Conservatory of Brussels - Erasmushogeschool Brussel

Royal
Conservatory of
Brussels
School of Arts
2014
ba/ma Music
ba Musical
Music Teaching Certification Programme
Royal C onservatory
of B russels |
Regentschapsstraat 30, 1000 Brussel
Tel.: 02/513 45 87 | Fax: 02/513 22 53
[email protected] | www.kcb.be
S chool
of
A rts
C ontents
Preface3
Enrolment4
Study curricula
4
Bachelor & Master in music
5
Music theory and writing
7
Composition 9
Conducting10
Instrument / voice
12
Polyphonic instruments and voice
15
Historical instruments
21
Jazz
25
Postgraduate music
28
Musical29
Music teaching certification programme
33
Programme entrance examination 35
General information
39
Open house 2014
41
How to reach the Royal Conservatory Brussels?
42
This informational booklet was realized by the department Koninklijk Conservatorium
Brussel in cooperation with the Public Relations Division of the Erasmushogeschool
Brussels. The course curricula presented here are still subject to change due
to ongoing changes in government regulations. Please contact the department
Koninklijk Conservatorium Brussel itself for the most recent informational updates.
Fotos: Joost Goethals, Daniel Suy and Erasmushogeschool Brussel.
Editorial Offices: Peter Swinnen, Department Chair. Januari 2014.
2
P reface
Building upon a rich international tradition the Royal Conservatory of Brussels
wants to educate and train gifted students into excelling musicians who are inquisitive and open-minded and contribute to society through artistic reflection on it.
The ultimate goal of the process of “academisering” is to integrate research into
the educational system and into artistic performance. The conservatoire does not
produce pseudo-scientists but aims to educate conscious, well-informed, critical
musicians who are in touch with a broad cultural context and are able to work with
intuitive, emotional and spiritual contents and integrate these contents into the
realisation of a work of art. This process is charactericed by a continious tension
between ‘tradition’ and ‘innovation’.
In a world in which prosperity is very much defined in economic terms as a function
of material wealth, profitability, efficiency and usefulness, the Royal Conservatory
of Brussels wants to contribute to man’s overall sense of well-being through music
and art. The art of music is particularly well suited to this purpose because of its
ability to strike man’s cognitive and emotional chords and create an integration
of both.
The Conservatory is located in the cultural heart of Brussels. It organizes numerous artistic events and is therefore very much a part of and contributor to the
social and cultural life of the capital city. The Queen Elisabeth Contest, the
Festival of Flanders, the Festival of the Arts (KunstenfestivaldesArts), Ars Musica,
the Munt Opera House, the Museum of Instruments, the fine arts museum Bozar,
the Flagey initiative, the Goethe-institute: these are just a few of the cultural
events and names of other institutions the Conservatory actively contributes to or
cooperates with.
The Conservatory can dissipate its artistic, esthetic and human values in a very
rich context thanks to its international faculty and student body, the multicultural
character of the surrounding city and the Conservatory’s integration in the city’s
cultural and social life. The multicultural dimension of the Conservatory not only
shows through its music curricula and concert programs, but can be experienced
daily through interaction with the people teaching and studying there.
The Royal Conservatory of Brussels is first and foremost an artistic institute of
higher learning. The achievement of the highest degree of artistic competence is
essential for music to reveal its full significance. All participants in the musical
learning process are confronted with and must deal with the tension between
“tradition” and “innovation”. Every musician must strike a balance between
these two ends of the spectrum so as to avoid gliding off into either pure conservatism or new-modern opportunism. All sections within the Conservatory (Music
Theory / Instrument – Vocal / Historical instruments / Jazz / Musical / and Teacher
training) deal with this tension between tradition and innovation in their own way
by emphasising different aspects of the continuum in their programs.
3
The music curricula and forms of examination at the Royal Conservatory of
Brussels are based on international standards and checked against the curricula of similar European institutions. An international perspective is essential
and very beneficial for students and faculty both here and abroad as it sets
standards of quality and excellence.
For each student a move to the capital city of Europe to the Royal Conservatory
of Brussels equals a move into the world.
Peter Swinnen, Department Chair
Enrolment
An entrance examination is required of every new student. The examination
pertains to overall knowledge of music and to the instrument the student
wants to select in its future study program.
The study curricula can be viewed on the website or consulted in print in
the study guide. Upon request they can also be mailed to you. The website
and study guide also contain further information regarding general admission
requirements, part-time study programs, qualifications needed to be considered for reductions in course load and study program, and many other topics.
The dates of the artistic admission tests are posted on the website or can be
obtained by contacting the office of students affairs at KCB. Participation
requires no later than two weeks prior to the date of the test. An entrance
examination at a later date can only be scheduled upon approval of the
Department Chair based upon a request addressed to the Course Program
Coordinator stating the reasons for the exception requested.
Enrolment is only effective after all required doCHments and copies of diploma’s and study certificates have been submitted to the student administrative
office.
More information: www.ehb.be/inschrijven.
Study
curricula
This prospectus gives a general overview of the study curricula. For further
information please consult the website www.kcb.be.
Course workload is expressed on an annual basis in terms of number of class
hours per year. However, on a weekly basis course work load can vary greatly
due to the project based nature of certain courses (e.g. choir and orchestra).
Other courses are semester-based.
4
Bachelor & M aster
in
Music
Music Theory / Writing
Ba 1
Ba 2
Ba 3
Ma 1
Ma 2
Writing
Writing
Writing
Writing
Writing
Composition
Ba 1
Ba 2
Ba 3
Ma 1
Ma 2
Composition
Composition
Composition
Composition
Composition
Conducting
Ba 1
Ba 2
Ba 3
Ma 1
Ma 2
Orchestral
Orchestral
Orchestral
Orchestral
Orchestral
Conducting
Conducting
Conducting
Conducting
Conducting
Wind
Wind
Wind
Wind
Wind
&
&
&
&
&
Brassband
Brassband
Brassband
Brassband
Brassband
Instruments
Instruments
Instruments
Instruments
Instruments
Historical
Historical
Historical
Historical
Historical
Conducting
Conducting
Conducting
Conducting
Conducting
Instrument / Voice
Ba 1
Ba 2
Ba 3
Ma 1
Ma 2
Orchestral
Orchestral
Orchestral
Orchestral
Orchestral
Instruments
Instruments
Instruments
Instruments
Instruments
Ba 1
Ba 2
Ba 3
Ma 1
Ma 2
Piano
Piano
Piano
Piano
Piano
Harp
Harp
Harp
Harp
Harp
Guitar
Guitar
Guitar
Guitar
Guitar
Jazz
Jazz
Jazz
Jazz
Jazz
Instr./ Voice
Instr./ Voice
Instr./ Voice
Instr./ Voice
Instr./ Voice
Composition, Arranging
Composition, Arranging
Composition, Arranging
Voice
Voice
Voice
Voice
Voice
Jazz
Ba 1
Ba 2
Ba 3
Ma 1
Ma 2
5
P ostgraduate
After a master instrument
Bachelor Musical
Musical
Ba 1
Musical
Ba 2
Musical
Ba 3
Musical
Offered in 4 years of ± 45 credits.
Music Teaching C ertification P rogramme
During or after each master
6
Bachelor & M aster
in
Music
Course Program Coordinator: Eric Van Leuven
Music Theory & Writing
Teaching
staff
General Music Education
Rudy Van der Cruyssen
Bart Buyle
History of Music
Christine Van den Buys
Johan Eeckeloo
Koen Buyens
Orchestral Conducting
Patrick Davin
Bart Bouckaert
Wind & Brass Band conducting
Norbert Nozy
Harmony - Counterpoint Fugue and Composition
Kristin De Smedt
Franklin Gyselynck
Jan D’haene
Jan Van Landeghem
Jurgen De Pillecyn
Ann Kuppens
Peter Swinnen
Hans Van Daele
Sofie Van Herle (assist.)
Wouter Lenaerts (assist.)
Analysis
Annelies Van Parys
Applied Harmony
Dirk De Hertogh
Wouter Lenaerts (assist.)
Helmut De Backer
Peter Kestens (assist.)
Lies Van Avermaet (assist.)
Marc Vandewiele (assist.)
Ethnic Music
Martin Gort (assist.)
Encylclopedia
N.N.
Posture and Movement
Eef Pareyn (assist.)
Vocal Training
Lu Yu-Cheng (assist.)
Music Technology
Katarzyna Glowicka (assist.)
History of Culture
Koen Buyens
7
Bachelor Music
writing
Ba 1
CH CR
Required subjects
Ba 2
CH CR
Ba 3
CH CR
45
15
60
6
Harmony I, II, III
45
15
45
15
Theory and ear training 1, 2
80
4
80
4
Rhythm and intonation 1, 2
100
5
100
5
History of music 1, 2, 3
60
6
60
6
Encyclopedia and research
30
3
Applied harmony 1, 2, 3
30
9
Score arranging & reduction 1, 2
30
9
30
9
30
9
30
9
60
3
Musical instruments 1, 2
30
6
30
6
Choir 1, 2, 3
60
3
60
3
History of culture 1, 2
30
3
Formal analysys 1
Optional subjects
6
Total
M aster Music
465
60
3
6
3
435
60
9
285
60
writing
Required subjects
Ma 1
CH CR
Counterpoint I
45
12
Counterpoint II
45
18
Analysis counterpoint
30
6
Ma 2
CH CR
Fugue (Master exam)
60
Analysis Fugue
30
6
30
9
60
3
Orchestration I, II
30
9
Formal analysis 2
30
6
Applied harmony 4
30
6
Introduction to philosophy
Optional subjects
Total
CR: credits
CH: contact hours
8
30
30
3
210
60
30
12
180
60
Bachelor C omposition
Ba
CH
45
60
1
CR
15
12
Required subjects
Harmony III
Composition I, II, III
Counterpoint I
Counterpoint II
Formal analysis 1, 2
Theory and ear training 2
Rhythm and intonation 2
History of music 1, 2, 3
Encyclopedia and research
History of culture
Musical instruments 1, 2
Score arranging & reduction 1
Orchestration I
Contemporary music notation
Optional subjects
80
100
60
30
4
5
6
3
30
6
Total
405
Ba 2
CH CR
Ba 3
CH CR
60
45
12
12
60
12
30
6
45
30
18
6
60
6
60
6
30
30
30
3
6
9
30
30
9
3
6
255
60
9
60
6
285
60
M aster C omposition
Ma 1
CH CR
60
24
Required subjects
Composition IV
Composition (master exam)
Orchestration II, III
Analysis (for composers) I, II
Introduction to philosophy
Optional subjects
30
30
30
Total
150
9
6
3
18
60
Ma 2
CH CR
60
30
30
30
9
9
12
120
60
Preliminary studies: proof of obained competencies needed for harmony I, II and for theory and
eartraining 1 and rhythm and intonation 1
Recommended optional subjets:
Orchestral conducting
Music technology
Applied harmony
Ethnic music
Fugue (in master)
Artistic project (in master)
CR: credits
CH: contact hours
9
Bachelor O rchestral
conducting
Ba
CH
45
60
Required subjects
Harmony III
Orchestral conducting I, II, III
Counterpoint I
Counterpoint II
Analysis counterpoint
Theory and ear training 2
Rhythm and intonation 2
History of music 1, 2, 3
Encyclopedia and research
Musical instruments 1, 2
Formal analysis 1, 2
Score reading & reduction 1, 2
History of culture 1
Optional subjects
80
100
60
30
30
30
Total
M aster O rchestral
435
1
CR
15
12
4
5
6
3
6
Ba 2
CH CR
Ba 3
CH CR
60
45
60
12
45
30
18
6
60
6
60
6
30
30
30
6
6
9
30
30
6
9
3
6
60
12
12
9
255
60
3
255
60
conducting
Ma 1
CH CR
60
24
Required subjects
Orchestral conducting IV
Orchestral conducting (master exam)
Score reading & reduction 3
Orchestration I, II
Contemporary music notation
Introduction to philosophy
Training sessions
Optional subjects
Total
30
30
30
6
9
3
0
9
9
150
60
Ma 2
CH CR
60
30
30
9
30
0
3
12
6
120
60
Preliminary studies: proof of obained competencies needed for harmony I, II and for theory and
eartraining 1 and rhythm and intonation 1
Recommended optional subjets:
CR: credits
CH: contact hours
10
Posture and Movement in bachelor
Bachelor Wind &
brassband conducting
Required subjects
Harmony III
Wind and brassband conducting I, II, III
Counterpoint I
Counterpoint II
Analysis counterpoint
Theory and ear training 2
Rhythm and intonation 2
History of music 1, 2, 3
Encyclopedia and research
Musical instruments 1, 2
Formal analysis 1, 2
Score reading & reduction 1, 2
History of culture 1
Optional subjects
Total
M aster Wind &
Ba
CH
45
60
80
100
60
30
30
30
435
1
CR
15
12
4
5
6
3
6
Ba 2
CH CR
Ba 3
CH CR
60
45
60
12
45
30
18
6
60
6
60
6
30
30
30
6
6
9
30
30
6
9
3
6
60
12
12
9
255
60
3
255
60
brassband conducting
Ma 1
CH CR
60
24
Required subjects
Wind and brassband conducting IV
Wind and brassband conducting (master exam)
Score reading & reduction 3
Orchestration I, II
Contemporary music notation
Introduction to philosophy
Training sessions
Optional subjects
Total
Ma 2
CH CR
60
30
30
9
9
9
30
0
6
3
12
60
120
60
30
30
30
6
9
3
0
150
Preliminary studies: proof of obained competencies needed for harmony I, II and for theory and
eartraining 1 and rhythm and intonation 1
Recommended optional subjets:
Posture and Movement in bachelor
CR: credits
CH: contact hours
11
Instrument / Voice
•
•
•
•
Orchestral instrument
Organ
Guitar
Historical instruments
Teaching
12
•
•
•
•
Piano
Harp
Voice
Instrument / chamber music
staff
Violin
Katalin Sebestyen
Yuzuko Horigome
Valeri Oistrakh
Zygmund Kowalski
Yossif Ivanov
Philippe Graffin
Naaman Sluchin
Viola
Paul De Clerck
Tony Nys
Cello
Viviane CRanoghe
Jeroen Reuling
Olsi Leka (assist.)
Double Bass
Frank Coppieters
Flute
Frank Hendrickx
Carlos Bruneel
Oboe
Karel Schoofs
Cor Anglais / Oboe d’amore
Stefaan Verdegem
Clarinet
Benjamin Dieltjens
Saxophone
Norbert Nozy
Bassoon
Luc Loubry
French Horn
Luc Bergé
Trumpet
Emmanuel Mellaerts
Trombone
Bart Van Nieuwenhuyze
Tuba
Stephan Vanaenrode
Percussion
Gert François
Bart Quartier
Chamber Music
Viviane CRanoghe
Luc Loubry
Dirk Vermeulen
Etienne Siebens
Thomas Dieltjens
Eric Robberecht (assist.)
Bert Vanderhoeft (assist.)
Contemporary music
Bart Bouckaert
Pianist-accompanists
Luc Devos
Thomas Dieltjens
Paul Hermsen
Alexander Leman
Anne Op De Beeck
Stefaan Poelmans
Cécile Mangeot
Katsura Mizumoto
Benjamin Van Esser
Katrien Verbeke
Leonard Duna
Guigova Tzvetana
13
Bachelor O rchestral Instruments*
Required subjects
Ba 1
CH CR
Ba 2
CH CR
Ba 3
CH CR
Main instrument I, II, III
60
60
24
60
15
6
30
6
60
6
24
Chamber music 1, 2
Orchestra 1,2,3
60
6
60
6
Theory and ear training 1, 2
80
4
80
4
Rhythm and intonation 1, 2
100
5
100
5
Harmony and analysis 1, 2
45
9
45
9
History of music 1, 2, 3
60
6
60
6
Formal analysis 1
Encyclopedia and research
30
3
Posture and movement
30
3
27
60
6
30
6
History of culture
30
3
Optional subjects
30
6
300
60
Total
465
60
420
60
M aster O rchestral Instruments*
Required subjects
Ma 1
CH CR
Ma 2
CH CR
Main instrument IV, V (master exam)
60
30
60
30
Chamber music 3,4
45
6
60
12
Orchestra 4,5
60
6
60
6
Formal analysis 2
30
6
Introduction to philosophy
30
3
Optional subjects
60
9
60
12
Total
315
60
240
60
* v iolin, viola cello, double bass flute, oboe, cor Anglais - oboe d’amore, clarinet, saxophone,
bassoon, French horn, trumpet, trombone-tuba and percussion
CR: credits
CH: contact hours
14
P olyphonic
Teaching
instruments and voice
staff
Piano
Daniel Blumenthal
Aleksandar Madzar
Jan Michiels
Boyan Vodenitcharov
Piet Kuijken
Hans Ryckelynck (assist.)
Katia Veekmans (assist.)
Accompanying voice
Hélène Luyten
Inge CRinette
Harp
Jana Bouskova
Guitar
Antigoni Goni
Zang
Dinah Bryant
Dina Grossberger
Lena Lootens
Jan Vande Weghe (coaching)
15
Bachelor P iano
Required subjects
Ba 1
CH CR
Ba 2
CH CR
Ba 3
CH CR
Piano I, II, III
60
60
24
60
27
15
6
30
6
24
Chamber music 1, 2
Choir 1, 2
60
3
60
3
Theory and ear training 1, 2
80
4
80
4
Rhythm and intonation 1, 2
5
100
5
100
Harmony and analysis 1, 2, 3
45
9
45
9
45
9
History of music 1, 2, 3
60
6
60
6
60
6
15
3
15
9
Encyclopedia and research
30
3
Posture and movement
30
3
History of culture
30
3
30
3
240
60
Applied harmony 1, 2
Optional subject
Total
495
60
435
60
M aster P iano
Required subjects
Ma 1
CH CR
Ma 2
CH CR
Piano IV, V (master exam)*
60
30
60
30
Chamber music 3, 4
45
6
60
12
Accompanying voice & sight reading 1,2
30
6
30
6
30
3
Counterpoint
30
6
Formal analysis 1, 2
30
6
Study of literature
Introduction to philosophy
Optional subject
Total
* I ncluding improvisation
CR: credits
CH: contact hours
16
15
6
210
60
30
6
30
3
240
60
17
Bachelor H arp
Required subjects
Ba 1
CH CR
Ba 2
CH CR
Ba 3
CH CR
Harp I, II, III
60
60
24
60
15
6
30
6
60
3
24
Chamber music 1, 2
Choir or 1 orchestra project 1, 2, 3
60
3
60
3
Theory and ear training 1, 2
80
4
80
4
Rhythm and intonation 1, 2
5
27
100
5
100
Harmony and analysis 1, 2, 3
45
9
45
9
45
9
History of music 1, 2, 3
60
6
60
6
60
6
30
6
Encyclopedia and research
30
3
Posture and movement
30
3
History of culture
30
3
Contemporary music
Optional subject
Total
495
60
30
3
30
3
450
60
315
60
M aster H arp
Required subjects
Ma 1
CH CR
Ma 2
CH CR
Harp IV, V (master exam)
60
30
60
30
Chamber music 3, 4
45
6
60
12
Choir or 1 orchestral project 4, 5
60
6
60
6
30
6
Formal analysis 1, 2
30
6
Introduction to philosophy
30
3
Optional subject
60
9
30
6
285
60
240
60
Total
CR: credits
CH: contact hours
18
Bachelor G uitar
Required subjects
Ba 1
CH CR
Ba 2
CH CR
Ba 3
CH CR
Guitar I, II, III
60
60
24
60
27
15
6
30
6
24
Chamber music 1, 2
Choir 1, 2
60
3
60
3
Theory and ear training 1, 2
80
4
80
4
Rhythm and intonation 1, 2
5
100
5
100
Harmony and analysis 1, 2, 3
45
9
45
9
45
9
History of music 1, 2, 3
60
6
60
6
60
6
15
3
15
9
Encyclopedia and research
30
3
Posture and movement
30
3
History of culture
30
3
30
3
240
60
Applied harmony 1, 2
Optional subject
Total
495
60
435
60
M aster G uitar
Required subjects
Ma 1
CH CR
Ma 2
CH CR
Guitar IV, V (master exam)
60
30
60
30
Chamber music 3, 4
45
6
60
12
Historical music 1, 2
30
6
30
6
Formal analysis 1, 2
30
6
30
6
Applied harmony 3
15
6
30
3
60
6
30
3
240
60
240
60
Introduction to philosophy
Optional subject
Total
CR: credits
CH: contact hours
19
Bachelor Voice
Required subjects
Ba 1
CH CR
Ba 2
CH CR
Ba 3
CH CR
Voice I, II, III
60
60
60
27
30
6
18
21
Chamber music of vocaal ensemble 1
Choir 1, 2
60
3
60
3
Theory and ear training 1, 2
80
4
80
4
Rhythm and intonation 1, 2
100
5
100
5
Harmony and analysis 1, 2
45
9
45
9
History of music 1, 2, 3
60
6
60
6
60
6
Applied Harmony 1, 2, 3
15
6
15
6
15
6
30
6
Formal analysis 1
Encyclopedia and research
30
3
Foreign languages 1, 2
30
3
Body awareness
30
3
Acting for singers 1, 2
30
3
30
3
30
3
History of culture
30
3
Optional subject
30
3
285
60
Total
510
60
480
60
M aster Voice
Required subjects
Ma 1
CH CR
Ma 2
CH CR
Voice IV, V (master exam)
60
30
60
30
Chamber music of vocaal ensemble 2, 3
30
6
60
12
Formal analysis 2
30
6
Introduction to philosophy
30
3
Acting for singers 3, 4
30
3
30
3
Optional subject
90
12
120
15
Total
270
60
270
60
CR: credits
CH: contact hours
20
Historical
Teaching
instruments
staff
Baroque violin
François Fernandez
Baroque cello
Alain Gervreau
Viola da Gamba
Philippe Pierlot
Violone/ double bass
Frank Coppieters
Flauto traverso
Barthold Kuijken
Frank Theuns
Baroque oboe
Paul Dombrecht
Stefan Verdegem
Recorder
Bart Coen
Natural horn
Luc Bergé
Harpsichord
Herman Stinders
Pianoforte
Boyan Vodenitcharov
Piet Kuijken
Chamber music
Herman Stinders
Jan De Winne
Alain Gervreau
Theory
of
Historical P erformance P ractice
Peter Van Heyghen
H arpsichord -accompanists
Dominik Riepe
Sofie Van Herle
21
Bachelor Historical Instruments*
Required subjects
Ba 1
CH CR
Ba 2
CH CR
Ba 3
CH CR
Main instrument I, II, III
60
18
60
18
60
Chamber music 1, 2, 3
30
6
30
6
30
6
30
3
30
3
6
Repertoire study/sight reading 1, 2
24
Theory of historical performance practice 1, 2, 3
75
6
75
6
75
Orchestra/ consort 1, 2, 3
60
3
60
3
60
3
30
3
Philosophy and aesthetics of ancient music 1
Theory and ear training 1, 2
80
4
80
4
Rhythm and intonation 1, 2
100
5
100
5
Harmony and analysis 1, 2
45
9
45
9
History of music 1, 2, 3
60
6
60
6
Formal analysis 1
Posture and movement
30
540
6
30
6
30
3
405
60
3
History of culture
Total
60
60
540
60
M aster Historical Instruments*
Required subjects
Ma 1
CH CR
Ma 2
CH CR
Main instrument IV, V (master exam)
60
30
60
30
60
12
Chamber music 4, 5
45
9
Repertoire study/sight reading 3
30
3
Theory of historical performance practice 4, 5
75
6
75
6
Orchestra/ consort 4, 5
60
6
60
6
Philosophy and aesthetics of ancient music 2
30
3
30
3
330
60
Study of sources/ edition
Optional subject
Total
6
255
60
*b
aroque violin and viola, baroque cello, viola da gamba, violone-double bass, recorder, flauto
traverso, baroque oboe, natural horn, harpsichord, pianoforte and lute
CR: credits
CH: contact hours
22
23
24
Jazz
Jazz (including pop and world music)
Composition (arranging)
Teaching
staff
Double Bass / Electric Bass
Electric Guitar
Piano
Saxophone / Woodwinds
Drums
Latin-percussion
Trumpet
Voice
History of jazz
Rhythm
Vibraphone
Trombone
Arranging, Harmony, Analysis
Composition, Arranging / Improvisation
Band leading
Ear training / Reading training
Piano second instrument
Piano technique
Big Band
Bart De Nolf
Christophe Wallemme
Fabien Degryse
Peter Hertmans
Diederik Wissels
Nathalie Loriers
John Ruocco
Jeroen Van Herzeele
Lionel Beuvens
Pieter Bast
Martin Gort
Carlo Nardozza
David Linx
Chris Mentens
Peter Van Marle
Bart Quartier
Lode Mertens
Piet Nijsten
Kris Defoort
Carlo Nardozza
Fabien Degryse
Bart De Nolf
Dirk Schreurs
Jeroen Van Herzeele
Peter Van Marle (Latin)
Pieter Bast
Lode Mertens
Christophe Wallemme
Diederik Wissels
David Linx
Lionel Beuvens
Nathalie Loriers
Kris Defoort
Bart De Nolf
Kurt Budé
Peter Van Marle (ritmiek)
Dirk Schreurs
Kurt Budé
Peter Van Marle (Latin Piano)
Piet Nijsten
Katleen Sedeyn
John Ruocco
25
Bachelor Jazz Instrument / Voice*
with B a 3 M odule I nstument/Voice
Required subjects
Main instrument I, II, III
Ba 1
CH CR
60
21
Ba 2
CH CR
60
21
Ba 3
CH CR
60
21
Ensemble 1, 2, 3
90
3
90
3
120
9
Ear training 1, 2, 3
45
6
45
6
30
3
Reading training 1, 2
45
6
45
6
Jazz harmony and analysis 1, 2, 3
45
9
45
9
45
12
45
3
45
6
30
3
Arranging 1, 2
Jazz rhythm 1, 2
30
3
History of music (classical)
60
6
Piano (pianotechnique for pianists) 1, 2, 3
15
3
History of culture
30
3
History of jazz 1, 2
Jazz encyclopedia and research
45
3
45
3
15
3
15
3
30
3
30
3
390
60
Optional subjects
Total
420
60
450
60
Bachelor Jazz Instrument / Voice*
with B a 3 M odule C omposition , A rranging
Required subjects
Jazz composition
Ba 3
CH CR
30
21
Arranging 2
60
6
Musical instruments and orchestration 1
30
6
Ear training 3
30
3
Jazz harmony and analysis 3
45
12
Harmony and analysis (classical) 1
30
3
Piano 3
15
3
Conducting technique
30
3
History of jazz 2
45
3
Total
315
60
*p
iano, saxophone-woodwinds, percussion, vibraphone, trumpet, trombone, electric guitar,
violin, double bass - electric bass
CR: credits
CH: contact hours
26
M aster Jazz Instrument / Voice*
Required subjects
Main instrument IV, V (master exam)**
Ma 1
CH CR
Ma 2
CH CR
60
27
60
30
Ensemble 4, 5
120
12
120
15
Ear training 4
30
3
Jazz analysis
30
6
Free Improvisation
30
Concert playing Jazz 1, 2
3
6
3
Introduction to philosophy
30
3
Optional subjects
30
6
60
6
300
60
270
60
Total
M aster Jazz C omposition, A rranging
Required subjects
Ma 1
CH CR
Ma 2
CH CR
Jazz composition II,III (master exam)***
30
21
30
30
Arranging 3
30
12
30
12
30
6
15
3
30
6
Contemporary free counterpoint 1, 2
30
6
Ear training 4
30
3
Piano 4, 5
15
3
Introduction to philosophy
30
3
Harmony and analysis (classical) 2, 3
30
6
Musical instruments and orchestration 2
30
3
Music technology 1, 2
60
3
60
3
285
60
195
60
Total
*
iano, saxophone-woodwinds percussion vibraphone, trumpet, trombone, electric guitar,
p
violin, double bass - electric bass
** Main instrument includes also prima vista and jazz heuristics
*** J azz-composition includes also jazz heuristics
CR: credits
CH: contact hours
27
P ostgraduate
A post master program on instrument (20 credits/semester) or theoretical
program.
The student develops his own artistic project (e.g. soloist concert program,
preparation for orchestral career...) with the help of a tutor.
Special admission test.
Special program for piano accompaniment.
Postgraduate chamber music for ensembles.
28
Musical
Course Program Coordinator: Lulu Aertgeerts
Teaching
staff
Voice
Peter De Smet
Jonas Cole
(+ Optional subject Voice)
Inge Minten
Chadia Cambie
Acting training
Lulu Aertgeerts
Production support
Stephen Collins
Dance expression
Lulu Aertgeerts
Classical dance
Evelien D’Haeseleer
Modern dance
Peter Kongs
(+ Optional subject Dance)
General musical education
Bart Buyle
Roel Peeters
Patrick Desmedt
Close harmony and applied harmony
Patrick Desmedt
(+ keuzevak Piano)
Diction & phonetics
Evelien D’Haeseleer
Musical-easthetics
William Lanckrock
Jan Van Driessche
Extra competency
Paula Bangels
Adam Solya
Audition training
Bart Buyle
Repertoire
Pietro Ramman
29
Bachelor Musical
1
Required subjects
GME musical
Close Harmony
Dance
CH
75
2
CR
6
3
CH
75
CR
5
4
CH
75
CR
5
CH
CR
30
3
30
3
30
3
30
3
180
7
180
7
180
7
180
10
30
3
30
3
Diction and phonetics
60
3
60
3
Musical aesthetics
60
3
60
3
30
3
30
3
275
16
275
13
450
16
450
19
Voice
30
6
30
6
30
6
30
6
Extra competency
60
3
60
3
60
3
770
47
800
46
885
46
720
41
Optional subject
Project/Production
Total
The diploma ‘Musical’ is a professional bachelor. A masterdegree Musical
doesn’t exist.
The 180 credits are organised in 4 part time years.
CR: credits
CH: contact hours
30
31
32
Music
teaching certification programme
Course Program Coordinator: Luk Bastiaens
To follow the Music teaching certification programme, a perfect knowlegde of
Dutch is required. For the study programme, please consult the Dutch part of this
prospectus.
Teaching
staff
See page 32 and 33 (Dutch part).
33
34
P rogrammes
admission tests
general music admission test
(compulsory for every student who did not acquire any credits in higher music
education, bachelor/master level)

intonation of a prepared melody(download from www.kcb.be)
intonation of a non-prepared melody
knowledge of music theory
interactive rhythmic exercisis
interview on motivation
S pecific
admission test
The jury can refuse a candidate if his program is not correct.
M usic Theory
and
Writing
ear training, voice-rhythm, theory
keyboard test
interview on motivation
C omposition
Show previous work and discuss motivation.
C onducting
profound knowledge of a classical composition (or important work for
Wind & brass band)
ear training test
interview: motivation and maturity
Instrument / Voice
Violin
two etudes (Kreutzer, Fiorillo, Rode, Wieniawsky, Paganini etc.)
two contracting movements from a sonata by Corelli, Händel, Vivaldi or Bach
(one part of a) freely chosen concerto
Viola
two etudes
three works from the standard repertoire
Cello
two etudes (Dotzauer III, Duport, Franchomme or Popper)
three works from the standard repertoire, including one concerto (or part
thereof) and two works from different sylistic periods. At least one from
memory.
Double Bass
two etudes (Nanny, Kreutzer, Simandl, Van De Velde)
three works from the standard repertoire
35
Flute, oboe, cor anglais, clarinet, saxophone, bassoon, french horn,
trumpet, trombone and tuba
two advanced etudes
two works from the standard repertoire
Percussion
one etude for snare drum
one etude for four timpani
one etude or work for multiple percussion instruments
one work for vibraphone
one work for marimba
a prima vista 2 mallets and 4 mallets
Piano
two etudes
one prelude and fugue from “The Well-Tempered Clavier” of J.S. Bach
three works from the standard repertoire
all from memory
Harp
two complete works from different stylistic periods
Guitar
two etudes (Coste, Villa-Lobos, Giuliani, Sors, Tarrega)
one work by Bach (complete suite or sonata for access to master grades)
two works from the standard repertoire (Bach, Sors, Moreno, Torroba,
Castelnuovo-Tedesco, Ponce, etc...) (complete works for access to master
grades)
one work from the 20th century
all from memory
Voice
three classical arias, including one from an oratorio
one freely chosen work (aria or lied)
four lieder
H istorical Instruments
Baroque violin
allemande and sarabande (partita nr 2) J.S. Bach
sonata nr 1 or 2 from “Sonate in stile moderno” Dario Castello
1st and last movement, sonata in g. A. Corelli
Baroque viola
2 movements solosonata or suite J.S. Bach or solo fantasy (violin)
by G. Ph. Telemann
36
Baroque cello
suite J.S. Bach: allemande, courante, sarabande
one sonata A. Vivaldi
one concerto or sonata in another style
Viola da Gamba
a German or Italian sonata
a French suite
an English ‘division’ (e.g. Simpson)
Violone / double bass
4 orchestral fragments (1 by J.S. Bach)
three works from the repertoire
Recorder
two advanced etudes
three works from the standard repertoire
Flauto
one
one
one
traverso
fantasy by Telemann
French suite
freely chosen work
Baroque oboe
two advanced etudes
two works from the repertoire
Natural horn
two etudes
first movement concerto nr. 1 in DW. A. Mozart
Harpsichord
two sonatas by Scarlatti
two preludes and fugues (J.S. Bach)
three works from the repertoire (e.g. suite Couperin, Händel, Telemann, etc.)
Pianoforte
C. P. E. Bach (sonata, fantasy)
Haydn or Mozart (sonata, variations)
Beethoven (variations, sonata max op. 54)
37
A dmission
test
Jazz
For Jazz & light music:
1) Individual
- playing a motive by ear
- clapping or speaking the rhythm of a short fragment
2) In a group (with teachers)
- the student chooses two works beforehand from a list of five jazz
standards to be studied (list supplied at registration)
- a work chosen by the student (bring sheet music)
- a work a prima vista after 10 min. preparation
For Composition, Arrangement:
- present three own compositions
A dmission
test
M usical
For more information, please consult our website:
www.ehb.be/pagina/toelatingsproef-ba-musical
38
G eneral
information
Music - making
in group
The opportunity to perform in a group is very important to a musician’s development. Each course programme therefore includes a mandatory ensemble
element. Depending on the course chosen, each student is assigned to either
the choir, wind band, symphony orchestra, baroque orchestra / consort, big
band or other ensembles. A training orchestra also exists and enables students
to gain experience as a conductor, soloist, or orchestral musician.
Students can perform internships in professional orchestras, and the vocal
department collaborates with the Operastudio.
Seminars /
guest lectures
Each year the study programme is enriched with numerous seminars. National
and international lecturers are invited. The seminars can be taken for credit
in some courses.
P ractice
rooms
Depending on availability students can use unoccupied classrooms at the
Kleine Zavel 5 for study purposes, between the hours of 8h a.m. and 9.30h
p.m. Most classrooms are equipped with a piano.
C oncert
hall
Students of the conservatory have free admission to all concerts given in the
concert hall, including those organised by third parties (PVSK, Ars Musica
festival, Queen Elisabeth contest etc.) on presentation of their student card.
Students or teaching staff who wish to make use of the concert hall when it is
available must do so by making a reservation.
Student
administrative office
The student administrative office is the administrative heart of the Conservatory.
This is where students can fulfil all administrative duties and gain information
about registration, curriculum, exams, seminars, etc…
Opening hours: Monday to Friday 9h-12.30h / 13.30h-16h. Closed Wednesdays
During the exams, opening hours change. You can consult the website
www.kcb.be to stay informed.
Telephone: 02/213 41 23 - Fax: 02/513 22 53
e-mail: [email protected]
39
Library
Tel.: 02/213 41 39
[email protected]
www.kcb.be
The conservatory library contains a public lending collection of sheet music as
well as an international appreciated heritage collection. Both together result
in a large and unique unity, in particular appropriate for artistic and scientific
research.
Opening hours:
Monday to Friday: 9.30h-16.30h
Closed Wednesday mornings
Studying
at another institution
All fully registered students can take courses at a domestic or foreign institution of higher education, as long as it is within the framework of a cooperation
agreement or an approved European programme.
International
relations
The Royal Brussels Conservatory is a member of an international network of
higher education schools of music in Europe. This offers students the possibility of spending some of their study time (from three months to one year)
at a university (or equivalent institution) abroad. This period of foreign study
is considered part of the regular curriculum of the Conservatory and will not
delay the student’s regular time of graduation.
Coördinator of International Relations: Jan d’Haene.
More info at www.kcb.be
Student Support
Many courses in the conservatory are taught individually or in small groups.
Therefore the individual lecturers are always the first people you should turn
to for support in your studies. These lecturers are more aware of issues pertaining to methods of study than is customary in other forms of education.
In addition a programme coordinator is appointed for each course. This person
advises students about the way their curriculum is progressing and can also
offer support for technical problems related to the course. In case of conflict
with your own lecturer, this is the person you should turn to next.
In the specific case of General Music Education in the first year, students can
turn to Bart Buyle.
Furthermore students can always seek help from Stuvo EhB, the social services
division of the Erasmushogeschool (see below).
40
S ocial
services
Within the Erasmushogeschool Brussel the “Stuvo EhB” manages all student
social services. You can turn to Stuvo EhB for financial problems, housing,
legal advice, sports, psychological support (study counselling, anxiety etc.).
This service also works together with the VUB.
Stuvo EhB is part of the Brussels housing initiative ‘Quartier Latin’.
Extensive and detailed information about room rentals can be found on
www.ehb.be/stuvo.
M eals
and snacks
Between 8 AM an 9 PM there are sandwiches, meals (to warm in a
microwave available on place), snacks and drinks permanently available at the
Kleine Zavel 5.
O pen
house
2014
Musical
Saturday March 29th (from 2 PM)
Nijverheidskaai 170, 1070 Anderlecht, Blok D (parking 250m to the right
of the enhance).
C lassical
music and
Jazz
Sunday March 30th (from 2 PM): Regentschapstraat 30 and Kleine Zavel 5,
1000 Brussel.
With:
Information stands
Public lessons
Possibility to speak with the teaching staff
Opportunity to audition
Student concerts
41
H ow
to reach the
1. B y
tram
2. B y
bus
3. B y
train
C onservatory ?
Tram lines: 92 / 94 – stop Kleine Zavel
Bus lines: 48 / 95 / 27 – stop Kleine Zavel, Grote Zavel
(www. nmbs . be )
The Conservatory is located 10 minutes away from the Central Station; take
the ‘Cantersteen’ exit. Then follow successively Kunstberg – Koudenberg –
Regentschapsstraat.
Tip!
The various EhB locations throughout the city can all be reached easily by
public transport. As a student you can benefit from e very advantageous
fare to travel throughout the city - just be sure to purchase a MIVB-public
transport pass at the beginning of the academic year and you can travel
the bus, trolley or subway on the entire MIVB public transport network in
Brussels (in 2013 the fare amounted to €160 for the entire academic year)!
Royal C onservatory
of B russels | S chool of
Main building:
Regentschapsstraat 30, 1000 Brussel
Telephone: 02/213 41 23 | Fax: 02/513 22 53
Other buildings:
Kleine Zavel 4 – 5 and the corner with Karmelietenstraat
Musical:
Nijverheidskaai 170, 1070 Brussel
Visit our web site: http://www.kcb.be and www.ehb.be
42
A rts
43
� CAMPUS DANSAERT
- ba Communication Management
- ba Hotel Management
- ba Idea & Innovative Management - Innovative Business Creation
- ba Journalism
- ba Office Management
- ba Social Work
(Social Work | Social and Legal Services |
Community Educational and CHltural Work)
- ba Tourism and Leisure Management
�EDUCATION
- ba
- ba
- ba
- ba
Early Childhood Education
Preschool Education
Primary Education
Secondary Education
� HEALTH CARE & LANDSCAPE ARCHITECTURE
- ba
- ba
- ba
- ba
- ba
Bio-Medical Laboratory Technology
Midwifery
Nursing
Nutrition and Dietetics
Landscape and Garden Architecture
� INDUSTRIAL SCIENCES & TECHNOLOGY
- ba Applied Computer Science (Dig-X)
- ba Multimedia and Communication Science (Multec)
� ROYAL CONSERVATORY OF BRUSSELS | School of Arts
- ba Musical
- ba | ma of Arts in Music
- Music Teaching Certification Programme
�RITS | School of Arts
- ba Audio-visual Arts
(Production Assistant | Cinematography | Sound | Editing | Stage Management)
- ba | ma of Arts in Audio-visual Arts
(Film | Television | DoCHmentary Film | Animation Film | Radio | Scriptwriting)
- ba/ma of Arts in Drama
(Performing | Direction, Scriptwriting)
www.facebook.com/erasmushogeschool
www.twitter.com/ehbrussel
www.flickr.com/photos/erasmushogeschool
Nijverheidskaai 170 • 1070 Brussel • tel: 02/523 37 37 [email protected] • www.ehb.be

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