Artesis Plantijn Hogeschool Antwerpen
Koninklijk Conservatorium Antwerpen
campus Desguinlei
Desguinlei 25 - 2018 Antwerpen
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Vocal studies 4 (jazz)682/1720/1920/1/85
Study guide

Vocal studies 4 (jazz)

682/1720/1920/1/85
Academic year 2019-20
Is found in:
  • Master of Arts & Education in Music and performing arts
    Choice option within specialisation:
    • Voice (Jazz) within Muziek
  • Master of Arts in Music, programme stage 4
    Choice option within specialisation:
    • Voice (Jazz) (focus Music Education) within Jazz/Popular music
    • Voice (Jazz) (focus Podium) within Jazz/Popular music
  • Master of Arts in Music
    Choice option within specialisation:
    • Voice (Jazz) (focus Podium) within Jazz/Popular Music
This is a single course unit.
Study load: 18 credits
Co-ordinator: Smedts Els
Other teaching staff: Fuchs Kristina, van Vliet Sanna, Wiernik Barbara
Languages: Dutch, English
Scheduled for: Academic year
This course unit is marked out of 20 (rounded to an integer).
Possible deadlines for learning account: 31.10.2019 ()
Re-sit exam: not possible.
Compensated fail: You have to pass this course unit (will never be compensated).
Total study time: 540,00 hours

Prerequisites

having passed Vocal studies 3 (jazz).

Educational organisation (text)

* Individual lessons
* Group work
* Performances
* Workshops and masterclasses

Prerequisite competencies (text)

Achievement of the learning outcomes of Vocal studies 3 (jazz), Ensemble 2, and Repertoire 2.

Learning outcomes (text)

General goals:

* the development of a musical, artistic personality
* the development of the technical and stylistic skills which lead to a professional level, by the study of improvisation and from the study of the widest possible variety of styles linked with the jazz idiom.

M1: The student is considered to have sufficiently achieved all the criteria named under B1/2/3. These criteria also apply to all M1/2 exams. At the same time, we expect students to seek out their own approach to jazz repertoire, be it a personal choice on standard repertoire, writing of their own pieces or arranging, or the search for one's own place within jazz repertoire etc. Individuality and personal statement will play an important role especially in the M2 exam.

Learning outcomes (list)

The student independently broadens and explores repertoire related to his or her discipline.
he student is able to perform non-conventional, contemporary compositions by W. Shorter, C. Corea, D. Holland, for example.
The student demonstrates an incentive towards the personalising of existing repertoire and towards the creation of a personal repertoire.
The student masters the internationally used stylistic performance practice standards.
The student is able to perform a wide range of styles within the broad jazz/popular music idiom in a stylistically correct manner.
The student is able to perform a wide range of styles withing the broad jazz/popular music idiom in a stylistically correct manner. The student is able to improvise over non-conventional, contemporary music.
The student makes music in an artistic project in a creative manner.
The student is able to improvise on non-conventional, contemporary compositions.
The student is able to improvise on non-conventional, contemporary compositions.
The student is introduced to free improvisation and atonality (for example, intervallic concepts, serial music, "random" free improvisations, "outside playing" etc).
The student personalises the use of scat syllables.
The student demonstrates a personal stylistic development and uses it to seek out inspiration and overlaps with other musical genres, such as (contemporary) classical music (Messiaen, Schoenberg, etc).
The student demonstrates a personal stylistic development.
The student can move his or her public through the means of artistic dialogue.
The student can communicate the search for a personal artistic vision to the public.
The student has thoroughly mastered musical parameters and structures.
The student internalises the musical skills (tempo, timing, intonation, sound, development of motifs, phrasing, form, listening skills, etc).
The student builds up expertise through organisation and independent study.
The student demonstrates independence in the building up of expertise.
The student has acquired the correct playing techniques and posture.
The student internalises instrument-specific techniques (plectrum technique, walking bass, formation of sound and projection, articulation, power and finger dexterity, brush technique, bowing technique, independence, syncopation, and legato and staccato p
The student internalises technical vocal skills (articulation, pronunciation of foreign languages, healthy use of the voice, breath support, etc).
The student is aware of the technical and technological developments within his or her discipline.
The student experiments with the technological developments within his or her discipline.
The student follows the technical developments within his or her discipline.
The student can employ his or her social and communication skills in order to take on a leadership role.
The student can put together a band him- or herself and demonstrate musical leadership.

Course content

In the master's course, far-reaching independence is expected of students, whereby the principal subject teacher increasingly functions as a coach. Attention is paid to the following elements, amongst others:

* The ability to sing over complex harmonies and rhythmic schemes, as well as the ability to sing more complex themes and improvisations
* The ability and flexibility to function in various situations as a complete and independent musician
* The student is on their way to having his or her own approach
* The student works towards the presentation of a programme. He or she learns to work independently and professionally
* Working with text, expression and stage presence. Vocal technique also plays an important role at masters level

Further focus points:

* Presentation
* Treatment of the text
* English accent
* Posture
* Maintenance of tempo
* Timing
* Listening skills
* Intonation
* Tone
* Improvisation
* Style variation
* Unusual time signatures
* Various tempi
* "Outside playing"
* Development of motifs
* Phrasing
* Voice leading
* Understanding of harmony
* Rhythmic variation
* Articulation
* Melodic interpretation
* Auditory memory training
* Expressiveness
* Mastery of form
* Musical leadership
* Development of a personal style
* Personal artistic vision
* Self-assurance
* Persuasiveness

Educational organisation (list)

Learning Activities
Artistic praxis30,00 hours
Work time outside of contact hours510,00 hours

Evaluation (list)

Evaluation(s) for first exam chance
MomentForm%Remark
Academic yearArtistic skills assessment100,00

Evaluation (text)

Assessment format: The student is responsible for putting together an ensemble in order to play an exam recital, which has specified time limits and repertoire. Repertoire choices are made in consultation with the principal subject teacher. The exam is taken in June.

Number of pieces/duration: free choice of the number of pieces, 40-45 minutes duration.

Jury: the jury consists of a minimum of three people including the principal subject teacher, teacher(s) from the same instrumental group, and a chairperson.
Repertoire: free choice in consultation with the principal subject teacher.

The following criteria will be taken into account when judging the exam recital:

* Timing
* Ensemble playing
* Personal artistic vision
* Improvisation
* Listening skills
* Repertoire choice (balance in the programme)
* Musical ideas/musicality
* Analytical thinking skills
* Stylistic matters
* Knowledge of repertoire
* Individuality
* Independence
* Vision
* Persuasiveness
* Self-assurance
* Leadership (band leading, arrangements, stage presence)
* Professionalism

The student must demonstrate personal stylistic development, possess an extensive and varied repertoire and musical independence.

The student must achieve 50% in order to pass.