Curriculum Handbook Classical Music 16-17 DEF vs 1.1่

Curriculum Handbook
Bachelor of Music - Classical Music
Royal Conservatoire The Hague

2016-2017
The information contained in this Curriculum Handbook is, beyond errors and omissions, correct at the time
of publication, but may be subject to change during the academic year. Therefore, always make sure you
are referring to the latest version of this document which can be found at www.koncon.nl/curricula.
This is version 1.1 (August 2016)
If you have any suggestions for improvement of this Curriculum Handbook, please send an email to
curricula@koncon.nl. For questions about subjects and courses, you can get in touch with the contact
person mentioned in the subject description.
For ease of reading, this document refers to the students as he. This word can be replaced with she at
any given place.
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TABLE OF CONTENT
Introduction.................................................................................................................................................... 4
Programme objectives bachelor Classical Music ......................................................................................... 5
Curriculum overviews .................................................................................................................................. 10
Classical Violin/Viola/Cello ................................................................................................................... 10
Classical Double bass .......................................................................................................................... 11
Classical - Flute ....................................................................................................................................... 12
Classical - Oboe ...................................................................................................................................... 13
Classical - Clarinet .................................................................................................................................. 14
Classical - Saxophone ............................................................................................................................ 15
Classical - Bassoon ................................................................................................................................. 16
Classical - Brass ..................................................................................................................................... 17
Classical - Accordion ............................................................................................................................... 18
Classical - Guitar ..................................................................................................................................... 19
Classical - Harp ....................................................................................................................................... 20
Classical - Piano ..................................................................................................................................... 21
Classical - Percussion ............................................................................................................................. 22
Course descriptions .................................................................................................................................... 23
General courses ...................................................................................................................................... 23
Main subject courses .............................................................................................................................. 29
Specific courses for percussionists ......................................................................................................... 60
Theory courses ....................................................................................................................................... 64
Information assessment theory subjects ............................................................................................. 80
Free elective space ................................................................................................................................. 80
Appendix Exam Requirements classical department .............................................................................. 81
Assessment criteria bachelor Classical Music .......................................................................................... 109
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Curriculum Handbook Bachelor Classical Music
INTRODUCTION
Vision statement of the Classical Music department of the Royal Conservatoire
On the basis of national and international standards, together with years of experience and insight in the field of
music education, the professional profile of a classical musician is defined as follows:
Musicians are active members of society through their performance activities. They contribute to cultural life
through their artistic and musical professionalism. Classical musicians are able to reproduce composed music at the
highest level with excellent professional skills and knowledge about classical music, which includes knowledge on
historically informed practice and the interpretation of contemporary classical music. Classical musicians should
also focus on creating audiences and occasions for audiences to get to know, understand and appreciate music by
developing ways to communicate about music. Musicians are inventive and entrepreneurial, and are able to
continue developing their instrumental skills as well as their interaction with their cultural and social environment.
The vision of the Classical Music department on higher music education is characterized by the integration of
instrumental and mental skills and the development of artistic concepts and social awareness. The department
offers professional music training at the highest international level. Principal study is being offered for all
traditional symphonic instruments (strings, wind, percussion and harp), as well as for piano, saxophone, accordion
and classical guitar. Most of the teachers in the department have extensive teaching experience and international
careers as performing musicians. As soloists or members of orchestras and ensembles they are at the heart of
international professional practice. The course contains a carefully considered balance between theory and
practice, between private lessons and working in groups and playing in ensembles and orchestras. The department
has a substantial number of international students.
A special feature of the Classical Music department at the Royal Conservatoire is its position in an institution with
strongly developed departments for early music, jazz and composition. Because of the departments special
affinity with repertoire of the (pre)classical era and of contemporary repertoire, frequent interaction takes place
with the other departments. Students are also actively encouraged to pursue minor studies in other genres in the
framework of their free elective space.
For the study of the main instrument every student is entitled to 75 minutes of tuition (for percussion 120
minutes) for 34 weeks per academic year. In addition to the lessons with their main subject teacher, students will
have several master classes by guest lecturers. Students take an active part in the institutes musical community by
joining ensembles, chamber music groups and orchestral projects inside and outside the conservatoire. They are
especially encouraged to develop their own projects. Improvisation is an integral part of the theoretical and
practical education. Participation and attendance is compulsory for all courses in the curriculum as well as the
activities organized by the department, such as performance evenings, master classes and ensemble projects.
In this document you will find the programme objectives, details about the bachelor classical music curriculum and
course descriptions. We recommend you to read this document, the Study Guide and the EER (Education and
Examination Regulations) carefully.
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PROGRAMME OBJECTIVES BACHELOR CLASSICAL MUSIC
Description programme objectives corresponding course numbers

PRACTICAL SKILLS
Skills in artistic expression KI -..
At the completion of their studies, students are expected to be able to create AL-COR
and realise their own artistic concepts and should have developed the KI-KM
necessary skills to express themselves. KI-KK
KI-GL
KI-BB
KI-DUO
KI-REP
TH-CMS
Repertoire skills KI -..
At the completion of their studies, students should have studied and AL-K1JR
performed a representative repertoire of the area of musical study. AL-COR
In the process, they should have had experience of a wide variety of KI-TROS
appropriate styles. KI-KM
KI-KK
KI-GL
KI-BB
KI-DUO
KI-REP
Ensemble skills AL-FYF

At the completion of their studies, students are expected to be able to interact AL-K1JR
musically in ensembles, varied both in size and style. KI -..
AL-COR
KI-PNBV
KI-TROS
KI-KM
KI-KK
KI-BB
KI-DUO
KI-REP
ED-ELKI-11
KI-BB
Practising and rehearsing skills KI -..
At the completion of their studies, students should have acquired effective AL-FYF
practice and rehearsal techniques for improvement through self-study. AL-COR
KI-TROS
KI-KM
KI-KK
KI-GL
ED-EV-11
In the process, they should have acquired and be self-aware of good habits of KI -..
technique and posture, which enable them to use their bodies in the most AL-COR
efficient and non-harmful way. KI-TK
KI-KK
KI-GL
5
Reading skills AL-K1JR
At the completion of their studies, students should have acquired appropriate KI -..
skills for the understanding, transmission and communication of notated AL-COR
musical structures. KI-PNBV
KI-TROS
KI-KM
KI-KK
KI-GL
KI-DUO
KI-PK
TH-ASA
Aural, creative and re-creative skills
At the completion of their studies, students are expected to have fluency in KI -..
recognising musical material by ear, as well as being able to memorize musical AL-COR
material and knowing an appropriate part of representative repertoire by KI-PNBV
heart. KI-TROS
At the completion of their studies, students are expected to have acquired the KI-DUO
skills to compose and arrange musical material creatively within practical KI-REP
settings. ED-ELKI-11
TH-ASA
TH-ASI
TH-KSH
Verbal skills AL-VBP

At the completion of their studies, students are expected to be able to talk KI-GL
and/or write intelligently about their music making. KI-PT
TH-MG
TH-CMS
Public Performance skills KI -..

At the completion of their studies, students are expected to be able to deal AL-FYF
with the behavioural and communicative demands of performing in public AL-COR
under many different circumstances. KI-TROS
KI-KM
KI-KK
KI-DUO
TH-CMS
Improvisational skills KI-BB

At the completion of their studies, students are expected to shape and/or AL-FYF
create music in ways which go beyond the notated score. KI-PK
ED-MIO-14
TH-ASI
TH-KSH
Pedagogical skills ED-MIO-14

Where they receive basic pedagogical training, students are expected to be
able to teach music at a variety of levels.
6
THEORETICAL SKILLS
Knowledge and understanding of repertoire and musical materials AL-K1JR
At the completion of their studies, students are expected to know a significant KI -..
part of the mainstream as well as of the more specialist repertoire of their AL-COR
area of musical study, together with the repertoire of associated instruments KI-PNBV
where appropriate. KI-TROS
Students should understand the melodic, harmonic and rhythmic KI-KM
organisational patterns and relations and their interaction. KI-KK
KI-DUO
KI-PK
KI-REP
TH-ASA
TH-ASI
TH-KSH
TH-RP
KI-HO-..
Knowledge and understanding of context AL-K1JR

At the completion of their studies, students are expected to know and KI-TROS
understand the main outlines of music history and the writings associated KI -..
with it. AL-COR
Students are expected to be familiar with musical styles, their associated KI-KM
performing traditions and aesthetics. KI-KK
KI-REP
KI-PT
TH-ASA
TH-MG
KI-HO-..
Students are expected to have a broad understanding of how technology AL-VBP

serves the field of music as a whole. They should be aware of new and on-
going technological developments and be able to apply these on their main
subject.
Students are expected to have knowledge of the key financial, managerial and AL-VBP
legal aspects of the music profession.
At the completion of their studies, students should be aware of the TH-ASA

interrelationships and interdependencies between all the elements above and TH-CMS
between their theoretical and practical studies.
Improvisational skills KI-PK

At the completion of their studies, students are expected to understand the ED-MIO-14
fundamental patterns and processes which underlie improvisation. TH-ASI
TH-KSH
Pedagogical skills ED-EV-11

Students are expected to be familiar with the basic concepts and practices of ED-MIO-14
pedagogy, especially as they relate to music education.
7
GENERIC LEARNING OUTCOMES
Independence
At the completion of their studies, students are expected to be able to work
independently on a variety of issues:
gathering, analysing and interpreting information; AL-VBP
KI -..
AL-COR
KI-PT
TH-CMS
developing ideas and arguments critically; KI-PT

TH-CMS
being self-motivated and self-managing. AL-PF

AL-VBP
Psychological understanding
At the completion of their studies, students are expected to be able to make
effective use, in a variety of situations, of:
their imagination; AL-FYF
KI -..
their intuition; KI -..
their emotional understanding; KI -..
their ability to think and work creatively when problem-solving KI -..
their ability to think and work flexibly, adapting to new and changing KI-KM
circumstances; KI-BB
their ability to control and prevent anxiety and stress, as well as the KI -..
interaction of these with physiological demands associated with KI-TROS
performance. KI-KM
KI-KK
Critical awareness
At the completion of their studies, students are expected to be:
critically self-aware AL-PF
AL-VBP
KI -..
AL-COR
KI-TROS
KI-KM
KI-KK
KI-GL
KI-DUO
able to apply their critical capabilities constructively to the work of KI-..
themselves and of others. KI-KM
KI-KK
KI-DUO
KI-REP
able to reflect on social, scientific, and ethical issues relevant to their AL-PF
work. KI-PT
TH-CMS
8
Communication skills
At the completion of their studies, students are expected to have effective
intercultural communication and social skills, including the ability to:
work with others on joint projects or activities, including in an AL-FYF
international context; AL-K1JR
KI-KM
KI-..
KI-TROS
KI-KK
KI-DUO
KI-BB
ED-ELKI-11
show skills in teamwork, negotiation and organisation; AL-K1JR

KI -..
AL-FYF
KI-KM
KI-KK
KI-BB
ED-ELKI-11
integrate with other individuals; KI -..

KI-KK
KI-GL
KI-BB
ED-ELKI-11
present their work in accessible and audio-visually balanced form; AL-VBP

KI-PT
AL-PF
have appropriate ict-skills. AL-VBP

KI-PT
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CURRICULUM OVERVIEWS
CLASSICAL VIOLIN/VIOLA/CELLO
*xx= 1. Violin (Vl), 2. Viola (Vla), 3. Cello (Vc )
code form Violin, Viola, Cello Year 1 Year 2 Year 3 Year 4
Bachelor 2016-2017 English
July 2016
KC-AL- General
PF g/i Tutoring and Portfolio 2 2 2
FYF g First Year Festival 2
K1JR g First Year Choir 2
VBP g/i Preparation for Professional Practice 4
Subtotal 6 2 2 4
KC- Main Subject

KI-xx * x Main Subject 28 22 23 41
AL-COR i Coach Pianist 1 1 1 2
KI-PNBV1 i Secondary subject Piano 3
KI-TROS g/i/x Training Orchestral Parts 3 3
KI-KM n Chamber Music 3 3
KI-GLxx * g Group Lesson 2 2 2 2
- n Master class pm pm pm pm
- z Projects pm pm pm pm
KI-HOVL
KI-HOVC g Historical Development 2
ED-EV g Educational Skills 1 4
ED-ELKI g Ensemble Leading 2
ED-MIO g Music theory for education in Classical Music 2
KI-PT g Extended programme notes final presentation 2
Subtotal 34 34 36 50
KC-TH- Theory *
ASA g Aural Skills and Analysis 9 8 5
ASI g Aural Skills and Improvisation 3 3 3
KSH g Keyboard Skills and Harmony 3 3
RC g Rhythm Class 3
MG g Music History 3 3
CMS g Classical Music Studies 2 1 1
- g Music Theory Elective (whole year course) 4
Subtotal 20 18 16 0
Free Elective Space

- Electives or Minor 6 6
- CDO/internship/individual project/Minor 6
Subtotal 0 6 6 6
Total per year 60 60 60 60

Total 240
* students who started their studies before 2014 may have a different theory programme than stated above
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CLASSICAL DOUBLE BASS
code form Double Bass Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-CB x Main Subject 27 21 22 40
KI-GLCB g Group Lesson Double Bass 2 2 2 2
KI-BB g BASSbook 1 1 1 1
KI-HODB g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Electives or Minor 6 6
CDO/internship/individual project/Minor 6
Subtotal 0 6 6 6
Total 240
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CLASSICAL - FLUTE
code form Flute Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-FL x Main Subject 28 22 23 41
KI-TOFL g/i/x Training Orchestral Parts 2 2
KI-PC i/x Lesson Piccolo 1 1
KI-TK g Technique Class 2 2 2 2
KI-HOFL g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
12
CLASSICAL - OBOE
code form Oboe Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-OB x Main Subject 28 22 23 41
KI-GLOB g Group Lesson Oboe 2 2 2 2
KI-HORD g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
13
CLASSICAL - CLARINET
code form Clarinet Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-CL x Main Subject 26 20 21 39
KI-GLCL g Group Lesson Clarinet 2 2 2 2
KI-KLK g Clarinet quartet 2 2 2 2
KI-HOCL g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
14
CLASSICAL - SAXOPHONE
code form Saxophone Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-SX x Main Subject 28 22 26 44
KI-GLSX g Group Lesson Saxophone 2 2 2 2
KI-HOSX g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
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CLASSICAL - BASSOON
code form Bassoon Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-FG x Main Subject 28 22 23 41
KI-GLFG g Group Lesson Bassoon 2 2 2 2
KI-HORD g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
*students who started their studies before 2014 may have a different theory programme than stated above
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CLASSICAL - BRASS
* Xx= 1. Trumpet (Tr), 2. Trombone (Tb), 3. Tuba (Tu), 4. Horn (Hrn), 5. Bass Trombone (Btb)
code form Brass Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-xx * x Main Subject 26 20 21 39
KI-GLxx * g Group Lesson 2 2 2 2
KI-KK g Brass Class 2 2 2 2
KI-HOKB g Historical Development Brass 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
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CLASSICAL - ACCORDION
code form Accordion Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
PF+ g/i Tutoring and Portfolio 2 2 2
Subtotal 6 2 2 4
KC- Main Subject

KI-ACC x Main Subject 27 18 24 46
KI-PNBV i Secondary subject Piano 3 3 3
KI-GLAC g Group Lesson Accordion 2 2 2 2
KI-DUOAC g Duo Class Accordion 2 2 pm pm
KI-HOAC g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
18
CLASSICAL - GUITAR
code form Guitar Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-GT x Main Subject 27 23 27 46
KI-GLGT g Group Lesson 2 2 2 2
KI-DUOGT g Duo Class Guitar 2 pm pm pm
KI-HOGT g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
19
CLASSICAL - HARP
code form Harp Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-HP x Main Subject 30 23 24 43
KI-DUOHP g Duo Class Harp 2 pm pm pm
KI-GLHP g Group Lesson 2 2 2 2
KI-HOHP g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
20
CLASSICAL - PIANO
Year
code form Piano 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-PN x Main Subject 27 18 20 45
KI-DUO i Duo Class Piano 4 4 4
KI-REP g Repertoire Class 2 2
KI-PK g Piano Class 2 2 2
KI-GRL g Group Lesson Piano 1 1 1 1
KI-HOPI g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
21
CLASSICAL - PERCUSSION
code form Percussion Year 1 Year 2 Year 3 Year 4
July 2016
KC-AL- General
Subtotal 6 2 2 4
KC- Main Subject

KI-SLW x Main Subject 27 22 23 42
timpani, mallets, snare drum
KI-DR Secondary subject drums 1 1 1 1
KI-SWAF g Hand Percussion 1 1 1 1
KI-SWEN g Percussion Ensemble 1 1 1 1
KI-SBT g Basler drumming 1
KI-HOSL g Historical Development 2
KC-TH- Theory *
RC g Rhythm Class 3
Subtotal 20 18 16 0
Free Elective Space

Subtotal 0 6 6 6
Total 240
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COURSE DESCRIPTIONS
GENERAL COURSES
AL-PF Tutoring and portfolio

Osiris course code: KC-AL-PF
Course content: First-year students entering the Conservatoire are assigned a tutor. Students
remain with a tutor for the first three years of the bachelors course. The tutors
role is to help the students to reflect on their study and to monitor their progress.
This is accomplished in two ways:
By conducting consultations with students individually or in small groups.

By supervising the development of a personal portfolio.
Students are required to keep a personal record of their study progress from the
first year until the end of the programme. This portfolio helps students to steer
their personal development. The portfolio may contain materials relating to the
students various activities and any items they produce during the programme,
which can range from a recording or an analysis of a performance, to a report for
an elective subject or a personal evaluation of how their studies are progressing. It
is important for students to choose a form that suits them so that the portfolio is
something that they can identify with and are happy to work on. In other words,
the portfolio should not be regarded as an additional burden, but as a study aid
that could eventually serve as a professional calling card. The portfolio lays the
groundwork for Preparation for Professional Practice, a subject in the fourth year.
More information can be found on Intranet.

Objectives: At the end of this course, the student:
is able to reflect on his own study progress and communicate about it with
others;
has created a professional portfolio, reflecting his personality;
is able to reflect on his role, task and position in the profession as well as in
society, and can contribute to it.
Type of course: Compulsory
Level: Bachelor IIII
Duration: Group meetings: to be decided by the tutor
Private meetings: by appointment
Prior The student needs to finish each year of this course before being allowed to enter
qualifications/prerequisites: the next.
Teachers: Liesbeth Ackermans, Carolien Drewes, Manon Heijne, Lenie van den Heuvel, Jarmo
Hoogendijk, Bert Kraaijpoel, Gabriel Paiuk, Pietia van Proosdij, Roger Regter, Ana
Sanchez, Pete Saunders, Yvonne Smeets, Julia Stegeman, Huub de Vriend, Susan
Williams
Credits: 2-2-2 ECTS per academic year
23
Literature: Document studievoortgang en portfolio (Document study progress and portfolio)
can be found in both English and Dutch on Intranet.
Work form: Group and individual meetings
Assessment: Every year the tutor will assess the progress of the assigned students on the basis
of the following criteria:
Evidence that the student has monitored and improved his personal development
in a professional, autonomous and critical manner.
The student has demonstrated this in the portfolio.
If the students participation in the course and the development of the portfolio are
regarded as sufficient, the student will receive two credit points. NB It is not the
quality of the portfolio itself, but the way in which the student has used it as a
reflective tool that is assessed.
Grading system: Pass/fail
Language: English or Dutch
Schedule: During the first year the tutors will organise a number of group sessions.
Both student and tutor can take the initiative for a meeting. Consultations with the
tutor are confidential, but the tutor will inform the Head of Department in the
event of study delays.
Time: -
Venue: Royal Conservatoire
Information: Paul Deneer tutoring coordinator (p.deneer@koncon.nl)
24
AL-FYF First Year Festival (FYF)
Osiris course code: KC-AL-FYF
Course Content: The First Year Festival introduces the student to the Royal Conservatoire and its
practical, educational, creative, social and artistic possibilities. During a full week of
music making, attending lectures, cooperating and exploring future educational
opportunities, the festival engages new students right from the start. The festival
consists of daily rehearsals with the First Year Choir, as well as many workshops,
lectures, meetings and performances.
has acquired a greater knowledge of what the Royal Conservatoire has to offer;
knows other students and departments within the Royal Conservatoire;
is better informed about the curriculum of their main subject;
has gained greater awareness of what is required to be a successful student by
developing:
o practising skills
o cooperation and communication skills
o performance skills
o creative skills
is starting to feel at home at the Royal Conservatoire;
is starting to feel at home in The Hague (FYF party: optional)
Level: Bachelor I
Teachers: A large variety of teachers from the Royal Conservatoire and from the professional
field related to the students future practice.
Credits: 2 ECTS
Work forms: Plenary sessions, workshops, group lessons (40 contact hours).
Assessment: A minimum of 80% attendance
Sort of grading: Pass/fail
Language: English
Schedule: 09:30-17:00, daily , Tuesday: 9:30-21:30
Time: Monday to Friday of the first week of the study year
Venue: Royal Conservatoire, The Hague
Information: Festival brochure and http://intranet.koncon.nl/firstyears
Contact: Renee Jonker, Marijke van den Bergen (festival@koncon.nl)
25
AL-K1JR First Year Choir
Osiris course code: KC-AL-K1JR
Course content: On a weekly basis, the First Year Choir starts with a vocal warming-up to teach basic
singing techniques, canon singing and aural awareness. Choral repertoire is then
rehearsed. There might be split rehearsals to speed up the tempo of studying.
The singers are obliged to write marks in their parts and it is also important to
study at home and be well-prepared for the rehearsal. Every week, the conductor
will announce what is to be studied in the next rehearsal. The First Year Choir
performs several times every academic year, with one or more final concerts in
April.
has gained general choir singing experience;
has experience of singing and performing classical choir music;
has encountered basic singing techniques, such as posture, breath streaming,
tone resonance, articulation, etc.;
has had the opportunity to improve the quality of the singing voice;
has practically applied sight-singing skills as well as listening skills and
intonation;
has experienced singing as a means of musical expression.
Level: Bachelor I
Duration: Weekly rehearsals of 1.5 hours, 2 semesters
Prior qualifications/ -
prerequisites:
Teachers: Danil Salbert
Credits: 2 ECTS
Literature: t.b.d. - At the beginning of the academic year every choir singer has to buy a
personal copy of the scores and is asked to bring it to every rehearsal. If a score is
lost, the student can buy another one at the Ticket Shop.
Work form: Choir rehearsal, voice type rehearsal, individual study of choir parts
Assessment: Active preparation and participation. 80% presence at the rehearsals, all concerts
are compulsory
Language: English
Schedule, time, venue: See Asimut schedule
Information: Marijke van den Bergen (m.vdbergen@koncon.nl)
26
AL-VBP Preparation for professional practice
Osiris course code: KC-AL-VBP
Course content: The Bachelor of Music course at the Royal Conservatoire devotes a lot of
attention to developing the artistic and technical skills of the students. These
musical aspects are, of course, very important. However, to find employment as
musicians and music teachers in the Netherlands or elsewhere, it is also
important to learn about the more entrepreneurial and organisational aspects of
a musicians career. Particularly during the fourth and final year of the course,
students need to carefully consider their future as a professional musician. This
course is designed to help the students in their fourth year to make the transition
from study to professional practice
The course consists of two elements:

1. Students have to attend sessions organised by their department covering a
range of topics relating to the professional music world. These sessions will
generally be given by experts in the professional domain (including employees of
funds, management agencies and festivals) or alumni.
2. Students have to write a Personal Activities Plan (PAP). The PAP must include a
well-written curriculum vitae and a personal strengths/weaknesses analysis as an
aid to planning a future professional career. An extensive explanation of what a
PAP should contain can be found in the document Guidelines for writing a
Personal Activities Plan (PAP) and Master Plan for fourth year students in the
Bachelor of Music Programme, which can be found in the STIP section of the
Intranet.
The Personal Activities Plan can also serve as a Master Plan (provided it meets the
guidelines), which students wishing to continue studying in the Master
programme are required to write.
is able to critically reflect on his future career plans;
is able to independently search for information about the music profession
and knows where to go for advice;
has produced a Personal Activities Plan, including a curriculum vitae and a
personal strength/weaknesses analysis;
is able to reflect on his role, task and position in the profession as well as in
society, and can contribute to it.
Level: Bachelor IV
Duration: 2 semesters
prerequisites:
Teachers: Enno Voorhorst (Classical Music), Manon Heijne (Vocal studies), to be announced
(Early Music), Yvonne Smeets (Jazz), Daan van Aalst (Art of Sound), possibly guest
teachers.
Conducting students will be assigned to the supervisors in the other departments
depending on their instrument or field. Please contact your head of department
for further instructions.
Credits: 4 ECTS
27
Literature: To be determined by supervisors; a list with literature and web-based information
sources is included in the Guidelines for writing a Personal Activities Plan (PAP)
and Master Plan for fourth year students in the Bachelor of Music Programme
Work form: Individual supervision as well as group sessions
Assessment: Compulsory attendance at sessions: 80%.
The PAP should be handed in before 15 March 2017. It must be signed by the
teacher of the students principal subject.
Grading system: Numeric
Information: PPP supervisors as mentioned above
28
MAIN SUBJECT COURSES
KI-xx Main subject

Osiris course code: KC-KI-VL KC-KI-CB KC-KI-SX KC-KI-TB KC-KI-BTB KC-KI-HP
KC-KI-VLA KC-KI-OB KC-KI-FG KC-KI-TU KC-KI-ACC KC-KI-PN
KC-KI-VC KC-KI-CL KC-KI-TR KC-KI-HRN KC-KI-GT KC-KI-SLW
Course content: Students of this course receive individual lessons of 75 minutes (course year: 34 weeks). Teachers of the principal subject also
give regular group lessons. There are master classes given by (inter)national guest teachers.
During the individual lesson, the student practises repertoire under the teachers guidance. There are clear learning objectives
with regard to the technical and musical development of the student. There is a programme which takes the development of
knowledge of repertoire into account, in the context of the annual schedule of auditions, exams, projects and extracurricular
activities. The focus is on the students personal development as a professional musician and as an inspired and inspiring
interpreter.
is able to perform on a level that can be qualified as high at a national level;
can act as his own teacher, by analysing what determines the quality of his playing and how to maintain it;
has developed effective practice and rehearsal techniques;
has experienced a variety of musical styles and has studied and performed representative repertoire;
has developed artistically and can show a sense of craftsmanship, both of which enable him to relate independently to the
music and the music profession;
is able to communicate and cooperate at a good level with colleagues and other professionals in the profession;
is able to demonstrate an entrepreneurial spirit, by connecting basic research and education skills with a proactive
approach;
is able to reflect on his role, task and position in the profession as well as in society, and can contribute to it.
Level: Bachelor I-IV
Duration: 75 minutes per week, 34 weeks per academic year
Percussion: 120 minutes per week, 34 weeks per academic year
Prior qualifications/ The student needs to finish each year of this course before being allowed to enter the next. Please note that for being allowed
prerequisites: to enter the 4th year of this course, the student must have finished all compulsory 1st and 2nd year courses, including theory
and educational courses.
29
Teachers: Violin: Vera Beths, Peter Brunt, Theodora Geraets, Philippe Graffin, Janet Krause, Ilona Sie Dhian Ho
Viola: Liesbeth Steffens, Asdis Valdimarsdottir, Mikhail Zemtsov
Cello: Larissa Groeneveld, Michel Strauss, Lucia Swarts, Jan Ype Nota, Harro Ruijsenaars (regular guest teacher)
Double Bass: Jean Paul Everts, Quirijn van Regteren Altena
Flute: Jeroen Bron, Thies Roorda, Wieke Karsten, Dorine Schade (piccolo)
Oboe: Ali Groen, Karel Schoofs, Remco de Vries, Alexei Ogrintchouk (regular guest teacher)
Clarinet: Rick Huls, Pierre Woudenberg
Saxophone: Raaf Hekkema, Corina Ewijk
Bassoon: Bram van Sambeek, Johan Steinmann
Horn: Herman Jeurissen, Martin van der Merwe
Trumpet: Gertjan Loot, Ad van Zon, Erwin ter Bogt
Trombone: Tim Dowling, Pete Saunders, Brandt Attema (bass trombone)
Tuba: Hendrik Jan Renes
Percussion: Pepe Garcia, Theun van Nieuwburg, Niels Meliefste, Hans Zonderop
Harp: Ernestine Stoop
Guitar: Zoran Dukic, Enno Voorhorst
Piano: Ellen Corver, Naum Grubert, David Kuyken
Accordion: An Raskin
Credits: See the curriculum overview of your main subject for the number of ECTS for bachelor I-II-III-IV
Literature: Repertoire to be discussed with teacher
Work form: Individual lessons, group lessons, master classes
Assessment: Year Month Type of exam Duration* Grading system Programme requirements**
Ba I January Progress exam 15 pass/fail The progress exam can lead to a
(voortgangstentamen) formal warning (the so called 1
February letter) in case there are
doubts about the students
capability or attitude towards his
studies.
May/June Propaedeutic exam 15 qualifying result

Ba II May/June II-III exam 15 qualifying result
(overgangstentamen)
Ba III May/June Presentation (public) 25 incl. qualifying result
stage
changes
30
Ba IV May/June Final presentation (public) 50 incl. numeric*** The student is responsible for the
stage content, the overall design and
changes, presentation of the performance.
no The student prepares programme
interval notes which are assessed as part of
the overall assessment of the exam
(see course description: Extended
programme notes final
presentation)
*The duration of percussion examinations/presentations is longer: Ba I-II 20, Ba III 35, Ba IV 60.
**Please note that the programme requirements for each instrument can be found in the appendix at the end of this
document as well as on Intranet.
*** Grade scale of 10, in halves
At each examination or presentation, the student has to present a programme sheet, and preferably also gives a short oral
presentation.
For all practical exam conditions, please see Guidelines for presentations and examinations in the Bachelor and Master of
Music programmes (this document can be obtained at the STIP and on the intranet) and for the overall examination
regulations the Education and Examination Regulations (OER).
Language: English and/or Dutch
Schedule, time, venue: See Asimut schedule times to be agreed upon with the teacher
Information: Wim Vos Head of Classical Music department (w.vos@koncon.nl)
31
AL-COR Coach pianist
Osiris course code: KC-AL-COR
Course content: This course is taught in weekly lessons of 25 minutes (Bachelor I, II, III) or 37.5
minutes (Bachelor IV). The students work individually with a professional pianist.
During the lessons students develop their repertoire and their general skills of
ensemble playing. Coach pianists also play regularly in the main subject lessons and
class presentation events (voorspeelavonden) of their students. By playing for
years with the same pianist, students develop skills in ensemble playing. The pianist
is the regular accompanist at exams, and if possible also at events such as
competitions and auditions outside the college.
is able to rehearse and perform at a basic professional level through the
regular confrontation with a pianist of professional quality;
is able to master repertoire at a basic level across various style periods;
is able to execute ensemble skills at a basic level;
is able to deepen his insight in scores by getting to understand the (harmonic)
perspective of the piano part in different compositions.
Duration: 25 minutes per week (bachelor I, II, III), 34 weeks per academic year
37.5 minutes per week (bachelor IV), 34 weeks per academic year
Prior qualifications/ The student needs to finish each year of this course before being allowed to enter
prerequisites: the next.
Teachers: Jelger Blanken, Gerard Boeters, Natasja Douma, Alla Libo, Elena Malinova, Kamelia
Miladinova, Jan Willem Nelleke, Allesandro Soccorsi
Credits: 1-1-1-2 ECTS per academic year
Literature: -
Work form: Individual lessons
Assessment: Students must follow the protocol coach pianist, which can be found below. When
a student does not adhere to the protocol, the coach pianist will first contact the
main subject teacher, then also the Head of department, which could be followed
by an official warning. This could result in a 'fail' at the end of the academic year. It
is up to the committee of examiners of the main subject exam to decide on a re-
examination possibility.
Schedule: Schedule to be agreed upon with the teachers
Time: -
Protocol: PROTOCOL COACH PIANIST
The Royal Conservatoire offers a team of coach pianists. These musicians/teachers

play together with the students in lessons, classes and exams. While preparing
those concert occasions, students learn different approaches to dealing with
repertoire and playing together.
- A student (all classical instruments except harp, guitar, piano, percussion)

works with the coach pianist during the whole academic year (34 weeks) for 25
minutes a week (when Bachelor I, II, III) or 37,5 minutes a week (Bachelor IV).
32
Students:
- At the beginning of the year, talk with your coach pianist about the planning of
the available hours.
- Dont forget to talk about try-outs and other occasions like competitions you
would like to play at with your coach pianist: these are basically not part of the
task of your coach pianist.
- To reschedule your lesson- with good reason - to another than the set time,
you should ask latest Thursday of the week ahead of the appointment.
- Only when ill and cancelling at least 24 hours before the planned lesson can
you ask to find another time to take the lesson.
- Be sure to be in time for your lesson, out of common politeness but also
because of time management.
- It is important to establish a programme to be played at an exam/class in time.
- Unusual and labour-intensive repertoire demands respectful and timely
deliberation.
- A request to play harpsichord or organ can be refused.
- Class concert nights belong to the work of the coach pianists provided that
there is good consultation about planning and completion.
- When students play together with student pianists it is possible to ask the
coach pianist for instruction lessons. When the collaboration with a student
pianist develops towards replacing the coach pianist the student duo should
work at least a couple of times with the coach pianist.
- Coach pianists keep in touch with the main subject teacher, and vice versa,
about progress and learning objectives of the student.
33
KI-PNBV1 Secondary subject piano
Osiris course code: KC- KI-PNBV1
Course content: In this course, students learn to play the piano (or continue their learning process).
In weekly individual lessons, students develop (basic) piano skills, learn more about
different musical styles and basic harmony at the piano, and learn how to
accompany their own melodic instrument. These skills support students main
subject, as well as their possible teaching activities.
has reached a basic level of playing the piano;
is able to play a simple composition a prima vista;
is able to accompany a melodic instrument in various styles and at a basic
level;
has developed insight into harmony and harmonisation and is able to
implement this.
Level: Bachelor I
Prior qualifications/
prerequisites:
Teachers: Nicolette Heerema, Rixt van der Kooij, Ksenia Kouzmenko, Katia Mauro Correa,
Jean-Baptiste Milon, Tim Sabel, Laura Sandee, Wim Voogd
Credits: 3 ECTS
Literature: -
Assessment: Compulsory attendance: 80%. Please read the protocol secondary subject piano
below.
The exam takes place in June and consists of two parts with several elements:
A:
The student is required to play a solo piece at his own level, taking into
consideration musicality, correctness and style.
The student is required to accompany a fellow student, preferably in a
composition of the students main melodic instrument.
The solo piece and accompaniment should be in two contrasting styles.
B:
1. a prima vista playing
2. transpose
3. harmonic reduction/harmonisation of a melody
4. improvisation/variation
At the exam, two assignments are chosen. The student is allowed to choose
between assignment 1 or 2, and 3 or 4. Assignments 3 and 4 can be prepared in
advance, assignments 1 and 2 are assigned on the spot.
Total duration of the exam: 15 minutes.

Grading system: Qualifying result
Time: -
34
Protocol: PROTOCOL SECONDARY SUBJECT PIANO
Class protocol
Beginning of the school year
Once you have received your timetable get in touch with the piano teacher to
whom you have been allocated within a week. Call or send an email. Even if you are
unable to start straightaway you should nevertheless report to your teacher so that
he or she knows you plan to come. Students failing to report to their piano teacher
before 1 October run the risk of only being able to start their classes a year later.
Attendance
There are 34 classes per academic year. To sit the exam you must have an
attendance of 80%, in other words 28 classes. Exceptions are only made in the case
of an injury or long term illness. Attendance lists are kept. NB Classes can only be
missed for a good reason and with advance notice.
Notification
Let your own piano teacher know if you are unable to attend. Do not wait until the
class begins but notify the teacher as soon as you know you cannot make it. Try and
swap with someone else. If you are ill on a day when there is a class, phone or text
teachers so that they are not kept waiting in vain and can then adjust their
timetable.
Examination protocol
Exemption
Exemption is only granted after a test of proficiency. Report your wish for
exemption at the first class with the teacher. You will then be asked to play for a
committee of three piano teachers. If you play well enough to pass the final
examination with ease you will be given an exemption.
You may possibly be granted exemption for part of the class but will be required to
do the other parts in the final examination.
Examination
The final examination is in June. You will receive an invitation via the koncon mail
to sit the examination a month before the date at the latest. If you cannot sit the
examination on the given date you have a week after the date of the notice to fix
another date with the chair of the examinations committee Ms Rixt van der Kooij,
r.vanderkooij@koncon.nl.
Exchange of examination times is allowed within the class of your own piano
teacher. You can consult the piano teacher and the teacher arranges this with the
chair of the examinations committee. Make sure you are on time. At least 15
minutes beforehand. There is a practice room available.
If you are ill on the day of the examination or you cannot sit the examination for
another reason, notify this as soon as possible to your own piano teacher. The
teacher passes this on to the chair of the examination committee.
Resits
If you fail your final examination an estimate is made of the time you will need to
attain the required standard. The resit can take place in September so that you will
nevertheless be able to pass the first year (propaedeutic year). If more time is
required a resit is possible in December or a year later in June. The committee
plans the resits.
NB If you are not allowed to take an examination because you have failed to meet
the attendance requirement (absent for more than 20% of classes), the new
examination is considered to be a resit.
NB If you fail an examination because your initial level was too low but you have
nevertheless put in the requisite effort this is noted at your examination and the
35
next examination will then count as the first examination. The maximum length of
time allowed for finishing this course is two years.
NB Every year a limited number of places is available for highly-motivated students

who want to do an extra year of piano classes. Students should let teachers know in
good time that they wish to do this and how they would like to use this year
(teachers will inquire in good time) and the teachers will pass this on to Rixt van der
Kooij, who plans all the examinations. At the time of the examinations of this group
of students, selection of those wishing to do an extra year will take place on the
basis of the standard of (piano) playing.
Information: Wim Vos - Head of Classical Music department (w.vos@koncon.nl)
KI-PNBV Secondary subject piano Accordion students

Osiris course code: KC-KI-PNBV
Course content: In this course students learn to play the piano with a focus on developing insight in
harmony, structure, phrasing and style elements. This supports their musical
development as a whole and on their main instrument, the accordion.
Important elements of this three year course:

- practising several pieces from different style periods;
- developing playing skills;
- sight reading;
- transposing, as a preparation to accompany ;
- harmony at the piano, with a focus on fingering and pedalling.
has developed ability at the piano;
has improved musical insight, understanding of style elements and imagination
of sound;
has developed insight into harmony and harmonisation and is able to
implement this;
is able to transpose music at the piano;
has developed accompanying skills at the piano.
Level: Bachelor I-III
Duration: 30 minutes per week
Prior The student needs to finish each year of this course before being allowed to enter
qualifications/prerequisites: the next.
Teachers: Rixt van der Kooij, Wim Voogd
Credits: 3-3-3 ECTS
Literature: -
Assessment: Exams take place in June. Resits take place in September or January.
Students are being judged on showing a significant level of improvement by a
consistent exam committee for each student throughout the years.
NB: The choice of repertoire for the programme is discussed between teacher and
student. Each years programme (incl. practical assignments) and its execution
should be of a higher level than the year before.
Exam schedule:
Ba I: 15 minutes + 5 minute committee discussion
36
Ba II: 20 minutes + 5 minute committee discussion
Ba III: 25 minutes + 10 minute committee discussion
The exam consists of two parts:

A: performance of several works
B: practical assignments at the piano
Exam bachelor I:
A: The student is required to:
play a solo piece at his own level, taking into consideration musicality,
correctness and style
accompany a fellow student; a singer, wind player, string player or a piano
player (four-handed piano).
The solo piece and accompaniment should be from different style periods
B:
2. transpose
4. improvisation/variation
Assignments 3 and 4 can be prepared in advance, assignments 1 and 2 are assigned

on the spot.
Exam bachelor II:

perform two solo pieces from contrasting style periods, at his own level
accompany a fellow student, a singer, wind player, string player or a piano
player (four-handed piano). Students are required to make another choice
than at exam 1.
B:
2. transpose
Assignment 3 can be prepared in advance, assignments 1 and 2 are assigned on the

spot. All assignments need to be performed at a higher level than in year 1.
Exam bachelor III:

perform a polyphonic solo piece
perform two solo pieces
accompany a fellow student; a singer, wind player, string player or a piano
player (four-handed piano). Students are required to make another choice
than at exam 1 and 2
All compositions should be of contrasting styles and should be of a higher level

than the repertoire performed in the previous years.
B:
2. transpose
Assignments 1 and 2 are assigned on the spot and need to be performed at a

higher level than in year 2.
Grading system: Ba I, II: pass/fail
37
Ba III, final exam: numeric
Time: -
Protocol: PROTOCOL SECONDARY SUBJECT PIANO
Class protocol
Beginning of the school year
Once you have received your timetable get in touch with the piano teacher to
whom you have been allocated within a week. Call or send an email. Even if you are
unable to start straightaway you should nevertheless report to your teacher so that
he or she knows you plan to come. Students failing to report to their piano teacher
before 1 October run the risk of only being able to start their classes a year later.
Attendance
There are 34 classes per academic year. To sit the exam you must have an
attendance of 80%, in other words 28 classes. Exceptions are only made in the case
of an injury or long term illness. Attendance lists are kept. NB Classes can only be
missed for a good reason and with advance notice.
Notification
Let your own piano teacher know if you are unable to attend. Do not wait until the
class begins but notify the teacher as soon as you know you cannot make it. Try and
swap with someone else. If you are ill on a day when there is a class, phone or text
teachers so that they are not kept waiting in vain and can then adjust their
timetable.
Examination protocol
Exemption
Exemption is only granted after a test of proficiency. Report your wish for
exemption at the first class with the teacher. You will then be asked to play for a
committee of three piano teachers. If you play well enough to pass the final
examination with ease you will be given an exemption.
You may possibly be granted exemption for part of the class but will be required to
do the other parts in the final examination.
Examination
The examinations take place in June. You will receive an invitation via the koncon
mail to sit the examination a month before the date at the latest. If you cannot sit
the examination on the given date you have a week after the date of the notice to
fix another date with the chair of the examinations committee Ms Rixt van der
Kooij, r.vanderkooij@koncon.nl.
Exchange of examination times is allowed within the class of your own piano
teacher. You can consult the piano teacher and the teacher arranges this with the
chair of the examinations committee. Make sure you are on time. At least 15
minutes beforehand. There is a practice room available.
If you are ill on the day of the examination or you cannot sit the examination for
another reason, notify this as soon as possible to your own piano teacher. The
teacher passes this on to the chair of the examination committee.
Resits
If you fail your examination an estimate is made of the time you will need to attain
the required standard. The resit can take place in September so that you will
nevertheless be able to pass the first year (propaedeutic year). If more time is
38
required a resit is possible in December or a year later in June. The committee
plans the resits.
NB If you are not allowed to take an examination because you have failed to meet
the attendance requirement (absent for more than 20% of classes), the new
examination is considered to be a resit.
NB If you fail an examination because your initial level was too low but you have
nevertheless put in the requisite effort this is noted at your examination and the
next examination will then count as the first examination.
Information: Rixt van der Kooij (R.vanderKooij@koncon.nl)
39
KI-TROS Training Orchestral Parts
Osiris course code: KC-KI-TROS
Course content: Students work intensively on a range of orchestral scores: in the first year common
repertoire and general orchestral techniques, in the second year also including
pieces that are often requested at auditions. The pieces that are to be played in the
classical music departments orchestral projects are practised during the lessons,
individually or by a section. For students whose principal subject is the flute, there
is also separate training in the piccolo.
In Bachelor III students have group lessons with their own instrument group. In
Bachelor IV students receive individual lessons.
The schedule is sometimes revised, for example in preparation for the audition of
the National Youth Orchestral of The Netherlands.
has studied representative orchestral repertoire;
knows the specific technical and artistic skills required for executing orchestral
excerpts and is able to demonstrate that he masters these skills at a good
level;
is able to prepare independently for auditions for orchestras like the EUYO,
and perform at the required level of the entrance exam of the Orchestra
Master of the Royal Conservatoire and the The Hague Philharmonic;
is able to cooperate with other musicians within an orchestral section.
Level: Bachelor III-IV
Duration: Bachelor III: group lessons of 50 minutes per week, 36 weeks
Bachelor IV: individual lessons of 25 minutes per week, 34 weeks
Prior The student needs to finish the first year of this course before being allowed to
qualifications/prerequisites: enter the second.
Teachers: Janet Krause (violin), Mikhail Zemtsov (viola), Roger Regter (cello), Jean-Paul Everts
(double bass), Thies Roorda (flute), Dorine Schade (piccolo), Remco de Vries (oboe),
Rick Huls (clarinet), Bram van Sambeek and Johan Steinmann (bassoon), Martin van
de Merwe (French horn), Gertjan Loot (trumpet), Pete Saunders and Timothy
Dowling (trombone), Brandt Attema (bass trombone), Hendrik-Jan Renes (tuba),
Marieke Schoenmakers (harp), Hans Zonderop (percussion), Theun van Nieuwburg
(timpani).
Credits: 3-3 ECTS per academic year
Literature: Repertoire to be chosen by the teacher
Work form: Bachelor III: Group lessons
Bachelor IV: Individual lessons
Assessment: Compulsory attendance: 80%
In January of bachelor IV there is a 20 minute exam. For most instruments this

exam includes a first movement of a concerto and 7 or 8 orchestral excerpts.
For detailed information, please see the Exam Requirements that can be found in
the appendix of the Curriculum Handbook.
Grading system: Ba III: attendance
Ba IV: qualifying result
Information: Wim Vos Head of the Classical Music department (w.vos@koncon.nl)
40
KI-KM Chamber music
Osiris course code: KC-KI-KM
nd
Course content: In this chamber music course, which is compulsory for classical students in the 2
rd
and 3 year of bachelors studies, students receive ensemble lessons with an
ensemble they have formed themselves, and with repertoire of their choice (which
has to be approved by the Head of Department and chamber music teachers). The
course focuses on topics such as the specific skills required for ensemble playing,
rehearsal techniques, knowledge of repertoire and performing on stage. The
lessons are taught by various main subject teachers as well as theory teachers.
has studied and performed some of the major works of the chamber music
repertoire;
is able to analyse a composition on a basic level and incorporate this in his
rehearsal process;
has developed effective ensemble rehearsal techniques; including planning,
cooperating, studying repertoire, dealing with critique and communicating
within an ensemble setting;
is able to demonstrate the ability to communicate, react and cooperate within
an ensemble, both during rehearsals and performance;
has developed artistically and can show a sense of craftsmanship, both of
which enable him to relate independently to the music and the ensemble;
Level: Bachelor II and III
Duration: 5-10 lessons of 90 minutes per academic year
Prior qualifications/ Students are expected to form a chamber music ensemble with other students and
prerequisites: select repertoire of their own choice.
Teachers: Various teachers
Literature: Repertoire to be chosen by the ensemble (and agreed upon by the Head of
Department and chamber music teachers)
Work form: Ensemble / group lesson
Assessment: 100% active participation
In December every ensemble has to perform (part of) the music they will be
performing during the chamber music festival. The intention of this exam is to see if
the ensemble started well and is on the right track. The committee that is present
during this exam will give feedback after the performance.
Final presentations are held in the form of a concert during the Chamber Music
Festival, which usually takes place in March or April. Students are assessed by a
committee and receive feedback, both as an ensemble and individually.
Please see the Protocol students chamber music classical below for more
information.
Absence is only allowed due to unforeseen circumstances or with permission from

the principal teacher of this course.
Schedule, time, venue: To be agreed upon with the teacher
Protocol: Protocol for students studying classical chamber music
41
Chamber music is on the Classical curriculum for all instruments in Bachelor II and
III.
Organisation
Students form ensembles and pass this information on to Paul Scheepers in good
time. One student acts as contact. The Head of Department and (some members
of) the chamber music teaching team assess and approve the type of ensemble, its
composition and the desired repertoire bearing in mind the educational aspects.
The ensemble should offer material for a series of lessons and for the development
of all kinds of aspects of playing which are related both to chamber music and to
the main subject. The repertoire should be at the level of the main subject and the
desired level of Chamber music 1 and 2.
The Head of Department decides - after consultation on the deployment of

teachers (allocation of ensembles to teacher and the number of classes of 1
hours). A single teacher always takes main responsibility for an ensemble even if
several teachers teach the ensemble.
All ensembles work with a theory teacher. This involves among other things going
into greater depth regarding the score, and the harmonic analysis and structure of
the piece so that a higher level of interpretation can be achieved. From time to
time a master class can be added to the chamber music programme.
Assessment
In December every ensemble has to perform (part of) the music they will be
performing during the chamber music festival. The intention of this exam is to see if
the ensemble started well and is on the right track. The committee that is present
during this exam will give feedback after the performance. Final presentations are
held in the form of a concert during the Chamber Music Festival, which usually
takes place in March or April. Students are assessed by a committee and receive
feedback, both as an ensemble and individually. The festival takes place in various
venues in the city of The Hague. The committee comprises the Head of Department
(or another chairperson), chamber music teachers and an international guest.
The following elements have priority in assessing the presentations:

Perfection of playing is subordinate to the process.
If an ensemble is permitted to give the presentation it cannot fail: the Chamber
music festival offers a stage for a serious performance.
The committee offers usable feedback by means of an internal form for both
the ensemble and each individual student.
A single resit is an option for chamber music as is the case for every other part
of the study programme at the Royal Conservatoire. Should arrangements
prove impossible through no fault of the students and the presentation cannot
be held in the designated period, a resit at a later time is possible. If this part of
the study fails to be taken seriously by the students (note by teacher on the
assessment form in January/February) the entire part of the course is
transferred to the following year when the resit takes place after following the
same programme.
It is essential to get in touch with Paul Scheepers (p.scheepers@koncon.nl) with

regard to any interim events and changes.
42
KI-TK Technique Class Flute
Osiris course code: KC- KI-TK
This course is given at four levels, during all four years of bachelors studies. During
the lessons, students of all flute teachers join in.
Subjects that are being dealt with are training of tonal system, playing by ear and by
Course content:
heart in 12 keys (major/minor), melodies, scales and arpeggio's, plus various kinds of
daily routines, body awareness and posture, breath control, aesthetics of sound and
ways of sound production.
At the end of this course, the student:
can demonstrate a good posture and understands the relationship between
posture and tone/tone quality;
Objectives: has developed his technique so as to be able to play in all keys with ease;
is able to combine information from a score, his inner ear and his actual playing;
he is able to reflect and act upon this;
has internalized his technique and is able to keep up his technical level.
Wieke Karsten: 1st year students
Teachers: Jeroen Bron: 2nd and 3rd year students
Thies Roorda: 4th year students (if required: also masters students)
Literature: To be introduced by the teacher
Work form: Group lesson. Students play together in a flute choir, and take turns playing solo.
Compulsory attendance: 100%. Absence is only allowed due to unforeseen
Assessment: circumstances or with permission from the principal teacher of this course.
Active participation is required.
Grading system: Attendance sufficient/insufficient
Information: Wim Vos - Head of the Classical Music department (w.vos@koncon.nl)
43
KI-PC Lesson Piccolo
Osiris course code: KC-KI-PC
Course content: In this course students learn about specific playing techniques of the piccolo.
Training orchestral parts for piccolo is an important part of the lesson.
shows a clear and convincing control of the piccolo
has gained a good overview of the piccolo orchestral parts repertoire
Duration: 25 min. per week, 34 weeks per academic year
Teachers: Dorine Schade
Literature: t.b.a.
Work form: Individual lesson
Assessment: Compulsory attendance:80%
During the TOP exam in bachelor IV, two piccolo excerpts will be asked for.
Grading system: Ba III: attendance
Ba IV: qualifying result
Schedule: t.b.a.
Time: t.b.a.
44
KI-KK Brass class
Osiris course code: KC-KI-KK
Course content: About once a month, there is a brass class in which all brass students (bachelors
and masters students of French horn, trumpet, trombone, bass trombone and
tuba) practice repertoire and ensemble playing and performance.
is able to perform repertoire at a good level in the setting of a brass section;
is able to function in an ensemble taking into account the specific features of
the various brass instruments;
is able to engage with repertoire at a good level.
Duration: Lesson of 180 minutes, several times a year
Teachers: All teachers in the brass sections
Literature: To be announced
Work form: Group lesson
Assessment: Compulsory attendance: 100%. Dedication and positive participation is required.
The course generally also involves the preparation of a series of concerts.
45
KC-KIxx Group lesson
Osiris course code: KC-KI-GRL KC-KI-GLCB KC-KI-GLOB KC-KI-GLTB
KC-KI-GLAC KC-KI-GLFG KC-KI-GLHRN KC-KI-GLTR
KC-KI-GLVA KC-KI-GLGT KC-KI-GLCL KC-KI-GLTU
KC-KI-GLBTB KC-KI-GLHP KC-KI-GLSX KC-KI-GLVL
KC-KI-GLVC
Course content: A group lesson for all students of an instrument group (section), from all years of
study. The format differs from section to section and may be a combination of
several elements. These could include regular student performances, specific
repertoire such as orchestral parts or the works of a certain composer, technical or
instrument-related issues, methodological issues, giving presentations about
instrument-related topics, posture, breathing et cetera. Another possibility is an
internal master class, where main subject teachers or regular guest teachers take
turns in giving a master class to all students of a section. Peer-feedback is a central
part of all group lessons.
is able to contribute to a group process;
is able to observe and listen to others in a perceptive way;
is able to verbally express observations and to give constructive feedback to
peers;
Is able to receive and put to use feedback from peers.
Duration: Varies depending on main subject, lessons divided over 36 weeks
prerequisites:
Teachers: All main subject teachers
Credits: Piano: 1-1-1-1 ECTS per academic year
All other instruments: 2-2-2-2 ECTS per academic year
Literature: t.b.a.
Assessment: Active participation.
Absence is only allowed due to unforeseen circumstances or with permission from
the principal teacher of this course
Language: English
46
KI-BB BASSbook
Osiris course code: KC-KI-BB
Course content: This course is offered jointly by the Classical, Early Music and Jazz departments.
Every student and teacher of double bass (violone) participates. Every year teacher
Quirijn van Regteren Altena arranges 4 full day meetings, when students play for
each other and share and develop repertoire and teachers give lessons to the
entire group of students. There are also guest lectures and demonstrations,
workshops and concerts.
is able to engage with and perform in a variety of musical genres and styles;
is able to function in a multidisciplinary professional environment throughout a
variety of genres and styles;
is able to create new styles in cooperation with other musicians on the basis of
new artistic information;
is able to cooperate with other musicians in an international and multicultural
environment through the creation of a community of bassists consisting of
international students and international teaching faculty.
Duration: 4 full days per academic year
Teachers: Janos Bruneel, Jean-Paul Everts, Clemens van der Feen, Roelof Meijer, Quirijn van
Regteren Altena, Maggie Urquhart + guest teachers
Work form: Project form: 4 sessions each lasting one full day throughout the academic year
Assessment: Compulsory attendance: 100%. A record of attendance is kept and absence is only
allowed due to unforeseen circumstances or with permission from the principal
teacher of this course. Preparation, dedication and positive participation is
required.
47
KI-KLK Clarinet quartet
Osiris course code: KC-KI-KLK
Course content: This four-year course is taught in weekly lessons of 50 minutes. All students
participate. Sometimes a regular quartet is formed that plays together for a longer
period. Playing together in the same formation, students explore and develop tone
forming, timbre and timing on different clarinets (e.g. e flat clarinet, bass clarinet,
basset horn). They also build their knowledge of repertoire and practise sight
reading and transposing.
is able to perform specific repertoire at a good level;
knows and is able to perform at a good level the common repertoire of this
specific ensemble;
is able to cooperate with other musicians in this specific ensemble;
is able to independently continue to further develop the knowledge and skills
gained in this course;
is able to reflect and assess his own functioning as a professional player
through the specific feedback given by peers and teaching faculty.
Teachers: Pierre Woudenberg
Assessment: Preparation, dedication and active participation are required.
Compulsory attendance: 100%. Absence is only allowed due to unforeseen
circumstances or with permission from the principal teacher of this course.
Time: -
48
KI-KI-DUO Duo class accordion/guitar/harp
Osiris course code: KC-KI-DUOAC
KC-KI-DUOGT
KC-KI-DUOHP
Course content: In this course students play together with students of the Vocal department.
Repertoire is selected by the teachers; sometimes students arrange their own
material.
has developed and improved his skills to play together with a singer;
has explored and performed duo repertoire;
has explored the possibilities to arrange and adapt compositions in order to
expand his possibilities for programming performances with a singer.
Level: Accordion: bachelor I-II
Guitar and harp: bachelor I (other years: pm)
Duration: 6 lessons of 50-120 min. depending on the size of the group, during the first
semester
Prior qualifications/ For accordionists: the student needs to finish each year of this course before being
prerequisites: allowed to enter the next.
Teachers: An Raskin (accordion), Enno Voorhorst (guitar), Marieke Schoenmakers (harp),
together with various vocal teachers and Phyllis Ferwerda (piano)
Credits: Accordion: 2-2 ECTS in bachelor I-II
Guitar, harp: 2 ECTS in bachelor I
Literature: t.b.a.
Assessment: Absence is only allowed due to unforeseen circumstances or with permission from
the principal teacher of this course
Concert at the end of the first semester
Schedule, time, venue: t.b.a.
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KI-DUO Duo Class Piano
Osiris course code: KC-KI-DUO
Course content: This course is taught in weekly lessons in bachelor I (vocal), II (instrumental) and III
(vocal and instrumental) for classical piano students. Students work together with a
permanent duo partner. Students rehearse repertoire and develop all skills related
to ensemble playing in a duo.
has developed and improved his skills to play together with a
singer/instrumentalist;
explored and played repertoire for playing together with a
singer/instrumentalist;
is aware of the qualities needed to play together professionally; good
communication, phrasing together, balance, colour and breathing are
developed in an advanced level.
prerequisites:
Teachers: Han Louis Meijer (vocal coach), Hans Eijsackers (instrumental coach)
Literature: t.b.a.
Work form: Individual lesson
Assessment: Compulsory attendance: 80%. Active preparation and participation
Annual public presentation in May, where students perform in a concert setting.
Year I (bachelor I)
Only vocal
Programme min 17 max 22
A minimum of 5 songs from different style periods, in a minimum of 2 languages.
Year II (bachelor II)

Only instrumental
Programme min 17 max 22
A minimum of 2 compositions from 2 different style periods, including at least one
movement from a sonata.
Year III (bachelor III)

Combination of vocal and instrumental
Programme approximately 30 minutes, half instrumental, half vocal
Together with the other duo class III students, the student should organise a well-
structured public concert programme, including explanation, programme booklet,
and promotional material.
Language: English and/or Dutch
50
KI-PK Piano Class
Osiris course code: KC-KI-PK
Course content: 1st year: Prima Vista playing, Basic keyboard harmony, Partimento basic level,
Memorisation, Transposition
2nd year: Prima Vista playing, Advanced Keyboard harmony, Partimento,
Memorisation, Analysis of literature at the piano
3rd year: Improvisation: Solo and duo improvisations, Harmonic models, Basic
Jazz harmony
Objectives: At the end of this course, the student is able to:
sight-read music in different styles;
harmonise basses and sopranos;
master basic elements of Partimento and play harmonic sequences and
models of the Baroque, Classical and Romantic styles;
explain inner workings of pieces of the literature while illustrating this at
the piano;
improvise in tonal, modal and non-tonal styles, solo and with two pianos.
Prior The student needs to finish each year of this course before being allowed to
qualifications/prerequisites: enter the next.
Teachers: Bert Mooiman and Karst de Jong
Literature: Website Monuments of Partimenti, F. Moolenaar: 360 opgaven voor de
vierstemmige zetting, A. Brings: A new approach to Keyboard Harmony, Reader
Robert Gjerdingen for Partimento (Fenaroli selection)
Ba I: exam 20 minutes individual, partly prepared
Ba II: exam 20 minutes individual, partly prepared
Ba III: concert: partly prepared improvisation, solo and duo performance
Grading system: Ba I-II: Numeric result
Ba III: Pass/fail
51
KI-REP Repertoire Class Piano
Osiris course code: KC-KI-REP
Course content: This group course focuses on the piano repertoire of the 20th/21st century (mainly
solo repertoire, but also chamber music in which the piano plays a significant role,
quatre mains or piano concertos).
Through listening, playing and analysing, students build their repertoire knowledge,
work on new playing techniques and get acquainted with various ways of notation.
Theory teachers and composers may be invited to assist with analysis and
elaborate on specific composition techniques.
Apart from the works the students will choose to play, some major musical
movements will be treated: Minimalism, Serialism, American Music etc.
The main focus is on the performance of contemporary music. It is essential for a

better understanding of style. Presentations, organised in collaboration with the
composition department, are often in the form of a concert.
has analysed and studied representative piano repertoire of the last 100 years;
is able to show he masters the specific technical skills related to this repertoire;
is able to give constructive feedback to his fellow students;
has developed artistically and expresses a sense of craftsmanship, both of
which enable him to relate independently to the music and the music
profession;
has developed a better understanding of style with relation to contemporary
music;
has developed skills of contemporary music performance.
Duration: 4 lessons of 3 hours per academic year
Teachers: Gerard Bouwhuis and guest teachers
Credits: 2 ECTS per academic year
Literature: Piano literature of the last 100 years, e.g. K. Stockhausen, G. Crumb, J. Cage, S.
Reich, G. Ligeti, I. Xenakis, L. Berio, L. Andriessen etc.
Assessment: Each year the student chooses two substantial works he is going to perform. These
performances are assessed by the teacher of the course. When the performance is
graded as insufficient, the student is required to study and perform another
composition, which is selected by the teacher.
* Two substantial pieces from the 20th/21st century of choice; students are
advised to choose repertoire that they can perform at their regular piano
examinations.
- Students may also participate in a project of the Composition Department, in
which case they need to study one additional piece.
- Often, special projects are organised. Depending on the time and effort put in by
the student, teachers will decide if the student needs to work on additional
repertoire.
* performance at a concert (e.g. Spring Festival, concert of the The Hague
Philharmonic)
- if there is no concert possibility, the student is assessed during class
52
53
KI-HO / EM-HO Historical development
Osiris course code: KI-HOVL (violin and viola )
KI-HOVC (cello and viola da gamba)
KI-HODB (double bass and violone)
EM-HOBFL (recorder)
KI-HOFL (flute and traverso)
KI-HORD (oboe and bassoon)
KI-HOCL (clarinet)
KI-HOSX (sax)
KI-HOKB (brass= horn, trumpet, trombone, tuba)
KI-HOHP (harp)
KI-HOSL (percussion)
KI-HOGT (guitar and lute)
KI-HOAC (accordion)
KI-HOPI (piano and fortepiano)
EM-HOHC (harpsichord)
Course content: Historical development provides to the student, in a one year course, basic
professional knowledge of the context of his main subject. This context primarily
concerns the science of musical instruments (organology). The related playing
techniques and stylistic implications of playing instructions throughout the entire
history of the instrument are a substantial part of this course. The course is offered
in an interactive learning environment in which students are expected to regularly
respond to texts, iconography, instruments, video and audio recordings etc. By
working on assignments of longer time spans, students develop a constant working
attitude, which should lead to independent exploration of topics of personal
interest in the profession. For these research aspects students are trained to use
information from the internet and bibliographies with a critical approach. The
connection with a physical component in most of the related topics requires a
direct translation by the student himself into a practical realization of the subjects
at hand. For these investigations the students work together and react to each
others contributions.
At the end of the course every student will create a short article in an
encyclopaedia format about a chosen topic.
is able to share a basic knowledge of the organological development and
technical functioning of his instrument with peers;
is able to put into practice basic research strategies related to the main
subject;
is able to use the contextual knowledge in order to position himself in the
professional environment;
has acquired an inquisitive attitude concerning contexts of repertoire.
Level: Bachelor II
Duration: 34 lessons of 50 minutes or combined lessons
prerequisites:
Teachers: Kolja Meeuwsen, Caroline Kang, Quirijn van Regteren Altena, Kate Clark,
Wouter Verschuren, Pietia van Proosdij, Leo van Oostrom, Joost Geevers,
Marieke Schoenmakers, Pepe Garcia, Fernando Riscado Cordas, An Raskin,
Shuann Chai, Eduardo Valorz, Reine-Marie Verhagen and guest teachers
Credits: 2 ECTS
Literature: t.b.a.
54
Assessment: Attendance 80%
During the year, students give presentations (the format is to be decided by the
teachers)
At the end of the course every student is producing a short article in an
encyclopaedia format about a chosen topic. Articles will be uploaded in the KC
research catalogue.
Schedule, time, venue See Asimut schedule
Information: Johannes Boer Head of Early Music Department (j.boer@koncon.nl)
55
ED-EV-11 Educational Skills 1
Osiris course code: KC-ED-EV-11
Course content: Students learn about the professional field they are entering (or have perhaps
already entered). Educational services, music schools, projects and any activity
where music is required can be covered. Students will also gain insight into how to
study independently, how they themselves have been taught and how that has
influenced their own playing, as well as their current status in terms of performing
and studying. Students can also decide to continue their instrumental/vocal
teacher training with the Minor Education.
can reflect on his own studying;
has insight into teaching streams he has encountered;
has an overview of the professional field of instrumental/vocal education.
Competences and roles*: The student has discussed:
5.1 Instrumental/vocal teachers continuously reflect in and on their teaching and
their personal philosophy and vision for music education in order to improve their
practice.
5.2 Instrumental/vocal teachers identify, respond and adapt to developments
within the profession and take responsibility for identifying and meeting their own
professional development needs.
6.1 Instrumental/vocal teachers have an awareness of their own fits into the
broader musical and educational contexts of the school, community and society,
and acts as advocates for music education.
*Referring to the handbook Instrumental and vocal teacher education: European

Perspectives by the Polifonia Working Group for instrumental and vocal music
teacher training
Level: Bachelor II
st
Duration: Weekly lessons, 28 contact hours, 1 semester
prerequisites:
Teachers: various
Credits: 4 ECTS
Literature: Reader Educational Skills: Orientation On The Field of Work
Assessment: Compulsory attendance: 80%.
Assignments given in the lessons should be delivered to the teacher before the end
of the module.
Information: Julia Stegeman (j.stegeman@koncon.nl)
56
ED-EL** Ensemble Leading
Osiris course code: Classical, Vocal, Theory of Music department: KC-ED-ELKI-11
Early Music department: KC-ED-ELEM
Jazz department: KC-ED-ELJA-11
Course content: During the course the students learn about the properties of the instruments in the
ensemble. They learn about the beginners peculiarities and are challenged to
conduct and arrange for an ensemble.
can lead a diverse vocal or instrumental ensemble;
has insight into how to arrange a simple score for this ensemble;
masters the basics of conducting.
Competences and roles*: 1.1 Instrumental/vocal teachers are a source of musical inspiration for their
students through their own high-level musical performance, musical personality
and artistic vision. 1.2 Instrumental/vocal teachers create and facilitate musically
rewarding learning opportunities for their students drawing on their own musical
skills, knowledge, understanding and experience.
3.1 Instrumental/vocal teachers communicate effectively with their students,
listening to them, interacting with them musically and being sensitive to their
diverse needs and learning styles.
4.2 Instrumental/vocal teachers communicate openly with students, foster
supportive relationships and positive social interaction, and promote purposeful
collaborative learning environments for all learners, where diversity is valued and
where students feel secure, empowered and respected.

teacher training
Level: Bachelor III
nd
Duration: 2 semester, 13 contact hours
Prior -
qualifications/prerequisites:
Teachers: Hernan Schvartzman (Early Music), Danil Salbert (Singing), Ali Groen (Wind players
and various), Frank Zielhorst (String players and various), Rolf Delfos (Jazz)
Credits: 2 ECTS
Literature: Hand-out by teachers
Assignments given in the lessons should be delivered to the teacher in time. The
student has to lead the ensemble in a performance of his own arrangement.
Information: Marijke van den Bergen (m.vdbergen@koncon.nl)
57
ED-MIO-14 Music theory for education in Classical Music
Osiris course code: KC-ED-MIO-14
Course content: The student learns about musicianship skills and how to integrate these in an early
stage in music lessons. Skills that are practiced are e.g.:
- aural skills
- improvisation
- knowledge of music theory
The student is asked to take the role of a music teacher who integrates learning to
play the instrument with broader musicianship skills.
is able to implement various ways to integrate music theory / musicianship
skills in his vocal/instrumental teaching practice;
has a vision about this aspect of his profession.
Competences and roles:* 1.2 Instrumental/vocal teachers create and facilitate musically rewarding learning
opportunities for their students drawing on their own musical skills, knowledge,
understanding and experience.
3.1 Instrumental/vocal teachers communicate effectively with their students,
listening to them, interacting with them musically and being sensitive to their
diverse needs and learning styles.
5.2 Instrumental/vocal teachers identify, respond and adapt to developments
within the profession and take responsibility for identifying and meeting their own
professional development needs.

teacher training
Level: Bachelor III
Duration: 1 semester, 18 weeks, 1 hour per week
prerequisites:
Teachers: Erik Albjerg, Daniel Salbert, Arjen Berends, Ewan Gibson, Ida Vujovic
Credits: 2 ECTS
Literature: Hand-out by teachers and gathered material
Assessment: Assignments given in the lessons should be delivered to the teacher before the end
of the module. Attendance is compulsory.
Information: Suzanne Konings Head of Music Theory Department (s.konings@koncon.nl)
58
Extended programme notes final presentation classical
KI-PT
music
Osiris course code: KC-KI-PT
Course content: The development of a set of programme notes is part of the final presentation for
the bachelors programme. These programme notes should contain (at a minimum)
relevant information on the compositions on the programme and the performers.
In addition, further information about the historical context and the rationale for
the choices for the programme should be presented in either written form (as part
of the programme notes), verbally or through another form of presentation. The
presentation should in any case be attractive for a broader concert audience. This
module is also meant as a preparation for the research activities in the masters
programme.
is able to programme a final presentation in the form of a concert and explain
the artistic and programmatic choices that have been made;
is able to put the concert programme into a wider context and underpin the
programme with information relevant to the music presented;
is able to present the programme, its rationale and its context in an attractive
way to a wider public.
Level: Bachelor IV
Duration: t.b.a.
prerequisites:
Teachers: Wim Vos and main subject teachers
Credits: 2 ECTS
Literature: t.b.a.
Work form: Group lesson and individual coaching
Assessment: As mentioned in the Guidelines for Presentations and Examinations in the Bachelor
and Master of Music, programme notes must be handed in at the student
st
administration 2 weeks before the 1 of April.
Sufficient copies should also be available at the examination for the general public.
Assessment will take place as an integral part of the final examination assessment
by the committee of assessors. The programme notes need to be signed by the
main subject teacher.
Grading system: Numeric grades as part of the overall numeric grade of the examination; the quality
of the programme notes will be taken into account in the formulation of the final
overall examination grade.
Schedule, time, venue: n/a, n/a, Royal Conservatoire
59
SPECIFIC COURSES FOR PERCUSSIONISTS
KI-DR Secondary Subject Drums

Osiris course code: KC-KI-DR
Course content: In this four year course students learn to play in various styles, from jazz and pop to
modern classical music. In weekly individual lessons students will get to know and
learn to perform standard repertoire and they will develop the skills needed to play
in combos In bachelor III and IV students have the possibility to play in the rhythm
section classes by Eric Ineke.
is able to function as an independent drummer in a jazz trio / combo;
is able to perform standard repertoire;
is able to play drums in a funk / pop combo;
is able to perform modern classical repertoire for drums (Frank Zappa,
Bernstein, Gershwin).
Duration: 15 minutes per week
Teachers: Stefan Kruger, Felix Schlarmann
Literature: Hand-outs given by the teacher
Assessment: Compulsory attendance 80%
Bachelor I-III: technical exam, 15 min.
Bachelor IV: performing in a combo, 15 min.
Grading system: Ba I-III: pass/fail
Ba IV: numeric
Information: Wouter Turkenburg Head of Jazz Department (w.turkenburg@koncon.nl)
60
KI-SWAF Hand percussion
Osiris course code: KC-KI-SWAF
Course content: This course is intended to provide the student with a full range of possibilities and
skills learned through Non-Western percussion techniques in order to use them as
an extra tool for the development of their own classical contemporary repertoire.
The programme will cover and explore the essential elements and techniques from
various types of Non-Western percussion such as djembe, sabar, congas, bongos,
cajon, maracas, tabla, Mrindangam, frame drums, etc. A new path of textures,
colours, sounds and technical skills will influence the student directly and will open
new ways of approaching music providing the resources necessary to pursue
careers in a wide array of musical situations. Improvisation, movement and sound
research are key elements in this course.
has developed and is able to show the skills to perform various types of Non-
Western percussion at a high level;
is able to use these for the development of his own classical contemporary
repertoire;
is able to continue developing these skills independently;
Is able to improvise in ensemble.
Duration: project based
Teachers: Pepe Garcia and guest teachers (e.g. Aly NDiaye)
Literature: -
Work form: Group lesson and individual coaching as needed. Monthly performance class where
students get to perform and try new ideas, getting feedback from their teachers
and colleagues.
Assessment: 80% attendance and active participation, both in lessons and the monthly
performance class.
Language: English
Information: Wim Vos Head of Classical Music Department (w.vos@koncon.nl)
61
KI-SWEN Percussion ensemble
Osiris course code: KC- KI-SWEN
Course content: Ensemble playing is a vital tool for the development of every percussionist in every
single aspect. Percussion ensembles have become a standard setting and one of
the most exciting developments in contemporary western music.
This course seeks to provide emerging percussionists/performers with the technical
skills, musical knowledge, and artistic ability required to meet the variety of
demands encountered in todays musical environment.
has studied and performed the classical and new percussion ensemble
repertoire;
has experienced working with ensembles in various settings;
has developed skills, knowledge and artistic ability related to ensemble playing
and is able to show this in a performance;
is able to follow and lead a group;
has experienced working in collaboration with composers.
Duration: project based
Teachers: Pepe Garcia
Literature: Existing ensemble repertoire, newly commissioned pieces
Work form: Group lesson and individual coaching as needed. Monthly performance class where
students get to perform and try new ideas, getting feedback from their teachers
and colleagues.
Assessment: 80% attendance and active participation, both in lessons and the monthly
performance class
Language: English
Information: Wim Vos Head of Classical Music Department (w.vos@koncon.nl)
62
KI-SBT Swiss Basle drumming
Osiris course code: KC-KI-SBT
Course content: In this course the student improves his classical snare drum technique by studying
the specific Basler drum repertoire. Special attention is paid to stick control,
dynamic range, rhythm and timing.
This course consists of approximately 30 individual lessons of 30 minutes on a

special practice pad. The repertoire is to be found in two booklets the teacher
hands out these booklets can also be found in the conservatoires library. During
the individual lesson, the student practices repertoire under the teachers
guidance. There are clear learning objectives with regard to stick control, Basle
drum repertoire, development of dynamic range and specific Basle drum technique
which leads to better snare drum technique.
has developed dexterity for both hands;
is able to play a long open roll;
is able to perform expressively on the snare drum;
has a fundamental understanding of the Basler drum style;
has improved his physical stamina.
Level: Bachelor I
Duration: 25 minutes per week, 2 semesters
prerequisites:
Teachers: Rob Verhagen
Credits: 1 ECTS
Literature: Bachelor: Das Basler Trommeln - Dr Fritz R Berger, Trommelmrsche Band I + II - Dr
Fritz R Berger
Assessment: Bachelor: the first booklet is regarded as exam material.
The exam takes place in May/June.
Grading system: Qualifying results
Schedule, time, venue: Schedule to be agreed upon with the teacher
Information: Wim Vos - Head of the Classical Music department (w.vos@koncon.nl)
63
THEORY COURSES
TH-ASA Aural Skills and Analysis 1

Osiris course code: KC-TH-ASA
Course content: Students develop their practical musicianship skills needed for high quality music
making: stylistic understanding, melodic, polyphonic, harmonic and analytical
hearing, musical memory and imagination, music reading and writing skills.
Students practice these musicianship skills through singing, playing and listening as
an everyday musical warming up. The connection of the practical skills with the
musical repertoire contributes to the students cognitive development. The starting
point is the students own and other relevant repertoire, which will gradually
become more complex during the course. The repertoire can be chosen from
different styles and time periods. Solfge skills are developed so that students as a
group or individually can sound music through singing and/or playing, with good
intonation and musical understanding. In analysis activities compositions are built
up from the background elements, in a process led by the teacher, so that students
understand musical constructs and concepts from the inside of a composition. The
aural skills and analysis activities are not only tools, but represent artistic value in
themselves. In the beginning activities will be mainly initiated by the teacher, but
students can take initiative in choosing repertoire and practical assignments.
shows a reliable level of basic skills in musicianship and musical literacy;
is beginning to show a developed musical personality in his music making;
has a basic understanding of elementary concepts in music (melody, harmony,
counterpoint, homophony, polyphony, (a)tonality, modality, texture);
is able to use basic music theoretical terminology for musical concepts as a
beginning professional musician;
has knowledge of what has been learned and is able to reflect on it.
Level: Bachelor I
Duration: 3 lessons per week (2 x 75 minutes, or 3 x 50 minutes), 2 semesters
prerequisites:
Teachers: Arjen Berends, Arie Boers, Patrick van Deurzen, Ewan Gibson, Suzanne Konings,
Santo Militello, Daniel Salbert, Paul Scheepers, Ida Vujovic
Credits: 9 ECTS
Literature: t.b.a.
Assessment: Compulsory attendance 80%; Weekly evaluation of assignments and activities; Half-
term evaluation in December; Exam in June:
Portfolio of studied repertoire, assignments, literature
Solfge performance of all first year groups
Students perform music showing their musicianship skills: stylistic understanding,
melodic, polyphonic, harmonic and analytical hearing, musical memory and
imagination, music reading and writing skills.
Please see Information assessment theory subjects for further details.

Grading system: Attendance pass/fail
Exam: numeric
64

Course content: Following the first year classes in Aural Skills and Analysis students further develop
their practical musicianship skills needed for high quality music making: stylistic
understanding, melodic, polyphonic, harmonic and analytical hearing, musical
memory and imagination, music reading and writing skills. Students practice these
musicianship skills through singing, playing and listening as an everyday musical
warming up. Their cognitive development is seen as a result of these practical
skills, connected to the musical repertoire that again is gradually becoming more
complex during the course. Other repertoire than the students own repertoire can
be studied. It can be chosen from different styles and time periods. Solfge skills
are further developed so that students as a group or individually can sound music
through singing and playing, with good intonation and musical understanding. In
analysis activities compositions are build up from the background elements in a
process led by the teacher, so that students understand musical constructs and
concepts form the inside of a composition. The aural skills and analysis activities
are not only tools, but represent artistic value in themselves. Students take more
initiative in choosing repertoire and designing practical assignments.
shows an intermediate level of skills in musicianship and musical literacy, and
is beginning to integrate these skills in their own practising and rehearsing
techniques;
shows a more developed musical personality in their music making;
has an intermediate understanding of elementary concepts in music (melody,
harmony, counterpoint, homophony, polyphony, (a)tonality, modality,
texture);
is able to use music theoretical terminology for musical concepts as a
professional musician;
has knowledge of what has been learned and is able to reflect on it.
Level: Bachelor II
Prior qualifications/ Aural Skills and Analysis 1
prerequisites:
Credits: 8 ECTS
Literature: t.b.a.
Solfge performance of all second year groups
65

Grading system: Attendance: pass/fail
Exam: numeric

Course content: Building on the first and second year classes in Aural Skills and Analysis students
further develop their practical musicianship skills needed for high quality music
making: stylistic understanding, melodic, polyphonic, harmonic and analytical
hearing, musical memory and imagination, music reading and writing skills. Their
cognitive development is seen as a result of the practical skills, connected to the
musical repertoire that again is gradually becoming more complex during the
course. Other, more advanced, repertoire than the students own repertoire can be
studied. It can be chosen from different styles and time periods. Solfge skills are
developed to a high level so that students as a group or individually can sound
music through singing and playing, with good intonation and musical
understanding. Students are required to take initiative in choosing repertoire and
designing practical assignments.
shows high level of skills in musicianship and musical literacy, and is able to
integrate these skills in their own practising and rehearsing techniques;
is showing a high developed musical personality in their music making;
has an advanced understanding of elementary concepts in music (melody,
harmony, counterpoint, homophony, polyphony, (a)tonality, modality,
texture);
is able to use terms for musical concepts as a professional musician;
has knowledge of what has been learned and is able to reflect on it;
is able to apply the learned skills in a role as music teacher.
Level: Bachelor III
Prior qualifications/ Aural Skills and Analysis 2
prerequisites:
Credits: 5 ECTS
Literature: t.b.a.
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Solfge performance of all third year groups

Grading system: Attendance pass/fail
Exam: numeric
67
TH-ASI Aural Skills and Improvisation 1
Osiris course code: KC-TH-ASI
Course content: Students learn to recognize and play melodies and harmonic progressions from
compositions from different style periods by ear. They also learn to play variations
on these melodic and harmonic models by studying and improvising in group
activities and individual exercises. Musical examples will be played by ear and
transposed to other keys or transformed into a different mode. Continuous canon
playing is an example of a group activity where the musical listening,
understanding, memory, and playing by ear are exercised through the students
own instrumental playing. These classes lead to more extended practical
musicianship skills in addition to the Aural Skills and Analysis classes. Terms and
concepts will be connected to what is learned in the practical activities. Examples
of classroom activities and assignments are:
Continuous canon playing and other group exercises
Transposing / transforming of short new musical fragments and studied
fragments
Playing from memory: simple models from music literature
Playing variations on short new musical fragments and studied fragments
Partimento-exercises: rule of the octave, melodic and harmonic / contrapuntal
sequences
is able to play his instrument by ear on a basic, but reliable level;
is able to imagine and play relatively simple melodic and harmonic models,
alone and together with the teacher or other students;
is able to copy by ear short melodic and harmonic fragments that are played by
the teacher or fellow students;
is able to play variations on short studied models;
is able to shape and/or create music in ways which go beyond the notated
score;
can approach musical materials in a creative and informed way;
has learned to deal with technical aspects of the instrument by playing by ear;
is able to control his playing by ear;
is able to use terms for musical concepts as a beginning professional musician.
Level: Bachelor I
Duration: 1 lesson per week (50 minutes), 2 semesters
prerequisites:
Teachers: Arjen Berends, Arie Boers, Karst de Jong, Bert Mooiman, Daniel Salbert, Santo
Militello
Credits: 3 ECTS
Literature: 50 Renaissance & Baroque Standards, Gjerdingen: Music in the Galant Style,
Sanguinetti: The Art of Partimento, material form the music literature
Assessment: Compulsory attendance: 80%. Weekly evaluation of assignments and activities;
Half-term evaluation in December; Exam in June:
Practical exam with individual and group activities

Exam: numeric
68

Course content: Students learn to recognize and play more complex melodies and harmonic
progressions from compositions from different style periods by ear. They learn to
play variations on these melodic and harmonic models by studying and improvising
in group activities and individual exercises. Musical examples will be played by ear
and transposed to other keys or transformed into a different mode. Continuous
canon playing is an example of a group activity where the musical listening,
understanding, memory, and playing by ear are exercised through the students
own instrumental playing. These classes lead to more extended practical
musicianship skills in addition to the Aural Skills and Analysis classes. Terms and
concepts will be connected to what is learned in the practical activities. Examples
of classroom activities and assignments are:
Transposing / transforming of longer musical fragments
Playing from memory: models from music literature
Playing variations on longer and more complex musical fragments
sequences
is able to play his instrument by ear in a more fluent way:
is able to imagine and play more complex melodic and harmonic models, alone
and together with the teacher or other students;
is able to copy by ear longer melodic and harmonic fragments that are played
by the teacher or fellow students;
is able to play variations on studied models;
score;
has learned to deal with technical aspects of the instrument by playing by ear;
is able to use terms for musical concepts as a professional musician.
Level: Bachelor II
Prior qualifications/ Aural Skills and Improvisation 1
prerequisites:
Militello
Credits: 3 ECTS
Assessment: Compulsory attendance: 80%. Weekly evaluation of assignments and activities;
69
Half-term evaluation in December; Exam in June:

Grading system: Attendance: pass/fail,
Exam: numeric

Course content: Students learn to recognize and play complex melodies and harmonic progressions
from compositions from different style periods by ear. They learn play variations on
these melodic and harmonic models by studying and improvising in group activities
and individual exercises. Musical examples will be played by ear and transposed to
other keys or transformed into a different mode. Group activities are about musical
listening, understanding, memory, improvisation and playing by ear. These classes
lead to advanced practical musicianship skills in addition to the Aural Skills and
Analysis classes. Terms and concepts will be connected to what is learned in the
practical activities. Students can take a leading role in the musical activities and
reflect on how the activities can be used in a teaching practice. Examples of
classroom activities and assignments are:
Transposing / transforming complex musical fragments
Playing from memory: advanced level models from music literature
Playing variations on advanced level musical fragments
sequences
is able to play his instrument by ear in a fluent way;
is able to imagine and play complex melodic and harmonic models, alone and
together with the teacher or other students;
is able to copy by ear complex melodic and harmonic fragments that are
played by the teacher or fellow students;
is able to play variations on studied models;
score;
has learned to deal with technical aspects of the instrument by playing by ear,
is able to use terms for musical concepts as a professional musician;
is able to apply the learned skills in a role as music teacher.
Level: Bachelor III
Prior qualifications/ Aural Skills and Improvisation 2
prerequisites:
70
Militello
Credits: 3 ECTS
Assessment: Compulsory attendance 80%. Weekly evaluation of assignments and activities; Half-

Exam: numeric
71
TH-KSH Keyboard Skills and Harmony 1
Osiris course code: KC-TH-KSH
Course content: Following the piano lessons and aural skills lessons in the first year of the bachelors
programme students learn to apply their keyboard skills in harmonising melodies
with simple chords and suitable voice leading in different textures. They also learn
to play accompaniments (or reductions) for pieces for solo-instruments or voice
and piano. The keyboard instrument is also used in exercises for playing chord
progressions and as a tool in realising written exercises in harmony and
counterpoint.
is able to harmonize simple melodies with standard chords and texture on the
keyboard instrument;
is able to play a basic (reduced) accompaniment to a solo-piece;
is able to play and write simple assignments in harmony, basso-continuo,
counterpoint with suitable voice leading in different textures;
is able to play and write simple musical phrases (antecedent-consequent,
variations).
Level: Bachelor II
prerequisites:
Teachers: Arjen Berends, Arie Boers, Karst de Jong, Bert Mooiman, Theo Verbey, Santo
Militello
Credits: 3 ECTS
Literature: Pilling: Harmonization of melodies at the keyboard; Barham Johnson: Keyboard
Harmony for Beginners; Shumway: Harmony and Ear Training at the Keyboard;
Hunt: Harmony at the Keyboard; Brings: A New Approach to Keyboard Harmony;
Morris: Figured Harmony at the Keyboard.
Practical exam in solo playing and accompaniment
Portfolio with written assignments

Exam: numeric
72
TH-KSH Keyboard Skills and Harmony 2
Osiris course code: KC-TH-KSH
Course content: Students learn to apply keyboard skills in harmonising melodies with chords and
suitable voice leading in more complicated musical styles. They play or arrange
accompaniments for pieces for solo-instruments or voice and piano. The keyboard
instrument is also used in exercises for playing chord progressions and as a tool in
realising more advanced written exercises in harmony and counterpoint.
is able to harmonize more difficult and melodies with chord progressions and
in different textures on the keyboard instrument;
is able to play an accompaniment to a solo-piece;
is able to make reductions for accompanying a piece on the keyboard
instrument;
is able to play and write more advanced assignments in harmony, basso-
continuo, counterpoint with suitable voice leading in different textures;
is able to play and write musical phrases (antecedent-consequent, variations,
small musical forms like minuet, trio, song, etc.).
Level: Bachelor III
Prior qualifications/ Keyboard Skills and Harmony 1
prerequisites:
Teachers: Arjen Berends, Arie Boers, Karst de Jong, Bert Mooiman, Theo Verbey, Santo
Militello
Credits: 3 ECTS
Literature: Pilling: Harmonization of melodies at the keyboard; Barham Johnson: Keyboard
Harmony for Beginners; Shumway: Harmony and Ear Training at the Keyboard;
Hunt: Harmony at the Keyboard; Brings: A New Approach to Keyboard Harmony;
Morris: Figured Harmony at the Keyboard.
Practical exam in solo playing and accompaniment
Portfolio with written assignments

Exam: numeric
73
TH-RP Rhythm class 1
Osiris course code: KC-TH-RP
Course content: The student enhances his rhythmic skills by means of practical and active lessons.
Use is made during the lesson of djembes and students own instruments
alongside the voice and other instruments. The student learns to play rhythmically
while reading a prima vista or playing from memory or his musical imagination.
is able to play rhythmically from sheet music and from musical memory;
is able to read rhythm notation.
Level: Bachelor I
Duration: 50 minutes per week, 36 lessons in 2 semesters
prerequisites:
Teachers: Niels van Hoorn
Credits: 3 ECTS
Literature: Duos, trios and quartets and exercises in pieces for one voice to be handed out by
the teacher. Syllabus by Niels van Hoorn and compositions by Marc Zoutendijk.
Assessment: Practical exam, in which the elements as described under Objectives are tested.
Compulsory attendance: 80%
The credit points for Rhythm Class 1 are being obtained if a minimum score of 5.5 is
obtained for the exam.

74
TH-MG Music History 1
Osiris course code: KC-TH-MG
Course content: A series of lectures about the music of the 20th century till the present. In the first
semester the focus lies primarily on Stravinsky and Schnberg. In the second
semester other composers and phenomena are central: Varse, Shostakovich,
Weill, Darmstadt, minimal music and post-modernism.
has an overview of, and is starting to get an insight into, the most important
developments in music from 1900;
is able to communicate about this with colleagues and laymen.
Level: Bachelor I
Duration: 75 minutes per week, 32 classes during 2 semesters
prerequisites:
Teachers: Peter Lurvink
Credits: 3 ECTS
Literature: - Alex Ross, The Rest is Noise (New York, 2007). NB: please dont use the Dutch
translation! The most important musical examples used in the book can be found
online: http://www.therestisnoise.com/noise/.
- Material assigned by teacher, such as copies of score fragments and text written
by composers.
- On the KC Intranet page, students can find the musical fragments that are used in
class, as well as lyrics and translations of vocal works, videos etc. It also contains an
overview of the chapters from Ross that need to be studied, and mentions the
exam dates. Intranet: click Students -> Education -> Departments -> Music Theory -
> Music History Documents
Work form: Lectures and individual study
Assessment: Two written exams about the content of the lectures and the assigned literature.
Each semester concludes with a written exam. For both exams, a minimum score of
5.5 needs to be obtained.
75
TH-MG Music History 2
Osiris course code: KC-TH-MG
Course content: Lectures about the outlines of music history stretching from the Middle Ages until
the late 19th century. The first semester concerns the Middle Ages until the
baroque era. The second semester concerns the later part of the 18th, and the 19th
century.
has insight in and an overview of the most important developments in music
from the Middle Ages until the 19th century;
is able to communicate about this with colleagues and laymen.
Level: Bachelor II
Duration: 75 minutes per week, 32 classes during 2 semesters
Prior qualifications/ Music History 1
prerequisites:
Teachers: Peter Lurvink
Credits: 3 ECTS
Literature: - J. Peter Burkholder, Donald Jay Grout and Claude V. Palisca, A History of Western
th
Music (W.W. Norton & Company, New York/London), 8 edition or newer version
(please dont use older versions).
- Material assigned by teacher, mainly copies of score fragments
- On the KC Intranet page, students can find the musical fragments that are used in
class, as well as lyrics and translations of vocal works, videos etc. It also contains an
overview of the chapters from Grout that need to be studied, and mentions the
exam dates. Intranet: click Students -> Education -> Departments -> Music Theory -
> Music History Documents
Work form: Lectures and individual study
Assessment: The course is concluded with a written exam at the end of each semester. For both
exams, the grade obtained should be a minimum of 5.5.
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TH-CMS Classical Music Studies 1
Osiris course code: KC-TH-CMS
Course content: In these classes students are stimulated to be critical thinkers in relation to the
repertoire they perform and in relation to the professional world they will be
working in. Basic research skills are trained, preparing for a possible master study.
Reading and writing skills are applied to writing programme notes, concert reviews,
short articles, web site texts or columns for newspapers. Students will also learn to
present their ideas in debating situations. The use and reading of sources for
elementary to more advanced research activities is an important element in the
course, but a more free approach is also possible: for example reading novels,
visiting concerts, organising playing and debating evenings, etc.
is able to read and understand (music) literature;
is able to present what he perceives and wants to realise in the professional
performance practice in an interesting way;
is able to realise interesting programme notes (spoken or written) to
performances for an audience of professionals and/or laymen;
is able to use various sources,
has an understanding of the cultural world.
Level: Bachelor I
Duration: 1 lesson per week (50 minutes), during one semester (18 lessons)
prerequisites:
Teachers: Patrick van Deurzen, Tom Domisse, Joao Ferreira, Ewan Gibson, Peter Lurvink, Kolja
Meeuwsen
Credits: 2 ECTS
Literature: t.b.a.
Assessment: Compulsory attendance 80%; Weekly evaluation of assignments and participation
Portfolio with assignments

Portfolio: numeric
77
Course content: Students are stimulated to become independent and critical thinkers in relation to
the repertoire they perform and in relation to the professional world they will be
working in. Research skills are trained, preparing for a possible master study.
Reading and writing skills are applied to writing programme notes, concert reviews,
short articles, web site texts or columns for newspapers. Students will also learn to
present their ideas in debating situations. The use and reading of sources for more
advanced research activities is an important element in the course, but a more
free approach is also possible: for example reading novels, visiting concerts,
organising playing and debating evenings, etc.
is able to read and understand (music) literature independently;
is able to realise interesting programme notes (spoken or written) to
performances for an audience of professionals and/or laymen;
is able to use various sources;
has a broad understanding of the cultural world.
Level: Bachelor II
Prior qualifications/ Classical Music Studies 1
prerequisites:
Meeuwsen
Credits: 1 ECTS
Literature: t.b.a.

Portfolio: numeric
78
Course content: Students become independent and critical thinkers in relation to the repertoire
they perform and in relation to the professional cultural world they will be working
in. More advanced research skills are trained, preparing for a possible master
study. Reading, writing and debating skills are applied to diverse practical and
relevant assignments.
is able to read and understand (music) literature independently and on a
professional level;
is able to apply reading, writing and debating skills in different real life
situations;
is able to use various sources in a professional way;
has a good understanding of the cultural world.
Level: Bachelor III
Prior qualifications/ Classical Music Studies 2
prerequisites:
Meeuwsen
Credits: 1 ECTS
Literature: t.b.a.

Portfolio: numeric
79
INFORMATION ASSESSMENT THEORY SUBJECTS
Assessment consists of two elements: attendance and result / performance.
Attendance should be at least 80% of the lessons and is assessed with pass / fail. Homework assignments are
also part of the attendance assessment. The teacher will register the attendance of the students in Asimut.
Result / Performance in the exam is assessed with a grade.
Attendance = pass Exam 5 to 5.4 Final grade 'Pass' (credits received)
Attendance = pass Exam lower than 5 Final grade 'Insufficient' (fail, no credits received)
Attendance = pass Exam 5.5 or higher Final grade 5.5 or higher (pass, credits received)
Attendance = pass Exam not taken Final grade No participation' (fail, no credits received)
Attendance = fail Exam 7 or higher Final grade 7 or higher (pass, credits received)
Attendance = fail Exam lower than 7 Final grade 'Insufficient' (fail, no credits received)
Attendance = fail Exam not taken Final grade No participation' (fail, no credits received)
The diagnostic test in December does not count toward the final grade, but is intended to provide an indication
of the study progress. Students may receive a warning letter in January, depending on the outcome of the
diagnostic test.
FREE ELECTIVE SPACE
For the course descriptions of all electives, please see the Electives Guide on Intranet.
https://intranet.koncon.nl/students/education/electives/
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APPENDIX EXAM REQUIREMENTS CLASSICAL DEPARTMENT
EXAM REQUIREMENTS
main subject, training orchestral parts - classical instrumental department
Exam schedule:
Bachelor I January progress ex 15' pass/fail

May/June propaedeutic ex 15' qualifying result
Bachelor II May/June II-III ex 15' qualifying result
Bachelor III May/June Presentation 25' qualifying result (p)
Bachelor IV January TOP ex 20' qualifying result

May/June Final ex 50' numeric result (p)
---
Master I January TOP ex 25' numeric result

May/June Presentation 50' qualifying result (p)
Master II January TOP ex 25' numeric result

May/June Final ex 80' numeric result (p)
- timings are total duration of performance
- p = public
- TOP = training orchestral parts
- Master TOP: average of the two grades to be mentioned on the diploma
- guitar, accordion, piano no TOP exam
- numeric result = grade scale of 10, in halves
- qualifying result = poor, insufficient, sufficient, more than sufficient, good, very good, excellent
NB
- in the programme in the Master, at least in the Presentation, there should be a relation with the
topic of the Master Research
- specialisation within the Master is natural: chamber music, contemporary repertoire, solo
repertoire can be a large part of the exam
- training orchestra parts in the Master can only be skipped on request - to be decided on by the
committee of examiners without external members. It is more likely the committee decides to
allow specialisation (e.g. contemporary ensemble repertoire) within the programme.
A student should hand in a programme leaflet for every exam.

The Final presentation requires programme notes, which could for example be a booklet or oral
presentation. This should be of good quality, expressing knowledge of the music, ability to make a
concert programme and the wish to communicate with the audience. This presentation will be
judged and the finding will influence the grade for the Final presentation.
The Royal Conservatoire wishes to educate its students to be informed musicians. Students
should be able to show, at every level, they know the historical background of the music they
81
perform, and that they are aware of their responsibility and possibilities as a communicative
educator, enjoying with curiosity the wonderful occasion of presenting music to an audience.
These exam requirements are to be seen as guidelines: they express the required
minimum level, without being able to express the expected performance quality. This
document is a grip for students and teachers in defining their goals, and it also gives the
opportunity to deviate with good motivation.
2015
82
VIOLIN - BACHELOR
Entrance exam
* two studies with different characters
e.g. Rode 24 Caprices, Dont 24 Studies op. 35, Kreutzer 42 Studies (from no 35 onwards)
* (parts of) three performance pieces
e.g. concerto by Wieniawsky no. 2 op. 22, parts 1 or 3
concerto by Saint-Sans no. 3 op. 61,
Lalo Symphony Espagnol op.21, part 1
e.g. part from Sonata:
Brahms op.100 in A
Beethoven op. 12 no. 1 in D
Grieg
e.g. Suk op. 17, Saint-Sans Havanaise op. 83, Dvorak Romance op. 11
* part from sonata or partita Bach and contemporary work always welcome
Progress exam
diagnostic moment - up to the teacher whether and what the student plays
Propaedeutic exam
varied programme (2 studies, 2 performance pieces in different styles - committee of
examiners makes a choice)
II-III exam
* 1 movement of a concerto
* 1 part of a solo piece
Presentation
free choice programme containing 1 etude and at least 2 different style periods
TOP
* Mozart concerto KV 216 / 218 / 219 1st movement without cadenza
* 8 orchestra parts, varied, suitable for an audition
Final presentation
* 2 studies or Caprices
* 1 chamber music piece (violin/piano or larger ensemble)
* in total at least 3 pieces and 2 style periods
VIOLIN - MASTER
Entrance exam
* 1 caprice: Paganini, Gavignies (Matines), Wieniawski op. 18 / op. 10 or Vieuxtemps
(Etudes)
* first movement of a Mozart concert or one movement of a classical sonata
* a performance piece from the Romantic period
* Bach, one movement of a Sonata/Partita
when relevant, pieces with relation to the Master study plan
TOP I
* 2 studies or Caprices
* Mozart concerto KV 216 / 218 / 219 1st movement with cadenza
* 8 orchestra parts
Presentation
concert
TOP II
* Mozart concerto KV 216 / 218 / 219 1st movement with cadenza
* Romantic concerto, 1st movement up to reprise or with cadenza
* 7 orchestra parts
Final presentation
concert
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VIOLA - BACHELOR
Entrance exam
* 2 studies different characters
e.g. Campagnoli 42 caprices, Dont op. 37, Kreutzer 42 Studies, Hoffmeister 12 studies,
Rode 24 caprices
* one short solo piece or 2 movements from a solo suite or sonata
e.g. Telemann Phantasy, J.S. Bach cello suites or violin partita/sonata, Britten Elegy,
Hindemith Sonata
* 1 performance piece
e.g. Hindemith Trauermusik or Meditation, Glazounov Elegy, J Chr Bach Concert (1st
movement), Bruch Romanze, Telemann Concert in G, Bloch Suite Hebraique, Bach Gamba
sonatas
* contemporary work always welcome
Progress exam
Propaedeutic exam
varied programme (2 studies or virtuoso pieces with or without accompaniment 2
performance pieces in different styles - committee of examiners makes a choice)
II-III exam
* 1 movement of a concerto or sonata
* 1 movement of a solo piece
Presentation
free choice programme containing at least 2 different style periods
TOP
* 7 orchestral parts
* 1st movement of a solo concerto (without cadenza)
Final presentation
* 1 caprice or virtuoso piece
* 1 chamber music piece
VIOLA - MASTER
Entrance exam
* 1 Paganini caprice, a study or virtuoso piece of similar level
* (1 movement of) a concerto
* Bach: 2 contrasting movements from cello suites or violin partitas
* contemporary work always welcome
TOP I
* concerto: Stamitz/Hoffmeister with cadenza or Hindemith/Bartok/Walton
* 7 or 8 orchestra parts (over two years in total 15 orch parts)
Presentation
Concert
TOP II
* concerto: Stamitz/Hoffmeister with cadenza or Hindemith/Bartok/Walton
* 8 or 7 orchestra parts
Final presentation
Concert
84
CELLO - BACHELOR
Entrance exam
* 2 studies with different characters
e.g. Popper Hohe Schule op. 73, Popper op. 76, Dotzauer part 3 or 4, Duport,
Franchomme
* part of a concerto
e.g. Haydn in C, Saint-Sans in A minor, Stamitz in G, Boccherini
* part from a sonata or performance piece
e.g. Vivaldi, Boccherini 4, Grieg, Brahms, Bach, Rachmaninoff - Vocalise, Popper Vito or
Arlequin
Progress exam
Propaedeutic exam
II-III exam
* 1 part of a sonata or solo piece
in two different style periods
Presentation
free choice programme including 1 solo piece and containing at least two different style
periods
TOP
* 1st movement of a concerto
* 7 orchestra parts, varied, suitable for an audition, committee of examiners makes a
choice of at least 3
Final presentation
* 1 solo piece
* 1 chamber music piece (cello/piano or larger ensemble)
* in total at least 3 pieces and 2 style periods of which 1 contemporary
CELLO - MASTER
Entrance exam
* 1 concerto
* Bach, 2 contrasting movements from a Suite
* contemporary piece always welcome
TOP I
* concerto: Haydn or Dvork/Schumann
* 7 orchestra parts of which at least 2 orchestra solo's, committee of examiners makes a
Presentation
concert
TOP II
* concerto: Haydn or Dvork/Schumann
* 8 orchestra parts of which at least 2 orchestra solo's, committee of examiners makes a
Final presentation
concert
85
DOUBLE BASS - BACHELOR
Entrance exam
e.g. Simandl 30 studies, Storch-Hrabe 32 studies part 1
* two performance pieces
- Eccles sonata 1st movement
- piece of own choice
Progress exam
Propaedeutic exam
varied programme (studies, performance pieces in different styles - committee of
II-III exam
varied programme (studies, performance pieces in different styles - committee of
Presentation
free choice programme containing 2 contrasting movements of Bach Suite and at least 2
different style periods
TOP
Final presentation
* 1 solo concerto, 1st movement
* 1 chamber music piece (double bass/piano or larger ensemble)
DOUBLE BASS - MASTER
Entrance exam
* 1 concerto
Koussevitzky, Bottesini, Van Hall
* 2 performance pieces
TOP I
* concerto
* 7 orchestra parts
Presentation
concert
TOP II
* concerto
* 7 orchestra parts
Final presentation
concert
86
FLUTE - BACHELOR
Entrance exam
* chromatic scale, major and minor scales and arpeggio's (major, minor, augmented,
diminished) over the entire range of the instrument.
NB sound quality is more important than fast tempo
Drouet 25 studies: no 4 / 10 / 14 / 15 / 20, Berbiguer 18 studies: no 4 / 14, Genzmer:
Neuzeitliche Etden, Band 1, no 12
* two (short) performance pieces from different style periods with a variety of techniques
(legato, staccato, fast passages, melodic lines)
e.g. Godard: Allegretto and Idylle, Mozart: Andante, Chaminade: Concertino
* a prima vista
Progress exam
at least 1 performance piece and 1 etude
Propaedeutic exam
varied programme (2 etudes with different characters, 2 performance pieces in different
styles - committee of examiners makes a choice)
II-III exam
* 2 performance pieces in different styles
* 2 etudes with different characters
Presentation
* 2 or 3 performance pieces in different styles
TOP
* 7 orchestra parts of which 2 piccolo parts
* first movement of a classical concerto
Committee of examiners makes a choice
Final presentation
* several compositions (or movements) from at least 3 style periods of which 1 baroque or
classical and 1 contemporary (20th century) composition. One of the compositions should
be a chamber music piece.
FLUTE - MASTER
Entrance exam
* performance pieces: in total at least 3 style periods of which 1 baroque or classical and 1
contemporary (20th century)
* 2 studies
* when opting for the Orchestra Master some orchestra parts
TOP I
* 14 orchestra parts of which 4 piccolo (to be played: choice of the committee of
examiners)
* solo concerto: one year, a choice of Mozart flute concert in g or d major, the other year
a choice of a concerto by Ibert/Nielsen/Reinecke
Presentation
Concert programme related to the masters profile
TOP II
* 14 orchestra parts of which 4 piccolo (to be played: choice of the committee of
examiners)
* solo concerto: one year, a choice of Mozarts flute concert in g or d major, the other year
a choice of a concerto by Ibert/Nielsen/Reinecke
* Vivaldi piccolo concerto in c major Rv 443 1st and 2nd movement
Final presentation
Concert programme related to the masters profile
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OBOE - BACHELOR
Entrance exam
* chromatic scale, arpeggio's and major and minor scales up to four sharps/flats over the
entire range of the instrument
sound quality is more important than fast tempo
Wiedemann 45 studies
Flemming 25 melodic studies
Lacour 50 studies
* two (short) performance pieces from different style periods
e.g. J Haydn concerto, Loeillet Sonata in C, Geminiani Sonata en e, Jacob Sonatina, B vd
Sigtenhorst Meyer op. 24, Faur Piece
Progress exam
Propaedeutic exam
varied programme (2 studies - Ferling, Barret, 2 performance pieces in different styles e.g.
Poulenc sonata, Schumann Romance, Vivaldi concert in a, Seiber Improvization) -
committee of examiners makes a choice
II-III exam
* 1 movement of a concerto e.g. Vaughan Williams (part 1)
* 1 part of a solo piece e.g. Telemann Fantasie, Hindemith Sonata for English Horn
Presentation
free choice programme containing 2 studies and at least 2 different style periods e.g.
Dutilleux Sonata
TOP
Final presentation
* 1 chamber music piece (oboe/piano or larger ensemble)
* 1 solo piece (preferably played by heart)
OBOE - MASTER
Entrance exam
* Mozart Concerto part 1
* Performance piece, e.g. Schumann Romances, Bozza Fantasie Pastorale
* 2 studies (one fast, one slow) e.g. Bozza, Gillet, Pasculli
TOP I
* concerto: Strauss/Mozart/Martinu (2nd movement)
* 8 orchestra parts,
to be played: choice of the committee of examiners
Presentation
concert
TOP II
* concerto: Strauss/Mozart/Martinu (2nd movement)
Final presentation
concert
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CLARINET - BACHELOR
Entrance exam
* major and minor scales up to three flats/sharps over the entire range of the instrument
Prier, Jeanjean part 1 2nd half, possibly Jeanjean part 2
* two or three performance pieces
e.g. Kramer Concerto, Von Weber Concertino, Arnold Sonata, Gade Fantasiestcke
Progress exam
Propaedeutic exam
II-III exam
* 2 studies with different character or solo pieces
Presentation
* 1 solo piece
* 1 or 2 performance pieces
TOP
* Mozart concerto, exposition
* 7 orchestra parts
Final presentation
* 1 solo piece
varied programme, different styles
CLARINET - MASTER
Entrance exam
* performance pieces: in total at least 3 style periods of which 1 classical and 1
contemporary (20th century)
* 2 studies or solo pieces
* when opting for the Orchestra Master some orchestra parts
TOP I
* concerto: Mozart or Von Weber/Nielsen/Copland
* 10 orchestra parts, clarinet A/B flat and when possible also E flat or bass clarinet,
Presentation
concert
TOP II
* concerto: Mozart or Von Weber/Nielsen/Copland
* 10 orchestra parts, clarinet A/B flat and when possible also E flat or bass clarinet,
Final presentation
concert
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SAXOPHONE - BACHELOR
Entrance exam
The candidate should display musical and instrumental awareness, involvement and facility
* chromatic scale, major and minor scales and arpeggio's (major, minor, augmented,
diminished) over the entire range of the instrument
* two studies with different characters, taken from for example:
Klose, Mule, Bassi, Lacour, Bozza, Gallois-Montbrun
* two performance pieces with different character, for example:
Maurice - Tableaux de Provence, Bonneau - Suite, Tcherepnin - Sonatine Sportive, Von
Koch - Monolog no 4, Bozza - Aria, Jolivet Fantaisie impromptu
Progress exam
Propaedeutic exam
varied programme (2 studies, 2 performance pieces in different styles)
II-III exam
* 2 studies with different character or solo pieces
Presentation
* 1 solo piece
TOP
* 8 varied orchestra parts, besides alto saxophone at least one other saxophone
* concerto t.b.d.
Final presentation
* 1 solo piece
varied programme, different styles
SAXOPHONE - MASTER
Entrance exam
The candidate should display musical and instrumental awareness, involvement and facility
at a highly developed level.
* performance pieces at the level of Denisov - Sonata, Dsenclos - Prlude, cadence et
finale, and preferably newer music of a similar level or the candidates own compositions in
which the saxophone has a serious role
* 2 studies or solo pieces
TOP I
* concerto t.b.d.
* 10 orchestra parts, different saxophones
Presentation
concert
TOP II
* concerto t.b.d.
* 10 orchestra parts, different saxophones
Final presentation
Concert in which musical personality and virtuosity are presented in a unique performance
and compelling music.
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BASSOON - BACHELOR
Entrance exam
* major and minor scales up to three flats/sharps over the entire range of the instrument
* two etudes with different characters, for example Etudes by Weissenborn and Vaulet
* two performance pieces from different style periods, for example Sonata for Bassoon and
Piano by Hindemith
Progress exam
Propaedeutic exam
II-III exam
Presentation
* 1 solo piece
* 1 or 2 performance pieces
TOP
Final presentation
* 1 solo piece (preferably played by heart)
(originality of repertoire choice is encouraged)
BASSOON - MASTER
Entrance exam
* Mozart or Von Weber concerto (2 movements)
* 1 performance piece of another style period than baroque or classical period
TOP I
* concerto: Mozart or Von Weber
* 15 orchestra parts
Presentation
concert
TOP II
* concerto: Mozart or Von Weber
Final presentation
Concert
(originality of repertoire choice is encouraged)
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TRUMPET BACHELOR
Entrance exam
* Knowledge of all major and minor scales, chromatic scale over at least 2 octaves
* Two etudes with different characters such as Duhem, Arban, Clarke, Wurm, Kopprasch
or Werner
* If possible a movement of Haydn, Hummel or Neruda
* Prima Vista
Progress exam
* Two etudes of different style and one short piece with piano, or a trumpet solo.
Propaedeutic exam
A varied programme consisting of:
* 2 etudes of Clarke, Kopprasch, Werner, Wurm, Maxime Alphonse. Also possible one
trumpet solo (Ketting) and one etude.
* 1 piece with piano (Barat, Balay, Busser)
II-III exam
* Modern solo piece (Solus, Ketting)
* One or two solid etudes like Charlier, Maxime Alphonse, Falk or Blandt
* One movement from Haydn, Hummel or Neruda (or something similar)
* Chamber music is always permitted but must be discussed in advance
Presentation
A choice of:
* One long etude, such as Charlier, Maxime Alphonse or Rene Laurent
* One modern solo piece
* One piece of chamber music (duet, trio......)
* Two movements from a Classical-, or Baroque trumpet concerto
In this exam we would like to hear knowledge of different style periods!
TOP
A large list of excerpts, obligation to play:
Pictures of an Exhibition, Mahler 5, Ravel Piano concerto, Petrouchka, Bruckner 7,
Leonore 2 and 3.
Final presentation:
Free choice programme containing:
* one modern solo piece for trumpet or a large etude
* chamber music
* one classical- or baroque trumpet concerto
* one piece with piano accompaniment composed after 1900.
NB it is always possible to confer about the programme
TRUMPET MASTER
Entrance Exam:
A free choice programme containing:
* one etude (W.Smith, M.Alphonse 3, Charlier, Bitsch) or a solo piece such as Solus
(Friedman), Intrada (Ketting), Cascades (Vizzutti) or something similar
* two performance pieces such as Hindemith (1 movement), Legende (Enescu), Tryptique
(Tomasi) or something similar
* It is recommended to play a short piece on Piccolo (Telemann, Torelli, Hndel...)
Top 1:
* Haydn 1st movement/Tomasi 1st movement.
* 6 Orchestra parts from a list of 12 pieces, chosen by the committee, own order!
Presentation:
* 1 etude ( W.Smith, Charlier, M.Alphonse 3) or a modern solo piece like Solus, Times,
Variation Movements, Sequenza X, Postcards
* 2 trumpet concertos in different styles, for example one composed before 1900 and one
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composed later
* chamber music
Top 2
* Haydn 1st movement with cadenza/Tomasi 1st movement with Cadenza (other concerto
than in Top 1)
* 10 orchestra parts from a list of 20 pieces, chosen by the committee, own order!
Final presentation
* 1 etude (W.Smith, Charlier, M.Alphonse 3) or a modern solo piece such as Solus, Times,
Variation Movements, Sequenza X, Kryl, Postcards
* 2 trumpet concertos in different styles, for example one composed before 1900 (Molter,
Telemann, Torelli, Hndel, Hertel, L. Mozart) and one after.
* chamber music
FRENCH HORN - BACHELOR
Entrance exam
* chromatic scale, major and minor scales over two octaves
* three etudes with different characters
e.g. Kopprasch part1, Franz, Maxime-Alphonse part 1 or 2, Stary part 1
* two performance pieces
e.g. Mozart Concerto no 3, Glazounov Rverie, F Strauss Nocturno
Progress exam
Propaedeutic exam
Varied programme (3 etudes, 2 performance pieces in different styles - committee of
examiners makes a choice. E.g.
- Kopprasch part 2, Mller, Maxime-Alphonse part 3, Stary part 2 or 3
- Beethoven Sonata, Poulenc Elegy, Mozart Concerto no 1, Rosetti Concerto in E flat, Krol
Laudatio
II-III exam
* 2 etudes with different characters, e.g. Maxime-Alphonse part 4
* Mozart concerto 2 or 4, first movement
Presentation
Free choice programme containing 1 etude/solo piece, (part of) 1 performance piece and
(part of) 1 chamber music piece. E.g.:
- Mller, Bozza, Maxime-Alphonse part 4, Gallay
- Saint-Sans Morceau de Concert, Hindemith Sonata in F, Madsen Sonata, Mozart
concerto 2 or 4, Haydn Concerto no 2, Stich Concerto no 5, F Strauss Concerto, Rosetti
Concerto in d
TOP
Final presentation
free choice programme containing:
* 1 etude/solo piece
(e.g. Gallay, Mller, Bozza, Dubois, Bitsch, Maxime-Alphonse part 4 and 5, Reynolds)
(e.g. Saint-Sans Romance op 67, Hindemith Sonata in E flat, Cherubini Sonata no 2,
Dukas Villanelle, Ketting Intrada, Persichetti Parable no 3, Kirchner Lamento d'Orfeo, R
Strauss Concerto no 1, Mozart Concerto 2 or 4, Haydn Concerto no 1, M Haydn Concertino,
Larsson Concertino)
* a chamber music work
(e.g. Mozart piano quintet or horn quintet, Beethoven quintet for oboe, 3 horns and
bassoon, Hindemith wind quintet, Martinu quartet)
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FRENCH HORN - MASTER
Entrance exam
free choice programme containing:
(e.g. Gallay, Mller, Bozza, Dubois, Bitsch, Maxime-Alphonse part 4 and 5, Reynolds)
(e.g. Saint-Sans Romance op 67, Hindemith Sonata in E flat, Cherubini Sonata no 2,
Dukas Villanelle, Ketting Intrada, Persichetti Parable no 3, Kirchner Lamento d'Orfeo, R
Strauss Concerto no 1, Mozart Concerto 2 or 4, Haydn Concerto no 1, M Haydn Concertino,
Larsson Concertino)
TOP I
* concerto: Mozart 4 / Strauss 1
Presentation
e.g. Levy, Rossari, Belloli, Gallay, Alain Weber, Dubois, Bitch, Maxime-Alphonse part 5 or
6, Verne Reynolds
* 2 performance pieces: preferably 1 concerto, 1 performance piece (different styles)
e.g. R Strauss Intr. Thema and Variations, Hindemith Concerto, Mozart Concerto no 4,
Franaix Divertimento, R Strauss Concerto 1 or 2, Glire Concerto, Salonen Concert study,
Messiaen Appel Interstellaire, Maxwell Davies Sea Eagle, Castells Tres Rosas
* chamber music
e.g. Brahms Horn trio, Mozart Horn quintet, Beethoven Sextet, Reynolds Horn Vibes
TOP II
* concerto: Mozart 4 / Strauss 1
Final presentation
Levy, Rossari, Belloli, Gallay, Alain Weber, Dubois, Bitch, Maxime-Alphonse part 5 or 6,
Verne Reynolds
* 2 performance pieces: preferably 1 concerto, 1 performance piece (different styles)
e.g. R Strauss Intr. Thema and Variations, Hindemith Concerto, Mozart Concerto no 4,
Franaix Divertimento, R Strauss Concerto 1 or 2, Glire Concerto, Salonen Concert study,
Messiaen Appel Interstellaire, Maxwell Davies Sea Eagle, Castells Tres Rosas
* chamber music
e.g. Brahms Horn trio, Mozart Horn quintet, Beethoven Sextet, Reynolds Horn Vibes
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TROMBONE - BACHELOR
Entrance exam
* scales: Chromatic scale over 2 octaves (quarter note= 60), one major scale 2 octaves
* 2 studies in contrasting character (Legato/ Staccato) e.g. Bordogni Vocalises. Kopprasch,
Blume, Fink
*One solo piece with accompaniment such as Guilmant, Saint Saens, Weber, etc.
*Baroque sonata slow movement Vivaldi, Marcello, Albion, Telemann, etc.
Progress exam
Propaedeutic exam
* 2 solo pieces of contrasting character, one of which should be movements from a
Baroque Sonata (transcription) e.g. Vivaldi, Marcello, Handel
* Legato Etude Bordogni, or similar (pref. with piano)
* Articulation/ slide technique etude. Kopprasch, Werner, Slama, etc.
* 1 major and 1 harmonic minor scale in standard pattern* upon request. 2 octaves
II-III exam
* Full performance of a standard solo piece with piano.
* Short contrasting piece
* 1 Etude in French style e.g. Masson, Charlier etc.
* 1 Contrasting etude. Blazevich, Bordogni Book II etc.
* One Major, one melodic minor scale 2/3 (depending on key) octaves in standard
pattern* in any key upon request plus triad pattern major, minor, diminished, augmented
Presentation
Programme should include alto trombone, and one item of chamber music. Level of
difficulty e.g. Grondahl Concerto
TOP
* Tomasi (1st movement until waltz) or F. David 1st movement (with cadenza) with piano.
* 6-8 orchestral excerpts to be chosen by the panel from a set list of standard EU audition
excerpts. Incl. at least 2 on alto trombone
Final presentation
Free choice. Must include at least one item from the standard trombone repertoire. Must
include at least one item of chamber music, and one contemporary work. May include work
with orchestra, brass ensemble, or band, early music, light music, world music, avant-
garde etc.
* From Scale Pyramid PDF that all students receive
TROMBONE MASTER
Entrance exam
Free programme consisting of at least 1 solo piece and 1 concerto of appropriate difficulty,
1 rhythmic and 1 legato etude from Bitsch, Bozza, etc.
TOP I
* Entire 1st movement of Tomasi Concerto or David Concerto 1st and 2nd movement, or
Martin Ballade
* Choice by the committee of 7 from a list of 14 prepared orchestral excerpts including 2
for alto
Presentation
Free choice.
* Must include at least one item from the advanced standard trombone repertoire (Tomasi
Concerto, Defaye Deux Danses, Xenakis Keren, Creston Fantasy) and one item on alto
trombone.
* Must include at least one item of chamber music, and one contemporary work. May
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include work with orchestra, brass ensemble, or band, early music, light music, world
music, avant-garde etc.
TOP II
* 1st movements of concertos by Tomasi, David and Gordon Jacob on tenor and
Albrechtsberger on alto must be prepared
* Choice by the committee of 7 from a list of 16 prepared orchestral excerpts including 3
for alto
Final presentation
concert
BASS TROMBONE - BACHELOR
Entrance exam
*Scales: Chromatic scale in 2 octaves (quarter note= 60), one major scale 2 octaves
* 2 studies in contrasting character (Legato/ Staccato) Bordogni Vocalises (1 octave lower
then written). Kopprasch, Grigoriev, Pederson.
* One solo piece with accompaniment such as Bozza, Lebedev, Sachse, Tcherepnin, Jacob
* Baroque sonata slow movement Galliard, Albinoni, Corelli
Progress exam
Propaedeutic exam
* 2 solo pieces of contrasting character.
* Legato Etude Bordogni, or similar
* Articulation/ slide technique etude. Kopprasch, Pederson, Ostrander
* 1 major and 1 harmonic minor scale in standard pattern* upon request. 2 octaves
II-III exam
* Full performance of a standard solo piece with piano, e.g. Bozza, Handel, Hindemith,
Jacob
* 1 etude, phrasing/legato/register; Nightingale, Pederson
*1 contrasting study, articulation/slide technique; Blazhevich, Kopprasch
* One major, one melodic minor scale 2/3 (depending on key) octaves in standard
pattern* in any key upon request plus triad pattern major, minor, diminished, augmented
Presentation
Programme should include one item of chamber music. Level of difficulty e.g. Bozza
prelude & allegro
TOP
* Lebedev concerto in one movement or Sachse Concerto in F Major with piano
* 6-8 orchestral excerpts to be chosen by the panel from a set list of standard EU audition
excerpts.
Final presentation
Free choice. Must include at least one item from the standard bass trombone repertoire.
Must include at least one item of chamber music and one contemporary work. May include
work with orchestra, brass ensemble, or band, early music, light music, world music,
avant-garde etc.
* From Scale Pyramid PDF that all students receive
BASS TROMBONE - MASTER
Entrance exam
Free programme consisting of:
* at least 1 solo piece and 1 concerto of appropriate difficulty
* 1 rhythmic and 1 legato etude from Ostrander, Kopprasch, Blazhevich, Nightingale
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TOP I
* Lebedev concerto in one movement or Sachse Concerto in F Major with piano or
Bozza New Orleans.
* Choice by the committee of 7 from a list of 10 prepared orchestral excerpts, possibly 3
excerpts on contrabass trombone if the student chooses this as a minor-instrument.
Presentation
Free choice.
* Must include at least one item from the advanced standard trombone repertoire such as
Bozza, Casterede, Schnyder, Gillingham, etc.
* Must include at least one item of chamber music, and one contemporary work.
* May include work with orchestra, brass ensemble, or band, early music, light music,
world music, avant-garde etc.
TOP II
* Lebedev concerto in one movement or Sachse Concerto in F Major with piano or
Bozza New Orleans.
* Choice by the committee of 7 from a list of 10 prepared orchestral excerpts, possibly 3
excerpts on contrabass trombone if the student chooses this as a minor-instrument.
Final presentation
concert
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TUBA BACHELOR
Entrance exam
* scales
* 2 studies with different characters such as Kopprasch, Vasiliev, Bordogni
* 1 performance piece with piano such as Lebedev Concert no 1, Marcello Sonate
Progress exam
Propaedeutic exam
* 2 technical studies such as Bernard, Kopprasch
* 1 melodic study such as Blachevitch
* 1 Solo piece with piano such as Arutiunian concerto, Newton Capriccio, Hindemith
Sonata
II-III exam
* 1 performance piece, such as Vaughan Williams concerto, Anthony Plog Three
Miniatures, Bach Flute sonata
* 1 technical study
Presentation
1 entire concerto and a tuba solo piece (Gregson Alarum)
TOP
* 1st movement V. Williams concerto
* 8 orchestral excerpts
Final presentation
* Performance pieces such as Bozza Concertino, Jacobsen Tuba Buffo, Penderecki
Capriccio
* At least 1 tuba solo piece
* 1 piece of chamber music (brass quintet)
TUBA - MASTER
Entrance exam
* 2 performance pieces such as Lundquist Landskap or Bozza Concertino
* 1 solo tuba piece
TOP I
* V. Williams concerto
Presentation
Free choice, must include at least 1 solo tuba piece, 1 chamber music item and 1 piece
with piano
TOP II
* V. Williams concerto
Final presentation
concert
98
ACCORDION - BACHELOR
Entrance exam
* 1 piece from Baroque period
e.g. Bach 2 / 3 voice inventions
* 1 etude or alike piece
e.g. Werner 12 Tango Studies no. 1 & 2, Bartok (parts from) Microcosmos
e.g. Lundquist Botany Play, Semjonov Kindersuite n1
Progress exam
Propaedeutic exam
varied programme (3 performance pieces in different styles:
* Baroque period e.g. Bach Wohltemperiertes Klavier 1 & 2
* period before 1980 e.g. Brehme Herbstelegie, Keyser Arabesques, Solotarjow
Kindersuites, Lundquist Partita Piccola
* period after 1980 e.g. Kusiakov Winterbilder, Van Holmboe Sonate - committee of
II-III exam
* 2 studies with different character
Presentation
* 2 or 3 performance pieces in different styles
Final presentation
* 1 piece from period 1562 - 1750
* 1 original solo piece
e.g. Takahashi Like a Waterbuffalo, Mossenmark Woodspirit, Solotarjow Partita
e.g. Pape I have never seen a butterfly here, Ter Veldhuis Insomnia
* 1 piece own choice
NB 1 of the pieces could be a world premire or a co-operation with a composer
ACCORDION - MASTER
Entrance exam
* 1 piece of the period 1562 - 1750
* 2 solo pieces from different styles, one of which original
Presentation
concert
Final presentation
concert
99
GUITAR - BACHELOR
Entrance exam
* 1 piece 19th century (for ex. Sor Giuliani, Aguado, Tarrega)
* 1 piece 20th century (for ex. Pujol, Villa-Lobos, Gangi)
* 1 movement by J.S. Bach
* 1 piece free choice
* sight reading
Progress exam
Propaedeutic exam
varied programme with 3 different styles and a piece with several movements
e.g. Duarte English suite, Brouwer Tres Apuntes, Moreno-Torroba Castillas dEspagne -
II-III exam
varied programme with 3 different styles and a piece with several movements
e.g. Duarte English suite, Brouwer Tres Apuntes, Moreno-Torroba Castillas dEspagne -
Presentation
* contemporary piece
* substantial piece (variation work, suite, sonata)
* free choice
Final presentation
* varied programme with 3 different styles including one chamber music piece (duo
included)
GUITAR - MASTER
Entrance exam
* 3 pieces in 3 different styles (Renaissance, Baroque, Classical, Romantic,
Contemporary), one of which is a substantial piece from the concert repertoire (suite or
sonata)
Presentation
concert
Final presentation
concert
100
HARP - BACHELOR
Entrance exam
* one study (Bochsa, Naderman or more advanced level)
* (parts of) two performance pieces, different styles
e.g. M. Tournier Au Matin, S. Natra Sonatine/Prayer, F.J. Naderman Sonatine, M. Soulage
Choral, J.S. Bach Prelude, L. Orthel 5 Bagatellen, or more advanced level
* scales and arpeggio's
Progress exam
Propaedeutic exam
e.g. G. Piern Impromptu, M. Tournier Suite livre 1/Vers la source dans le bois, M. Glire
Impromptu, C. Dussek Sonate in Es
II-III exam
e.g. Mozart, Boeldieu, Hndel, Debussy, Ginastera, Dittersdorf, or J. S. Bach Partita or
Suite (several movements)
* 2 solo pieces
Presentation
free choice programme containing different style periods
TOP
* 7 orchestra parts
* 3 cadenza's
Final presentation
concert programme with candidates own signature
HARP - MASTER
Entrance exam
* 2 solo pieces in different styles
e.g. G. Faure Impromptu/Une chatelaine en sa tour, A. Maayani Maqamat/Toccata,
L. Spohr Fantaisie, L. Berio Sequenza II, G. Tailleferre Sonate, C.P.E. Bach Sonate, J.S.
Bach Suite, A. Roussel Impromptu
* 1 part of a solo concerto
e.g. Mozart, Boeldieu, Hndel, Debussy, Ginastera
TOP I
* 8 orchestra parts
* 3 cadenza's
Presentation
concert
TOP II
* 7 orchestra parts
* 3 cadenza's
Final presentation
concert
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PIANO - BACHELOR
Entrance exam
Polyphony: one work chosen from:
o J.S. Bach
Three-part sinfonias
Wohltemperierte Klavier
some movements from one of the Suites or Partitas
a comparable work
Classical Sonata: one or more movements from a sonata by
o J. Haydn
o W.A. Mozart
o L. van Beethoven
Etudes: Two etudes with a minimum difficulty grade:
o Czerny op. 299 or op. 740
o Cramer
o Moszkovski
o Moscheles
o Clementi: Gradus ad Parnassum
Performance pieces: Two performance pieces from various stylistic periods
Prima vista playing
Progress exam
Propaedeutic exam
Polyphony: one work chosen from:
o J.S. Bach
Three-part sinfonias
Wohltemperierte Klavier
some movements from one of the Suites or Partitas
a comparable work
Classical sonata: one or more movements from a sonata by:
o J. Haydn
o W.A. Mozart
o L. van Beethoven
o F. Schubert
Etudes, for example from:
o Chopin opus 10 and 25
o Cramer
o Moszkovski
o Moscheles
o Debussy
2 performance pieces from different style periods
II-III exam
(to be confirmed)
Presentation
Concert
Final presentation
Concert containing 3 pieces in different styles. When possible it could include pieces with
relevance to the Master study plan.
PIANO - MASTER
Entrance exam
* a programme of at least 40'
* pieces from 3 different style periods, with at least 1 classical sonata, preferably
Beethoven or Schubert
102
Presentation
concert
Final presentation
concert
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PERCUSSION
PERCUSSION EXAM SCHEDULE:
Bachelor I January Progress ex 20' pass/fail
May/June Propaedeutic ex 20' qualifying result
Selection
repertoire BA 1
Bachelor II May/June II-III ex 20' qualifying result
Technique exam Selection

(technisch repertoire BA 2
tentamen)
Bachelor III May/June Presentation 35' qualifying result
Programme of - Solo pieces

fee choice - Ensemble piece
containing with different
different styles instruments
Bachelor IV January TOP ex 30' qualifying result
May/June Final presentation 60' numeric
Concert Organisation of
programme the whole concert
showing a
students own
signature.
1 ensemble
piece with
different
instruments.
Entrance - 2 solo mallet pieces

exam (marimba or/and vibraphone)
Master - 1 solo set-up piece
- snare drum: etudes/orch.
parts
/technique
- timpani : etudes/ orch.
parts/technique
- Xylophone/Glockenspiel:
orchestral parts
Master I January 1st round behind 35' numeric result

TOP ex screen, 2nd
Orchestral parts round.
or official Application letter
audition with CV.
104
programme
from an
orchestra
May/June Presentation 60' qualifying result
Concert based
on master study
plan
Master II January 35' numeric result

TOP ex 1st round behind
Orchestral parts screen, 2nd
or official round.
audition
programme
from an
orchestra
May/June Final presentation 90' Numeric result

Concert Organisation of
concert, including
stage and light
plan, PR,
programme
[notes]
PERCUSSION BACHELOR
Entrance exam: Technique, scales and Examples Repertoire
snare drum:
open and closed rolls in varying dynamics
two studies from Fink (III, IV, V), Knauer (I , II), Peters (Intermediate and Advanced
Studies) Wilcoxon
timpani:
rolls / tuning exercises
two studies from Knauer, Hochrainer (I, II), N. Woud
xylophone/marimba/vibraphone:
scales and arpeggios up to four sharps and flats
two studies/etudes from e.g. Goldenberg, Friedman
4 mallet technique (would be highly appreciated, but is not mandatory)
performance piece e.g. Peters 'Yellow After the Rain', Molenhof 'Music of the Day'
set up: e.g. Peters 'rondo for tomtoms'
The percussion requirements show a choice of pieces to be studied.
Bachelor I: Examples of repertoire
snare drum:
M. Peters Intermediate Snare drum Studies / Advanced Studies
C. Wilcoxon
G. Whaley Rhythmic Patterns of Contemporary Music
E. Keune Kleine Tromschule
R. Carroll orchestra parts
- open rolls and rudiments
105
- develop closed roll
xylophone:
- scales, arpeggio's
Goldenberg
G.H. Green - ragtimes
R. Carroll - orchestra parts
orchestra parts:
studies and parts for large drum, triangle, tambourine, cymbals
timpani:
Nick Woud Symphonic Studies of The Timpani Challenge
Jacques Delecluse
Orchestra parts: Beethoven 9, Mozart Zauberflte
marimba:
Eric Sammut - Rotations
C.O. Musser - Studies
J.S. Bach parts of Suite in G
Akira Miyoshi - Conversation
Paul Smadbeck - Rhythm Song
Keiko Abe - several pieces
Vibraphone:
D. Friedman - Etudes
E. Sejourne - Etudes
R. Wiener 1 and 2
set-up:
Theo Loevendie - Pieces for set-up
Paul Thermos - KK
percussion ensemble:
John Cage - Construction in Metal
Steve Reich - Music for pieces of Wood
Steve Reich - Marimba Phase
John Cage - Quartet
L. Harrison / J. Cage - Double Music
music theatre:
Phillip Glass 1+1
Bachelor II: Examples of repertoire

snare drum:
M. Peters Advanced Snare drum Studies
C. Wilcoxon
Delecluse - Studio M (1 en 2)
R. Carroll - Orchestral Studies
G. Whaley Rhythmic Patterns of Contemporary Music
xylophone: continuation / G.H. Green - ragtimes
orchestra parts: continuation
timpani:
Elliot Carter - Improvisation
Orchestra parts: Beethoven 1&7&9, Bartok Music for Strings etc. Martin Concerto for 7
winds, timpani and strings, Stravinsky Sacre
marimba:
G. Stout - Two Mexican Dances
M. Miki - Time for Marimba
A. Miyoshi - Torse III
J.S Bach - 2 voice inventions
vibraphone:
continuation
set-up:
D. Lang - Anvil Chorus
Yannis Xenakis - Rebonds b
John Cage - One 4
106
John Cage - Third construction
Guo Wenjing - Drama
Steve Reich - Drumming
Steve Reich - Nagoya marimbas
music theatre:
J. Cage - Composed improvisation for snare drum
Roderik de Man - Case History
J. Cage - One4
C. Fox - The Art of Concealment
Bachelor III: Examples of repertoire

snare drum:
M. Peters Hard Times
Delecluse- Douze Etudes / Keiskleiriana 1+2
Solo repertoire
orchestra repertoire:
mock auditions and more repertoire
xylophone (glockenspiel):
more orchestra parts
timpani:
John Beck - The Injury
John Bergamo - Four Pieces for timpani
Steve Grimo - Cortege for Solo Timpani
Alexis Orfaly - Rhapsody No.2 for Solo Timpani
Orchestra parts: Strauss Rosenkavalier, Bartok Concerto for orchestra, Brahms 1
marimba:
Tanaka - Two Movements for Marimba
H.W. Henze - Five Scenes from the snow country
S. Mackey - See Ya Thursday
S.S. - Smith Good Night
vibraphone:
solo-pieces
D. Friedman
Sejourne
set-up:
Y. Xenakis - Rebonds b
K. Volans - Asanga
Per Norgard parts of I Ching
M. Feldman - King of Denmark
Michael Gordon - XY
D. Lang - The so-called laws of Nature
Y. Xenakis - Okho
Y. Xenakis - Persephassa
S. Reich - Sextet
music theater:
V. Globokar - Corporel
S.S. Smith - ...And Points North
S.S. Smith - Songs I- IX
Kagel - Rrrrrr
Bachelor IV: Examples of repertoire
snare drum:
studies/etudes - solo repertoire - orchestra parts
Orchestral parts fort mallets and accessories (triangle, tambourine, Gr.C, cymbals)
timpani:
N.Woud etudes
J. Delecluse etudes
Elliot Carter Canto, Recitative, Canaries
Orchestra parts: Britten Nocturne, Stravinsky Les Noces, Elliot Carter Variations for
107
Orchestra
marimba:
Y. Sueyoshi - Mirage
P. Klatzow - Dances of earth and fire
J. Schwantner - Velocities
J. Druckmann - Reflections on the nature of Water
T. Niimmi - For Marimba I-II
vibraphone:
F. Donatoni - Omar
D. Alejandro - Linde
Kh. Stockhausen - Elufa
set-up:
J. Wood - Rogosanti
Y. Xenakis - Phappha
Y. Xenakis Rebonds A and B
P. Norgard - I Ching
Kh. Stockhausen - Zyklus
music theatre:
Globokar - Toucher
Kagel - Dressur, Exotica
Y. Xenakis - Pleiades
F. Donatoni - Darkness
J. Wood - Village Buria
PERCUSSION - MASTER
Entrance exam Master

- 2 solo mallet pieces (marimba or/and vibraphone)
- 1 solo set-up piece
- snare drum: etudes/orchestra parts/technique
- timpani: etudes/ orchestra parts/technique
- xylophone/Glockenspiel: orchestral parts
TOP I
Orchestral parts or official audition programme from an orchestra
Presentation
Concert based on master study plan
TOP II
Orchestral parts or official audition programme from an orchestra
Final presentation
concert
108
ASSESSMENT CRITERIA BACHELOR CLASSICAL MUSIC
9 - 10 7,5 - 8,5 6-7 0-5
Control of instrument Sophisticated and secure Clear and convincing control of Generally proficient control of Inadequate control seriously
control of instrument on all instrument. instrument. impinges on capacity to project
(sound, dexterity, aspects. musical intention
intonation, bowing,
breathing)
Clear and imaginative use of Convincing awareness of Considerable awareness of Limited and inconsistent
appropriate aspects of style appropriate aspects of style stylistic detail and a sense of stylistic awareness
and musical language, and musical language overview Hardly any sense of rhythm
Awareness of style and Convincing phrasing, distinct Rhythmic control, good choice Generally good rhythm and (tempo, meter, rhythmic
musical language use of rhythm and timing of tempo, evidence of tempo. clarity)
deliberate phrasing
(tempo, rhythm, timing,
phrasing, dynamics)
An excellent collaborative A clear and comprehensive A generally good response to Inadequate interaction
ethos between members of the awareness of aspects of others in the ensemble between ensemble members
ensemble resulting in an ensemble playing with good and limited engagement with
integrated and engaging communication between the musical ideas
performance members of the ensemble
Ensemble playing
109
9 - 10 7,5 - 8,5 6-7 0-5
Compelling capacity to move Clear and convincing capacity Consistent capacity to engage Limited capacity to engage an
an audience to engage an audience an audience audience
Communication
Artistically meaningful and Attractive programme with Good programme, well-chosen Programme technically below
innovative programme, coherence and artistic radiation within the possibilities, standard and artistically not
Presentation of a personal view programme leaflet/ interesting
on the programme. Interesting booklet/other communication
leaflet/booklet/other with adequate information Programme
Programme, communication about the leaflet/booklet/other
notes and presentation programme communication with
insufficient information and/or
mistakes
110

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Curriculum Handbook

Bachelor of Music - Classical Music

Royal Conservatoire The Hague

This is version 1.1 (August 2016)

Programme objectives bachelor Classical Music ......................................................................................... 5

Curriculum overviews .................................................................................................................................. 10

Classical Violin/Viola/Cello ................................................................................................................... 10

Classical Double bass .......................................................................................................................... 11

Classical - Flute ....................................................................................................................................... 12

Classical - Oboe ...................................................................................................................................... 13

Classical - Clarinet .................................................................................................................................. 14

Classical - Saxophone ............................................................................................................................ 15

Classical - Bassoon ................................................................................................................................. 16

Classical - Brass ..................................................................................................................................... 17

Classical - Accordion ............................................................................................................................... 18

Classical - Guitar ..................................................................................................................................... 19

Classical - Harp ....................................................................................................................................... 20

Classical - Piano ..................................................................................................................................... 21

Classical - Percussion ............................................................................................................................. 22

Course descriptions .................................................................................................................................... 23

General courses ...................................................................................................................................... 23

Main subject courses .............................................................................................................................. 29

Specific courses for percussionists ......................................................................................................... 60

Theory courses ....................................................................................................................................... 64

Information assessment theory subjects ............................................................................................. 80

Free elective space ................................................................................................................................. 80

Appendix Exam Requirements classical department .............................................................................. 81

Assessment criteria bachelor Classical Music .......................................................................................... 109

Vision statement of the Classical Music department of the Royal Conservatoire

Description programme objectives corresponding course numbers

Ensemble skills AL-FYF

Verbal skills AL-VBP

Public Performance skills KI -..

Improvisational skills KI-BB

Pedagogical skills ED-MIO-14

Knowledge and understanding of context AL-K1JR

Students are expected to have a broad understanding of how technology AL-VBP

At the completion of their studies, students should be aware of the TH-ASA

Improvisational skills KI-PK

Pedagogical skills ED-EV-11

developing ideas and arguments critically; KI-PT

being self-motivated and self-managing. AL-PF

show skills in teamwork, negotiation and organisation; AL-K1JR

integrate with other individuals; KI -..

present their work in accessible and audio-visually balanced form; AL-VBP

have appropriate ict-skills. AL-VBP

KC- Main Subject

Free Elective Space

Total per year 60 60 60 60

KC- Main Subject

Free Elective Space

Total per year 60 60 60 60

KC- Main Subject

Free Elective Space

Total per year 60 60 60 60

KC- Main Subject

Free Elective Space

Total per year 60 60 60 60

KC- Main Subject

Free Elective Space

Total per year 60 60 60 60

KC- Main Subject

Free Elective Space