Study Guide
Bachelor Music
2015-2016
2
Education and Information ...................................................................................... 108
Content
Studying with a Functional Impediment ............................................................ 109
Study Delay .................................................................................................................... 109
Codarts Music .......................................................................... 5
Examination Committee
111
Exchange Programmes
111
Codarts Agency
112
Information by Study Programme .......................................... 13
Quality Assurance and Options for Participation
113
Complaints
115
CLASSICAL MUSIC
13
Inspection of Regulations
117
JAZZ
37
POP
49
WORLD MUSIC
61
MUSIC THEATER
76
Curriculum Model Music (Performing)
87
Final Qualifications
89
Education Planning Music 2015-2016
11
General and Technical Support Facilities ............................. 118
Locations
118
Calamities
119
BHV/EHBO
119
Disabled Persons
120
General Educational Matters .................................................. 93
Theft
120
Lost and Found
120
STIP: Student/Teacher Information Point
93
Ban on Smoking and Drinking
120
Enrolment and de-enrolment
95
Posters/Flyers
120
Tuition Fees 2015-2016
98
Catering
120
Use of Computer Facilities
121
Use of Classrooms and Study Rooms
121
Guests and Outside Visitors
121
Equipment/Instruments
121
Instrument Storage
121
Lockers
121
Booking Study Rooms and Practice Rooms
121
Lending Instruments and Technical Equipment
122
Codarts Account
101
Student Life
101
Student Counselling .................................................................................................. 102
Study Pathway Advisor ............................................................................................. 104
International Office .................................................................................................... 104
Mentoring ...................................................................................................................... 105
Health Centre ............................................................................................................... 105
Hearing Protection ..................................................................................................... 108
Health Insurance ......................................................................................................... 108
3
Piano Management
122
Media Library
124
Disclaimer:
This study guide (as well as its translation into English) has been
compiled while taking the greatest possible care. However, it is
always possible that some information in it is incomplete or
incorrect. No rights can be derived from this.
4
Within the Bachelor Music there are five branches of studies:
Codarts Music
Classical Music, Jazz, Pop, World Music and Music Theatre. Each of
these branches has its own characteristic profile and specialised
Codarts Rotterdam
study programme. At the same time, they share the same
Codarts Rotterdam is an international university that offers high
professional profile in which the end qualifications have been
quality, professional art education in the fields of music, dance and
defined.
circus. The university has some 1000 students of 50 nationalities and
approximately 240 employees. Codarts Rotterdam provides the
following study programmes:

Bachelor Music

Bachelor Music in Education

Bachelor Dance

Bachelor Dance in Education

Bachelor Circus Arts

Master Music

Master Art Education

Master Dance Therapy
Final Qualifications
The Bachelor Music is aimed at 11 end qualifications, subdivided
into three domains: the artistic domain, the professional-vocational
domain and the professional-social domain. A complete overview of
these end qualifications and further information about them can be
found at the end of this study guide.
Bachelor Music
The bachelor Music is a four-year full-time course. The total study
load of the programme is 240 study points (EC), consisting of a oneyear propaedeutic phase of 60 EC and a three-year main phase of
180 EC. The official language in classes can be English or Dutch.
After completing the programme you will have obtained the degree
Bachelor of Music (BMus). The diploma opens up the possibility of
continuing your studies with a Master Music, depending on
qualification.
5
Professional- ProfessionalArtistic
vocational
social
Competency Domain
Education at Codarts
1. Vision
Codarts Rotterdam trains talented and driven dancers, musicians
2. Creative skills
and circus performers to become dedicated and inspiring artists,
3. Collaborative skills
leaders and facilitators, ready to spread their wings in a dynamic,
4. Communicative skills
international context.
5. Analytical skills
6. Technical skills
Our mission is founded on six concepts that together make up
7. Entrepreneurship
Codarts’ vision:
8. Context-orientation
Craftsmanship, Self-Management, Diversity, Inquisitiveness,
9. Learning skills
Sustainability, Connectivity.
10. Reflective skills
11. Innovative skills
Craftsmanship
Codarts combines the oldest traditions and the latest trends in its
generations of performing artists who indeed see the world as
professional arts education, which is based on international
their operational field.
standards. Students immediately apply everything they learn in
Inquisitiveness
projects, performances and concerts.
Codarts is a research-oriented community where ideas and
Self-Management
questions are developed, exchanged and evaluated. This takes
Codarts regards students as self-conscious designers of their own
place in a constant collaboration between professors, teachers,
future. From the very start they learn to both take and share
students and external partners. At Codarts, doing follows naturally
responsibility. This means that everything is focused on developing
from thinking and the students are explicitly challenged to engage
their personal artistic identity to the greatest effect.
in both.
Diversity
Sustainability
Codarts is firmly rooted in Rotterdam and has always been passing
Codarts prepares students for a professional life that may last
on the most divergent cultures, styles and disciplines to new
dozens of years. Therefore, students are coached intensively in
developing and maintaining their health, resilience and flexibility.
6
Connectivity
Authentic learning is the didactic principle of this student-driven
Codarts is the link between talents and the international
learning environment. In authentic learning the focus is on
professional field. In the end, everything is about connections.
individual artistic development. The study programme provides
Connections between artist and colleagues, between artist and
frameworks for this without becoming a straitjacket. Own initiative
audience, between artist and society. Obviously, the international
and responsibility are key values, giving you the opportunity to go
professional field comes to Codarts to scout talent. Aside from
your own way while learning, in a motivated and inspired manner.
that, Codarts is in close contact with numerous local, national and
This is why Codarts’ curriculum is characterised by openness,
international organisations in order to make those talents be seen
allowing space for research and experiments. In the course of your
and heard outside its own walls as well.
studies, you will be introduced to a wide range of music styles and
the study programme gives you the opportunity to broaden or
deepen your development. Classes are given by a varied team of
Codarts Music
teachers and guest teachers, so you can learn from different
It follows from Codarts’ mission as stated above that we provide a
teachers and be inspired by them. In addition, you can make full use
learning environment in which the attention is focused on you, the
of the knowledge and expertise that other departments and study
student. Codarts Music believes in idiosyncratic musicians who, on
programmes have to offer: Classical Music, Pop, Jazz, World Music
the basis of their personal artistic identity, are able to claim their
and Music Theatre, Dance and Circus, as well as the teacher training
own place in the world of music. This means that you are keenly
programmes in Music and Dance.
aware of your own strengths and weaknesses and can use this to
In the Codarts community we learn from the challenges and
your advantage.
solutions we meet on our journey, thus building an educational
environment together that is always in motion. A fine example of
Such insight doesn’t come naturally. This is why our learning
this are the Full Moon Babylon Concerts, completely organised by
environment challenges you to make choices in how you apply your
students and alumni from all study programmes within Codarts, in
creativity, helped by vocational skills and knowledge. The unique
which they present their projects to each other.
range in music styles and other art disciplines available at Codarts
provide you with plenty of room to design your own music story,
Also, Codarts is part of an extensive network of partners in
whether by specialising in a specific music style or by combining
Rotterdam and far beyond. Together with these partners we
multiple styles and disciplines.
frequently organise projects and events, such as band projects
together with the Willem de Kooning Academy, concerts at the
7
Erasmus Medical Centre, a multidisciplinary accompaniment of the
To help you find your way in all these aspects of being a
annual Christmas dinner at the town hall and the big band concerts
professional artist, the Bachelor Music’s study programme is
at the North Sea Jazz Festival.
structured according to so-called professional roles: the musician,
the maker/performer, the teacher, the entrepreneur and the
Codarts does more than provide the artistic facilities you need to
researcher.
become a successful performing artist. For a successful, sustainable
career, injury prevention is essential. At Codarts, Student Life
The Musician
provides various facilities that can help you prevent or eliminate
As a musician you strive for the freedom of uninhibited self-
impediments, as well as good advice to have a long and healthy life
expression in your main subject. This requires controlling that main
in music.
subject on the highest possible level, both technically and
artistically. Therefore, this professional role is of a professional-
Professional Roles
vocational nature.
Codarts Music trains students to become self-willed, broadly
Solfège (ear training), rhythmic training, music theory subjects and
employable musicians that can demonstrate their personal qualities
practical harmony are all aspects of this professional role, as they
in the contemporary artist practice. After all, today’s artist must have
provide insight into the art of music and strengthen the vocational
more skills besides producing high quality art. You also have to be
side of your musical development.
able to market your art as a strong product, develop innovative
In your profile space you can choose minors that help deepen this
ideas and concepts and shape your working environment. The key
professional role, for example the minor Improvisation Strategies or
to this is an open and inquisitive attitude: looking beyond the
a specific music theoretical minor such as Tala (Indian music) or
boundaries of what you know, always looking for challenges and
Makam (Turkish music).
how to make your own unique contribution. Above all, it is
important that you, as a young inspiring artist, are able to
communicate your professional skills and vision to others. To your
audience and the people you work with, but perhaps also to
The Maker/Performer
students of a music school or in your own music practice. You can
Whether composing or performing, as a musician you relate to
be an important link in helping young people to realise their dream
fellow musicians and your audience. Therefore this professional role
of becoming an artist.
combines modules that are about playing together, performing and
stage presence, collaboration and experiment. In other words,
8
starting from day one you will be putting your artistic profession
entrepreneurs. This requires an entrepreneurial attitude, as well as
into practice in ensembles, practical lessons, projects, concerts and
skills and knowledge of the professional environment you find
performances. Codarts can provide a wide range of platforms and
yourself in. Obviously you know your own artistic and creative
stages both within and outside of the institution and we encourage
potential, chances and challenges, you know yourself and what you
you to also look for places to perform yourself. Within this
want, but you also know how to reach artistic partners and
professional role there are various minors to choose from, some
especially your audience. You will have to take initiatives and exert
oriented at performing, others at creating, such as the minors
influence in order to bring about change. Our study programme
Flamenco playing, World singing, Creative Producing and Jazz
pays much attention, both in specific ways and integrated within the
Composition in practice, but also Classical Musical and Camera
practical education, to the many business aspects of your
Acting with the Music Theatre department.
professional practice. Should you wish to study the business aspect
of the arts in more depth, you may choose to take the minor
The Teacher
Entrepreneurship.
As a musician you must be able to communicate your view,
knowledge and skills to others. In all professional roles you are
The Researcher
dealing with fellow performers, readers, listeners, booking agents
An inquisitive, explorative attitude is essential. It starts with self-
and visitors with whom you wish to share your view on music. First
reflection and a willingness to learn things. Sometimes this means
and foremost, however, you will need these skills in your role as
you have to put your instrument or vocation aside in order to truly
teacher. This is why Codarts teaches you the basic skills in
delve into the study matter. You have to be reflective, analytical and
professional didactics and pedagogics that you absolutely need as a
capable of distancing yourself from the subject in order to speak or
musician and that you will train during your studies. If you aspire to
write about it.
becoming a licensed teacher, you may follow the minors Education
At some departments, an extensive process of peer feedback is now
during the third and fourth study year.
going on. Students evaluate each other’s work in order to arrive at a
better insight into their own work and functioning via this reflection
The Entrepreneur
on the work of others.
No matter how your professional practice may turn out, in the
current cultural and economic climate a permanent full-time
At Codarts, research is rooted in your professional practice, helping
position up to retirement age seems highly unlikely. Today, an
you to become a better musician. This includes, for instance,
increasing number of musicians are therefore independent
knowledge of the history of music as well as the ability to have that
9
knowledge influence the way you perform or compose music. Doing
increasingly informed and deliberate choices in this.
research with as end results a written thesis and a presentation is
one of the modules of this professional role.
2. Reliability
Finally, by developing some research skills during the Bachelor
An examination is valid if it is evaluated by means of fixed
phase you are preparing for research during the Master phase,
evaluation criteria. There can be no arbitrariness in this. The
where it is an essential part of the study programme. A Master’s
evaluation criteria are clear and unambiguous and students
degree then gives you the option to obtain your PhD in the
are aware of them in advance. Also, for each specific test,
DocArtes PhD programme, which has been set up in collaboration
standards have been defined that specify what the least is
with Leiden University.
you should do in order to pass the test.
Examinations at Codarts
3. Transparency
Our views on education also define our examination policy. Each
Transparency means that, as a student, you know when
module in your study programme is concluded with a proper
examinations take place and what their subject matter is. The
examination. Three aspects are leading:
year planning explicitly lists examination weeks and the
opportunities for resitting an exam. This year planning is
1. Validity
included elsewhere in this study guide. For each module
An examination is valid if it tests what it is supposed to test.
there is a module description, specifying what is expected of
This means that the test is well aligned with the education,
you by the end of the module (learning outcomes), the form
with what you have learned, but also with situations you are
the exam takes, the exam criteria that are used and the
likely to encounter in your professional practice. This is why
entrance requirements.
Codarts often uses practical exams and practical assignments
in which you combine your knowledge and skills from
Transparency also means that you will be given a clear
various disciplines to arrive at a personal, individual product.
motivation of the evaluation as well as constructive feedback
to help you further develop your learning process.
The frameworks of these tests are fixed, but their content
(for instance the choice of repertoire) is open to your own
contributions. In the course of your studies you will make
10
34
Aug
is open
Kruisplein
when
Sundays
weeks off
Scheduled
weeks
* NB! During scheduled weeks off and vacations/holidays all locations are closed on Saturdays!
Education
Monday
month
Week no
Education Planning Music 2015-2016
17 Scheduled month off / summer holiday*; all locations closed to students
35
24 Open days '15-'16 / re-examinations '14-'15
36
31
start study year 2015-2016
1
6-Sep-15
1
13-Sep-15
opening academic year 8 Sept. 17.00
37
Sept
7
(Kruisplein)
38
14
1
20-Sep-15
39
21
1
27-Sep-15
40
28
1
4-Oct-15
5
1
11-Oct-15
42
12
1
43
19 e week off / autumn holiday*
44
26
41
45
Oct
Nov
1
2 KM/JPW
Project Week Music
1
1-Nov-15
1
8-Nov-15
46
9
1
15-Nov-15
47
16
1
22-Nov-15
48
23
1
29-Nov-15
49
30
1
6-Dec-15
7
1
13-Dec-15
50
Dec
51
14
52
21 Scheduled week off / Christmas holiday; from 25-12 to 27-12 all locations closed
1
53
28 Scheduled week off / Christmas holiday ; from 28-12 to 3-1 all locations closed
1
1
Jan
Christmas party 17 Dec. 17.00 (Fenixloods)
4
2
11
3
18 KM/JPW
New Year’s party 7 Jan. 17.00 (Kruisplein)
Examination Week Music
11
1
1
10-Jan-16
1
17-Jan-16
1
24-Jan-16
is open :
Kruisplein
when
Sundays
weeks off
Rostered
31-Jan-16
1
1
7-Feb-16
6
8
1
14-Feb-16
7
15
1
8
22 Scheduled week off / Spring holiday*
9
29
1
6-Mar-16
7
1
13-Mar-16
11
14
1
20-Mar-16
12
21 all locations closed on Fri 25-3 (Good Friday) and Sat 26-3
1
13
28 all locations closed on Mon 28-3 (Easter Monday)
1
3-Apr-16
1
10-Apr-16
10
14
Feb
Mar
April
start 2nd semester Music
weeks
1
5
25 KM/JPW
Education
Monday
month
Week no
4
* NB! During scheduled weeks off and vacations/holidays all locations are closed on Saturdays!
1
4
Codarts Project Week
15
11
1
17-Apr-16
16
18
1
24-Apr-16
17
25 all locations closed on Wed 27-4 Koningsdag
1
18
19
May
2 Scheduled week off / May holiday*; on Thu 5-5 all locations closed
1
9
1
20
16 all locations closed on Mon 16-5 (Whit Monday)
1
22-May-16
21
23
1
29-May-16
12
practical lessons, which we place in a realistic context. This means
you are not only working on the technical-vocational aspects of
Information by Study Programme
ensemble playing, but also on things such as organisation, profiling,
and marketing and publicity. In addition, you can make full use of
the musical inspiration and knowledge offered by other
CLASSICAL MUSIC
departments: Pop, Jazz, World Music and Music Theatre, but also
Dance and Circus!
The department of Classical Music at Codarts focuses on the
Rotterdam as a city offers a wonderful and varied cultural
vocational training aspect of the study but also on entrepreneurial,
environment. Codarts Classical Music has intensive collaborations
educational and research skills. Codarts Classical Music regards
with concert hall the Doelen and the Rotterdam Philharmonic
these as strongly related aspects of the professional practice and
Orchestra.
therefore aims at a far-reaching integration of the professional roles
Codarts Classical Music offers the following programmes:
associated with it. The curriculum clearly reflects these roles. See
also the paragraph Didactic Model and the professional roles in the
Orchestral instruments, including harp
chapter ‘What is Codarts?’
In classical music the symphony orchestra takes up a prominent
As a student, from this basis you learn how to become a self-aware
position. The current cultural climate in Europe has led to a decrease
musician who can move professionally in a rapidly changing world
in the number of large orchestras and many classical musicians are
in which classical music is part of a very broad musical and artistic
now working in other settings. This is why we no longer treat
culture.
orchestral instruments exclusively as such, but also as solo
Codarts has teachers of classical music who not only train you to
instruments, chamber music instruments and ensemble instruments
achieve the highest musical level but also take your uniqueness –
in non-classical line-ups.
and sometimes your idiosyncrasy – into account.
Codarts Classical Music offers you an environment in which you can
Piano
find your own way, stimulated by us. This is why we place great
The study programme Piano is a wide ranging programme that not
value in team teaching: a principal that doesn’t confront you with
only pays attention to solo skills but also to ensemble playing and
just one main subject teacher but with a team of teachers and guest
piano accompaniment. This wide range is also reflected in subjects
teachers. There is also much attention for ensemble playing and
such as practical harmony, which transcend the genre as such.
13
European Voice Conference), they are familiar with EVTS (Estill Voice
Organ
Training System), they take part in conventions both here and
The study programme for organ players is strongly interwoven with
abroad and they are familiar with ‘off-the-beaten-track’ methods.
the church music study. On the one hand, within the main subject
They put your personal development first, without losing sight of
and in subjects such as improvisation and organ accompaniment
your future working field. Whichever career you eventually choose,
the programme focuses on contemporary organ practice, while on
you will want to be able to present yourself the best you can. This is
the other hand there is also attention for Protestant-Christian
why – and this is unique for the Netherlands – you will take the
church music subjects such as hymnology and liturgy. Besides,
subject performing for four years. You will learn to communicate
connections are made with pop, jazz and world music.
what you have to say to your audience in an appealing manner.
Conducting
At Codarts, we think that the conductors of the future will have to
be increasingly creative and enterprising if they are to respond to
Voice
the rapid changes in society, which also put classical music
The main subject classes form the backbone of your studies. Other
increasingly under pressure. The study programme is aimed at
important elements are the interpretation classes – given by our
training you in such a way that, besides craftsmanship, you also
own teachers and sometimes by external experts – the chamber
develop the ability to shape your own future, for instance by
choir, language modules and other group lessons. Whether your
thinking of and organising new concepts.
ambition is to become an opera star, choir singer or teacher, you
The programme offers you the opportunity to be active as
will always be part of a larger whole. Besides developing your social
conductor/musical director in choirs, symphony orchestras, opera,
skills in group lessons, you are given the opportunity to optimally
wind orchestras, musical, music theatre, multidisciplinary
develop your collaborative skills by taking part in challenging
orchestras… in short, in any situation where a musical director is
projects. For many years now, your main subject teachers have been
required. You will gain as much practical experience as possible,
putting their enormous expertise with regard to all aspects of the art
since conducting is a craft that is learned in collaboration with
of singing into practice. They do so by applying often centuries-old
musicians and not at home in front of the mirror!
methods and insights, but also by keeping close track of the latest
There are three main subject choices: Choir Conducting, Orchestra
developments in their profession. You will find them at PEVOC (Pan-
Conducting, and Hafabra/Creative Director, represented by three
14
main subject teachers. The idea is that all three teachers are involved
The motto of the ‘inter-faculty’ Composition Classical Music and
with all students. You choose one main subject, and then the other
Jazz is that acquiring solid craftsmanship and developing creative
two are offered in the form of a weekly group lesson.
skills should be coached and stimulated in an integrated way. Your
ambition to acquire a personal signature as a composer is the first
Music Theory
priority in this development!
The main subject Music Theory is intended for students who have a
talent for and are interested in the theory of music, in ‘the
mechanisms behind the notes’. If you have a gift for this main
Structure of the Programme
subject you are able to reflect on music on the basis of objective
All programmes within the Bachelor Music are structured according
and abstract concepts.
to the same model. The modular structure of the various
In the study programme Music Theory this mainly takes place
professional roles is reflected in each of the programmes. The
through analysing music and studying the literature: the intense,
content of the various programme elements differ with each branch
meticulous and very serious study of the various phenomena that
of study. This modular system allows you (on certain conditions) to
constitute music, seen in the context of the era in which the music
switch between different study branches, thus putting together your
was written. This requires well-developed hearing.
own unique profile.
You will also study the various writing techniques – modal and tonal
At the end of this study guide you will find a visual representation of
counterpoint and tonal harmony – to gain insight in various matters
the curriculum model.
of style. In the Master’s phase, 20th-century writing techniques are
The study programmes Composition and Music Theory have a
studied as well.
different structure. These two programmes will therefore be treated
Students taking the entrance test for the main subject Music Theory
separately at the end of this chapter.
have often already studied at a conservatory. This means that they
enter at a high level, which makes it possible for them to complete
Main Subject (professional role: musician)
the Bachelor’s phase in two or at most three years. After that, they
The main subject takes central stage throughout the four years of
can continue their studies by taking a two-year Master, depending
your studies. It is the part with the largest study load and the most
on their level.
study credits. Besides taking weekly lessons, you will spend much
time in self-teaching. There is the opportunity to take master classes
Composition
and renowned pedagogues will teach guess lessons.
15
In the modules Ensemble Playing you learn how to make use of your
Theoretical Subjects (professional role: musician)
own skills while collaborating with your fellow students. This
The music theory subjects – solfège, harmony, analysis and analysis
collaboration may take place in the form of orchestra projects,
techniques, and counterpoint – are inextricably linked to the main
chamber music rehearsals, group practical lessons, accompaniment,
subject classes and to each other. In the modules Music Theory
et cetera. Below is an overview of the various forms of ensemble
Education (years 1 – 3) you master the principles of harmony theory
playing for each programme.
and analysis. In the course of your studies you learn how to apply
the knowledge you have acquired in practical situations. For
instance, you learn how to analyse works from your performance
Year 1
Year 2
Year 3
repertoire. The finale is the lecture recital you will give in semester 7,
Orchestra
Propaedeutic choir
Chamber music
in which you analyse one of the pieces of your graduation exam
instruments
Chamber music
Orchestra projects
programme and present your findings to your teachers and fellow
Year 4
Orchestra projects
students. You show them how the insights from your analysis
Voice
influence how you perform the piece.
Chamber choir
Performance/ Drama
In the solfège classes (years 1 and 2) you work on ear training and
Propaedeutic choir
Chamber music
sight-singing. Finally, students of harp, piano, organ and conducting
Piano
Chamber music
Accompaniment
follow the additional module Counterpoint in years 2 and 3.
Accompaniment
Organ
Chamber choir
Improvisation
Practical Harmony (professional role: musician)
Accompaniment
Church choir
The modules Practical Harmony support the theoretical subjects.
Informed musicianship
They help you make the theory concrete on the piano. You also
Conducting
learn how to accompany yourself and others. Harp players are
Chamber choir
Internal practical lessons
taught the specific practical harmony for the harp, and pianists are
External projects
trained in playing chord symbols.
If your main subject is an orchestral instrument, your training will
also be aimed at playing in orchestras and ensembles. All students
Ensemble Playing (professional role: musician)
16
are expected to take part in four orchestra and ensemble projects
If, because you have fallen behind in your studies, you take more
each year. A scheme for all the projects is made available at the start
than four years to complete the Bachelor phase, you are expected to
of each study year.
continue to take part in orchestra and ensemble projects,
Starting in the second semester of the first year, chamber music is a
respectively choir projects, right up to your final examination.
mandatory subject for all students of orchestral instruments and
pianists. In consultation with the coordinator for chamber music you
Portfolio modules under the professional role of entrepreneur
form your own ensemble, which will be coached by various chamber
The portfolio modules under this professional role are a recurring
music teachers. The lessons treat ensemble play, tone building, unity
element in each study year. These modules consist of the various
of playing style, choice of repertoire and social manners. Besides
activities related to entrepreneurship, introduction, broadening and
taking these classes, there are opportunities to gain practical
extracurricular activities.
experience on concert stages in Rotterdam and surroundings.
These include the project weeks. Each year, there are two project
If you are a singer, you will receive training in choir singing and
weeks, when there are no regular classes but instead special
drama/performance, besides your main subject. Voice students take
projects, workshops and master classes are organised. The first week
part in the chamber choir and the practical choir once a week and
is a project week specific for each department, with projects that fit
up to four choir projects (often with orchestra).
within your study programme. The second project week is always a
Organ players also take part in the chamber choir and in addition
Codarts-wide project week in which all sorts of projects are
they follow the subjects accompaniment and informed musicianship.
organised that transcend genres and disciplines. Being confronted
Starting in year 3, they also take church choir and Gregorian.
by contacts that are completely new to you, widens your horizon.
Pianists usually do not take part in orchestra projects. They follow
Apart from that there are introductory courses in various aspects of
the specific subject ‘accompaniment and playing’ in chamber music
art as profession. In year 1, this is the Health and Performance Day,
ensembles (see the above overview under orchestra instruments).
which is about how to be a professional musician in a healthy and
Students of conducting take part in the various practical lessons
sustainable manner. In year 2, there is an introduction to education
and practical weeks. During your studies you sing in the chamber
to show you the first steps in the professional role of teacher. These
choir and, together with the teachers, you work on your own
introductory courses help you to get an idea of the professional
working field activities, for instance with your own choir or
practice and what is expected of you, early on in your studies. This
ensemble.
helps you to make informed choices about the course of your
studies.
17
the past and of the present. Also, you work on the professional role
This year, first-year students will start with a completely new course
of research by doing independent additional research into one of
in entrepreneurship, which will be further elaborated in the course
the styles that were treated in the lectures. So, there is no
of their studies. This course treats all the aspects of
mandatory subject, but you are challenged to find out more about
entrepreneurship in relationship to your future professional practice:
what appeals to you and share this with your fellow students.
skills, professional attitude, leadership, imagination and creation,
forming opinions. These elements will also be related to your
Education (professional role: teacher)
personal artistic profile, which will result in a pitch in which you
In the first two years of your studies, you have taken big steps in
present yourself as a self-confident musician in your graduation
your development as a musician and as a maker/performer. In year
year.
3 you will work on the professional role of teacher. This educational
element consists of three modules in one semester.
Finally, there are the Individual Study Activities (ISA) for second-year
Education A: this module addresses all kinds of subjects that have to
students. Codarts encourages you to be active in the work field
do with transference, such as general didactics, communication and
while you are still studying. Because your own activities are as
feedback, presentational skills, group dynamics, motivation,
important to your development as the educational activities
developmental psychology, learning styles, teacher roles and core
provided by Codarts, engaging in ISAs also earns you study credits.
qualities.
At the end of the study year you reflect on the activities you have
Education B: in this module you start working with your own
undertaken that year. These may be ensembles you initiated, master
instrument in a practical setting. You study teaching methods and
classes you have taken or workshops you have given. Such a report
transference techniques as well as current developments in the field
provides a good overview of how you are progressing to your study
of instrumental education, such as the use of new media.
pathway advisor, who then has an easier task of coaching you in
Internship: the internship module gives you the opportunity to put
your study choices.
into practice the things you have learned. After all, teaching can only
be trained in real-life situations. This is done in an in-house
Music Worldwide (professional role: researcher)
internship in which you teach individual students or small groups of
The second-year module Music Worldwide is one you will not find
students under supervision of your internship coach.
at any other conservatory. The module consists of a kaleidoscope of
Should you have developed a taste for teaching after successfully
interactive lectures on various music styles across the globe, both of
finishing these modules, you can acquire further teaching skills by
18
taking the minor Education. After passing this minor, you will be an
Year
officially qualified teacher for certified music schools.
1
Orchestra
Thesis (professional role: researcher)
instruments
The final stages of your studies offer a fine challenge: writing a
Voice
Year 2
Languages
(German, French,
long as your research contributes to your development as a self-
English)
Piano
classes in research skills and personal coaching in formulating your
Year 4
Orchestra playing
research-based thesis. You are free to choose your own subject, as
aware musician. The preparatory module of semester 6 consists of
Year 3
Performance
practice
research design. The module is concluded with giving a research
pitch before a committee and fellow students. In semester 7 you
actually conduct your research, supervised by your research coach.
Organ
Improvisation
Conducting
Ear training
Choir and orchestra training
By the end of semester 7 you demonstrate your research skills by
handing in your thesis and giving a public presentation. The best
In years 3 and 4, the profile space is considerably larger and also has
theses are included in Codarts’ media library. This means you help
room for individual choices. In year 3 the profile space covers 6 EC
build an ever-growing knowledge base for both students and
and in year 4 even 18 EC. (Please note: students of Conducting and
teachers.
of Composition only ever profile space in the fourth year, of 12 EC).
The profile space may be filled with miners and optional subjects.
Profile Space
Codarts offers a wide range of minors, both theoretical and practice-
The profile space offers classes that are unique to your study
oriented ones, for a more in-depth study of the various professional
programme and therefore define your graduation profile. In years 1
roles.
and 2 these include the mandatory profile modules. For all students
At the end of each academic year, the third- and fourth-year
of Classical Music these are the modules Music History in years 1
students-to-be are invited to sign up for one or more minors. Some
through 3, plus de module Lecture-recital in year 4 (see above,
minors take place during only one semester, while others may
under Theoretical Subjects). The other profile subjects differ with
continue throughout the year. There are light minors of 6 EC more
each programme, as listed below.
19
substantial ones of 12 EC, so make sure that you will earn enough

Practical
points in your profile space when signing up for minors.

Instrumentation

Optional Modules

Aesthetics and Philosophy
Study Programme Composition
The study programme Composition is provided within an interfaculty of Composing Classical Music and Composing Jazz. Both
Main subject (professional role: musician)
programmes have a substantial overlap with the instrumental/vocal
The main subject takes central stage throughout the four years of
programmes of the departments concerned. As a student of
your studies. It is the part with the largest study load and the most
Composition you will take a large number of modules together with
study credits. Besides taking weekly lessons, you will spend much
instrumental/vocal students of Classical Music or Jazz:
time in self-teaching.

Theoretical subjects
Additionally, there are a number of mandatory academic subjects,

Practical Harmony
such as historical knowledge and analysis of Western composed

Worldwide Music
music from 1900 to the present, theoretical knowledge and practical

Portfolio
application of instrumentation and electronic music in theory and

Education
practice (including live electronics).

Thesis

Profile subjects Classical Music or Jazz
Main subject (professional role: musician)
For Classical Music, more information about these modules can be
The study programme Composition aims at being a forum and
found above under ‘Structure of the Programme’. For Jazz, is
workplace for young composers. To this end, there are
information is given in the chapter Jazz, ‘Structure of the
presentations of own work by both students and teachers of the
Programme’.
Department, but also lectures and workshops, for which guests from
the Netherlands as well as from abroad are invited. For these
Besides the subjects mentioned above, there are specific subjects for
activities, all students of Composition meet every week in the
Composition. These are taught to composition students of Jazz and
practical lessons. In addition you take instrumentation classes and a
Classical Music together. This concerns the following modules:
number of optional subjects to broaden or deepen your studies.

Main subject (and minor)
Concerts of students’ work are organised together with other

Analysis New Media
departments within the conservatory and students are invited to
20
take part in nationwide projects for young composers, such as those
not provide all the answers to all questions that can help you deal
organised by the ASKO Ensemble. And then there are opportunities
with them.
to work on joint projects with students from other art disciplines,
such as visual art, video and film, theatre and dance. Within the
Module Descriptions
department itself, taking courses or working (under supervision) in
Of all modules from the study programme, module descriptions
various directions such as jazz and/or film music is also possible.
were made that include:

the content of the module
Optional Modules (professional role: maker)

the study load
Students of Composition can make a selection from the following

the learning outcomes
optional modules:

information about the examinations (form, criteria, results

work field projects

extra practical lessons

conducting

new media

improvisation

instrumentation year 3 and 4
scale)

entrance requirements
For the module descriptions for Classical Music click here.
With these optional modules you can strengthen and deepen your
creative capabilities.
Aesthetics and Philosophy (professional role: researcher)
This specific module has been added to the professional role of
‘researcher’ on behalf of composers. As a creating musician you not
only have a relationship with an audience or performing musicians,
but you will also find yourself confronted with questions that go
deeper than what is immediately observable: the ‘why’ of your art.
Here you enter the field of aesthetics and philosophy, which may
21
22
KM - orkestinstrumenten
propedeuse
tijd = gemiddelde lesduur per week
H1
1e sem.
2e sem.
ects
ects
tijd
tijd
H2
totaal
3e sem.
ects
ects
4e sem.
tijd
ects
tijd
H3
totaal
5e sem.
ects
ects
6e sem.
tijd
ects
tijd
totaal
7e sem.
ects
ects
8e sem.
tijd
ects
totaal
tijd
ects
musicus
instrument/correpetitie
10
70/30
10
70/30
20
3
225
3
225
6
solfège
2
90
2
90
piano
2
20
2
120
12
MTV
70/30
20
70/30
20
150
3
150
6
4
60
4
60
4
20
4
20
4
20
4
120
12
120
12
120
12
3
3
70/30
20
70/30
20
150
3
150
6
lecture-recital
70/30
6
20
70/30
60
20
6
maker / performer
ensembles: orkestprojecten* plus:
propedeusekoor
60
kamermuziek**
30
orkestspel
90
120
11
120
11
120
10
120
10
60
3
90
30
3
90
30
3
90
30
30
30
30
3
docent
educatie
6
6
stage
10
10
vakdidactiek
75
75
muziekpedagogie
60
60
ondernemer
5
5
5
5
2
2
2
2
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
onderzoeker
muziek wereldwijd
muziekgeschiedenis
75
3
75
3
75
6
3
3
75
75
3
3
75
scriptievoorbereiding
6
75
6
3
10
3
scriptiepresentatie
4
10
4
profielruimte
minors
totaal aantal studiepunten per semester
20
40
60
6
23
54
60
3
6
6
57
60
10
18
18
50
60
* ongeveer 4 projecten per student per jaar
** P: 8 lessen/H: 16 lessen van 60 minuten per jaar per
ensemble
KM - harp
propedeuse
H1
tijd = gemiddelde lesduur per week
1e sem.
2e sem.
ects
ects
tijd
tijd
H2
totaal
3e sem.
ects
ects
4e sem.
tijd
ects
tijd
H3
totaal
5e sem.
ects
ects
6e sem.
tijd
ects
tijd
totaal
7e sem.
ects
ects
8e sem.
tijd
ects
totaal
tijd
ects
rollen:
musicus
instrument / correpetitie
muziektheoretische vorming (MTV)
10
70/30
10
70/30
20
3
225
3
225
6
70/30
20
70/30
20
150
3
150
6
75
2
75
2
3
plus: contrapunt
3
70/30
19
70/30
19
150
3
150
6
75
2
75
2
lecture-recital
70/30
6
solfège
2
90
2
90
4
60
4
60
4
praktische harmonie aan de harp
2
20
2
20
4
20
4
20
4
120
12
120
12
120
11
120
11
20
70/30
60
20
6
maker / performer
ensembles: orkestprojecten* plus:
propedeusekoor
60
kamermuziek**
30
orkestspel
90
120
10
120
10
120
10
120
10
60
3
90
30
3
90
30
2
90
30
30
30
30
2
docent
educatie
6
6
stage
10
10
vakdidactiek
75
75
muziekpedagogie
60
60
ondernemer
5
5
5
5
2
2
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
onderzoeker
muziek wereldwijd
muziekgeschiedenis
75
3
75
3
75
6
3
75
24
3
75
3
3
75
6
75
6
2
2
scriptievoorbereiding
3
10
3
scriptiepresentatie
4
10
4
profielruimte
minors
totaal aantal studiepunten per semester
20
40
60
6
54
60
3
6
6
57
60
10
18
18
50
60
* ongeveer 4 projecten per student per jaar
** P: 8 lessen/H: 16 lessen van 60 minuten per jaar per ensemble
KM - zang
propedeuse
tijd = gemiddelde lesduur per week
H1
tijd
H2
tijd
1e sem.
tijd
2e sem.
totaal
H3
tijd
3e sem.
tijd
4e sem.
totaal
tijd
5e sem.
tijd
6e sem.
totaal
tijd
7e sem.
8e sem.
totaal
rollen:
musicus
zang / correpetitie
10
70/30
10
70/30
20
3
225
3
225
6
solfège
2
90
2
90
piano
2
20
2
20
MTV
70/30
20
70/30
20
150
3
150
6
4
60
4
60
4
4
20
4
20
4
3
3
70/30
20
70/30
20
150
3
150
6
lecture-recital
70/30
6
talen*:
3
3
3
20
70/30
60
20
6
3
Frans
90
90
90
90
Italiaans
90
90
90
90
Duits
90
90
90
90
performance / drama
75
75
75
75
70
70
70
kamerkoor / koorprojecten*
150
150
150
150
150
150
150
maker / performer
samenspel in:
12
12
12
12
11
11
10
10
150
docent
educatie
6
6
stage
10
10
vakdidactiek
75
75
muziekpedagogie
60
60
ondernemer
5
5
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
25
5
5
2
2
2
2
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
onderzoeker
muziek wereldwijd
75
muziekgeschiedenis
3
75
3
75
6
3
3
75
3
75
3
75
scriptievoorbereiding
6
75
6
3
10
3
scriptiepresentatie
4
10
4
profielruimte
minors
totaal aantal studiepunten per semester
20
40
60
3
54
60
3
6
6
57
60
10
18
18
50
60
* in jaar 3 en 4 is er voor de genoemde talen individuele begeleiding
mogelijk
** vier projecten per jaar + wekelijks kamerkoor + koorpracticum
KM - orgel / kerkmuziek
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
2e sem.
totaal
3e sem.
4e sem.
totaal 5e sem.
6e sem.
totaal 7e sem.
8e sem.
ects
ects
ects
ects
ects
ects
ects
ects
ects
tijd
H1
tijd
H2
tijd
tijd
H3
ects
tijd
tijd
ects
tijd
totaal
tijd
ects
rollen:
musicus
instrument, plus:
10
70/30
10 70/30
20
70/30
20
70/30
20
70/30
H2 / H3 kerkmuziek: hymnologie
H2 / H3 kerkmuziek: liturgie
muziektheoretische vorming (MTV)
19
60
225
3
225
6
3
plus: contrapunt
150
3
150
6
75
2
75
2
3
19
60
30
3
70/30
30
150
3
150
6
75
2
75
2
lecture-recital
6
solfège
2
90
2
90
4
60
4
60
4
piano
2
20
2
20
4
20
4
20
4
70/30
20 70/30
60
60
30
30
60
20
6
maker / performer
ensembles:
12
kamerkoor / koorprojecten
12
11
11
150
150
150
150
30
30
30
30
10
10
10
10
begeleiding ("orgel +")
the informed musician
H2 / H3 kerkmuziek: improviseren
60
60
60
60
H2 / H3 kerkmuziek: cantoraat
60
60
60
60
26
improviseren
30
3
30
3
30
2
30
2
docent
educatie (verplichte keuzemodule)
6
6
stage
10
10
vakdidactiek
75
75
muziekpedagogie
60
60
ondernemer
5
5
5
5
2
2
2
2
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
onderzoeker
muziek wereldwijd
75
muziekgeschiedenis
3
75
3
75
6
3
3
75
3
75
3
75
scriptievoorbereiding
6
75
6
3
10
3
scriptiepresentatie
4
10
4
profielruimte
minors
totaal aantal studiepunten per semester
20
40
KM - piano
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
ects
60
6
54
60
H1
2e sem.
tijd
ects
tijd
3
6
6
57
60
10
H2
totaal
3e sem.
ects
ects
4e sem.
tijd
ects
tijd
18
18
50
60
H3
totaal
5e sem.
ects
ects
6e sem.
tijd
ects
tijd
totaal
7e sem.
ects
ects
8e sem.
tijd
ects
totaal
tijd
ects
rollen:
musicus
instrument
muziektheoretische vorming (MTV)
10
70
10
70
20
3
225
3
225
6
3
plus: contrapunt
70
20
70
20
150
3
150
6
75
2
75
2
3
70
19
70
19
150
3
150
6
75
2
75
2
lecture-recital
6
solfège
2
90
2
90
4
60
4
60
4
praktische harmonie / prima vista-spel
2
20
2
20
4
20
4
20
4
historische en hedendaagse uitvoeringspraktijk**
70
3
3
2
2
12
12
11
11
20
60
70
20
6
maker / performer
ensembles:
27
10
10
10
10
kamermuziek*; plus:
30
propedeusekoor
60
60
begeleiding
30
30
30
30
30
30
30
30
30
30
30
30
30
30
docent
educatie
6
6
stage
10
10
vakdidactiek
75
75
muziekpedagogie
60
60
ondernemer
5
5
5
5
2
2
2
2
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
onderzoeker
muziek wereldwijd
75
muziekgeschiedenis
3
75
3
75
6
3
3
75
3
75
3
75
scriptievoorbereiding
6
75
6
3
10
3
scriptiepresentatie
4
10
4
profielruimte
minors
totaal aantal studiepunten per semester
20
40
60
6
54
60
3
6
6
57
60
10
* P: 8 lessen/H: 16 lessen van 60 minuten per jaar per ensemble
** i.h.k.v. "The Informed Musician"
KM/JAZZ - compositie
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
2e sem.
totaal
3e sem.
4e sem.
totaal
5e sem.
6e sem.
totaal
7e sem.
8e sem.
totaal
ects
ects
ects
ects
ects
ects
ects
ects
ects
ects
ects
ects
tijd
H1
tijd
H2
tijd
tijd
H3
tijd
tijd
tijd
tijd
rollen:
musicus
compositie - hoofdvak* plus:
10
bijvak
muziektheoretische vakken** (zie volgende pagina)
70
10
30
5
**
70
20
70
30
5 **
20
70
30
10
5
**
contrapunt
5
75
28
20
70
30
2
**
10
75
20
30
2
3
70
20
30
70
30
150
3
150
6
75
2
75
2
20
70
30
20
18
18
50
60
analyse nieuwe muziek
120
lecture-recital (km) / studioproject (jazz)
6
praktische harmonie
2
20
2
20
60
2
60
90
1
90
4
20
4
20
60
2
60
90
2
90
3
120
60
3
6
4
maker / performer
verplicht:
4
practica
instrumentatie
1
verbredende/verdiepende keuzevakken:
4
8
2
60
2
60
6
2
60
2
60
4
2
werkveldprojecten (max. 4 x)
PM
2
PM
PM
2
PM
PM
2
PM
PM
2
PM
extra practica (max. 4 x)
60
2
60
60
2
60
60
2
60
60
2
60
directie (max. 2 x)
90
2
90
90
2
90
90
2
90
90
2
90
nieuwe media (max. 2 x)
120
2
120
120
2
120
120
2
120
120
2
120
improvisatie (max. 2 x)
120
2
120
120
2
120
120
2
120
120
2
120
instrumentatie jr. 3/4 (max. 2 x)
60
2
60
60
2
60
stage
10
10
vakdidactiek
75
75
muziekpedagogie
60
60
docent
educatie
6
ondernemer
5
5
5
5
6
2
2
2
2
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
home recording
60
3
60
3
75
3
75
3
onderzoeker
muziek wereldwijd
esthetiek en filosofie
90
scriptievoorbereiding
3
90
3
3
10
3
scriptiepresentatie
genrespecifieke vakken***(zie volgende pagina)
90
4
9
9
3
3
10
90
3
4
3
profielruimte
minors****
totaal aantal studiepunten per semester
12
60
60
*hoofdvak en bijvak zijn keuze uit: compositie klassiek OF jazz, elektronische compositie (alleen klassiek, ook mogelijk als hoofdvak), arrangeren (alleen als bijvak jazz)
**muziektheoretische vakken:
29
12
60
18
18
60
jazz:
Muziektheoretische vorming
klassiek:
2
90
2
4
3
150
3
150
6
Solfege
2
60
2
4
1
60
1
60
2
Ritmische scholing
1
60
1
2
1
60
1
60
2
Muziektheoretische vorming
3
225
3
225
6
3
150
3
150
6
Solfege
2
90
2
90
4
60
4
60
4
75
3
75
3
75
3
75
3
Praktische solfege
1
60
2
60
3
60
3
60
3
75
3
75
6
60
3
60
3
***genrespecifieke vakken:
jazz:
Jazz geschiedenis
Home recording
klassiek:
Klassieke muziekgeschiedenis
Propedeusekoor
3
**** 1 verplichte minor, jr. 3:
3
75
30
3
75
6
75
6
(verplicht voor KM-componisten)
KM - theorie der muziek
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
ects
H1
2e sem.
tijd
ects
tijd
H2
totaal
3e sem.
ects
ects
4e sem.
tijd
ects
tijd
totaal
5e sem.
ects
ects
H3
6e sem.
tijd
ects
tijd
totaal
7e sem.
ects
ects
8e sem.
tijd
ects
totaal
tijd
ects
rollen:
musicus
hoofdvak theorie der muziek
16
19
35
35
35
35
35
35
35
contrapunt / harmonieleer / literatuur / methodiek
90
90
90
90
90
90
90
90
analyse / literatuur / methodiek
90
90
90
90
90
90
90
90
60
60
60
60
60
60
60
60
gregoriaans
solfège
90
gehooranalyse
90
60
60
60
60
60
60
piano
2
20
2
20
4
20
4
20
4
instrumentatie en arrangeren*
1
90
2
90
3
90
3
90
3
maker / performer
hoofdvakgebonden practica:
2
5
7
propedeusekoor
60
60
Sibelius / notatieprogramma
60
60
7
tonale harmonie aan de piano / partituurspel
7
60
60
60
60
8
8
7
7
60
60
60
60
cultuurgeschiedenis
60
60
60
60
stage
10
10
vakdidactiek
75
75
muziekpedagogie
60
60
docent
educatie
6
ondernemer
5
5
5
5
6
2
2
2
2
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
onderzoeker
muziek wereldwijd
muziekgeschiedenis
75
3
75
3
75
6
3
scriptievoorbereiding
scriptiepresentatie
75
3
75
3
3
75
6
75
6
3
10
3
4
10
4
profielruimte
minors
12
31
12
totaal aantal studiepunten per semester
24
36
60
3
57
60
* samen met studenten compositie
Support Staff Education
Okke Westdorp – Head Codarts Classical Music
ocwestdorp@codarts.nl
Erik Zwiep – Strategic Policy Advisor
adzwiep@codarts.nl
Nola Exel - Coordinator Chamber Music:
Teachers
nkexel@codarts.nl
Violin
Myrte Hoes – Production Assistant
András Czifra
mhoes@codarts.nl
Goran Gribajčevič
Igor Gruppman
Boukje Kruit-van Rijn – Study Advisor
Vesna Gruppman
bvanrijn@codarts.nl
Olga Martinova
Natasja Morozova
Gordan Nikolić
Sophie Hopman – Management Assistant
shopman@codarts.nl
Viola
Karin Bijl - Coordinator Preparatory Courses Klassiek
Gisella Bergman
cpbijl@codarts.nl
Karin Dolman
Ron Ephrat
32
0
60
60
4
56
60
Horn
Cello
Bob Stoel
Jeroen den Herder
Martin van de Merwe
Herre-Jan Stegenga
Trumpet
Double Bass
André Heuvelman (Section Leader Brass)
Peter Leerdam
Ad van Zon
Flute
Trombone
Juliette Hurel
Alexander Verbeek
Julie Moulin
Wim Steinmann (piccolo)
Bass Trombone
Brandt Attema
Oboe
Maarten Dekkers
Tuba
Ralph van Daal
Hendrik-Jan Renes
Clarinet
Harp
Nancy Braithwaite
Saskia Kingma (Assistant Section Leader Strings + Harp)
Jan Jansen
Bass Clarinet
Percussion
Henri Bok
Chris Leenders (Section Leader Percussion)
Hans Leenders
Bassoon
Ramon Lormans
Pieter Nuytten
Organ
33
Aart Bergwerff
Hayo Boerema
Composing
Ben van Oosten
Jan-Bas Bollen
Bas de Vroome
Hans Koolmees
Erik Zwiep (Section Leader Organ and Church Music; not a teacher)
Robin de Raaff
Peter Jan Wagemans (Section Leader Composition and Conducting)
Piano
Stéphane de May
Electronic Composition
Jean Bernard Pommier
René Uijlenhoet
Bart van de Roer (Section Leader Piano)
Music Theory
Voice
Patrick van Deurzen
Frans Huijts (Section Leader Voice)
Gijsbert Kok
Charlotte Riedijk
Music-Theoretical subjects (MTV)
Choir Conducting
Frans de Berg
Wiecher Mandemaker
Rijnhard Bokelmann (Section Leader MTV and History of Music)
Jan Jongbloed
Orchestra Conducting
Patrick van der Linden
Hans Leenders
Gijsbert Kok
Diploma Churc Organ Play
Music History
Hans van Gelder
Desirée Staverman
Arie Hoek
Marcel Zijlstra
and teachers Organ
Conducting Wind Orchestra
Practical Harmony
Carlo Balemans
Eli ’t Hart (piano)
34
Martin Lekkerkerk (piano)
Hans Spruit
Irja Zeper (piano)
Chamber Music
Music Pedagogy
Henk Guittart
Marjolijn Boersma
Itamar Shimon
Frank van der Duijn
Bart van de Roer
Sander Sittig
And other teachers
Didactics/Internship Supervision
Ruud Spetter (coordinator didactics and internship supervision)
Chamber Choir
Lucia Arends (flute)
Wiecher Mandemaker
Irja Zeper (piano)
Mark Boonstra (trombone Classical Music / Jazz)
Ensembles and Orchestras
(Position vacant) (violin)
Arie van Beek (programmer classical ensemble and orchestra
Bas de Vroome (organ)
projects)
Mariëlle Rijkaart (cello)
Hans Leenders
Nancy Braithwaite (clarinet)
Guest conductors
André Heuvelman (trumpet)
Hendrik-Jan Renes (tuba)
Choir Rehearsals and Accompaniment
Saskia Kingma (harp)
Reineke Broekhans
Cora Peeters (voice)
Jan Gruithuyzen
Hans van Gennip (percussion)
Maarten Hillenius
Alla Libo
Roderigo Robles de Medina
Thesis Coaching
Jan Willem Passchier (accompanist)
Nancy Braithwaite
Annette Rogers
András Czifra
Sander Sittig
Marijke Tielenius (coordinator thesis coaching)
35
and others
Languages
Cas Jönsthövel (German)
Corrie Minnigh-Geeve (French)
Stefano Orlando (Italian)
Drama/Performance
David Prins (also Section Leader Voice)
36
JAZZ
The Jazz department has two study programmes:
Instrumental/Vocal and Composition. The study programme
Instrumental/Vocal includes the following main subjects:
….Jazz is. Jazz lives………
(J.A. Deelder, fragment of the poem ‘Intro’, in Jazz, De Bezige Bij,

piano
1992)

guitar

bass guitar
The above quote from ‘a famous Dutch poet and most of all a

drums
Rotterdammer’, is perhaps the best answer to the question: why

voice
study Jazz? At Codarts Jazz, you can further develop and shape this

trumpet
Rotterdam ode to jazz on a daily basis.

trombone

saxophone
Jazz music is flesh and blood, jazz lives, is always in motion, always
In some cases, other instrumentalists may also follow the Jazz study
challenging. This music is not past glory or merely a tradition, but is
programme. For these students we always try to design a best fitting
embraced by many as a source of inspiration and a lifestyle. Codarts
course of study.
Jazz was the first jazz institute in the Netherlands, when it opened its
doors at the then already renowned Rotterdam Conservatory in
The programme Composition is provided within an inter-faculty
1976. It is a department where many talented students have found
with the Department of Classical Music.
their way and where people take pride in an open culture and
structure.
Structure of the Programme
At the end of the day, it is all about passion for music in all of its
manifestations.
All programmes within the Bachelor Music are structured according
In Rotterdam, Codarts Jazz stands for a professional and creatively
professional roles is reflected in each of the programmes. The
to the same model. The modular structure of the various
content of the various programme elements differ with each branch
challenging, high-quality study programme where you learn to
of study. This modular system allows you (on certain conditions) to
make choices and stand by them.
switch between different study branches, thus putting together your
own unique profile.
37
At the end of this study guide you will find a visual representation of
In the modules Ensemble Playing you learn how to apply your own
the curriculum model.
skills while collaborating with your fellow students. Throughout your
The study programme Composition has a different structure. This
entire studies you play in two ensembles. In the first two years, you
programme will therefore be treated separately at the end of this
will play in mandatory ensembles. These may differ per section and
chapter.
you can find them in the descriptions of the Ensemble Playing
modules. In these ensembles you become familiar with your basic
Main Subject (professional role: musician)
repertoire and you learn what it is like to function in an ensemble or
Your main subject is the most important element during the four
orchestra. Codarts’ studio facilities are used for Jazz at fixed
years of your studies. At an individual level you are coached by one
moments in the study programme, so that you can also bring your
or several teachers. In this module, you work on your technical
own ideas to life in this way.
control of the instrument, repertoire knowledge and knowledge of
Increasingly, you will take on a leading role in these ensembles. You
style elements that are specific to jazz and related music styles. At
will find yourself more often in the role of ensemble leader, arranger
the same time, right from the start of your studies, an appeal is
and maker and you are expected to contribute to the repertoire and
made to your creativity and you are asked to be a maker.
the arrangements. In addition, in your final year, you may organise
This element recurs in all practical lessons, besides entrepreneurship
your own ensemble projects, for instance to perform with at your
and exploring the material you are working with. In the course of
graduation exam (and perhaps also after graduating). The various
your studies, the artistic aspect will become increasingly important,
ensemble teachers are available to coach your projects.
next to the technical aspect. What is it that you wish to convey to
Jazz history has a rich tradition in Big Band music, so playing in large
your audience as a musician? What choices do you make in terms of
formations such as a Big Band, Large Ensemble or a United
repertoire, playing techniques and performance? In this process, the
Orchestra (with all other Codarts Music students) is part of what
role of the teacher will gradually become more that of a coach.
Codarts has to offer.
We expect you to become more and more the director of your own
Within this context you, as a player, are part of the ensemble so that
studies over the years, finally resulting in a final concert that you
you may experience the discipline of ensemble playing in a large
have completely organised yourself, from choosing the repertoire
formation. The Big Band performs a number of times each year,
and the musicians to organising the production and the publicity.
including at the North Sea Jazz Festival.
Ensemble Playing (professional role: maker/performer)
Theoretical subjects (professional role: musician)
38
Besides these practical modules, you will also follow theoretical
project weeks that take place every year. Instead of the regular
subjects for three years. The modules Music Theory (years 1 through
study programme, special projects, workshops and master classes
3) are an introduction to the basic principles of music theory, which
are organised during these weeks. The first week is a project week
you will learn to apply in practical situations in the course of your
specific to each department, with room for projects that are related
studies. For instance, you learn how to analyse and arrange works
to your studies. The second project week is always a Codarts-wide
from your performance repertoire. In addition, in the modules
project week in which all sorts of projects are organised that
Rhythm Education (years 1 and 2) you learn how to perform
transcend genres and disciplines. Being confronted by contacts that
rhythmic notations and write out played rhythms. Finally, in the
are completely new to you widens your horizon.
modules Solfège, you work on ear training: learning to recognise
Apart from that there are introductory courses in various aspects of
and notate melody and harmony. This theoretical knowledge and
art as profession. In year 1, there are the courses Bizz Day on
these skills provide you with insight into your performance
cultural entrepreneurship and the Health and Performance Day,
repertoire and gives you the tools to handle this repertoire in a
which is about how to be a professional musician in a healthy and
creative manner.
sustainable manner. In year 2, there is an introduction to education
to show you the first steps in the professional role of teacher. These
Practical Harmony (professional role: musician)
introductory courses help you to get an idea of the professional
The modules Practical Harmony support the theoretical subjects and
practice and what is expected of you, early on in your studies. This
help you to make the theory concrete for the piano or another
helps you to make informed choices about the course of your
harmonic instrument. Also, you learn how to accompany yourself
studies.
and others. Piano students are provided with an alternative in the
Finally, there are the Individual Study Activities (ISA). Codarts
form of trio lessons, with a focus on functioning in a rhythm section.
encourages you to be active in the work field while you are still
Guitar students are provided with an alternative in the form of
studying. Because your own activities are as important to your
harmony on the guitar.
development as the educational activities provided by Codarts,
engaging in ISAs also earns you study credits. At the end of the
Portfolio (professional role: entrepreneur)
study year you reflect on the activities you have undertaken that
The module Portfolio is a recurrent element every study year. This
year. These may be ensembles you initiated, master classes you have
module encompasses various activities related to introduction,
taken or workshops you have given. Such a report provides a good
broadening and extracurricular activities. For instance, the two
39
overview of how you are progressing to your study pathway advisor,
Internship: the internship module gives you the opportunity to put
who then has an easier task of coaching you in your study choices.
into practice the things you have learned. After all, teaching can only
be trained in real-life situations. This is done in an internal internship
Music Worldwide (professional role: researcher)
in which you teach individual students or small groups of students
The second-year module Music Worldwide is one you will not find
under supervision of your internship coach.
at any other conservatory. The module consists of a kaleidoscope of
Should you have developed a taste for teaching after successfully
interactive lectures on various music styles across the globe, both of
finishing these modules, you can acquire further teaching skills by
the past and of the present. Also, you work on the professional role
taking the minor Education. After passing this minor, you will be an
of research by doing independent additional research into one of
officially qualified teacher for certified music schools.
the styles that were treated in the lectures. So, there is no
mandatory subject, but you are challenged to find out more about
Thesis (professional role: researcher)
what appeals to you and share this with your fellow students.
The final stages of your studies offer a fine challenge: writing a
research-based thesis. You are free to choose your own subject, as
Education (professional role: teacher)
long as your research contributes to your development as a self-
In the first two years of your studies, you have taken big steps in
aware musician. The preparatory module of semester 6 consists of
your development as a musician and as a maker/performer. In year
classes in research skills and personal coaching in formulating your
3 you will work on the professional role of teacher. This educational
research design. The module is concluded with making a research
element consists of three modules in one semester.
pitch before a committee and fellow students. In semester 7 you
Education A: this module addresses all kinds of subjects that have to
actually conduct your research, supervised by your research coach.
do with transference, such as general didactics, communication and
By the end of semester 7 you demonstrate your research skills by
feedback, presentational skills, group dynamics, motivation,
handing in your thesis and giving a public presentation. The best
developmental psychology, learning styles, teacher roles and core
theses are included in Codarts’ media library. This means you help
qualities.
build an ever-growing knowledge base for both students and
Education B: in this module you start working with your own
teachers.
instrument in a practical setting. You study teaching methods and
transference techniques as well as current developments in the field
Profile Space
of instrumental education, such as the use of new media.
40
The subjects mentioned above are part of all music curricula,
programmes have a substantial overlap with the instrumental/vocal
although they may vary in content. The Profile Space offers
programmes of the departments concerned. As a student of
additional modules that are unique to the Jazz programme . In years
Composition you will take a large number of modules together with
1 and 2 these include the following mandatory profile modules.
instrumental/vocal students of Classical Music or Jazz:



Jazz History

Theoretical subjects
in this two-year history course you study the development of

Practical Harmony
jazz using many listening examples. This is an ‘all-ears’

Worldwide Music
module designed to enhance your auditory awareness

Portfolio
through intensive listening.

Education
Practical Solfège

Thesis
This module involves ear training in a practical, instrument-

Profile subjects Classical Music or Jazz
oriented manner.
More information about these modules for Jazz can be found above
Home Recording
under ‘Structure of the Programme’. For Classical Music, this
This two-year course helps to make you familiar with the
information is given in the chapter Classical Music, ‘Structure of the
recording process. You learn how to use your own
Programme’.
equipment, such as a laptop, to make a good sounding
Besides the subjects mentioned above, there are specific subjects for
recording or to arrange a piece in preparation for a rehearsal
Composition. These are taught to composition students of Jazz and
or performance.
Classical Music together. This concerns the following modules:
In years 3 and 4, the profile space is considerably larger and also has

Main subject (and minor)
room for individual choices. In year 3 the profile space covers 12 EC

Analysis New Media
and in year 4 even 24 EC. For students instrumental/voice the

Practical
module Studio Production is mandatory in year 4.

Instrumentation

Optional Modules

Aesthetics and Philosophy
Study Programme Composition
The study programme Composition is provided within an interfaculty of Composing Classical Music and Composing Jazz. Both
41
Main subject (professional role: musician)
department itself, taking courses or working (under supervision) in
The main subject takes central stage throughout the four years of
various directions such as jazz and/or film music is also possible.
your studies. It is the part with the largest study load and the most
study credits. Besides taking weekly lessons, you will spend much
Optional Modules (professional role: maker)
time in self-teaching.
Students of Composition can make a selection from the following
Additionally, there are a number of mandatory academic subjects,
optional modules:
such as historical knowledge and analysis of Western composed

work field projects
music from 1900 to the present, theoretical knowledge and practical

extra practical lessons
application of instrumentation and electronic music in theory and

conducting
practice (including live electronics).

new media

improvisation

instrumentation year 3 and 4
Practical lessons and instrumentation (professional role:
musician)
The study programme Composition aims at being a forum and
With these optional modules you can strengthen and deepen your
workplace for young composers. To this end, there are
creative capabilities.
presentations of own work by both students and teachers of the
Department, but also lectures and workshops, for which guests from
Aesthetics and Philosophy (professional role: researcher)
the Netherlands as well as from abroad are invited. For these
This specific module has been added to the professional role of
activities, all students of Composition meet every week in the
‘researcher’ on behalf of composers. As a creating musician you not
practical lessons. In addition you take instrumentation classes and a
only have a relationship with an audience or performing musicians,
number of optional subjects to broaden or deepen your studies.
but you will also find yourself confronted with questions that go
Concerts of students’ work are organised together with other
deeper than what is immediately observable: the ‘why’ of your art.
departments within the conservatory and students are invited to
Here you enter the field of aesthetics and philosophy, which may
take part in nationwide projects for young composers, such as those
not provide all the answers to all questions but can help you deal
organised by the ASKO Ensemble. And then there are opportunities
with them.
to work on joint projects with students from other art disciplines,
such as visual art, video and film, theatre and dance. Within the
After the Bachelor Music
42
One of strong features of Codarts Rotterdam is that we coach
Would you like to continue your studies after finishing your
talents who are able to find their way within the professional field of
Bachelor’s? You might then audition for the Master phase Jazz. After
the arts, education and private enterprise. End qualifications such as
having concluded that, you can go on to obtain your PhD in the
creative entrepreneurship, collaboration, communication and
DocArtes PhD programme, which has been set up in collaboration
performing are all typical of Codarts Jazz alumni.
with Leiden University.
The work field of jazz musicians is very diverse and wide. Obviously,
Module Descriptions
the goal is to go on stage with your own line-up and many alumni
Of all modules from the study programme, module descriptions
have done so at various national and international jazz festivals,
were made that include:
such as the North Sea Jazz Festival, Jazz International Rotterdam

the content of the module
and the international 12 Points Festival.

the study load

the learning outcomes

information about the examinations (form, criteria, results
The profession of musician has changed greatly over the past few
years and nowadays much more is required than simply having
scale)
musical talent. You must be aware of the work field you are getting

into and know how to deploy and develop other talents besides
entrance requirements
For the module descriptions for Jazz click here.
musical-creative ones. Networking and making yourself noticed is
part of the enterprising musician you have become. We see many
Study Credits Tables
musicians combine multiple disciplines to develop their own
Below are the study credits tables of the study programmes
concepts, often in businesses of their own or as independent
Instrumental/Vocal and Composition. The tables are set up by study
professionals.
year and provide insight in the study load and the number of
contact hours per week.
43
JPW - jazz instrumentaal/vocaal
tijd = gemiddelde lesduur per week
propedeuse
H1
H2
H3
1e sem.
2e sem.
totaal
3e sem.
4e sem.
totaal
5e sem.
ects
ects
ects
ects
ects
ects
ects
tijd
tijd
tijd
tijd
6e sem.
tijd
ects
tijd
totaal
7e sem.
8e sem.
totaal
ects
ects
ects
ects
tijd
tijd
musicus
instrument
10
70
10
70
20
70
20
70
20
MTV
2
90
2
90
4
150
6
150
6
ritmische scholing
1
60
1
60
2
60
2
60
2
solfège
2
60
2
60
4
60
2
60
2
praktische solfege
1
60
2
60
3
piano / praktische harmonie
2
15
2
15
4
15
4
15
4
6
90
6
90
12
90
12
90
12
60
3
60
3
60
3
60
3
3
70
20
70
20
150
3
150
6
90
11
90
11
70
20
70
20
90
10
90
10
maker / performer
ensembles
genrespecifiek: home recording
genrespecifiek: studioproject
ondernemer
5
5
5
5
2
2
6
6
6
6
2
2
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
docent
educatie
onderzoeker
muziek wereldwijd
genrespecifiek: jazzgeschiedenis
60
3
60
3
75
3
75
3
60
3
60
3
scriptievoorbereiding
3
10
3
scriptie
4
profielruimte
12
12
57
60
10
4
18
18
56
60
te vullen met minors/keuzevakken
totaal aantal studiepunten per semester
24
36
60
0
60
44
60
3
4
Jazz - composition
propedeuse
time = average lesson duration per week
1st sem.
ects
time
musician
composition - main subject plus:
side subject (classical/ electronic composition,
arranging )
music theory
solfège
practical solfège
rhythmic training
practical harmony
counterpoint
analysis new music
studio project
H1
2nd sem.
ects
time
total
ects
10
70
10
70
20
2
2
1
1
2
30
90
60
60
60
20
2
2
2
1
2
30
90
60
60
60
20
4
4
3
2
4
H2
3rd sem.
ects
time
3
1
1
4th sem.
ects
time
total
ects
70
20
70
20
30
150
60
3
1
30
150
60
6
2
60
20
75
1
4
2
60
20
75
2
4
2
H3
5th sem.
ects
time
3
6th sem.
ects
time
total
ects
70
20
70
20
30
150
3
30
150
6
75
2
75
2
7th sem.
ects
time
70
8th sem.
ects
time
20
30
6
70
total
ects
20
30
120
60
3
120
3
6
60
2
60
2
PM
60
90
120
120
60
2
2
2
2
2
2
PM
60
90
120
120
60
creator / performer
practicum
instrumentation
electives, 8 ects to be chosen from:
work field projects (max. 4 x)
additional practica (max. 4 x)
conducting (max. 2 x)
new media (max. 2 x)
improvisation (max. 2 x)
instrumentation yr. 3/4 (max. 2 x)
home recording
1
60
90
2
1
60
90
PM
60
90
120
120
2
2
2
2
2
PM
60
90
120
120
60
3
60
2
2
8
3
60
90
2
2
60
90
PM
60
90
120
120
2
2
2
2
2
PM
60
90
120
120
60
3
60
2
2
6
60
2
60
PM
60
90
120
120
60
2
2
2
2
2
2
PM
60
90
120
120
60
2
4
2
3
teacher
education:
6
6
2
2
music education A (pedagogy)
music education B (methodology)
internship
entrepreneur
2 project weeks
year 1:
5
5
5
entrepreneurship (2 ects)
health day
year 2:
education (introduction methodology)
2 individual study activities
researcher
45
5
2
2
music world wide
aesthetics and filosophy
thesis preparation
thesis presentation
jazz history
75
3
75
3
90
3
3
90
10
3
3
90
4
75
3
75
3
75
3
75
12
60
60
Support Staff Education
10
12
18
60
T: 010- 2444509
Linda Bloemhard - Head Codarts Jazz
M: cemhell@codarts.nl
T: 010-21711043
room: A 1.10 WMDC
M:06-22096463
office hours: Mon, Tue, Thu 10.00-17.00
room: WMDC A 1.11
Anna Schenk
T: 010-2171036
Carmen Sterke - management assistant Education
M: aeischenk@codarts.nl
T:010- 21711130
room: A 1.10 WMDC
M: jcesterke@codarts.nl
office hours: Mon, Tue, Wed, Thu 9:00-17:00
room: A 1.10 WMDC
office hours: Mon through Thu 09.00-18.00
Teachers
Wies Peeters – production assistant Jazz, Pop, World Music
Trumpet
T: 010-21711046
Jarmo Hoogendijk
M: ljrpeeters@codarts.nl
Wim Both
room: A 1.10 WMDC
Jan van Duikeren (guest teacher)
office hours: Mon, Tue, Wed 11.00-18.00
46
3
4
Claire Hell - production assistant Jazz, Pop, World Music
office hours: Mon through Thu 09.00-18.00, Fri 09.00-12.00
90
3
profile space
to be filled with minors/ electives
number of credits per semester
3
18
60
Trombone
Johan Clement
Ilja Reijngoud
Luis Fabiano Rabello (technique)
Bart van Lier (guest teacher)
Bert Boeren (permanent guest teacher)
Bass guitar
Andy Hunter (guest teacher)
Jeroen Vierdag
Brandt Attema (bass trombone)
Stefan Lievestro
Mark Boonstra (bass trombone technique)
Double Bass
Saxophone
Marius Beets
Ben van den Dungen
Stefan Lievestro
Dick de Graaf
Drums
Simon Rigter
Hans van Oosterhout
Joost Patocka
Voice
Bart de Win
Harjo Pasveer (technique)
Composing/Arranging
Francien van Tuinen (permanent guest teacher)
Paul M. van Brugge
Guitar
Theory and Solfège
Ed Verhoeff
Ab Schaap (guest teacher)
Ronald Schmitz
Simon Rigter
Reinier Baas (permanent guest teacher)
Laetitia van Krieken
Ben de Bruijn
Rik van den Bergh (guest teacher)
Frans van Geest (guest teacher)
Piano
Rob van Bavel
Thesis Coordinator
Franz von Chossy
Marijke Tielenius Kruijthoff
47
48
POP
more conceptual musician? Do I want to be able to work fast and at
a high level on commissioned work? Do I want to be in the spotlight
as frontman or frontwoman or rather take up a more supporting
Every choice you can make is based on knowing your craft and this
role as a band member? Do I choose a specific style or niche in the
means that all Codarts Pop students are masters on their
market or do I prefer to be more broadly oriented and multi-
instruments, their voice, their songs or compositions, as well as in
employable?
the recording studio or a computerised environment. You are able
All the competencies that you find in our inspiring, albeit
to make your instrument serve your musical expression and the
demanding environment are woven into the study programme that
form it takes, your personal sound development and performance.
we have put together with our team of teachers and support staff. It
This means that in the first part of your studies the emphasis will be
is a package that is always under development, as all the teachers
on the professional-vocational aspect in theory and practice, but
are still very active in the work field and because we believe that
making-creating-improvising and handling technology are also
reality should be strongly reflected within our education. Therefore
main elements in projects onstage and in the studio from the very
you will find many connections with the work field and the creative
beginning. During the second part of your studies, skills and creative
industry at Codarts.
elements are combined and, together with your personal quest for
your own identity, lead to your own persona as an artist. The
Structure of the Programme
educational environment provides professional guidance, coaching
All programmes within the Bachelor Music are structured according
and expertise and is also known as an environment with room for
to the same model. The modular structure of the various
experimentation, where mistakes are allowed and where people
professional roles is reflected in each of the programmes. The
support each other in an incredibly positive and critically
content of the various programme elements differ with each branch
constructive atmosphere. Other key words are communication, a
of study. This modular system allows you (on certain conditions) to
proactive adventurous approach, working together, building your
network, daring, and passion for what is your drive.
switch between different study branches, thus putting together your
The graduated Pop student has been given the chance to evolve
At the end of this study guide you will find a visual representation of
own unique profile.
the curriculum model.
during these years of study: who am I as an artist and how do I
relate to the world? Do I want to be an autonomously creating,
49
The study programmes Composition and Music Theory have a
performance? In this process, the role of the teacher will gradually
different structure. Those two programmes will therefore be treated
become more that of a coach.
separately at the end of this chapter.
The possibility of either specialising on one specific instrument or
organise your individual study plan with a combination of main
Main Subject (professional role: musician)
subjects during the course of your studies, is unique to the Music
The main subject takes central stage throughout the four years of
department of Codarts. However, this freedom of choice does not
your studies. You are individually coached by one or several
mean freedom of obligations and this is why our study pathway
teachers. In this module you work on the technical mastering of
advisors will help you make the right choices.
your instrument, knowledge of the repertoire and of style elements
We expect you to become more and more the director of your own
that are specific to pop music and related music styles.
studies over the years, finally resulting in a final concert that you
have completely organised yourself, from choosing the repertoire
and the musicians to organising the production and the publicity.
Within the study programme Pop you can study the following main
Ensemble Playing (professional role: maker/performer)
subjects:
The module Ensemble Playing is one of the main modules in the

Keyboards
Pop curriculum. Here, besides developing technical skills, students

Guitar
specifically develop their creative and communicative skills in a

Bass Guitar
setting that is oriented towards the professional practice.

Drums
In the first year you are assigned to two bands (one skills band and

Voice/Song Writing
one ‘make’ band) that you will work with for a year. Starting in year

Creative Producer
2 you will have more and more room to put together your own
bands. In year 4 you are free to design your own band projects as
In the course of your studies, the artistic aspect will become
you see fit and make use of band coaching at times when you think
increasingly important, next to the technical aspect. What is it that
this is useful.
you, as a musician, wish to convey to your audience? What choices
With regard to skills, you study the various style periods of pop
do you make in terms of repertoire, playing techniques and
music. This includes playing style, playing technique, the set of
instruments, production methods and presentation (including stage
50
performance). This makes for an effective combination of theory and
Besides these practical modules, you will also follow theoretical
practice. In years 2 and 3 you study a variety of vocational themes in
subjects for three years. The modules Music Theory (years 1 through
short series of classes.
3) are an introduction to the basic principles of music theory, which
Students of Creative Producer follow their own three-year skills
you will learn to apply to practical situations in the course of your
course with a focus on technical aspects such as mixing, mastering,
studies. For instance, you learn how to analyse and arrange works
metering and acoustics.
from your performance repertoire. In addition, in the modules
Besides the skills aspect there is the ‘make’ aspect. This is a three-
Rhythm Education (years 1 and 2) you learn how to perform
year course in which you work on making your own songs under
rhythmic notations and write out played rhythms. Finally, in the
supervision of a band coach. Each module is concluded with a
modules Solfège, you work on ear training: learning to recognise
production/project, for instance an audio production, a video clip or
and notate melody and harmony. This theoretical knowledge and
a live performance. Some of the projects take place in collaboration
these skills provide you with insight into your performance
with third parties from outside the school, for example other art
repertoire and give you the tools to handle this repertoire in a
academies, venues and cultural organisations. This means that you
creative manner.
will be constantly challenged to put your own development within
the perspective of the professional practice.
Practical Harmony (professional role: musician)
In the course of your studies the emphasis on creating your own
The modules Practical Harmony support the theoretical subjects and
work becomes stronger, also in the choices you make with regard to
help you to make the theory concrete for the piano or another
collaborations and form. The Creative Producers develop their role
harmonic instrument. Also, you learn how to accompany yourself
of designers and/or managers of the technological elements of
and others. Piano students are provided with an alternative in the
performances. These roles are not specifically confined to the area
form of trio lessons, with a focus on functioning in a rhythm section
of one of the main instruments: producers also perform as
and the keyboard player in the role of bandleader.
instrumentalists, singers write songs, bass players produce,
keyboard players manage technology and almost everyone sings: all
Portfolio (professional role: entrepreneur)
possible combinations exist!
The module portfolio is a recurrent element every study year. This
module encompasses various activities related to introduction,
Theoretical Subjects (professional role: musician)
broadening and extracurricular activities. For instance, the two
project weeks that take place every year. Instead of the regular
51
study programme, special projects, workshops and master classes
Finally, there are the Individual Study Activities (ISA) for second-year
are organised during these weeks. The first week is a project week
students. Codarts encourages you to be active in the work field
specific to each department, with room for projects that are related
while you are still studying. Because your own activities are as
to your studies. The second project week is always a Codarts-wide
important to your development as the educational activities
project week in which all sorts of projects are organised that
provided by Codarts, engaging in ISAs also earns you study credits.
transcend genres and disciplines. Being confronted by contacts that
At the end of the study year you reflect on the activities you have
are completely new to you widens your horizon.
undertaken that year. These may be ensembles you initiated, master
Apart from that there are introductory courses in various aspects of
classes you have taken or workshops you have given. Such a report
art as profession. In year 1, there is the Health and Performance Day,
provides a good overview of how you are progressing to your study
which is about how to be a professional musician in a healthy and
pathway advisor, who then has an easier task of coaching you in
sustainable manner. In year 2, there is an introduction to education
your study choices.
to show you the first steps in the professional role of teacher. These
introductory courses help you to get an idea of the professional
Music Worldwide (professional role: researcher)
practice and what is expected of you, early on in your studies. This
The second-year module Music Worldwide is one you will not find
helps you to make informed choices about the course of your
at any other conservatory. The module consists of a kaleidoscope of
studies.
interactive lectures on various music styles across the globe, both of
the past and of the present. Also, you work on the professional role
This year, first-year students will start with a completely new course
of research by doing independent additional research into one of
in entrepreneurship, which will be further elaborated in the course
the styles that were treated in the lectures. So, there is no
of their studies. This course treats all the aspects of
mandatory subject, but you are challenged to find out more about
entrepreneurship in relationship to your future professional practice:
what appeals to you and share this with your fellow students.
skills, professional attitude, leadership, imagination and creation,
forming opinions. These elements will also be related to your
Education (professional role: teacher)
personal artistic profile, which will result in a pitch in which you
In the first two years of your studies, you have taken big steps in
present yourself as a self-aware musician in your graduation year.
your development as a musician and as a maker/performer. In year
3 you will work on the professional role of teacher. This educational
element consists of three modules in one semester.
52
Education A: this module addresses all kinds of subjects that have to
actually conduct your research, supervised by your research coach.
do with transference, such as general didactics, communication and
By the end of semester 7 you demonstrate your research skills by
feedback, presentational skills, group dynamics, motivation,
handing in your thesis and giving a public presentation. The best
developmental psychology, learning styles, teacher roles and core
theses are included in Codarts’ media library. This means you help
qualities.
build an ever-growing knowledge base for both students and
Education B: in this module you start working with your own
teachers.
instrument in a practical setting. You study teaching methods and
transference techniques as well as current developments in the field
Profile Space
of instrumental education, such as the use of new media.
The subjects mentioned above are part of all music curricula,
Internship: the internship module gives you the opportunity to put
although they may vary in content. The Profile Space offers
into practice the things you have learned. After all, teaching can only
additional modules that are unique to the Pop programme. In years
be trained in real-life situations. This is done in an in-house
1 and 2 these include the following mandatory profile modules.
internship in which you teach individual students or small groups of

Pop History
students under supervision of your internship coach.
This module runs parallel to the skills trajectory of the
Should you have developed a taste for teaching after successfully
module Ensemble Playing. Over the course of two years, you
finishing these modules, you can acquire further teaching skills by
study the various style periods in pop music of the 20th and
taking the minor Education. After passing this minor, you will be an
21st century. The module uses a helicopter view to reveal the
officially qualified teacher for certified music schools.
main threads and historical connections. Important events in
music are addressed, interpreted and put into context.
Thesis (professional role: researcher)

Practical Solfège
The final stages of your studies offer a fine challenge: writing a
This module involves ear training in a practical, instrument-
research-based thesis. You are free to choose your own subject, as
oriented manner.
long as your research contributes to your development as a self-

Home Recording (instr/voc) or studio practical (Creative
aware musician. The preparatory module of semester 6 consists of
Producer)
classes in research skills and personal coaching in formulating your
This two-year course helps to make you familiar with the
research design. The module is concluded with making a research
recording process. You learn how to use your own
pitch before a committee and fellow students. In semester 7 you
equipment, such as a laptop, to make a good sounding
53
recording or to arrange a piece in preparation for a rehearsal
environment such as with Eefje de Visser, Kyteman or Selah Sue.
or performance. Students Creative Producer work on an
Initiating your own educational environment (either online or in
advanced level in the module Studio Practical. Successfully
practice) as an independent professional or working within a
passing this module results in a studio licence, which means
traditional music school.
you may work independently in the various studios at
Our alumni are hard at work everywhere, combining the
Codarts. Year 2 is dedicated to develop your skills in studio
professional practices of performing, creating and independent
technique in more depth.
teaching while self-confidently building their future. This selfconfidence also stems from the realisation that developments in our
modern society can cause rapid change. Our alumni are aware of
In years 3 and 4, the profile space is considerably larger and also has
this and are able to anticipate those changes. In fact, what we do is
room for individual choices. In year 3 the profile space covers 12 EC
facilitate students to become their own agents of future change in
and in year 4 even 24 EC. For students instrumental/voice the
their professional field, each according to his or her ability.
module Studio Production is mandatory in year 4.
Do you wish to continue your studies after finishing your Bachelor’s?
Then you may audition for the Master study programme Pop. It is
After Codarts
specifically this field where research and creativity meet and a
Our alumni end up in a great variety of places. There are examples
mostly hybrid environment of performing-making-producing-doing
of just about anything you yourself may imagine in the dream you
business becomes visible.
have when you start studying at an institute such as ours. Being a
band member, frontman or frontwoman, writer or producer of a
successful internationally touring band (Chef Special, Epica,
Adlicious). Being a successful solo artist or singer/songwriter (Tessa
Douwstra, Michiel Prins, Sharon Doorson). An underground
producer building the sound of tomorrow, while also being a ghost
writer for a currently successful DJ or musician in an up-and-coming
band (Kovacs, Han Solo). Being a background vocalist with Anouk,
Trijntje and many others while steadily working on your solo career
(Shirma Rouse). Working as an instrumentalist in a successful
54

Module Descriptions
entrance requirements
For the module descriptions for Pop music click here.
Of all modules from the study programme module descriptions
were made that include:
Study Credits Tables

the content of the module
Below are the study credits tables of the study programmes

the study load
Instrumental/Vocal and Creative Producer. The tables are set up by

the learning outcomes
study year and provide insight in the study load and the number of

information about the examinations (form, criteria, results
contact hours per week.
scale)
55
JPW - pop instrumentaal/vocaal
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
ects tijd
musicus
instrument
MTV
ritmische scholing
piano / praktische harmonie
praktische solfege
maker / performer
ensembles / bandprojecten
genrespecifiek: homerecording
genrespecifiek: studioproject
10
70
3 120
2
90
2
20
1
60
6
75
60
ondernemer
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
H1
2e sem.
ects tijd
totaal 3e sem.
ects
ects tijd
10
3
2
2
2
70
120
90
20
60
20
6
4
4
3
6
3
75
60
12
3
5
H2
3
4e sem.
ects tijd
totaal 5e sem.
ects
ects tijd
70
120
90
20
20
3
4
4
70
120
90
20
20
6
4
4
75
60
12
3
75
60
12
3
5
5
H3
3
5
docent
educatie
onderzoeker
muziek wereldwijd
genrespecifiek: popgeschiedenis
scriptievoorbereiding
scriptie
75
3
75
75
75
3
3
3
75
75
totaal 7e sem.
ects
ects tijd
20
3
70
60
20
6
70
20
70
20
75
11
75
11
75
10
75
10
2
2
6
6
10
60
3
57
56
6
6
2
2
3
4
36
totaal
ects
70
60
3
24
8e sem.
ects tijd
3
3
profielruimte
te vullen met minors/keuzevakken
totaal aantal studiepunten per semester
6e sem.
ects tijd
60
3
12
12
57
60
4
10
4
18
18
56
60
JPW - pop creative producer
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
ects
tijd
musician
instrument
music theory
rhythmic training
practical harmony
practical solfege
producer / performer
band projects
genre specifiek: studiopracticum
H1
2e sem.
ects
tijd
totaal 3e sem.
ects
ects
tijd
10
3
2
2
1
70
60
90
20
60
10
3
2
2
2
70
60
90
20
60
20
6
4
4
3
6
75
6
3
75
12
3
ondernemer
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
5
H2
3
4e sem.
ects
tijd
totaal 5e sem.
ects
ects
tijd
70
60
90
20
20
3
4
4
70
60
90
20
20
6
4
4
75
12
3
75
12
3
5
5
H3
3
5
docent
educatie
onderzoeker
muziek wereldwijd
genrespecifiek: popgeschiedenis
scriptievoorbereiding
scriptie
75
3
75
75
75
3
3
3
75
75
totaal 7e sem.
ects
ects
tijd
20
3
70
60
20
6
70
20
70
20
75
11
75
11
75
10
75
10
2
2
6
6
2
10
60
3
57
57
2
3
4
36
totaal
ects
70
60
3
24
8e sem.
ects
tijd
3
3
profielruimte
te vullen met minorsw/keuzevakken
totaal aantal studiepunten per semester
6e sem.
ects
tijd
60
3
12
12
57
60
4
10
4
24
24
56
60
Support Staff Education
Anna Schenk – management assistant
T: 010-2171036
Wessel Coppes – Head Codarts Pop
M: aeischenk@codarts.nl
T: T: +31 (0)10 217 1044
room: A 1.10 WMDC
M: whcoppes@codarts.nl
office hours: Mon, Tue, Wed, Thu 9:00-17:00
room: WMDC A1.11
Teachers
Carmen Sterke – management assistant Education
Drums
T:010- 21711130
Hans Eijkenaar
M: jcesterke@codarts.nl
Martijn Vink
room: A 1.10 WMDC
Eelco de Boer
office hours: Mon through Thu 09.00-18.00
Bass guitar
Wies Peeters – production assistant Jazz, Pop, World Music
Michel van Schie
T: 010-21711046
Marco Dirne
M: ljrpeeters@codarts.nl
room: A 1.10 WMDC
Guitar
office hours: Mon, Tue, Wed 11.00-18.00
Age Kat
Menno Gootjes
Claire Hell - production assistant Jazz, Pop, World Music
Leendert Haaksma
T: 010- 2444509
Martijn van Agt
M: cemhell@codarts.nl
room: A 1.10 WMDC
Keyboards
office hours: Mon, Tue, Thu 10.00-17.00
Ronald Kool
58
Berthil Busstra
Rhythmic Education
Carlo de Wijs (hammond)
Arie Verhaar
Vocals – songwriting;
Minor Piano
Brian Zalmijn
André Bill
Simone Roerade
Berthil Busstra
Harjo Pasveer
Tjeerd van Zanen
Band Coaches
Desmond Haneveer
Ronald Kool
Martijn van Agt
Marco Dirne
Simone Roerade
Eelco de Boer
Creative Producer
Thomas Bank
Theo Janssen,
Simone Roerade
Thomas Bank,
Arie Verhaar
Tjeerd van Zanen
Daniel Raegan (business)
Åke Danielsson
Stefan Mandersloot (visuals)
Carlo de Wijs
Home Recording
Music Theory
Aart de Jong
Laetitia van de Krieken
Åke Danielsson
Oscar van Dillen
Education
Pop History
Johan Witt
Desmond Haneveer
Frank van der Duin
59
Thesis Coordinator
Marijke Tielenius Kruijthoff
Entrepreneurship
Ewout van der Linden
Marijke van Velzen
60
WORLD MUSIC
In 1978, Codarts was the first conservatory outside the United States
to have a study programme Jazz, thereby opening its doors for

Latin (this includes Caribbean and Brazilian traditions)

Argentine Tango

Turkish Music (Anatolian and Ottoman music)
Increasingly, connections are made between music styles, not only
other genres than Western classical music. In 1985, Codarts added
within the World Music department itself, but also with Pop, Jazz
the study of Flamenco Guitar, even before it was possible to take
and Classical Music. For example, the wind players from the Jazz
this study in Spain itself, and two years later the department for
section play in salsa and Brazilian ensembles; there is a Bollywood
North Indian classical music was founded. The department of World
orchestra in which Pop, Jazz and World Music students play
Music was formed in 1989 with the section Latin, which was then
together with teachers; there is an ensemble for Argentine folklore
extended with Argentine Tango (1993) and Turkish/Anatolian Music
in which Tango and Latin students work together; and there is an
(2000). Through the years, Codarts World Music has evolved into a
centre of expertise for these music genres.
Ottoman ensemble in which students of Composition of Classical
Codarts Music is the only music institute in the world where
Classical Music play together.
Music and Bachelor and Master students of World Music and
Many of the programmes have international guest teachers who
students can do a Bachelor’s and/or Master’s study in all these
give lessons and master classes during one or several weeks
cultural domains. These pure traditions can also be studied in their
throughout the year. At such times, the regular roster is adapted to
countries of origin, of course, but what makes Codarts World Music
enable all students to profit from the presence of these guest
so unique is their setting within an international context. This
teachers.
international context consists of both the diversity of the music
Our students come from all corners of the world, bringing their own
genres on offer and the diversity in nationalities of both students
and teachers.
cultural baggage with them. Codarts invites you to look for the
The study programme World Music has five branches:
your own musical roots. This will not only enrich your own journey,

Flamenco Guitar

Indian Music (North Indian classical music and Indian light
connections between the musical traditions that are taught here and
but our education as well.
Structure of the Programme
music)
61
All programmes within the Bachelor Music are structured according
Within the department of World Music you can take the following
to the same model. The modular structure of the various
main subjects:
professional roles is reflected in each of the programmes. The
content of the various programme elements differ with each branch
Flamenco
of study. This modular system allows you (on certain conditions) to
Guitar
switch between different study branches, thus putting together your
Indian music
own unique profile.
Bansuri, tabla, voice dhrupad, voice khayal, sitar, violin, sarangi
At the end of this study guide you will find a visual representation of
Latin
the curriculum model.
Piano, guitar, bass guitar, drums/ percussion, voice, flute and other
wind instruments
Main Subject (professional role: musician)
Tango
Your main subject is the most important element during the four
years of your studies. At an individual level you are coached by one
Piano, bandoneón, guitar, double bass, violin, voice
or several teachers. In this module, you work on your technical
Turkish music
control of the instrument, repertoire knowledge and knowledge of
Bağlama, percussion, voice, ney, ud and related instruments
style elements that are specific to the music tradition you have
chosen to study. In the course of your studies, the artistic aspect will
Ensemble Playing (professional role: maker/performer)
become increasingly important, next to the technical aspect. What is
In the modules Ensemble Playing you learn how to apply your own
it that you, as a musician, wish to convey to your audience? What
skills while collaborating with your fellow students. Throughout your
choices do you make in terms of repertoire, playing techniques and
entire studies you play in two ensembles. In the first two years, you
performance? In this process, the role of the teacher will gradually
will play in mandatory ensembles. These may differ per section and
become more that of a coach. Also, as your studies progress, you
you can find them in the descriptions of the Ensemble Playing
will have more freedom in your choice of teachers to work with. We
modules. In these ensembles you become familiar with your basic
expect you to become more and more the director of your own
repertoire and you learn what it is like to function in an ensemble or
studies over the years, finally resulting in a final concert that you
orchestra.
have completely organised yourself, from choosing the repertoire
Increasingly, you will take on a leading role in these ensembles. You
and the musicians to organising the production and the publicity.
will find yourself more often in the role of ensemble leader, arranger
62
and maker and you are expected to contribute to the repertoire and
harmonic instrument. Also, you learn how to accompany yourself
the arrangements. Starting in the third year, and sometimes even
and others. Students who already play a harmonic instrument (piano
sooner, there is a possibility to play in the so-called performing
or guitar) are provided with an alternative to learn how to apply
ensembles. These ensembles perform frequently both within
their harmonic knowledge on a higher level. What these alternatives
Codarts and at outside venues. In addition, in your final year, you
are, can be found in the module descriptions of the modules
may organise your own ensemble projects, for instance to perform
Practical Harmony.
with at your graduation exam (and perhaps also after graduating).
The various ensemble teachers are available to coach your projects.
Portfolio modules (professional role: entrepreneur)
The portfolio modules are a recurrent element every study year.
Theoretical Subjects (professional role: musician)
They encompass various activities related to entrepreneurship,
Besides these practical modules, you will also follow theoretical
introduction, broadening and extracurricular activities.
subjects for three years. The modules Music Theory (years 1 through
For instance, the two project weeks that take place every year.
3) are an introduction to the basic principles of music theory, which
Instead of the regular study programme, special projects, workshops
you will learn to apply to practical situations in the course of your
and master classes are organised during these weeks. The first week
studies. For instance, you learn how to analyse and arrange works
is a project week specific to each department, with room for projects
from your performance repertoire. In addition, in the modules
that are related to your studies. The second project week is always a
Rhythm Education (years 1 and 2) you learn about the building
Codarts-wide project week in which all sorts of projects are
blocks of various rhythmic traditions and how to perform rhythmic
organised that transcend genres and disciplines. Being confronted
notations and write out played rhythms.. This theoretical knowledge
by contacts that are completely new to you widens your horizon.
and these skills provide you with insight into your performance
Apart from that there are introductory courses in various aspects of
repertoire and give you the tools to handle this repertoire in a
art as profession. In year 1, there is the Health and Performance Day,
creative manner.
which is about how to be a professional musician in a healthy and
sustainable manner. In year 2, there is an introduction to education
to show you the first steps in the professional role of teacher. These
Practical Harmony (professional role: musician)
introductory courses help you to get an idea of the professional
The modules Practical Harmony support the theoretical subjects and
practice and what is expected of you, early on in your studies. This
help you to make the theory concrete for the piano or another
63
helps you to make informed choices about the course of your
interactive lectures on various music styles across the globe, both of
studies.
the past and of the present. Also, you work on the professional role
of research by doing independent additional research into one of
This year, first-year students will start with a completely new course
the styles that were treated in the lectures. So, there is no
in entrepreneurship, which will be further elaborated in the course
mandatory subject, but you are challenged to find out more about
of their studies. This course treats all the aspects of
what appeals to you and share this with your fellow students.
entrepreneurship in relationship to your future professional practice:
skills, professional attitude, leadership, imagination and creation,
forming opinions. These elements will also be related to your
Education (professional role: teacher)
personal artistic profile, which will result in a pitch in which you
In the first two years of your studies, you have taken big steps in
present yourself as a self-aware musician in your graduation year.
your development as a musician and as a maker/performer. In year
3 you will work on the professional role of teacher. This educational
Finally, there are the Individual Study Activities (ISA) for second-year
element consists of three modules in one semester.
students. Codarts encourages you to be active in the work field
Education A: this module addresses all kinds of subjects that have to
while you are still studying. Because your own activities are as
do with transference, such as general didactics, communication and
important to your development as the educational activities
feedback, presentational skills, group dynamics, motivation,
provided by Codarts, engaging in ISAs also earns you study credits.
developmental psychology, learning styles, teacher roles and core
At the end of the study year you reflect on the activities you have
qualities.
undertaken that year. These may be ensembles you initiated, master
Education B: in this module you start working with your own
classes you have taken or workshops you have given. Such a report
instrument in a practical setting. You study teaching methods and
provides a good overview of how you are progressing to your study
transference techniques as well as current developments in the field
pathway advisor, who then has an easier task of coaching you in
of instrumental education, such as the use of new media.
your study choices.
Internship: the internship module gives you the opportunity to put
into practice the things you have learned. After all, teaching can only
Music Worldwide (professional role: researcher)
be trained in real-life situations. This is done in an in-house
The second-year module Music Worldwide is one you will not find
internship in which you teach individual students or small groups of
at any other conservatory. The module consists of a kaleidoscope of
students under supervision of your internship coach.
64
Should you have developed a taste for teaching after successfully
modules. Below is an overview of the genre specific modules per
finishing these modules, you can acquire further teaching skills by
specialisation.
taking the minor Education. After passing this minor, you will be an
officially qualified teacher for certified music schools.
Flamenco
Thesis (professional role: researcher)
Year 1 (9 EC)
Year 2 (6 EC)
Flamenco history
Flamenco theory
Flamenco theory
The final stages of your studies offer a fine challenge: writing a
Indian Music
Indian music theory
Indian music theory
research-based thesis. You are free to choose your own subject, as
Rhythmic solfège
Rhythmic solfège
long as your research contributes to your development as a self-
Melodic solfège
Melodic solfège
Latin history
Latin transcription
aware musician. The preparatory module of semester 6 consists of
Latin
classes in research skills and personal coaching in formulating your
Latin transcription
research design. The module is concluded with giving a research
Tango
Tango history
Tango transcription &
pitch before a committee and fellow students. In semester 7 you
Tango transcription &
analysis
actually conduct your research, supervised by your research coach.
analysis
By the end of semester 7 you demonstrate your research skills by
handing in your thesis and giving a public presentation. The best
theses are included in Codarts’ media library. This means you help
Turkish
Turkish music history
Turkish music theory
Music
Turkish music theory
Minor voice/ bağlama
Minor voice/ bağlama
build an ever-growing knowledge base for both students and
teachers.
In years 3 and 4, the profile space is considerably larger and also has
room for individual choices. In year 3 the profile space covers 12 EC
Profile Space
and in year 4 even 24 EC. Depending on the programme in which
The subjects mentioned above are part of all World Music curricula
you wish to graduate there may be an extra number of mandatory
and their content reflects the five different specialisations. The
profile modules. The remaining profile space can be used to take
profile space offers subjects that are unique to your specific
minors and optional subjects. Codarts has a wide range of minors,
specialisation. These are the subjects that define your graduation
both theoretical and practice-oriented ones, which gives you the
profile. In years 1 and 2, these include the mandatory profile
opportunity to study the various professional roles in more depth.
modules, such as genre specific theory modules and history
65
At the end of each academic year, the third- and fourth-year
are appreciated for their knowledge and their passion for the
students-to-be are invited to sign up for one or more minors. Some
profession. Most alumni have a hybrid practice: teaching,
minors take place during only one semester, while others may
performing, studio work, sometimes doing journalistic work and also
continue throughout the year. There are light minors of 6 EC and
continuing the study of their chosen genre.
more substantial ones of 12 EC, so make sure that you will earn
enough points in your profile space when signing up for minors.
Once you have obtained your Bachelor’s diploma, you can move on
to the Master programme at Codarts. After having concluded that,
After Codarts
you can go on to obtain your PhD in the DocArtes PhD programme,
The World Music department has a very international student and
which has been set up in collaboration with Leiden University (World
teacher population, which also means interesting international
Music Chair).
career possibilities. The level of the graduates is high and in many
cases this means the possibility to take part in, for instance, the
Module Descriptions
Tango scene in Buenos Aires or the Flamenco world in Spain. No
Of all modules from the study programme, module descriptions
wonder that alumni of World Music can be found all over the world.
were made that include:

the content of the module
Saskia de Haas once studied cello within the study programme

the study load
North Indian Classical Music. Nowadays, she lives in New Delhi

the learning outcomes
where she teaches music at schools and gives concerts. In Buenos

information about the examinations (form, criteria, results
Aires, Istanbul, Rio de Janeiro and Spain too you will find successful
scale)
alumni from the World Music department at Codarts. And in the

Netherlands too, of course. Lilian Viera from Brazil studied Latin
entrance requirements
For the module descriptions for World Music click here.
music at Codarts World Music and she is now a successful singer in
the Netherlands with her Brazilian band Zuco 103.
Study Credits Tables
Below are the study credits tables of the study programmes
A growing number of music schools offer world music. Codarts
Flamenco Guitar, Indian Music, Latin, Tango and Turkish Music.
alumni find their way as teachers at these music schools, where they
66
JPW - AT
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
ects tijd
musicus
instrument
westerse MTV
ritmische scholing
piano / praktische harmonie
genrespecifiek: transcriptie & analyse tango
maker / performer
ensembles
H1
2e sem.
ects tijd
H2
totaal 3e sem.
ects
ects tijd
4e sem.
ects tijd
H3
totaal 5e sem.
ects
ects tijd
totaal 7e sem.
ects
ects tijd
8e sem.
ects tijd
totaal
ects
10
3
2
2
3
70
120
90
20
60
10
3
2
2
3
70
120
90
20
60
20
6
4
4
6
70
120
120
20
60
20
6
4
4
6
70
120
120
20
60
20
6
4
4
6
70
120
20
6
70
120
20
6
70
20
70
20
60
6
60
6
60
6
60
6
6
75
6
75
12
75
12
75
12
75
11
75
11
75
10
75
10
ondernemer
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
docent
educatie
5
onderzoeker
muziek wereldwijd
genrespecifiek: tangogeschiedenis
scriptievoorbereiding
scriptie
5
5
75
60
3
60
3
5
75
2
2
6
6
2
3
3
10
3
4
6
26
34
2
3
profielruimte
te vullen met minors/keuzevakken
totaal aantal studiepunten per semester
6e sem.
ects tijd
60
0
60
67
60
0
60
6
60
4
10
4
18
18
56
60
JPW - FG
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
ects
tijd
musicus
instrument
westerse MTV
ritmische scholing
praktische harmonie
genrespecifiek: flamencotheorie
maker / performer
ensembles
H1
2e sem.
ects
tijd
totaal 3e sem.
ects
ects tijd
10
3
2
2
3
70
120
90
20
60
10
3
2
2
3
70
120
90
20
60
20
6
4
4
6
6
75
6
75
12
ondernemer
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
5
H2
3
4e sem.
ects tijd
H3
totaal 5e sem.
ects
ects tijd
20
6
4
4
3
70
120
120
20
60
20
6
4
4
6
70
120
20
6
70
120
20
6
60
6
60
6
75
12
75
12
75
11
75
11
5
5
75
60
3
60
5
3
75
2
2
6
6
70
20
70
20
75
10
75
10
2
10
2
3
4
34
totaal
ects
3
3
26
8e sem.
ects tijd
3
profielruimte:
te vullen met minors/keuzevakken
totaal aantal studiepunten per semester
totaal 7e sem.
ects
ects tijd
70
120
120
20
60
docent
educatie
onderzoeker
muziek wereldwijd
genrespecifiek: flamencogeschiedenis
scriptievoorbereiding
scriptie
6e sem.
ects tijd
60
3
57
68
60
0
6
6
60
60
4
10
4
24
24
56
60
JPW - IM
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
ects
tijd
musicus
instrument
westerse MTV
ritmische scholing
praktische harmonie
genrespecifiek: rhtyhmic solfege
genrespecifiek: melodic solfege
genrespecifiek: Indiase muziektheorie
genrespecifiek: analyse en compositie
maker / performer
ensembles
10
3
2
2
1
1
1
70
120
90
20
90
90
90
H1
2e sem.
ects
tijd
10
3
2
2
1
1
2
70
120
90
20
90
90
90
H2
totaal 3e sem.
ects
ects tijd
20
6
4
4
2
2
3
1
4e sem.
ects tijd
70
120
120
20
60
60
90
20
6
4
4
1
1
1
70
120
120
20
60
60
90
totaal 5e sem.
ects
ects tijd
20
6
4
4
1
1
2
3
6
75
6
75
12
75
12
75
12
docent
educatie
ondernemer
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
onderzoeker
muziek wereldwijd
genrespecifiek: Indiase muziekgeschiedenis
scriptievoorbereiding
scriptie
H3
5
1
60
1
5
60
2
5
1
75
60
3
1
5
75
6e sem.
ects tijd
totaal 7e sem.
ects
ects tijd
70
120
20
6
70
120
20
6
90
3
90
6
75
11
75
11
6
6
2
2
3
70
20
70
20
90
3
90
6
75
10
75
10
2
10
2
3
4
6
69
totaal
ects
3
2
3
profielruimte:
te vullen met minors/keuzevakken
8e sem.
ects tijd
6
10
4
18
18
totaal aantal studiepunten per semester
27
33
JPW - LA
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
ects tijd
musicus
instrument
westerse MTV
ritmische scholing
piano / praktische harmonie
genrespecifiek: transcriptie
maker / performer
ensembles
genrespecifiek: arrangeren
60
2
58
60
H1
2e sem.
ects tijd
70
120
90
20
60
10
3
2
2
3
70
120
90
20
60
20
6
4
4
6
6
75
6
75
12
5
3
4e sem.
ects tijd
totaal 5e sem.
ects
ects tijd
70
120
120
20
60
20
6
4
4
3
70
120
120
20
60
20
6
4
4
6
75
12
75
12
5
5
5
docent
educatie
onderzoeker
muziek wereldwijd
genrespecifiek: Latin muziekgeschiedenis
scriptievoorbereiding
scriptie
75
1
60
2
60
3
75
6e sem.
ects tijd
totaal 7e sem.
ects
ects tijd
70
120
20
6
70
120
20
6
75
60
11
3
75
60
11
6
2
2
6
6
3
8e sem.
ects tijd
60
totaal
ects
70
20
70
20
75
60
10
3
75
60
10
6
2
10
2
3
4
33
53
3
3
27
7
3
profielruimte:
te vullen met minors/keuzevakken
totaal aantal studiepunten per semester
60
H3
3
ondernemer
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
57
H2
totaal 3e sem.
ects
ects tijd
10
3
2
2
3
3
60
3
57
70
60
3
6
6
57
60
4
10
4
18
18
56
60
JPW - TM
propedeuse
tijd = gemiddelde lesduur per week
1e sem.
ects
tijd
musicus
instrument
westerse MTV
ritmische scholing
piano / praktische harmonie
genrespecifiek: Turkse muziektheorie
genrespecifiek: bijvak stem/bağlama
maker / performer
ensembles
genrespecifiek: arrangeren
H1
2e sem.
ects
tijd
totaal 3e sem.
ects
ects tijd
10
3
2
2
2
1
70
120
90
20
60
60
10
3
2
2
2
1
70
120
90
20
60
60
20
6
4
4
4
2
6
75
6
75
12
ondernemer
2 projectweken in alle studiejaren
+ modulen jaar 1:
ondernemerschap (2 EC)
Health Day
+ modulen jaar 2:
educatie (introductie vakdidactiek)
2 individuele studieactiviteiten
5
H2
2
4e sem.
ects tijd
H3
totaal 5e sem.
ects
ects tijd
20
6
4
4
2
2
70
120
120
20
60
60
20
6
4
4
4
2
70
120
20
6
70
120
20
6
60
3
60
3
75
12
75
12
75
11
75
11
5
5
75
60
3
60
5
3
75
2
2
6
6
34
60
60
2
58
71
totaal
ects
70
20
70
20
75
10
6
75
10
6
2
3
3
60
10
2
3
3
4
26
8e sem.
ects tijd
3
3
profielruimte:
te vullen met minors/keuzevakken
totaal aantal studiepunten per semester
totaal 7e sem.
ects
ects tijd
70
120
120
20
60
60
docent
educatie
onderzoeker
muziek wereldwijd
genrespecifiek: Turkse muziekgeschiedenis
scriptievoorbereiding
scriptie
6e sem.
ects tijd
60
0
6
6
60
60
4
10
4
18
18
56
60
Anna Schenk – management assistant
T: 010-2171036
M: aeischenk@codarts.nl
Support Staff Education
room: A 1.10 WMDC
office hours: Mon, Tue, Wed, Thu 9:00-17:00
Renske Wassink –Head Codarts World Music
T: 010-2171033
Teachers
M: rtwassink@codarts.nl
Flamenco guitar (FG)
Carmen Sterke – management assistant Education
Paco Pen᷉a (artistic leader)
T:010- 21711130
main subject guitar
M: jcesterke@codarts.nl
room: A 1.10 WMDC
Ricardo Mendeville (Head of Studies)
office hours: Mon through Thu 09.00-18.00
main subject guitar, flamenco theory, flamenco history
Wies Peeters – production assistant Jazz, Pop, World Music
Alexander Preuss
T: 010-21711046
main subject guitar, flamenco theory, didactics
M: ljrpeeters@codarts.nl
room: A 1.10 WMDC
Irene Alvarez
office hours: Mon, Tue, Wed 11.00-18.00
flamenco dance
Claire Hell - production assistant Jazz, Pop, World Music
Henriet IJssel-de Schepper
T: 010- 2444509
flamenco dance
M: cemhell@codarts.nl
room: A 1.10 WMDC
Carmen Fernandez
office hours: Mon, Tue, Thu 10.00-17.00
flamenco voice
72
Brazilian/Latin music theory, music history Brazil
Indian Music (IM)
Hariprasad Chaurasia (artistic leader)
Thomas Böttcher
main subject bansuri
main subject piano, ensembles, Brazilian/Latin music theory
Niti Ranjan Biswas (Head of Studies)
Abél Marcel
main subject tabla, Indian theory, ensembles
main subject piano, Latin music theory, ensembles, music history
Caribbean’s
Henri Tournier
main subject bansuri, Indian theory, ensembles
Lucas van Merwijk
main subject percussion/drums
Marianne Svašek
main subject voice (Dhrupad), Indian theory
Nils Fischer
main subject percussion
Connie de Jong
main subject voice (technique)
Martin Verdonk
main subject percussion
Chiranjib Chakraborty
main subject voice (Khayal)
Bart Fermie
main subject percussion
Jane Harvey
Indian theory
José Lopretti
main subject bass, ensembles
Latin (LA)
Jeroen Vierdag
Anna Elis de Jong (Head of Studies)
main subject bass
main subject piano, ensembles,
73
Lilian Vieira
Kay Sleking
main subject Brazilian voice
main subject guitar, ensembles, tango history
Yumarya Grijt
Matthew Midgley
main subject Caribbean voice (Spanish)
main subject double bass
Connie de Jong
main subject voice (technique)
Turkish, Anatolian/Ottoman music (TM)
Leo Vervelde (Head of Studies a.i.)
Argentinian Tango (AT)
Kudsi Ergüner (artistic leader Ottoman Music)
Gustavo Beytelmann (artistic leader)
main subject ney, ensembles, Ottoman theory
main subject piano, analysis
Kemal Dinc̨
Leo Vervelde (Head of Studies)
main subject baǧlama, ensembles, minor choir, Turkish music theory
main subject bandoneón, ensembles, tango theory, tango history
Alper Kekec̨
Wim Warman
main subject percussion, ensembles, Turkish music theory
main subject piano, practical harmony, ensembles, tango theory,
tango history
Michalis Cholevas
ensembles, Turkish music theory
Victor Villena
Michalis Kouloumis
main subject bandoneón, ensembles
main subject violin
Micha Molthoff
Mutlu Kizilgedik
main subject violin, ensembles, tango history
major and minor baǧlama, ensembles
74
Connie de Jongh
main subject voice (technique)
General Subjects
Oscar van Dillen
general music theory
Wobbe Kuiper
general music theory
Frank van der Duin
education
Jane Harvey
coordinator music worldwide
Marijke Tielenius Kruijthoff
thesis coordinator
Ewout van der Linden
bizz day
Marijke van Velzen
entrepreneurship
75
range of musical styles (from show musical to new musical) both
MUSIC THEATER
here and abroad.
The Music Theatre department at Codarts trains vocal performers:
The musical styles mentioned in the following list may have some
‘self-tuned’ professionals who have the urge and skills to bring
overlap.
together music, singing, text/play and movement and present this
as a natural unity in which the various elements enhance each other.
Show Musicals: the element of dance often plays a major part
This is why Integration is really the main subject. Starting with
in these musicals, which mostly have a large cast and much
separate, musical and theatrical song interpretations in year 1
ensemble work (42nd Street, Damn Yankees)
towards full integration in year 4.
Singing, acting and dance/movement are ‘supporting’ main
Classical Musicals: musicals (often slightly older ones) in
subjects, in which the aim is to arrive at the highest possible
which the voice is used in a more classical way (West Side
craftsmanship, creativity and expressiveness. In addition there are
Story; the musicals by great composers such as Gershwin,
subjects such as elocution (speech), theory, ensemble, dramaturgy
Porter and Rogers & Hammerstein).
and history of music, theatre and musical. Also, subjects such as
health, education and entrepreneurship are represented in the
New Musicals: musicals written by contemporary musical
curriculum. With bold curiosity, the education looks at the new
writers (who often write both the dialogue/lyrics and the
music theatre of tomorrow and adopts a fresh, contemporary
music). Here the theatrical element takes central stage. These
approach of the musical. This is reflected in the two graduation
musicals often have smaller casts and sets (Next to Normal, Zij
profiles: Music Theatre and Musical Theatre.
gelooft in mij, Spring Awakening).
For both profiles, a number of work field domains have been
defined:
Rock Opera: through-composed works with pop music as the
Musical
Evita, Tommy).
music style and no spoken dialogue (Jesus Christ Superstar,
The Musical profile focuses on craftsmanship in the three disciplines
Music Theatre
voice, dance and acting, enabling our graduates to work in a wide
76
As both the field and material of music theatre are very broad, we
distinguish between four domains of study. In consultation with the
Free Market/Entertainment: music programmes in which
students, Codarts encourages them to make a choice as this leads to
music and singing take central stage, augmented with acts
specialisation and diversity in the working field. Of course, a
from vaudeville, cabaret and circus (Montezuma, Ashton
combination of domains is also possible.
Brothers, NUHR, Blazers Ensemble, Percossa).
Montage: a combination of text and motion theatre with
Structure of the Study Programme
existing songs from various music styles (for instance Orkater
The study programme Music Theatre is divided in a basic and a
and also many (youth) theatre companies that have singers
main phase. The first two years make up the basic phase in which
do acting, actors do singing or place actors and singers
the students’ talents are broadened. In the final two years of the
together on stage: NNT, Zuidelijk Toneel, MAAS, Bonte
studies, their talents are deepened, also by choosing one of both
Hond, NT Jong and collectives such as The Sadists, Suzies
graduation profiles: musical theatre or music theatre.
Haarlok and Club Gewalt).
Students who show a talent for both profiles may choose to do a
combination of the two profiles.
MTC: concerts with (original) songs in a theatrical setting,
In the basic phase, teaching is mainly done by a permanent team of
performed in the tradition of the pop/performance culture,
teachers, whereas in the main phase the working field is introduced
often using electronics and/or new media (e.g., Björk, Lady
in the programme through guest teachers and guest directors. In
Gaga, David Bowie, De Kift, Wende Snijders).
the main phase the education becomes increasingly individual and
more aligned to the chosen graduation profile.
Contemporary: students sing, interpret and perform work
Looking at the professional roles, the study programme is structured
by contemporary composers. Earlier operas may also be the
as follows:
starting point for a reconstruction and translation into
contemporary music styles and vocal techniques. Students
focus on the field (the niche) in which the musical aspires to
MUSICIAN
a higher quality and the opera wants to be more accessible,
reaching out to the audience (M-Lab, Reisopera, Holland
Voice
Opera, Vocaal Lab, Transparant, LOD).
77
Singing is taught in all four years as an individual main subject class.

Year 2: in the first semester, the acting segment serves the
In the basic phase this includes the subject Vocal Technique: the
first integration project, the so-called character study. The
theory underlying the speech organ and various singing methods.
second acting segment serves the second integration
In all four years, ensemble singing is an element of the subject
project: the production ‘Van Kul tot Cult’.
Singing. In the basic phase students from the same year form an

Year 3: an acting segment that deals with dialogues from
ensemble; in the advanced phase the ensemble is made up of
text theatre. The subject Elocution is taught individually in all
students from each of the two graduation profiles.
four years and also contributes to the presentations that
result from the acting segments.
Music Theory Subjects
MTV, Solfège and Harmony at the Piano are all subjects that are
Integration/Interpretation
taught in the basic phase. As much as possible, the lessons are

Year 1: during the first semester, students work only on
aligned with the practice from the voice and
musical interpretation. By the end of the second semester
interpretation/integration lessons.
acting-related interpretation is introduced.
PERFORMER

Year 2: the second year consists mainly of two big research
projects introducing both graduation profiles Musical
Dance
Theatre and Music Theatre.
In the basic phase, dance classes include jazz dance, modern dance
1. The character study. In this project students work on
(including improvisation) and gyrokinesis.
playing a character from a musical.
In the main phase, dance classes become more specialised in
2. The montage production ‘Van Kul tot Cult’. Two types
relation to the graduation profile. There are still classes for training
of research are combined here: acting-related
general skills, but for each profile specific genres and styles are
research and music research. In the lessons various
taught now, often by guest teachers from the professional practice.
acting and music styles are treated that make up the
production. Students explore how these two
Acting

elements, singing and acting, influence each other.
Year 1: acting lessons that train skills in the field of
improvisation and text theatre.

78
Year 3 has three major parts:
1. The (solo) integration concert. A concert programme

with a number of pieces that meet certain conditions.
Year 3: reflection and motivation of the choice of middle
production and minors. Also preparation for and pitch of the
2. A musical or music theatre production. Depending on
thesis subject.
the chosen profile, students take part in this in

Year 4: the thesis
groups. Students of year 3 and 4 are placed together
according to their profile.
3. The Showcase. A production for a large venue,
ENTREPRENEUR
presenting material from both graduation profiles.
In all four years, this professional role consists of a portfolio of

Year 4 also has elements from year 3, but this time the
various elements that are all related to the profession of music
Integration Concert is replaced by the Theatrical Concert.
theatre.
Students are free to design this themselves, in collaboration

with a coach and music supervisor (either from Codarts or
Year 1: two project weeks: Cultural Entrepreneurship, Health
& Performance
external). The acting segment in year 4 is part of the subject

Year 2: two project weeks: Cultural Entrepreneurship,
Integration and uses material that fits with both graduation

Year 3: one project week: Cultural Entrepreneurship
profiles. Music is an essential part of this segment.

Year 4: one project week and the module TC, which is linked
to a COM-assignment.
RESEARCHER


TEACHER
Year 1: music history and genre-specific history, consisting of

In year 2 there is an Introduction to Education: visits to
theatre orientation and history of the musical. Reflection on
educational institutes and attending and giving feedback on
this first year.
a production made by an educational institute.
Year 2: the reflection is combined with choosing a

In year 3 the so-called Basic Course in Education takes place.
graduation profile, choosing minors and a musical or music
Vocational didactics, pedagogy and giving internship lessons
theatre production.
are part of this. After taking this mandatory module students
have the option of taking the minor Education.
79
PROFILE MODULES
In years 3 and 4, students choose a number of so-called profile
modules (minors) from all the modules that Codarts offers. In this
free space, students choose models that fit within their graduation
profile.
80
After Codarts
Aafke Kloppenburg is a singer who has formed the band AFKA,
We see many graduates from Music Theatre in Dutch productions.
which mixes electronic music and traditional instruments.
Where exactly depends on their graduation profile. There are
examples of students who succeeded in getting a major part in a
Finally there are many alumni with positions at music schools and
musical, such as Noortje Herlaar in Mary Poppins, The Producers and
music institutes where they pass on their knowledge and skills to
Urine Town. These days we also frequently see her on TV (Moeder ik
potential future music theatre students.
wil bij de Revue, Ramses) and in theatre (Agnes van God).
Renée van Wegberg had major parts in in Wicked, Joseph and the
Amazing Technicolor Dreamcoat, We Will Rock You and Tick Tick
Module Descriptions
Boom.
Of all modules from the study programme, module descriptions
Na-Young Jeon first played Miss Saigon in the Netherlands and was
were made that include:
then cast as Fantine in Les Misérables in London’s West End.

the content of the module

the study load
A follow-up study at a renowned institute in England is also a

the learning outcomes
possibility. A number of students have taken a Master’s at GSA

information about the examinations (form, criteria, results
(Guildford School of Acting), for which their Codarts training had
scale)
prepared them well.

entrance requirements
In music theatre as well we can name several examples of successful
For the module descriptions (Dutch only) for Music Theatre click
students. For example, Club Gewalt, a collective of eight students
here.
that was already formed during their studies. They create their own
music theatre productions and are also invited to collaborate as a
Study Credits Table
collective in various productions by other production houses.
Below is the study credits table for the study programme Music
Jorien Zeevaart has been with Kameroperahuis for some time now
Theatre, which lists the study load and contact hours per week.
(Being Arthur) and Yorick Heerkens is with Pips:Lab, where all
performances integrate various art disciplines.
81
82
Totaal
1
Leerjaar
1
Semester
1
2
1. Musicus
9
15
4
4
Zang
- Zangles
Totaal
2
2
1
2
9
16
10
4
11
6
4
7
24
- Ensemble
2
2
- Vocale technieken
2
2
Muziektheorie vakken
5
5
5
5
- MTV
2
2
2
2
- Solfège
2
2
2
2
- Harmonie ad Piano
1
1
1
1
10
17
7
23
Dans (jazz/modern/gyrokinesis)
4
5
Spel
4
6
Integratie/Interpretatie
2
6
2. Performer
27
25
Totaal
3
3
1
2
0
13
13
1
2
0
13
13
1
13
1
1
2
2
1
Totaal
4
Eindtotaal
13
75
55
20
30
8
9
17
25
12
7
3
18
30
7*
112
25
3
16
2
6*
- Spelles
- Interpretatieles
4
16
3
2
6
2
1
- Integratieles
2
Personage Onderzoek
4
4
Van Kul tot Cult
12
Showcase MT2
2
12
2
Integratie Concert MT3
3
3
Productie MT3
6
6
Showcase MT3
4
4
Theatraal Concert MT4
6
-pitch
1
-voorstelling
4
-COM
1
6
Productie MT4
6*
Showcase MT4
5
3. Researcher
5
Muziekgeschiedenis
2
Genrespecifieke geschiedenis
2
Pitch/Reflectie
1
5
1
1
4
4
1
3
3
3
4
4. Entrepreneur
2
2
Projectweken
1
Cultureel ondernemen
4
2
1
1
1
1
1
1
3
2
0
2
1
1
4
0
1
1*
10
5
1
3
1
1
5. Musicus/Teacher
1
Kennismaking educatie
1
4
0
4
0
0
0
1
4
6. Profielmodule
6
Profielmodule 1
6
Profielmodule 2
4
6
12
6
6
12
6
Profielmodule 3
6**
Profielmodule 4
6
6**
60
* deze modules worden in het geval van een stage getoetst
in de stagesetting
** in het geval van een stage wordt een van beide
profielmodules getoetst in de stagesetting
83
18
42
60
20
24
6
6
39
5
1
Basis educatietraject
21
14
2
1
Scriptie
Eindtotaal
5
4
2
Scriptie voorbereiding
Gezondheid
4
6
40
60
23
37
6
60
240
Support Staff Education
Anouk Beugels - Head Codarts Music Theatre
T: 01021711120
E: akmbeugels@codarts.nl
Office hours: Tue through Fri
Teachers
Hans Cassa - Head Codarts Music Theatre
Integration
T: 0102171052
Mony Wouters
E: jbcassa@codarts.nl
Arlon Luijten
Office hours: Mon through Thu
Carlo van der Put
Leo van der Plas
Tamar van der Leeuw – Management Assistant
Edwin Schimscheimer
T: 0102171120
Sanna Vrij
E: tvanderleeuw@codarts.nl
Rogier Telderman
Office hours: Mon through Thu
Voice
Inez van der Werf – Production Assistant
Antoinette Kouwenberg
T: 0102171053
Laura de Bekker
E: ivanderwerf@codarts.nl
Jeroen Phaff
Office hours: Tue, Thu and Fri
Leo van der Plas
Mony Wouters
All educational support staff members are located in the open-plan
office on the 7th floor of the Kruisplein building.
Acting
Pieter Loef
Anouk Beugels
Carola Arons
84
Elocution
Tessa van Beek
Dance
Pauline du Bois
Ariënne Zwijnenburg
Robert Hlatky
Francesca Bracelli
Theory Subjects
Hans Cassa
Carlo van der Put
Edwin Schimscheimer
Pieter Loef
Erik Visser
Education Planning
Cultural Entrepreneurship
For the general education planning Music, please consult chapter 1
Saskia Floor
of this study guide.
Marijke van Velzen
Special weeks for the study programme Music Theatre are:
Thesis
Tessa van Beek
week 44
project week
week 50
examinations minors MT 1/2
Education
week 51
examinations main subjects
Laura de Bekker
week 7, 9 and 14
Marjolein Boersma
week 17
examinations minors MT1/2
week 24
examinations main subjects MT1
week 26
Showcase Oude Luxor
85
auditions
86
Curriculum Model Music (Performing)
(Classical Music, Jazz, Pop, World Music)
LEGEND:
Position
Researcher
Teacher*
Maker/ Performer
Entrepreneur
Profiling space
Music year 1 – Propaedeutic Phase
Music year 2 – Main Phase
semester 1
semester 2
semester 1
semester 2
Main subject
Main subject
Main subject
20 ects
10 ec
10 ec
20 ec
Theory subjects
Theory subjects
Theory subjects
Theory subjects
5 ec
5 ec
5 ec
5 ec
Music year 3 – Main Phase
semester 1
semester 2
Music year 4 – Main Phase
semester 1
semester 2
Main subject
20 ec
Main subject
20 ec
Theory subjects
3 ec
Pract. Harmony/Piano
Pract. Harmony/Piano
Pract. Harmony/Piano
2 ec
2 ec
4 ec
Ensemble Playing
Ensemble Playing
Ensemble Playing
6 ec
6 ec
12 ec
Theory subjects
3 ec
Ensemble Playing
11 ec
Educatie
6 ec
Portfolio
Portfolio
5 ec
5 ec
9 ec
Thesis preparation
3 ec
Portfolio
2 ec
Music Worldwide
Genre-specific
Ensemble Playing
10 ec
3 ec
Profile Space
12 ec
Genre-specific
6 ec
87
Portfolio
2 ec
Thesis
4 ec
Profile Space
24 ec
88
Final Qualifications
Professional- ProfessionalArtistic
vocational
social
Competency domains Music (Performing)
Competency Domain
1. Vision
Artistic Competency Domain
2. Creative skills
Vision and Creativity. The musician is artistically driven and able to
3. Collaborative skills
acquire views and opinions in his or her own professional field and
4. Communicative skills
to communicate these in the professional practice of music.
5. Analytical skills
1
6. Technical skills
has developed a musical-artistic personality enabling him or her to
play music by using expressive language and professional drive.
7. Entrepreneurship
2
8. Context-orientation
is able to manage various musical concepts, styles and
interpretation forms in a creating and/or re-creating manner,
9. Learning skills
shaping these in the way he/she performs the music.
10. Reflective skills
Communication The musician is able to communicate his actions
11. Innovative skills
effectively and efficiently in a variety of contexts and communicate
the artistic meaning of music to others.
3
explores artistic possibilities in interaction with target groups.
4
is able to present him or herself either individually or with others.
Collaborative skills: The musician is able, together with others who
are involved, to actively contribute to a collaborative product or
process.
5
has the social and communicative skills to participate in various
forms of musical collaboration.
Professional-vocational Competency Domain
The Craft: The musician maintains a wide range of professional
89
6
knowledge and skills that enable him or her to function in both the
Entrepreneurship: The musician is able to independently obtain a
national and international professional practice .
professional existence in the world of music.
has a discerning musical imagination and applies this to support
16
practical situations.
7
productions.
has the musical instrumental/vocal competencies to render music
17
from a chosen field of repertoire with knowledge of the historic
presents his or herself and his or her musical product to potential
clients in terms of content organisation and finances.
and stylistic context .
8
is able to operate as a cultural entrepreneur in his or her own
18
adopts a professional attitude in contacts with clients and
has sufficient command of repertoire
customers.
(solo/band/ensemble/choir/orchestra) to be able to function in a
Innovation: The musician is able to explore the professional field
professional context .
and experiment with it, which is then expressed in innovative music
9
is capable of mastering new repertoire.
processes and productions.
10
has knowledge of the use or handling of relevant conditions.
11
12
19
demonstrates an inquisitive attitude aimed at further development
Analytical skills: The musician is able to (cognitively) analyse music.
in the professional field and its context.
is able to analyse music, either played or notated, on the basis of
Methodical and reflective behaviour: The musician is capable of
insight into rhythmic, melodic and harmonic structures and forms
methodical and professional behaviour, can reflect on this and is
and can then interpret and perform this music.
independent. He or she is able to provide feedback with and to
has knowledge of the relevant music literature, the historical and
others.
20
stylistic context of the performing practice and is able to apply this
has sufficient professional knowledge, insight and experience to
regard his or her own artistic performance critically and, based on
knowledge effectively.
this, permanently evaluate and further develop its quality.
21
Professional-social Competency Domain
is able to set realistic goals, make a planning and work according
to plan; is capable of self-reflection.
Context orientation: the musician follows general developments in
society and knows how to integrate these in his music practice .
13
14
15
Competency domains Composer
can find connections between his or her own artistic functioning,
developments in music and other art disciplines and the social
Artistic Competency Domain
context.
Vision and Creativity. The musician is artistically driven and able to
is able to participate in the music world and make contact with
acquire views and opinions in his or her own professional field and to
musicians, audience and potential clients.
communicate these in the professional practice of music.
1
is able to see his or her music activities from the perspective of the
has developed a musical-artistic personality enabling him or her to
play music by using expressive language and professional drive.
music of various traditions, style periods, cultures and regions.
90
2a
is able to respond creatively to intuition, observations, impressions
8
and emotions by transforming them into artistic ideas and
composing, in interaction between music theory and hearing.
compositions.
2b
is able to translate a musical concept into a composition.
2c
demonstrates a professional drive in designing musical and perhaps
makes use of musical knowledge and skills for specific aspects of
9
is able to efficiently gather news sources and techniques and expand
the professional field.
10
makes use of composition-oriented techniques and technological
extra-musical components.
tools.
Communication The composer is able to communicate his actions
Analytical skills: The composer is able to (cognitively) analyse music.
effective and efficiently in a variety of contexts and communicate the
11
is able to analyse music, either played or notated, on the basis of
artistic meaning of music to others.
insight into rhythmic, melodic and harmonic structures and forms
3
explores artistic possibilities in interaction with target groups.
and can then develop a new musical idea.
4
is able to present him or herself either individually or with others.
12a
Collaborative skills: The composer is able, together with others who
stylistic context of the performing practice and is able to apply this
are involved, to actively contribute to a collaborative product or
knowledge effectively.
process
5a
has knowledge of the relevant music literature, the historical and
12b
has knowledge of the working, use, function and meaning of music
and is able to apply this knowledge efficiently.
has the social and communicative skills to participate in various
forms of musical collaboration.
5b
5c
is able, in collaboration with performers, specialists from other
Professional-social Competency Domain
disciplines and perhaps producers and clients, to think of and realise
Context orientation: the musician follows general developments in
musical concepts.
society and knows how to integrate these in his music practice .
is able to make commissioned work.
13
can find connections between his or her own artistic functioning,
developments in music and other art disciplines and the social
context.
Professional-vocational Competency Domain
14
The Craft: The composer maintains a wide range of professional
music of various traditions, style periods, cultures and regions.
knowledge and skills that enable him or her to function in both the
national and international professional practice .
6
7
is able to see his or her music activities from the perspective of the
15
is able to participate in the music world and make contact with
has a discerning musical imagination and applies this functionally in
musicians, audience and potential clients.
practical situations.
Entrepreneurship: The composer is able to independently obtain a
has the musical instrumental/vocal competencies to either create or
professional existence in the world of music.
render music from a chosen field of repertoire with knowledge of the
16
historic and stylistic context
is able to operate as a cultural entrepreneur in his or her own
productions.
91
17
presents his or herself and his or her musical product to potential
clients in terms of content organisation and finances.
18
adopts a professional attitude in contacts with clients and customers.
Innovation: The composer is able to explore the professional field and
experiment with it, which is then expressed in innovative music
processes and productions.
19a
demonstrates an inquisitive attitude aimed at further development in
the professional field and its context.
19b
makes innovative contributions to the world of music
Methodical and reflective behaviour: The composer is capable of
methodical and professional behaviour, can reflect on this and is
independent. He or she is able to provide feedback with and to others.
20
has sufficient professional knowledge, insight and experience to
regard his or her own artistic performance critically and, based on
this, permanently evaluate and further develop its quality.
21
is able to set realistic goals, make a planning and work according to
plan; is capable of self-reflection.
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General Educational Matters
In addition, STIP sells T-shirts and hoodies (music, dance and circus)
STIP: Student/Teacher Information Point
Contact
STIP, or the Student/Teacher Information Point, is the service desk
for all students, teachers and staff members at Codarts. STIP also
STIP
serves as the front office of the Administrator Service Centre (ASC)
Kruisplein 26
and of the General and Technical Support Department (FD) and
Fifth floor
Information and Computerisation (I&A).
Monday through Friday from 8.30 until 17.00
010-2171195
What can STIP help you with? With a lot of things concerning your
stip@codarts.nl
studies at Codarts! Below is a brief overview of our services:

collecting and charging facility card

applying for proof of registration*

applying for a study progress report*

arranging to speak with someone from the Health Centre*

booking audio-visual equipment*

reporting malfunctions (with regard to equipment, the
STIP Lite
Pieter de Hoochweg 125
Ground floor
Monday through Friday from 9:00 until 17.00
010-2444500
stiplite@codarts.nl
building, et cetera)*

questions about registration

questions about examinations and study credits
Circus service desk
Fenixloods 2
Veerlaan 19F (waterfront)
Ground floor
*These services are also provided by Stip Lite at the location WMDC
010-2171060
and at the Circus service desk/office Circus Arts at the location
baliecircus@codarts.nl
Fenixloods 2.
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Office Circus Arts
Fenixloods 2
Veerlaan 19F (waterfront)
Second floor
010-2171046
ssmit@codarts.nl
94
Enrolment and de-enrolment
Enrolment

the student meets the language requirement
and August 31 of the next year. Tuition fees are paid over the same
is done through Studielink. Studielink is an online registration
period.
wizard that helps students to register or re-register for a study
programme at an academy or university. For all programmes at
Re-enrolment is also done through Studielink. By mid-May, students
Codarts students must meet additional requirements (entrance
receive an email from the ASC with information about re-enrolment
exam).
and the documents needed for paying the tuition fee.
After taking the entrance exam, students receive news of whether or
The registration information package that students receive after
not they can be admitted. If they are admitted, they receive a proof
being placed stipulates the date before which the registration must
of admission and all the information necessary to permanently
be finalised.
register from the Administrator Service Centre (ASC). To be officially
registered, students must meet the following conditions:

the student has a Studielink account.

the student has requested registration via Studielink for the
Language Requirements
All study programmes at Codarts have language requirements.
Below, these requirements are listed for each of the programmes,
followed by the conditions for exemption.
study programme to which the student has been admitted.

the student’s identity has been verified by the ASC.

the students previous education has been verified by the
Bachelor Music in Education, Bachelor Dance in Education and
Master Art Education
ASC (at least HAVO or an equivalent diploma).
All students (except students who have obtained a diploma in the
the tuition fee has been paid
Netherlands or Flanders) who follow the Bachelor Music in
(the standing order to pay the tuition fee must have been
Education, Bachelor Dance in Education and Master Art Education
given).

non-European students have a valid residence permit.
A registration at Codarts Rotterdam is valid between September 1
Enrolment for a Bachelor’s or Master’s study programme at Codarts


must submit a Dutch language certificate (NT2-II) before the
the student has submitted the form ‘Verklaring Studieadres’
beginning of their studies and no later than August 31. Codarts
(statement of study address) and has registered with the
GBA (the municipal basic administration).
95
does not organise a Dutch language test. For more information:
Exemption English language requirement:
www.duo.nl.
Eligible for an exemption of the English language requirement are
those international students
Bachelor Music, Circus Arts and Dance

who have had their previous training in English and have
To be admitted to these study programmes, the minimum
obtained:
requirement is an IELTS score of 5.5 (academic level) or an
o
equivalent TOEFL score. The original certificate must be submitted
a European Bachelor’s degree with English as official
language
to the ASC.
o
an International Bachelor’s degree with English as official
language
Except those who have obtained a diploma MBO Level 4, or a
HAVO or VWO diploma in the Netherlands, all students who start

who have a high school diploma obtained in the United
with a Bachelor programme are required to submit a certificate of
States of America at a certified High School showing that
their proficiency in English by the end of the first study year.
they have at least followed the final three years of high
Students whose native language is not English (except students who
school education.
have obtained a diploma in the Netherlands or Flanders) and who
cannot submit an IELTS certificate (academic level) or TOEFL

who have followed a secondary or higher education (and
certificate, must take a mandatory English test as organised by
have obtained a diploma) in a country where English is the
Codarts in the introduction week.
official language (also in education): Australia, Canada,
Ireland, New Zealand, United Kingdom and the United
Master Programmes
States.
Students who start with a master programme must first submit a
certificate with a minimal IELTS score of 5.5 (academic level) or an

who have a diploma from secondary education (qualifying
equivalent TOEFL score, before starting their studies and no later
them to follow a HBO course) from one of the following
than 31 August. For students of a non-European identity the
nations: Belgium (Flanders only), Denmark, Germany, Estonia,
deadline for submitting an IELTS/TOEFL certificate is 1 July 2015
Finland, Hungary, Latvia, Lithuania, Norway, Austria,
(and preferably even sooner) with regard to applying for a residence
Romania, Slovakia, Sweden.
permit.
96
Please note: Codarts’ Administrative Service Centre determines
Examination Regulation (OER) of the study programme in
whether the obtained diploma is sufficient for an exemption of the
question.
English language requirement. With regard to accepted language
c. access to the buildings of the institute, except when it
tests other than IELTS, the following table is used:
contravenes the nature or interest of the study
programme in the view of the Board of Directors (CvB).
d. making use of the educational facilities, such as the
media library, et cetera.
e. making use of the student facilities, such as study
pathway advice, student counselling, et cetera.
f.
study coaching, as described in the Education and
Examination Regulation (OER).
g. finishing the study programme within a reasonable
period of time at the Institute or another educational
institute, in case either the Minister for Education or the
Institute itself decide to end the study programme.
2. enrolment as a student at a specific study programme entails
Institutional scores are not accepted.
at least the following obligations:
a. demonstrating proper behaviour according to the rules
Rights and Obligations based on the WHW (the Dutch Law on
imposed by the Institute.
Higher Education and Scientific Research)
b. demonstrating behaviour that complies with the specific
1. enrolment as a student at a specific study programme grants
security requirements in those places where this is
at least the following rights:
deemed necessary.
a. taking part in the relevant study programmes of the
Institute, except in programmes that stipulate additional
3. enrolment as external student brings with it the following
requirements.
rights and obligations:
b. taking tests and exams within the study programme.
a. taking tests and exams within the study programme.
How this takes place is defined in the Education and
How this takes place is defined in the Education and
97
Examination Regulation (see the OER in this Study
and which students must pay the university tuition fee still to
Guide).
be determined. The CvB also lays down rules of a procedural
b. access to the buildings of the institute, except when it
nature in order to determine the amount of examination fees
contravenes the nature or interest of the study
that external students must pay.
programme in the view of the Board of Directors (CvB).
c. demonstrating proper behaviour according to the rules
De-enrolment
imposed by the Institute.
There may be several reasons for students to interrupt their studies
or for ending their studies either voluntary or due to circumstances.
General Regulation Concerning Tuition Fees
Codarts may also decide to de-register a student.
1. For each study year that a student is registered for a study
programme by the CvB, he or she is obliged to pay Codarts
Click here for the Regeling en Reglement Uitschrijven. (in Dutch only)
Rotterdam a statutory tuition fee or a university tuition fee.
The tuition fee can be paid in instalments, according to a
Tuition Fees 2015-2016
payment scheme defined by Codarts Rotterdam. The
maximum administrative costs for this have been set by law.
Please note: All mentioned tuition fees are conditional to changes
in law or policy.
2. External students are obliged to pay Codarts Rotterdam
The amount of the tuition fee for part-time or full-time education
examination fees for each study year that they are registered
depends on a number of things.
for a study programme by the CvB. The CvB determines how
If you meet the nationality requirement (see below under 1.) and
much this is. Examination fees must be paid outright.
you have not previously obtained a degree at an Academy or
University in the Netherlands (see below under 2.) You must pay the
3. The amount of the statutory tuition fee and of the university
statutory tuition fee of €1,951.
tuition fee and examination fee determined by the CvB is
announced to students and aspiring students on Codarts
1. The nationality requirement means that you have the
Rotterdam’s website each year before 1 May.
nationality of a country that belongs to the European Union
(EU) or of Iceland, Lichtenstein, Norway, Surinam or
4. The CvB lays down rules of a procedural nature in order to
Switzerland. You also meet the nationality requirement if you
determine which students must pay the statutory tuition fee
98
are eligible for Study Financing on the basis of your
Do you have the nationality of a European member state or of
residence permit.
Iceland, Lichtenstein, Norway, Surinam or Switzerland?
1. Yes
2. This means that, at the start of your Bachelor or Master
 continue with Step B
programme you have not previously obtained a Bachelor’s or
Master’s (or equivalent) degree at a publicly funded
2. No, but the Stichting voor Vluchteling-Studenten UAF is
academy or university in the Netherlands. Exception: you do
paying my tuition fee.
not have to meet this requirement when registering for the
 continue with Step B
first time for the study programmes Bachelor Music in
Education, Bachelor Dance in Education or Master Art
3. No, but my residence permit meets the WSF 2000
Education, and have not yet obtained a degree in the croho
requirements (check http://www.ib-
domain Health Care or Teacher Trainings.
groep.nl/studiepunt/nationaliteitenschema/natschema.asp)
 continue with Step B
Students who do not meet one or more conditions of the statutory
fee must pay the university tuition fee.
4. No, and I do not fulfil any of the above criteria 1, 2 or 3.
 You must pay the university tuition fee of €4,700
In the course of the study year, your personal situation may change
and the amount of the tuition fee listed in your registration package
Step B
may no longer be applicable, for instance when you have meanwhile
Did you, in or after the study year 1991-1992 obtain a Bachelor’s or
obtained a degree at another academy or university. Below are the
Master’s degree (or an equivalent degree such as an HBO end
steps to be taken to determine the amount of the tuition fee.
certificate, a Baccalaureate or PhD) at a publicly funded educational
institute in the Netherlands?
Following the scheme below it is possible to determine step-by-step
the amount of the tuition fee that you must pay to Codarts for this
1. No.
study year 2015-2016.
Continue with Step C
Step A
2. Yes, but in the study year 2015-2016 I am taking the study
programme Bachelor Music in Education, Bachelor Dance in
99
Education or Master Art Education and my previously
obtained degree was not in Education or Health Care.
Continue with Step C
3. Yes, I started my current studies before obtaining a previous
degree and I did not interrupt my studies.
Continue with Step C
4. Yes, and I do not meet the criteria under step B2 and B3.
 You must pay the university tuition fee of €4,600
For students of Dance Therapy: students of the part-time Master
programme Dance Therapy who have already obtained a Master’s
degree before starting their studies at Codarts, pay a tuition fee of
€3,600 for the study year 2015-2016.
Step C
you must pay the statutory tuition fee of €1,951
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Codarts Account
Student Life
When you register at Codarts you receive the log-on information for
You are a student, this is your life… Student Life’
You will be studying at Codarts, starting a brand-new chapter.
your Codarts account. This account consists of a username and
password for logging on to various Codarts facilities:
A new study, a new town, the start of a new stage in your life. This
Codarts email
sometimes bumpy roads.
means an exciting, fun, challenging but not always easy journey over
Codarts has created a personal email address for you. This mailbox
Both in preparing for and during your studies, situations may arise
is used for all communication with regard to schedules,
about which you have questions. For instance, practical matters such
examinations, projects, special offers, et cetera. It is therefore
as arranging for somewhere to live, study financing, applying for a
advisable to check your email on a regular basis, via
https://owa.codarts.nl.
residence permit or opening a bank account. Also, studying at a new
Osiris Student
different language and different habits can be changes that require
school and perhaps even in another country with different people, a
some getting used to. Or, in the course of your studies, you may be
Via Osiris Student you can stay informed about your study progress
faced with injuries, illness or stress or with unexpected delays in
24 hours a day, from anywhere in the world. On
your study progress.
studentosiris.codarts.nl you can check your latest results but also
obtain a full study progress report (SVO).
As an artist you are under great pressure to perform. You think
Media Library
goals and hang on to your dreams.
about how to bring out the best in yourself, how to achieve your
Codarts expects initiative and independence from you, so it is only
To use certain digital services of the media library you need to log in
natural that you have questions now and then. That is why Student
with your Codarts account.
Life is there for you.
If you have lost your username and/or password you may apply to
Student Life is the central service point for all Codarts students for
STIP for new ones.
all questions that do not specifically have to do with education. Even
before you start your studies, this is the place for any questions
having to do with preparing for your studies and life in Rotterdam.
101
During your studies you can always call on us as well. Discretion and

confidentiality are important aspects in how Student Life operates.
Health Centre
A team of internal and external staff members who can
instruct, advise and coach you in subjects regarding injuries
Student Life offers the following services:

and taxation, performance improvement, food and lifestyle.
Student Counselling
Student Counselling
The student counsellor looks after the interests of students at
The first place to go to for students with a functional
Codarts and is the intermediary figure for students with a functional
impediment, students experiencing (possible) study delay
impediment or chronic disease. You can also go to the counsellor
due to special circumstances or financial problems, students
with questions or problems involving regulations and legal
who wish to interrupt or prematurely end their studies and
provisions.
for all questions about housing and insurance.

If your studies are not really going well and you are in danger of
Study Pathway Advice (SLB)
incurring delay, the student counsellor may help you limit the
For all issues pertaining to study progress and structure of
possible consequences (including financial ones). At your request
your study programme.

and together with the student counsellor you can then look for
solutions to improve your functioning with regard to your studies.
International Office
Also, if you would like to speak privately and confidentially with
To help international students apply for a residence permit,
someone from outside your study programme, the student
open a bank account and registering with the municipal
counsellor is there for you. The student counsellor is well-informed
administration GBA. Information about and coordination of
of all general laws and regulations and of the regulations and
exchange programmes.

facilities of Codarts, and can give you the necessary information or
refer you to others. Think of issues around study financing,
Mentoring
complaints and appeal procedures (in case of complaints of
Help with stress prevention, homesickness, fear of failure,
conflicts). The student counsellor can also refer you to external
concentration problems, mental resilience, dealing with
specialist help in matters regarding legal, financial or social
injuries.
problems that interfere with your study progress.
102
Contact the student counsellor in any of the following cases:
need to contact the student counsellor, who will inform you about
what is possible within the Regulation Study Delay due to special
Special Circumstances that Interfere with Your Studies
circumstances and other possible practical/financial facilities.
If you are unable to study for a long time or are in danger of
incurring delay due to special circumstances such as illness, family
Financial Problems
situation, a handicap or other personal reasons, you may appeal to
In exceptional cases Codarts can provide students with financial
the Regulation Study Delay.
support in the form of a loan for paying your tuition fee or with a
Together with the student counsellor and your study pathway
contribution from the Profiling Fund or Codarts Instrument Fund.
advisor you will devise an adapted study plan with the goal of
The student counsellor can tell you if you are eligible for this type of
compensating for the delay as much as possible. If necessary, this
support and how to apply for it.
plan may also stipulate special evaluation moments. By making solid
arrangements about your study progress together, we can prevent
Interrupting or Prematurely Ending Your Studies
you from incurring unnecessary extra delays or even getting a
Should you consider to end your studies before graduating, for
negative binding study advice.
instance because you have an injury or because the education does
not meet your expectations, we ask you to report this to the student
To make use of this arrangement, you must report the special
counsellor. In a so-called ‘exit interview’ the student counsellor will
circumstances to the student counsellor no later than two months
discuss with you the reasons for your de-registering. In case you
after they first occur (or no later than four weeks prior to the
wish to interrupt your studies temporarily, you can discuss the
examination period). The counsellor will then inform you about the
requirements for resuming your studies at a later time with the
possibilities within the framework of the Regulation Study Delay due
student counsellor.
to special circumstances and other possible practical/financial
facilities.
Housing
If you’re looking for place to live in Rotterdam for either a longer or
Studying with a Functional Impediment
shorter period of time, the student counsellor can give you
Via the regulation ‘Studying with a Functional Impediment’ students
information and advice. Extensive information about housing can be
with a functional impediment can benefit from various facilities and
found in the Holland Handbook.
services, such as extra coaching, extra examination time, spreading
of evaluations, et cetera. To be eligible for these provisions you
Insurance
103
Having the right insurance is important and the student counsellor
handle feedback, how you apply time management and how you
can give you information and advice on this.
handle disappointments and successes.
In short, you discuss how you take responsibility for your studies. If
Contact
necessary, the SLB will advise you in taking decisions about the
Ineke Top, Student Counsellor
content and progress of your studies.
T: +31(0)102171025 / +31(0)619152947
Boukje Kruithof-van Rijn, Student Counsellor
Where do you find your SLB?
E: decaan@codarts.nl
The name of your LSB is listed on your study roster. He or she will
contact you for a first meeting via Codarts email. Of course you can
also make an appointment on your own initiative. If you wish to do
Study Pathway Advisor
so, it is convenient if you inform the SLB about the free moments in
Codarts may be the start of your study career for you. Luckily, you
your study roster.
will find the study pathway advisor (SLB) at your side. The SLB is
your primary contact for anything related to your study and study
For general questions about the SLB you can send an email to: slb-
progress. He or she can provide you with information about the
general@codarts.nl.
content of the study programme: what subjects do you study and
what is expected of you? How is the programme structured: when
do you take what classes? How and where do you check the number
International Office
of study credit points you have acquired (in Osiris)? And which
Even though it is called the International Office, the service is
regulations within Codarts (OER, BSA, et cetera) may become
intended both for students from abroad and Dutch students.
relevant for you?
Codarts’ International Office is the place where students from
abroad are informed about the travel documents they need to come
When do you first meet your SLB?
to the Netherlands; where they arrange for their residence permit in
At the start of the study year, an SLB will be assigned to you. During
order to establish themselves in the Netherlands as a Codarts
the first year, you will have at least three meetings with your SLB.
student; where they receive information and, if necessary, assistance
During the second, third and fourth year, there will be at least two
in prolonging their current residence permit; where they ask for
meetings. In these mandatory consultations the results you have
advice about opening a Dutch bank account or how to register at
obtained will be discussed, as well as how you study, how you
the municipal administration (GBA); and where all Codarts students
104
can get information about possibilities for study exchange: Erasmus
the mentor. On the page ‘Mentoring’ on Codarts’ intranet are a
(in European countries) and exchanges outside Europe. The
number of articles about the subject of stress prevention that
International Office can also provide you with information about
include useful tips. There is also a list of recommended literature.
grants for a follow-up study or for research abroad.
Contact
Contact
The mentors at Codarts are:
Asia Ross, International Office
T: +31 (0)10-2171026
Karin Bijl
Hanneke van der Wal
E: international@codarts.nl
T: 06-41827200
T: 06-42589091
General email address
Mentoring
mentor@codarts.nl
As a student you may encounter problems for which you don’t see a
solution right away. These may be personal problems such as
If you wish to do make an appointment, it is convenient if you
homesickness, concentration problems or feelings of insecurity, but
inform the mentor about the free moments in your study roster.
also cultural differences or how to handle injury. Or you may want to
talk about your motivation or how to optimise your studies. In all
these cases you can have a number of confidential discussions with
Health Centre
the mentor. The mentor is the first contact person for your ‘general
Whether you are a musician, dancer or circus artist, you perform at a
well-being’. If necessary the mentor can refer you to an external
high level and this asks much of you, both physically and mentally.
expert.
For that reason your health is of paramount importance during your
studies and later career. As a student of Codarts you take
Trainings
responsibility for your own physical and mental health, as your body
In addition to individual discussions, members also organise
and your mind are your instruments, after all. Codarts’ Health Centre
trainings in mental resilience.
can help you stay on track in this respect.
Stress prevention, stage presentation and dealing with stage fright
are some of the subjects that are addressed in these trainings. So
The Health Centre works together with colleagues from various
you can work on these issues both individually and in groups, via
disciplines in health care – both internally and externally – who have
105
specialised in working with professional performing artists and top

one dietician (also for sports)
athletes.

one performance coach
Screening
They can instruct, advise and coach you in matters of:
The screenings for the programmes Circus Arts, Dance, Dance in

injury prevention
Education and Music Theatre, as well as the voice tests for the music

overburdening complaints
programmes at Codarts, take place under the responsibility of the

lack of energy
Health Centre. The results from the screening or test provide you

performing after an injury or illness
with a good insight into your physical capabilities and indicate

performing under pressure
aspects that require your attention. Following the screening, you will

performance improvement
be given a training schedule to work efficiently at these aspects.

healthy lifestyle in relation to top performance

preventing too much tension and stress
Health Team

hearing taxation
If you have physical complaints related to your studies, you can visit

optimal diets
the surgery hours (announced on the intranet under Student Life) of

healthy voice use
the Health Centre’s staff members, which are:

two manual physiotherapist

one physiotherapist

one speech therapist
106
107
Hearing Protection
medical specialists, medical examinations such as MRI and other
Hearing/hearing protection is one of the most important subjects
scans, X-rays and (sport)physiotherapy treatments. For more
for the Codarts Health Centre. Well-functioning hearing is of the
information, please contact the student counsellor:
utmost importance to music students and teachers if they wish to
decaan@codarts.nl
become, be and especially remain active in the professional field of
music. At the same time, the profession brings with it above-
Also, don’t forget to register with a general doctor’s practice in the
average risks with regard to the proper functioning of our hearing.
neighbourhood where you live! If you have any questions, please
Knowledge of how the ear works, of the risks of hearing damage
contact the Health Centre: healthcentre@codarts.nl
and of preventive measures is therefore quite important. For a
number of years now, Codarts, in collaboration with Earproof, have
Education and Information
been providing information and advice about hearing and hearing
In the course of your studies, there are several occasions where you
protection by handing out information brochures and organising
can acquire knowledge and skills in the area of health in relation to
lectures, workshops, et cetera. And also by offering hearing tests
your specific art form. There are workshops and special information
and hearing protection devices, varying from simple earplugs in the
events. There is also a lot of written material. With some study
dispensers at the various Codarts locations to sessions where
programmes, the subject ‘health in relation to top performance’ is
musicians are fitted with special, made-to-measure earplugs.
part of the curriculum.
Contact
Contact
The dates on which students can contact the health Centre for
The staff members at the Health Centre have surgery hours in room
information and/or hearing tests will be announced via your Codarts
8.28 (location Kruisplein) and can sometimes also be found at the
email and on the intranet under Student Life. Appointments can be
various other locations. For the exact times and locations, please
made via Earproof’s digital agenda: www.earprof.com
check the intranet and the electronic news ticker regularly. You may
contact STIP directly to make an appointment. For questions of a
Health Insurance
general nature, please contact Suze Steemers at the Health Centre:
In case you need extensive treatment you will be referred to the
healthcentre@codarts.nl
external network of (para)medics and specialists. Make sure you
have a good supplementary health insurance that covers at least
108
Studying with a Functional Impediment
To make use of this arrangement, you must report the special
Via the regulation ‘Studying with a Functional Impediment’ students
circumstances to the student counsellor no later than two months
with a functional impediment can benefit from various facilities and
after they first occur (or no later than four weeks prior to the
services, such as extra coaching, extra examination time, spreading
examination period). The counsellor will then inform you about the
of evaluations, et cetera. To be eligible for these provisions you
possibilities within the framework of the Regulation Study Delay due
need to contact the student counsellor, who will inform you about
to special circumstances and other possible practical/financial
what is possible within the Regulation Study Delay due to special
facilities.
circumstances and other possible practical/financial facilities.
Contact student counsellor:
Contact student counsellor:
T: +31 (0010-2171025/ +31(0)6-19152947
T: +31 (0010-2171025/ +31(0)6-19152947
M: decaan@codarts.nl
M: decaan@codarts.nl
Extracurricular Activities
Many students are already active in the work field during their
studies. These obligations sometimes coincide with educational
Study Delay
activities. Codarts feels it is important for students to already build
up a professional practice during their studies and therefore
Special Circumstances
facilitates students, in special cases, in making an appeal to the
If you incur a delay in your studies due to special circumstances
Regulation Study Delay on account of extracurricular activities.
such as illness, family situation, a handicap or other personal
Together with your study pathway advisor you will devise an
reasons, you may appeal to the Regulation Study Delay due to
adapted study plan, stating which educational activities you will miss
special circumstances.
and how you are going to compensate for these. If necessary, this
Together with the student counsellor and your study pathway
plan may also stipulate special evaluation moments.
advisor you will devise an adapted study plan with the goal of
This study plan is then presented to the head of the department,
compensating for the delay as much as possible. If necessary, this
who will have to approve the plan and the special evaluation
plan may also stipulate special evaluation moments.
moments. If the compensatory arrangements are in order, you must
file a special request with the examination committee. Before doing
109
so, first consult the regulations concerning requests to the
examination committee on the intranet.
110
information or questions send an email to the International Office:
Examination Committee
international@codarts.nl
The application procedure for an exchange programme is as follows:
Students may file the following requests with the examination
committee:

exemption

individual study path (including an alternative minor)

extra re-examination

alternative form of examination

combining examinations
1. As soon as you know at which school/schools you would like
to study, you make an appointment with the International
Office. They will give you the information about the
necessary steps in your application.
2. You fill out the application forms (which must be signed by
Click here for more information about the request procedure.
the manager of your study programme) and submit them to
Contact:
Together with these forms you submit the following
the international office no later than the end of January.
documents:
E: examencommissie@codarts.nl
T: 010-2171033
Exchange Programmes

CV

Letter of motivation

CD/DVD with your own audio/video material (do not
send originals as discs will not be returned)
Codarts offers students the opportunity to study or do an internship
All institutes have their own varying deadlines and
abroad for a number of months, starting in the second study year.
conditions. To make sure that your application is complete, it
An experience abroad broadens your horizon and adds value to
is a good idea to study these conditions on the website of
your CV. You are introduced to a different academy/university,
the institute in question. Via www.aec-music.eu (click on
different students, culture and language.
‘members’) you can find much useful information about all
Via this link you can find a list of the international schools that
the European schools that offer Erasmus+ exchange
Codarts has connections with. Is the institute of your choice not on
programmes.
the list? In that case we will discuss the possibilities. For more
111
3. When the manager of your department has approved your
able to take those subjects.
application, the International Office will forward it to the
The examination committee determines whether the list of
institute of your choice.
subjects you have chosen is an adequate replacement for the
Codarts curriculum.
4. Around June/July, the International Office will have received
news of the selection and will inform you of this.
Useful things to know:
5. When it is clear which school you can go to as an exchange

student, you must make an appointment with the
Only students who have obtained their propaedeutic
certificate may apply for an exchange programme.
International Office for information about the subsequent

The duration of an exchange can be anywhere between 3
steps. In particular you will receive information about the
and 12 months for study and between 2 and 12 months for
Grant Agreement (for your scholarship) and the Learning
internships (a combination of study and internship is also
Agreement (the document that specifies which subjects you
possible).
will take).

You can apply for no more than 3 schools.

During your exchange you remain a registered student of
6. Together with your department manager you draw up a
Codarts and are obliged to pay tuition fees to Codarts.
Learning Agreement (the subjects you have chosen), which

means you first have to find the curriculum of the school
During your exchange you remain registered at the address
where you live in the Netherlands.
you’ll be going to. You can compare this with the Codarts

Students who have been accepted for an exchange receive
curriculum and, together with the manager, you decide
financial support through an Erasmus grant. Depending on
which subject to take and which, if any, Codarts subjects still
the duration and goal of the exchange, this grant lies
remain to be taken.
between €150 and €270 a month for study and between
€270 and €390 a month for internships.
7. Via the International Office your Learning Agreement is sent
to the exchange institute and the examination committee.
Codarts Agency
The exchange institute determines whether the list of
subjects you have chosen is feasible. If so, they will sign the
agreement, thereby guaranteeing that you will indeed be
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Codarts receives requests by third parties for student performances
almost on a daily basis. Codarts believes it is important for students
If you would like to present yourself to external clients via the
to gain practical experience, as it offers them a chance to be already
Codarts Agency, please register with Monica van Steen by sending a
active as a performing artist during their studies, gain experience of
presentable photo and promotional text of your ensemble at
the demands of the profession, reflect on their profile as an artist
mvansteen@codarts.nl
and how to market themselves.
Quality Assurance and Options for Participation
These performances vary from livening up an opening or reception
to larger projects such as taking part in special events. The Codarts
As a student you have various options for participation. Codarts
Agency acts as an intermediary between this external demand and
what Codarts can offer.
emphatically invites you to make use of these options, as your input
The larger events are organised in collaboration with the various
our organisation.
is a valuable contribution to us and helps us to continue to improve
departments. For smaller events the Codarts agency brings the third
Representative Advisory Council (MR)
party in direct contact with Codarts students.
The Representative Advisory Council (MR) is the institute’s
The students then negotiate their own arrangements about the
conditions.
participation platform. Chapter 10 of the Law on Higher Education
Codarts considers it a privilege to be asked for performances
summarised, the council watches over ‘good practices’ within
(WHW) defines the tasks and competences of the MR. Briefly
Codarts and defends the interests of students, teachers and
outside the institute. Through these performances, which are
educational support staff. Elections for the council are held every
arranged via the Agency, Codarts expresses its social commitment.
two years and all students are eligible.
Besides charging costs and a modest compensation for students,
Codarts charges a sum to be donated to two supporting study funds
that are accessible to all students.
Study Committee
In approaching the students the Agency makes use of Agents. They
when it comes to the curriculum. Each year, the study committee,
The study committee is the education management’s soundboard
which consists of students and teachers, advises the management
are students of the various academies who take it upon themselves
and the MR about planned changes in the curriculum and about the
to be intermediaries.
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text of the Education and Examination Regulations. Also, the study
suggestions for improvements within the study
committee can give unsolicited advice to the management about
programme/Department.
subjects that have to do with education and examination.
Education Evaluations and the National Students Enquiry
It is important to Codarts to know how the students think about the
curriculum and the institute’s services and facilities. For this reason
students are invited to take part in digital evaluations on a regular
basis:

on average twice a year via EvaSys, to evaluate semester +
modules + associated teachers, special projects and/or
facilities

every two years via the National Students Enquiry (NSE): a
nationwide survey of student satisfaction with the education
and facilities at the institute
Based on the results of this type of evaluation improvements will be
initiated where necessary. This completely revised study guide is an
example of this!
Student Panels
Each study programme/department has its own student panel. This
panel meets on a regular basis with the department management to
discuss all kinds of matters that are of concern to students: rostering
and communication, the curriculum, the facilities, et cetera. The
results of the education evaluations and the National Students
Enquiry are also discussed in these panels. Of course the panels
themselves can also place issues on the agenda and make
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Complaints

negative binding study advice and compulsory referral to a
graduation programme after the first year

There may be occasions for a student to file a complaint. Complaints
the establishing of the result of the graduation examination
can be filed in various ways, depending on their nature.


For complaints about adherence to the Education and

committee.

the size of the exemption on the basis of having followed
related study programmes in vocational education
Examination Regulation, you can turn to the examination

the annual establishing of the number of study credits and
decisions having to do with preparatory education
requirements and entrance requirements
For complaints with regard to a decision by the examination
committee or examiners, you can turn to the College of

decisions by the examination committees and examiners
Appeal for Examinations (CBE).

decisions by entrance committees
For complaints with regard to undesirable behaviour you

decisions by any of the above-mentioned parties that were
not taken within the preordained term or, in absence of such
may turn to one of the confidential advisers and/or file a
a term, were not taken within a reasonable term
complaint with the complaints committee for undesirable
behaviour.
The full CBE regulations are available on the intranet under
bestuur/regelingen.
Examination Committee
Students may turn to the examination committee when they feel
A notice of appeal can only be done in writing via the College of
that the Education and Examination Regulation has been violated.
Appeal for Examinations Codarts, management secretariat,
This includes terms of publication of examination dates, the
Kruisplein 26, 3012 CC Rotterdam.
announcement of examination results and the manner of
assessment according to the frameworks established in the module
Confidential Advisers and Complaints Committee for
descriptions and evaluation plans.
Undesirable Behaviour
Complaints can be made via examencommissie@codarts.nl
Codarts regards the following behaviour as undesirable:

College of Appeal for Examinations (CBE)
sexual intimidation: unwanted sexual advances, asking for
sexual favours or any other verbal, non-verbal, written or
Parties concerned may appeal to the CBE against one of the
physical behaviour of a sexual nature that is considered an
following decisions:
115

unjustified breach of plaintiff’s personal privacy, something
A complaint can only be filed in writing via the College van Beroep
which the accused knew or at least should have understood.
voor de Examens (College of Appeal for Examinations) Codarts,
discriminating behaviour: behaviour by which equal cases
management secretariat, Kruisplein 26, 3012 CC Rotterdam.
are not treated equally on the basis of religion, belief,
political orientation, race, sex, sexual orientation, physical or
mental handicaps or any other ground.

aggression/violence/bullying: incidents in which plaintive is
harassed, threatened or attacked either psychologically or
physically.
In case of undesirable intimacies, sexist behaviour, discriminating
remarks or other forms of undesirable behaviour, complaints may
be filed with one of the confidential advisers. The confidential
adviser serves as a soundboard for the plaintiff and fulfils a mainly
mediating role in finding a solution. Despite the confidential
adviser’s formal status, this solution is not of a public nature. The
confidential adviser will attempt to arrive at an amicable settlement.
If the plaintiff finds such a settlement unsatisfactory, then he or she
may turn to the complaints committee. At that point several persons
become involved in dealing with the complaint.
The confidential adviser is:
Antoinette Kouwenberg: aekouwenberg@codarts.nl
The Complaints Regulation for Combating Undesirable Behaviour
can be consulted in the media library and is also available on the
intranet under bestuur/regelingen.
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Inspection of Regulations
All the major rules, regulations and protocols are available on the
Codarts intranet. Under the heading ‘over Codarts/ regelingen’ the
following documents are available (in Dutch only):

AO Statute (four-eyes principle)

Branch Code Good Governance Academies

Governance and Management Regulation

Behavioural Code International Students

Rules And Regulations Study Committees

Rules And Regulations Codarts

Instruments Fund

Integrity Code

Elections Rules and Regulations Representative Advisory
Council

Complaints Regulations Undesirable Behaviour

Whistle-Blowers Regulation

Protocol for Use of Practice Rooms

Protocol Study Delay Because of Special Circumstances

Rules and Regulations of De-enrolment

Regulation MOMI

Regulation of the Board of Appeal for the Examinations

Regulation Board of Directors

Regulation Department Heads

Regulation Profiling Fund

Student Statute

Treasury Statute
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General and Technical Support Facilities
Locations
Kruisplein
Kruisplein 26
3012 CC Rotterdam
T: 010-2171100
Opening hours
Monday through Friday 8.30 - 22.00*
Saturday 8.30 - 16.00*
Sunday 12.00 - 17.00*
World Music & Dance Centre (WMDC)
Pieter de Hoochweg 125
3024 BG Rotterdam
T: 010 244 45 00
Opening hours
Monday through Friday 8.30 - 22.00*
Saturday 8.30 - 16.00*
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‘The Basement ’
Calamities
Willem Buytewechstraat 26
In case of a calamity, such as a fire or accidents, report as soon as
3024 BN Rotterdam
possible to STIP, the reception desk at the ground floor or a
caretaker on duty. All locations have an emergency telephone
Opening hours
number:
Monday through Friday 9.00-17.00*
Keys obtainable from STIP Lite
Fenix II
Veerlaan 19F (water front)
Kruisplein
010-2175001
WMDC
010-2175002
Fenix 2
010-2175003
BHV/EHBO
3072 AN Rotterdam
T: 010-2344881
Codarts has set up a BHV (Company Assistance) organisation. The
Opening hours
of General and Technical Support. All employees that are part of the
BHV organisation consists primarily of employees of the department
BHV organisation have had special training and have obtained a
Monday through Friday 8.00-22.00*
BHV certificate.
Saturday 10.00-17.00 uur*
Important BHV tasks are:
*except during rostered weeks off and holidays

providing first aid in case of accidents

limiting and fighting fires, preventing and limiting accidents
Rostered weeks off and opening hours

alert and evacuate all employees and other persons present
in the building in case of an emergency
During rostered weeks off the opening hours will be different. The

locations will then close at 17.00 on weekdays and will not be open
alert and collaborate with aid organisations (fire brigade and
ambulance) in case of an emergency
at all during the weekends. Rostered weeks of are listed in the
education planning in the chapter Codarts Music.
All locations have emergency plans, which can also be found on the
intranet. All buildings have at least one AED (Automatic External
The closing hours as listed indicate the time at which the building is
Defibrillator). More information about the BHV organisation can be
locked, so make sure that you have left the building before then.
found on the intranet.
119
Several employees at Codarts have been trained as first-aiders. All
Lost and Found
buildings have a number of first aid points, identified by a green first
Lost and found property can be handed in at the reception desk of
aid sign. These first aid points are also indicated on the floor plans
the building. Found Codarts chip cards can be handed in at STIP,
in the buildings.
STIP Lite or the Circus service desk.
Disabled Persons
Ban on Smoking and Drinking
People of limited mobility are advised to report at the reception
The Dutch Tabakswet (Law on Tobacco) was introduced in 1990 and
desk when entering one of the buildings. The reception staff at
further tightened in 1998 and 2004. As a result, no smoking is
Codarts are happy to provide information about where to find
allowed in any of the Codarts buildings at any time (Kruisplein,
special bathrooms and how to use elevators and other facilities
WMDC, Fenix II en Willem Buytewechstraat).
concerning the accessibility of the building. If needed they will
Violations of this law detected during (unannounced) visits by the
contact the Services Team for extra accompaniments in and around
authorities may result in a fine of €2400, to be recovered from the
the building.
offender.
Serving or drinking alcoholic beverages on special occasions is only
Theft
permitted after prior approval of the department’s management or
Codarts reports all thefts to the police. Codarts is not responsible for
the Board of Directors. No alcoholic beverages may be served to
the theft or loss of personal belongings.
anyone under the age of 18.
In order to properly monitor petty thefts in and around the Codarts
buildings, it is crucial that all thefts are reported at the reception
Posters/Flyers
desk of the building in question.
Announcements of concerts, wanted/asked ads and flyers may be
In case of serious suspicions of unlawfulness at the institute, the
posted at the various noticeboards in the buildings. It is not allowed
Board of Directors reserves the right to temporarily employ so-
to put up posters or flyers in any other places.
called ‘hidden’ cameras. This measure will be taken exclusively for
this particular purpose and as much as possible with due regard for
Catering
the privacy of our students and employees.
All locations have facilities for eating. At the locations Kruisplein (5th
floor) and WMDC (Grounds café) catering is available. The opening
hours are:
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Kruisplein
WMDC:
Monday through Friday 8.30 - 18.00
of assistance. It goes without saying that all equipment must be
Saturday 9.00 - 13.00
returned to its original place after use.
Monday through Friday 10.00 -15.00
Instrument Storage
on request during concerts
The locations Kruisplein and WMDC have storage facilities for
Use of Computer Facilities
instruments. Using this storage space is fully at your own risk.
Codarts has a number of rooms were students may use the available
Codarts is not responsible for any damage, loss or theft.
computers for regular tasks.
Lockers
Use of Classrooms and Study Rooms
Lockers are rented out for the entire school year, at a price of €10
Each classroom has a regular setup of instruments and equipment.
per year and against a deposit of €20. This deposit will be
Leave this set-up as it is as much as possible. If you need to move
reimbursed at the end of the rental period. You can apply for a
anything, please return it to its original position when you’re done.
locker via STIP.
The classrooms inventory lists all instruments, equipment, furniture
Booking Study Rooms and Practice Rooms
and other materials. All instruments and equipment have an
Practice rooms can be booked at the Scheduling Office, between
individual code. Check the list and report any discrepancies to STIP,
Monday and Friday morning. It is important to file a booking by
STIP Lite or the Circus service desk. This way the rooms remain
ready to use for all students.
email well in advance (at least one week), otherwise chances are that
Guests and Outside Visitors
room that very same day, you can do so at the service desk of the
no rooms are available anymore. If you wish to book a practice
Guests are not allowed to use a study room without prior
location in question, if any rooms are available.
permission from your department manager, unless you are present
E: roosterbureau@codarts.nl
in the study room yourself. All activities at which you expect outside
visitors must be reported at the reception desk.
Equipment/Instruments
Equipment and instruments must remain in the room in which they
were placed. If it is necessary to move an amplifier or an instrument
to another room, always first consult the caretaker, who may also be
121
STIP
Kruisplein
The Scheduling Office can be contacted by telephone at the
STIP Lite
WMDC
following locations:
Reception Circus
Fenixloods
Kruisplein:
Please note that these reception desks close at 17.00 and that no
T: 010 - 217 1047 / 1048
equipment can be loaned after this time.
WMDC en Basement:
Fenix:
Larger technical equipment (personal amplification systems,
T: 010 – 244 4503
T: 010 - 217 1085
amplifiers, drum kits) is not lent out for internal use. A number of
rooms have been equipped with amplifiers/voice application
systems/complete backlines. No amplifiers may be used outside of
Lending Instruments and Technical Equipment
these rooms, unless they are placed there by Codarts employees for
special purposes.
Lending Instruments
Lending out equipment for external aims is only possible when the
In special cases Codarts lends out instruments to students. You can
activity is clearly associated with Codarts.
apply for a loan instrument via STIP. This must be done no later than
Applications for a loan of equipment must be made no later than
two weeks before the intended loan date and you must submit a
two weeks before the intended loan date at STIP, STIP Lite or the
written permission from your teacher to STIP. If it concerns
Circus service desk. The students must arrange for transportation of
instruments for internship classes you need written permission from
the equipment to the external location themselves.
Ruud Spetter.
Piano Management
Codarts has only a limited number of instruments available for
With 48 grand pianos and 44 upright pianos Codarts has a valuable
lending, so there is no guarantee of availability.
inventory that needs to be protected. Pianos are heavy but
vulnerable instruments. The piano has more than 200 strings and
Lending Technical Equipment
nearly 1000 moving parts. Even tiny deviations of just millimetres
Small technical equipment (microphones, cables, et cetera) is
inside the mechanism can have drastic consequences for the
available from:
performance level.
122
We therefore ask you to study the following guidelines for an
optimal maintenance of the instruments. Your help is essential in
Piano Action List
obtaining the best results.
Let us join forces in improving the situation of the pianos and
establish a direct line of communication.
1) Do not place any small objects on the piano that may fall into it,
In each room there are two documents. The first is a list of tips for
such as paperclips, pencils, et cetera. These can seriously
correct maintenance of the pianos and the second one is a list of
damage the insides of the piano.
tuning appointments.
2) Do not place any objects holding liquids (such as cups, bottles,
We are aware of the fact that students and teachers use the pianos
et cetera) or food on or near the piano. Spilled liquids will harm
every day and so they are the first persons to know of any
the instrument and can lead to irreparable damage.
deficiencies. Please send an email to stip@codarts.nl if you
encounter any of the following problems or for any other comments
3) Keep the piano away from heating elements and close the
regarding the pianos:
windows to prevent condensation. By default, all pianos are
placed at a safe distance from windows and radiators. Please do
1) broken strings
not move them from their current position.
2) problems with the pedals or individual keys
3) accidents, such as spilled liquids or objects that have fallen
4) Do not drag the piano stool across the floor, but lift it if you wish
inside the piano. Please report such accidents immediately to
to move it. This prevents damage to its legs.
STIP.
4) the heating or windows of the room are not functioning
5) Do not place any instruments on top of the piano.
properly.
5) the piano stool is broken, makes a strange sound or is missing
6) If you are the last person to leave the room, please close the
from the room.
piano completely (lower the lid and lock it with the key). This
prevents dust from falling into the mechanism. Dust is one of
Always include in your report the room number and piano it
the greatest threats to the piano. If there is a dust cover in the
concerns.
room (rooms 3.14, 3.18, 4.07, 4.19, 5.22 and 6.35), then placed
this over the piano.
123
Regular repairs and restorations are part of a fixed planning. So
collection includes a large number of books, sheet music,
when the piano makes a metallic sound, the issue will be addressed
magazines, CDs and DVDs, all searchable through our catalogue.
according to the fixed maintenance plan.
If you are looking for the full text of theses of one of the Master
Always report all incidents to STIP! stip@codarts.nl
study programmes, then take a look in Codarts Brainshop, a
separate section in our catalogue.
Media Library
Our Digital Library
Besides an extensive physical collection you will find a huge amount
The media library at Codarts is the knowledge centre where you will
of information in our digital collection. From within Codarts you
find printed, audio-visual and digital media in the fields of music,
have access to these databases, but also from outside. For outside
dance and circus and on subjects such as artistic research, art
access you need to login with your Codarts account.
education and art philosophy, health and psychology.
What will you find in our online databases?
The opening hours of the media library are:
Monday through Thursday
10.00 - 19.00
Friday
10.00 - 17.00
Introduction Week, Autumn, Spring and May holidays

video recordings of documentaries, masterclasses and
performances
12.00 -
16.00
Students have access 24/7 to the catalogue and digital library.
Our Collection
Real and Fake books, Urtext editions, tango music from Argentina,

audio recordings of classical music, world music and jazz

music scores

various electronic magazines and JSTOR

encyclopaedias

e-books

dictionaries
Membership and Lending Conditions
piano excerpts of famous music theatre pieces, books on dance and
The membership of the media library is free to all Codarts students.
circus, Turkish music, et cetera, et cetera. These are just some of the
If you wish to take out material, you must register at the media
highlights of the media library. It is a small media library, specialised
library’s reception desk, where you fill out a form for a standing
in the fields in which Codarts provides education. Our physical
order or make a deposit of €75. If you fail to return the material, its
124
replacement value will be taken out of your bank account or
The Royal Library (KB) gives HBO students a 50% reduction (€7.50
deducted from your deposit. Your student card doubles as your
instead of €15) on their membership. The KB is the national library
media library pass.
of the Netherlands, providing access to just about anything that is
See Codarts intranet for more information regarding the lending
published in and about the Netherlands. Membership grants you
conditions.
access to the entire collection of the KB, the right to use dozens of
databases and hundreds of thousands of digital books, magazines
and newspapers, as well as the use of the services of the Dutch
Institute for Music.
Lending from Other Libraries
Codarts’ media library also allows you to search the national
For more information about the media library…
database Picarta, which has catalogues of other Dutch universities
see: Codarts intranet
and academies, large public libraries and the Royal Library (KB).
M: mediatheek@codarts.nl
Credentials for logging onto Picarta can be obtained at the media
T: +31 (0)10 217 1190
library’s reception desk or via email. If you wish to loan something
become our friend on Facebook: Codarts Mediatheek
through Picarta, you may submit the request at the reception desk.
or visit us: Kruisplein 26, 3012 CC Rotterdam (5th floor)
Depending on the nature of the material, the cost will be around
€6.50.
Discount on Membership of Other Libraries
Muziekweb has the largest CD collection in Europe. Students and
employees of Codarts can obtain a free membership of this library
of discs. To obtain a free membership bring your Codarts card and a
valid ID to the Muziekwebplein to receive your Muziekweb pass.
Lending a CD costs €1.90 per CD per week. If you use a Muziekweb
trading stamp book, you get the loan of one CD free after having
taken out 10 CDs. The Muziekwebplein is located on the ground
floor of the Rotterdam Library, Hoogstraat 110.
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