First semester: 20 min. (no acompaniment, exept for singers) + repertoire
Second semester: 30 min. + repertoire
Third semester: 20 min. of contemporary music+ repertoire
Masterwork-partim recital: 60 min.

The lecturer is responsible for laying down, for adjusting and for effectual compliance with, the prevailing repertoire norms.
Any exceptions to the rules may only be granted by the Department, after a formal request by the student.

3. Voice Solo Practice includes the cluster subject Study of Text. Study of text involves diction in several languages and translation from several languages.

Study of text is taught during three Bachelor years.
It is subject to evaluation during the second semester of each Bachelor year.

4. PORTFOLIO

B1-2-3 students produce a portfolio in DOKEOS.
M1 students: 2009-2010
M-M2 students: 2010-2011
The portfolio should at least include:
- a chronological summary of all works practised and rehearsed (repertoire).
- documentation on the composer and the composition, with accurate sourcing.
- reflection on the pieces played.
- detailed statement of the exam presentation; (a print out of which should be delivered to the Students' Office by the specified dates).
- concise and well-founded explanation of the exam program; (a print out of which should be delivered to the Students' Office by the specified dates).

Further detailed instruction will be provided at the start of the academic year.
Examination: See the “assessment” section.

5. Rules on Audition Practice for Orchestral Instruments

Addressed to whom?
Audition Practice is a cluster component of the study unit ‘Instrument Solo Practice' in the B2, B3 and M1 years.
It is compulsory for all orchestral instruments, with the exception of saxophone and euphonium. The examination is held during the first semester of the three study years mentioned above. (The prima vista requirements for the latter two disciplines will be higher.)

Organisation of the Subject
The bibliography and discography of the orchestral studies is taught as part of the study unit “Research Methodology II and III” (partim 'bibliography of the repertoire'. The Instrument teacher is responsible for the technical and artistic practising of the orchestral studies. Auditition practice takes place during tutorials organized by the teacher-coordinator of Audition Practice.

Content of the tutorials:
playing (possibly to a student audience) of the practised orchestral studies, taking into account prevalent criteria and the connected feedback by teachers.
- the accompaniment of a CV to be presented according to criteria that apply in this country and in neighbouring countries. Number of orchestral studies / exam requirements

Master 1
         a) 10 orchestral studies (lasting about 10 minutes); 3 of which imposed; these will be communicated to the student three weeks beforehand.
         b) the exposition of a concerto (with piano accompaniment) taken from the standard repertoire of Audition Practice;
         c) a prima vista assignment.

Remarks concerning the examination programme:
- One relevant study may be selected weekly from the repertoire of orchestral productions, organized by the conservatory – possibly in cooperation with other conservatories.
- in the fourth year orchestral studies from a “secondary” instrument may be included in the repertoire (e.g. the concert flute may present studies for piccolo).
- the concerto part played may belong to the repertoire for the instrument (examination repertoire).

Organisation of the examination, crediting of the marks:
See the “assessment” section.
Remarks on the accompaniment of concertos by M1 students

- the concerto presented needs to be accompanied by piano.
- the student needs to deliver the accompaniment to the accompanist two months beforehand; (the student is allowed to organize his own accompaniment, and may call upon a student or an external accompanist)
- each student is granted a 15 minute repetition session with his accompanist. This session should be reasonably attuned to the examination (e.g. morning before the examination afternoon, or the day preceding the examination; according to organisational prospects)

The student presents the examination board with:
- a summary list of his repertoire mentioning the composer, name of the work, year of composition and, if possible, also the opus number;
- part of the composition the fragment was taken from;
- adding time and interpretation signatures relevant to the fragment played.
- score (in threefold) only of the prepared orchestral studies, ordered according to the summary list.

Note concerning the Music Pedagogy course.
For Music Pedagogy: Performing music /Classical, allowances may be made concerning parts of previously mentioned rules.



Prerequisites
have acquired a Bachelor degree

Final Objectives
Creativity
The student is able to express his own artistic vision and musical intuition by means of a personal and artistically edifying instrumental musical interpretation
As a soloist, the student is capable of artistically excelling musical performances
• Possesses great musical sensibility
• Possesses perfect audition
• Possesses excellent musical imaginative powers
• Possesses thorough technical skills with a prominent musical style and musical personality
• possesses the heuristic ability necessary to solve musical problems involved in a performance
• very good prima vista reader.
• Is able to independently study a new repertoire and by research, experiment and reflection convert knowledge, intuition and emotions into a musical performance
• develops his own personal and original style and expression in his musical performances
• has a thorough knowledge of contemporary and historical performance practices enabling him/her to perform music in a faithful and integer way without renouncing his own personal musical style
• has an ambition to contribute to a culture with performances of qualitative excellence
• masters general and specific profession-oriented competences to prove his worth as an independent musician.
• Is able, when the musical style calls for it, to use a variety of electronic equipment, information technology and electronic media for artistic projects
• possesses the attitude needed to deepen and refine musical expression.

Analytical insight and critical reflection attitude
The student can analyse, interpret and evaluate his own musical performances and those of others.
The student is able to place and interpret his own musical performances and those of others in a broad historical and contemporary cultural and artistic context.
• Possesses a deepened knowledge of musical and cultural history and of historical and contemporary performance practices concerning his/her specialisation
• takes stock of the implications of choices and decisions and can account for them in his performances

Organisational skills
The student can establish and preserve an inspiring functional working environment for himself.
The student is able to choose (or develop) and apply an effective musical research method for the realisation of musical performances.
• is able to organize a work procedure taking into account short-term and long-term conditions for building up a repertoire and giving quality concerts.
• documents and archives his work

Potential for growth and development
The student has the attitude enabling him to continually improve himself as a musician.
• Has the motivation to continually develop his musical technique and the passion to further refine his musical empathy. Has to that end developed the appropriate personal study methods. Perseveres while doing so.
• Is able to handle stress at instrument practice and while performing.
• Is able to prepare for auditions with a reasonable chance of success.
• is clearly capable of reflection, analysis and evaluation.
• is open-minded and capable of being surprised; can mobilize his/her experiences and findings for furthering the development of his/her own musical oeuvre.
• possesses insight and faith in his own capabilities to further develop as an independent musician.
• can handle and, if need be, withstand criticism by external observers (patrons, musical reviewers)
• has a clear ambition to excel.

Communicative Skills
The student has a clear and active wish to perform music as a soloist.
• has the ambition to publicize his own exploits (performances, concerts, recitals …).

Materials used
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Scores, reference books commenting on the compositions played and their composers. These may usually be borrowed from the library of the conservatory and other musical libraries.

Study costs
Costs of personally buying the scores.
Impossible to assess precisely.

Study guidance
- tests on prior knowledge.
- study progress report talks and consultation hours spent with coordinators and study guidance tutors.
- coaching.

Teaching Methods
Tutorials.
Project work.
Auditions.
Guided independent learning.
Solo concerts.

Assessment
Examination of Instrumental - or Voice – Solo Practice
Each semester recital is evaluated by a jury.
The rules concerning the programme brochure and the examination assignment apply to all students.

Crediting Audition Practice
In the first Master year, the mark will count as 20% of the study unit “Instrument (Solo Practice)”; the examination will be assessed by an internal examination board consisting of the teacher, the Audition Practice teacher, the Chair of the board and an external board member.


Lecturer(s)
The student chooses a teacher, depending on his discipline.
Audition practice: Michel Tilkin