StudiegidsKlassiekMaster2014 2014 Eng PDF

Classical Music
Master's Degree Programmes

2014-2015
Study Guide Master Clasical Music 2014-2015

Table of contents
Classical Masters Degree Programme 4
Plan of Study 5
Principal subject 5
Research 5
Master Electives 7
Individual Credits 10
Master of Music in Voice 11

Voice 11
Opera 13
Master of Music in Keyboard Instruments 14

Piano 14
Organ 16
Modern Harpsichord 19
Rptiteurship 21
Piano Trio (see under String Instruments)
Master of Music in String Instruments 23

Violin 23
Viola 25
Cello 27
Double Bass 30
String Quartet 32
Piano Trio 32
Guitar 37
Harp 40
Maste of Music in Woodwinds 42

Recorder 42
Panpipes 44
Flute 46
Oboe 48
Clarinet 51
Bass Clarinet 53
Bassoon 56
Saxophone 58
Master of Music in Brass 60

Horn 60
Trumpet 62
Trombone/Bass Trombone 64
Tuba 66
Master of Music in Percussion 68
Master of Music in Conducting, Theory of Music and Composition 71

Orchestral Conducting 71
Choral Conducting 72
Conducting Concert and Brass Bands 74
Theory of Music 75
Composition 76

Master of Music in Early Music 80
Master of Music in Other Subjects 80

Live Electronics 80
Instruments in Historical Persprective 83
Master Specialisations as part of a principal subject 87

Orchestral Practice 87
Chamber Music 94
Contemporary Music 99
Profile Contemporary Music 105
Attachment: Education and examination regulations

Classical Master's Degree Programme
The Conservatorium van Amsterdam offers a two-year master's programme focused on
continued development of the student's principal study, the aim being to train and
produce versatile musicians of the highest level, whether they be performers and/or
composers.
Students on the master's programme focus on broad, in-depth study of their principal
subject. The programme is designed in such a way that students can map out their
own course of study. This they lay down in the study plan drawn up prior to the
entrance examination, which forms part of the selection procedure.
With a highly varied study programme, students have every opportunity to prepare
themselves for professional careers. They are able to combine flexibility and a broad
approach with complete mastery of their own particular area of study, receiving
optimum guidance that fully enhances their own talents and qualities.
The master's programme maintains a careful balance between knowledge and

capability on the one hand and thought and practice on the other. Students completing
the course combine full mastery of their instrument with critical reflection and artistic
originality.
For the master's programme the conservatorium works in close association with other
leading academic programmes. The Jazz Department, for instance, has concluded an
agreement with Manhattan School of Music, New York. Students on the master's
programme can also attend lectures and study groups at the University of Amsterdam
in certain subjects.
Please view the menu on the left for the plan of study and a description of the course
components. A description of the study programme principal subject may be found
below.
Programme details
Study load
120 EC
Study length
2 years, full-time
Language of instruction
Dutch and English
CROHO code
44739 (M Music)
Title
Master of Music

Plan of Study
Fill out the plan of study form on www.ahk.nl/en/conservatorium/study-
programmes/master/master-classical-music/study-programme/plan-of-study. Since
the plan of study serves as a basis for the master's degree programme as a whole, it is
important that it is well-prepared from the start. Candidates are therefore
recommended to draw up this outline in consultation with the (intended) principal
subject teacher, the student advisor and/or the master electives and research
coordinator.
* Not required for candidates who apply for the master programme in Live Electronics.
The master's degree programme in music comprises 120 credits (based on ECTS; the
European Credit Transfer System) to be obtained in two years of study (1 credit = 28
study hours).
Credits
principal subject 75
research 15
master electives 20
individual electives 10
Contacts
Dorine Jansma, Student Advisor
office hours: Tuesdays 9.30 a.m. - 12.00 p.m. in room 1034, appointments through
telephone 020-5277563 or e-mail
Michiel Schuijer, Master Electives and Research Coordinator

room 1002; telephone: 020-5277531; appointments through e-mail
Principal subject
subject. Programme details per principal subject may be found per instrument.
Research
Subject Research
Course content The student works independently (with assistance from a coach)
on research related to his/her principal study, thoroughly pursing
a line of inquiry. To broaden students knowledge of their
specialization, it is recommended to choose a research topic
related to the specialization.

Learning objectives To be able to signal problems and challenges in the research
field, and to couch these in a good research topic. To be able to
conceive a methodological approach to solve the central
question. To be able to position oneself in relation to those who
have dealt with the same or related topics. To be able to
convincingly and engagingly present ideas, both written en
verbally.
Course type Mandatory, part of principal study
Level MA 1 and MA 2
Teacher(s) Research coordinators Michiel Schuijer, Walter van de Leur,

Yaniv Nachum and Jed Wentz. Students may choose their own
research coach from the list of teachers at the CvA. In exceptional
cases an external expert may be consulted.
Course credits 15 credits for two years
Literature, Research Guide for Master Students. Further literature and/or

repertoire repertoire to be determined individually, in relation to the chosen
research topic.
Course format Independent, with coaching
Assessment A written report of the research and a public presentation.

Students may choose from four formats:
a lecture-recital (45 minutes)
a workshop or masterclass (45 minutes)
a lecture (30 or 45 minutes, dependent on the topic)
a thesis presentation, consisting of a short report lasting
five to ten minutes and a discussion with the committee
lasting 20 to 25 minutes
Assessment criteria originality of the topic

quality of research
o line of inquiry
o methodology
o written report
quality of presentation (verbal and written)
motivation and commitment
Language English (Dutch is also possible; please consult research

coordinators)

Schedule Planning conform to agreements with research
coordinator and research coach
Location CvA, Oosterdokskade 151
Information Coordinators MA research: Michiel Schuijer, Walter van

de Leur, Yaniv Nachum, Jed Wentz
Master Electives
By taking master's electives students will get acquainted with the specialities of our
teachers. Most electives are taught in the form of study groups, which means that the
students are expected to participate actively. The study load is 5, 10 or 15 credits per
subject.
For registration, please use the plan of study form.
There are two kinds of electives:

* Category A: history, theory, analysis, arranging
* Category B: music practice (performance, composition, improvisation)
Some subjects fall in both categories.
NB: Each student should take at least two electives and earn a minimum of 20 credits
with them. At least one of these courses should fall in Category A (or in both
categories).
NB. The list of subjects is subject to alteration. More information can be obtained from
Michiel Schuijer
Categorie A: History, Theory, Analysis, Arranging
Please find below an overview of the master electives in Category A.
department subject teacher(s)
Introduction to Gregorian
classical department Richard Bot
Chant
Interpreting and editing an

unfinished work: Mozart's Clemens Kemme
Requiem and 'Great Mass'
Mahler and Adorno Wim Markus
Time Constructions in 20th-

Andr Douw
century Music

Orientations on Intercultural
Music - 'The Other' as Jol Bons
Inspiration
Historiography of Music
Michiel Schuijer
Theory
Sources and Resources: From

Andrea Friggi
Manuscript to Edition
Watching Music: The Basics Michel Khalifa, Jan Derk van

of Music Iconography den Berg
The Musical Mind: Issues in Marieke Oremus, Lolke van

Music Psychology Diggelen
Baroque Dance: Practice and

Rachel Davies-Farr
Notation
Playing with Treatises Thrse de Goede
Writing Cadenzas Herman Jeurissen
Russian Chamber Music and

Michel Khalifa, Frans van
Songs from the Twentieth
Ruth
Century
Contemporary Music through Rafael Reina, Jos

Non-Western Techniques Zwaanenburg
jazz department Reading Black Music Walter van de Leur
Duke Ellington and Billy

Walter van de Leur
Strayhorn: A Musical Legacy
Debussy, Ravel, and

Clemens Kemme
Stravinsky
Conservatorium van
Adri Schreuder, Wim van der
Amsterdam/ University of World Music Studies
Meer et al
Amsterdam

Category B: Music Practice
department subject teacher(s)
Orchestral Practice and

classical department Jan Kouwenhoven
Audition Training
Music Theatre and Stage

Jorge Isaac
Performance
Advanced Rhythm Jos Zwaanenburg
Jorge Isaac, Rafael Reina,

Tuning and Temperament
guest teachers
Electronic Music Jorrit Tamminga
Building a Successful Leo Dijsselbloem, guest

Professional Practice teachers
Marja Mosk, Boni Rietveld,

The Musical Body
guest teachers
Baroque Dance: Practice and

Rachel Davies-Farr
Notation
Playing with Treatises Thrse de Goede
Writing Cadenzas Herman Jeurissen
Russian Chamber Music and

Michel Khalifa, Frans van
Songs from the Twentieth
Ruth
Century
Contemporary Music through Rafael Reina, Jos

Non-Western Techniques Zwaanenburg
jazz department Practical Studio Technique Attie Bauw
Into the Box - The EWI

(Electronic Wind Instrument) Itay Weissman
for the Woodwind Player
Adri Schreuder, Wim van der

Conservatorium van World Music Studies
Meer et al
Amsterdam/University of

Amsterdam
Individual Credits
To a certain extent master's students are free to spend time on professional activities
in addition to the curriculum. They may, for instance, gain professional experience by
being placed in a professional orchestra or ensemble. They may also choose to take
masterclasses, attend workshops or international competitions, or concentrate on an
early instrument, improvisation, ensemble playing or world music. Another alternative
is to deepen their theoretical knowledge by taking extra master's electives or
attending a single or even several series of lectures at the University of Amsterdam.
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Master of Music in Voice
Voice
Learning Objective
After the two-year course, students will have been able to develop their talents in line
with the plan of study. They will then be ready to enter the professional music world at
the highest level.
Principal Study
Principal subject
Solo voice. Principal private lessons by appointment.
Final project
Te student will adopt a more specialized approach to the repertoire of his/her principal
study and will undertake research, on which he/she will report. To be determined by
the student himself/herself.
Additional instruction in the principal study

* introduction to Baroque singing/historical performance
* ensemble singing
* contemporary techniques and styles
Student activities
Singing, performing, participating in ensembles and projects.
Methods of instruction
Individual lessons, group lessons, masterclasses. In consultation with the teachers
the study programme will be tailored according to the student's wishes.
Principal subject 'free space' selection

* Lied class
* internships with professional Dutch choirs and ensembles
* jazz singing
* contemporary music
Other Subjects
Students may choose from a number of master's subject module descriptions and
additional 'free space' electives. Information on research is provided separately.
Evaluation
First-Year Assessment
Ongoing assessment. A meeting lasting approximately 10 minutes during which the
student's progress throughout the year will be discussed will take place at the end of
the first year.
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Final Examination
The candidate will give a final recital; he/she will present a cohesive programme
based on a personal vision, in addition to a presentation of the final project and an
accompanying lecture or written programme notes, or will present a master's thesis.
The final examination will be evaluated by a committee comprising a representative of

the Board of Directors, principal study teachers and the research mentor.
Together, the concert and the lecture will not exceed 70 minutes. The candidate must
submit his/her programme no later than 1 March to the study secretariat using the
forms provided for that purpose.
Criteria for Completion
1. Credits to be earned in connection with the final examination: credits in respect of

the principal subject, final project, research/lecture will be earned separately.
2. Principal study 'additional instruction' credits to be earned.
3. Master's subjects and 'free space' credits to be earned.
Students will be admitted to the final examination only after the credits referred to
above in the second and third points of the list of criteria have been earned.
Teachers
principal subject
Harry van Berne section representative
Valrie Guillorit
Sasja Hunnego
Pierre Mak
masterclasses and workshops

Maarten Koningsberger
Claron McFadden
voice as a subsidiary subject

Elise Galama
Rene Harp methodology
jazz voice as a subsidiary subject

teachers from the jazz voice department
Italian
Valentina di Taranto
German
Sra Gutvill
French
Nathalie Doucet
drama
Irene van den Boogaard
Floris Visser
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physical acting
Ide van Heiningen
Virag Desz
breathing technique
Paul Triepels
Alexander technique
Jos Peeters
posture and movement, Feldenkrais

Irthe Aya Engelhard
rptiteurs
Jan-Paul Grijpink
David Bollen
Opera Introduction Course

Jaap Dieleman
Admissions
CvA Students
1. Upon taking the final examination for the bachelor's degree programme in Voice,
CvA candidates must have received the distinction 'eligible for acceptance to the
master's degree programme'.
2. A plan of study drawn up by the candidate and a follow-up discussion regarding the
structure of the plan.
External Candidates
1. The candidate will give a performance of min. 20 and max. 30 minutes.
2. The candidate must submit a list of repertoire with a proposed programme for the
entrance examination to the CvA study secretariat before 1 March. This programme
will include a variety of musical styles and languages. The admissions committee will
evaluate the proposed programme and make any necessary changes. Requirements
may be obtained from the student administration.
structure of the plan. The committee attaches great importance to the candidate's
motivation for the study.
Opera
Please find the course description for Opera on the website of the Dutch National
Opera Academy: www.opera-academy.nl
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Master of Music in Keyboard Instruments
Piano
Learning Objective
At the time of the final examination, students will exhibit specific qualities which will
ensure them their own places in the world of professional music. To this end, a
distinctly personal profile of the student has been developed.
Principal Study
Principal subject
Because pianists can be active in many areas, a differentiated approach by each
individual student is required. Although one teacher (the mentor) is mainly responsible
for a particular student, the student will be able to have lessons with several teachers,
depending upon the repertoire and affinity. Emphasis may be placed on
* solo playing
* vocal accompaniment
* chamber music
* opera coaching
Final project
The student will adopt a more specialized approach to the repertoire of his/her
principal study and will undertake research, on which he/she will report. To be
determined by the student himself/herself.

* historical performance as a subsidiary subject (fortepiano, clavichord)
* introductory courses in contemporary music
* coached ensemble playing
* giving concerts (if possible)
* vocal accompaniment (Lied class)
* chamber-music projects
* repertoire class with regular and guest teachers
Student activities
Playing, performing, participating in ensembles and projects.
Individual lessons, group lessons, masterclasses.

* orchestral conducting as a subsidiary subject (contingent on audition)
* score-reading and transposing
Other subjects
Students may choose from a number of master level subjects and additional 'free
space' electives. Information on research is provided separately.
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Evaluation
Assessment Following the First Academic Year

1. A performance on the basis of which the student's progress in the area of the
principal study will be assessed. The performance must demonstrate the student's
positive development in respect of his/her:
* musical personality
* instrumental skills and quality
2. The concert may not exceed 60 minutes.
3. When this test is passed, the student will be admitted to the second year of study.
Final Examination
The test consists of a number of components which can be taken over the course of the
two years.
1. Ongoing assessment of participation in lunchtime concerts, projects, evening group
recitals and other concerts. The mentor will co-ordinate this evaluation.
2. The concert concluding the first year of study, see above.
3. A lecture-recital or detailed programme notes accompanying a special performance
during the second year of study as presentation of a research project.
4. A final concert that may not exceed 70 minutes (intermission not included). The
programme must be evaluated and approved by the examination committee. The
candidate must submit his/her programme no later than 1 April to the study
secretariat using the forms provided for that purpose.

the Board of Directors, principal study teachers and an external committee member.
Research to be evaluated seperately.

the principal subject. Research/lecture credits will be earned separately.
2. Additional subject credits, as part of the principal study, to be earned.
3. Master level subjects and 'free space' credits to be earned.
Teachers
David Kuijken head of keyboard instruments

Mila Baslawskaja
Marcel Baudet + Sweelinck Academy
Marjs Benoist Sweelinck Academy
Willem Brons
Naum Grubert
Frank van de Laar
Frank Peters
Jan Wijn
Richard Egarr fortepiano
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Ralph van Raat 20th-century repertoire class
Marc Pauwels methodology
Menno Dekker keyboard musicianschip
Admissions
CvA Students
1. Upon taking the final examination for the bachelor's degree programme, CvA
candidates must have received the distinction 'eligible for acceptance to the master's
degree programme'.
External Students
will include a variety of musical styles and must have a minimal duration of 60
minutes. The programme must comprise at least:
* a polyphonic work composed before 1750
* a classical sonata
* a romantic piece
* a twentieth-century piece
* a piece composed after 1930
The list of repertoire will be examined and the candidate will be notified if it is deemed
insufficient. He/she may then make the necessary changes.
2. The candidate himself/herself will choose up to 15 minutes of the programme and
the committee will determine an additional 30 minutes (or less) from the remaining
repertoire.
3. In addition to a high level of technical ability, the candidate must demonstrate an
involved, personal approach to the musical material. He/she must be able to convince
the committee that these aspects in particular can be further developed. A special
affinity with unusual repertoire can play an important role.
4. In connection with the foregoing, a plan of study drawn up by the candidate and a
follow-up discussion regarding the structure of the plan.
Organ
Learning Objective
In this phase, the student develops into a fully mature performing musician, who is
able to communicate at high technical and stylistic level with his/her audience.
Emphasis is placed on the following components:
* a solid and reliable technique and the ability to manage stress
* the ability to deal with historical instruments from several style periods (tone
production, registration, etc.)
* mastery of repertoire-specific techniques
* thorough knowledge of performance practice
* communicative ability and personality
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There are possibilities for specialization (e.g. in the field of performance practice,
pedagogy, improvisation, organ building, etc.)
Principal Study
Principal subject
For the lessons, historical instruments tailored to several styles are used exclusively:
* Waalse Kerk Amsterdam, C. Mller
* St. Bavo Haarlem, C. Mller
* St. Laurenskerk Alkmaar, v. Haagerbeer/F.C. Schnitger, van Covelens
* Augustinuskerk Amsterdam, Cavaill-Coll
* St. Nicolaaskerk Amsterdam, Sauer
Final project

In addition to individual lessons, the weekly group lessons are of vital importance.
These group lessons focus specifically on two elements: performing and the collective
discussion to which this gives rise, and short presentations given by the teacher
concerning certain aspects of performance practice (e.g. rhetoric, theory of the affects,
etc.). Projects (overseen by several international experts) and excursions supplement
the foregoing.
Student activities
Individual lessons, group lessons, masterclasses with guest teachers, projects
involving specific repertoire or instruments, excursions.

* internship: the advanced study programme offers candidates the opportunity of
giving a number of concerts on important historical instruments
Other Subjects
Evaluation

An interim evaluation at the end of each academic year will take place in the form of
an instrumental recital. The repertoire is split up into two parts (up to ca. 1800 and
from 1800 to the present day). Candidates will perform on two instruments during the
evaluation. The evaluation will last a total of 40 minutes (two 20-minute segments). A
committee consisting of the three permanent teachers will assess the candidates.
In principle, the same qualitative standards will be applied as during the final
examinations. The level of difficulty of the repertoire will vary, however. The main
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assessment criterion will be the student's development between two evaluation
periods and how the level demonstrated at the end of a particular academic year
relates to the final qualifications.
Final Examination
* a recital lasting approximately 70 minutes with repertoire chosen by the candidate
on one or two instruments to be chosen by the candidate
* a paper in a form to be chosen by the candidate and concerning the specialization
chosen by the candidate (in consultation with the teachers)
The highest technical and artistic standards will be applied at the time of the
assessment. The assessment will take place before a jury who will comprise the three
teachers and an outside expert and will be chaired by a representative of the Board of
Directors.

Teachers
Jacques van Oortmerssen

Pieter van Dijk section representative + methodology
Henny Heikens hymnology/community singing
Piet van der Heijden liturgy
Admissions
CvA Students
degree programme'.
External Candidates
1. An examination lasting approximately one hour, during which the various style
periods are represented. The candidate must demonstrate a high level of artistic and
technical ability at the organ. Furthermore, it is assumed that the candidate has
knowledge of performance practice in respect of the different musical styles.
will include a variety of musical styles. The admissions committee will evaluate the
proposed programme and make any necessary changes. Programme guidelines and
requirements may be obtained from the department co-ordinator.
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Modern Harpsichord
NB: For information on the Master of Music in Harpsichord Early Music please see the
Early Music pages/Study Guide.
Modern Harpsichord as Subsidiary Subject

If the candidate has earned a post-bachelor's degree in harpsichord, he/she may study
it as a subsidiary subject while enrolled in the master's degree programme. Candidates
who do not possess the aforementioned diploma will be required to perform several
contemporary solo works attesting to their insight and talent at the time of the master's
programme entrance examination. Time allotted to this component: no more than 30
minutes.
Sample programme
Jukka Tiensuu - Fantango (1984) 5'
Geoffrey King - White Rose (1997) 8'
Alexander Voormolen - Suite de clavecin (1921) 8'
Jacqueline Fontyn - Shadows (1973/1991) 7'
Modern Harpsichord as Principal Subject
Learning Objective
Working in line with the plan of study and the requirements set out subsequently,
students will exhibit specific qualities at the time of the final examination which will
ensure them their own places in the world of professional music. To this end, a
strongly personal profile of the student has been developed.
Principal Study
Principal subject
Solo playing. Principal private lessons by appointment.
Final project

* coached chamber music
* orchestral/concert repertoire
* history of contemporary harpsichord repertoire
* methodology of contemporary repertoire
Student activities
Individual lessons, group lessons.
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Other Subjects
Students may choose from a number of master's subjects and additional 'free space'
electives. Information on research is provided separately.
Evaluation

1. The student will give two recitals, both of which will feature works from several
style periods of the twentieth century, as well as a work with tape. In conjunction with
these recitals, the candidate will present a lecture or a set of written programme notes.
The performance will not exceed 50 minutes.
2. The student will write a master's thesis on a subject taken from the history of
contemporary harpsichord repertoire or will analyse a contemporary work.
Final Examination
1. The candidate will give a final recital; he/she will present a cohesive programme
This recital can take one of two forms, these being:
a. A solo recital which has been put together on the basis of the student's personal
vision and which includes at least three works composed after 1980 and two works
written for him/her.
b. The student will give a recital of chamber-music works, which will also include a
work with tape. Neither recital may exceed 60 minutes, not including the lecture.
2. The candidate must submit his/her programme no later than 1 March to the study

Teachers
historical harpsichord
Menno van Delft section representative + methodology
Richard Egarr
Mikls Spanyi
continuo
Thrse de Goede
early music improvisation

Mikls Spanyi
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modern harpsichord
Goska Isphording
additional study clavichord

Menno van Delft
additional study harpsichord

Tilman Gey
Thrse de Goede
Johan Hofmann
Admissions
CvA Students
1. Upon taking the final examination for the bachelor's degree programme in
harpsichord, CvA candidates must have received the distinction 'eligible for
acceptance to the master's degree programme'.
2. The final examination programme must demonstrate that the candidate possesses
sufficient affinity with contemporary harpsichord repertoire.
External and Internal Candidates

1. The candidate will perform a programme which may not exceed 50 minutes.
proposed programme and make any necessary changes.
Sample programme:
Gyrgy Ligeti - Passacaglia Ungerese (1978) 5'
Hungarian Rock (1978) 5'
Continuum (1968) 4'
Louis Andriessen - Overture to Orpheus (1982) 13'
Maurice Ohana - Carillons (1980) 6'
Erik Bergman - Energien (1970) 5'
Alexander Voormolen - Suite de clavecin (1921) 8'
structure of the plan. The candidate must demonstrate an enquiring mind and broad
interest. He/she must be extremely versatile (and available!) and prepared to
experiment. Candidates enrolled in this programme must be able to stimulate the
creation of new repertoire with their musical personalities.
Rptiteurship
Head of Keyboard Instruments: David Kuyken
The specialization
The master degree programme Rptiteurship educates students for the profession of
rptiteur. In addition, students work on an individual basis to further the development
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of their own instrumental and artistic skills. Central to the curriculum is the
performance of duets combined with the role of coach. Students are trained to function
in a wide variety of professional fields, such as rptiteur at opera houses, with choirs,
at competitions and at training institutes, and also learn how to develop a freelance
practice. Entrance qualifications are a completed BA degree in piano, demonstrable
chamber music qualities and convincing communicative and didactic skills.
The principal study is directed to actual practice and mainly consists of an internship,
working within the triangle of teacher student co-rptiteur. The student first
chooses between two profiles: vocal or instrumental. Although similar, these two
profiles differ in essential parts, preparing students for the specific features of vocal or
instrumental rptiteurship. During the first year, the curriculum concentrates on a
wide range of repertoire. In the second year the student then specializes in a specific
direction. During the degree programme the student works on a research project,
exploring in depth a subject related to rptiteurship.
The degree programme Rptiteurship is similar to the specialization Chamber

Music, especially with respects to performing as a duet. The prime differences are that
the relationship of the rptiteur to his counterpart includes coaching and that the
repertoire is more all-round. An essential part of this degree programme is the
performance of orchestral reductions. Because the principal study largely takes place
as an internship, the student regularly performs as rptiteur with students from
various departments. Music history and keyboard musicianship ground the
programme in a theoretical and contextual framework.
Other subjects
Besides the principal study rptiteurship, research, electives and individual credits,
the following courses are part of this curriculum:
* Individual instrumental lessons
* Keyboard Musicianship
* Language or Lieder (depending on the profile chosen)
* Didactics
* Repertoire & Context
These courses will be detailed for the 2015-2016 academic year.
Admission requirements (specific or additional)

* Intake is possible with a successfully completed BA Music, piano or rptiteurship
(Lyons) as principal subject. Admission is also occasionally possible with another
keyboard instrument as principal subject.
* Students who have completed their Bachelor exam at the CvA must take an entrance
exam for this masters degree programme.
* Candidate must have excellent musical and instrumental qualities at a potential
masters level. Artistry and a viewpoint on the profession and repertoire are important
prerequisites for admission.
* Candidate must have demonstrable chamber music qualities, a good level in sight-
reading, and sufficient communicative and didactic qualities.
Entrance programme
The entrance exam, lasting 50 minutes, consists of:
* The performance of a relevant work for piano solo, which the jury selects on the spot
from two prepared works.
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* Performing repertoire together with two CvA students. The repertoire is announced
to the candidate two months prior to the entrance exam. During the entrance exam we
will ask the candidate to perform with each student separately, followed by a short
coaching session, so that the jury can get an impression of the candidates
performance qualities and coaching skills.
* Instrumental rptiteurship:
- One work with a wind instrument,
- One work with stringed instrument (one of these two works must be an
orchestral reduction)
* Vocal rptiteurship
- An excerpt from an opera
- Two songs from different style periods
* Sight-reading test
* A short conversation with the candidate about his/her areas of interest potentially
leading to a research project.
Piano Trio (see under String Instruments)
Master of Music in String Instruments

subject. The programme is designed in such a way that students can map out their
own course of study. This they lay down in the study plan drawn up prior to the
entrance examination, which forms part of the selection procedure, read more
Violin
Learning Objective
the highest level.
Principal Study
Principal subject
Candidates may choose to focus on solo playing, chamber music, orchestral playing or
a special style period (from the Baroque to the twenty-first century). Principal private
lessons by appointment.
Final project
Additional instruction in the principal study supplementary to the chosen principal

subject
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* course on orchestral playing/training for auditions
* introduction to a style period (from the Baroque to the twenty-first century)
* orchestra projects
Student activities
Other Subjects
The student may choose from a number of master level subjects and additional 'free
Evaluation
Assessment During/Following the First Year

1. An examination attended by a committee made up of faculty members from the
department of the student's principal subject with a view to assessing the progress
made in the area of the principal study. The examination must clearly demonstrate the
student's development.
2. The length of the programme and the works to be performed will be determined
jointly by the student and his/her principal study teacher.
Final Examination
1. Orchestral playing as principal subject: the student will play a given number of
orchestral parts and excerpts for the committee, which, in any event, will comprise the
Orchestra Class teacher, the student's principal study teacher and a representative of
the Board of Directors.
2. The candidate will give a final recital; the programme will include an accompanying
lecture or written programme notes; the student may alternatively present a advanced
level thesis. Research to be evaluated seperately.
3. Together, the concert and the lecture will not exceed 90 minutes. The candidate
must submit his/her programme no later than 1 March to the study secretariat using
the forms provided for that purpose.


24

Teachers
Vera Beths
Peter Brunt
Marc Danel string quartets
Ilya Grubert
Kees Koelmans head of strings
Lex Korff de Gidts
Johannes Leertouwer head of Sweelinck Academy
Janet Krause orchestra training
Wiesje Miedema methodology
Reinette Thiadens Sweelinck Academy
Coosje Wijzenbeek Sweelinck Academy
additional study violin and contemporary chamber music

Emma Breedveld
Admissions
CvA Students
degree programme'.
External Candidates
1. The candidate will give a performance which may not exceed 60 minutes. He/she is
required to play at least one piece from memory.
will include a variety of musical styles. The admissions committee will make a
selection from the programme and propose any necessary changes. Programme
guidelines and requirements may be obtained from the representative of the section.
Viola
Learning Objective
After the two-year course, students will have developed their talents in line with the
plan of study. They will then be ready to enter the professional music world at the
highest level.
Principal Study
Principal subject
25

Final project

subject
* introduction to a style period (from the Baroque to the twenty-first century
Student activities
Other Subjects
Evaluation
Assessment
During/Following the First Year1. An examination attended by a committee made up
of faculty members from the department of the student's principal subject with a view
to assessing the progress made in the area of the principal study. The examination
must clearly demonstrate the student's development.2. The length of the programme
and the works to be performed will be determined jointly by the student and his/her
principal study teacher.
Final Examination
1. Orchestral playing as principal subject: the student will play a given number of
orchestral parts and excerpts for the committee, which, in any event, will comprise the
Orchestra Class teacher, the student's principal study teacher and a representative of
the Board of Directors.
2. The candidate will give a final recital; the programme will include an accompanying
lecture or written programme notes; the student may alternatively present a advanced
level thesis. Research to be evaluated seperately.

26


Teachers
Marjolein Dispa
Nobuko Imai
Francien Schatborn section representative
Sven Arne Tepl
Richard Wolfe
Wiesje Miedema methodology
Jrgen Kussmaul guest teacher
Judith Wijzenbeek Sweelinck Academy
Admissions
CvA Students
candidates must have received the distinction eligible for acceptance to the master's
degree programme.
External Candidates
Cello
Learning Objective
highest level.
27

Principal Study
Principal subject
Final project

subject
* introduction to a style period (from the Baroque to the twenty-first century)
*chamber-music projects
Student activities
Other subjects
Evaluation
First Year
* audition training in January/February: Haydn - first movement of Concerto in D,
including cadenza, (or Dvork - first movement of Concerto (no other concertos)); seven
orchestra parts; duration: 25 minutes
* recital in May/June, 45 minutes of music
Second Year
* audition training in January/February: Dvork - first movement of Concerto (or
Haydn - first movement of Concerto in D, including cadenza, seven orchestra parts;
duration: 25 minutes
* final exam in May/June, maximum 75 minutes of music + intermission. Complete
works.

28


Teachers
Maarten Mostert section representative

Monique Bartels
Dmitry Ferschtman
Jeroen den Herder
Floris Mijnders
Jelena Oi
Michael Stirling
Quirine Viersen
Danil Esser orchestra training
Viola de Hoog Baroque cello
Wiesje van Eersel methodology
viola da gamba
Mieneke van der Velden
Admissions
CvA Students
degree programme.
External Candidates
29

Double Bass
Learning Objective
highest level.
Principal Study
Principal subject specialization

a) Orchestral/ensemble player
b) Soloist and/or concert repertoire from Baroque to contemporary
Principal private lessons by appointment.
Final project

* introduction to historical performance (violone)
* introduction to jazz or jazz as a subsidiary subject
Student activities

* internships with the Royal Concertgebouw Orchestra, Radio Philharmonic Orchestra,
The Hague Residentie Orchestra.
Other Subjects
The student may choose from a number of master?s subjects and additional 'free
Evaluation

1. In his/her first year, the candidate will have given performances, to which relevant
committee members will have been invited. The candidate will be deemed to have
successfully completed the second year of study after obtaining a sufficient score on
an examination administered at this time.
2. The programme will not exceed 50 minutes.
30

Final Examination
The final examination is divided into an assessment of:
1. the student's playing of orchestral and/or ensemble repertoire
2. the student's playing of both a slow and fast movement from a concerto for double
bass (as is customary in auditions for Dutch symphony orchestras).
3. The soloist's final examination will consist of giving one or two recitals comprising
works of various style periods (see also the list of repertoire for the Advanced Study).
4. As part of the final examination, the candidate will present his/her final project and
a lecture (lecture recital) or accompanying written programme notes, or will present a
master's thesis.


Teachers
Peter Leerdam
Margaret Urquhart violone
Rick Stotijn
Olivier Thiery
Peter Stotijn orchestra training
Admissions
CvA Students
degree programme'.
External Candidates
2. The candidate must possess orchestral and ensemble experience, as well as
sufficient musical and technical ability in music of various style periods.
4. The candidate may choose to perform solo works, sonatas, shorter pieces, concertos,
31

orchestral and/or ensemble repertoire, contemporary repertoire (Please see the list of
repertoire for the master's degree programme, available from the representative of the
section.)
String Quartet
A description of this principal subject is being prepared. More onformation may be
obtained from the Head of Strings.
Piano Trio
Head of Strings: Kees Koelmans
Principal Study
The master degree Piano Trio trains existing piano trios to attain an excellent level.
The principal study concentrates on both the artistic and technical development of the
ensemble as well as business aspects. In addition, instrumental and artistic skills are
developed on an individual basis. The goal is to prepare piano trios for a successful
(international) professional career. Part of the study also includes preparation for the
participation in competitions. Students take the admissions exam as a piano trio, but
the formula is flexible. This master degree allows working with other instrumentalists
and vocalists if called for by the repertoire.
Lessons in the principal study Piano Trio are primarily given by the renowned Osiris
Trio. Additional masterclasses and lessons are given by (international) specialists. CvA
specialists in early and contemporary music can also be consulted, with attention
given to the theoretical basis of the repertoire. Another aspect is working together
with composers on very recent music, including works fresh from the pen. The course
Entrepreneurship concentrates on acquiring knowledge and insights into how the
professional field operates. This includes learning to programme, based both on
artistic considerations as well as on market-orientated principals. The lessons are
given by chamber music specialists, including cooperation with the Netherlands String
Quartet Academy (NSKA). Exams are organized by the ensembles themselves at
extramural locations. This undertaking includes tending to publicity. Students also
work on a research project, studying in depth a topic related to the piano trio.
Other Subjects
Besides the principal study Piano Trio, research, electives and individual credits, the
curriculum includes the following subjects:
* Individual instrumental lessons
* Analysis & Performance
* Building a Successful Professional Practice
* Arranging (recommended elective in MA 2)
The principal study and the above related courses are described below.
32

It is also possible to join courses offered in the MA specialization Contemporary Music.
In their second year students can also orientate themselves in the principal study in
the authentic performance practice of classic and early romantic repertoire.
Admission Requirements (specific or additional)

* A successfully completed bachelor degree in violin, cello or piano. A BA profile with
chamber music or piano trio is recommended.
* The trio demonstrates a potential masters level in a recital of 30 minutes. This may
not be combined with the individual instrumental bachelor exam.
* A discussion with the ensemble about their motivation and plan of study.
Entrance examination
A trio recital of 30 minutes including repertoire from at least two style periods
Subject Principal study (Piano trio)
Course content The principal study forms the core of the curriculum. Developing
the quality of the ensemble, expanding its repertoire
Learning objectives Performing as piano trio at the highest (international) level
Level MA 1 and MA 2
Teacher(s) CvA piano trio in residence, master ensemble teachers
Literature, repertoire Choice from the large and rich piano trio repertoire
Course format Group lessons (as trio)
Assessment Practical exam for transition from MA 1 to MA 2:

* A trio recital of 50 minutes without intermission, organized by
the trio;
* A portfolio of successfully organized extramural recitals with
convincing hall occupancy.
Practical final exam MA 2:

* A trio recital organized by the trio, consisting of a complete
recital lasting 75 minutes including intermission;
* A portfolio of successfully organized extramural concerts with
convincing hall occupancy.
Assessment criteria A masters level, both individually and as an ensemble, successful

extramural performances, hall occupancy; see also the assessment
form.
Language Dutch, English
33

Schedule 3 hours per week (two lessons lasting 1.5 hours each)
Information Head of Strings
Subject Individual instrumental lessons
Course content Continued development of individual instrument and artistic

level.
Learning objectives Individually learning to master and interpret the most demanding
parts in the trio repertoire in both technical and artistic respect
Level MA 1 and MA 2
Teacher(s) Principal study teachers of violin, cello, piano
Literature, repertoire Piano trios and ensemble parts, and related solo repertoire
Course format Individual lessons or otherwise, to be determined by the

teacher
Assessment Exams and assessments are an integral part of the principal
study. See Study Guide Master Classical Music for assessment on
principal instrument.
Assessment criteria Masters level in relevant repertoire. See Study Guide Master
Classical Music for information on principal instrument.
Schedule On average 0.5 hours per week
Information Headsof Strings and Keyboard instruments
Subject Analysis & Performance (A&U)
34

Course content Theory teachers work with the trio on its repertoire. The theory
subject analysis is directly applied to the repertoire being
studied by the Piano Trio in the principal subject.
Learning objectives To develop the skills with which to use the knowledge of form,
content and background of a composition as a basis for students
own interpretation.
Level MA 1 and MA 2
Teacher(s) Paul Scheepers, music theory and music history teachers
Literature, repertoire Trio repertoire being studied
Course format Group lessons with students own ensemble
Assessment Assessment occurs at the principal study (see above).
Assessment criteria Audible knowledge, insight and understanding of the repertoire

performed
Schedule On average 20 hours per year
Subject Building a Successful Professional Practice
Course content 1st period: intensive lessons, given by renowned musicians, festival
organizers, concert and label managers, music educators and media
specialists. They give their views on the professional field and
critically reflect upon proposals and ideas.
2nd period: under extensive supervision, theory and practice are
related to each other in an artistic project representative of your
career after graduation.
35

Learning This course teaches soloists and chamber music performers to develop
objectives and present recital programmes, music events and education projects
that relate to the artistic profile of themselves or the ensemble, and
that attract the attention of concert organisations and audiences.
Course type Mandatory elective
Level MA 1 (1st period) and Ma 2 (2nd period)
Teacher(s) Leo Dijsselbloem and visiting teachers
Literature, To be announced or handed out by (visiting) teachers

repertoire
Course format Group lessons

1st period: together with students with string quartet as
principal study and chamber music as specialization.
2nd period: mainly with ones own ensemble.
Assessment 1st period: active participation in lessons and assignments

2nd period: the realization of artistic projects
Assessment attendance, commitment and concrete progress

criteria
Language English (Dutch)
Schedule 1st period: weekly lessons January-April

2nd period: by appointment September-December
Information Coordinator MA electives
Subject Arranging
Course content Making arrangements for specific ensemble instrumentations

and for specific uses
Learning objectives Realizing a version for a new instrumentation and/or for other than
the original, based on existing repertoire
Course type Recommended elective
Level MA 2
36

Teacher(s) Arranging instructors
Course credits 5 credits
Literature, repertoire To be announced at a later date.
Course format Group lessons, workshop
Assessment Performance of the arrangements by students own ensemble
Assessment criteria Convincing rendition of the character of the original work and/or a
convincing presentation for another use of the arrangement
Schedule To be announced at a later date.
Guitar
Learning Objective
The student will concentrate on the further mastering of all aspects of guitar playing.
After two years, the student will be ready to enter the professional music world at the
highest level as a soloist and as a chamber player.
Principal Study
Principal subject
The candidate may choose to focus on solo playing, chamber music or a particular
style: contemporary repertoire, some variant of nineteenth-century guitar, flamenco
guitar. Principal private lessons by appointment.
Final project
determined by student and teacher.

* introductory courses: students may choose historical performance or Baroque guitar,
vihuela
* subsidiary subject: nineteenth-century guitar or flamenco guitar or electric guitar
37

Student activities
Playing, giving concerts, participating in ensembles and projects.

Introductory courses in lute music and/or lute playing.
Other Subjects
The student may choose from a number of master's subjects and additional 'free space'
electives.
Evaluation

*instrumental skills and quality
2. The programme will not exceed 50 minutes.
Final Examination
2. The final recital is based on the choices within the principal subject. The
requirements are as follows:
Solo:
* transcriptions of older music will be permitted to a limited extent
* important works in various styles from ca. 1800:
* classical sonatas (e.g. by F. Sor)
* Spanish and South American repertoire (sonatas by M. Ponce, J. Turina and A.
Ginastera)
* twentieth-century works (by composers including B. Britten, L. Andriessen, T. de
Leeuw)
* emphasis on the contemporary period with music by e.g. L. Berio, H.W. Henze, but
also by various Dutch composers.
Chamber music may include:

* a more traditional selection of classical chamber works (e.g. N. Paganini, F.
Schubert/Matiegka)
* twentieth-century composers like I. Stravinsky, H. Villa-Lobos or F. Martin
* contemporary alternative, including works by e.g. G. Petrassi, G. Crumb and G.
Kurtg, but also new Dutch compositions (T. Keuris, T. Loevendie)
* song accompaniment parts are also permitted
Nineteenth-century guitar:
* concert works (sonatas and variations) by composers including F. Sor, M. Giuliani
and J.K. Mertz.
38

Specialization in flamenco guitar:
* knowledge of all basic forms: sole, alegras and buleras; tangos, rumba, tientos and
farucca; fandangos (malaguea, taranta, granana), seguiriyas, cantes de ida y vuelta
(South American influences). In theory, candidates must be able to perform all these
forms both in solo settings and as vocal and dance accompaniment.
* knowledge of historical backgrounds and, in particular, contemporary developments
in ensemble and collaborative playing

the Board of Directors, principal study teachers, the research mentor.

Teachers
principal subject
Lex Eisenhardt section representative + Baroque guitar
Lydia Kennedy + methodology
Erik Vaarzon Morel flamenco
additional study electric guitar

Hans Kunneman
lute
Fred Jacobs
Admissions
CvA Students
1. Upon taking the final examination for the bachelor's degree programme, candidates
attending the Conservatorium van Amsterdam must have received the distinction
'eligible for acceptance to the master's degree programme'.
External Candidates
1. The candidate will perform a programme which may not exceed 30 minutes. He/she
is required to play at least one piece from memory.
39

requirements may be obtained from the representative of the section.
3. If the student chooses a specialization, it must be noted in the admissions
examination programme. Such specializations may include:
* contemporary repertoire
* historical performance
* chamber music
Harp
Learning Objective
The student will concentrate on the further mastering of all aspects of harp playing.
highest level as a soloist, chamber player and orchestral musician.
Principal Study
Principal subject
Solo playing. Principal private lessons by appointment.
Final project

* introductory courses: candidates may choose from historical performance or
introduction to non-Western harp traditions (African kora)
* classes in avant-garde music and techniques
Student activities

* preparation for and participation in competitions
* additional musical introductory courses
Other Subjects
40

Evaluation

1. The candidate will give an end-of-year recital on the basis of which the progress
he/she has made in the area of the principal study will be assessed. The performance
must demonstrate the student?s positive development in respect of his/her:
* instrumental skills
2. The candidate's own views and initiative with respect to the course will also be
considered in the assessment.
3. The candidate will give an end-of-year recital and must perform at least one piece
from memory. The concert may not exceed 50 minutes.
Final Examination
2. The standard of the final examination must meet the requirements established by
the world of professional music, which means successfully taking auditions and
participating in competitions.
3. The student will demonstrate his/her ability to perform well as a soloist and in
chamber-music ensembles.
4. The candidate will perform at least one piece from memory. Together, the concert
and the lecture will not exceed 90 minutes.


Teachers
Erika Waardenburg section representative + methodology

Constance Allanic Baroque harp
Sandrine Chatron orchestra and audition training
Admissions
CvA Students
degree programme'.
41

External Candidates
1. The exam will take 30 minutes playing time. The candidate is required to play at
least half of the exam programme from memory.
entrance examination to the CvA study secretariat before 1 March. The programme to
be prepared (duration: 45 minutes), should comprise at least:
* first movement from a solo concerto of the candidate's choice
* a J.S. Bach suite or C.Ph.E. Bach - solo sonata in G
* a Romantic virtuoso piece
* an impressionist piece
* a modern piece
Master of Music in Woodwinds

subject. The programme is flexible and students are expected to map out their own
course of study. This they lay down in the study plan drawn up prior to the entrance
examination, which forms part of the selection procedure.
Recorder
Learning Objective
the highest level.
Principal Study
Principal subject
Candidates may choose between solo playing and ensemble playing with an emphasis
on the specialization. Principal private lessons by appointment.
Final project

* introductory courses: historical instruments (for example traverso or viola da gamba)
or improvisation
* coached ensembles
* projects
42

Student activities
Individual lessons, group lessons
Other Subjects
Evaluation

Halfway through the master level study the student's progress will be discussed during
an examination (recital/presentation/discussion). The examination will last
approximately 30 minutes and the student, teacher(s) and a representative of the
Board of Directors will take part in the discussion regarding the student's progress.
Final Examination
1. The candidate will give a final presentation. He/she will present a programme of
works from various style periods or originating from the specialization. The recital
must also be supported by an academic paper, which must be presented in the form of
a lecture (lecture recital) and/or as a publication in a renowned professional journal.

the Board of Directors, principal study teachers and one or more outside experts,
depending on he possible specialization.

For more information please visit the website of the Recorder Department:
www.blokamsterdam.info
Teachers
Jorge Isaac section representative

Erik Bosgraaf
43

Admissions
CvA Students
1. Upon taking the final examination for the bachelor's degree programme in recorder,
CvA candidates must have received the distinction 'eligible for acceptance to the
master's degree programme'.
External Candidates
is required to play a substantial part of the programme from memory.
entrance examination to the CvA study secretariat before 1 March which must reflect
the candidate's specific, distinctive features. The admissions committee will evaluate
the proposed programme and make any necessary changes. Programme guidelines
and requirements may be obtained from the department co-ordinator.
3. Individual presence and distinctive qualities as a soloist are the main factors used to
determine whether a candidate is admitted to the master's degree programme. An
original and well-thought-out programme in which extremes need not be avoided will
attest to the candidate's unequivocal artistic merit. Additionally, the student must also
demonstrate his/her far-reaching insights into planning, organizing and developing
workshops, courses and projects, all of which meet international standards.
Panpipes
Learning Objective
highest level.
Principal Study
Principal subject: candidates may choose between solo playing and ensemble playing
with an emphasis on the specialization.
Final project and research: the student will adopt a more specialized approach to the
repertoire of his/her principal study and will undertake research, on which he/she will
report. For research, a separate guidance process has been established.
Additional instruction in the principal study:

* introductory courses in related instruments or in improvisation
* coached ensembles
* projects
Student activities
playing, performing and participating in ensembles and projects
44

individual lessons, group lessons
Other Subjects
The student also enrols on various masters subjects and earns free space credits.
Evaluation
Assessment following the first academic year

The students progress is assessed during an examination
(recital/presentation/discussion). The examination lasts approximately thirty minutes,
and the student, teacher(s) and a representative of the Board of Directors participate in
the discussion regarding the students progress.
Final Examination
1. The candidate will give a final recital; he/she will present a programme of works
from various style periods. This recital will be supported by an academic paper, which
must be presented in the form of a lecture or lecture recital and/or as a publication in a
renowned professional journal.
The final examination is assessed by a committee consisting of a representative of the

Board of Directors, principal study teachers and one or more outside experts.
1. Credits to be earned for the final examination in the principal subject

2. Credits to be earned for research/lecture
3. Masters subjects and free space credits to be earned
Teachers
Matthijs Koene section representative
Admissions
CvA Students
1. Upon taking the panpipes final examination for the bachelors degree programme,
CvA candidates must have received the distinction eligible for acceptance to the
masters degree programme.
External Candidates
45

entrance examination to the CvA study secretariat before 1 March. The programme
must reflect the candidates specific, distinctive features. The admissions committee
will evaluate the proposed programme and make any necessary changes. Programme
guidelines and requirements are available on request from the department
representative.
3. Individual presence and distinctive qualities as a soloist are the main factors used to
determine whether a candidate is to be admitted to the masters degree programme.
An original and well-thought-out programme in which extremes need not be avoided
will attest to the candidates unequivocal artistic merit. Additionally, the student must
also demonstrate his/her far-reaching insights into planning, organizing and
developing workshops, courses and projects, all of which must meet international
standards.
Flute
Learning Objective
The student will concentrate on the further mastering of all aspects of flute playing.
highest level as an orchestral musician, chamber player and soloist.
Principal Study
Principal subject
Solo playing and orchestral playing. Principal private lessons by appointment.
Final project

* coached ensemble playing and orchestral playing (including piccolo and alto flute)
* introductory courses: students may choose from traverso/ bansuri or other non-
Western tradition/historical performance on their own instrument
* Master's New Music Ensemble
* training for auditions and stage presentation
Student activities
Learning repertoire, playing, performing, participating in projects.
Individual lessons, group lessons, repertoire class with various teachers (also geared
towards modern techniques like circular breathing); students will have the opportunity
to familiarize themselves with the profession first-hand by visiting various performance
venues.
46

1. Becoming acquainted with the profession first-hand by attending and, if possible,
playing in the rehearsals and concerts of orchestras and ensembles like the Royal
Concertgebouw Orchestra, the Nederlands Philharmonisch Orkest and the Nieuw
Ensemble by way of Harrie Starreveld
2. Further introductory courses: early music/non-Western music/historical
performance on the candidate's own instrument.
Other Subjects
Evaluation
Assessment During/Following the First Year

1. The candidate will give at least three recitals. On this basis, the student's progress in
his/her principal study will be assessed, i.e. the development of the student's musical
personality, tone quality, technique and interpretation must be clearly demonstrated.
2. Of the works to be presented, at least one must be played from memory.
Final Examination
1. Two final public recitals will be given.
- concert 1: a programme comprising music of various style periods. The programme
must also include chamber music
- concert 2: The candidate will give a final recital; he/she will present a cohesive
programme based on a personal vision, a presentation of the final project and an
The programme must also include chamber music.2. The student must perform at least
one piece from memory per concert.3. Together, the concert and the lecture will not
exceed 90 minutes. The candidate must submit his/her programme no later than 1
March to the study secretariat using the forms provided for that purpose.


Teachers
Harrie Starreveld section representative

Vincent Cortvrint
Kersten McCall
Marieke Schneemann + quintet playing, orchestra training
47

Raymond Honing methodology
Marten Root Baroque and Classical flute
Jed Wentz Baroque and Classical flute
Admissions
CvA Students
degree programme'.
External Candidates
entrance examination to the CvA study secretariat before 1 March. The proposed
programme will include various musical styles and will allow the candidate to pay
special attention to his/her interests. The programme must include one piece by a
Dutch composer, however. The committee will approve the programme or make any
changes necessary by choosing works from the list of repertoire. The following pieces
should be taken as an indication of the required level of proficiency: A. Jolivet, Chant
de Linos; S. Prokofiev, Sonata; J. Ibert, Concerto; J.S. Bach, Partita; W.A. Mozart,
Concertos; T. Keuris, Aria.
Oboe
Learning Objective
The study promotes students' further development in all aspects of oboe playing. After
two years, the student will be ready to enter the music world as a professional oboe
player in any capacity and at the highest level as an orchestral musician, chamber
player and soloist.
In the Masters Degree Programme you choose your own area of specialisation. The
research-subject and theoretical study options offered in the masters programme
enable you to become a specialist in for example solo playing, orchestral playing, a
combination with early music, twentieth-century techniques and repertoire, or as a
teacher. Having completed a two-year course of study, your ability will be in line with
the study plan, meaning that you will be able to take on professional work at the
highest level.
Principal Study
Principal subject
Principal subject lessons in wich the student may choose to focus on either orchestral
playing or chamber music, or a combination of both.
1. orchestral playing: the study of orchestra scores and solo repertoire
2. chamber music: the study of chamber music works and solo repertoire. Here the
student may focus on either classical-romantic repertoire or contemporary music.
48

Final project

* orchestra internships in cooperation with the Netherlands Phiharmonic Orchestra
* chamber music projects
* training for auditions and stage skills
* introductory course: Baroque oboe
* Ligety Academy
* forming your own ensemble
Other Subjects
The student chooses at least two electives from category A (theory) and category B
(music practice) and earn a minimum of 20 credits with them.
Research
Master's students also carry out thorough research into a subject related to their
principal study. Students conclude their research with a public presentation Master
Research Symposium in the second year of their study. This presentation can take the
form of a lecture-recital, a lecture on the thesis or a forum discussion.
Individual credits
Presentation of an overview of all the musical activities the student has undertaken
within and without the conservatory during the two years of study.
Evaluation

principal study will be assessed and which clearly reflects the development of the
student's musical personality, tone quality, technique and interpretation.
2. Of the works to be presented, at least one must be played from memory.
Final Examination
accompanying lecture or written programme notes.
2. The assessment of the final examination is directly related to that of the first year.
The student must demonstrate that he/she possesses a distinct personality, that
he/she is a creative and independent musician with a knowledge of the performance
practice of various style periods, including contemporary music.
3. Of the works to be presented, at least one must be played from memory. A list of
repertoire may be obtained from the principal study teachers.
4. The concert will not exceed 90 minutes, including a brief interval. The candidate
49

the forms provided for that purpose. The forms must be signed by the principal subject
etacher and will be assessed by the Head of the Classical Department.

Master electives will be completed as stated in the course description. The student and
the study secretariat will be informed of the amount of credits via a course report.
Individual credits will be completed after the Master Research Symposium in March of
the second study year. The students will submit their overview of musical activities to
the student advisor.

Teachers
Dorine Jansma section representative, methodology

Jan Kouwenhoven head of woodwinds
Ernest Rombout
Alfredo Bernardini Baroque oboe
Admissions
CvA Students
degree programme'.
External Candidates
3. The choice of repertoire performed at the time of the bachelor's degree programme
final examination and/or the entrance examination to the master's degree programme
(for students from outside the Conservatory) must reflect a high level of proficiency
with respect to technique, creativity, versatility and flexibility. Programme guidelines
may be obtained from the representative of the section.
50

Clarinet
Learning Objective
highest level.
Principal Study
Principal subject
The candidate may choose to focus on orchestral playing or on chamber music.
1. Orchestral playing: studying orchestral parts and various solo repertoire
2. Chamber music: studying chamber-music works and various solo repertoire. The
candidate may choose to focus more on the repertoire of the classical and romantic
periods or on contemporary repertoire. Principal private lessons by appointment.
Final project

1. Orchestral playing:
* internships with orchestras and chamber-music projects*
* introductory courses: E-flat or bass clarinet
2. Chamber music:
* forming one's own ensemble
For all introductory courses: students may choose historical performance or

contemporary music
Student activities

* analysis of orchestral repertoire
* analysis of chamber-music works
* orchestral conducting
* score-reading
* playing chamber music is considered essential for an orchestral musician
51

Other Subjects
Evaluation

2. The candidate's own views on and initiative with respect to the course will also be
from memory.
4. The concert may not exceed 50 minutes, not including the lecture. The candidate
Final Examination
3. The student will demonstrate his/her ability to perform well in professional
orchestras and chamber-music ensembles.
4. The final examination in orchestral playing will be of a level equivalent to that of a
professional audition. The candidate will perform at least one piece from memory.
5. The candidate will be expected to organize concerts himself/herself. The candidate
will be responsible for the undertaking of initiative and the quality of the preparations
and presentation, which will also be assessed. Together, the concert and the lecture
will not exceed 90 minutes.


52

Teachers
Erik van Deuren section representative, methodology

Harmen de Boer
Hans Colbers
Eric Hoeprich historical clarinet
Arno Piters clarinet and E-flat clarinet
Admissions
CvA Students
degree programme'.
External Candidates
proposed programme and make any necessary changes. Candidates may choose from
the following works: one of the sonatas by J. Brahms or M. Reger and a work for
clarinet and orchestra (candidates must choose one of the following: W.A. Mozart -
Concerto, C.M. von Weber - Concerto No. 2, C. Nielsen - Concerto or a chosen work by
C. Debussy).
3. Students focusing on orchestral playing will perform the theme and variations from
G. Rossini's Introduction, Theme and Variations.
4. The repertoire performed will support the motivation outlined in the plan of study.
The candidate must demonstrate a personal approach, which is evidenced by a follow-
up discussion regarding the structure of the plan.
Bass Clarinet
Learning Objective
the highest level.
Principal Study
Principal subject
Solo repertoire. Principal private lessons by appointment.
Final project
53

Student activities

serving as a deputy player, e.g. with the Asko Ensemble, chamber-music ensembles
and orchestras
Other Subjects
Evaluation

from memory. Examples of repertoire: W. Siegel - Jackdaw (+ tape), G. Janssen -
Sprezzatura (solo), J.R. v. Roosendael - Kaida (fl, b cl, pf), T. Bruynl - Looking ears (b cl,
pf, tape), J. Kunst - Solo Identity I (solo), Y. Yuasa - Clarinet Identity (version for bass
clarinet)
4. The performance will not exceed 50 minutes.
Final Examination
based on a personal vision. The programme will include an accompanying lecture or
written programme notes, or a master level thesis.
2. The recital will be made up of the following repertoire or repertoire of the same level:
I. Yun - Monolog, F. Donatoni - Het (fl, b cl, pf), T. Loevendie - Duo for One Bass Clarinet
solo + orchestra, T. Loevendie - Incantations, I. Xenakis - Echange
54

the Board of Directors, principal study teachers and an external committe member.

Teachers
Erik van Deuren section representative + methodology
Admissions
CvA Students
degree programme.
External Candidates
proposed programme and make any necessary changes. General requirements may be
obtained from the representative of the section.
3. Required works for the entrance examination include: Tristan Keuris - Concertino
(plus string quartet), Othmar Schoeck - Sonata, P. Hindemith - (Bassoon) Sonata.
4. Clarinettists having played little of the contemporary repertoire for bass clarinet
during their studies will play: Debussy - Cello Sonata, Bach - Cello Suites.
5. The repertoire performed will support the motivation outlined in the plan of study.
The candidate's personal approach will be evidenced by a follow-up discussion
regarding the structure of the plan.
55

Bassoon
Learning Objective
highest level.
Principal Study
Principal subject
The candidate may choose to focus on solo playing, chamber music/ensemble playing
or orchestral playing. Principal private lessons by appointment.
Final project

* historical performance/Baroque bassoon
* double bassoon as subsidiary instrument
Student activities
Other Subjects
Evaluation

from memory. The concert may not exceed 50 minutes.
56

Final Examination
3. The student will demonstrate his/her ability to perform well in professional
orchestras and chamber-music ensembles.
4. The final examination in orchestral playing will be of a level equivalent to that of a
professional audition. The candidate will perform at least one piece from memory.


Teachers
Jos de Lange section representative

Ronald Karten
Bram van Sambeek
Simon Van Holen double bassoon
Benny Aghassi Baroque bassoon guest teacher
Bas Pollard ensembles and woodwinds score study
Admissions
CvA Students
degree programme'.
External Candidates
57

Saxophone
Learning Objective
Upon completion of the master's degree programme, the graduate saxophonist will
have developed his/her solo and chamber-music abilities to the extent that he/she will
be ready to enter the professional music world at the highest level and in a broad
capacity.
Principal Study
Principal subject
Alto saxophone and secondary instrument specialization; candidates may also focus
on chamber music and contemporary repertoire*. Principal private lessons by
appointment.
Final project

* coaching: quartet, saxophone orchestra or orchestral playing
* introductory courses: candidates may choose historical performance
Student activities

* training for auditions
* preparing for competitions
* this also includes collaborating with composers and, in particular, developing new
repertoire
Other Subjects
Evaluation

1. The candidate will put together a programme of approximately one half hour, which
58

will allow him/her to demonstrate the aspects and qualities outlined in the entrance
requirements through both programming and performance: at least one contemporary
piece/at least one piece performed on a saxophone other than the alto.
Final Examination
1. The candidate will present a full and diverse concert programme in which he/she
has fully blossomed in his/her specialization and in which the candidate will
demonstrate that he/she has found his/her niche in the contemporary world of music.
2. The candidate will give a lecture or will present a set of written programme notes or
will present a master level thesis.


Teachers
Arno Bornkamp section representative

Willem van Merwijk methodology
Admissions
CvA Students
degree programme'.
External Candidates
Mastery of the saxophone repertoire is required, whereby the candidate must
demonstrate his/her solo and chamber-music abilities. He/she is required to play at
least one piece from memory. To be chosen from, for example: A. Dsenclos - Prlude,
Cadence et Final; C. Pascal - Sonatine; E. Denisov - Sonate; C. Lauba - choice of tudes;
Hard; F. Tanada - Mysterious Morning.
should reflect the candidate's versatility and ability to develop new repertoire, e.g. new
59

music or arrangements. The admissions committee will evaluate the proposed
programme and make any necessary changes.
Master of Music in Brass

subject. The programme is flexible and students are expected to map out their own
course of study. This they lay down in the study plan drawn up prior to the entrance
examination, which forms part of the selection procedure.
Horn
Learning Objective
Upon completion of the degree programme, the graduate hornist will have developed
his/her solo and orchestra-related abilities to the extent that he/she will be ready to
enter the professional music world at the highest level and in a broad capacity.
Principal Study
Principal subject
Emphasis on orchestral repertoire. Principal private lessons by appointment.
Final project

* broadening of the candidate's playing (within the solo repertoire and orchestral
playing)
* introductory courses: historical performance or natural horn as subsidiary subject
Student activities

* internship with orchestras if possible
* ensemble conducting
60

Other Subjects
Evaluation

1. In a recital, the student will clearly demonstrate his/her individual interpretation of
various musical styles.
2. This recital must also include a piece for ensemble.
Final Examination
2. Together, the concert and the lecture will not exceed 90 minutes. The examination
will show the candidate's progress in relation to the first-year assessment.


Teachers
Herman Jeurissen + methodology

Jacob Slagter
Teunis van der Zwart natural horn
Jasper de Waal regular guest teacher
Elisabeth Scarlat exam coordinator
Admissions
CvA Students
degree programme'.
61

External Candidates
Trumpet
Learning Objective
Upon completion of the master's degree programme, the graduate trumpet player will
have developed his/her solo and orchestra-related abilities to the extent that he/she
will be ready to enter the professional music world at the highest level and in a broad
capacity.
Principal Study
Principal subject
Emphasis on orchestral repertoire. Principal private lessons by appointment.
Final project

* broadening of the candidate's playing (within the solo repertoire and orchestral
playing)
* introduction to historical performance or introduction to jazz trumpet
Student activities

* ensemble conducting
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Other Subjects
Evaluation

1. In a recital, the student will clearly demonstrate his/her individual interpretation of
various musical styles.
2. This recital must also include a piece for ensemble.
Final examination


Teachers
Theo Wolters
Ad Welleman section representative + methodology + Sweelinck Academy
David Staff natural trumpet, cornetto
Admissions
CvA Students
degree programme'.
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External Candidates
proposed programme and make any necessary changes. Requirements may be
obtained from the representative of the section.
3. At least one piece must be for solo trumpet and performed from memory. Candidates
are advised to use several differently tuned trumpets at the time of the admissions
audition, including the piccolo trumpet if possible.
Trombone/Bass Trombone
Learning Objective
Upon completion of the master's degree programme, the graduate trombonist will have
developed his/her solo and orchestra-related abilities to the extent that he/she will be
ready to enter the professional music world at the highest level and in a broad
capacity.
Principal Study
Principal subject
Solo playing and orchestral playing. Principal private lessons by appointment.
Final project

* subsidiary instruments (for students of tenor trombone, alto or bass trombone; for
students of bass trombone, tenor or contrabass trombone)
* coached ensemble playing (preferably brass quintet and trombone quartet)
* introductory courses: students may choose historical performance on historical
instruments or jazz
Student activities
Individual lessons, group lessons, masterclasses, guest teachers.

64

Other Subjects
Evaluation

1. A 40-minute-long recital in January or February, which must be attended by at least
two committee members.
2. An end-of-year examination of 40 minutes of music at the same level as that of the
final examination.
Final Examination
1. The orchestral playing component will be concluded by an audition of at least thirty
prepared audition excerpts. Additionally, it should be noted that for tenor trombone
candidates, the level must be equivalent to that of a trombone audition.
2. An hour-long recital with works from various style periods (repertoire to be
determined in consultation with the principal study teacher and the examination
committee).
3. A concluding final recital of one hour, not including lecture; the candidate will
present a cohesive programme based on a personal vision (repertoire to be determined
in consultation with the principal study teacher and the examination committee). The
programme will include an accompanying lecture or written programme notes, or a
master level thesis.


Teachers
Jrgen van Rijen

Pierre Volders head of brass
Remko de Jager
Ivan Meylemans
Ben van Dijk bass trombone
Raymond Munnecom bass trombone
Bart van Lier guest teacher
Alla Libo rptiteur
65

Admissions
CvA Students
degree programme'.
External Candidates
is required to play at least one piece from memory. By and large, candidates should no
longer suffer from any instrumental or technical impediments.
Tuba
Learning Objective
The student will concentrate on the further mastering of all aspects of tuba playing.
highest level and in a broad capacity. The syllabus is broad and will contribute to the
student's further development and maturity within the field.
Principal Study
Principal subject
Solo playing and orchestral playing on bass and double bass. Principal private lessons
by appointment.
Final project

* subsidiary instruments
* coached orchestral playing
* introductory courses in historical performance
Student activities
66

Other Subjects
Evaluation

from memory. The performance will not exceed 30 minutes.
Final Examination
2. The concert may not exceed 45 minutes, not including the lecture. The examination


above, in the second and third points of the list of criteria have been earned.
Teachers
Perry Hoogendijk
Admissions
CvA Students
67

degree programme'.
External Candidates
Master of Music in Percussion

Learning Objective
highest level.
Principal Study
Principal subject
Specialization by instrument or in specific areas of the field, e.g. marimba or set-up,
percussion and theatre, percussion and orchestra, percussion and education. Principal
private lessons by appointment.
Final project
The student will adopt a more personalized approach to the repertoire of his/her

* introductory courses: choice of non-Western percussion:
a. tabla, Japanese, etc.
b. African and Latin-American
c. jazz drums
* orchestral playing/training for auditions
* coached percussion ensembles
Student activities
68

* participating in educational projects
Other Subjects
Evaluation
First-Year Assessment Criteria

Not by means of one recital but by following his/her activities throughout the year, the
student's development will be assessed on the basis of the following factors:
* commitment
* technical ability
* presentation
* innovative outlook as evidenced by contact with composers and collaborative
undertakings, for instance
* performance experience (individual, groups, orchestra)
Final Examination
2. The final recital must also be based on the candidate's specialization within the
principal subject. The requirements are as follows:
a. specialization by instrument
* the candidate should be capable of reaching the final round of an orchestra audition
* marimba: twentieth-century repertoire and possibly transcriptions
* preferably combinations of: solo, chamber music, solo + orchestra
The programme should preferably include premieres.
b. For set-up/mallets (twentieth-century repertoire) specialization, a combination of
* solo
* chamber music
*solo + orchestra.
c. Specialization in theatre
* performance, e.g. with other departments of the Amsterdam School of the Arts
* new work
* organization of the whole plays an important role
* the quality of the programmes must be such that these could actually be sold to
concert halls/theatres


69

Teachers
Mark Braafhart
Richard Jansen
Ramon Lormans
Gustavo Gimeno Martinez
Arnold Marinissen head of percussion
Nick Woud
Peter Prommel
West-African percussion
Aly N'Diaye Rose sabar and jembe
Marijn Korff de Gidts jembe
Admissions
CvA Students
degree programme'.
External Candidates
entrance examination to the CvA study secretariat before 1 March. The examination
must comprise at least:
* 1 set-up piece and/or
* 1 piece for marimba
* 1 collaborative piece (optional)
* etude and/or orchestral repertoire for side drum and timpani, and melodic
percussion instruments
The admissions committee will evaluate the proposed programme and make any
necessary changes. Requirements may be obtained from the representative of the
section.
70

Master of Music in Conducting, Theory of
Music and Composition
Orchestral Conducting
As of September 2011, the Conservatorium van Amsterdam and the Royal
Conservatoire The Hague offer a jouint national master programme in orchestral
conducting, in cooperation with the professional Dutch orchestras. In this master
programme, orchestra conductors may develop the skills and gain the experience
required to conduct a professional symphony orchestra in a competent and artistically
well-thought-out manner.
The master programme builds a bridge between the study and the professional
practice and offers students the opportunity to build and expand their own
professional networks. Additionally, the master will enrich the educational
programmes of the orchestras involved.
Course structure
The master is a two-year study programme; the lessons will take place both in
Amsterdam and The Hague. Independent of where they are enrolled, students follow
the same curriculum and travel between the various locations.
The curriculum consists of:

* every month an internship of several days with one of the participating orchestras,
where the student will be coached by, as a rule, the principal conductor. Once every
term the principal subject teacher will supervise this internship. To prepare
themselves for these monthly internships, the students will study the repertoire
intensively under the guidance of their principal subject teacher and other teachers.
* intensive study of the complete orchestra repertoire and orchestra programming in
connection with the master research the students will carry out. The students will
thoroughly develop their skills in the field of professional analysis of scores and
history.
* electives: education tailored to the students specific needs to broaden or deepen
their insights and skills
Assessment will take place during projects with one of the participating orchestras
halfway and at the end of the study programme.
The entrance exam will be attended by a committee consisting of members of both the
conservatories and the Dutch orchestras. Every year not more than two students will
be admitted.
Participating orchestras
Koninklijk Concertgebouworkest, Amsterdam

Nederlands Philharmonisch Orkest en Nederlands Kamerorkest, Amsterdam
Residentie Orkest, Den Haag
Philharmonie Zuidnederland, Brabant, Limburg en Zeeland
Noord Nederlands Orkest, Groningen
71

Radio Filharmonisch Orkest, Hilversum
Het Gelders Orkest, Arnhem
Holland Symfonia, Amsterdam
Nederlands Symfonie Orkest, Enschede
Rotterdams Philharmonisch Orkest, Rotterdam
Admission requirements
* bachelors degree in music

* a well-developed musical ear
* knowledge of the basic repertoire for symphony orchestra from 1750 to the present
* the ability to master scores independently,incl. the associated score reading abilities
* the ability to rehearse with a symphony orchestra in a professional way, incl. the
associated technical skills.
* the ability to demonstrate a thoroughly grounded personal/artistic vision
* the ability to conduct and inspire a symphony orchestra during concerts
* the ability to express personal views on programming
*a clear potential for development
Admission procedure
Auditions for the 2015-2016 study year

Deadline for application: October 1, 2014. A number of candidates will be selected to
do a piano audition. From these candidates, two or three conductors will be selected to
do an audition with the Netherlands Philharmonic Orchestra.
Piano audition
Venue: Conservatorium van Amsterdam, Theaterzaal
Date: November 20, 2014
Repertoire
Stravinsky - Symphony in three movements, 1st movement
Brahms - Symphony no. 1, fourth movement
Orchestra audition
with the Netherlands Philharmonic Orchestra
Venue: NedPhO-Koepel
Date: November 21, 2014
Time: 14.00-17.00
Repertoire
Stravinsky - Symphony in three movements, 1st movement
Brahms - Symphony no. 1, fourth movement
Choral Conducting
Learning Objective
Conducting students enrolled in this master's degree programme, which focuses

particularly on the professional music environment, are prepared for the stringent
requirements demanded by the current, multifaceted world of professional music.
72

Principal Study
In addition to the specific attention paid to matters relating directly to the principal
subject - conducting technique, knowledge of scores and repertoire, rehearsal
techniques -, research plays an obvious role here. To convey a score in a convincing
manner to a choir, ensemble or orchestra, a thorough knowledge of the work - and
therefore in-depth research - are essential. Within the framework of the master level
subjects, the student can focus on a certain composition or composer, but also on
historical performance, tuning or certain instrumental techniques.
During this two-year course, conducting students are given the opportunity of working
with the CvA choirs, ensembles and orchestras, with which they will also work during
the final project. The CvA will do its best to secure internships for the candidates
during the course - e.g. in the form of an assistantship - with professional ensembles,
choirs, orchestras and opera companies.
Other Subjects
Evaluation
To be determined at a later date.
Teachers
Jos van Veldhoven Baroque/Classical music

Jos Vermunt section representative
Admissions
CvA Students
conducting, CvA candidates must have received the distinction eligible for acceptance
to the master's degree programme.
External Candidates
2. The candidate must submit a proposed programme for the entrance examination to
the CvA study secretariat before 1 March. The admissions committee will evaluate the
73

Conducting Concert and Brass Bands
Learning Objective
Conducting students enrolled in this master level degree programme, which focuses
particularly on the professional music environment, are prepared for the stringent
requirements demanded by the current, multifaceted world of professional music.
Principal Study
In addition to the specific attention paid to matters relating directly to the principal
subject - conducting technique, knowledge of scores and repertoire, rehearsal
techniques - , research plays an obvious role here. To convey a score in a convincing
manner to a choir, ensemble or orchestra, a thorough knowledge of the work - and
therefore in-depth research - are essential. Within the framework of the master level
subjects, the student can focus on a certain composition or composer, but also on
historical performance, tuning or certain instrumental techniques.
During this two-year course, conducting students are given the opportunity of working
with choirs, ensembles and orchestras. The CvA will do its best to secure internships
for the candidates during the course - e.g. in the form of an assistantship - with
professional ensembles, choirs, orchestras and opera companies.
Other Subjects
Evaluation
To be determined at a later date.
Teachers
Danny Oosterman section representative

Jan Schut
Admissions
CvA Students
conducting, CvA candidates must have received the distinction eligible for acceptance
to the master's degree programme.
External Candidates
2. The candidate must submit a proposed programme for the entrance examination to
the CvA study secretariat before 1 March. The admissions committee will evaluate the
74

Theory of Music
The masters degree programme in Music Theory prepares its students for a career as
a teacher of theoretical subjects at an institution for professional musical education or
at a university. In addition to a continued and more specialized professional training,
this programme focuses particularly on the practice of teaching music theory in higher
education. Within that framework, wide-ranging internships at conservatories are
organized. The students also carry out a research project. They choose their own topic,
in consultation with their advisors. The master's degree teaching programme in music
theory sets stringent requirements with respect to the student's artistic abilities
(playing ability and hearing in particular).
Once a month, all students may attend the 'colloquium', in which various subjects
regarding music theory are discussed: students' and teachers' works in progress, guest
speakers from both inside and outside the CvA, debates, discussions, lectures on
publications, current events, controversies, etc.
Section representative: John Koslovsky
Curriculum
Principal subject (75 credits)

* Early Music - analysis, writing skills, literature
* Classical and Romantic music - analysis, writing skills, literature
* music of the 20th en 21st centuries - analysis, writing skills, literature
One of the three subjects above should be taken as a major, which means that it
extends over the full period of two years. The other two will then be minors, to be
scheduled in the first year.
* advanced music theory pedagogy and internships
* improvisation skills
Research (15 credits)
Master electives (20 credits)
Individual credits (10)
Teachers
Menno Dekker music of the 20th en 21st centuries - analysis, literature, writing skills
Andr Douw music of the 20th en 21st centuries - analysis, literature, writing skills
Martijn Hooning Classical and Romantic music - writing skills
Job IJzerman Early Music - analysis, literature, writing skills; advanced music theory
pedagogy
John Koslovsky historiography of music theory
Paul Scheepers Classical and Romantic music - analysis, literature, writing skills
Michiel Schuijer research coordinator
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Theo Verbey instrumentation
Jaap Zwart Early Music - writing skills, improvisation skills
Entrance Procedures and Requirements
* A bachelor in Music Theory or an equivalent degree

* An interview
N.B.: A number of papers are to be submitted well before the examination takes place:
the section representative section should be consulted about this.
Composition
The Composition Department of the Conservatorium van Amsterdam focuses on the
adventure of exploring the very latest music and creating new repertoire. The CvA
Composition Department stands for
* artistic openness
* diversity in genres
* diversity in aesthetics
* the students artistic journey as the guiding principal
* the integration of music from other cultures
The composition programme curriculum includes

* principal study
* analysis of new and other types of music
* instrumentation/orchestration
* electronic music
* the Composers Forum (presentations by guest teachers, lectures, discussions),
please see the monthly newsletter
* a bridge to music and the music world: composition practicums with leading
ensembles
* a rich selection of electives
One of the most rewarding aspects of the CvA programme is that music composed by
students is also performed, generally by fellow students on the monthly Nieuwe
Muziek Arena concert series and by professional musicians on standard concert
programmes.
Teachers
Jol Bons
Richard Ayres
Wim Henderickx
Willem Jeths
Jorrit Tamminga electronic music, section coordinator
Composition practicums with professional ensembles

Nieuw Ensemble
Asko|Schnberg
Ligeti Academy
related subjects
Theo Verbey instrumentation
76

Michel Khalifa notation
Andr Douw analysis
Lucas Vis ensemble conducting
Rafael Reina contemporary music through non-western techniques
Jos Zwaanenburg live electronics and contemporary music through non-western
techniques
The composition programme focuses on the development of the students creativity,

versatility and originality. During the private principal subject lessons students will
learn practical skills, such as developing musical ideas, scoring for vocal and
instrumental ensembles and making scores ready for use. In the electronic studio
students will learn how to compose electronic music.
In addition to theroretical subjects, students will also take general and specialized
courses and subsidiary subjects such as instrumentation, music philosophy and music
aesthetics. Students will also have the opportunity to take lessons in improvisation and
a second instrument in addition to piano as a subsidiary subject.
In the weekly Composers Forum, students will have the opportunity to discuss their
works and to which guest composers will be invited to lecture on their works. During
special workshops students may try out their own works.
Chamber music pieces by composition students may be performed at special
lunchtime concerts - The New Music Arena - throughout the year. Additionally, in April
there will be presentation concerts, where works by composition students will be
performed by, among others, the New Music Ensemble.
It is to be recommended to choose the composition programme as a second principal

subject, along with, or following, another principal subject.
Master of Music in Composition
Learning Objective
with the plan of study. They will then be completely ready to enter the professional
music world.
Principal Study
The curriculum will be determined on the basis of the submitted plan of study in
consultation with the teacher. The principal subject of composition will be extended
by a number of musical introductory courses, which together will form the principal
study. Within this broadened approach, candidates will work with a second,
specialized composition teacher for a particular time. The composition student may,
however, decide to concentrate on microtonality or can gain experience in the
electronics studio. In addition, students will take an analysis course geared towards
composers with musical works and topics from the history of Western music or with a
non-Western theme - e.g. Indian ragas. Students will conclude their studies in this
course by writing a master's thesis on a composition, a composer or a particular school
of composition. All students will, for a certain time, be trained in conducting
ensembles. Participation in the Socrates exchange programme with foreign
conservatories is encouraged.
77

The final project constitutes an important aspect of the master's degree programme in
composition. As a rule, this specialization follows naturally from the principal subject
and consists of the candidate presenting a concert of his/her own works. This
undertaking will also include the necessary organization involved: from the concert
hall to tending to public relations, finding musicians, writing programme notes and
giving a lecture (lecture recital).
In the master's degree programme, an academic variant is offered in addition to the

artistic-professional programme mentioned above and is intended for those candidates
with a particular interest in carrying out extra research or in a more pedagogically
oriented programme. In that case, the curriculum above will be tailored to meet the
candidates' interests.
Other Subjects
1. The student may choose from a number of master' subjects and additional 'free
space'electives.
2. Research. As a rule, the student will consider aspects of the final project from an
historical or theoretical angle. The student will conduct research on the background of
the choices made as regards style, aesthetics and technique. This research will result
in a lecture to be given by the candidate at the time of the final concert (the lecture
recital).
Evaluation

Candidates will be evaluated on the basis of:
a. the quality of the compositional work submitted
b. progress in relation to the plan of study.
Final Examination
1. The evaluation held after the second year will be based on:
a. the quality of the compositional work submitted
b. progress in relation to the plan of study.
In view of the possibilities the CvA can offer, it is very important to discuss the genre,
instruments, facilities and duration beforehand and obtain permission.
We should like to emphasize that no a priori requirements have been set with respect
to the instrumentation, genre or duration of submitted works or of compositions
completed at the end of the second academic year.
2. In the course of the second academic year, a master's thesis must be written, on
which a lecture or lecture recital must be given.


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Admissions
CvA Students
composition, CvA candidates must have received the distinction 'eligible for
acceptance to the master's degree programme'.
External Candidates
1. Candidates will be admitted on the basis of the compositions they have submitted.
2. The candidate must submit a portfolio of compositions, including scores, recordings,
DVDs etc. to the CvA study secretariat before 1 March.
FAQ
Does the 30 year age limit also apply to the Composition section?
We are a bit more flexible when it comes to composition candidates, but candidates
beyond the age of 35 are not often admitted.
Are there specific requirements concerning the compositions or the length of

scores?
No, the only requirement is that the three compositions are representative for your
work.
What is the content of the interview?

You will be interviewed by some members of the Composition teaching staff about
your scores, your artistic and personal goals, your background, your motivation, your
expectations, and other issues that you as a candidate and the teachers regard as
being relevant.
What is the content of the theory exam, does it include a (complex) analysis?
The theory exam example as given at
http://www.ahk.nl/en/conservatorium/application/application-and-
admission/entrance-examination-tests/#c2774 is a good example of what you may
expect as theory entrance exam. It does not include a (complex) analysis. Only
bachelor's candidates have to do the test.
Do you need to master an instrument?

Mastering one or more instruments will prove itself useful during your studies and
while composing, but it is not an entrance requirement. From the first study year on
you will follow piano lessons, obligatory as a secondary subject, to obtain a basic
technique and knowledge in this instrument.
Atlas Academy
The Atlas Academy is an international meeting place for composers and musicians
from all over the world. Devoted to the development of new intercultural music the
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Academy offers a wide range of presentations, demonstrations, lectures, composers
practical workshops on non-western instruments and seminars about eastern musical
cultures and composing for intercultural instrumental combinations. More information
can be found on our website.
Master of Music in Early Music

The course descriptions of early music principal subjects may be found in the study
guide on: http://www.ahk.nl/en/conservatorium/study-
programmes/master/master-early-music/
Master of Music in Other Subjects
Live Electronics
The Conservatorium van Amsterdam (CvA) will start a high-level master's programme
in Live Electronics in September 2012.
It is designed to accommodate the aspirations of performers from any musical

background who wish to specialize in combining their traditional instruments with live
electronic extensions. The programme is primarily designed for performers with a
music-driven interest in electronics and technology, which could also include, for
instance, 'laptopists' as long as they can show proficiency in music theory and
performance practice.
In a world in which electronics are more and more present, and at the same time more
accessible and affordable, there is an increasing interest in musicians that can deal
with (live) electronics.
The Amsterdam two-year master's programme will provide profound education in

combining the traditional instrument with live electronic extensions. Through
balanced training in using dedicated soft and hardware on one hand and the
traditional instrument on the other, students will be enabled to develop their artistic,
creative and technological skills in an area which asks for consistent development.
Performance, composition, improvisation, multimedia, music technology, computer
programming, synthesizer programming, new and vintage hardware, theatre are key
subjects.
The programme is completely cross-genre and is not biased towards just one music
style or tradition.
Lessons, lectures, workshops are given by an experienced team of CvA teachers and
special guest teachers from all around the world.
Programme details
Study load
120 EC
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Study length
2 years, full-time
Language of instruction
English
CROHO code
44739 (M Music)
Title
Master of Music
Teachers
Jos Zwaanenburg coordinator

Jorrit Tamminga
Jorge Isaac
Martin van den Oetelaar
Contact
Jos Zwaanenburg
Admission requirements
The Live Electronics programme is aiming for performers with an instrumental

bachelor's degree or equivalent. Candidates with a bachelor's diploma in another
musical field may be admitted, provided that they show proficiency in music theory
and a sufficient level in performance skills.
Candidates with an instrumental bachelor's degree of the CvA also need to have the
additional qualification 'admissible to a master's degree', including a specific
annotation that it is geared towards the master's Live Electronics. Candidates from
other institutions have to do an audition.
In addition to the completed and signed application form and the other documents,
students are requested to send an audio and/or video recording (CD or DVD in data
format) of a performance of live electronic music with a maximum length of 15
minutes and a motivation letter stating the student's reasons for wishing to enter the
programme.
Selected candidates will be invited to do an audition in which they can present a live
electronic performance of no more than 20 minutes, followed by an interview of about
10 minutes.
Applicants have to have their own instruments (like any instrumental principal subject
student) and also a MacBookPro running Max/MSP, an audio/MIDI interface of decent
quality, appropriate microphones that can be used in live performance and appropriate
cabling for the set-up.
The CvA can make recommendations on basic packages for different instruments on
request.
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Application
Closing date for applications is in May 2013. You will find the exact dates on our
website, as well as the application form.
Programme structure
The two year programme will run in project weeks, which means that once a month
there will be a 5 day intensive project (order and content subject to change in relation
to availability of guest teachers). There will be 10 of those projects per academic year.
Each project deals with two main subjects of which one is mainly practical and the
other either theoretical or computer software oriented.
Each project week will offer group lessons, individual lessons and workshops.
Throughout the projects, the live electronics ensemble will rehearse and perform;
participation is compulsory.
In the second semester of the first year, each student has to do a short solo
presentation in which the application of the taught subjects is being used.
The very last project week of the second year is partly dedicated to the final exams.
Each student has to do a recital (performance/presentation), in which he or she
demonstrates the ability to perform solo as well as in an ensemble, preferably making
use of fellow live electronics students.
Individual instrumental lessons can be organised, be it in the format of a subsidiary

subject.
During the two years programme, the student will deal with a great variety of topics
such as:
* Amplification and location modulation (spatialization)

* Mics & contact mics (the traditional instrument as a controller) pitch and dynamic
detection and dsp.
* MIDI hardware & software
* Max/MSP, Pd, Super Collider
* Logic Audio, Ableton Live
* History of (live)electronic music
* Synthesizers and soft synths
* Audio Editing and Digital Audio Workstations (Logic, Peak, Digital Performer,
Audacity)
* Fundamental concepts of acoustics (incl. Fourier)
* Improvisation with electronics/electronic extensions
* Notation & composition for electronic performance
* Other controllers (kaospad, the hands, joystick, camera detection)
* Hardware vs. emulation
* Video & visuals (Jitter, Isadora)
* The theatrical implications of using live electronics
* The live electronic extension as a tool for music education
* Professional Practice (Marketing tools, how to reach the outside world)
* Dissertation & research skills
* Students own multimedia projects
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MA degree: Instruments in Historical Perspective
Early Music Department Head: Teunis van der Zwart
Principal Study
In todays concert practice, performers almost automatically choose the instruments
implied by the composer of the piece at hand. Many orchestras and ensembles simply
assume that performers are able to perform on historical instruments, in addition to
modern instruments. In fact, these skills are increasingly part of audition procedures.
The masters degree Instruments in Historical Perspective is for talented students
who wish to learn both a modern instrument and its historical pendant(s) at a masters
level, thus acquiring more understanding and skills needed in the professional
practice. Admission requirements include a bachelors degree in Classical Music/Early
Music and a potential masters level on both instrument types.
The frequency and duration of lessons and amount of repertoire are dependent upon
the number of historical variants of the principal instrument. Lessons in the principal
study are given by various instrumental specialists. Students are required to
participate in (orchestral) projects at both the Classical and the Early Music
Departments. The theoretical schooling is also related to the repertoire and the
instruments, with students permitted to enrol in subsidiary subjects at the Early Music
Department. When relevant, students can subsequently enrol in subsidiary subjects
such as Thorough Bass Performance and Tuning & Temperament. A research project is
an important part of this masters curriculum, focussing in depth on a topic related to
Instruments in Historical Perspective.
Other Subjects
Besides the principal study Instruments in Historical Perspective , which includes at
least two similar instruments from different periods and a research project, electives
and individual credits, the curriculum includes the following subjects:
* Ensemble and Orchestra Projects; Internships
* Tuning and Temperament
* Leading from Within (recommended elective in MA 2)
The principal study and the above related subjects are described below.

* Intake is possible with a successfully completed instrumental BA Music from CvA.
* External candidates must submit a comparable bachelor exam programme. The
admissions committee will select from this programme on the spot, so that the
candidate may demonstrate his/her entry qualifications on different types of
instruments.
* Candidates must have excellent musical and instrumental qualities at a potential
masters level for both instrument types.
* An important requirement for admission is a students viewpoint on artistic and
stylistic matters.
* The admissions procedure includes a short discussion with the candidate about
his/her areas of interest potentially leading to a research project.
Entrance programme for this degree

The students exam programme for the bachelor degree at the CvA must reflect a
potential masters level in both instrument types.
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Subject Principal study (of two or more historically related instruments)
Course content The principal study forms the core of the degree programme.
Development of artistic and stylistic reflection and instrumental
and analytical skills based on a large amount of relevant
repertoire.
Learning objectives See Study Guide Classical Music for information on each principal
instrument.
Level MA 1 and MA 2
Teacher(s) CvA teachers Classical Music and Early Music, visiting teachers
Literature, repertoire Choice from a wide range of repertoire at a highly specialized level
for both instruments
Course format Individual lessons, group lessons (some with students performing
other principal instruments), masterclasses, etc.

* A public recital, 50 minutes without intermission, during which
the student performs solo repertoire and/or chamber music on two
(or all) instrument types in a personal and coherent programme,
demonstrating the students individuality and skills.

* A public recital, 75 minutes including intermission: in a personal
and coherent programme the student is to perform solo repertoire
and/or chamber music on both (or all) instrument types,
demonstrating the students individuality and skills.
Assessment criteria A masters level for both instrument types; also see the assessment
form

Schedule Individual lessons on principal instruments: 1 hours per week on
average, dependent on the number of principal (historically related)
instruments, with lessons flexibly divided among the principal
instruments.
Information Coordinators for Instrumental and Early Music
Subject Ensemble and Orchestra Projects; Internships
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Course content A representative selection of standard orchestral and ensemble
repertoire will be covered in the Sweelinck Baroque Orchestra
(SBO), ensemble and orchestra projects, and incidental external
ensemble internships.
Learning objectives
Level MA 1 and MA 2
Teacher(s) SBO: Teunis van der Zwart, Alfredo Bernardini, Richard Egarr,
Shunske Sato.
Ensemble and orchestra projects: CvA teachers and conductors,
visiting teachers and conductors
Literature, repertoire Representative examples from standard repertoire in all relevant

style periods
Course type Sweelinck Baroque Orchestra: group practice with MA students

from other profiles and BA students performing at a comparable
level.
Ensemble and orchestra projects: group practice with MA and BA
students.
Ensemble internships: participation in an external professional
ensemble.
Assessment Sum evaluation of individual preparation (partially in the course
Part Study), progress at rehearsals, concerts and recording
sessions.
Assessment criteria Level of performance, teamwork and positive presence, all at a high
professional level; see also the assessment form.
Information Early Music Department Head
Subject Tuning and Temperament
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Course content See information under Master electives in Study Guide Classical
Music.
Learning objectives See information under Master electives in Study Guide Classical
Music.
Course type Required elective
Level MA 1
Teachers Jorge Isaac, Rafael Reina, and visiting teachers
Literature, repertoire See information under Master electives in Study Guide Classical
Music.
Course type See information under Master electives in Study Guide Classical
Music.
Assessment See information under Master electives in Study Guide Classical

Music.
Assessment criteria See information under Master electives in Study Guide Classical
Music.
Language English
Schedule Once every two weeks from September through April
Subject Leading from Within
Course content To learn to adequately lead ensembles and sections based at

the instrument and/or with conducting techniques, both at
rehearsals and coaching sessions and during performances.
This course is a sequel to the BA 4 elective Leading an
Ensemble.
Learning objectives
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Level MA 2
Teacher(s) To be announced at a later date.
Study credits 5 credits
Literature, repertoire To be announced at a later date.
Course type Tutorial

Assessment Evaluation of student development
Assessment criteria Leading an ensemble or a section at rehearsals and performances

in an adequate and result-orientated fashion.
Language English

Master Specialisation as part of a Principal

Subject
MA Specialization: Orchestral Practice

Head of Strings: Kees Koelmans
The specialization
The specialization Orchestral Practice trains students to become orchestral
musicians. This specialization concentrates on the repertoire and the necessary
competencies both for winning an audition and for functioning successfully in an
orchestra. For the first goal a musician must be able to perform a relatively limited solo
repertoire at the highest standard, while for the second goal students must be able to
perform a wide range of orchestral repertoire within a team context. This apparent
paradox is the challenge of the Orchestral Practice master specialization.
Through courses including audition training (instrumental, physical and mental), and a
wide range of internships with an Amsterdam-based orchestra, students acquire
competencies leading to greater success in auditions. Internships are available with
Amsterdam-based orchestras, such as the Royal Concertgebouw Orchestra (KCO) and
the Netherlands Philharmonic Orchestra (NedPho). For internships the KCO operates
the international KCO Academy, while the NedPho and the CvA have joined forces to
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offer an orchestral master specialization. If admitted, students are required to
participate in a number of paid productions each season. After successfully completing
the internship, students who audition with the orchestra will be directly admitted to
the second round. Students are coached by orchestra members and are prepared for
projects at the CvA with lessons focusing on the relevant orchestral parts (see below).
Auditions are held after admission and are conducted by audition committees.
Students may also audition for an internship (including coaching) with a professional
orchestra elsewhere in The Netherlands or abroad, thereby fulfilling this curriculum
requirement.
Besides the CvA orchestra projects, students are encouraged to participate in

renowned youth orchestras such as the EUYO, Gustav Mahler Youth Orchestra and the
Schleswig-Holstein Festival Orchester. If possible, course planning is adjusted to allow
students to participate in these orchestras. Through such external projects students
become acquainted with the orchestral world, thus contributing to their development
of an international network. In order that students develop sufficient expertise, it is
important that the research subject be related to this specialization.
Other subjects
In addition to the principal study, research, electives and individual credits, the
following subjects are part of this curriculum:
* Study of Orchestral Parts
* The Orchestra and its Repertoire
* Orchestral Practice & Orchestral Life
* Leading from Within (recommended elective in MA 2)
These courses for a specialization in Orchestral Practice are described below.

Candidates must pass the admissions exam for a Masters degree in the principal
instrument and audition for an internship with an extramural orchestra. See below:
Ensemble and Orchestra Projects; Internships.
Entrance programme for this specialization

If a CvA bachelor student wishes to enter this master programme, the bachelor exam
must include solo parts from the repertoire for orchestral auditions.
Subject Principal instrument
Course content Interpretation and realization of solo and chamber music

repertoire, in addition to specific technical aspects of the
principal instrument. The principal instrument forms the core
study. When relevant for the repertoire at hand, this course will
include studying earlier and related versions of the principal
instrument (such as an Early Music instrument).
Learning objectives See Study Guide Master Classical Music for information on each
principal instrument.
Course content Mandatory, part of principal study
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Course content MA 1 and MA 2
Teacher(s) Principal study teachers (see list of teachers) and visiting teachers
Literature, repertoire Concentration on solo repertoire for auditions. A selection of

standard concert works and solos used at orchestra auditions
worldwide will be requested. Additional (solo) repertoire will also
be treated.
Course format A combination of individual lessons, group lessons,

masterclasses and presentations, as determined by the
relevant teachers

A short public recital (25 minutes) with solo repertoire used in
orchestra auditions, followed by a public concert (25 minutes) with
orchestral solos and orchestral parts requested at auditions.
Practical final exam for MA 2:

A public recital, 75 minutes music plus intermission. Relevant solo
literature used at auditions is to be included on the recital
programme.
Assessment criteria Top level command of relevant repertoire. See Study Guide Master
Classical Music for information on each principal instrument, and
the assessment form.
Schedule An average of one hour per week

Information Section heads and instrumental section representatives
Subject Study of Parts
Course content Study of orchestral repertoire, directed to various learning goals

and applications, such as sight reading, preparing for external
auditions, preparing for MA auditions, preparing for CvA
orchestra projects, preparing for participation in extramural
(international) youth orchestras and repertoire study. Part of the
course also includes group lessons with as theme, How do I
survive the orchestra .
Learning objectives
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Level MA 1 and MA 2
Teacher(s) Teachers of orchestra repertoire, ensemble coaches, and visiting

teachers
Literature, repertoire Repertoire requested at orchestral auditions, as well as

representative examples of established repertoire from relevant
style periods
Course format Group lessons and ensemble coaching; individual

coaching for internships and auditions
Assessment Assessment based on student functioning in ensemble and

orchestra projects and internships, and in the course Orchestral
Practice & Orchestral Life
Assessment criteria Professionally prepared orchestral parts; see also the assessment
form
Schedule On average 30 minutes per week (20 hours per academic year)
Information Instrumental section representatives

Course content A representative section of the standard orchestral and ensemble
repertoire will be covered. An individual programme will be
compiled for each student, consisting of participation in:
* ensemble and orchestra projects
* external orchestra and ensemble internships (such as the NedPho
Academy)
* CvA Score Collective (contemporary music ) or Sweelinck Baroque
Orchestra
Learning objectives
Level MA 1 and MA 2
Teacher(s) Ensemble and orchestra projects: CvA staff members and visiting
teachers and conductors
External orchestra and ensemble internships: external conductors,
internship counsellors of orchestra and ensembles, CvA teachers for
the study of orchestra parts.
CvA Score Collective: Ed Spanjaard, Arnold Marinissen, member to
be announced at a later date.
Sweelinck Baroque Orchestra: Teunis van der Zwart, Alfredo
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Bernardini, Richard Egarr, Shunske Sato.

Literature, repertoire Representative works from established repertoire covering all
relevant style periods. For internships: orchestra and ensemble
repertoire programmed by the orchestra or ensemble concerned
Course format Ensemble and orchestra projects: group practice, together with MA
and BA students.
Orchestra and ensemble internships: participation in an external
professional orchestra or ensemble.
CvA Score Collective: group practice, in part with MA students from
other profiles and BA 4 students at a comparable level.
Sweelinck Baroque Ensemble: group practice, at times with MA
students from other profiles and BA students at a comparable level.
Assessment Assessment of preparation (including preparation in the course
Study of Parts), assessment of participation at rehearsals, and
progress at performances and recordings.
Assessment criteria Performance level, ensemble playing, positive presence, all at high
professional level. See also the assessment form.
Schedule Ensemble and orchestra projects: several projects per
academic year. Orchestra and ensemble internships: to be
announced at a later date.
Conditional upon individual tracks, participation in:
CvA Score Collective: three projects per year (schedule per
project: one week for group and section rehearsals, one week
for full rehearsals and two performances, of which the first is at
the CvA, the second is extramural).
SBO: three-hour weekly orchestra or ensemble rehearsals
Subject The Orchestra and its Repertoire
Course content Knowledge of the history and background of the development of

the orchestra, conducting and repertoire (including opera and
choral repertoire). Strategic and policy aspects related to the
orchestra sector and the (international) orchestral world will
also be reviewed.
Learning objectives
Level MA 2
Docent(en) Staff teachers and visiting teachers
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Literature, repertoire To be determined at a later date.
Course format Lectures
Course credits Written exam, including music examples
Assessment criteria Sufficient knowledge of the history and background of the

orchestra and its repertoire, ability to situate the orchestra sector
within a strategic context.
Language English
Schedule To be determined at a later date.
Information To be determined at a later date
Subject Orchestral Practice (OP) & Orchestral Life (OL)
Course content Mental preparation and presentation of audition repertoire (solo and
orchestra), lessons on studying and training, attention, strategy, and
other subjects related to sport psychology and sport training.
Several workshops on orchestral life and functioning in an
orchestra, both in collegiate settings and in a professional
educational role.
Learning objectives
Level MA 1
Teachers(s) Frank Bakker (retired professor of sport psychology), Marjan Kok

(Sport and Care, training, advice and research centre), Rico
Schuijers (sport psychologist), Jan Kouwenhoven, Peter Stotijn, Jaap
Kooi, CvA teachers (including orchestra performance), and
instructors from the University of Amsterdam
Literature, repertoire OP: audition repertoire for principal study

OL: none
Course format OP & OL: workshop, 16 students maximum
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Assessment OP: simulated audition. Peer students participate in the
auditions committee (peer learning).
OL: attendance
Assessment criteria See Study Guide Classical Music for information on each principal
instrument.
Language English
Schedule OP: a three-week period in October and February: eight

sessions per period, 4 hours per session
OL: a four-week period in April: one session per week.
Information Heads of orchestra instruments
Subject Leading from Within
Course content To learn to adequately lead ensembles and sections based at

the instrument and/or with the help of conducting techniques,
both in rehearsals and during performances. This course is a
sequel to the BA 4 elective Leading an Ensemble.
Learning objectives
Level MA 2
Docent(en) To be determined at a later date.
Literature, repertoire Cluster related auditions repertoire
Course format Tutorial

Assessment Evaluation of student development
Assessment criteria Able to lead an ensemble or section in rehearsals and

performances in an adequate and result-oriented manner.
Language English


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MA Specialization: Chamber Music
Head of Keyboard Instruments: David Kuyken
The specialization
The master specialization Chamber Music prepares students for a varied professional
life in ensemble settings at renowned chamber music halls. On an individual basis
students also learn how to further develop their instrumental and artistic skills.
Student ensembles participate in (international) competitions and festivals, in order to
develop their portfolios and networks. Students acquire competencies to conceptually
plan and organize their own events.
In this specialization, chamber music forms an important part of the study, in addition
to the principal instrument. Through lessons on the principal instrument, instrumental
and artistic originality is also developed through studying solo repertoire. During the
master programme, students form ensembles by themselves. The choice of the
chamber music teachers and the frequency of coaching are determined by the size,
make-up and repertoire of the ensemble, and the number of ensembles in which the
student is participating. The course Analysis & Performance is an important element
of this specialization. In the course Entrepreneurship the acquirement of knowledge
and insights into the professional field is extensively covered. These sessions will be
given by specialists from the professional field of chamber music. An important
element of this specialization is the research project, which is preferably devoted to
chamber music.
The other subjects

In addition to the principal study, research, electives and individual credits, the
following courses are part of this curriculum:
* Chamber Music
* Analysis & Performance
* Developing a Successful Professional Practice
* Arranging (recommended elective MA 2)
These courses are described below. It is also possible to follow courses in
Contemporary Music. In the second year, students can orient themselves within the
principal study on the historically informed performance practice of the classical and
early romantic repertoire.

* A CvA bachelor student who wishes to enrol in this master specialization should
devote a significant part of his/her bachelor exam programme to chamber music. For
candidates from outside the CvA, chamber music repertoire should form a significant
part of their entrance examination for the principal subject. Candidates are responsible
for engaging their own fellow musicians.
* Candidates should demonstrate musical and instrumental qualities at a potential
masters level. Artistry and ones own point of view on the profession and the
repertoire are important criteria for admission.
* Candidates should have demonstrable chamber music qualities and affinity and
experience in performing chamber music at a high level.
Entrance examination for this specialization

Ensemble repertoire from at least two different style periods
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Subject Principal instrument
Course content The principal instrument forms the core of the specialization.
Interpretation and realization of solo and chamber music
repertoire, specific technical aspects of ones instrument,
including both early and contemporary music
instrument.

Level MA 1 and MA 2
Teacher(s) Principal instrument instructors (see list of teachers) and visiting
teachers
Literature, repertoire (Solo) repertoire after consultation with instructor. Choice of
chamber music parts is determined in Chamber Music
specialization (for further information, see introduction to
Chamber Music)
Course format A combination of individual lessons, group lessons,
masterclasses and presentations, as stipulated by the
relevant principal instrument instructor(s).
* A public recital, 50 minutes without intermission, in which student
performs solo and ensemble repertoire. The ensemble repertoire
consists of chamber music in all style periods and from all corners of
the world, without conductor. Duets exclude the performance of a
solo concerto with piano accompaniment.

* A public recital, 75 minutes with intermission, in which graduate
student performs solo and ensemble repertoire. The ensemble
repertoire consists of chamber music in all style periods and from all
corners of the world, without conductor. Duets exclude the
performance of a solo concerto with piano accompaniment.
instrument. The graduate student is able to perform both solo and
chamber music repertoire at a high level. See also the assessment
form.
Schedule On average one hour per week

Information Section heads and section representatives
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Subject Chamber Music
Course content Developing the quality of ensemble playing, expanding repertoire.

In addition, the development of a shared analytical understanding
of the score, and what this understanding implies for the
performance (see also Analysis & Performance).
Learning objectives
Course content MA 1 and MA 2
Teacher(s) Chamber music and ensemble teachers, Analysis & Performance

teachers, visiting teachers
Literature, repertoire To be chosen from the large and rich ensemble repertoire
Course format Group lessons (as ensemble). Ensembles may include musicians not
enrolled at the CvA, but more than 50% of the ensemble must
consist of CvA students, including students not enrolled in this
specialization. The level of external participation is authorized and
monitored by the teachers concerned. Early and contemporary
music will be coached by CvA specialists in this area.
Assessment See Study Guide Classical Music for information on each principal
instrument.
Assessment criteria Professional performance level, including that of the entire

ensemble; see also assessment form.
Schedule On average 20 hours per academic year, spread out over the
year
Information Head of keyboard instruments
Subject Analysis & Performance
Course content Theory teachers work with the ensemble on their repertoire. The
subject analysis is directly applied to the repertoire that het ensemble
is working upon in the Chamber Music course.
Learning To develop skills based on knowledge about form, content and background
objectives of a composition, leading to an ensembles interpretation.
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Course level MA 1 and MA 2
Teacher(s) Paul Scheepers; music theory and music history teachers
Literature, selected ensemble repertoire

repertoire
Course format Group instruction with students own ensemble
Assessment Assessment integrated into that of the principal study (see under the
various principal studies)
Assessment Audible knowledge, insight and understanding of the repertoire performed
criteria
Schedule On average 20 hours per academic year, spread out over the year
Information Head of keyboard instruments
Subject Building a Successful Professional Practice
Course content 1st period: intensive lessons by renowned musicians, festival

organizers, concert and label managers, as well as music
educators and media specialists. They give their views on the
professional field and critically reflect upon proposals and ideas.
2nd period: under extensive supervision, theory and practice are
related to each other as part of an artistic project representative
for your career after graduation.
Learning objectives In this course soloists and chamber musicians learn to develop and
present concert programmes, music events and educative projects
that relate to their artistic profile or that of their ensemble, and that
catch the attention of concert organisations and audiences.
Level MA 1 (1st period) and MA 2 (2nd period)
Teacher(s) Leo Dijsselbloem and visiting teachers
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Literature, repertoire To be announced or handed out by teachers
Course format Group lessons

1st period: together with string quartet and piano trio
students (principal study)
2nd period: primarily with ones own ensemble
Assessment 1st period: active participation in the lessons and in assignments

2nd period: realization of artistic projects
Assessment criteria Attendance, commitment and concrete progress

Language English, Dutch
Schedule 1st period: weekly lessons January-April

2nd period: by appointment September-December
Information Coordinator master electives
Subject Arranging
Course content Making arrangements for specific ensemble settings and for
specific uses
Learning objectives Realizing arrangements for a new instrumentation or for other use,
based on existing repertoire
Course content MA 2
Teacher(s) Arranging instructors
Literature, repertoire To be determined at a later date.
Course format Groups lessons, workshop
Assessment Performance of arrangements by students own ensemble
Assessment criteria Convincing rendition of the character of the original work and/or a
convincing presentation for another use of the arrangement
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Information Coordinator master elective courses
MA Specialization: Contemporary Music

Head of Percussion: Arnold Marinissen
The specialization
In the master specialization Contemporary Music students learn the road to national
and international podiums and to organizations that focus on contemporary music.
They are given the opportunity to develop themselves into entrepreneurial Musicians
of Tomorrow, with solid skills, knowledge, and a broad perspective. The students
principal study forms the core and is further developed on an individual basis. The
main emphasis is on music composed since 1950 and everything necessary to become
familiar with it and to be able to perform this music with self-assurance and
inspiration. To be admitted, students must have a Bachelors degree in the principal
study or in orchestral conducting, and affinity and experience in the performance of
contemporary music at a high level.
The lessons on the principal instrument are also devoted to music written between
1950 and today, both solo repertoire and chamber music as well as music for large
ensembles and orchestra. Of course all relevant styles will be covered, based on the
principal instrument. In the curriculum attention will also be given to various types of
contemporary notation, extended techniques, multiphonics, complex rhythms, non-
Western music practices and microtonality. Students become familiar with the
continually expanding contemporary repertoire in ensemble and chamber music
projects, solo pieces, and by collaborating closely and frequently with the composition
department. Knowledge about notation and special techniques is shared, aimed at the
development and performance of new repertoire. The climax is formed by the yearly
Composers Festival.
The study of parts, masterclasses, lectures, and electives all offer students
opportunities for developing their critical reflection and creative interpretation. The
research project is an important element in this curriculum, and research related to
contemporary music is of great importance.
Other Subjects
Besides the principal study and research, the following related courses form part of
this curriculum:
* Study of Parts
* Notation of Contemporary Music
* Tuning and Temperament
* Contemporary Music through Non-Western Techniques.
See below for a description of each of the above subjects.

* Intake is possible with a successfully completed BA Music degree: instrumental,
vocal or conducting.
99

* Candidates must have excellent musical and instrumental qualities at a potential
masters level. Artistry and ones own viewpoint on the profession and repertoire are
important requirements for admission.
* Candidates must have demonstrable affinity with music from the past fifty years,
enabling further progress in this many-sided and complex subject.
* The admissions procedure includes a short discussion with the candidate about
areas of interest potentially leading to a research project.
* If a CvA Bachelor student wants to enrol in this master specialization, a significant
part of the bachelor exam programme should be devoted to contemporary music.
Entrance examination for this specialization

A selection of contemporary solo repertoire for the instrument concerned
Subject Principal Instrument
Course content The principal instrument forms the core of the study. Interpretation
and realization of solo and chamber music repertoire, specific
technical aspects of the instrument, including contemporary music
instrument.
Level MA 1 and MA 2
Teacher(s) Principal instrument teachers (see list of teachers) with great
expertise and repute in contemporary music, visiting teachers
Literature, repertoire Repertoire after consultation with instructor, including

contemporary music (solo and chamber music ensembles), also in
cooperation with the composition department
Course format A combination of individual lessons, chamber music
lessons and masterclasses, as stipulated by the relevant
principal instrument instructor(s).
* A public recital, 50 minutes without intermission, in which student
performs solo and chamber music in different instrumental settings.
Repertoire from the past fifty years must also be presented in a
personal and coherent programme, demonstrating the students
individuality and skills.

* A public recital, 75 minutes with intermission, in which graduate
student performs solo repertoire and chamber music. The ensemble
repertoire consists of chamber music in different instrumental
settings. Repertoire from the past fifty years must also be presented
in a personal and coherent programme, demonstrating the students
individuality and skills.
100

instrument. The graduating master student must be able to perform
contemporary music at a high level (possibly in combination with
other repertoire). See also the assessment form.
Schedule An average of one hour per week
Information Instrumental section heads and section representatives
Subject Study of Parts
Course content Studying and preparing ones own part in an ensemble (Score
Collective), in orchestra projects and internships, and chamber
music.
Learning objectives
Level MA 1 and MA 2
Teacher(s) Principal instrument instructors (see list of teachers) with great

expertise and renown in contemporary music; visiting teachers
Literature, repertoire Contemporary repertoire offered by the Score Collective, ensembles

and projects, and chamber music within the study of principal
instrument
Course format Individual lessons, group lessons
Assessment Assessment is based on adequate functioning within ensemble

(Score Collective) and orchestra projects and internships, and in
chamber music as part of the principal study
Assessment criteria Professionally prepared parts; see also the assessment form.
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Schedule An average of 0.5 hours per week (20 hours per academic year)
Information Section representatives
Course content The study and performance of contemporary repertoire in larger,

mostly conducted ensembles and orchestral settings. Participation
in:
CvA Score Collective; ensemble and orchestra projects focussing on
contemporary music; incidental extramural ensemble internships.
Learning objectives
Level MA 1 and MA 2
Teacher(s) CvA Score Collective: Ed Spanjaard, Arnold Marinissen; member to
be announced at a later date.
Ensemble and orchestra projects: CvA teachers and conductors,
visiting teachers and conductors
Literature, repertoire Contemporary repertoire representative of specific styles,

techniques and ensemble formats, including fresh from the pen
music in cooperation with the composition department
Course format CvA Score Collective: group practice, in part with MA students from
other profiles and BA 4 students at comparable level.
Ensemble and orchestra projects: group practice, together with MA
and BA students.
Ensemble internships: participation in an extramural professional
ensemble.
Assessment Assessment based on the amount of preparation (including the
course Study of Parts), assessment of progress at rehearsals,
performances and recordings.
Assessment criteria Level of performance, ensemble work and positive presence, all at
high professional level. See also the assessment form.
Schedule CvA Score Collective: three projects per year (schedule per
project: one week for group and section rehearsals, one week
for full rehearsals and two performances, of which the first is at
the CvA, the second is extramural).
Ensemble internships: to be announced at a later date.
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Information Head of Percussion
Subject Notation of Contemporary Music
Course content Learning to read, understand, interpret and use different types of
notation developed since 1950
Learning objectives
Level MA 1
Teacher(s) To be announced at a later date.
Literature, Repertoire from 1950 onward, studying and working on special types
repertoire of notation.
Course format Group lessons, including participation by other MA

students as elective
Assessment Skills in the interpretation and performance of (special) notation in

contemporary music are tested in the principal study exams MA 1
and MA 2.
Assessment criteria The graduate master student is capable of interpreting special

notation in effective performance, based on knowledge of and
familiarity with the score, and knowledge of genre, historical context
and composer.
Language English
Schedule Weekly January-April
Information Coordinator electives in master programme
Subject Tuning and Temperament
Course content See information on electives in Study Guide Master Classical Music.
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Learning objectives See information on electives in Study Guide Master Classical Music.
Level MA 1
Teacher(s) Jorge Isaac, Rafael Reina and visiting teachers
Literature, repertoire See information on electives in Study Guide Master Classical Music.
Course format See information on electives in Study Guide Master

Classical Music.
Assessment See information on electives in Study Guide Master Classical

Music.
Assessment criteria See information on electives in Study Guide Master Classical Music.
Language English
Schedule Once every two weeks from September through April
Subject Contemporary Music through Non-Western Techniques
Course content This course concentrates on rhythmical skills based on South

Indian Carnatic music. It will include polyrhythms, metrical
modulation, complex and irregular rhythmic structures and form
aspects. In the last eight weeks of the course students will apply
these rhythmical skills in studying a selected work.
Learning objectives
Course type Recommended elective (including individual credits)
Level MA 1 en MA 2
Teacher(s) Rafael Reina, Jos Zwaanenburg
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Course credits 40 credits for two years, of which:
* 10 credits as electives
* 10 credits as individual credits
* 20 credits: additional
Literature, repertoire Material available in the course
Course format Group lessons, workshop
Assessment Final exams MA 1 and MA 2
Assessment criteria During the course student demonstrates progress and attains a
good level in the final exam and in theory exams MA1 and MA2.
Language English
Schedule 27 weeks per year: 2 hours per week. As of mid-April: 8 weeks

for preparing the closing performance
Profile Contemporary Music (PCM)

Profile Contemporary Music (PCM) is a new master programme, which challenges
students to develop novel musical concepts, multimedia performances and
multidisciplinary projects that reflect a new way of thinking about music and genre.
Contrary to the traditional teacher-student educational structure, PCM functions as a
laboratory, consisting of ten students from different disciplines and departments (jazz,
classical, pop, early music). These students have all obtained their bachelors in
composition, live electronics and/or instrumental/vocal studies, and participate in the
PCM project as a master profile. PCM seeks not to teach how to make music, but how
to be a musician. The method invites carefully selected and promising students to
think carefully about how to build and manage their future careers. But first and
foremost, the programme challenges them to love the experiment, getting influenced
and being inspired.
The PCM programme starts twice a year, in September and February. The point of
departure is always a commission by a festival (for example Night of the Unexpected,
Lowlands, Oerol, Gaudeamus). This is a 100% professional commission and it commits
the PCM team to a high quality realization. The students then have three months to
develop a cross-over production. The content of the production is free and is confined
only by the specifics of the commission. The group can also attract other students of
the conservatory or work with artist in other fields.
Throughout the whole programme, the students are coached by the teachers of the
PCM team. Furthermore, PCM works closely together with musicians, composers and
artists who have an interesting crossover oeuvre, such as guitarist and composer
105

Adrian Belew, DJ/producer Arjen de Vreede (DJ DNA) and cellist/composer Ernst
Reijseger. Every edition, one or even two of them can be asked to be involved in the
project as a guest teacher and 'eleventh team member'. If the result is considered
successful upon its first presentation, the production will be performed at the
commissioning festival and in some cases even other festivals.
The PCM team

Jorrit Tamminga
Jos Zwaanenburg
Erik van Deuren
Walter van Hauwe
106

Conservatorium van Amsterdam
Education and examination regulations 2014-2015
For the study programmes

* bachelor's degree in music CROHO no. 34739
* bachelor's degree in music in education CROHO no. 39112
* master's degree in music CROHO no. 44739
* master's degree in opera CROHO no. 49105
of the faculty of Music of the Amsterdam School of the Arts
The general articles in these regulations also apply to DNOA. For a number of specific articles general
regulations are made, with the Royal Conservatoire, for DNOA. These regulations for DNOA are written
down in the addendum to the CvA regulations, and are therefore a part of these regulations.
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Table of contents
Section 1: General
Section 2: Propaedeutic Phase of the Bachelor's Degree Programmes
Section 3: Post-Propaedeutic Phase of the Bachelor's Degree Programmes
Section 4: Master's Degree Programmes
Section 5: Taking Examinations
Section 6: Examination Results
Section 7: Exemption
Section 8: Temporary interruption and cessation of study
Section 9: Reviews
Section 10: Academic Guidance
Section 11: Preservation of student work
Section 12: Final Provision and Provisions Pertaining to Implementation
Addendum: joint regulations for DNOA
2
Section 1: General
Article 1: Applicability of the Regulations

The Board of the Amsterdam School of the Arts, hereby represented by the Conservatory Board [directie]
of the Conservatorium van Amsterdam, has, with the consent of the Faculty Participation Council
[faculteitsraad], resolved to establish the following regulations regarding the content and structure of the
tuition and examinations of the Bachelor of Music, Bachelor of Music in Education, Master of Music and
Master of Opera programmes. This will be done in accordance with section 7(13) of the Dutch Higher
Education and Research Act (Wet op het Hoger onderwijs en Wetenschappelijk onderzoek (WHW)).
These programmes are offered by the Faculty of Music of the Amsterdam School of the Arts, hereinafter
referred to as the Conservatorium van Amsterdam. In accordance with section 7(14) of the Act, the
Executive Board [College van Bestuur] will also regularly assess and where appropriate amend these
regulations, taking into account the time thus involved for the students.
The students rights and obligations which are connected with these Education and Examination
Regulations, are formulated in the Student Statute of the Amsterdam School of the Arts. This statute is
available on the School of the Arts website. These regulations apply to the education and examinations
of the Bachelor of Music, Bachelor of Music in Education, Master of Music and Master of Opera
programmes unless it is explicitly indicated or it is clear from the context that the relevant passage is only
applicable to one or a limited number of these four programmes. Any reference in these regulations to
the programme or programmes without any additions being given is a reference to all four programmes.
The programmes are offered by the Conservatorium van Amsterdam, the Faculty of Music of the
Amsterdam School of the Arts, hereinafter referred to as the conservatorium.
Article 2: Definitions
In these regulations, the following will be taken to mean:
a. the Law: the Higher Education and Research Act [Wet op het hoger onderwijs en wetenschappelijk
onderzoek, WHW]
b. student: he or she who is enrolled in the Amsterdamse Hogeschool voor de Kunsten to receive training
and/or to take the examinations and undergo the reviews connected with the programme
c. the 'hogeschool': the Amsterdamse Hogeschool voor de Kunsten
d. the Conservatory: The Conservatorium van Amsterdam, the faculty of
Music of the Amsterdamse Hogeschool voor de Kunsten
e. examination board: the committee as referred to in Article 7(12) of the Act, which is charged with, inter
alia, guaranteeing the quality of the examinations;
f. board of examiners: with regard to the preparation and/or implementation of parts of examinations,
boards of examiners can be established as referred to in section 7(12) of the Act. The board of
examiners will be appointed by the examination board;
g. examiner: a member of the board of examiners, as referred to in section 7(12)(3) of the Act. Examiners
are charged with administering and assessing examinations and other forms of testing.
h. admissions board: the board of examiners charged with administering the admissions examination.
i. programme: a coherent whole made up of units of study, aimed at realizing well-defined objectives in
3
the areas of knowledge, insight and skills that those completing the programme should possess
j. bachelor's degree programme: degree programmes in higher education pursuant to Article 7(3)(a)(2) of
the Law with a study load of 240 credits
k. master's degree programme: an advanced programme in higher education pursuant to Article
7(3)(a)(2) of the Law with a study load of 120 credits
l. term: uninterrupted period of lessons acctoring tot the annual academic calendar
m. propaedeutic year: the propaedeutic phase of the programme as referred to in Article 7(8) of the Law.
n. post-propaedeutic phase: that part of the bachelor's degree programme which follows the
propaedeutic year
o. component: a unit of study of the programme within the meaning of the Law.
p. examination: each unit of study is concluded with an examination, which constitutes an investigation of
the candidate's knowledge, insight and skills, as well as an assessment of the results of that investigation
q. practicum: a practical exercise in one of the following forms:
- writing a bachelor's or master's thesis
- writing a paper or creating a project
- carrying out a research assignment
- participating in fieldwork or an excursion
- doing an internship
- or participating in another educational activity aimed at achieving certain skills
r. departments: the Conservatory has the main departments Classical Music, Jazz and Pop music and
Music in Education
s. principal subject: the principal subject is an instrument, vocal study, composition, conducting ot theory
t. study guide: the electronic guide to the programmes containing specific information about them,
published on the Conservatory's intranet
u. recognition of competences: activities carried out or programmes participated in or completed as a
result of which exemptions from programme components may be granted
s. fraud: conduct whereby a student endeavours to reduce or eliminate the possibility of an accurate
assessment being formed of his or her or other students knowledge, understanding and skills
v. plagiarism: the reproduction or paraphrasing or passing off as one's own work, either wholly or in part,
of projects, papers and other written assessments of texts or other works such as compositions and
arrangements of other authors without providing proper source references and without clearly indicating
where citations begin and end.
Article 3: Objective of the Programmes

The primary objective of the programmes is to provide students with the knowledge, insight and skills
necessary for successful careers as teachers, performing musicians and/or composers.
The underlying objectives of the programme are as follows: The programmes must focus on the artistic
and professional world in the broadest sense and the teaching profession to which it is connected. In
addition to performing with orchestras, ensembles and on stage, graduates will also work at cultural
institutions, in education and as independent entrepreneurs.
The programmes are 'socially relevant' in that the exit requirements have been tailored to the greatest
4
extent possible to meet the demands of the professional world. To this end, direct contact with the
professional world is a necessity.
Objective and exit qualifications

The relationship between objectives and exit qualifications in the individual programmes or main subject
has been incorporated in the study guide.
The substance of each programme and exit qualification is described in the study guide.
The programmes are conducted in two languages: Dutch (Classical Music, Jazz, Pop Music and Music in
Education divisions) and English (Classical Music and Jazz divisions).
Bachelor's Degree Programme in Music

subject clusters for musicians
* instrumental and vocal principal subjects (classical music, early music, jazz and pop music)
* conducting (choral, orchestral, concert and brass band)
* theory of music (classical music and jazz)
subject clusters for composition students
* composition (classical music)
* composition/arranging (jazz)
Bachelor of Music in Education Degree Programme

subject clusters for music in education
* music teacher in primary education
* music teacher in seconday education
* community music teacher
Master's Degree Programme in Music

subject clusters for musicians
* instrumental and vocal principal subjects (classical music and jazz)
* principal subject of contemporary music (including Live Electronics)
* conducting (choral, orchestral, concert and brass band)
* theory of music (classical music and jazz)
* theatre singer/performer (in collaboration with De Theaterschool)
subject clusters for composition students
* composition (classical music)
* composition/arranging (jazz)
* composing for film (in collaboration with the Netherlands Film
Aacdemy)
Master's Degree Programme in Opera

subject clusters for opera
5
Article 4: Full-time
The programmes are offered on a full-time basis.
Article 5: The Examinations

5.1 The following examinations may be given in the bachelor's degree programmes:
* the propaedeutic examination
* the final examination
5.2 The following examination may be given in the master's degree programmes:
* the final examination
Section 2: Propaedeutic Phase of the Bachelor's Degree Programmes
Article 6: Structure and Study Load

The course components of the propaedeutic year have been defined on the website by department,
programme and principal subject along with the corresponding study load, term and type of examination
administered (written, oral or practical). Students must earn a total of 60 credits during the propaedeutic
phase.
Article 7: Binding Recommendation Regarding the Discontinuation of the Student's Studies

7.1.a. At the end of the propaedeutic year, each student will be issued a recommendation regarding the
continuation of his/her bachelor's studies by or on behalf of the Conservatory Board [directie]. Where
appropriate, the website contains further regulations pertaining to the recommendation.
7.1.b. Students enrolled on a bachelor's programme who have yet to pass the propaedeutic examination
may be dismissed pursuant to Article 7(8)(b) of the Law for an indefinite period if their academic
performance fails to meet the following requirements:
I. the student must have earned all credits for the core subjects
II. the student must have earned at least 70% of the credits for the additional theoretical subjects
III. the student must have earned at least 50% of the credits for any introductory or auxiliary subjects
included in his/her course of study.
7.1.c. A student may also be dismissed indefinitely if he or she fails to complete the propaedeutic year
within two years of enrolling in a programme.
7.1.d. The dismissal is binding. Furthermore, students who are dismissed may not enrol again in the
'hogeschool' for the purpose of pursuing the degree for which the dismissal was issued.
7.2. The division of each individual principal subject into core subjects, additional theoretical subjects and
introductory and auxiliary subjects is listed on the website.
6
7.3. The Executive Board [College van Bestuur] will issue the dismissal at the Conservatory Board's
recommendation and with due regard to the personal circumstances of the student in question.
The personal circumstances will be limited to:
a. illness of the student in question
b. physical, sensory or other functional impairment of the student in question
c. pregnancy of the student in question d. special family circumstances
e. membership in or chairpersonship of the Central Participation Council [Centrale
Medezeggenschapsraad], the Faculty Participation Council [Facultaire Medezeggenschapsraad] or
another formal faculty council
f. other circumstances to be indicated by the 'hogeschool' in which the student in question carries out
activities within the context of the organization and the management of the affairs of the 'hogeschool'
g. membership in the board of a student organization of considerable size having full legal capacity, or in
a similar organization of considerable size for which the protection of the general interests of society are
focal and which does, in fact, carry out activities to this end. The provisions apply only to the positions of
chairperson, secretary and treasurer.
7.4. Prior to dismissal, the student in question will receive a written warning from or on behalf of the
Conservatory Board no later than 1 February of the current academic year. If a considerable deterioration
in the student's performance merits a written warning only after 1 February, this warning will still be
issued. The Student Counsellor and the Study Adviser will be informed of this warning, as a result of
which the Student Counsellor or the Study Adviser may issue a recommendation to the Conservatory
Board.
7.5. If the Conservatory Board intends dismissing a student on behalf of the Executive Board, it will notify
the student counsellor in writing, who will have five working days to issue a recommendation to the
Conservatory Board at his or her discretion. The student will also be informed of the Conservatory
Boards intention as well of the option to explain his or her position to the student counseloor based on
personal circumstances. The student will be heard by the chairperson of the examination board regarding
the intention of the Conservatory Board. If the student expresses the wish to be heard in relation to the
Conservatory Boards intention, he or she may meet with the chairperson of the examination board.
7.6. Any student claiming to be affected by personal circumstances as referred to under 3(b) will be
required to submit the necessary evidence of such circumstances to the Student Counsellor's Office or
programme coordinator. In the event of illness, special family circumstances, a physical, sensory or other
functional impairment or pregnancy of the student in question, he/she must submit a doctor's certificate
attesting to such a condition.
7.7. If the Student Counsellor does not issue a recommendation to the Conservatory Board, he or she will
notify it in a timely manner. The Conservatory Board will inform the student of the Student Counsellor
decision in writing, providing a copy to the Student Counsellor.
7
7.8. If the Student Counsellor does issue a recommendation based on personal circumstances, the
Conservatory Board will inform the Executive Board of its intention to issue a dismissal notice regarding
the students studies, making the complete file available. In such instances the Executive Board will
decide on whether to issue a binding recommendation and will notify the student of it in writing, providing
copies to both the Conservatory Board and the Student Counsellor.
7.9. Dismissal will be effected at the end of the last term, but no later than on 15 July of the current
academic year. The student will be notified in writing of his or her dismissal, at the address that he or she
has most recently registered with the central student office. The decision of the Conservatory Board or
the Executive Board will set forth the appeal procedure.
7.10 If the propaedeutic phase is extended, the conditions and requirements to be satisfied by the
student as well as the time limit for meeting them in order to preclude the issue of a dismissal notice will
be recorded in writing.
7.11 A dismissal notice may be issued at any time during the propaedeutic phase.
Section 3: Post-Propaedeutic Phase of the Bachelor's

Degree Programmes
Article 8: Structure and Study Load

The course components of the post-propaedeutic phase have been defined in the study guide by
department, programme and principal subject along with the corresponding study load, term and type of
examination administered (written, oral or practical). Students must earn a total of 180 credits during the
post-propaedeutic phase.
Section 4: Master's Degree Programmes
article 9: Structure and study load

The master's degree programmes are structured by means of an individual plan of study. The committee
of examinators of the master's programme will assess the individual plan of study submitted by the
student. The subjects that can be taken in the master's degree programmes are defined in the study
guide and in the programme description of the master's subjects. The master's degree programmes are
concluded with a final examination. Students must earn a total of
120 credits during the master's programme.
The following stipulations in respect of the structure, the taking and administering of examinations and
reviews for the bachelor's degree programmes will, to the greatest extent possible, apply mutatis
mutandis to the master's degree programmes.
8
Section 5: Taking Examinations
Article 10: Order of the Examinations

10.1. Students may not take an examination until they have successfully passed all other examinations
from previous terms or academic years in that same subject unless the syllabus of a certain subject
explicitly permits this.
10.2. Under the following conditions, the examination board may, at the student's request, allow him/her
to take certain post-propaedeutic examinations before he/she has passed the propaedeutic examination:
I. the student must have successfully passed the minimum required propaedeutic components so as not
to risk being issued a binding recommendation to discontinue his/her studies as referred to in Article 7;
II. the student will be allowed to take only the examinations for those components of which the student
has already passed the propaedeutic examination;
III. permission to take the examinations will be valid for a period to be determined but not to exceed
twelve months.
Article 11: Examination Periods and Frequency of Examinations

11.1. For the components referred to in Articles 6 and 8, students will be given at least one opportunity
during the academic year in which the examination is offered to resit that examination. The examinations
taken initially and resat by students of the components referred to in Article 6 have no influence on the
time periods stipulated in Article 7, within which students must earn the required number of credits in
each category of subjects in the light of the regulations pertaining to the binding recommendation
regarding the discontinuation of studies set forth therein.
11.2. Notwithstanding the provisions of the foregoing subclause, students will be given but a single
opportunity to take the examination of a component in which he/she is not enrolled in a given academic
year.
11.3. Students may not take any particular course component more than twice. If a student fails to
complete the course component, then in consultation with study supervisors he or she must
independently acquire the requisite knowledge in order thus to complete the course component
successfully.
Article 12: Qualifying examination for moving up from the first to the second study year of the master's
degree programme
12.1 All students take a qualifying examination at the end of the first study year of the master's degree
programme. If the result of this examination is insufficient, the student is entitled to a re-examination
during the re-examination week at the end of August of the same year. If the qualifying examination takes
place outside the examination period from May to July, the re-examination will take place within two
months after the examination which the student has failed.
9
12.2 Students may only participate in the lessons and examinations of the second study year of the
master's degree programme after they have passed the qualifying examination from the first to the
second year.
12.3 If a candidate has not shown up at the examination without a valid reason (please see article 7.3 of
these regulations), he/she forfeits the right to a re-examination.
Article 13: Form of the Examinations

13.1. The examinations of the components referred to in Articles 6 and 8 will be taken in the manner
indicated in the study guide. At the
student's request, the examination board may allow an examination to be given in a manner other than
that referred to above.
13.2. Physically disabled students and students suffering from a sensory impairment will be given the
opportunity to take their examinations in a manner most suited to meet any special needs they may have.
Where necessary, the examination board will obtain the opinion of one or more experts before rendering
a decision.
Article 14: Oral and Practical Examinations

14.1. Oral and practical/performance examinations are administered individually unless the make-up of
the examination requires otherwise or the examination board has determined differently.
14.2. Oral and practical/performance final examinations, the research presentation and the exam at the
end of the first year of the master's programme are open to the public unless the examination board or
the examiner in question exceptionally determines otherwise.
Section 6: Examination Results
Article 15: Determining and Announcing the Results

15.1. After having administered an oral/practical/performance examination, the examiner will determine
the results and issue these to the student in a written statement, accompanied by a list of reasons in
support of the results.
15.2. The examiner will determine the results of a written examination within 30 days of the day on which
the examination was administered and will provide the Conservatory Registrar Office with the necessary
information for issuing written proof of the results to the student.
15.3. In the written statement notifying the student of his/her results in respect of an examination, the
student will be informed of his/her right of inspection as referred to in Article 16(1).
15.4 The examiner is responsible for promptly notifying the

10
Conservatory Registrar Office of students examination results by means of a report card.
Article 16: Period of Validity

Examination components passed are valid for six years. With respect to a certain component for which
the examination was taken more than six years subsequently, the examination board can,
notwithstanding the foregoing and based on a reasoned recommendation by a teacher, require that the
student take an additional or alternative examination before permitting him/her to take the examination in
question.
Article 17: Right of Inspection

17.1. For at least 30 days after the results of a written examination have been announced, the student
may request to inspect his/her evaluated work. He/she may request a copy of the aforementioned work,
which will be provided at cost.
17.2. During the period referred to in the first subclause, any member of the Conservatory population
may acquaint himself/herself with the questions and tasks relating to the examination involved, as well as
with the standards on the basis of which the assessment was made.
Section 7: Exemption
Article 18: Exemption from Examinations

18.1 At the request of the student and recommendation of the relevant study advisor/study coordinator,
the examination board can exempt a student from an examination of a component referred to in Article 6,
8 or 9 if that student meets one of the following conditions:
I. the student has passed an examination of a similar component and with respect to content, level and
study load as part of a comparable professional training course in the Netherlands
II. the student has passed an examination of a similar component with respect to content, level and study
load as part of a comparable university degree programme in the Netherlands
III. the student can produce evidence that he/she has worked for a number of years to be determined by
the examination board in an area relevant to the examination in question or has practised a profession
relevant to the examination in question
IV. the student has passed an examination of a similar component with respect to content, level and
study load as part of a comparable course abroad, possibly after a Nuffic committee charged with
comparing the foreign diploma with that of a comparable programme offered in the Netherlands has
recognised the examination.
The recommendation of the study advisor/study coordinator will be made using the designated form and
will be accompanied by the requisite supporting documents.
18.2 If a student is exempted from one or more examinations, he or she will not participate in any
course(s) in preparation for that/those examination(s).
11
Section 8: Temporary interruption and cessation of study
Article 19
19.1 A student may submit a reasoned request to the study supervisors to interrupt his or her study for a
specific period. The study supervisors will decide whether to grant this request.
19.2 If the students request is granted, the study supervisors and the student will agree in advance about
when and under what conditions the student will be entitled to resume his or her study.
19.3 A student must de-register in order to interrupt his or her study.
19.4 A student may not interrupt his or her study for more than one year.
19.5 If a student prolongs the agreed interruption of study without obtaining permission from the head of
division, he or she will be deemed to have ceased studying without being automatically entitled to resume
studies. In that case the study supervisors may deny a request for a renewed entrance examination.
19.6 A student who interrupts his or her study by de-registering without complying with the stipulations
laid down in paragraphs 1 to 4 will be deemed to have ceased studying and will not be entitled to resume
studies. In that case the study supervisors may deny a request for a renewed entrance examination.
19.7 To administer the entrance examination, the study supervisors will appoint an assessment
committee which will determine whether and at what level a student may resume his or her studies and
which components of the programme he or she must complete or repeat from the preceding phase of
study. This recommendation will be submitted for the approval of the examination board.
Section 9: Reviews
Article 20: Review Periods and Frequency of Reviews

20.1 Once the student has submitted sufficient proof that he/she has passed the examinations of the
components making up the course, he/she will be given the opportunity of undergoing a review.
20.2 The student will only receive his/her diploma after he/she has successfully completed all course
components.
Article 21: Final Exam Results

21.1. The examination board will determine the results of the final exam once the student has submitted
sufficient proof that he/she has passed the required examinations.
12
21.2. Notwithstanding the provisions of the first subclause, the examination board can, prior to
determining the results of the examination, enquire into the student's knowledge, insight and skills with
regard to one or more components of the programme, if and to the extent that the results of the
examinations in question give it cause to do so.
Article 22 Degree Certificates

22.1 Once a student has passed the final degree programme examination, he or she will be awarded the
corresponding degree certificate by the examination board.
22.2 The examination board may mark a Bachelors Degree or Masters Degree certificate 'cum laude' if
in the unanimous opinion of the examination board members the student has shown an exceptional level.
Article 23: Fraud and plagiarism

23.1. If in any examination or any other form of assessment an examiner suspects that a student has
committed fraud, he or she will inform the examination board in writing as soon as possible.
23.2. The examination board will decide within two weeks on the measures it will take. It will not make
that decision before the student in question has been heard or at least proper action has been taken to
summon the student to a hearing. A report will be drawn up of the hearing.
23.3. The examination board will draw up its decision in writing. It may mean that the student is denied
the right to re-take the component in which he or she is found to have committed fraud for a period of
time determined by the board.
23.4 The examination board will stipulate that the examiner must mark the student 0 (zero) for the
component in which he or she has committed fraud. The decision will state the students options for
appeal or objection and the applicable time limits.
23.5 Articles 23.1 to 23.4 apply correspondingly to instances of plagiarism.
23.6 If a student commits fraud or plagiarism with the knowledge and/or cooperation of a fellow student,
the latter will be an accessory, to whom the relevant guidelines and procedures will apply
correspondingly.
Article 24: The Examination Appeals Board

The student may appeal to the Examination Appeals Board as referred to in Article 7 (60) of the Law in
respect of decisions rendered by the examination board or examiners, or of decisions as referred to in
Article 7 (Dismissal).
13
Section 10: Academic Guidance
Article 25: The Student's Performance and Academic Guidance

25.1. The Conservary Board will ensure that the student's results are recorded such that each student
can obtain an overview of his/her results with respect to the course curriculum.
25.2. The Conservary Board will ensure that the progress of students enrolled on the programme will be
monitored partly for the purpose of introducing them to possible learning tracks in and outside the
programme.
Section 11: Preservation of student work
Article 26
26.1 Theses, recordings of final practical examinations, reports and assessments will be preserved seven
years following the date affixed to them.
26.2 The material referred to in paragraph 1 may be used to communicate about the programme or for
educational or accreditational purposes.
Section 12: Final Provision and Provisions Pertaining to Implementation
Article 27: Special Power of the Examination Committee

27.1 In respect of examinations and reviews governed by the present Education and Examination
Regulations, the Conservatory examination board is entitled to adopt additional regulations.
27.2 In individual cases the examination board is authorized to make an exception to the Education and
Examination Regulations in favour of a student if there are important reasons for doing so.
Article 28: Notification and Modification

28.1. Modifications to the present regulations will be adopted by means of a separate resolution, but not
after the proposed resolution has been approved by the Faculty Participation Council.
28.2a The Education and Examination Regulations in force will be made public before the start of the
academic year.
28.2b. The Faculty Board will ensure that the present regulations, the rules and guidelines established by
the examination board, and any modifications of these documents are duly made public.
14
28.2c. No modifications which apply to the current academic year will
be made unless reasonable standards dictate that the students' interests will not be prejudiced. In the
eevent of major changes from the previous Education and Examination Regulations a transitional
arrangement will be made for current students.
Article 29: Entry Into Force

29.1 These regulations will come into effect on 1 September 2014. Enacted by order of the Conservatory
Board on 17 June 2014 having obtained the approval of the Faculty Participation Council on 26 May
2014.
15
Addendum to the Education and Examination Regulations (OER) 2014-15 of the
Conservatorium van Amsterdam and the Education and Examination Regulations
(OER) 2014-15 of the Royal Conservatoire
1. General
The boards of the Amsterdam School of the Arts and the University of the Arts The Hague,
herewith represented by the directorates of the Conservatorium van Amsterdam and the
Royal Conservatoire, attach this addendum to the Education and Examination Regulations
(OER) of both conservatories. The addendum is endorsed by the faculty counsels of both
conservatories and concurs with article 7.13 of the Dutch law for higher education and
scientific research. It concerns the content and form of the educational programme and
examinations for the Master of Opera degree at the Dutch National Opera Academy
(DNOA). This DNOA master programme is jointly offered by the Music Faculty of the
Amsterdam School of the Arts (hereinafter Conservatorium van Amsterdam) and the Royal
Conservatoire of the University of the Arts The Hague.
The general provisions, including the enactment and the date of coming into operation of
the Education and Examination Regulations of both conservatories, apply fully to the
DNOA. The purpose of this addendum is to synchronize the DNOA programme and its
student assessments with the regulations of both conservatories.
2. Programme
The two-year DNOA programme consists of four semesters. Each semester is comprised of
an instruction period and a project period. The programme is presented each semester in
the digital study guide, including course form, assessment, and number of credits.
3. Auditions
Audition requirements for enrollment at the DNOA are specified on the DNOA website. A
successful audition for the DNOA means that a student has demonstrated sufficient
qualities to be able to attain the final qualifications.
4. Sequence of Exams
A prerequisite for admission to an exam is that all previous exams in said subject or
academic year have been successfully passed, unless the curriculum of a subject
specifically allows exception to this prerequisite.
5. Exams and Re-exams

5.1 If a student fails an exam, he/she will be offered the opportunity to take the exam again
within the same academic year.
Page 1.3
5.2 By way of derogation from article 5.1, students are offered only one opportunity to take
an exam for a course not on offer in said academic year.
5.3 Students can enroll a maximum of two times for each part of the programme. If still not
completed successfully, students must consult the head of the department on how to
prepare for the exam on their own.
6. Type of Exams
The DNOA has two types of exams: written and practical. Exams for cognitive courses will
be given as described in the DNOA study guide. If requested by a student and after consent
is obtained from his/her instructor, the committee of examiners may permit a student to take
another form of examination.
7. Practical Exams
7.1 Each semester students taking practical courses are assessed in a practical exam,
consisting of the realization of a project at the end of the semester. The practical exam is by
its nature almost always a group exam, in which the individual achievements of each
student are judged as an integral part of the entire project.
7.2 Practical exams are open to the general public, unless determined otherwise in special
cases by the principle examiner or the committee of examiners.
8. Exam Results
8.1 At the end of each semester the integral development of a student is discussed at a
plenary evaluation meeting. During this meeting both the students achievements in the
opera production and the students overall development during the past semester are
evaluated.
8.2 At the conclusion of the evaluation meeting, the artistic director of the DNOA
(chairperson of the committee of examiners) meets with each student to relay the
evaluation. This is followed by a written and motivated statement, presented to the student
by the chairperson of the committee of examiners.
8.3 Twice a year the chairperson of the committee of examiners is responsible for timely
relaying student evaluations to the administration of the appropriate conservatory.
9. Final Exam
Page 2.3
9.1 The final exam consists of the successful completion of a project in the fourth semester,
unless in exceptional cases the central exam committee or the appointed committee of
examiners determines otherwise.
9.2 The final exam is an integral evaluation of the students development and level of
achievement. Each student final exam file includes:
- Overview of six complete roles (suited to the students type of voice), studied during
enrollment in the programme;
- Extensive list of audition repertoire, suited to the students type of voice;
- Participation in two to four fully staged opera productions;
- Written part of the exam, based on research into one of the roles performed.
9.3 The committee of examiners for the final exam at the DNOA is comprised of staff
members of the DNOA, the principle vocal instructor of the candidate, and an external
expert. Assessment of the student by the committee of examiners takes place directly after
the final exam performance. Directly after the committees assessment, the results of the
examination are verbally communicated.
9.4 The assessment criteria are described in the DNOA study guide. The result of the exam
is expressed in a grading system ranging from 1 to 10.
10. Cum laude

If the student is unanimously judged to have demonstrated exceptionally high standards,
the committee of examiners can add the designation cum laude on the degree certificate.
Page 3.3

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Classical Music

Master's Degree Programmes

Study Guide Master Clasical Music 2014-2015

Master of Music in Voice 11

Master of Music in Keyboard Instruments 14

Master of Music in String Instruments 23

Maste of Music in Woodwinds 42

Master of Music in Brass 60

Master of Music in Percussion 68

Master of Music in Conducting, Theory of Music and Composition 71

Study Guide Master Clasical Music 2014-2015

Master of Music in Other Subjects 80

Master Specialisations as part of a principal subject 87

Attachment: Education and examination regulations

Study Guide Master Clasical Music 2014-2015

The master's programme maintains a careful balance between knowledge and

Study Guide Master Clasical Music 2014-2015

Michiel Schuijer, Master Electives and Research Coordinator

Study Guide Master Clasical Music 2014-2015

Course type Mandatory, part of principal study

Teacher(s) Research coordinators Michiel Schuijer, Walter van de Leur,

Literature, Research Guide for Master Students. Further literature and/or

Assessment A written report of the research and a public presentation.

Assessment criteria originality of the topic

Language English (Dutch is also possible; please consult research

Study Guide Master Clasical Music 2014-2015

Location CvA, Oosterdokskade 151

Information Coordinators MA research: Michiel Schuijer, Walter van

There are two kinds of electives:

Categorie A: History, Theory, Analysis, Arranging

Please find below an overview of the master electives in Category A.

department subject teacher(s)

Interpreting and editing an

Mahler and Adorno Wim Markus

Time Constructions in 20th-

Study Guide Master Clasical Music 2014-2015

Sources and Resources: From

Watching Music: The Basics Michel Khalifa, Jan Derk van

The Musical Mind: Issues in Marieke Oremus, Lolke van

Baroque Dance: Practice and

Playing with Treatises Thrse de Goede

Writing Cadenzas Herman Jeurissen

Russian Chamber Music and

Contemporary Music through Rafael Reina, Jos

jazz department Reading Black Music Walter van de Leur

Duke Ellington and Billy

Debussy, Ravel, and

Study Guide Master Clasical Music 2014-2015

department subject teacher(s)

Orchestral Practice and

Music Theatre and Stage

Advanced Rhythm Jos Zwaanenburg

Jorge Isaac, Rafael Reina,

Electronic Music Jorrit Tamminga

Building a Successful Leo Dijsselbloem, guest

Marja Mosk, Boni Rietveld,

Baroque Dance: Practice and

Playing with Treatises Thrse de Goede

Writing Cadenzas Herman Jeurissen

Russian Chamber Music and

Contemporary Music through Rafael Reina, Jos

jazz department Practical Studio Technique Attie Bauw