Koninklikjk Conservatorium Brussel-2011
Koninklikjk Conservatorium Brussel-2011
2011
ba/ma Music
ba Musical
Music Teaching
Certification Programme
www.erasmushogeschool.be partner in de Universitaire Associatie Brussel
C ontents
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Enrolment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Study curricula. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Bachelor & Master in Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Music theory and writing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Composition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Instrument / voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Polyphonic instruments and voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Historical instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Instrument / chamber music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Jazz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Musical. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Postgraduate Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Music teaching certification programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Programme entrance examination. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
General information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Open house 2011. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
How to reach the Conservatory?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
This informational booklet was realized by the Koninklijk Conservatorium Brusselin cooperation with
the Public Relations Division of the Erasmushogeschool Brussels.
The course curricula presented here are still subject to change due to ongoing changes in government
regulations. Please contact the department of the Koninklijk Conservatorium Brussel itself for the most
recent informational updates.
Fotos: Joost Goethals and Erasmushogeschool Brussel.
Editorial Offices: Peter Swinnen, Department Chair. January 2011.
P reface
Building upon a rich international tradition the Royal Conservatory of Brussels
wants to educate and train gifted students into excelling musicians who are inquisitive and open-minded and contribute to society through artistic reflection on it.
The ultimate goal of the process of academisering is to integrate research into
the educational system and into artistic performance. The conservatoire does not
produce pseudo-scientists but aims to educate conscious, well-informed, critical
musicians who are in touch with a broad cultural context and are able to work with
intuitive, emotional and spiritual contents and integrate these contents into the
realisation of a work of art. This process is charactericed by a continious tension
between tradition and innovation
In a world in which prosperity is very much defined in economic terms as a function
of material wealth, profitability, efficiency and usefulness, the Royal Conservatory of
Brussels wants to contribute to mans overall sense of well-being through music and
art. The art of music is particularly well suited to this purpose because of its ability
to strike mans cognitive and emotional chords and create an integration of both.
The Conservatory is located in the cultural heart of Brussels. It organizes numerous
artistic events and is therefore very much a part of and contributor to the social and
cultural life of the capital city. The Queen Elisabeth Contest, the Festival of Flanders,
the Festival of the Arts (KunstenfestivaldesArts), Ars Musica, the Munt Opera House,
the Museum of Instruments, the fine arts museum Bozar, the Flagey initiative, the
Goethe-institute: these are just a few of the cultural events and names of other institutions the Conservatory actively contributes to or cooperates with.
The Conservatory can dissipate its artistic, esthetic and human values in a very
rich context thanks to its international faculty and student body, the multicultural
character of the surrounding city and the Conservatorys integration in the citys
cultural and social life. The multicultural dimension of the Conservatory not only
shows through its music curricula and concert programs, but can be experienced
daily through interaction with the people teaching and studying there.
The Royal Conservatory of Brussels is first and foremost an artistic institute of higher
learning. The achievement of the highest degree of artistic competence is essential for music to reveal its full significance. All participants in the musical learning
process are confronted with and must deal with the tension between tradition and
innovation. Every musician must strike a balance between these two ends of the
spectrum so as to avoid gliding off into either pure conservatism or new-modern
E nrolment
An entrance examination is required of every new student. The examination
pertains to overall knowledge of music and to the instrument the student wants
to select in its future study program.
The study curricula can be viewed on the website or consulted in print in the
study guide. Upon request they can also be mailed to you. The website and
study guide also contain further information regarding general admission requirements, part-time study programs, qualifications needed to be considered for
reductions in course load and study program, and many other topics.
The dates of the artistic admission tests are posted on the website or can be
obtained by contacting the office of students affairs at KCB. Participation requires
no later than two weeks prior to the date of the test. An entrance examination at
a later date can only be scheduled upon approval of the Department Chair based
upon a request addressed to the Department Chair stating the reasons for the
exception requested.
Enrolment is only effective after all required documents and copies of diplomas
and study certificates have been submitted to the student administrative office.
S tudy
curricula
This prospectus gives a general overview of the study curricula. For further
information please consult the website www.kcb.be.
Course workload is expressed on an annual basis in terms of number of class
hours per year. However, on a weekly basis course work load can vary greatly
due to the project based nature of certain courses (e.g. choir and orchestra).
Other courses are semester-based.
in
M usic
Writing
Writing
Writing
Writing
Writing
Composition
Ba 1
Composition
Ba 2
Composition
Ba 3
Composition
Ma 1
Composition
Ma 2
Composition
Conducting
Ba 1
Orchestral Conducting
Ba 2
Orchestral Conducting
Ba 3
Orchestral Conducting
Ma 1
Orchestral Conducting
Ma 2
Orchestral Conducting
Instrument / Voice
Ba 1
Orchestral Instruments
Ba 2
Orchestral Instruments
Ba 3
Orchestral Instruments
Ma 1
Orchestral Instruments
Ma 2
Orchestral Instruments
Historical Instruments
Historical Instruments
Historical Instruments
Historical Instruments
Historical Instruments
Ba 1
Ba 2
Ba 3
Ma 1
Ma 2
Piano
Piano
Piano
Piano
Piano
Organ
Organ
Organ
Organ
Organ
Harp
Harp
Harp
Harp
Harp
Jazz
Ba 1
Ba 2
Ba 3
Ma 1
Ma 2
Jazz
Jazz
Jazz
Jazz
Jazz
instr./voice
instr./voice
instr./voice
instr./voice
instr./voice
Guitar
Guitar
Guitar
Guitar
Guitar
Chamber music
Chamber music
Chamber music
Chamber music
Chamber music
Voice
Voice
Voice
Voice
Voice
Composition, Arranging
Composition, Arranging
Composition, Arranging
Bachelor Musical
Musical
Ba 1
Ba 2
Ba 3
Musical
Musical
Musical
P ostgr aduate
After a master instrument
staff
History of Music
Orchestral Conducting
Patrick Davin
Norbert Nozy
Piet Jeegers
Harmony - Counterpoint -
Fugue and Composition
Kristin De Smedt
Franklin Gyselynck
Jan Dhaene
Jan Van Landeghem
Jurgen De Pillecyn
Ann Kuppens
Peter Swinnen
Hans Van Daele (assist.)
Wouter Lenaerts (assist.)
Analysis
Jean-Paul Byloo
Annelies Van Parys
Applied Harmony
Philippe Sorgeloos
Dirk De Hertogh
Helmut De Backer
Peter Kestens (assist.)
Lies Van Avermaet (assist.)
Marc Vandewiele (assist.)
Walter Vleminckx (assist.)
Ethnic Music
Encylclopedia
Johan Eeckeloo
Vocal Training
Music Technology
Music Psychology
History of Culture
Koen Buyens
Ba 1
CR
Ba 2
CR
Ba 3
CR
Harmony I-II-III
18
18
Theory and ear training 1,2
4
4
Rhythm and intonation 1,2
5
5
History of music 1,2,3
6
6
Encyclopedia and research
3
Applied harmony 1,2,3
9
9
History of music (particular issues)
Formal analysis 1
Vocal training 1,2
6
6
Choir 1,2,3
3
3
Posture and movement
3
History of culture 1,2,3
3
3
Music aesthetics
3
Music psychology
Ethnic music
Optional subjects
3
18
Total
60
60
60
6
9
6
6
3
3
3
3
3
Required subjects
Ma 1 Ma 2
CR
CR
Counterpoint I
12
Counterpoint II + analysis (master exam)
Formal analysis 2
6
Applied harmony 4, 5
9
History of music (particular issues) 2,3
9
Choir 4,5
3
Introduction to philosophy
3
Optional subjects
18
Total
CR: Credits
60
24
9
12
3
12
60
Ba 1
CR
Ba 2
CR
60
60
Ba 3
CR
6
15
9
9
3
3
6
9
60
Required subjects
Ma 1 Ma 2
CR
CR
Counterpoint I
12
Counterpoint II + analysis (master exam)
18
Analysis counterpoint
6
Fugue (Master exam)
Analysis Fugue
Orchestration I, II
9
Formal analysis 2
6
Applied harmony 4
6
Introduction to philosophy
Optional subjects
3
Total
60
30
6
9
3
12
60
CR: Credits
Bachelor Composition
Required subjects
Ba 1
CR
Ba 2
CR
Ba 3
CR
Harmony III
15
Composition I, II, III
12
12
Counterpoint I
12
Counterpoint II
Analysis counterpoint 1,2
6
Theory and ear training 2
4
Rhythm and intonation 2
5
History of music 1,2,3
6
6
Encyclopedia and research
3
History of culture
3
Instrumentation I, II
6
6
Score arrangement & reduction 1
9
Orchestration I
Contemporary music notation
Optional subjects
9
6
Total
60
60
12
18
6
6
9
3
6
60
Master Composition
Required subjects
Ma 1 Ma 2
CR
CR
Composition IV
24
Composition (master exam)
Orchestration II, III
Analysis (for composers) I, II
Introduction to philosophy
Optional subjects
9
6
3
18
12
Total
60
60
Preliminary studies: proof of obained credits needed for harmony I, II and for theory and
eartraining 1 and rhythm and intonation 1
Recommended optional subjets:
CR: Credits
10
30
Orchestral conducting
Music technology
Applied harmony
Ethnic music
Fugue (in master)
Artistic project (in master)
9
9
Ba 1
CR
Ba 2
CR
Ba 3
CR
Harmony III
15
Orchestral conducting I, II, III
12
12
Counterpoint I
12
Counterpoint II
Analysis counterpoint
Theory and ear training 2
4
Rhythm and intonation 2
5
History of music 1,2,3
6
6
Encyclopedia and research
3
Instrumentation I, II
6
Formal analysis 1,2
6
Score reading & reduction 1,2
9
History of culture 1
3
Optional subjects
6
9
Total
60
60
12
18
6
6
6
6
9
3
60
Required subjects
Ma 1 Ma 2
CR
CR
Orchestral conducting IV
24
Orchestral conducting (master exam)
Score reading & reduction 3
6
Orchestration I,II
9
Contemporary music notation
3
30
9
Introduction to philosophy
Training sessions
9
Optional subjects
9
3
12
6
Total
60
60
Preliminary studies: proof of obained credits needed for harmony I, II and for theory and
eartraining 1 and rhythm and intonation 1
Recommended optional subjets: Posture and Movement in bachelor
CR: Credits
11
Ba 1
CR
Ba 2
CR
Ba 3
CR
Harmony III
15
Wind and brassband conducting I, II, III
12
12
Counterpoint I
12
Counterpoint II
Analysis counterpoint
Theory and ear training 2
4
Rhythm and intonation 2
5
History of music 1,2,3
6
6
Encyclopedia and research
3
Instrumentation I, II
6
6
Formal analysis 1,2
6
Score reading & reduction 1,2
9
History of culture 1
3
Optional subjects
6
9
Total
60
60
12
18
6
6
6
9
3
60
Required subjects
Ma 1 Ma 2
CR
CR
Introduction to philosophy
Training sessions
9
Optional subjects
9
3
12
6
Total
60
60
Preliminary studies: proof of obained credits needed for harmony I, II and for theory and
eartraining 1 and rhythm and intonation 1
Recommended optional subjets: Posture and Movement in bachelor
CR: Credits
12
30
I nstrument / Voice
Orchestral instrument
Organ
Guitar
Historical instruments
Teaching
Piano
Harp
Voice
Instrument / chamber music
staff
Violin
Katalin Sebestyen
Yuzuko Horigome
Valeri Oistrakh
Zygmund Kowalski
Yossif Ivanov
Philippe Graffin
Naaman Sluchin
Viola
Paul De Clerck
Cello
Viviane Spanoghe
Jeroen Reuling
Olsi Leka (assist.)
Double Bass
Frank Coppieters
Flute
Frank Hendrickx
Carlos Bruneel
Oboe
Paul Dombrecht
Jan Maebe (assist.)
Stefaan Verdegem
Clarinet
Hedwig Swimberghe
Saxophone
Norbert Nozy
Bassoon
Luc Loubry
French Horn
Luc Berg
Trumpet
Emmanuel Mellaerts
Trombone
Tuba
Stephan Vanaenrode
Percussion
Gert Franois
Bart Quartier (assist.)
13
14
Chamber Music
Viviane Spanoghe
Luc Loubry
Dirk Vermeulen
Gert Franois
Thomas Dieltjens (assist.)
Eric Robberecht (assist.)
Benjamin Dieltjens (assist.)
Bert Vanderhoeft (assist.)
Tony Nys (assist.)
Contemporary music
Pianist-accompanists
Luc Devos
Thomas Dieltjens
Paul Hermsen
Alexander Leman
Anne Op De Beeck
Stefaan Poelmans
Ccile Mangeot
Katsuza Mizumoto
Benjamin Van Esser
Katrien Verbeke
Orchestral Instruments*(Bachelor)
Required subjects
Ba 1
CU CR
Ba 2
CU CR
Ba 3
CU CR
465 60
420 60
27
6
6
6
6
3
6
300 60
* violin, viola cello, double bass flute, oboe, cor Anglais - oboe damore, clarinet, saxophone,
bassoon, French horn, trumpet, trombone-tuba and percussion
Ma 1
Required subjects
CU CR
Main instrument IV, V (master exam)
Chamber music 3,4
Orchestra 4,5
Formal analysis 2
Introduction to philosophy
Optional subjects
60
45
60
30
30
60
Total
315
Ma 2
CU CR
30
60
6
60
6
60
6
3
9
60
60
30
12
6
12
240 60
* violin, viola cello, double bass flute, oboe, cor Anglais - oboe damore, clarinet, saxophone,
bassoon, French horn, trumpet, trombone-tuba and percussion
15
Polyphonic
Teaching
16
staff
Piano
Daniel Blumenthal
Aleksandar Madzar
Jan Michiels
Boyan Vodenitcharov
Piet Kuijken
Hans Ryckelynck (assist.)
Katia Veekmans (assist.)
Accompanying voice
Hlne Luyten
Inge Spinette
Organ
Luc Bastiaens
Harp
Jana Bouskova
Guitar
Antigoni Goni
Voice
Dinah Bryant
Dina Grossberger
Lena Lootens
Jan Vande Weghe (coaching)
Piano (Bachelor)
Required subjects
Ba 1
CU CR
Ba 2
CU CR
Ba 3
CU CR
495 60
27
6
9
6
9
435 60
240 60
Ma 1
Required subjects
CU CR
Ma 2
CU CR
Piano (Master)
210
60
30
12
6
3
6
3
240 60
*Including improvisation
17
Organ (Bachelor)
Required subjects
Ba 1
CU CR
Ba 2
CU CR
Ba 3
CU CR
495 60
27
6
9
6
9
435 60
240 60
Ma 1
Required subjects
CU CR
Ma 2
CU CR
Organ (Master)
18
210
60
30
12
6
3
6
240 60
Harp (Bachelor)
Required subjects
Ba 1
CU CR
Ba 2
CU CR
Ba 3
CU CR
495 60
450
27
6
3
9
6
6
60
315 60
Ma 1
Required subjects
CU CR
Ma 2
CU CR
Harp (Master)
60
45
60
30
30
60
30
60
6
60
6
60
6
30
3
9
30
285 60
30
12
6
6
6
240 60
19
Guitar (Bachelor)
Required subjects
Ba 1
CU CR
Ba 2
CU CR
Ba 3
CU CR
495 60
27
6
9
6
9
435 60
240 60
Ma 1
Required subjects
CU CR
Ma 2
CU CR
Guitar (Master)
20
240 60
30
12
6
6
3
3
240 60
Voice (Bacheloropleiding)
Required subjects
Ba 1
CU CR
Ba 2
CU CR
Ba 3
CU CR
510 60
27
6
6
6
6
3
3
3
480 60
285 60
Ma 1
Required subjects
CU CR
Ma 2
CU CR
Voice (Masteropleiding)
60
30
30
30
30
90
30
60
6
60
6
3
3
30
12
120
270 60
30
12
3
15
270 60
21
H istorical
Teaching
instruments
staff
Boroque violin
Franois Fernandez
Baroque cello
Alain Gervreau
Viola da Gamba
Philippe Pierlot
Frank Coppieters
Flauto Traverso
Barthold Kuijken
Frank Theuns
Boroque oboe
Paul Dombrecht
Recorder
Bart Coen
Peter De Clercq (assist.)
Natural horn
Luc Berg
Harpsichord
Herman Stinders
Pianoforte
Boyan Vodenitcharov
Piet Kuijken
Lute
N.N.
Chamber music
Herman Stinders
Jan De Winne
Alain Gervreau
Theory
of
H arpsichord - accompanists
Dominik Riepe
Sofie Van Herle
22
Ba 1
CU CR
Ba 2
CU CR
Ba 3
CU CR
540 60
540
60
24
6
3
6
3
3
6
6
3
405 60
* baroque violin and viola, baroque cello, viola da gamba, violone-double bass, recorder, flauto
traverso, baroque oboe, natural horn, harpsichord, pianoforte and lute
Ma 1
Required subjects
CU CR
Ma 2
CU CR
330
60
255 60
* baroque violin and viola, baroque cello, viola da gamba, violone-double bass, recorder, flauto
traverso, baroque oboe, natural horn, harpsichord, pianoforte and lute
23
24
subject )
Ba 1
CU CR
Ba 2
CU CR
Ba 3
CU CR
435 60
405
18
12
9
6
6
3
6
60
285 60
Ma 1
Required subjects
CU CR
Ma 2
CU CR
30
60
18
60
3
9
Total
60
120
30
18
3
9
120 60
25
J azz
Jazz (including pop and world music)
Composition (arranging)
Teaching
26
staff
Bart De Nolf
Christophe Wallemme
Electric Guitar
Fabien Degryse
Peter Hertmans
Piano
Diederik Wissels
Nathalie Loriers
Saxophone / Woodwinds
John Ruocco
Jeroen Van Herzeele
Drums
Latin-percussion
Martin Gort
Trumpet
Girolamo Lattuca
Voice
David Linx
History of jazz
N.N.
Rhythm
Vibraphone
Bart Quartier
Trombone
Frederik Heirman
Piet Nijsten
Kris Defoort
Band leading
Girolamo Lattuca
Fabien Degryse
Bart De Nolf
Dirk Schreurs
Jeroen Van Herzeele
Peter Van Marle (Latin)
Pieter Bast
Frederik Heirman
Christophe Wallemme
Bart De Nolf
Kurt Bud
Peter Van Marle (ritmiek)
Dirk Schreurs
Peter Van Marle (Latin Piano)
Piet Nijsten
Piano technique
Katleen Sedeyn
Big Band
John Ruocco
Ba 1
CU CR
Ba 2
CU CR
Ba 3
CU CR
420 60
450 60
21
9
3
12
6
3
3
3
390 60
Ba 3
Required subjects
CU CR
Jazz composition
Arranging 2
Instrumentation and orchestration 1
Ear training 3
Jazz harmony and analysis 3
Harmony and analysis (classical) 1
Piano 3
Conducting technique
History of jazz 2
Total
30
60
30
30
45
30
15
30
45
21
6
6
3
12
3
3
3
3
315 60
27
Required subjects
Ma 1
CU CR
Ma 2
CU CR
300 60
30
15
6
3
6
270 60
Required subjects
28
Ma 1
CU CR
30
30
30
30
15
30
30
30
60
Ma 2
CU CR
21
30
12
30
6
30
3
3
15
3
6
30
3
3
60
285 60
30
12
6
3
6
3
195 60
29
M usical
Teaching
30
staff
Voice
David Davidse
Goele Deraedt
(+ Optional subject Voice)
Peter De Smet
Acting training
Ronny Commissaris
(+ Optional subject Acting)
Stephen Collins
Classical dance
Modern dance
Peter Kongs
Lounge dance
Geert Audenaert
Tapdance
Hilde Goyens
Bart Buyle
Maggy De Ridder
Patrick Desmedt
Patrick Desmedt
(+ Optional subject Piano)
Jessie De Caluw
Musical-easthetics
William Lanckrock
Jan Van Driessche
Extra Competency
Luc De Smet
Leah Thijs
Audition training
Bart Buyle
Lulu Aertgeerts
(+ Optional subject Dance)
CU
CR
CU
CR
CU
5
3
7
3
3
3
13
6
3
GME musical
75
6
Close Harmony
30
3
Dance
180 7
Diction and phonetics
60
3
Musical aesthetics
60
3
Optional subject
Project/Production
275 16
Voice
30
6
Extra competency
60
3
75
30
180
60
60
30
275
30
60
Total
800 46
770 47
CR
CU
75
30
180
30
5
3
7
3
30
180
30
3
10
3
30
450
30
60
3
16
6
3
450
30
19
6
885 46
CR
720 41
31
Postgraduate
A post master program on instrument (20 credits/semester) or theoretical
program.
The student develops his own artistic project (e.g. soloist concert program,
preparation for orchestral career...) with the help of a tutor.
Special admission test.
32
33
M usic
Teaching
staff
34
35
P rogrammes
admission tests
(compulsory for every student who did not acquire any credits in higher music
education, bachelor/master level)
S pecific
admission test
M usic Theory
and
W riting
C omposition
C onducting
I nstrument / Voice
Violin
two etudes (Kreutzer, Fiorillo, Rode, Wieniawsky, Paganini etc.)
two contracting movements from a sonata by Corelli, Hndel, Vivaldi or
Bach
freely chosen concerto
Viola
two etudes
three works from the standard repertoire
Cello
two etudes (Dotzauer III, Duport, Franchomme or Popper)
three works from the standard repertoire, including one concerto (or part
thereof) and two works from different sylistic periods. At least one from
memory.
Double Bass
two etudes (Nanny, Kreutzer, Simandl, Van De Velde)
three works from the standard repertoire
36
37
H istorical I nstruments
Baroque violin
allemande and sarabande (partita nr 2) J.S. Bach
sonata nr 1 or 2 from Sonate in stile moderno Dario Castello
1st and last movement, sonata in g. A. Corelli
Baroque viola
2 movements solosonata or suite J.S. Bach or solo fantasy (violin)
by G. Ph. Telemann
Baroque cello
suite J.S. Bach: allemande, courante, sarabande
one sonata A. Vivaldi
one concerto or sonata in another style
Viola da Gamba
a German or Italian sonata
a French suite
an English division (e.g. Simpson)
Violone / double bass
4 orchestral fragments (1 by J.S. Bach)
three works from the repertoire
Recorder
two advanced etudes
three works from the standard repertoire
Flauto Traverso
one fantasy by Telemann
one French suite
one freely chosen work
Baroque oboe
two advanced etudes
two works from the repertoire
Natural horn
two etudes
first movement concerto nr. 1 in DW. A. Mozart
Harpsichord
two sonatas by Scarlatti
two preludes and fugues (J.S. Bach)
three works from the repertoire
(e.g. suite Couperin, Hndel, Telemann, etc.)
Pianoforte
C. P. E. Bach (sonata, fantasy)
Haydn or Mozart (sonata, variations)
Beethoven (variations, sonata max op. 54)
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Lute
Renaissance lute
fantasy
tabulature of a vocal model
dance
Baroque lute: movement from French and German suite
Theorbe: French and Italian work (one instrument is sufficient)
A dmission
test
J a zz
A dmission
test
M usical
To prepare:
- three musical arias, of which at least one fast and one slow
(accompaniment: bring score)
- At least one aria must date from before 1960.
- One realistic theatrical scene (monologue) of max. 6 min.
all from memory
A short piece of choreography will be thaught, so please bring dancing
clothes.
Solfege test:
Written:
- a monophonic dictation on the level of J. Rueffe, part 1 (nrs. 1 to 30)
- playing on the piano per musical phrase or part thereof;
progressing from simple to advanced.
Oral:
- singing perfect, major and minor intervals
- reproducing (tapping) rhythmic structures
- vocally repeating a melodic fragment
- the jury chooses a number from Beaucamp-solfege contemporain,
part 1 (treble clef), of which 1 - 15 should be known
- a prima vista test
The test may be expected to take a whole day.
39
G eneral
information
M usic - making
in group
The opportunity to perform in a group is very important to a musicians development. Each course programme therefore includes a mandatory ensemble
element. Depending on the course chosen, each student is assigned to either
the choir, wind band, symphony orchestra, baroque orchestra / consort, big
band or other ensembles. A training orchestra also exists and enables students
to gain experience as a conductor, soloist, or orchestral musician.
Students can perform internships in professional orchestras, and the vocal
department collaborates with the Operastudio.
S eminars /
guest lectures
Each year the study programme is enriched with numerous seminars. National
and international lecturers are invited. The seminars can be taken for credit in
some courses.
P r actice
rooms
C oncert
hall
Students of the conservatory have free admission to all concerts given in the
concert hall, including those organised by third parties (PVSK, Ars Musica festial,
Queen Elisabeth contest etc.) on presentation of their student card. Students or
teaching staff who wish to make use of the concert hall when it is available must
do so by making a reservation.
S tudent
40
L ibr ary
Tel.: 02/213 41 39
bib.kcb@ehb.be
www.kcb.be
The conservatory library contains a public lending collection of sheet music as
well as an international appreciated heritage collection. Both together result
in a large and unique unity, in particular appropriate for artistic and scientific
research.
Opening hours:
Monday to Friday: 9.30h-16.30h
Closed Wednesday mornings
S tudying
at another institution
All fully registered students can take courses at a domestic or foreign institution of higher education, as long as it is within the framework of a cooperation
agreement or an approved European programme.
I nternational
rel ations
S tudent S upport
41
S ocial
services
Within the Erasmushogeschool Brussel the vzw SOVEhB manages all student
social services. You can turn to SOVEhB for financial problems, housing, legal
advice, sports, psychological support (study counselling, anxiety etc.). This
service also works together with the VUB.
SOVEhB is part of the Brussels housing initiative Quartier Latin. Extensive and
detailed information about room rentals can be found on te SOVEhB-website
www.sovehb.be.
M eals
and snacks
O pen
house
2011
M usical
C l assical
music and
J azz
With :
Information stands
Public lessons
Possibility to speak with the teaching staff
Opportunity to audition
Student concerts
42
H ow to reach the
C onservatory ?
Tram lines: 92 94
stop Kleine Zavel
Bus lines: 48 95 27
stop Kleine Zavel,
Grote Zavel
The Conservatory is
located 10 minutes away
from the Central Station;
take the Cantersteen exit.
Then follow successively
Kunstberg - Koudenberg
- Regentschapsstraat.
Main building:
Regentschapsstraat 30 - 1000 Brussel
Telephone: 02/213 41 23 - Fax: 02/513 22 53
Other buildings:
Kleine Zavel 4 - 5 and the corner with Karmelietenstraat
Musical:
Nijverheidskaai 170 - 1070 Brussel
Visit our web site http://www.kcb.be and www.ehb.be
Tip!
The various EhB locations throughout the city
can all be reached easily by public transport. As
a student you can benefit from e very advantageous fare to travel throughout the city - just
be sure to purchase a MIVB-public transport
pass at the beginning of the academic year and
you can travel the bus, trolley or subway on the
entire MIVB public transport network in Brussels
(in 2010 the fare amounted to 45 for the entire
academic year)!
43
19 Professional Bachelors
5 Academic Bachelors
-- Applied Linguistics
-- Audio-visual: Film, Television, Documentary Film,
Animation Film, Radio, Scriptwriting
-- Drama: Performing/Direction, Scriptwriting
-- Industrial sciences and technology: Applied Engineering
-- Music
10 Masters