Master Electives Conservatorium van Amsterdam 2015-2016 Students must register for the Master Electives on the online form via the following link: http://www.koncon.nl/en/Studying%20at%20the%20RC/Master%20Courses/Master%20Electives/ (http://www.koncon.nl/en/: Studying at the RC -> Master courses -> Master Electives) BEFORE 14 SEPTEMBER 2015, and by sending an e-mail to Michiel Schuijer ([email protected]). All schedules will be announced at least two weeks before the deadline on a pdf via the above link.

Classical Department

Electronic Music (Tamminga) French Chamber Music and Songs between Mélidore et Phrosine and Pelléas et Mélisande (Khalifa, Van Ruth) Historiography of Music Theory (Schuijer) Introduction to Gregorian Chant (Bot) Mahler and Adorno (Markus) Orientations on Intercultural Music – ‘The Other’ as Inspiration (Bons) Playing with Treatises (De Goede) Sources and Resources: From Manuscript to Edition (Friggi) Texture as a Musical Parameter (Gur) Tuning and Temperament (Isaac, Reina) Watching Music: The Basics of Music Iconography (Khalifa, Van den Berg) Writing Cadenzas (Jeurissen)

Jazz Department

Conservatorium van Amsterdam/ Universiteit van Amsterdam

Into the Box – The EWI (Electric Wind Instrument) for the Woodwind Player (Weissman)

World Music Studies (Schreuder/Titus, et al.)

Courses offered by the Classical Department

Electronic Music Osiris course code: KC-M-EL-EM Teacher Jorrit Tamminga Term September 2015-June 2016

1

Goals Students will learn new software, techniques and technology so as to be able to integrate them in their compositions and performances.

Course description This course is divided into three parts: 1. spectral music 2. live electronics 3. algorithmic composition In the part on ‘spectral music’, the following topics will be addressed: spectral analysis, spectral sound processing, psycho-acoustics and several methods to obtain musical material from sounds, transformation and sound synthesis. Furthermore, students will gain insight into the acoustical properties of music instruments. Under the rubric of ‘live electronics’ fall such topics as digital signal processing techniques, spatialism, 'score following', the use of microphones, mixing consoles, speakers and controllers in combination with acoustical instruments will be discussed. The last part of the course (‘algorithmic composition’) focuses on stochastic techniques, fractals, generative systems, and analysis-synthesis models. There will also be discussion of computer-aided composition and notation. Study material The software for these lessons is AC toolbox, AudioSculpt, Liliypond, Max/msp, Open Music, Spear en SuperCollider. Credits 10 EC, of which 3 EC can count as a Master Elective

French Chamber Music and Songs between Mélidore et Phrosine and Pelléas et Mélisande Osiris course code: KC-M-EL-FCM Teachers Michel Khalifa and Frans van Ruth Term September-December 2015 Goals Students are able to contextualize the music they perform, and to apply their historical knowledge to their interpretations so as to inform and engage their audiences. Course description In the 19th century, public music life in France, or rather Paris, was dominated by opera. This has overshadowed a wealth of chamber music and songs, which we want to bring back to light in this course. Important developments include the transformation of the aristocratic salons of the late 18th century (for which Grétry wrote his string quartets) into venues of bourgeois culture. Important stimuli came from the large number of foreign musicians that settled in Paris, especially between 1830 and 1850. (Chopin and Liszt were by no means the only musical immigrants in this period.) Around 1870 chamber music had established itself as a mainstay of French musical culture. In the second half of the century, Lalo en Saint-Saëns composed piano trios, quartets and quintets, as well as ensemble works for wind instruments. Gounod and Bizet – great composers of operas – wrote large amounts of romances as well, before Chausson, Fauré and Debussy developed the genre of the mélodie. These last three would lead French music into the 20th century. Franck, D’Indy and Fauré left their imprints as teachers of a new generation of composers. The topics will be addressed in lectures and workshops, and in presentations by students on the works selected for performance. Students may form ensembles with other students not enrolled on the course, provided that the entire ensemble is available for at least one workshop and one final concert.

2

Instruction The group meetings take place on every Wednesday, from 14.00 to 16.30 hrs, between September 10 and November 19. The music prepared will be performed in two public concerts, on November 24 and 25, for which the students will provide their own program notes. Both concerts are scheduled at 19.30h in the Sweelinck hall. Assessment Participants must meet the following requiremants: (a) they must attend at least nine of the eleven group meetings; (b) they must attend both final concerts; (c) they must give a lecture during one of the meetings; (d) they must actively participate in one workshop with their ensemble; (e) they must write program notes for the concert, and (f) they must perform at one of the concerts with their ensemble. Credits 5, of which 3 EC can count as a Master Elective

Historiography of Music Theory Osiris course code: KC-M-EL-HMT Teacher Michiel Schuijer Term September 2015-January 2016 Goals Students who have passed this course are able to study documents pertaining to the history of music theory independently. They know how to read them, and how to vest them with meaning for contemporary readers. Course Description This is not a course about the history of music theory as such. Its focus is on the ways in which that history has been represented in the literature – most often with a view to addressing contemporary questions and concerns. Specific topics – such as the fundamental bass, the concept of harmonic ambiguity, and the emergence of the octatonic scale – will be discussed on the basis of selected writings, both historic and recent. Literature A reading list will be distributed among the participants before the start of the course. Assessment Weekly assignments based on the texts read. Credits 5, of which 3 EC can count as a Master Elective

Introduction to Gregorian Chant Osiris course code: KC-M-EL-GREG Teacher Richard Bot Term January-April 2016

3

Goals Gregorian chant is the basis for the development of Western European music. The Goals is to acquire knowledge and insight into the many aspects of the Gregorian chant repertoire, the development of the notation (adiastematic and diastematic), the interpretation, the different musical forms, repertoires for the office of hours and the mass, aspects of modality and the relation between the Gregorian repertoire and polyphonic music. Course Description Subjects include:  History and use of notation  Form theory  Composition techniques of Proprium songs  History of the interpretation of Gregorian Chant  Gregorian repertoire as a basis for polyphonic vocal and instrumental music Instruction Weekly classes of 75 minutes on Friday; singing of examples, audio-visual examples of Gregorian Chant and polyphonic repertoire. Assessment Weekly preparation of songs, participation in a recital on the 7th of June 2016. Study Materials  Songbook In hymnis et canticis: Chorbuch Gregorianischer Choral (Stuttgart: Carus-Verlag, 2007)  E. Cardine, Semiologie (Solesmes 1982)  Handouts/Scores  Sound- and visual material Information information can be obtained from Dr. Richard Bot, [email protected] Credits 5, of which 3 EC can count as a Master Elective

Mahler and Adorno Osiris course code: KC-M-EL-MA Teacher Wim Markus Term September-December 2015 Goals The students will be made familiar with the main points of Adorno's book, so as to broaden and refine their understanding of Mahler's music. Course description In the literature on Gustav Mahler, Theodor W. Adorno’s Mahler: A Musical Physiognomy (1960) holds a unique position. It is almost commonplace that we are dealing here with one of the most important studies ever written on Mahler; but Adorno’s book is also considered to be rather ‘difficult’. This course will provide easier access to Adorno’s book. We will explore it, and discuss the philosophical, aesthetic and musical concepts underpinning it. We will also examine Mahler’s symphonies one by one, from a variety of critical and analytical perspectives. Specific issues include: How can Mahler’s music be at once so very detailed and so expansive? Which properties constitute the 'worlds' that Mahler’s symphonies famously evoke? And what does Adorno mean when he speaks about the Durchbruch in Mahler’s work?

4

Assessment Written paper Credits 5, of which 3 EC can count as a Master Elective

Orientations on intercultural music – “the other” as inspiration Osiris course code: KC-M-EL-IM Teacher Joël Bons, composer and artistic director of the Atlas Ensemble and Atlas Academy. Term September-December 2015 Goals To raise students’ awareness of extra-European influences on western art music and to explore avenues for the further development of intercultural composition and performance. Course description Cultural diversity and exchange is as old as mankind. This elective seeks answers to the question of why and how composers and performers have looked across cultural barriers. It examines the various modes of interaction between musical cultures, using a repertoire of compositions from both the East and the West. After Debussy and Bartók there have been few major composers who were not influenced by other cultures than their own. (One need only think of Messiaen, Ligeti, Boulez, Stockhausen, Cage, Takemitsu, Steve Reich, Ton de Leeuw, and Tan Dun.) In the twenty-first century intercultural music has reached another level of interaction between composers and performers from all over the globe, creating exciting new perspectives. A list of topics and compositions will be distributed before the start of the course. Instruction Weekly sessions of two to three hours. Students will do research, engage in discussions, and prepare short presentations on topics of their choice. Sessions alternate between lecture, a collective inquiry, and a debate. Literature  Georgina Born and David Hesmondhalgh (eds.), Western Music and its Others: Difference, Representyation and Appropriation in Music. Berkeley etc.: University of California Press, 2000.  William P. Malm, Music Cultures of the Pacific the near East and Asia. Englewood Cliffs, NJ: Prentice-Hall, 1997.  Jurrien Sligter (ed.), Ton de Leeuw. Zutphen: Walburg Pers 1992  Patricia Shehan-Campbell et al. (eds.), Cultural diversity in Music Education: Directions and Challenges for the 21st Century. Australian Academic Press, 2005. Website http://www.atlasensemble.nl/ Assessment Presentation of an intercultural composition, an analysis, or a general discourse on the subject. Credits 5, of which 3 EC can count as a Master Elective

5

Playing with Treatises Osiris course code: KC-M-EL-PT Teacher Thérèse de Goede Term January-April 2016 Goals To become familiar with the basis of musical thoughts in the 18th century in order to gain a better understanding of the repertoire of that period. Content In this course students are trained to actively research and study historical sources. They will form ensembles or take the course as a soloist. Each ensemble or soloist will select a composition. Although students of the Early Music Department are more than welcome, this course is designed in the first place for classical students, in particular students of piano, harp, strings or wood wind instruments. Composers such as A. Vivaldi, F. Couperin, J.S. Bach, G.F. Handel, C.Ph.E. Bach, D. Scarlatti, A. Soler and F. Geminiani are recommended. Research subjects are: tempo, dynamics, ornamentation, harmonic language, theory of affects, rhetoric, French versus Italian style etc. The students will collect information, assisted by the teacher, and examine the relevant sources in order to apply this information to the performance of their chosen composition. In addition, they will make a reader containing the collected information and musical examples and in which they discuss their findings and relate them to their own views concerning the performance of the composition. During the last four classes the selected compositions will be played, and the readers will be presented and discussed. It is important to note that the emphasis in this class is on the relation between the source information and the performance, and hence discussion and experimentation are encouraged. Assessment Presentation (lecture recital) Credits 5, of which 3 EC can count as a Master Elective

Sources & Resources: From Manuscript to Edition Osiris course code: KC-M-EL-SR Teacher Andrea Friggi Term September 2015-April 2016 Goals To enable students to make and use critical editions of music. Participants will be trained in the craft of finding, evaluating and comparing sources, and producing critical notes. Course description The first part of the course will be devoted to the history of Textkritik. How did one deal with textual problems in previous centuries, and what are the latest methods? Special emphasis will be given to the stemmatic system by Karl Lachmann and its influence on musical manuscript traditions. Students will learn to work with all the major musicological resources (RISM, RILM, Grove, MGG, etc). In the second part of this course they will be asked to

6

fashion their own editions from photocopies of manuscripts so as to make them aware of the problems pertaining to different repertoires. Literature J. Grier, The Critical Editing of Music: History, Method, and Practice, Cambridge 1996; photocopies of manuscripts from microfilms will be provided during the lessons. Assessment The presentation of a small critical edition made by students. Credits 10, of which 3 EC can count as a Master Elective

Texture as a Musical Parameter Osiris course code: KC-M-EL-TMP Teacher Amit Gur Term November 2015-March 2016 Goals: To raise the awareness of the textural properties of music, and to provide tools for the creation and the analysis of musical textures. Course description The term ‘texture’ made its way into the musical vocabulary only towards the end of the 20th century. In these years, the exploration of texture as a musical parameter by composers intensified considerably. However, there has remained a considerable gap between the prominence of texture in contemporary music and the theoretical understanding of this phenomenon. In the course, participants will analyze textures of various pieces, taken mainly from the contemporary repertoire; discuss various aspects of the textural experience; and work on creative assignments that use texture as a starting point. Instruction Weekly seminars of 3 hours. Scores Ravel, Daphnis and Chloé; Ligeti, KammerKonzert, Clocks and Clouds; Ferneyhough, Études Transcendentales; Tchaikovsky, Sixth symphony, and several other pieces that will be chosen during the year. Assessment Attendance, active participation in lessons, weekly assignments and the verbal presentation of an analysis. Participation Recommended for composers, and optional for all master students Credits 5, of which 3 EC can count as a Master Elective

7

Tuning and Temperament Osiris course code: KC-M-EL-TT Teachers Jorge Isaac, Rafel Reina, guest teachers Term September 2015-June 2016 Course description This course will give an overview of western and non-western tuning principles. We will not only study Pythagorean tuning, meantone temperament, Werckmeister I-IV, and Huygens’s 31-tone system, but also look into the work of Harry Partch and the microtonal intonation of South-Indian Janaka, Janya, and Bhasanga raga. However, the course is mainly practical in outlook. Your will train your ears with exercises supported by the electronic simulation of tunings. (For this, you will receive an application that can be operated on your own computer.) The training will be tailored to practical application in the performance of early and contemporary music. Instruction Bi-weekly sessions in the first and second periods. An excursion to the 31-tone organ of the Huygens-Fokker Foundation in Het Muziekgebouw aan ‘t IJ, Amsterdam Literature  James Murray Barbour, Tuning and Temperament: A historical survey. Mineola, NY: Courier Dover Publications, 2004.  Claudio Di Veroli, Unequal Temperaments, Theory, History and Practice. Bray: Bray Baroque, 2009.  Harry Partch, Genesis of a Music. New York: Da Capo Press, 1974. Assessment The performance of a work that uses one of the tuning principles discussed. The work can be performed by your own ensemble, or a group of participants (minimally a duo). Credits 10, of which 3 EC can count as a Master Elective

Watching Music: The Basics of Music Iconography Osiris course code: KC-M-EL-WM Teachers Jan Derk van den Berg, Michel Khalifa Term January-April 2016 Course description: Western music and the visual arts have been closely related since ancient times. The purpose of this master course is twofold: providing a basic knowledge of music iconography, and reflecting on the importance of the visual arts for the present generation of composers and performers. In the first few sessions, a close examination of paintings and drawings from earlier periods will give us more insight into historical and practical matters regarding the function and status of music, the social context of music making, the development of concert life and the evolution of music instruments.

8

The focus will then shift to the 20th and 21st centuries. By investigating the importance of visual elements in the works of composers like Schonberg, Messiaen and Xenakis, we will reflect on the changes in musical creation brought about by visual sources of inspiration. Special attention will be devoted to new media as film, television, video and internet. Assessment: Students will present orally and in writing the results of their own research. Credits 5, of which 3 EC can count as a Master Elective

Writing Cadenzas Osiris course code: KC-M-EL-WC Teacher Herman Jeurissen Term January-April 2016 Goals Enable students to write their own cadenzas in the style of the concerto in question; to explore the fuzzy boundaries between improvisation and composition. Course description In his piano concertos Mozart has given us great examples of quasi-improvised cadenzas. This course will take the study of these cadenzas as a starting point. It provides an historical survey of relevant accounts and treatises on improvisational performance practice from the late 18th century. Instruction Weekly meetings of two hours. In the first six meetings we will study Mozart piano concertos and cadenzas together. In addition we will study Mozart early operatic arias and cadenzas. In the second half of the course the group could split up, according to the concerto styles chosen by the participants. Study material D.G. Türk, Klavierschule, Kap. V. Leipzig/Halle,1789. W.A. Mozart, Cadenzas to his piano concertos W.A. Mozart, Arias and cadenzas from Lucio Silla and Il re pastore Assessment The student is required to write and perform a minimum of three cadenzas for different concertos. Credits 5, of which 3 EC can count as a Master Elective

9

Courses offered by the Jazz Department

Into the Box - The EWI (Electric Wind Instrument) for the woodwind player Osiris course code: KC-M-EL-EWI Teacher Etay Weissman Term September-December 2015 Goals The EWI is an innovative instrument designed for the woodwind player. It is a tool of composition as well as a live instrument. Into the Box is an introduction course/workshop that introduces woodwind players to this instrument and to the world of live electronics. The course is open to students of the following instruments: saxophone, flute, clarinet, recorder, oboe, and bassoon. Course description Approaching the instrument: presenting the challenges of playing the EWI. Discussing subjects such as sound/timbre, technique and musical expression. Discussing the featured elements of the EWI, presenting a series of exercises and etudes written especially for the EWI with the goal to obtain basic control. The history of the instrument and an overview of its players: talking about key players of the EWI, transcribing and analyzing selected solos. Making a comparison between their playing on the EWI and on their acoustic instrument. Playing the music, not the instrument: a new approach to transcriptions, incorporating sound characteristics. The student will be asked to bring in transcriptions of his or her choice with the focus of transcribing not only the notes but also the playing characteristics of the instrument (articulation, featured technique, use of sound production, use of effects and more) with the goal to create awareness over new playing possibilities. Musical examples will be shown in the introduction and during the course. Method of instruction Group lessons (NB: max. 5!); weekly classes of 2,5 hours Study materials It is possible to work with EWI’s available at the conservatory. The student can sign paperwork and take the EWI home for study. A reader will be distributed containing all necessary information (text, exercises, etudes, transcriptions and exemplary compositions made by the teacher). Assessment The student will write short pieces for the EWI, focusing on its special features (range, sustain/polyphony, interval lock/harmonizer) with the goal to perform the music solo or with an ensemble. Credits 5, of which 3 EC can count as a Master Elective

10

Courses offered in collaboration with the University of Amsterdam

World Music Studies Coordinators Adri Schreuder (CvA), Barbara Titus (UvA) Goals Students will develop their hearing, musical memory and ensemble skills with regard to their chosen industry segment of world music. By writing a paper, students will learn to study and discuss a development or current phenomenon. Instruction A combination of classes, hands-on experience, a study of the literature, attending a concert and a study of audio material. Credits Each of the following optional courses constitutes one 5 EC module (of which 3 EC can count as a Master Elective).

Special notes - Each student can only take one option out of four. - In order to obtain credits, each module should be completed in its entirety.

Option 1. Music of West Africa Osiris course code: KC-M-EL-WMS1 Term September-October 2015 Goals Students will become familiar with and learn how to discuss the development and the current state of a West African musical culture. Course description  10-12 practical lessons on one of the following instruments: djembe (drum) or mbira  6 theoretical lectures on African music  Study of the literature  Attending a concert, concert report  2 CDs reviews Approach Through the combination of theoretical lectures, hands-on experience, a study of the literature, attending a concert, and a study of audio material, students will build up a learning file. The file will consist of three parts: 1. an observation report on the practical and theoretical lessons (approx. 2000 words); 2. a paper (approx. 5000 words) based on a study of the literature, which contains: (a) a description of the role and meaning of the griots (jaliyaa) and the oral tradition in Mande culture; (b) a description of the repertoire and melodic and rhythmic diversity in Mande music, related to traditional instruments such as the balafon, kora, jembe

11

(c) an introduction into popular West-African ensembles and singers 3. a discussion of one concert (approx. 2000 words) and two CDs of the student’s choice (approx. 1000 words).

Literature  Agawu. Kofi., Representing African Music.  Berliner, Paul F., The soul of Mbira. University of California Press.  Charry, E. Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa. The University of Chicago Press.  Hale, T.A,. Griots and Griottes: Masters of Words and Music. Indiana University Press.  Stone, Ruth M., Music in West Africa. Oxford University Press.  The Garland Encyclopedia of World Music, section on West Africa.

Option 2. South-American and Caribbean Music Osiris course code: KC-M-EL-WMS2 Term October-December 2015 Goals Students will become familiar with and acquire deeper insight into several genres of Brazilian music. Course description  10-12 practical lessons: Samba Street Drumming  6 theoretical lectures  Study of the literature  Attending a concert, concert report  2 CDs review Approach Through the combination of theoretical lectures, hands-on experience, a study of the literature, attending a concert, and a study of audio material, students will build up a learning file. The file will consist of three parts: 1. an observation report on the practical and theoretical lessons (approx. 2000 words); 2. a paper (approx. 5000 words) based on a study of the literature, which contains: (a) a description of a genre such as samba, choro, música sertaneja, baião or frevo; (b) a description of MPB and/or its development; (c) a description of four traditional Brazilian instruments 3. a discussion of one concert (approx. 2000 words) and two CDs of the student’s choice (approx. 1000 words). Students may choose from Música Popular Brasileira (MPB) and Musica Regional/traditional music, among others. Literature  Dudlye, Shannon, Carnival Music in Trinidad. Oxford University Press.  Fryer, Rhythms of Resistance  McGowan and Pessanha, The Brazilian Sound  Moore, Robin, Music in the Hispanic Caribbean. Oxford University Press.  Murphy, Joh n P., Music in Brazil. Oxford University Press.  Schreiner, C., Música Popular Brasileira (in English)  The Garland Encyclopedia of World Music, volume on Latin America, section on Brazil  Veloso, C., Tropical Truth. Bloomsbury Publishing Ltd.

12

Option 3: Music of the Middle East and Mediterranean Osiris course code: KC-M-EL-WMS3 Term January-March 2016 Goals Students will become familiar with and learn to discuss the development and the current state of Arab and Mediterranean music. Course description  10-12 practical lessons; playing of the student’s own musical instrument and/or darbuka lessons  6 theoretical lectures on Middle Eastern music  Study of the literature  Attending a concert, concert report  2 CDs reviews Approach Through the combination of theoretical lectures, hands-on experience, a study of the literature, attending a concert, and a study of audio material, students will build up a learning file. The file will consist of three parts: 1. an observation report on the practical and theoretical lessons (approx. 2000 words); 2. a paper (approx. 5000 words) based on a study of the literature, which contains: (a) a description of elements and genres in Middle Eastern or Mediterranean music; (b) a description of contemporary or popular crossover connections between music of the Islamic world and Western world and finally, 3. a discussion of one concert (approx. 2000 words) and two CDs of the student’s choice (approx. 1000 words). Literature  Bates, Eliot, Music in Turkey. Oxford University Press.  Marcus, Scot, Music in Egypt. Oxford University Press,.  Racy, A.J., Making Music in the Arab Wordl. The culture and Artistry of Tarab. Cambridge University Press.  Rice, Timothy, Music in Bulgaria. Oxford University Press.  The Garland Encyclopedia of World Music, vol. 6: 1. Hearing the Music of the Middle East; 2. The Eastern Arab System of Melodic Modes in Theory and Practice: A Case Study of Maqam Bayyati; 3. The Eastern Arab World: The Mashriq/Overview of Music in the Mashriq; 4. Performance of Arab Music in 20th-Century Egypt: Reconciling Authenticity and Contemporaneity.  Touma, H.A., Die Musik der Araber (also in English).

Option 4. East- and Southeast Asian Music Osiris course code: KC-M-EL-WMS4 Term March-May 2016 Goals Students will gain practical experience with other tonal systems, notions of time and teaching methods in an orchestral form characterized by very ‘tight’ ensemble. Students will learn to discuss the development of gamelan music and the influence of the gamelan outside Indonesia. Course description  10-12 practical lessons: Javanese gamelan; workshops Indian tabla  6 theoretical lectures on East and South-East Asian music  Study of the literature

13

 Attending a concert, concert report  2 CDs reviews Approach Through the combination of theoretical lectures, hands-on experience, a study of the literature, attending a concert, and a study of audio material, students will build up a learning file. The file will consist of three parts: 1. an observation report on the practical and theoretical lessons (approx. 2000 words); 2. a paper (approx. 5000 words) based on a study of the literature, which contains: (a) a introduction into the musics of South East Asia: instruments and ensembles, tone systems, performance practice, musical forms and genres; (b) a description of the Javanese Gamelan: history, orchestra and tonal systems; musical principles: modes, structure, interlocking, cueing, irama; 3. a discussion of one concert (approx. 2000 words) and two CDs of the student’s choice (approx. 1000 words). Literature  Becker, Judith, Traditional Music in Modern Java.  Brinner, Benjamin, Music in Central Java. Oxford University Press.  Douglas, Gavin, Music in Mainland Southeast Asia. Oxford University Press.  Gold, Lisa, Music in Bali. Oxford University Press.  Lau, Frederick, Music in China. Oxford University Press.  Sorrell, Neil, A Guide to the Gamelan.  Sumarsam, Cultural Interaction and Musical Development in Central Java.  The Garland Encyclopedia of World Music, volume 4 (Southeast Asia).  Wade, Bonnie C., Music in Japan. Oxford University Press.

14