Bachelor's Degree in Recorder

Please download: undefinedProgramme Structure and Credits

The teachers of the Recorder Department - Jorge Isaac and Erik Bosgraaf - have structured their lessons in a unit system ('recorder unit'); this entails a week-long unit of lessons each month in which all principal study components are addressed.

General

In the first year of the bachelor's programme, the propaedeutic year, which can be characterized as broad and general in scope, the foundation is laid for the rest of the study. Specific technical matters relating to playing, more interpretive aspects, and historical and contemporary literature are addressed; all these are examined in relation to solo playing and recorder consort and/or mixed chamber-music ensembles.

The richly varied selection of auxiliary subjects is inextricably linked, and considered equivalent, to the practically oriented part of the course. The unit lessons have been put together in such a way that students can continue taking the other weekly scheduled lessons. Students may request to schedule principal private lessons. After four years, the practically oriented component will be concluded with a recital. During the study, students are encouraged to develop their own musical personalities. Distinct talents and goals can also result in the student continuing his/her studies in a master degree programme.

Auxiliary subjects at the bachelor's level

The general subjects that apply to every discipline at the Conservatory (e.g. general solfège, analysis, theory) will not be listed here?only the most important subjects relating specifically to the recorder.

Chamber music

Without neglecting the training of individual players (possibly as soloists), the programme devotes a great deal of attention specifically to ensemble in the broadest sense of the word. The contemporary repertoire in all its diversity ('classical contemporary', particular jazz styles, improvisations, electronics, etc.) and the historical literature (Baroque chamber music, English and German consort repertoire, etc.) will be performed monthly by widely divergent groups and combinations of instruments, the results of which will be featured regularly in public concerts.

Methodology

In the methodology classes, pedagogical aspects will be examined in greater detail using theoretical and analytical approaches.

Historical development

The historical development of the instrument will be studied by means of treatises, the historical recorder literature, instrument construction and iconographic material. Throughout the entire academic year at least once a month, students who, in their second year of study, have specialized in the field of methodology and historical development in a particular area will give public lessons and lectures. This specialization will eventually be concluded with a paper/teaching method in conjunction with the conclusion of the practically oriented part of the course.

Arranging for recorder ensemble

The vast musical literature, varying from e.g. a medieval frottola, an English consort song and a fugue by Bach to a composition by Kodály, Berio, Reich or Thelonious Monk, offers the performing recorder player innumerable possibilities of extending the repertoire in a meaningful way. Additionally, attention will be given to the arranging of literature suited for use in current music education. In the second year of the course, sequencers and music notation software programs (Score, Finale or Sibelius) will also be used.

Students will demonstrate what they have learnt in the Performance Practicum and Arranging courses in a group performance, which will be evaluated.

Electronics

The lessons are designed to provide the student with the necessary technical skills and aesthetics understanding for live performances that involve music and electronic media.It provides the opportunity and the encouragement to learn about the combination between acoustic instruments and a network of electronic processing devices (live electronics).

Special focus is devoted to the notion of how to make use of (live) electronics, and to encourage the student to find his/her own path of creativity, informed by a thorough knowledge and understanding of the creative possibilities of sound.
The BLOK has a complete set of electronics for the recorder students: computer, speakers, microphones, mixing board, effects, MIDI equipment, audio interfaces, cables, etc.

Speciale aandacht wordt besteed aan hedendaagse blokfluitmuziek met gebruik van (live) elektronica, en eigen elektroakoestische improvisaties. Het BLOK heeft een complete elektronicaset, waaronder: laptop, luidsprekers, mengtafel, effecten, MIDI apparatuur, interfaces, bekabeling, enz.

Technique lessons

During the weeks dedicated to the units, one group lesson each day will be devoted to specific technical problems encountered in recorder-playing.

Subsidiary subjects

In principle, recorder players take piano as a subsidiary subject. If possible, the student may request to substitute piano with harpsichord or organ. For recorder, see also the information on the projects of the Early Music Department. In their third and fourth academic year, recorder players will take the subject of harmony in historical performance and continuo-playing.

Free space electives (third and fourth year)

* 'Live Electronics'; teacher, Jos Zwaanenburg
* 'Non-Western Techniques'; teacher, Rafaël Reina
* historical performance: Baroque instrument as a subsidiary subject (Baroque and classical flute, gamba, etc.)

See also the general information on 'free space' electives in the electives programme. Additionally, students must choose from the AHK selection (theatre, film, art history and musicology).

For more information please visit the website of the Recorder Department

Admission requirements

In addition to a clear affinity with the instrument, the applicant is expected to show a profound general knowledge concerning the recorder's literature. The applicant must provide a short and varied  programme of approximately 20 minutes from which the jury, in consultation with the candidate, will choose fragments. Certain skill in playing from memory and 'sight reading' is also requested.

Examples

16th and 17th century
* ricercare from Giovanni Bassano or Aurelio Virgiliano
* diminutions upon a chanson by Girolamo Dalla Casa or Francesco Rogniono
* suite by Matthew Locke

18th century
* fantasia
* prelude
* concerto (by memory)
* triosonate

Contemporary
* atonal work composed for tenor-recorder solo
* improvisation, making use of the undefinedfollowing ingredients





foto's 1 tm/ 4 Toon Vieijra
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