules Music History in years 1 through 3, 14

large number of modules together with instrumental/vocal students of Classical Music or Jazz: • Theoretical subjects • Practical Harmony • Worldwide Music • Portfolio • Education • Thesis • Profile subjects Classical Music or Jazz

Main subject (professional role: musician) The study programme Composition aims at being a forum and workplace for young composers. To this end, there are presentations of own work by both students and teachers of the Department, but also lectures and workshops, for which guests from the Netherlands as well as from abroad are invited. For these activities, all students of Composition meet every week in the practical lessons. In addition you take instrumentation classes and a number of optional subjects to broaden or deepen your studies. Concerts of students’ work are organised together with other departments within the conservatory and students are invited to take part in nationwide projects for young composers, such as those organised by the ASKO Ensemble. And then there are opportunities to work on joint projects with students from other art disciplines, such as visual art, video and film, theatre and dance. Within the department itself, taking courses or working (under supervision) in various directions such as jazz and/or film music is also possible.

For Classical Music, more information about these modules can be found above under ‘Structure of the Programme’. For Jazz, is information is given in the chapter Jazz, ‘Structure of the Programme’. Besides the subjects mentioned above, there are specific subjects for Composition. These are taught to composition students of Jazz and Classical Music together. This concerns the following modules: • Main subject (and minor) • Analysis New Media • Practical • Instrumentation • Optional Modules • Aesthetics and Philosophy Main subject (professional role: musician) The main subject takes central stage throughout the four years of your studies. It is the part with the largest study load and the most study credits. Besides taking weekly lessons, you will spend much time in selfteaching. Additionally, there are a number of mandatory academic subjects, such as historical knowledge and analysis of Western composed music from 1900 to the present, theoretical knowledge and practical application of instrumentation and electronic music in theory and practice (including live electronics).

Optional Modules (professional role: maker) Students of Composition can make a selection from the following optional modules: • work field projects • extra practical lessons • conducting • new media • improvisation • instrumentation year 3 and 4 With these optional modules you can strengthen and deepen your creative capabilities. Aesthetics and Philosophy (professional role: researcher) This specific module has been added to the professional role of ‘researcher’ on behalf of composers. As a creating musician you not only have a relationship with an audience or performing musicians, but you 15

• the study load • the learning outcomes • information about the examinations (form, criteria, results scale) • entry requirements For the module descriptions for Classical Music click here.

will also find yourself confronted with questions that go deeper than what is immediately observable: the ‘why’ of your art. Here you enter the field of aesthetics and philosophy, which may not provide all the answers to all questions that can help you deal with them. Module Descriptions Of all modules from the study programme, module descriptions were made that include: • the content of the module

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Support Staff Education

Viola Julia Dinerstein Karin Dolman Gijs Kramers

Okke Westdorp – Head Codarts Classical Music [email protected] Erik Zwiep – Strategic Policy Advisor [email protected]

Cello Jeroen den Herder Herre-Jan Stegenga

Nola Exel - Coordinator Chamber Music: [email protected]

Double Bass Peter Leerdam Matthew Midgley

Myrte Hoes – Production Assistant [email protected]

Flute Juliette Hurel Julie Moulin Wim Steinmann (piccolo)

Jan Kuhr- Production Assistant [email protected] Irja Zeper – Consultant Student Affairs [email protected]

Oboe Maarten Dekkers Ralph van Daal

Sophie Hopman – Management Assistant [email protected]

Clarinet Nancy Braithwaite Julien Hervé Jan Jansen Bassoon Pieter Nuytten

Karin Bijl - Coordinator Preparatory Courses Klassiek [email protected] Teachers Violin András Czifra Goran Gribajčevič Igor Gruppman Vesna Gruppman Olga Martinova Natasja Morozova Gordan Nikolić

Horn Bob Stoel Martin van de Merwe Trumpet André Heuvelman (Section Leader Brass) 25

Ad van Zon

Choir Conducting Wiecher Mandemaker

Trombone Alexander Verbeek

Orchestra Conducting Hans Leenders

Bass Trombone Brandt Attema

Diploma Church Organ Play (Vacancy) Arie Hoek and teachers Organ

Tuba Hendrik-Jan Renes Harp Saskia Kingma (Assistant Section Leader Strings + Harp)

Composing Jan-Bas Bollen Hans Koolmees Robin de Raaff Peter Jan Wagemans (Section Leader Composition and Conducting) Electronic Composition René Uijlenhoet

Percussion Chris Leenders (Section Leader Percussion) Hans Leenders Ramon Lormans Organ Aart Bergwerff Hayo Boerema Ben van Oosten Bas de Vroome Erik Zwiep (Section Leader Organ and Church Music; not a teacher)

Music Theory Patrick van Deurzen Gijsbert Kok Music-Theoretical subjects (MTV) Frans de Berg Rijnhard Bokelmann (Section Leader MTV and History of Music) Jan Jongbloed Patrick van der Linden Gijsbert Kok

Piano Stéphane de May Jean Bernard Pommier Bart van de Roer (Section Leader Piano) Voice Frans Huijts (Section Leader Voice) Henk Neven Charlotte Riedijk Marcel Reijans

Music History Desirée Staverman Marcel Zijlstra Practical Harmony 26

Marjolijn Boersma (violin) Bas de Vroome (organ) Mariëlle Rijkaart (cello) Nancy Braithwaite (clarinet) André Heuvelman (trumpet) Hendrik-Jan Renes (tuba) Saskia Kingma (harp) Cora Peeters (voice) Hans van Gennip (percussion)

Eli ’t Hart (piano) Martin Lekkerkerk (piano) Irja Zeper (piano) Chamber Music Nancy Braithwaite Henk Guittart Bart van de Roer Sander Sittig and other teachers

Music Pedagogy Marjolijn Boersma Frank van der Duijn

Chamber Choir Wiecher Mandemaker

Thesis Coaching Nancy Braithwaite András Czifra Marijke Tielenius (coordinator thesis coaching) and others

Ensembles and Orchestras Arie van Beek Hans Leenders Guest conductors Choir Rehearsals and Accompaniment Reineke Broekhans Jan Gruithuyzen Maarten Hillenius Alla Libo Roderigo Robles de Medina Jan Willem Passchier (accompanist) Annette Rogers Sander Sittig Hans Spruit

Languages Cas Jönsthövel (German) Laetitia Jacobs (French) Stefano Orlando (Italian) Drama/Performance David Prins (also Section Leader Voice)

Didactics/Internship Supervision Ruud Spetter (coordinator didactics and internship supervision) Lucia Arends (flute) Irja Zeper (piano) Mark Boonstra (trombone Classical Music / Jazz) 27

2.2 Jazz

voice trumpet trombone

….Jazz is. Jazz lives………

saxophone

(J.A. Deelder, fragment of the poem ‘Intro’, in Jazz, De Bezige Bij, 1992)

In some cases, other instrumentalists may also follow the Jazz study

The above quote from ‘a famous Dutch poet and most of all a Rotterdammer’, is

programme. For these students we always try to design a best fitting course of

perhaps the best answer to the question: why study Jazz? At Codarts Jazz, you

study.

can further develop and shape this Rotterdam ode to jazz on a daily basis.

The programme Composition is provided within an inter-faculty with the

Jazz music is flesh and blood, jazz lives, is always in motion, always challenging.

Department of Classical Music.

This music is not past glory or merely a tradition, but is embraced by many as a source of inspiration and a lifestyle. Codarts Jazz was the first jazz institute in

Structure of the Programme

the Netherlands, when it opened its doors at the then already renowned

All programmes within the Bachelor Music are structured according to the same

Rotterdam Conservatory in 1976. It is a department where many talented

model. The modular structure of the various professional roles is reflected in

students have found their way and where people take pride in an open culture

each of the programmes. The content of the various programme elements

and structure.

differ with each branch of study. This modular system allows you (on certain

At the end of the day, it is all about passion for music in all of its manifestations.

conditions) to switch between different study branches, thus putting together your own unique profile.

In Rotterdam, Codarts Jazz stands for a professional and creatively challenging,

At the end of this study guide you will find a visual representation of the

high-quality study programme where you learn to make choices and stand by

curriculum model.

them.

The study programme Composition has a different structure. This programme will therefore be treated separately at the end of this chapter.

The Jazz department has two study programmes: Instrumental/Vocal and Composition. The study programme Instrumental/Vocal includes the following

Main Subject (professional role: musician)

main subjects:

Your main subject is the most important element during the four years of your

piano

studies. At an individual level you are coached by one or several teachers. In this

guitar

module, you work on your technical control of the instrument, repertoire

bass guitar

knowledge and knowledge of style elements that are specific to jazz and

drums

28

Within this context you, as a player, are part of the ensemble so that you may experience the discipline of ensemble playing in a large formation. The Big Band performs a number of times each year, including at the North Sea Jazz Festival.

related music styles. At the same time, right from the start of your studies, an appeal is made to your creativity and you are asked to be a maker.

This element recurs in all practical lessons, besides entrepreneurship and exploring the material you are working with. In the course of your studies, the artistic aspect will become increasingly important, next to the technical aspect. What is it that you wish to convey to your audience as a musician? What choices do you make in terms of repertoire, playing techniques and performance? In this process, the role of the teacher will gradually become more that of a coach. We expect you to become more and more the director of your own studies over the years, finally resulting in a final concert that you have completely organised yourself, from choosing the repertoire and the musicians to organising the production and the publicity.

Theoretical subjects (professional role: musician) Besides these practical modules, you will also follow theoretical subjects for three years. The modules Music Theory (years 1 through 3) are an introduction to the basic principles of music theory, which you will learn to apply in practical situations in the course of your studies. For instance, you learn how to analyse and arrange works from your performance repertoire. In addition, in the modules Rhythm Education (years 1 and 2) you learn how to perform rhythmic notations and write out played rhythms. Finally, in the modules Solfège, you work on ear training: learning to recognise and notate melody and harmony. This theoretical knowledge and these skills provide you with insight into your performance repertoire and gives you the tools to handle this repertoire in a creative manner.

Ensemble Playing (professional role: maker/performer) In the modules Ensemble Playing you learn how to apply your own skills while collaborating with your fellow students. Throughout your entire studies you play in two ensembles. In the first two years, you will play in mandatory ensembles. These may differ per section and you can find them in the descriptions of the Ensemble Playing modules. In these ensembles you become familiar with your basic repertoire and you learn what it is like to function in an ensemble or orchestra. Codarts’ studio facilities are used for Jazz at fixed moments in the study programme, so that you can also bring your own ideas to life in this way. Increasingly, you will take on a leading role in these ensembles. You will find yourself more often in the role of ensemble leader, arranger and maker and you are expected to contribute to the repertoire and the arrangements. In addition, in your final year, you may organise your own ensemble projects, for instance to perform with at your graduation exam (and perhaps also after graduating). The various ensemble teachers are available to coach your projects. Jazz history has a rich tradition in Big Band music, so playing in large formations such as a Big Band, Large Ensemble or a United Orchestra (with all other Codarts Music students) is part of what Codarts has to offer.

Practical Harmony (professional role: musician) The modules Practical Harmony support the theoretical subjects and help you to make the theory concrete for the piano or another harmonic instrument. Also, you learn how to accompany yourself and others. Piano students are provided with an alternative in the form of trio lessons, with a focus on functioning in a rhythm section. Guitar students are provided with an alternative in the form of harmony on the guitar. Portfolio (professional role: entrepreneur) The module Portfolio is a recurrent element every study year. This module encompasses various activities related to introduction, broadening and extracurricular activities. For instance, the two project weeks that take place every year. Instead of the regular study programme, special projects, workshops and master classes are organised during these weeks. The first week is a project week specific to each department, with room for projects that are related to your studies. The second project week is always a Codarts-wide project week 29

feedback, presentational skills, group dynamics, motivation, developmental psychology, learning styles, teacher roles and core qualities. Education B: in this module you start working with your own instrument in a practical setting. You study teaching methods and transference techniques as well as current developments in the field of instrumental education, such as the use of new media. Internship: the internship module gives you the opportunity to put into practice the things you have learned. After all, teaching can only be trained in real-life situations. This is done in an internal internship in which you teach individual students or small groups of students under supervision of your internship coach. Should you have developed a taste for teaching after successfully finishing these modules, you can acquire further teaching skills by taking the minor Education. After passing this minor, you will be an officially qualified teacher for certified music schools.

in which all sorts of projects are organised that transcend genres and disciplines. Being confronted by contacts that are completely new to you widens your horizon. Apart from that there is the introductory course Health and Performance Day in year 1 which is about how to be a professional musician in a healthy and sustainable manner. This introductory courses help you to get an idea of the professional practice and what is expected of you, early on in your studies. This helps you to make informed choices about the course of your studies. This year, first- and second-year students will start with a completely new course in entrepreneurship that will be further developed as their studies progress. This course deals with all aspects of being an entrepreneur relating to your future professional practice: skills, professional attitude, leadership, imagination and creativity, forming opinions. All this is part of your individual artistic profile, culminating in a pitch in which you present yourself as a confident musician, in your graduation year.

Thesis (professional role: researcher) The final stages of your studies offer a fine challenge: writing a researchbased thesis. You are free to choose your own subject, as long as your research contributes to your development as a self-aware musician. The preparatory module of semester 6 consists of classes in research skills and personal coaching in formulating your research design. The module is concluded with making a research pitch before a committee and fellow students. In semester 7 you actually conduct your research, supervised by your research coach. By the end of semester 7 you demonstrate your research skills by handing in your thesis and giving a public presentation. The best theses are included in Codarts’ media library. This means you help build an ever-growing knowledge base for both students and teachers.

Music Worldwide (professional role: researcher) The second-year module Music Worldwide is one you will not find at any other conservatory. The module consists of a kaleidoscope of interactive lectures on various music styles across the globe, both of the past and of the present. Also, you work on the professional role of research by doing independent additional research into one of the styles that were treated in the lectures. So, there is no mandatory subject, but you are challenged to find out more about what appeals to you and share this with your fellow students. Education (professional role: teacher) In the first two years of your studies, you have taken big steps in your development as a musician and as a maker/performer. In year 3 you will work on the professional role of teacher. This educational element consists of three modules in one semester. Education A: this module addresses all kinds of subjects that have to do with transference, such as general didactics, communication and

Profile Space The subjects mentioned above are part of all music curricula, although they may vary in content. The Profile Space offers additional modules that are unique to the Jazz programme . In years 1 and 2 these include the following mandatory profile modules. 30

•

•

•

• Profile subjects Classical Music or Jazz More information about these modules for Jazz can be found above under ‘Structure of the Programme’. For Classical Music, this information is given in the chapter Classical Music, ‘Structure of the Programme’. Besides the subjects mentioned above, there are specific subjects for Composition. These are taught to composition students of Jazz and Classical Music together. This concerns the following modules:

Jazz History in this two-year history course you study the development of jazz using many listening examples. This is an ‘all-ears’ module designed to enhance your auditory awareness through intensive listening. Practical Solfège This module involves ear training in a practical, instrumentoriented manner. Home Recording This two-year course helps to make you familiar with the recording process. You learn how to use your own equipment, such as a laptop, to make a good sounding recording or to arrange a piece in preparation for a rehearsal or performance.

• • • • • •

In years 3 and 4, the profile space is considerably larger and also has room for individual choices. In year 3 the profile space covers 12 EC and in year 4 even 24 EC. For students instrumental/voice the module Studio Production is mandatory in year 4.

Main subject (and minor) Analysis New Media Practical Instrumentation Optional Modules Aesthetics and Philosophy

Main subject (professional role: musician) The main subject takes central stage throughout the four years of your studies. It is the part with the largest study load and the most study credits. Besides taking weekly lessons, you will spend much time in selfteaching. Additionally, there are a number of mandatory academic subjects, such as historical knowledge and analysis of Western composed music from 1900 to the present, theoretical knowledge and practical application of instrumentation and electronic music in theory and practice (including live electronics).

Study Programme Composition The study programme Composition is provided within an inter-faculty of Composing Classical Music and Composing Jazz. Both programmes have a substantial overlap with the instrumental/vocal programmes of the departments concerned. As a student of Composition you will take a large number of modules together with instrumental/vocal students of Classical Music or Jazz: • Theoretical subjects • Practical Harmony • Worldwide Music • Portfolio • Education • Thesis

Practical lessons and instrumentation (professional role: musician) The study programme Composition aims at being a forum and workplace for young composers. To this end, there are presentations of own work by both students and teachers of the Department, but also lectures and workshops, for which guests from the Netherlands as well as from abroad are invited. For these activities, all students of Composition meet every week in the practical lessons. In addition you

31

take instrumentation classes and a number of optional subjects to broaden or deepen your studies. Concerts of students’ work are organised together with other departments within the conservatory and students are invited to take part in nationwide projects for young composers, such as those organised by the ASKO Ensemble. And then there are opportunities to work on joint projects with students from other art disciplines, such as visual art, video and film, theatre and dance. Within the department itself, taking courses or working (under supervision) in various directions such as jazz and/or film music is also possible.

After the Bachelor Music One of strong features of Codarts Rotterdam is that we coach talents who are able to find their way within the professional field of the arts, education and private enterprise. End qualifications such as creative entrepreneurship, collaboration, communication and performing are all typical of Codarts Jazz alumni. The work field of jazz musicians is very diverse and wide. Obviously, the goal is to go on stage with your own line-up and many alumni have done so at various national and international jazz festivals, such as the North Sea Jazz Festival, Jazz International Rotterdam and the international 12 Points Festival.

Optional Modules (professional role: maker) Students of Composition can make a selection from the following optional modules: • work field projects • extra practical lessons • conducting • new media • improvisation • instrumentation year 3 and 4

The profession of musician has changed greatly over the past few years and nowadays much more is required than simply having musical talent. You must be aware of the work field you are getting into and know how to deploy and develop other talents besides musical-creative ones. Networking and making yourself noticed is part of the enterprising musician you have become. We see many musicians combine multiple disciplines to develop their own concepts, often in businesses of their own or as independent professionals. Would you like to continue your studies after finishing your Bachelor’s? You might then audition for the Master phase Jazz. After having concluded that, you can go on to obtain your PhD in the DocArtes PhD programme, which has been set up in collaboration with Leiden University.

With these optional modules you can strengthen and deepen your creative capabilities. Aesthetics and Philosophy (professional role: researcher) This specific module has been added to the professional role of ‘researcher’ on behalf of composers. As a creating musician you not only have a relationship with an audience or performing musicians, but you will also find yourself confronted with questions that go deeper than what is immediately observable: the ‘why’ of your art. Here you enter the field of aesthetics and philosophy, which may not provide all the answers to all questions but can help you deal with them.

Module Descriptions Of all modules from the study programme, module descriptions were made that include: • the content of the module • the study load • the learning outcomes • information about the examinations (form, criteria, results scale) 32

• entry requirements For the module descriptions for Jazz click here.

insight in the study load and the number of contact hours per week. *For Composition, see Classical Music

Study Credits Tables Below is the study credits table of the study programmes Instrumental/Vocal*. The table are set up by study year and provides

33

34

Wim Both Jan van Duikeren (guest teacher)

Support Staff Education Linda Bloemhard - Head Codarts Jazz T: 010-21711043 M:06-22096463 room: WMDC A 1.11 office hours: Mon through Thu 09.00-18.00, Fri 09.00-12.00

Trombone
 Ilja Reijngoud Bart van Lier (guest teacher) Bert Boeren (permanent guest teacher) Andy Hunter (guest teacher) Brandt Attema (bass trombone) Mark Boonstra (bass trombone technique)

Carmen Sterke - management assistant Education T:010- 21711130 E: [email protected] room: A 1.10 WMDC office hours: Mon through Thu 09.00-18.00

Saxophone Ben van den Dungen Dick de Graaf Simon Rigter

Wies Peeters – production assistant Jazz, Pop, World Music T: 010-21711046 E: [email protected] room: A 1.10 WMDC office hours: Mon, Tue, Wed 11.00-18.00

Voice Bart de Win Harjo Pasveer (technique) Francien van Tuinen (permanent guest teacher)

Claire Hell - production assistant Jazz, Pop, World Music T: 010- 2444509 E: [email protected] room: A 1.10 WMDC office hours: Mon, Tue, Thu 10.00-17.00

Guitar Ed Verhoeff Ronald Schmitz Reinier Baas (permanent guest teacher) Ben de Bruijn

Anna Schenk T: 010-2171036 E: [email protected] room: A 1.10 WMDC office hours: Mon, Tue, Wed, Thu 9:00-17:00 Teachers

Piano Rob van Bavel Franz von Chossy

Trumpet
 Jarmo Hoogendijk 35

Johan Clement Luis Fabiano Rabello (technique) Bass guitar Jeroen Vierdag Stefan Lievestro Double Bass Marius Beets Stefan Lievestro Drums Hans van Oosterhout Joost Patocka Composing/Arranging Paul M. van Brugge Theory and Solfège Ab Schaap (guest teacher) Simon Rigter Laetitia van Krieken Rik van den Bergh (guest teacher) Frans van Geest (guest teacher) Thesis Coordinator Marijke Tielenius Kruijthoff

36

2.3 Pop

reflected within our education. Therefore you will find many connections with the work field and the creative industry at Codarts.

Every choice you can make is based on knowing your craft and this means that all Codarts Pop students are masters on their instruments, their voice, their songs or compositions, as well as in the recording studio or a computerised environment. You are able to make your instrument serve your musical expression and the form it takes, your personal sound development and performance. This means that in the first part of your studies the emphasis will be on the professionalvocational aspect in theory and practice, but making-creatingimprovising and handling technology are also main elements in projects onstage and in the studio from the very beginning. During the second part of your studies, skills and creative elements are combined and, together with your personal quest for your own identity, lead to your own persona as an artist. The educational environment provides professional guidance, coaching and expertise and is also known as an environment with room for experimentation, where mistakes are allowed and where people support each other in an incredibly positive and critically constructive atmosphere. Other key words are communication, a proactive adventurous approach, working together, building your network, daring, and passion for what is your drive.

Structure of the Programme All programmes within the Bachelor Music are structured according to the same model. The modular structure of the various professional roles is reflected in each of the programmes. The content of the various programme elements differ with each branch of study. This modular system allows you (on certain conditions) to switch between different study branches, thus putting together your own unique profile. At the end of this study guide you will find a visual representation of the curriculum model. The study programmes Composition and Music Theory have a different structure. Those two programmes will therefore be treated separately at the end of this chapter.

The graduated Pop student has been given the chance to evolve during these years of study: who am I as an artist and how do I relate to the world? Do I want to be an autonomously creating, more conceptual musician? Do I want to be able to work fast and at a high level on commissioned work? Do I want to be in the spotlight as frontman or frontwoman or rather take up a more supporting role as a band member? Do I choose a specific style or niche in the market or do I prefer to be more broadly oriented and multi-employable? All the competencies that you find in our inspiring, albeit demanding environment are woven into the study programme that we have put together with our team of teachers and support staff. It is a package that is always under development, as all the teachers are still very active in the work field and because we believe that reality should be strongly

Within the study programme Pop you can study the following main subjects: • Keyboards • Guitar • Bass Guitar • Drums • Voice/Song Writing • Creative Producer

Main Subject (professional role: musician) The main subject takes central stage throughout the four years of your studies. You are individually coached by one or several teachers. In this module you work on the technical mastering of your instrument, knowledge of the repertoire and of style elements that are specific to pop music and related music styles.

In the course of your studies, the artistic aspect will become increasingly important, next to the technical aspect. What is it that you, as a musician, 37

for instance an audio production, a video clip or a live performance. Some of the projects take place in collaboration with third parties from outside the school, for example other art academies, venues and cultural organisations. This means that you will be constantly challenged to put your own development within the perspective of the professional practice. In the course of your studies the emphasis on creating your own work becomes stronger, also in the choices you make with regard to collaborations and form. The Creative Producers develop their role of designers and/or managers of the technological elements of performances. These roles are not specifically confined to the area of one of the main instruments: producers also perform as instrumentalists, singers write songs, bass players produce, keyboard players manage technology and almost everyone sings: all possible combinations exist!

wish to convey to your audience? What choices do you make in terms of repertoire, playing techniques and performance? In this process, the role of the teacher will gradually become more that of a coach. The possibility of either specialising on one specific instrument or organise your individual study plan with a combination of main subjects during the course of your studies, is unique to the Music department of Codarts. However, this freedom of choice does not mean freedom of obligations and this is why our study pathway advisors will help you make the right choices. We expect you to become more and more the director of your own studies over the years, finally resulting in a final concert that you have completely organised yourself, from choosing the repertoire and the musicians to organising the production and the publicity. Ensemble Playing (professional role: maker/performer) The module Ensemble Playing is one of the main modules in the Pop curriculum. Here, besides developing technical skills, students specifically develop their creative and communicative skills in a setting that is oriented towards the professional practice. In the first year you are assigned to two bands (one skills band and one ‘make’ band) that you will work with for a year. Starting in year 2 you will have more and more room to put together your own bands. In year 4 you are free to design your own band projects as you see fit and make use of band coaching at times when you think this is useful. With regard to skills, you study the various style periods of pop music. This includes playing style, playing technique, the set of instruments, production methods and presentation (including stage performance). This makes for an effective combination of theory and practice. In years 2 and 3 you study a variety of vocational themes in short series of classes. Students of Creative Producer follow their own three-year skills course with a focus on technical aspects such as mixing, mastering, metering and acoustics. Besides the skills aspect there is the ‘make’ aspect. This is a three-year course in which you work on making your own songs under supervision of a band coach. Each module is concluded with a production/project,

Theoretical Subjects (professional role: musician) Besides these practical modules, you will also follow theoretical subjects for three years. The modules Music Theory (years 1 through 3) are an introduction to the basic principles of music theory, which you will learn to apply to practical situations in the course of your studies. For instance, you learn how to analyse and arrange works from your performance repertoire. In addition, in the modules Rhythm Education (years 1 and 2) you learn how to perform rhythmic notations and write out played rhythms. Finally, in the modules Solfège, you work on ear training: learning to recognise and notate melody and harmony. This theoretical knowledge and these skills provide you with insight into your performance repertoire and give you the tools to handle this repertoire in a creative manner. Practical Harmony (professional role: musician) The modules Practical Harmony support the theoretical subjects and help you to make the theory concrete for the piano or another harmonic instrument. Also, you learn how to accompany yourself and others. Piano students are provided with an alternative in the form of trio 38

lessons, with a focus on functioning in a rhythm section and the keyboard player in the role of bandleader.

In year 4: Creating Opportunities, developed for Codarts by the Erasmus University.

Portfolio (professional role: entrepreneur) The module portfolio is a recurrent element every study year. This module encompasses various activities related to introduction, broadening and extracurricular activities. For instance, the two project weeks that take place every year. Instead of the regular study programme, special projects, workshops and master classes are organised during these weeks. The first week is a project week specific to each department, with room for projects that are related to your studies. The second project week is always a Codarts-wide project week in which all sorts of projects are organised that transcend genres and disciplines. Being confronted by contacts that are completely new to you widens your horizon. Apart from that there is the introductory course Health and Performance Day in year 1 which is about how to be a professional musician in a healthy and sustainable manner. This introductory courses help you to get an idea of the professional practice and what is expected of you, early on in your studies. This helps you to make informed choices about the course of your studies.

Music Worldwide (professional role: researcher) The second-year module Music Worldwide is one you will not find at any other conservatory. The module consists of a kaleidoscope of interactive lectures on various music styles across the globe, both of the past and of the present. Also, you work on the professional role of research by doing independent additional research into one of the styles that were treated in the lectures. So, there is no mandatory subject, but you are challenged to find out more about what appeals to you and share this with your fellow students. Education (professional role: teacher) In the first two years of your studies, you have taken big steps in your development as a musician and as a maker/performer. In year 3 you will work on the professional role of teacher. This educational element consists of three modules in one semester. Education A: this module addresses all kinds of subjects that have to do with transference, such as general didactics, communication and feedback, presentational skills, group dynamics, motivation, developmental psychology, learning styles, teacher roles and core qualities. Education B: in this module you start working with your own instrument in a practical setting. You study teaching methods and transference techniques as well as current developments in the field of instrumental education, such as the use of new media. Internship: the internship module gives you the opportunity to put into practice the things you have learned. After all, teaching can only be trained in real-life situations. This is done in an in-house internship in which you teach individual students or small groups of students under supervision of your internship coach. Should you have developed a taste for teaching after successfully finishing these modules, you can acquire further teaching skills by taking the minor Education. After passing this minor, you will be an officially qualified teacher for certified music schools.

This year, first- and second-year students will start with a completely new course in entrepreneurship that will be further developed as their studies progress. This course deals with all aspects of being an entrepreneur relating to your future professional practice: skills, professional attitude, leadership, imagination and creativity, forming opinions. All this is part of your individual artistic profile, culminating in a pitch in which you present yourself as a confident musician, in your graduation year. Both third- and fourth-year students will also start with new courses in entrepreneurship, developed specifically for the Pop department. In year 3: Popular Music and Society (at the Erasmus University) , followed by an internal course at Codarts.

39

recording process. You learn how to use your own equipment, such as a laptop, to make a good sounding recording or to arrange a piece in preparation for a rehearsal or performance. Students Creative Producer work on an advanced level in the module Studio Practical. Successfully passing this module results in a studio licence, which means you may work independently in the various studios at Codarts. Year 2 is dedicated to develop your skills in studio technique in more depth.

Thesis (professional role: researcher) The final stages of your studies offer a fine challenge: writing a researchbased thesis. You are free to choose your own subject, as long as your research contributes to your development as a self-aware musician. The preparatory module of semester 6 consists of classes in research skills and personal coaching in formulating your research design. The module is concluded with making a research pitch before a committee and fellow students. In semester 7 you actually conduct your research, supervised by your research coach. By the end of semester 7 you demonstrate your research skills by handing in your thesis and giving a public presentation. The best theses are included in Codarts’ media library. This means you help build an ever-growing knowledge base for both students and teachers.

In years 3 and 4, the profile space is considerably larger and also has room for individual choices. In year 3 the profile space covers 12 EC and in year 4 even 24 EC. For students instrumental/voice the module Studio Production is mandatory in year 4. After Codarts Our alumni end up in a great variety of places. There are examples of just about anything you yourself may imagine in the dream you have when you start studying at an institute such as ours. Being a band member, frontman or frontwoman, writer or producer of a successful internationally touring band (Chef Special, Epica, Adlicious). Being a successful solo artist or singer/songwriter (Tessa Douwstra, Michiel Prins, Sharon Doorson). An underground producer building the sound of tomorrow, while also being a ghost writer for a currently successful DJ or musician in an up-and-coming band (Kovacs, Han Solo). Being a background vocalist with Anouk, Trijntje and many others while steadily working on your solo career (Shirma Rouse). Working as an instrumentalist in a successful environment such as with Eefje de Visser, Kyteman or Selah Sue. Initiating your own educational environment (either online or in practice) as an independent professional or working within a traditional music school. Our alumni are hard at work everywhere, combining the professional practices of performing, creating and independent teaching while selfconfidently building their future. This self-confidence also stems from the realisation that developments in our modern society can cause rapid change. Our alumni are aware of this and are able to anticipate those

Profile Space The subjects mentioned above are part of all music curricula, although they may vary in content. The Profile Space offers additional modules that are unique to the Pop programme. In years 1 and 2 these include the following mandatory profile modules. • Pop History This module runs parallel to the skills trajectory of the module Ensemble Playing. Over the course of two years, you study the various style periods in pop music of the 20th and 21st century. The module uses a helicopter view to reveal the main threads and historical connections. Important events in music are addressed, interpreted and put into context. • Practical Solfège This module involves ear training in a practical, instrumentoriented manner. • Home Recording (instr/voc) or studio practical (Creative Producer) This two-year course helps to make you familiar with the 40

• the study load • the learning outcomes • information about the examinations (form, criteria, results scale) • entry requirements For the module descriptions for Pop music click here.

changes. In fact, what we do is facilitate students to become their own agents of future change in their professional field, each according to his or her ability. Do you wish to continue your studies after finishing your Bachelor’s? Then you may audition for the Master study programme Pop. It is specifically this field where research and creativity meet and a mostly hybrid environment of performing-making-producing-doing business becomes visible.

Study Credits Tables Below are the study credits tables of the study programmes Instrumental/Vocal and Creative Producer. The tables are set up by study year and provide insight in the study load and the number of contact hours per week.

Module Descriptions Of all modules from the study programme module descriptions were made that include: • the content of the module

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42

Support Staff Education

Bass guitar Michel van Schie Marco Dirne

Wessel Coppes – Head Codarts Pop T: T: +31 (0)10 217 1044 E: [email protected] room: WMDC A1.11

Guitar Age Kat Menno Gootjes Leendert Haaksma Martijn van Agt

Carmen Sterke – management assistant Education T:010- 21711130 E: [email protected] room: A 1.10 WMDC office hours: Mon through Thu 09.00-18.00

Keyboards Ronald Kool Berthil Busstra Carlo de Wijs (hammond)

Wies Peeters – production assistant Jazz, Pop, World Music T: 010-21711046 E: [email protected] room: A 1.10 WMDC office hours: Mon, Tue, Wed 11.00-18.00

Vocals – songwriting; Brian Zalmijn Simone Roerade Harjo Pasveer Tjeerd van Zanen Desmond Haneveer Martijn van Agt

Claire Hell - production assistant Jazz, Pop, World Music T: 010- 2444509 E: [email protected] room: A 1.10 WMDC office hours: Mon, Tue, Thu 10.00-17.00

Creative Producer Theo Janssen, Thomas Bank, Tjeerd van Zanen Åke Danielsson Carlo de Wijs

Anna Schenk – management assistant T: 010-2171036 E: [email protected] room: A 1.10 WMDC office hours: Mon, Tue, Wed, Thu 9:00-17:00 Teachers

Music Theory Laetitia van de Krieken Oscar van Dillen

Drums Hans Eijkenaar Martijn Vink Eelco de Boer 43

Pop History Desmond Haneveer Rhythmic Education Arie Verhaar Minor Piano André Bill Berthil Busstra Band Coaches Ronald Kool Marco Dirne Simone Roerade Eelco de Boer Thomas Bank Simone Roerade Arie Verhaar Daniel Raegan (business) Stefan Mandersloot (visuals) Home Recording Aart de Jong Åke Danielsson Education Johan Witt Frank van der Duin Thesis Coordinator Marijke Tielenius Kruijthoff Entrepreneurship Ewout van der Linden Marijke van Velzen

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an ensemble for Argentine folklore in which Tango and Latin students work together; and there is an Ottoman ensemble in which students of Composition of Classical Music and Bachelor and Master students of World Music and Classical Music play together. Many of the programmes have international guest teachers who give lessons and master classes during one or several weeks throughout the year. At such times, the regular roster is adapted to enable all students to profit from the presence of these guest teachers. Our students come from all corners of the world, bringing their own cultural baggage with them. Codarts invites you to look for the connections between the musical traditions that are taught here and your own musical roots. This will not only enrich your own journey, but our education as well.

2.4 World music In 1978, Codarts was the first conservatory outside the United States to have a study programme Jazz, thereby opening its doors for other genres than Western classical music. In 1985, Codarts added the study of Flamenco Guitar, even before it was possible to take this study in Spain itself, and two years later the department for North Indian classical music was founded. The department of World Music was formed in 1989 with the section Latin, which was then extended with Argentine Tango (1993) and Turkish/Anatolian Music (2000). Through the years, Codarts World Music has evolved into a centre of expertise for these music genres. Codarts Music is the only music institute in the world where students can do a Bachelor’s and/or Master’s study in all these cultural domains. These pure traditions can also be studied in their countries of origin, of course, but what makes Codarts World Music so unique is their setting within an international context. This international context consists of both the diversity of the music genres on offer and the diversity in nationalities of both students and teachers.

Structure of the Programme All programmes within the Bachelor Music are structured according to the same model. The modular structure of the various professional roles is reflected in each of the programmes. The content of the various programme elements differ with each branch of study. This modular system allows you (on certain conditions) to switch between different study branches, thus putting together your own unique profile. At the end of this study guide you will find a visual representation of the curriculum model.

The study programme World Music has five branches: • Flamenco Guitar • Indian Music (North Indian classical music and Indian light music) • Latin (this includes Caribbean and Brazilian traditions) • Argentine Tango • Turkish Music (Anatolian and Ottoman music)

Main Subject (professional role: musician) Your main subject is the most important element during the four years of your studies. At an individual level you are coached by one or several teachers. In this module, you work on your technical control of the instrument, repertoire knowledge and knowledge of style elements that are specific to the music tradition you have chosen to study. In the course of your studies, the artistic aspect will become increasingly important, next to the technical aspect. What is it that you, as a musician, wish to convey to your audience? What choices do you make in terms of repertoire, playing techniques and performance? In this process, the role of the teacher will gradually become more that of a coach. Also, as your studies progress, you will have more freedom in your choice of teachers

Increasingly, connections are made between music styles, not only within the World Music department itself, but also with Pop, Jazz and Classical Music. For example, the wind players from the Jazz section play in salsa and Brazilian ensembles; there is a Bollywood orchestra in which Pop, Jazz and World Music students play together with teachers; there is 45

ensemble projects, for instance to perform with at your graduation exam (and perhaps also after graduating). The various ensemble teachers are available to coach your projects.

to work with. We expect you to become more and more the director of your own studies over the years, finally resulting in a final concert that you have completely organised yourself, from choosing the repertoire and the musicians to organising the production and the publicity. Within the department of World Music you can take the following main subjects:

Theoretical Subjects (professional role: musician) Besides these practical modules, you will also follow theoretical subjects for three years. The modules Music Theory (years 1 through 3) are an introduction to the basic principles of music theory, which you will learn to apply to practical situations in the course of your studies. For instance, you learn how to analyse and arrange works from your performance repertoire. In addition, in the modules Rhythm Education (years 1 and 2) you learn about the building blocks of various rhythmic traditions and how to perform rhythmic notations and write out played rhythms.. This theoretical knowledge and these skills provide you with insight into your performance repertoire and give you the tools to handle this repertoire in a creative manner.

Flamenco Guitar Indian music Bansuri, tabla, voice dhrupad, voice khayal, sitar, violin, sarangi Latin Piano, guitar, bass guitar, drums/ percussion, voice, flute and other wind instruments Tango Piano, bandoneón, guitar, double bass, violin, voice Turkish music Bağlama, percussion, voice, ney, ud and related instruments

Practical Harmony (professional role: musician) The modules Practical Harmony support the theoretical subjects and help you to make the theory concrete for the piano or another harmonic instrument. Also, you learn how to accompany yourself and others. Students who already play a harmonic instrument (piano or guitar) are provided with an alternative to learn how to apply their harmonic knowledge on a higher level. What these alternatives are, can be found in the module descriptions of the modules Practical Harmony.

Ensemble Playing (professional role: maker/performer) In the modules Ensemble Playing you learn how to apply your own skills while collaborating with your fellow students. Throughout your entire studies you play in two ensembles. In the first two years, you will play in mandatory ensembles. These may differ per section and you can find them in the descriptions of the Ensemble Playing modules. In these ensembles you become familiar with your basic repertoire and you learn what it is like to function in an ensemble or orchestra. Increasingly, you will take on a leading role in these ensembles. You will find yourself more often in the role of ensemble leader, arranger and maker and you are expected to contribute to the repertoire and the arrangements. Starting in the third year, and sometimes even sooner, there is a possibility to play in the so-called performing ensembles. These ensembles perform frequently both within Codarts and at outside venues. In addition, in your final year, you may organise your own

Portfolio modules (professional role: entrepreneur) The portfolio modules are a recurrent element every study year. They encompass various activities related to entrepreneurship, introduction, broadening and extracurricular activities. For instance, the two project weeks that take place every year. Instead of the regular study programme, special projects, workshops and master classes are organised during these weeks. The first week is a project week specific to each department, with room for projects that are related to your studies. The second project week is always a Codarts46

feedback, presentational skills, group dynamics, motivation, developmental psychology, learning styles, teacher roles and core qualities. Education B: in this module you start working with your own instrument in a practical setting. You study teaching methods and transference techniques as well as current developments in the field of instrumental education, such as the use of new media. Internship: the internship module gives you the opportunity to put into practice the things you have learned. After all, teaching can only be trained in real-life situations. This is done in an in-house internship in which you teach individual students or small groups of students under supervision of your internship coach. Should you have developed a taste for teaching after successfully finishing these modules, you can acquire further teaching skills by taking the minor Education. After passing this minor, you will be an officially qualified teacher for certified music schools.

wide project week in which all sorts of projects are organised that transcend genres and disciplines. Being confronted by contacts that are completely new to you widens your horizon. Apart from that there is the introductory course Health and Performance Day in year 1 which is about how to be a professional musician in a healthy and sustainable manner. This introductory courses help you to get an idea of the professional practice and what is expected of you, early on in your studies. This helps you to make informed choices about the course of your studies. This year, first- and second-year students will start with a completely new course in entrepreneurship that will be further developed as their studies progress. This course deals with all aspects of being an entrepreneur relating to your future professional practice: skills, professional attitude, leadership, imagination and creativity, forming opinions. All this is part of your individual artistic profile, culminating in a pitch in which you present yourself as a confident musician, in your graduation year.

Thesis (professional role: researcher) The final stages of your studies offer a fine challenge: writing a researchbased thesis. You are free to choose your own subject, as long as your research contributes to your development as a self-aware musician. The preparatory module of semester 6 consists of classes in research skills and personal coaching in formulating your research design. The module is concluded with giving a research pitch before a committee and fellow students. In semester 7 you actually conduct your research, supervised by your research coach. By the end of semester 7 you demonstrate your research skills by handing in your thesis and giving a public presentation. The best theses are included in Codarts’ media library. This means you help build an ever-growing knowledge base for both students and teachers.

Music Worldwide (professional role: researcher) The second-year module Music Worldwide is one you will not find at any other conservatory. The module consists of a kaleidoscope of interactive lectures on various music styles across the globe, both of the past and of the present. Also, you work on the professional role of research by doing independent additional research into one of the styles that were treated in the lectures. So, there is no mandatory subject, but you are challenged to find out more about what appeals to you and share this with your fellow students. Education (professional role: teacher) In the first two years of your studies, you have taken big steps in your development as a musician and as a maker/performer. In year 3 you will work on the professional role of teacher. This educational element consists of three modules in one semester. Education A: this module addresses all kinds of subjects that have to do with transference, such as general didactics, communication and

Profile Space The subjects mentioned above are part of all World Music curricula and their content reflects the five different specialisations. The profile space offers subjects that are unique to your specific specialisation. These are the subjects that define your graduation profile. In years 1 and 2, these 47

The World Music department has a very international student and teacher population, which also means interesting international career possibilities. The level of the graduates is high and in many cases this means the possibility to take part in, for instance, the Tango scene in Buenos Aires or the Flamenco world in Spain. No wonder that alumni of World Music can be found all over the world.

include the mandatory profile modules, such as genre specific theory modules and history modules. Below is an overview of the genre specific modules per specialisation. Flamenco Indian Music Latin Tango Turkish Music

Year 1 (9 EC) Flamenco history Flamenco theory Indian music theory Rhythmic solfège Melodic solfège Latin history Latin transcription Tango history Tango transcription & analysis Turkish music history Turkish music theory Minor voice/ bağlama

Year 2 (6 EC) Flamenco theory

Saskia de Haas once studied cello within the study programme North Indian Classical Music. Nowadays, she lives in New Delhi where she teaches music at schools and gives concerts. In Buenos Aires, Istanbul, Rio de Janeiro and Spain too you will find successful alumni from the World Music department at Codarts. And in the Netherlands too, of course. Lilian Viera from Brazil studied Latin music at Codarts World Music and she is now a successful singer in the Netherlands with her Brazilian band Zuco 103.

Indian music theory Rhythmic solfège Melodic solfège Latin transcription Tango transcription & analysis Turkish music theory Minor voice/ bağlama

A growing number of music schools offer world music. Codarts alumni find their way as teachers at these music schools, where they are appreciated for their knowledge and their passion for the profession. Most alumni have a hybrid practice: teaching, performing, studio work, sometimes doing journalistic work and also continuing the study of their chosen genre.

In years 3 and 4, the profile space is considerably larger and also has room for individual choices. In year 3 the profile space covers 12 EC and in year 4 even 24 EC. Depending on the programme in which you wish to graduate there may be an extra number of mandatory profile modules. The remaining profile space can be used to take minors and optional subjects. Codarts has a wide range of minors, both theoretical and practice-oriented ones, which gives you the opportunity to study the various professional roles in more depth. At the end of each academic year, the third- and fourth-year students-tobe are invited to sign up for one or more minors. Some minors take place during only one semester, while others may continue throughout the year. There are light minors of 6 EC and more substantial ones of 12 EC, so make sure that you will earn enough points in your profile space when signing up for minors.

Once you have obtained your Bachelor’s diploma, you can move on to the Master programme at Codarts. After having concluded that, you can go on to obtain your PhD in the DocArtes PhD programme, which has been set up in collaboration with Leiden University (World Music Chair). Module Descriptions Of all modules from the study programme, module descriptions were made that include: • the content of the module • the study load • the learning outcomes • information about the examinations (form, criteria, results scale)

After Codarts 48

• entry requirements For the module descriptions for World Music click here. Study Credits Tables Below are the study credits tables of the study programmes Flamenco Guitar, Indian Music, Latin, Tango and Turkish Music.

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50

51

52

53

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Ricardo Mendeville (Head of Studies) main subject guitar, flamenco theory, flamenco history

Support Staff Education Renske Wassink –Head Codarts World Music T: 010-2171033 E: [email protected]

Alexander Preuss main subject guitar, flamenco theory, didactics

Carmen Sterke – management assistant Education T:010- 21711130 E: [email protected] room: A 1.10 WMDC office hours: Mon through Thu 09.00-18.00

Irene Alvarez flamenco dance Henriet IJssel-de Schepper flamenco dance

Wies Peeters – production assistant Jazz, Pop, World Music T: 010-21711046 E: [email protected] room: A 1.10 WMDC office hours: Mon, Tue, Wed 11.00-18.00

Carmen Fernandez flamenco voice

Claire Hell - production assistant Jazz, Pop, World Music T: 010- 2444509 E: [email protected] room: A 1.10 WMDC office hours: Mon, Tue, Thu 10.00-17.00

Indian Music (IM) Hariprasad Chaurasia (artistic leader) main subject bansuri Niti Ranjan Biswas (Head of Studies) main subject tabla, Indian theory, ensembles

Anna Schenk – management assistant T: 010-2171036 E: [email protected] room: A 1.10 WMDC office hours: Mon, Tue, Wed, Thu 9:00-17:00

Henri Tournier main subject bansuri, Indian theory, ensembles Marianne Svašek main subject voice (Dhrupad), Indian theory

Teachers Flamenco guitar (FG) Paco Pen᷉a (artistic leader) main subject guitar

Connie de Jong main subject voice (technique) 55

Chiranjib Chakraborty main subject voice (Khayal)

José Lopretti main subject bass, ensembles

Jane Harvey Indian theory

Jeroen Vierdag main subject bass Lilian Vieira main subject Brazilian voice

Latin (LA) Anna Elis de Jong (Head of Studies) main subject piano, ensembles, Brazilian/Latin music theory, music history Brazil

Yumarya Grijt main subject Caribbean voice (Spanish) Connie de Jong main subject voice (technique)

Thomas Böttcher main subject piano, ensembles, Brazilian/Latin music theory Abél Marcel main subject piano, Latin music theory, ensembles, music history Caribbean’s

Argentinian Tango (AT) Gustavo Beytelmann (artistic leader) main subject piano, analysis

Lucas van Merwijk main subject percussion/drums

Leo Vervelde (Head of Studies) main subject bandoneón, ensembles, tango theory, tango history

Nils Fischer main subject percussion

Wim Warman main subject piano, practical harmony, ensembles, tango theory, tango history

Martin Verdonk main subject percussion

Victor Villena main subject bandoneón, ensembles

Bart Fermie main subject percussion 56

Micha Molthoff main subject violin, ensembles, tango history

Mutlu Kizilgedik major and minor baǧlama, ensembles

Kay Sleking main subject guitar, ensembles, tango history

Connie de Jongh main subject voice (technique)

Matthew Midgley main subject double bass

General Subjects Oscar van Dillen general music theory

Turkish, Anatolian/Ottoman music (TM) Leo Vervelde (Head of Studies a.i.)

Wobbe Kuiper general music theory

Zeynel Demir baglama and voice

Frank van der Duin education

Kudsi Ergüner (artistic leader Ottoman Music) main subject ney, ensembles, Ottoman theory

Jane Harvey coordinator music worldwide

Alper Kekec̨ main subject percussion, ensembles, Turkish music theory

Marijke Tielenius Kruijthoff thesis coordinator

Mutlu Kizilgidik baglama

Ewout van der Linden/Marijke van Velzen entrepreneurship

Michalis Cholevas ensembles, Turkish music theory Michalis Kouloumis main subject violin

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2.5 Curriculum Model Music (Performing)

6 ec

(Classical Music, Jazz, Pop, World Music) LEGEND:

Position

Researcher

Teacher*

Maker/ Performer

Entrepreneur

Profiling space

Music year 1 – Propaedeutic Phase

Music year 2 – Main Phase

semester 1

semester 2

semester 1

semester 2

Main subject

Main subject

Main subject

20 ects

10 ec

10 ec

20 ec

Music year 3 – Main Phase semester 1 semester 2

Music year 4 – Main Phase semester 1 semester 2

Main subject 20 ec

Main subject 20 ec

Theory subjects

Theory subjects

Theory subjects

Theory subjects

5 ec

5 ec

5 ec

5 ec

Pract. Harmony/Piano

Pract. Harmony/Piano

Pract. Harmony/Piano

2 ec

2 ec

4 ec

Portfolio

2 ec

Ensemble Playing

Ensemble Playing

Ensemble Playing

6 ec

6 ec

12 ec

Thesis 4 ec

Profile Space 24 ec

Theory subjects 3 ec

Theory subjects 3 ec

Ensemble Playing 11 ec

Educatie 6 ec

Thesis preparation 3 ec

Portfolio

Portfolio

5 ec

5 ec

Portfolio 2 ec Profile Space 12 ec

Music Worldwide Genre-specific 9 ec

Ensemble Playing 10 ec

3 ec Genre-specific

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Competency domains Music (Performing)

2.6 End Qualifications

Artistic

Professionalvocational

Professionalsocial

1 2

Competency Domain 1. Vision 2. Creative skills 3. Collaborative skills 4. Communicative skills

3 4

5. Analytical skills 6. Technical skills 7. Entrepreneurship 8. Context-orientation

5

9. Learning skills

Artistic Competency Domain Vision and Creativity. The musician is artistically driven and able to acquire views and opinions in his or her own professional field and to communicate these in the professional practice of music. has developed a musical-artistic personality enabling him or her to play music by using expressive language and professional drive. is able to manage various musical concepts, styles and interpretation forms in a creating and/or re-creating manner, shaping these in the way he/she performs the music. Communication The musician is able to communicate his actions effectively and efficiently in a variety of contexts and communicate the artistic meaning of music to others. explores artistic possibilities in interaction with target groups. is able to present him or herself either individually or with others. Collaborative skills: The musician is able, together with others who are involved, to actively contribute to a collaborative product or process. has the social and communicative skills to participate in various forms of musical collaboration.

10. Reflective skills 11. Innovative skills

6 7

8

9 10

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Professional-vocational Competency Domain The Craft: The musician maintains a wide range of professional knowledge and skills that enable him or her to function in both the national and international professional practice . has a discerning musical imagination and applies this to support practical situations. has the musical instrumental/vocal competencies to render music from a chosen field of repertoire with knowledge of the historic and stylistic context . has sufficient command of repertoire (solo/band/ensemble/choir/orchestra) to be able to function in a professional context . is capable of mastering new repertoire. has knowledge of the use or handling of relevant conditions.

11

12

13

14 15

16 17 18

19

20

21

Analytical skills: The musician is able to (cognitively) analyse music. is able to analyse music, either played or notated, on the basis of insight into rhythmic, melodic and harmonic structures and forms and can then interpret and perform this music. has knowledge of the relevant music literature, the historical and stylistic context of the performing practice and is able to apply this knowledge effectively.

is able to set realistic goals, make a planning and work according to plan; is capable of self-reflection.

Competency domains Composer Artistic Competency Domain Vision and Creativity. The musician is artistically driven and able to acquire views and opinions in his or her own professional field and to communicate these in the professional practice of music. has developed a musical-artistic personality enabling him or her to play 1 music by using expressive language and professional drive. is able to respond creatively to intuition, observations, impressions and 2a emotions by transforming them into artistic ideas and compositions. 2b is able to translate a musical concept into a composition. 2c demonstrates a professional drive in designing musical and perhaps extra-musical components. Communication The composer is able to communicate his actions effective and efficiently in a variety of contexts and communicate the artistic meaning of music to others. explores artistic possibilities in interaction with target groups. 3 is able to present him or herself either individually or with others. 4 Collaborative skills: The composer is able, together with others who are involved, to actively contribute to a collaborative product or process has the social and communicative skills to participate in various forms of 5a musical collaboration. 5b is able, in collaboration with performers, specialists from other disciplines and perhaps producers and clients, to think of and realise musical concepts. 5c is able to make commissioned work.

Professional-social Competency Domain Context orientation: the musician follows general developments in society and knows how to integrate these in his music practice . can find connections between his or her own artistic functioning, developments in music and other art disciplines and the social context. is able to participate in the music world and make contact with musicians, audience and potential clients. is able to see his or her music activities from the perspective of the music of various traditions, style periods, cultures and regions. Entrepreneurship: The musician is able to independently obtain a professional existence in the world of music. is able to operate as a cultural entrepreneur in his or her own productions. presents his or herself and his or her musical product to potential clients in terms of content organisation and finances. adopts a professional attitude in contacts with clients and customers. Innovation: The musician is able to explore the professional field and experiment with it, which is then expressed in innovative music processes and productions. demonstrates an inquisitive attitude aimed at further development in the professional field and its context. Methodical and reflective behaviour: The musician is capable of methodical and professional behaviour, can reflect on this and is independent. He or she is able to provide feedback with and to others. has sufficient professional knowledge, insight and experience to regard his or her own artistic performance critically and, based on this, permanently evaluate and further develop its quality.

6 7

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Professional-vocational Competency Domain The Craft: The composer maintains a wide range of professional knowledge and skills that enable him or her to function in both the national and international professional practice . has a discerning musical imagination and applies this functionally in practical situations. has the musical instrumental/vocal competencies to either create or

8 9 10 11

12a

12b

13 14 15

16 17 18

render music from a chosen field of repertoire with knowledge of the historic and stylistic context makes use of musical knowledge and skills for specific aspects of composing, in interaction between music theory and hearing. is able to efficiently gather news sources and techniques and expand the professional field. makes use of composition-oriented techniques and technological tools. Analytical skills: The composer is able to (cognitively) analyse music. is able to analyse music, either played or notated, on the basis of insight into rhythmic, melodic and harmonic structures and forms and can then develop a new musical idea. has knowledge of the relevant music literature, the historical and stylistic context of the performing practice and is able to apply this knowledge effectively. has knowledge of the working, use, function and meaning of music and is able to apply this knowledge efficiently.

19a 19b

20

21

Professional-social Competency Domain Context orientation: the musician follows general developments in society and knows how to integrate these in his music practice . can find connections between his or her own artistic functioning, developments in music and other art disciplines and the social context. is able to see his or her music activities from the perspective of the music of various traditions, style periods, cultures and regions. is able to participate in the music world and make contact with musicians, audience and potential clients. Entrepreneurship: The composer is able to independently obtain a professional existence in the world of music. is able to operate as a cultural entrepreneur in his or her own productions. presents his or herself and his or her musical product to potential clients in terms of content organisation and finances. adopts a professional attitude in contacts with clients and customers. Innovation: The composer is able to explore the professional field and experiment with it, which is then expressed in innovative music processes and productions.

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demonstrates an inquisitive attitude aimed at further development in the professional field and its context. makes innovative contributions to the world of music Methodical and reflective behaviour: The composer is capable of methodical and professional behaviour, can reflect on this and is independent. He or she is able to provide feedback with and to others. has sufficient professional knowledge, insight and experience to regard his or her own artistic performance critically and, based on this, permanently evaluate and further develop its quality. is able to set realistic goals, make a planning and work according to plan; is capable of self-reflection.

3/ General Educational Matters

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*These services are also provided by Stip Lite at the location WMDC and at the Circus service desk/office Circus Arts at the location Fenixloods 2. In addition, STIP sells T-shirts and hoodies (music, dance and circus) Contact STIP Kruisplein 26 Fifth floor Monday through Friday from 8.30 until 17.00 010-2171195 [email protected]

3.1 STIP

STIP Lite Pieter de Hoochweg 125 Ground floor Monday through Friday from 9:00 until 17.00 010-2444500 [email protected]

STIP, or the Student/Teacher Information Point, is the service desk for all students, teachers and staff members at Codarts. STIP also serves as the front office of the Administrator Service Centre (ASC) and of the General and Technical Support Department (FD) and Information and Computerisation (I&A).

Circus service desk Fenixloods 2 Veerlaan 19F (waterfront) Ground floor 010-2171060 [email protected]

What can STIP help you with? With a lot of things concerning your studies at Codarts! Below is a brief overview of our services: • • • • • • •

questions about examinations and study credits

collecting and charging facility card applying for proof of registration* applying for a study progress report* arranging to speak with someone from the Health Centre* booking audio-visual equipment* reporting malfunctions (with regard to equipment, the building, et cetera)* questions about registration

Office Circus Arts Fenixloods 2 Veerlaan 19F (waterfront) Second floor 010-2171046 [email protected] 62

Re-registration is also done through Studielink. By mid-May, students receive an email from the ASC with information about re-registration and the documents needed for paying the tuition fee.

3.2 Registering and Deregistering Registration Registering for a Bachelor’s or Master’s study programme at Codarts is done through Studielink. Studielink is an online registration wizard that helps students to register or re-register for a study programme at an academy or university. For all programmes at Codarts students must meet additional requirements (entry exam).

The registration information package that students receive after being placed stipulates the date before which the registration must be finalised. Language Requirements All study programmes at Codarts have language requirements. Below, these requirements are listed for each of the programmes, followed by the conditions for exemption.

After taking the entry exam, students receive news of whether or not they can be admitted. If they are admitted, they receive a proof of admission and all the information necessary to permanently register from the Administrator Service Centre (ASC). To be officially registered, students must meet the following conditions: • • • • • •

• •

Dutch Courses Students who have completed a non-Dutch previous study and wish to take a Dutch course, must supply proof of sufficient mastery of the Dutch language (level NT2-II) before 1 September 2016.

the student has a Studielink account. the student has requested registration via Studielink for the study programme to which the student has been admitted. the student’s identity has been verified by the ASC. the students previous education has been verified by the ASC (at least HAVO or an equivalent diploma). the tuition fee has been paid (the standing order to pay the tuition fee must have been given). the student has submitted the form ‘Verklaring Studieadres’ (statement of study address) and has registered with the BRP (the municipal basic administration). non-European students have a valid residence permit. the student meets the language requirement

English Courses In order to take an English course at Codarts, students must have a certificate with a minimal IELTS score of 5.5 (academic level) or an equivalent TOEFL certificate. Students who cannot submit a valid certificate or are not eligible for an exemption must take an English language test. Depending on the results, students may be required to take English lessons. These start in October 2016 and take place weekly, on Tuesdays, at 18.00 hours. Eligible for an exemption of the English language requirement are those students • who have had their previous training in English and have obtained: o a European Bachelor’s degree with English as official language and have passed English. o an International Bachelor’s degree with English as official language and have passed English.

A registration at Codarts Rotterdam is valid between September 1 and August 31 of the next year. Tuition fees are paid over the same period. 63

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who have followed a secondary or higher education (and have obtained a diploma) in a country where English is the official language (also in education): Australia, Canada, Ireland, New Zealand, United Kingdom and the United States.

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who have a diploma from secondary education (qualifying them to follow a HBO course) from one of the following nations: Belgium (Flanders only), Denmark, Germany, Estonia, Finland, Hungary, Latvia, Lithuania, Norway, Austria, Romania, Slovakia, Sweden.

Rights and Obligations based on the WHW (the Dutch Law on Higher Education and Scientific Research) 1. registering as a student at a specific study programme grants at least the following rights: a. taking part in the relevant study programmes of the Institute, except in programmes that stipulate additional requirements. b. taking tests and exams within the study programme. How this takes place is defined in the Education and Examination Regulation (OER) of the study programme in question. c. access to the buildings of the institute, except when it contravenes the nature or interest of the study programme in the view of the Board of Directors (CvB). d. making use of the educational facilities, such as the media library, et cetera. e. making use of the student facilities, such as study pathway advice, student counselling, et cetera. f. study coaching, as described in the Education and Examination Regulation (OER). g. finishing the study programme within a reasonable period of time at the Institute or another educational institute, in case either the Minister for Education or the Institute itself decide to end the study programme.

•

who have obtained a diploma MBO Level 4, or a HAVO or VWO diploma in the Netherlands. Please note: Codarts’ Administrative Service Centre determines whether the obtained diploma is sufficient for an exemption of the English language requirement.

2. registering as a student at a specific study programme entails at least the following obligations: a. demonstrating proper behaviour according to the rules imposed by the Institute. b. demonstrating behaviour that complies with the specific security requirements in those places where this is deemed necessary.

Institutional scores are not accepted. 64

which students must pay the university tuition fee still to be determined. The CvB also lays down rules of a procedural nature in order to determine the amount of examination fees that external students must pay.

3. registering as external student brings with it the following rights and obligations: a. taking tests and exams within the study programme. How this takes place is defined in the Education and Examination Regulation (see the OER in this Study Guide). b. access to the buildings of the institute, except when it contravenes the nature or interest of the study programme in the view of the Board of Directors (CvB). c. demonstrating proper behaviour according to the rules imposed by the Institute.

Deregistration There may be several reasons for students to interrupt their studies or for ending their studies either voluntary or due to circumstances. Codarts may also decide to de-register a student. Click here for the Regulation and Rules for Deregistering at Codarts.

3.3 Tuition Fees 2016-2017

General Regulation Concerning Tuition Fees 1. For each study year that a student is registered for a study programme by the CvB, he or she is obliged to pay Codarts Rotterdam a statutory tuition fee or a university tuition fee. The tuition fee can be paid in instalments, according to a payment scheme defined by Codarts Rotterdam. The maximum administrative costs for this have been set by law.

Please note: All mentioned tuition fees are conditional to changes in law or policy. The amount of the tuition fee for part-time or full-time education depends on a number of things. In order to be eligible for the statutory tuition fee, students must meet the following conditions:

2. External students are obliged to pay Codarts Rotterdam examination fees for each study year that they are registered for a study programme by the CvB. The CvB determines how much this is. Examination fees must be paid outright.

1. you have the Dutch, Surinam or Swiss nationality or that of one of the EER member states, or you belong to one of the groups of people listed in Article 2.2, paragraph 1 of the Law on Study Financing 2000

3. The amount of the statutory tuition fee and of the university tuition fee and examination fee determined by the CvB is announced to students and aspiring students on Codarts Rotterdam’s website each year before 1 May.

2. you have not obtained a Bachelor’s or Master’s degree at a publicly funded academy or university after 1 September 1991, when enrolling in a Bachelor’s or Master’s course, respectively, or an equivalent examination. Exempted are those who:

4. The CvB lays down rules of a procedural nature in order to determine which students must pay the statutory tuition fee and 65

- have already obtained a degree, but now wish to obtain a degree in education or health care training for the first time. - follow a second course that has started before obtaining their first degree and that has not been interrupted.

Step B Did you, in or after 1990 obtain a Bachelor’s or Master’s degree (or an equivalent degree such as an HBO end certificate, a Baccalaureate or PhD) at a publicly funded educational institute in the Netherlands? 1. No. Continue with Step C

The statutory tuition fee for the study year 2016-2017 is € 1,984. Students who do not meet one or more conditions of the statutory fee must pay the university tuition fee.

2. Yes, but in the study year 2016-2017 I am taking the study programme Bachelor Music in Education, Bachelor Dance in Education or Master Art Education and my previously obtained degree was not in Education or Health Care. Continue with Step C

In the course of the study year, your personal situation may change and the amount of the tuition fee listed in your registration package may no longer be applicable. Below are the steps to be taken to determine the amount of the tuition fee. Following the scheme below it is possible to determine step-by-step the amount of the tuition fee that you must pay to Codarts for this study year 2016-2017.

3. Yes, I started my current studies at Codarts before obtaining a previous degree and I did not interrupt my studies. Continue with Step C

Step A Do you have the nationality of a European member state or of Iceland, Lichtenstein, Norway, Surinam or Switzerland? 1. Yes  continue with Step B

4. Yes, and I do not meet the criteria under step B2 and B3.  You must pay the university tuition fee of €4,730 For students of Master Therapy in Arts: students of the part-time Master programme Therapy in Arts who have already obtained a Master’s degree before starting their studies at Codarts, pay a tuition fee of €3,620 for the study year 2016-2017.

2. No, but the Stichting voor Vluchteling-Studenten UAF is paying my tuition fee.  continue with Step B

Step C You must pay the statutory tuition fee of €1,984.

3. No, but I belong to one of the groups of people listed in Article 2.2, paragraph 1 of the Law on Study Financing 2000) 4. No, and I do not meet any of the above criteria 1, 2 or 3.  You must pay the university tuition fee of €4,730

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Both in preparing for and during your studies, situations may arise about which you have questions. For instance, practical matters such as arranging for somewhere to live, study financing, applying for a residence permit or opening a bank account. Also, studying at a new school and perhaps even in another country with different people, a different language and different habits can be changes that require some getting used to. Or, in the course of your studies, you may be faced with injuries, illness or stress or with unexpected delays in your study progress. As an artist you are under great pressure to perform. You think about how to bring out the best in yourself, how to achieve your goals and hang on to your dreams. Codarts expects initiative and independence from you, so it is only natural that you have questions now and then. That is why Student Life is there for you.

3.4 Codarts Account When you register at Codarts you receive the log-on information for your Codarts account. This account consists of a username and password for logging on to various Codarts facilities: Codarts email Codarts has created a personal email address for you. This mailbox is used for all communication with regard to schedules, examinations, projects, special offers, et cetera. It is therefore advisable to check your email on a regular basis, via https://owa.codarts.nl. Osiris Student Via Osiris Student you can stay informed about your study progress 24 hours a day, from anywhere in the world. On studentosiris.codarts.nl you can check your latest results but also obtain a full study progress report (SVO).

Student Life is the central service point for all Codarts students for all questions that do not specifically have to do with education. Even before you start your studies, this is the place for any questions having to do with preparing for your studies and life in Rotterdam. During your studies you can always call on us as well. Discretion and confidentiality are important aspects in how Student Life operates.

Media Library To use certain digital services of the media library you need to log in with your Codarts account.

Student Life offers the following services:

If you have lost your username and/or password you may apply to STIP for new ones.

•

Student Counselling The first place to go to for students with a functional impediment, students experiencing (possible) study delay due to special circumstances or financial problems, students who wish to interrupt or prematurely end their studies and for all questions about housing and insurance.

•

Study Pathway Advice (SLB) For all issues pertaining to study progress and structure of your study programme.

3.5 Student Life You are a student, this is your life… Student Life’ You will be studying at Codarts, starting a brand-new chapter. A new study, a new town, the start of a new stage in your life. This means an exciting, fun, challenging but not always easy journey over sometimes bumpy roads.

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•

conflicts). The student counsellor can also refer you to external specialist help in matters regarding legal, financial or social problems that interfere with your study progress.

International Office To help international students apply for a residence permit, open a bank account and registering with the municipal administration GBA. Information about and coordination of exchange programmes.

•

Mentoring Help with stress prevention, homesickness, fear of failure, concentration problems, mental resilience, dealing with injuries.

•

Health Centre A team of internal and external staff members who can instruct, advise and coach you in subjects regarding injuries and taxation, performance improvement, food and lifestyle.

Contact the student counsellor in any of the following cases: Special Circumstances that Interfere with Your Studies If you are unable to study for a long time or are in danger of incurring delay due to special circumstances such as illness, family situation, a handicap or other personal reasons, you may appeal to the Regulation Study Delay. Together with the student counsellor and your study pathway advisor you will devise an adapted study plan with the goal of compensating for the delay as much as possible. If necessary, this plan may also stipulate special evaluation moments. By making solid arrangements about your study progress together, we can prevent you from incurring unnecessary extra delays or even getting a negative binding study advice.

Student Counselling

To make use of this arrangement, you must report the special circumstances to the student counsellor no later than two months after they first occur (or no later than four weeks prior to the examination period). The counsellor will then inform you about the possibilities within the framework of the Regulation Study Delay due to special circumstances and other possible practical/financial facilities.

The student counsellor looks after the interests of students at Codarts and is the intermediary figure for students with a functional impediment or chronic disease. You can also go to the counsellor with questions or problems involving regulations and legal provisions. If your studies are not really going well and you are in danger of incurring delay, the student counsellor may help you limit the possible consequences (including financial ones). At your request and together with the student counsellor you can then look for solutions to improve your functioning with regard to your studies. Also, if you would like to speak privately and confidentially with someone from outside your study programme, the student counsellor is there for you. The student counsellor is well-informed of all general laws and regulations and of the regulations and facilities of Codarts, and can give you the necessary information or refer you to others. Think of issues around study financing, complaints and appeal procedures (in case of complaints of

Studying with a Functional Impediment Via the regulation ‘Studying with a Functional Impediment’ students with a functional impediment can benefit from various facilities and services, such as extra coaching, extra examination time, spreading of evaluations, et cetera. To be eligible for these provisions you need to contact the student counsellor, who will inform you about what is possible within the Regulation Study Delay due to special circumstances and other possible practical/financial facilities.

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primary contact for anything related to your study and study progress. He or she can provide you with information about the content of the study programme: what subjects do you study and what is expected of you? How is the programme structured: when do you take what classes? How and where do you check the number of study credit points you have acquired (in Osiris)? And which regulations within Codarts (OER, BSA, et cetera) may become relevant for you?

Financial Problems In exceptional cases Codarts can provide students with financial support in the form of a loan for paying your tuition fee or with a contribution from the Profiling Fund or Codarts Instrument Fund. The student counsellor can tell you if you are eligible for this type of support and how to apply for it. Interrupting or Prematurely Ending Your Studies Should you consider to end your studies before graduating, for instance because you have an injury or because the education does not meet your expectations, we ask you to report this to the student counsellor. In a so-called ‘exit interview’ the student counsellor will discuss with you the reasons for your de-registering. In case you wish to interrupt your studies temporarily, you can discuss the requirements for resuming your studies at a later time with the student counsellor.

When do you first meet your SLB? At the start of the study year, an SLB will be assigned to you. During the first year, you will have at least three meetings with your SLB. During the second, third and fourth year, there will be at least two meetings. In these mandatory consultations the results you have obtained will be discussed, as well as how you study, how you handle feedback, how you apply time management and how you handle disappointments and successes. In short, you discuss how you take responsibility for your studies. If necessary, the SLB will advise you in taking decisions about the content and progress of your studies.

Housing If you’re looking for place to live in Rotterdam for either a longer or shorter period of time, the student counsellor can give you information and advice. Extensive information about housing can be found at op http://www.codarts.nl/practical-information-housing/.

Where do you find your SLB? The name of your LSB is listed on your study roster. He or she will contact you for a first meeting via Codarts email. Of course you can also make an appointment on your own initiative. If you wish to do so, it is convenient if you inform the SLB about the free moments in your study roster. On Codarts’ Intranet, under Student Life/SLB you can find a list with all the names of students and SLB’s, by department, and also a list of all SLB’s at Codarts, with their email addresses. For general questions about the SLB you can send an email to Irja Zeper, SLB co-ordinator ([email protected] or [email protected])

Insurance Having the right insurance is important and the student counsellor can give you information and advice on this. Contact Boukje Kruithof-van Rijn, Student Counsellor T: +31(0)102171025 / +31(0)619152947 E: [email protected] Study Pathway Advisor

Codarts may be the start of your study career for you. Luckily, you will find the study pathway advisor (SLB) at your side. The SLB is your 69

)are some of the subjects that are addressed in these trainings. So you can work on these issues both individually and in groups, via the mentor. On the page ‘Mentoring’ on Codarts’ intranet are a number of articles about the subject of stress prevention that include useful tips. There is also a list of recommended literature.

International Office

Even though it is called the International Office, the service is intended both for students from abroad and Dutch students. Codarts’ International Office is the place where students from abroad are informed about the travel documents they need to come to the Netherlands; where they arrange for their residence permit in order to establish themselves in the Netherlands as a Codarts student; where they receive information and, if necessary, assistance in prolonging their current residence permit; where they ask for advice about opening a Dutch bank account or how to register at the municipal administration (GBA); and where all Codarts students can get information about possibilities for study exchange: Erasmus (in European countries) and exchanges outside Europe. The International Office can also provide you with information about grants for a follow-up study or for research abroad.

Contact The mentors at Codarts are: Karin Bijl T: 06-41827200

Hanneke van der Wal T: 06-42589091

General email address [email protected] If you wish to do make an appointment, it is convenient if you inform the mentor about the free moments in your study roster.

Contact Asia Ross, International Office T: +31 (0)10-2171026 E: [email protected]

Health Centre

Whether you are a musician, dancer or circus artist, you perform at a high level and this asks much of you, both physically and mentally. For that reason your health is of paramount importance during your studies and later career. As a student of Codarts you take responsibility for your own physical and mental health, as your body and your mind are your instruments, after all. Codarts’ Health Centre can help you stay on track in this respect.

Mentoring

As a student you may encounter problems for which you don’t see a solution right away. These may be personal problems such as homesickness, concentration problems or feelings of insecurity, but also cultural differences or how to handle stage fright, or injuries. Or you may want to talk about your motivation or how to optimise your studies. In all these cases you can have a number of confidential discussions with the mentor. The mentor is the first contact person for your ‘general wellbeing’. If necessary the mentor can refer you to an external expert.

The Health Centre works together with colleagues from various disciplines in health care – both internally and externally – who have specialised in working with professional performing artists and top athletes. Screening The screenings for the programmes Circus Arts, Dance, Dance in Education and Music Theatre, as well as the voice tests for the music programmes at Codarts, take place under the responsibility of the

Trainings In addition to individual discussions, members also organise trainings in mental resilience. Stress prevention, confidence and time management 70

• • • • • • • • • • •

Health Centre. The results from the screening or test provide you with a good insight into your physical capabilities and indicate aspects that require your attention. Following the screening, you will be given a training schedule to work efficiently at these aspects. Health Team If you have physical complaints related to your studies, you can visit the surgery hours (announced on the intranet under Student Life) of the Health Centre’s staff members, which are: • two manual physiotherapist • one physiotherapist • one speech therapist • one dietician (also for sports) • one performance coach They can instruct, advise and coach you in matters of:

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injury prevention overburdening complaints lack of energy performing after an injury or illness performing under pressure performance improvement healthy lifestyle in relation to top performance preventing too much tension and stress hearing taxation optimal diets healthy voice use

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Hearing Protection

Hearing/hearing protection is one of the most important subjects for the Codarts Health Centre. Well-functioning hearing is of the utmost importance to music students and teachers if they wish to become, be and especially remain active in the professional field of music. At the same time, the profession brings with it above-average risks with regard to the proper functioning of our hearing. Knowledge of how the ear works, of the risks of hearing damage and of preventive measures is therefore quite important. For a number of years now, Codarts, in collaboration with Earproof, have been providing information and advice about hearing and hearing protection by handing out information brochures and organising lectures, workshops, et cetera. And also by offering hearing tests and hearing protection devices, varying from simple earplugs in the dispensers at the various Codarts locations to sessions where musicians are fitted with special, made-to-measure earplugs. Contact The dates on which students can contact the health Centre for information and/or hearing tests will be announced via your Codarts email and on the intranet under Student Life. Appointments can be made via Earproof’s digital agenda: www.earprof.com Health Insurance

In case you need extensive treatment you will be referred to the external network of (para)medics and specialists. Make sure you have a good supplementary health insurance that covers at least medical specialists, medical examinations such as MRI and other scans, X-rays and (sport)physiotherapy treatments. For more information, please contact the student counsellor: [email protected] Also, don’t forget to register with a general practitioner’s practice in the neighbourhood where you live! If you have any questions, please contact the Health Centre: ([email protected]) Education and Information

In the course of your studies, there are several occasions where you can acquire knowledge and skills in the area of health in relation to your

specific art form. There are workshops and special information events. There is also a lot of written material. With some study programmes, the subject ‘health in relation to top performance’ is part of the curriculum. Contact The staff members at the Health Centre have surgery hours in room 8.28 (location Kruisplein) and can sometimes also be found at the various other locations. For the exact times and locations, please check the intranet and the electronic news ticker regularly. You may contact STIP directly to make an appointment. For questions of a general nature, please contact Suze Steemers at the Health Centre: ([email protected]) or Stephanie Keizer-Hulsebosch ([email protected]).

3.6 Studying with a Functional Impediment

Contact student counsellor: T: +31 (0010-2171025/ +31(0)6-19152947 E: [email protected]

Via the regulation ‘Studying with a Functional Impediment’ students with a functional impediment can benefit from various facilities and services, such as extra coaching, extra examination time, spreading of evaluations, et cetera. To be eligible for these provisions you need to contact the student counsellor, who will inform you about what is possible within the Regulation Study Delay due to special circumstances and other possible practical/financial facilities. In addition, Student Life periodically organises entertaining and informative meetings for students with a functional impediment: the socalled ‘platforms’ where students can meet and exchange experiences.

Extracurricular Activities Many students are already active in the work field during their studies. These obligations sometimes coincide with educational activities. Codarts feels it is important for students to already build up a professional practice during their studies and therefore facilitates students, in special cases, in making an appeal to the Regulation Study Delay on account of extracurricular activities. Together with your study pathway advisor you will devise an adapted study plan, stating which educational activities you will miss and how you are going to compensate for these. If necessary, this plan may also stipulate special evaluation moments. This study plan is then presented to the head of the department, who will have to approve the plan and the special evaluation moments. If the compensatory arrangements are in order, you must file a special request with the examination committee. Before doing so, first consult the regulations concerning requests to the examination committee on the Intranet.

Contact student counsellor: T: +31 (0010-2171025/ +31(0)6-19152947 E: [email protected]

3.7 Study Delay Special Circumstances If you incur a delay in your studies due to special circumstances such as illness, family situation, a handicap or other personal reasons, you may appeal to the Regulation Study Delay due to special circumstances. Together with the student counsellor and your study pathway advisor you will devise an adapted study plan with the goal of compensating for the delay as much as possible. If necessary, this plan may also stipulate special evaluation moments. To make use of this arrangement, you must report the special circumstances to the student counsellor no later than two months after they first occur (or no later than four weeks prior to the examination period). The counsellor will then inform you about the possibilities within the framework of the Regulation Study Delay due to special circumstances and other possible practical/financial facilities.

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3.8 Examination Committee

2. You fill out the application forms (which must be signed by the manager of your study programme) and submit them to the international office no later than the end of January. Together with these forms you submit the following documents: • CV • Letter of motivation • CD/DVD with your own audio/video material (do not send originals as discs will not be returned)

Students may file the following requests with the examination committee: • exemption • individual study path (including an alternative minor) • extra re-examination • alternative form of examination • combining examinations

All institutes have their own varying deadlines and conditions. To make sure that your application is complete, it is a good idea to study these conditions on the website of the institute in question. Via www.aec-music.eu (click on ‘members’) you can find much useful information about all the European schools that offer Erasmus+ exchange programmes.

Click here for more information about the request procedure. Contact: E: [email protected] T: 010-2171189

3. When the manager of your department has approved your application, the International Office will forward it to the institute of your choice.

3.9 Exchange Programmes Codarts offers students the opportunity to study or do an internship abroad for a number of months, starting in the second study year. An experience abroad broadens your horizon and adds value to your CV. You are introduced to a different academy/university, different students, culture and language. Via this link you can find a list of the international schools that Codarts has connections with. Is the institute of your choice not on the list? In that case we will discuss the possibilities. For more information or questions send an email to the International Office: [email protected] The application procedure for an exchange programme is as follows:

4. Around June/July, the International Office will have received news of the selection and will inform you of this. 5. When it is clear which school you can go to as an exchange student, you must make an appointment with the International Office for information about the subsequent steps. In particular you will receive information about the Grant Agreement (for your scholarship) and the Learning Agreement (the document that specifies which subjects you will take).

1. As soon as you know at which school/schools you would like to study, you make an appointment with the International Office. They will give you the information about the necessary steps in your application.

6. Together with your department manager you draw up a Learning Agreement (the subjects you have chosen), which means you first have to find the curriculum of the school you’ll be going to. You can compare this with the Codarts curriculum 75

3.10 Codarts Agency

and, together with the manager, you decide which subject to take and which, if any, Codarts subjects still remain to be taken.

Codarts receives requests by third parties for student performances almost on a daily basis. Codarts believes it is important for students to gain practical experience, as it offers them a chance to be already active as a performing artist during their studies, gain experience of the demands of the profession, reflect on their profile as an artist and how to market themselves.

7. Via the International Office your Learning Agreement is sent to the exchange institute and the examination committee. The exchange institute determines whether the list of subjects you have chosen is feasible. If so, they will sign the agreement, thereby guaranteeing that you will indeed be able to take those subjects. The examination committee determines whether the list of subjects you have chosen is an adequate replacement for the Codarts curriculum.

These performances vary from livening up an opening or reception to larger projects such as taking part in special events. The Codarts Agency acts as an intermediary between this external demand and what Codarts can offer.

Useful things to know: • •

• • • •

The larger events are organised in collaboration with the various departments. For smaller events the Codarts agency brings the third party in direct contact with Codarts students. The students then negotiate their own arrangements about the conditions.

Only students who have obtained their propaedeutic certificate may apply for an exchange programme. The duration of an exchange can be anywhere between 3 and 12 months for study and between 2 and 12 months for internships (a combination of study and internship is also possible). You can apply for no more than 3 schools. During your exchange you remain a registered student of Codarts and are obliged to pay tuition fees to Codarts. During your exchange you remain registered at the address where you live in the Netherlands. Students who have been accepted for an exchange receive financial support through an Erasmus grant. Depending on the duration and goal of the exchange, this grant lies between €150 and €270 a month for study and between €270 and €390 a month for internships.

Codarts considers it a privilege to be asked for performances outside the institute. Through these performances, which are arranged via the Agency, Codarts expresses its social commitment. Besides charging costs and a modest compensation for students, Codarts charges a sum to be donated to two supporting study funds that are accessible to all students. In approaching the students the Agency makes use of Agents. They are students of the various academies who take it upon themselves to be intermediaries. If you would like to present yourself to external clients via the Codarts Agency, please register with Monica van Steen by sending a presentable photo and promotional text of your ensemble at [email protected]

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3.11 Quality Assurance and Options for Participation

Student Panels Each study programme/department has its own student panel. This panel meets on a regular basis with the department management to discuss all kinds of matters that are of concern to students: rostering and communication, the curriculum, the facilities, et cetera. The results of the education evaluations and the National Students Enquiry are also discussed in these panels. Of course the panels themselves can also place issues on the agenda and make suggestions for improvements within the study programme/Department.

As a student you have various options for participation. Codarts emphatically invites you to make use of these options, as your input is a valuable contribution to us and helps us to continue to improve our organisation. Representative Advisory Council (MR) The Representative Advisory Council (MR) is the institute’s participation platform. Chapter 10 of the Law on Higher Education (WHW) defines the tasks and competences of the MR. Briefly summarised, the council watches over ‘good practices’ within Codarts and defends the interests of students, teachers and educational support staff. Elections for the council are held every two years and all students are eligible.

3.12 Complaints and Inspections of Regulations There may be occasions for a student to file a complaint. Complaints can be filed in various ways, depending on their nature. • For complaints about adherence to the Education and Examination Regulation, you can turn to the examination committee. • For complaints with regard to a decision by the examination committee or examiners, you can turn to the College of Appeal for Examinations (CBE). • For complaints with regard to undesirable behaviour you may turn to one of the confidential advisers and/or file a complaint with the complaints committee for undesirable behaviour.

Study Committee The study committee is the education management’s soundboard when it comes to the curriculum. Each year, the study committee, which consists of students and teachers, advises the management and the MR about planned changes in the curriculum and about the text of the Education and Examination Regulations. Also, the study committee can give unsolicited advice to the management about subjects that have to do with education and examination. Education Evaluations and the National Students Enquiry It is important to Codarts to know how the students think about the curriculum and the institute’s services and facilities. For this reason students are invited to take part in digital evaluations on a regular basis: • on average twice a year via EvaSys, to evaluate semester + modules + associated teachers, special projects and/or facilities • every two years via the National Students Enquiry (NSE): a nationwide survey of student satisfaction with the education and facilities at the institute Based on the results of this type of evaluation improvements will be initiated where necessary. This completely revised study guide is an example of this!

Examination Committee Students may turn to the examination committee when they feel that the Education and Examination Regulation has been violated. This includes terms of publication of examination dates, the announcement of examination results and the manner of assessment according to the frameworks established in the module descriptions and evaluation plans. Complaints can be made via [email protected] College of Appeal for Examinations (CBE) 77

•

Parties concerned may appeal to the CBE against one of the following decisions: • negative binding study advice and compulsory referral to a graduation programme after the first year • the annual establishing of the number of study credits and the establishing of the result of the graduation examination • the size of the exemption on the basis of having followed related study programmes in vocational education • decisions having to do with preparatory education requirements and entry requirements • decisions by the examination committees and examiners • decisions by entry committees • decisions by any of the above-mentioned parties that were not taken within the preordained term or, in absence of such a term, were not taken within a reasonable term

aggression/violence/bullying: incidents in which plaintive is harassed, threatened or attacked either psychologically or physically. Confidential Advisers for Undesirable Behaviour The confidential advisers cab be trusted with your experiences of having been treated in an unpleasant manner. These can be any experiences that have hurt your feelings and were aimed at, or resulted in, you no longer feeling safe at school. This may concern unwanted intimacy, bullying, (sexual) intimidation, discrimination, aggression, or violence. You define what is hurtful to you and who overstepped your boundaries, because you have a right to a safe educational environment. Procedure The confidential adviser serves as a soundboard, giving you all the space you need to express your experience and emotions. Everything you say is treated as confidential. The confidential adviser discusses with you how to proceed and what options you have. It is also okay to just let off steam and not take it any further. Together, you will look at the pros and cons of various solutions. The adviser will help you make the right choices and coaches you throughout the process and supports you, while you remain in charge at all times.

The full CBE regulations are available on the intranet under bestuur/regelingen. A notice of appeal can only be done in writing via the College of Appeal for Examinations Codarts, management secretariat, Kruisplein 26, 3012 CC Rotterdam.

Twice a year the confidential advisers report to the Executive Board. By doing so the Board can act through policy making. In these reports personal details are never stated, individual cases are never mentioned and the given information can never be traced back to persons. Thus confidentiality is secure and guaranteed.

Undesirable Behaviour Codarts regards the following behaviour as undesirable: • sexual intimidation: unwanted sexual advances, asking for sexual favours or any other verbal, non-verbal, written or physical behaviour of a sexual nature that is considered an unjustified breach of plaintiff’s personal privacy, something which the accused knew or at least should have understood. • discriminating behaviour: behaviour by which equal cases are not treated equally on the basis of religion, belief, political orientation, race, sex, sexual orientation, physical or mental handicaps or any other ground. 78

Codarts has two in-house confidential advisers and one external one. In-house: Sandra Roosenburg Ronald Kool

[email protected] [email protected]

External: Margriet Maris [email protected]

06-1801 9422 06- 53533009 06 5116 6161

Complaints Regulation The Complaints Regulation for Combating Undesirable Behaviour is available on the Intranet under bestuur/regelingen and klachtenloket. You can also look at Complaints Desk.

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3.13 Inspection of Regulations All the major rules, regulations and protocols are available on the Codarts intranet. Under the heading ‘over Codarts/ regelingen’ the following documents are available (in Dutch only): • AO Statute (four-eyes principle) • Branch Code Good Governance Academies • Governance and Management Regulation • Behavioural Code International Students • Rules And Regulations Study Committees • Rules And Regulations Codarts • Instruments Fund • Integrity Code • Elections Rules and Regulations Representative Advisory Council • Complaints Regulations Undesirable Behaviour • Whistle-Blowers Regulation • Protocol for Use of Practice Rooms • Protocol Study Delay Because of Special Circumstances • Rules and Regulations of Deregistration • Regulation MOMI • Regulation of the Board of Appeal for the Examinations • Regulation Board of Directors • Regulation Department Heads • Regulation Profiling Fund • Student Statute • Treasury Statute

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4/ General and Technical Support Facilities

3024 BN Rotterdam Opening hours Monday through Friday 9.00-17.00* Keys obtainable from STIP Lite

Fenix II

Veerlaan 19F (water front) 3072 AN Rotterdam T: 010-2344881 Opening hours Monday through Friday 8.00-22.00* Saturday 10.00-17.00 uur*

4.1 Locations

*except during rostered weeks off and holidays

Kruisplein

Kruisplein 26 3012 CC Rotterdam T: 010-2171100

Rostered weeks off and opening hours During rostered weeks off the opening hours will be different. The locations will then close at 18.00 on weekdays and will not be open at all during the weekends. Rostered weeks of are listed in the education planning in the chapter Codarts Music.

Opening hours Monday through Friday 8.30 - 22.00* Saturday 8.30 - 16.00* Sunday 12.00 - 17.00*

The closing hours as listed indicate the time at which the building is locked, so make sure that you have left the building before then.

4.2 Calamities

World Music & Dance Centre (WMDC) Pieter de Hoochweg 125 3024 BG Rotterdam T: 010 244 45 00

In case of a calamity, such as a fire or accidents, report as soon as possible to STIP, the reception desk at the ground floor or a caretaker on duty. All locations have an emergency telephone number:

Opening hours Monday through Friday 8.30 - 22.00* Saturday 8.30 - 16.00*

Kruisplein WMDC Fenix 2

‘The Basement ’

Willem Buytewechstraat 26 81

010-2175001 010-2175002 010-2175003

4.3 BHV/EHBO

In order to properly monitor petty thefts in and around the Codarts buildings, it is crucial that all thefts are reported at the reception desk of the building in question. In case of serious suspicions of unlawfulness at the institute, the Board of Directors reserves the right to temporarily employ so-called ‘hidden’ cameras. This measure will be taken exclusively for this particular purpose and as much as possible with due regard for the privacy of our students and employees.

Codarts has set up a BHV (Company Assistance) organisation. The BHV organisation consists primarily of employees of the department of General and Technical Support. All employees that are part of the BHV organisation have had special training and have obtained a BHV certificate. Important BHV tasks are: • providing first aid in case of accidents • limiting and fighting fires, preventing and limiting accidents • alert and evacuate all employees and other persons present in the building in case of an emergency • alert and collaborate with aid organisations (fire brigade and ambulance) in case of an emergency

4.6 Lost and Found Lost and found property can be handed in at the reception desk of the building. Found Codarts chip cards can be handed in at STIP, STIP Lite or the Circus service desk.

4.7 Ban on Smoking and Drinking The Dutch Tabakswet (Law on Tobacco) was introduced in 1990 and further tightened in 1998 and 2004. As a result, no smoking is allowed in any of the Codarts buildings at any time (Kruisplein, WMDC, Fenix II en Willem Buytewechstraat). Violations of this law detected during (unannounced) visits by the authorities may result in a fine of €2400, to be recovered from the offender. Serving or drinking alcoholic beverages on special occasions is only permitted after prior approval of the department’s management or the Board of Directors. No alcoholic beverages may be served to anyone under the age of 18.

All locations have emergency plans, which can also be found on the intranet. All buildings have at least one AED (Automatic External Defibrillator). More information about the BHV organisation can be found on the intranet. Several employees at Codarts have been trained as first-aiders. All buildings have a number of first aid points, identified by a green first aid sign. These first aid points are also indicated on the floor plans in the buildings.

4.4 Disabled Persons People of limited mobility are advised to report at the reception desk when entering one of the buildings. The reception staff at Codarts are happy to provide information about where to find special bathrooms and how to use elevators and other facilities concerning the accessibility of the building. If needed they will contact the Services Team for extra accompaniments in and around the building.

4.8 Posters/Flyers Announcements of concerts, wanted/asked ads and flyers may be posted at the various noticeboards in the buildings. It is not allowed to put up posters or flyers in any other places.

4.5 Theft

4.9 Catering

Codarts reports all thefts to the police. Codarts is not responsible for the theft or loss of personal belongings.

All locations have facilities for eating. At the locations Kruisplein (5th floor) and WMDC (Grounds café) catering is available. The opening hours are: 82

Kruisplein WMDC:

4.15 Lockers

Monday through Friday 8.30 - 18.00 Saturday 9.00 - 13.00 Monday through Friday 10.00 -15.00 on request during concerts

All students are entitled to the use of a lockers. The deposit for a locker is €10. This deposit will be reimbursed at the end of the reserved rental period. You can apply for a locker via STIP.

4.10 Use of Computer Facilities

4.16 Booking Study Rooms and Practice Rooms

Codarts has a number of rooms were students may use the available computers for regular tasks.

Practice rooms can be booked at the Scheduling Office, between Monday and Friday morning. It is important to file a booking by email well in advance (at least one week), otherwise chances are that no rooms are available anymore. If you wish to book a practice room that very same day, you can do so at the service desk of the location in question, if any rooms are available. E: [email protected]

4.11 Use of Classrooms and Study Rooms Each classroom has a regular setup of instruments and equipment. Leave this set-up as it is as much as possible. If you need to move anything, please return it to its original position when you’re done. The classrooms inventory lists all instruments, equipment, furniture and other materials. All instruments and equipment have an individual code. Check the list and report any discrepancies to STIP, STIP Lite or the Circus service desk. This way the rooms remain ready to use for all students.

The Scheduling Office can be contacted by telephone at the following locations: Kruisplein: T: 010 - 217 1047 / 1048

4.12 Guests and Outside Visitors

WMDC en Basement: T: 010 – 244 4503

Guests are not allowed to use a study room without prior permission from your department manager, unless you are present in the study room yourself. All activities at which you expect outside visitors must be reported at the reception desk.

Fenix: T: 010 - 217 1085

4.17 Lending Instruments and Equipment

4.13 Equipment/Instruments

Lending Instruments In special cases Codarts lends out instruments to students. You can apply for a loan instrument via STIP. This must be done no later than two weeks before the intended loan date and you must submit a written permission from your teacher to STIP. If it concerns instruments for internship classes you need written permission from Ruud Spetter.

Equipment and instruments must remain in the room in which they were placed. If it is necessary to move an amplifier or an instrument to another room, always first consult the caretaker, who may also be of assistance. It goes without saying that all equipment must be returned to its original place after use.

4.14 Instrument Storage

Codarts has only a limited number of instruments available for lending, so there is no guarantee of availability.

The locations Kruisplein and WMDC have storage facilities for instruments. Using this storage space is fully at your own risk. Codarts is not responsible for any damage, loss or theft. 83

2) Do not place any objects holding liquids (such as cups, bottles, et cetera) or food on or near the piano. Spilled liquids will harm the instrument and can lead to irreparable damage.

Lending Equipment Small equipment (microphones, cables, et cetera) is available from: STIP Kruisplein STIP Lite WMDC Reception Circus Fenixloods

3) Keep the piano away from heating elements and close the windows to prevent condensation. By default, all pianos are placed at a safe distance from windows and radiators. Please do not move them from their current position.

Please note that these reception desks close at 17.00 and that no equipment can be loaned after this time. Larger equipment (personal amplification systems, amplifiers, drum kits) is not lent out for internal use. A number of rooms have been equipped with amplifiers/voice application systems/complete backlines. No amplifiers may be used outside of these rooms, unless they are placed there by Codarts employees for special purposes. Lending out equipment for external aims is only possible when the activity is clearly associated with Codarts. Applications for a loan of equipment must be made no later than two weeks before the intended loan date at STIP, STIP Lite or the Circus service desk. The students must arrange for transportation of the equipment to the external location themselves.

4) Do not drag the piano stool across the floor, but lift it if you wish to move it. This prevents damage to its legs. 5) Do not place any instruments on top of the piano. 6) If you are the last person to leave the room, please close the piano completely (lower the lid and lock it with the key). This prevents dust from falling into the mechanism. Dust is one of the greatest threats to the piano. If there is a dust cover in the room (rooms 3.14, 3.18, 4.07, 4.19, 5.22 and 6.35), then placed this over the piano.

4.18 Piano Management

Piano Action List Let us join forces in improving the situation of the pianos and establish a direct line of communication. In each room there are two documents. The first is a list of tips for correct maintenance of the pianos and the second one is a list of tuning appointments.

With 48 grand pianos and 44 upright pianos Codarts has a valuable inventory that needs to be protected. Pianos are heavy but vulnerable instruments. The piano has more than 200 strings and nearly 1000 moving parts. Even tiny deviations of just millimetres inside the mechanism can have drastic consequences for the performance level. We therefore ask you to study the following guidelines for an optimal maintenance of the instruments. Your help is essential in obtaining the best results.

We are aware of the fact that students and teachers use the pianos every day and so they are the first persons to know of any deficiencies. Please send an email to [email protected] if you encounter any of the following problems or for any other comments regarding the pianos:

1) Do not place any small objects on the piano that may fall into it, such as paperclips, pencils, et cetera. These can seriously damage the insides of the piano.

1) broken strings 2) problems with the pedals or individual keys 3) accidents, such as spilled liquids or objects that have fallen inside the piano. Please report such accidents immediately to STIP. 84

If you are looking for the full text of theses of one of the Master study programmes, then take a look in Codarts Brainshop, a separate section in our catalogue.

4) the heating or windows of the room are not functioning properly. 5) the piano stool is broken, makes a strange sound or is missing from the room.

Our Digital Library Besides an extensive physical collection you will find a huge amount of information in our digital collection. From within Codarts you have access to these databases, but also from outside. For outside access you need to login with your Codarts account.

Always include in your report the room number and piano it concerns. Regular repairs and restorations are part of a fixed planning. So when the piano makes a metallic sound, the issue will be addressed according to the fixed maintenance plan.

What will you find in our online databases? • video recordings of documentaries, masterclasses and performances • audio recordings of classical music, world music and jazz • music scores • various electronic magazines and JSTOR • encyclopaedias • e-books • dictionaries

Always report all incidents to STIP! [email protected]

4.19 Media Library The media library at Codarts is the knowledge centre where you will find printed, audio-visual and digital media in the fields of music, dance and circus and on subjects such as artistic research, art education and art philosophy, health and psychology. The opening hours of the media library are: Monday through Thursday 10.00 - 19.00 Friday 10.00 - 17.00 Introduction Week, Autumn, Spring and May holidays 12.00 - 16.00

Membership and Lending Conditions The membership of the media library is free to all Codarts students. If you wish to take out material, you must register at the media library’s reception desk, where you fill out a form for a standing order or make a deposit of €75. If you fail to return the material, its replacement value will be taken out of your bank account or deducted from your deposit. Your student card doubles as your media library pass. See Codarts intranet for more information regarding the lending conditions.

Students have access 24/7 to the catalogue and digital library. Our Collection Real and Fake books, Urtext editions, tango music from Argentina, piano excerpts of famous music theatre pieces, books on dance and circus, Turkish music, et cetera, et cetera. These are just some of the highlights of the media library. It is a small media library, specialised in the fields in which Codarts provides education. Our physical collection includes a large number of books, sheet music, magazines, CDs and DVDs, all searchable through our catalogue.

Lending from Other Libraries Codarts’ media library also allows you to search the national database Picarta, which has catalogues of other Dutch universities and academies, large public libraries and the Royal Library (KB). Credentials for logging onto Picarta can be obtained at the media library’s reception desk or via email. If you wish to loan something through Picarta, you may submit 85

the request at the reception desk. Depending on the nature of the material, the cost will be around €6.50. Discount on Membership of Other Libraries Muziekweb has the largest CD collection in Europe. Students and employees of Codarts can obtain a free membership of this library of discs. To obtain a free membership bring your Codarts card and a valid ID to the Muziekwebplein to receive your Muziekweb pass. Lending a CD costs €1.90 per CD per week. If you use a Muziekweb trading stamp book, you get the loan of one CD free after having taken out 10 CDs. The Muziekwebplein is located on the ground floor of the Rotterdam Library, Hoogstraat 110. The Royal Library (KB) gives HBO students a 50% reduction (€7.50 instead of €15) on their membership. The KB is the national library of the Netherlands, providing access to just about anything that is published in and about the Netherlands. Membership grants you access to the entire collection of the KB, the right to use dozens of databases and hundreds of thousands of digital books, magazines and newspapers, as well as the use of the services of the Dutch Institute for Music. For more information about the media library… see: Codarts intranet E: [email protected] T: +31 (0)10 217 1190 become our friend on Facebook: Codarts Mediatheek or visit us: Kruisplein 26, 3012 CC Rotterdam (5th floor)

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