study programme english 2014

7/25/2019 Study Programme English 2014

http://slidepdf.com/reader/full/study-programme-english-2014 1/44

!" #$ %

&"'()*+ $,"*# ".

/* 0(() %(

School of Arts

2014



2

ROYAL CONSERVATORY OF BRUSSELS | SCHOOL OF ARTS

Regentschapsstraat 30, 1000 BrusselTel.: 02/513 45 87 | Fax: 02/513 22 [email protected] | www.kcb.be

CONTENTS

Preface 3Enrolment 4Study curricula 4Bachelor & Master in music 5

Music theory and writing 7Composition 9Conducting 10Instrument / voice 12Polyphonic instruments and voice 15Historical instruments 21Jazz 25Postgraduate music 28Musical 29Music teaching certification programme 33

Programme entrance examination 35General information 39Open house 2014 41How to reach the Royal Conservatory Brussels? 42

This informational booklet was realized by the department Koninklijk Conservatorium

Brussel in cooperation with the Public Relations Division of the Erasmushogeschool

Brussels. The course curricula presented here are still subject to change due

to ongoing changes in government regulations. Please contact the department

Koninklijk Conservatorium Brussel its elf for the most recent informational updates.

Fotos: Joost Goethals, Daniel Suy and Erasmushogeschool Brussel.Editorial Office s: Peter Swinnen, Department Chair. Januari 2014.



3

PREFACE

Building upon a rich international tradition the Royal Conservatory of Brusselswants to educate and train gifted students into excelling musicians who are inqui-

sitive and open-minded and contribute to society through artistic reflection on it.

The ultimate goal of the process of “academisering” is to integrate research intothe educational system and into artistic performance. The conservatoire does notproduce pseudo-scientists but aims to educate conscious, well-informed, criticalmusicians who are in touch with a broad cultural context and are able to work withintuitive, emotional and spiritual contents and integrate these contents into therealisation of a work of art. This process is charactericed by a continious tensionbetween ‘tradition’ and ‘innovation’.

In a world in which prosperity is very much defined in economic terms as a functionof material wealth, profitability, efficiency and usefulness, the Royal Conservatoryof Brussels wants to contribute to man’s overall sense of well-being through musicand art. The art of music is particularly well suited to this purpose because of itsability to strike man’s cognitive and emotional chords and create an integrationof both.

The Conservatory is located in the cultural heart of Brussels. It organizes nume-rous artistic events and is therefore very much a part of and contributor to thesocial and cultural life of the capital city. The Queen Elisabeth Contest, the

Festival of Flanders, the Festival of the Arts (KunstenfestivaldesArts), Ars Musica,the Munt Opera House, the Museum of Instruments, the fine arts museum Bozar,the Flagey initiative, the Goethe-institute: these are just a few of the culturalevents and names of other institutions the Conservatory actively contributes to orcooperates with.

The Conservatory can dissipate its artistic, esthetic and human values in a veryrich context thanks to its international faculty and student body, the multiculturalcharacter of the surrounding city and the Conservatory’s integration in the city’scultural and social life. The multicultural dimension of the Conservatory not onlyshows through its music curricula and concert programs, but can be experienceddaily through interaction with the people teaching and studying there.

The Royal Conservatory of Brussels is first and foremost an artistic institute ofhigher learning. The achievement of the highest degree of artistic competence isessential for music to reveal its full significance. All participants in the musicallearning process are confronted with and must deal with the tension between“tradition” and “innovation”. Every musician must strike a balance betweenthese two ends of the spectrum so as to avoid gliding off into either pure conser-vatism or new-modern opportunism. All sections within the Conservatory (MusicTheory / Instrument – Vocal / Historical instruments / Jazz / Musical / and Teacher

training) deal with this tension between tradition and innovation in their own wayby emphasising different aspects of the continuum in their programs.



4

The music curricula and forms of examination at the Royal Conservatory ofBrussels are based on international standards and checked against the curri-cula of similar European institutions. An international perspective is essentialand very beneficial for students and faculty both here and abroad as it sets

standards of quality and excellence.

For each student a move to the capital city of Europe to the Royal Conservatoryof Brussels equals a move into the world.

Peter Swinnen, Department Chair

ENROLMENT

An entrance examination is required of every new student. The examinationpertains to overall knowledge of music and to the instrument the studentwants to select in its future study program.

The study curricula can be viewed on the website or consulted in print inthe study guide. Upon request they can also be mailed to you. The websiteand study guide also contain further information regarding general admissionrequirements, part-time study programs, qualifications needed to be consi-dered for reductions in course load and study program, and many other topics.

The dates of the artistic admission tests are posted on the website or can beobtained by contacting the office of students affairs at KCB. Participationrequires no later than two weeks prior to the date of the test. An entranceexamination at a later date can only be scheduled upon approval of theDepartment Chair based upon a request addressed to the Course ProgramCoordinator stating the reasons for the exception requested.

Enrolment is only effective after all required doCHments and copies of diplo-ma’s and study certificates have been submitted to the student administrativeoffice.

More information: www.ehb.be/inschrijven.

STUDY CURRICULA

This prospectus gives a general overview of the study curricula. For furtherinformation please consult the website www.kcb.be.

Course workload is expressed on an annual basis in terms of number of classhours per year. However, on a weekly basis course work load can vary greatly

due to the project based nature of certain courses (e.g. choir and orchestra).Other courses are semester-based.



5

BACHELOR & MASTER IN MUSIC

Music Theory / Writing

Ba 1 WritingBa 2 Writing

Ba 3 Writing

Ma 1 Writing

Ma 2 Writing

Composition

Ba 1 Composition

Ba 2 Composition

Ba 3 Composition

Ma 1 CompositionMa 2 Composition

Conducting

Ba 1 Orchestral Conducting Wind & Brassband Conducting



Ma 1 Orchestral Conducting Wind & Brassband Conducting

Ma 2 Orchestral Conducting Wind & Brassband Conducting

Instrument / VoiceBa 1 Orchestral Instruments Historical Instruments

Ba 2 Orchestral Instruments Historical Instruments

Ba 3 Orchestral Instruments Historical Instruments

Ma 1 Orchestral Instruments Historical Instruments

Ma 2 Orchestral Instruments Historical Instruments

Ba 1 Piano Harp Guitar Voice



Ma 1 Piano Harp Guitar Voice

Ma 2 Piano Harp Guitar Voice

Jazz

Ba 1 Jazz Instr./Voice

Ba 2 Jazz Instr./Voice

Ba 3 Jazz Instr./Voice Composition, Arranging

Ma 1 Jazz Instr./Voice Composition, Arranging

Ma 2 Jazz Instr./Voice Composition, Arranging



6

POSTGRADUATE

After a master instrument

BACHELOR MUSICAL

Musical

Ba 1 Musical

Ba 2 Musical

Ba 3 Musical

Offered in 4 years of ± 45 credits.

MUSIC TEACHING CERTIFICATION PROGRAMME

During or after each master



7

BACHELOR & MASTER IN MUSIC

Course Program Coordinator: Eric Van Leuven

MUSIC THEORY & WRITING

TEACHING STAFF

General Music Education Rudy Van der CruyssenBart Buyle

History of Music Christine Van den BuysJohan EeckelooKoen Buyens

Orchestral Conducting Patrick DavinBart Bouckaert

Wind & Brass Band conducting Norbert Nozy

Harmony - Counterpoint -

Fugue and Composition

Kristin De SmedtFranklin GyselynckJan D’haeneJan Van LandeghemJurgen De PillecynAnn KuppensPeter SwinnenHans Van DaeleSofie Van Herle (assist.)Wouter Lenaerts (assist.)

Analysis Annelies Van Parys

Applied Harmony Dirk De HertoghWouter Lenaerts (assist.)Helmut De BackerPeter Kestens (assist.)Lies Van Avermaet (assist.)

Marc Vandewiele (assist.)

Ethnic Music Martin Gort (assist.)

Encylclopedia N.N.

Posture and Movement Eef Pareyn (assist.)

Vocal Training Lu Yu-Cheng (assist.)

Music Technology Katarzyna Glowicka (assist.)

History of Culture Koen Buyens



8

BACHELOR MUSIC WRITING

Ba 1 Ba 2 Ba 3

Required subjects CH CR CH CR CH CR

Harmony I, II, III 45 15 45 15 45 15Theory and ear training 1, 2 80 4 80 4

Rhythm and intonation 1, 2 100 5 100 5

History of music 1, 2, 3 60 6 60 6 60 6

Encyclopedia and research 30 3

Applied harmony 1, 2, 3 30 9 30 9 30 9

Score arranging & reduction 1, 2 30 9 30 9

Musical instruments 1, 2 30 6 30 6

Choir 1, 2, 3 60 3 60 3 60 3

History of culture 1, 2 30 3 30 3

Formal analysys 1 30 6

Optional subjects 6 3 9

Total 465 60 435 60 285 60

MASTER MUSIC WRITING

Ma 1 Ma 2

Required subjects CH CR CH CR

Counterpoint I 45 12

Counterpoint II 45 18

Analysis counterpoint 30 6

Fugue (Master exam) 60 30

Analysis Fugue 30 6

Orchestration I, II 30 9 30 9

Formal analysis 2 30 6

Applied harmony 4 30 6Introduction to philosophy 60 3

Optional subjects 3 12

Total 210 60 180 60

CR: credits

CH: contact hours



9

BACHELOR COMPOSITION

Ba 1 Ba 2 Ba 3


Harmony III 45 15Composition I, II, III 60 12 60 12 60 12



Formal analysis 1, 2 30 6 30 6

Theory and ear training 2 80 4

Rhythm and intonation 2 100 5

History of music 1, 2, 3 60 6 60 6 60 6


History of culture 30 3Musical instruments 1, 2 30 6 30 6

Score arranging & reduction 1 30 9

Orchestration I 30 9

Contemporary music notation 30 3


Total 405 60 285 60 255 60

MASTER COMPOSITIONMa 1 Ma 2


Composition IV 60 24

Composition (master exam) 60 30

Orchestration II, III 30 9 30 9

Analysis (for composers) I, II 30 6 30 9

Introduction to philosophy 30 3


Total 150 60 120 60

Preliminary studies: proof of obained competencies needed for harmony I, II and for theory andeartraining 1 and rhythm and intonation 1

Recommended optional subjets: Orchestral conducting Music technology Applied harmony Ethnic music Fugue (in master) Artistic project (in master)

CR: credits

CH: contact hours



10

BACHELOR ORCHESTRAL CONDUCTING

Ba 1 Ba 2 Ba 3


Harmony III 45 15Orchestral conducting I, II, III 60 12 60 12 60 12






History of music 1, 2, 3 60 6 60 6 60 6


Musical instruments 1, 2 30 6 30 6Formal analysis 1, 2 30 6 30 6

Score reading & reduction 1, 2 30 9 30 9

History of culture 1 30 3


Total 435 60 255 60 255 60

MASTER ORCHESTRAL CONDUCTING

Ma 1 Ma 2Required subjects CH CR CH CR

Orchestral conducting IV 60 24

Orchestral conducting (master exam) 60 30

Score reading & reduction 3 30 6




Training sessions 0 9 0 12


Total 150 60 120 60

CR: credits

CH: contact hours


Recommended optional subjets: Posture and Movement in bachelor



11

BACHELOR WIND & BRASSBAND CONDUCTING

Ba 1 Ba 2 Ba 3


Harmony III 45 15Wind and brassband conducting I, II, III 60 12 60 12 60 12






History of music 1, 2, 3 60 6 60 6 60 6


Musical instruments 1, 2 30 6 30 6Formal analysis 1, 2 30 6 30 6

Score reading & reduction 1, 2 30 9 30 9

History of culture 1 30 3


Total 435 60 255 60 255 60

MASTER WIND & BRASSBAND CONDUCTING


Wind and brassband conducting IV 60 24

Wind and brassband conducting (master exam) 60 30

Score reading & reduction 3 30 6




Training sessions 0 9 0 12


Total 150 60 120 60

CR: credits

CH: contact hours


Recommended optional subjets: Posture and Movement in bachelor



12

INSTRUMENT / VOICE

• Orchestral instrument• Organ

• Guitar• Historical instruments

• Piano• Harp

• Voice• Instrument / chamber music

TEACHING STAFF

Violin Katalin SebestyenYuzuko HorigomeValeri OistrakhZygmund KowalskiYossif Ivanov

Philippe GraffinNaaman Sluchin

Viola Paul De ClerckTony Nys

Cello Viviane CRanogheJeroen ReulingOlsi Leka (assist.)

Double Bass Frank Coppieters

Flute Frank HendrickxCarlos Bruneel

Oboe Karel Schoofs

Cor Anglais / Oboe d’amore Stefaan Verdegem

Clarinet Benjamin Dieltjens

Saxophone Norbert Nozy

Bassoon Luc Loubry

French Horn Luc Bergé

Trumpet Emmanuel Mellaerts

Trombone Bart Van Nieuwenhuyze

Tuba Stephan Vanaenrode



13

Percussion Gert FrançoisBart Quartier

Chamber Music Viviane CRanoghe

Luc LoubryDirk VermeulenEtienne SiebensThomas DieltjensEric Robberecht (assist.)Bert Vanderhoeft (assist.)

Contemporary music Bart Bouckaert

Pianist-accompanists Luc DevosThomas Dieltjens

Paul HermsenAlexander LemanAnne Op De BeeckStefaan PoelmansCécile MangeotKatsura MizumotoBenjamin Van EsserKatrien VerbekeLeonard DunaGuigova Tzvetana



14

BACHELOR ORCHESTRAL INSTRUMENTS*Ba 1 Ba 2 Ba 3


Main instrument I, II, III 60 24 60 24 60 27Chamber music 1, 2 15 6 30 6

Orchestra 1,2,3 60 6 60 6 60 6

Theory and ear training 1, 2 80 4 80 4


Harmony and analysis 1, 2 45 9 45 9

History of music 1, 2, 3 60 6 60 6 60 6



Posture and movement 30 3

History of culture 30 3


Total 465 60 420 60 300 60

MASTER ORCHESTRAL INSTRUMENTS*Ma 1 Ma 2


Main instrument IV, V (master exam) 60 30 60 30

Chamber music 3,4 45 6 60 12

Orchestra 4,5 60 6 60 6



Optional subjects 60 9 60 12

Total 315 60 240 60

* violin, viola cello, double bass flute, oboe, cor Anglais - oboe d’amore, clarinet, saxophone,bassoon, French horn, trumpet, trombone-tuba and percussion

CR: credits

CH: contact hours



15

POLYPHONIC INSTRUMENTS AND VOICE

TEACHING STAFF

Piano Daniel BlumenthalAleksandar MadzarJan MichielsBoyan VodenitcharovPiet KuijkenHans Ryckelynck (assist.)Katia Veekmans (assist.)

Accompanying voice Hélène LuytenInge CRinette

Harp Jana Bouskova

Guitar Antigoni Goni

Zang Dinah BryantDina GrossbergerLena LootensJan Vande Weghe (coaching)



16

BACHELOR PIANO

Ba 1 Ba 2 Ba 3


Piano I, II, III 60 24 60 24 60 27Chamber music 1, 2 15 6 30 6

Choir 1, 2 60 3 60 3



Harmony and analysis 1, 2, 3 45 9 45 9 45 9

History of music 1, 2, 3 60 6 60 6 60 6

Applied harmony 1, 2 15 3 15 9




Optional subject 30 3

Total 495 60 435 60 240 60

MASTER PIANO

Ma 1 Ma 2


Piano IV, V (master exam)* 60 30 60 30

Chamber music 3, 4 45 6 60 12

Accompanying voice & sight reading 1,2 30 6 30 6

Study of literature 30 3

Counterpoint 30 6




Total 210 60 240 60

* Including improvisation

CR: credits

CH: contact hours



17



18

BACHELOR HARP

Ba 1 Ba 2 Ba 3


Harp I, II, III 60 24 60 24 60 27Chamber music 1, 2 15 6 30 6

Choir or 1 orchestra project 1, 2, 3 60 3 60 3 60 3




History of music 1, 2, 3 60 6 60 6 60 6

Contemporary music 30 6




Optional subject 30 3 30 3

Total 495 60 450 60 315 60

MASTER HARP

Ma 1 Ma 2


Harp IV, V (master exam) 60 30 60 30


Choir or 1 orchestral project 4, 5 60 6 60 6




Total 285 60 240 60

CR: credits

CH: contact hours



19

BACHELOR GUITAR

Ba 1 Ba 2 Ba 3


Guitar I, II, III 60 24 60 24 60 27Chamber music 1, 2 15 6 30 6

Choir 1, 2 60 3 60 3




History of music 1, 2, 3 60 6 60 6 60 6

Applied harmony 1, 2 15 3 15 9





Total 495 60 435 60 240 60

MASTER GUITAR

Ma 1 Ma 2


Guitar IV, V (master exam) 60 30 60 30


Historical music 1, 2 30 6 30 6


Applied harmony 3 15 6



Total 240 60 240 60

CR: credits

CH: contact hours



20

BACHELOR VOICE

Ba 1 Ba 2 Ba 3


Voice I, II, III 60 18 60 21 60 27Chamber music of vocaal ensemble 1 30 6

Choir 1, 2 60 3 60 3




History of music 1, 2, 3 60 6 60 6 60 6

Applied Harmony 1, 2, 3 15 6 15 6 15 6



Foreign languages 1, 2 30 3 30 3

Body awareness 30 3

Acting for singers 1, 2 30 3 30 3



Total 510 60 480 60 285 60

MASTER VOICE

Ma 1 Ma 2


Voice IV, V (master exam) 60 30 60 30

Chamber music of vocaal ensemble 2, 3 30 6 60 12



Acting for singers 3, 4 30 3 30 3Optional subject 90 12 120 15

Total 270 60 270 60

CR: credits

CH: contact hours



21

HISTORICAL INSTRUMENTS

TEACHING STAFF

Baroque violin François Fernandez

Baroque cello Alain Gervreau

Viola da Gamba Philippe Pierlot

Violone/ double bass Frank Coppieters

Flauto traverso Barthold KuijkenFrank Theuns

Baroque oboe Paul DombrechtStefan Verdegem

Recorder Bart Coen

Natural horn Luc Bergé

Harpsichord Herman Stinders

Pianoforte Boyan VodenitcharovPiet Kuijken

Chamber music Herman StindersJan De WinneAlain Gervreau

THEORY OF HISTORICAL PERFORMANCE PRACTICE

Peter Van Heyghen

HARPSICHORD-ACCOMPANISTS

Dominik RiepeSofie Van Herle



22

BACHELOR HISTORICAL INSTRUMENTS*Ba 1 Ba 2 Ba 3


Main instrument I, II, III 60 18 60 18 60 24Chamber music 1, 2, 3 30 6 30 6 30 6

Repertoire study/sight reading 1, 2 30 3 30 3

Theory of historical performance practice 1, 2, 3 75 6 75 6 75 6

Orchestra/ consort 1, 2, 3 60 3 60 3 60 3

Philosophy and aesthetics of ancient music 1 30 3




History of music 1, 2, 3 60 6 60 6 60 6




Total 540 60 540 60 405 60

MASTER HISTORICAL INSTRUMENTS*


Main instrument IV, V (master exam) 60 30 60 30


Repertoire study/sight reading 3 30 3

Theory of historical performance practice 4, 5 75 6 75 6

Orchestra/ consort 4, 5 60 6 60 6

Philosophy and aesthetics of ancient music 2 30 3

Study of sources/ edition 6


Total 330 60 255 60

* baroque violin and viola, baroque cello, viola da gamba, violone-double bass, recorder, flautotraverso, baroque oboe, natural horn, harpsichord, pianofor te and lute

CR: credits

CH: contact hours



23



24



25

JAZZ Jazz (including pop and world music)Composition (arranging)

TEACHING STAFF

Double Bass / Electric Bass Bart De NolfChristophe Wallemme

Electric Guitar Fabien DegrysePeter Hertmans

Piano Diederik WisselsNathalie Loriers

Saxophone / Woodwinds John RuoccoJeroen Van Herzeele

Drums Lionel BeuvensPieter Bast

Latin-percussion Martin Gort

Trumpet Carlo Nardozza

Voice David Linx

History of jazz Chris Mentens

Rhythm Peter Van Marle

Vibraphone Bart Quartier

Trombone Lode Mertens

Arranging, Harmony, Analysis Piet Nijsten

Composition, Arranging / Improvisation Kris Defoort

Band leading Carlo NardozzaFabien DegryseBart De NolfDirk SchreursJeroen Van HerzeelePeter Van Marle (Latin)Pieter BastLode MertensChristophe Wallemme

Diederik WisselsDavid LinxLionel BeuvensNathalie LoriersKris Defoort

Ear training / Reading training Bart De NolfKurt BudéPeter Van Marle (ritmiek)

Piano second instrument Dirk SchreursKurt BudéPeter Van Marle (Latin Piano)

Piet Nijsten

Piano technique Katleen Sedeyn

Big Band John Ruocco



26

BACHELOR JAZZ INSTRUMENT / VOICE*WITH BA 3 MODULE INSTUMENT /VOICE

Ba 1 Ba 2 Ba 3

Required subjects CH CR CH CR CH CRMain instrument I, II, III 60 21 60 21 60 21

Ensemble 1, 2, 3 90 3 90 3 120 9

Ear training 1, 2, 3 45 6 45 6 30 3

Reading training 1, 2 45 6 45 6

Jazz harmony and analysis 1, 2, 3 45 9 45 9 45 12

Arranging 1, 2 45 3 45 6

Jazz rhythm 1, 2 30 3 30 3

History of music (classical) 60 6

History of jazz 1, 2 45 3 45 3Piano (pianotechnique for pianists) 1, 2, 3 15 3 15 3 15 3


Jazz encyclopedia and research 30 3


Total 420 60 450 60 390 60

BACHELOR JAZZ INSTRUMENT / VOICE*

WITH BA 3 MODULE COMPOSITION, ARRANGINGBa 3

Required subjects CH CR

Jazz composition 30 21

Arranging 2 60 6

Musical instruments and orchestration 1 30 6

Ear training 3 30 3

Jazz harmony and analysis 3 45 12

Harmony and analysis (classical) 1 30 3

Piano 3 15 3Conducting technique 30 3

History of jazz 2 45 3

Total 315 60

* piano, saxophone -woodwinds, percussion, vibraphone, trumpet, trombone, electr ic guitar,violin, double bass - electric bass

CR: credits

CH: contact hours



27

MASTER JAZZ INSTRUMENT / VOICE*Ma 1 Ma 2


Main instrument IV, V (master exam)** 60 27 60 30Ensemble 4, 5 120 12 120 15

Ear training 4 30 3

Jazz analysis 30 6

Free Improvisation 30 6

Concert playing Jazz 1, 2 3 3


Optional subjects 30 6 60 6

Total 300 60 270 60

MASTER JAZZ COMPOSITION, ARRANGING

Ma 1 Ma 2


Jazz composition II,III (master exam)*** 30 21 30 30

Arranging 3 30 12 30 12

Contemporary free counterpoint 1, 2 30 6 30 6

Ear training 4 30 3Piano 4, 5 15 3 15 3


Harmony and analysis (classical) 2, 3 30 6 30 6

Musical instruments and orchestration 2 30 3

Music technology 1, 2 60 3 60 3

Total 285 60 195 60

* piano, saxophone-woodwinds percussion vibraphone, trumpet, trombone, electric guitar,violin, double bass - electric bass

** Main instrument includes also prima vista and jazz heuristics

*** Jazz-composition includes also jazz heuristics

CR: credits

CH: contact hours



28

POSTGRADUATE

A post master program on instrument (20 credits/semester) or theoreticalprogram.

The student develops his own artistic project (e.g. soloist concert program,preparation for orchestral career...) with the help of a tutor.Special admission test.

Special program for piano accompaniment.

Postgraduate chamber music for ensembles.



29

MUSICAL

Course Program Coordinator: Lulu Aertgeert s

TEACHING STAFF

Voice Peter De Smet

Jonas Cole(+ Optional subject Voice)

Inge Minten

Chadia Cambie

Acting training Lulu Aertgeert s

Production support Stephen Collins

Dance expression Lulu Aertgeert s

Classical dance Evelien D’Haeseleer

Modern dance Peter Kongs(+ Optional subject Dance)

General musical education Bart Buyle

Roel Peeters

Patrick Desmedt

Close harmony and applied harmony Patrick Desmedt(+ keuzevak Piano)

Diction & phonetics Evelien D’Haeseleer

Musical-easthetics William Lanckrock

Jan Van Driessche

Extra competency Paula Bangels

Adam Solya

Audition training Bart Buyle

Repertoire Pietro Ramman



30

BACHELOR MUSICAL

1 2 3 4

Required subjects CH CR CH CR CH CR CH CR

GME musical 75 6 75 5 75 5Close Harmony 30 3 30 3 30 3 30 3

Dance 180 7 180 7 180 7 180 10

Diction and phonetics 60 3 60 3 30 3 30 3

Musical aesthetics 60 3 60 3


Project/Production 275 16 275 13 450 16 450 19

Voice 30 6 30 6 30 6 30 6

Extra competency 60 3 60 3 60 3

Total 770 47 800 46 885 46 720 41

The diploma ‘Musical’ is a professional bachelor. A masterdegree Musicaldoesn’t exist.

The 180 credits are organised in 4 part time years.

CR: credits

CH: contact hours



31



32



33

MUSIC TEACHING CERTIFICATION PROGRAMME

Course Program Coordinator: Luk Bastiaens

To follow the Music teaching certification programme, a perfect knowlegde of

Dutch is required. For the study programme, please consult the Dutch part of this

prospectus.

TEACHING STAFF

See page 32 and 33 (Dutch par t).



34



35

PROGRAMMES ADMISSION TESTS

GENERAL MUSIC ADMISSION TEST

(compulsory for every student who did not acquire any credits in higher musiceducation, bachelor/master level)

intonation of a prepared melody(download from www.kcb.be) intonation of a non-prepared melody knowledge of music theory interactive rhythmic exercisis interview on motivation

SPECIFIC ADMISSION TEST

The jury can refuse a candidate if his program is not correct.

MUSIC THEORY AND WRITING

ear training, voice-rhythm, theory keyboard test interview on motivation

COMPOSITION

Show previous work and discuss motivation.

CONDUCTING

profound knowledge of a classical composition (or important work forWind & brass band)

ear training test interview: motivation and maturity

INSTRUMENT / VOICE

Violin

two etudes (Kreutzer, Fiorillo, Rode, Wieniawsky, Paganini etc.) two contracting movements from a sonata by Corelli, Händel, Vivaldi or Bach

(one part of a) freely chosen concerto

Viola two etudes three works from the standard repertoire

Cello

two etudes (Dotzauer III, Duport, Franchomme or Popper) three works from the standard repertoire, including one concerto (or par t

thereof) and two works from different sylistic periods. At least one frommemory.

Double Bass two etudes (Nanny, Kreutzer, Simandl, Van De Velde) three works from the standard repertoire



36

Flute, oboe, cor anglais, clarinet, saxophone, bassoon, french horn,

trumpet, trombone and tuba

two advanced etudes two works from the standard repertoire

Percussion

one etude for snare drum one etude for four timpani one etude or work for multiple percussion instruments one work for vibraphone one work for marimba a prima vista 2 mallets and 4 mallets

Piano

two etudes one prelude and fugue from “The Well-Tempered Clavier” of J.S. Bach three works from the standard repertoire all from memory

Harp

two complete works from different st ylistic periods

Guitar

two etudes (Coste, Villa-Lobos, Giuliani, Sors, Tarrega)

one work by Bach (complete suite or sonata for access to master grades) two works from the standard repertoire (Bach, Sors, Moreno, Torroba,

Castelnuovo-Tedesco, Ponce, etc...) (complete works for access to mastergrades)

one work from the 20th century all from memory

Voice

three classical arias, including one from an oratorio one freely chosen work (aria or lied) four lieder

HISTORICAL INSTRUMENTS

Baroque violin

allemande and sarabande (partita nr 2) J.S. Bach sonata nr 1 or 2 from “Sonate in stile moderno” Dario Castello 1st and last movement, sonata in g. A. Corelli

Baroque viola

2 movements solosonata or suite J.S. Bach or solo fantasy (violin)by G. Ph. Telemann



37

Baroque cello

suite J.S. Bach: allemande, courante, sarabande one sonata A. Vivaldi one concerto or sonata in another style

Viola da Gamba

a German or Italian sonata a French suite an English ‘division’ (e.g. Simpson)

Violone / double bass

4 orchestral fragments (1 by J.S. Bach) three works from the repertoire

Recordertwo advanced etudesthree works from the standard repertoire

Flauto traverso

one fantasy by Telemann one French suite one freely chosen work

Baroque oboe

two advanced etudes two works from the repertoire

Natural horn

two etudes first movement concer to nr. 1 in DW. A. Mozart

Harpsichord

two sonatas by Scarlatti two preludes and fugues (J.S. Bach) three works from the repertoire (e.g. suite Couperin, Händel, Telemann, etc.)

Pianoforte

C. P. E. Bach (sonata, fantasy) Haydn or Mozart (sonata, variations) Beethoven (variations, sonata max op. 54)



38

ADMISSION TEST JAZZ

For Jazz & light music:1) Individual- playing a motive by ear

- clapping or speaking the rhythm of a short fragment2) In a group (with teachers)- the student chooses two works beforehand from a list of five jazz

standards to be studied (list supplied at registration)- a work chosen by the student (bring sheet music)- a work a prima vista after 10 min. preparation

For Composition, Arrangement:- present three own compositions

ADMISSION TEST MUSICAL

For more information, please consult our website:www.ehb.be/pagina/toelatingsproef-ba-musical



39

GENERAL INFORMATION

MUSIC-MAKING IN GROUP

The opportunity to perform in a group is very important to a musician’s deve-lopment. Each course programme therefore includes a mandatory ensembleelement. Depending on the course chosen, each student is assigned to eitherthe choir, wind band, symphony orchestra, baroque orchestra / consort, bigband or other ensembles. A training orchestra also exists and enables studentsto gain experience as a conductor, soloist, or orchestral musician.Students can perform internships in professional orchestras, and the vocaldepartment collaborates with the Operastudio.

SEMINARS / GUEST LECTURES

Each year the study programme is enriched with numerous seminars. Nationaland international lecturers are invited. The seminars can be taken for creditin some courses.

PRACTICE ROOMS

Depending on availability students can use unoccupied classrooms at theKleine Zavel 5 for study purposes, between the hours of 8h a.m. and 9.30hp.m. Most classrooms are equipped with a piano.

CONCERT HALL

Students of the conservatory have free admission to all concerts given in theconcert hall, including those organised by third parties (PVSK, Ars Musicafestival, Queen Elisabeth contest etc.) on presentation of their student card.Students or teaching staff who wish to make use of the concer t hall when it isavailable must do so by making a reservation.

STUDENT ADMINISTRATIVE OFFICE

The student administrative office is the administrative heart of the Conservatory.This is where students can fulfil all administrative duties and gain informationabout registration, curriculum, exams, seminars, etc…

Opening hours: Monday to Friday 9h-12.30h / 13.30h-16h. Closed WednesdaysDuring the exams, opening hours change. You can consult the websitewww.kcb.be to stay informed.

Telephone: 02/213 41 23 - Fax: 02/513 22 53e-mail: [email protected]



40

LIBRARY

Tel.: 02/213 41 [email protected]

www.kcb.be

The conser vatory library contains a public lending collection of sheet music aswell as an international appreciated heritage collection. Both together resultin a large and unique unity, in particular appropriate for ar tistic and scientificresearch.

Opening hours:Monday to Friday: 9.30h-16.30hClosed Wednesday mornings

STUDYING AT ANOTHER INSTITUTION

All fully registered students can take courses at a domestic or foreign institu-tion of higher education, as long as it is within the framework of a cooperationagreement or an approved European programme.

INTERNATIONAL RELATIONS

The Royal Brussels Conservatory is a member of an international network of

higher education schools of music in Europe. This offers students the possi-bility of spending some of their study time (from three months to one year)at a university (or equivalent institution) abroad. This period of foreign studyis considered part of the regular curriculum of the Conservatory and will notdelay the student’s regular time of graduation.

Coördinator of International Relations: Jan d’Haene.More info at www.kcb.be

STUDENT SUPPORT

Many courses in the conservatory are taught individually or in small groups.Therefore the individual lecturers are always the first people you should turnto for support in your studies. These lecturers are more aware of issues per tai-ning to methods of study than is customary in other forms of education.In addition a programme coordinator is appointed for each course. This personadvises students about the way their curriculum is progressing and can alsooffer support for technical problems related to the course. In case of conflictwith your own lecturer, this is the person you should turn to next.

In the specific case of General Music Education in the first year, students can

turn to Bart Buyle.Furthermore students can always seek help from Stuvo EhB, the social servicesdivision of the Erasmushogeschool (see below).



41

SOCIAL SERVICES

Within the Erasmushogeschool Brussel the “Stuvo EhB” manages all studentsocial services. You can turn to Stuvo EhB for financial problems, housing,

legal advice, sports, psychological support (study counselling, anxiety etc.).This service also works together with the VUB.

Stuvo EhB is part of the Brussels housing initiative ‘Quartier Latin’.Extensive and detailed information about room rentals can be found onwww.ehb.be/stuvo.

MEALS AND SNACKS

Between 8 AM an 9 PM there are sandwiches, meals (to warm in a

microwave available on place), snacks and drinks permanently available at theKleine Zavel 5.

OPEN HOUSE 2014

MUSICAL

Saturday March 29th (from 2 PM)

Nijverheidskaai 170, 1070 Anderlecht, Blok D (parking 250m to the rightof the enhance).

CLASSICAL MUSIC AND JAZZ

Sunday March 30th (from 2 PM): Regentschapstraat 30 and Kleine Zavel 5,1000 Brussel.

With: Information stands Public lessons Possibility to speak with the teaching staff Opportunity to audition Student concerts



42

TIP!

The various EhB locations throughout the city can all be reached easily bypublic transport. As a student you can benefit from e very advantageousfare to travel throughout the city - just be sure to purchase a MIVB-publictransport pass at the beginning of the academic year and you can travelthe bus, trolley or subway on the entire MIVB public transport network inBrussels (in 2013 the fare amounted to €160 for the entire academic year)!

HOW TO REACH THE CONSERVATORY?

1. BY TRAM

Tram lines: 92 / 94 – stop Kleine Zavel

2. BY BUS

Bus lines: 48 / 95 / 27 – stop Kleine Zavel, Grote Zavel

3. BY TRAIN (WWW.NMBS.BE)The Conservatory is located 10 minutes away from the Central Station; takethe ‘Cantersteen’ exit. Then follow successively Kunstberg – Koudenberg –Regentschapsstraat.

ROYAL CONSERVATORY OF BRUSSELS | SCHOOL OF ARTS

Main building:

Regentschapsstraat 30, 1000 BrusselTelephone: 02/213 41 23 | Fax: 02/513 22 53Other buildings:

Kleine Zavel 4 – 5 and the corner with Karmelietenstraat

Musical:

Nijverheidskaai 170, 1070 Brussel

Visit our web site: http://www.kcb.be and www.ehb.be



43

study programme english 2014

Documents