Key words
h820-music-instrument, h830-music-voice
Objectives
The study unit ‘Small Ensembles” is a core study unit, where the acquired technical, motor and artistic skills continue to be practised and developed. It is reciprocally related to most of the theoretical, subsidiary and music playing subjects.
‘Small Ensembles’ is mainly concerned with the problems of combined play, with independent practising and performing (under guidance), with the acquisition of skills to adequately form a chamber music group and get it working, with the acquisition of a thorough knowledge of the repertoire and with refining audition and musicality.
Topics
Full rules and changes will be announced during a meeting at the start of the academic year.
The students set up their own ensembles, decide on a fixed weekly moment for classes and announce this to the coordinator, via an enrolment list on the Faculty’s notice board.
After being assigned to an individual lecturer of the ‘Small Ensembles’ the students take regular lessons. The assignment is semestrial, and is binding on the students.
Lecturers give directions and instructions to the students exploring the repertoire. They teach combined play techniques and help the students take the steps that may lead to the acquisition of the set final competences.
The coordinator closely watches the observance of the set targets and adjusts wherever necessary.
Requirements on repertoire and recital
1.Duration:
semester I: 30 min. + repertoire
semester II: 30 min. + repertoire
semester III:30 min. + repertoire
semester IV:30 min.
In addition, additional repertoire is practised under the guidance of the supervising lecturer. This repertoire is mentioned on a repertoire list that needs to be handed in every semester.
2. performances are to be without a conductor
Exceptions to this rule may be granted in the case of contemporary music, when the nature of the cast or the complexity of the score warrants a conductor.
3. per voice, only one instrument may be prescribed; therefore, it has to be chamber music.
4. Spread over the five years of study:
- a repertoire should be built up containing maximum diversity as far as style and style periods are concerned;
- special attention should be paid to post-1950 repertoire with a - for that period – innovating character.
- both in the Bachelor and in the Master years at least one work should be of Belgian/Flemish origin.
5. Depending on consultation with the coordinators, part of the repertoire may consist of services rendered to Composition students or students who took the Music Production specialisation, on the proviso that the works that were played exhibit sufficient professional skill and compositional expertise. These services rendered are then evaluated on their merit and according to statutory rules.
6. Chamber music concerts, set up (possibly jointly) by the Conservatory of Ghent are binding on the students and ‘incentives’ will be applied to motivate them.
7. For the programme, the student will specify at least the following data:
- full title of the work
- Christian name(s) and surname of the composer
- duration of the composition
- name, study year and instrument of all performers
- name of the supervising lecturer
These items are sent to the dropbox (dokeos) of the coordinator three weeks before the exams (lettertype: Times New Roman / 12 ).
(see dokeos). No exception will be tolerated.
8. The student produces a portfolio in DOKEOS.
Guidelines on the matter will be issued at the start of the academic year and will be available on DOKEOS.
9. Bachelor students attend the performances of the Master students.
10. During the second week of each semester, the students inform the coordinator about repertoire and free moments to take lessons. (see DOKEOS)
Coaching Small Ensembles
Coaching Small Ensembles is a part of the study unit Small Ensembles.
It is compulsory in M1, second semester, and in M2, first semester.
Coaching Small Ensembles implies that the student is charged with the preparatory study, rehearsals/practice of the musical work, and with the ultimate presentation of one or more chamber music works.
While doing so, he is assisted and followed by a Small Ensembles teacher.
The student is supposed to learn how to draft and formulate his own personal vision on a musical work, how to communicate his views with fellow musicians, how to conduct a rehearsal and how to assume the final responsibility for a production.
The preparation is presented in the form of a portfolio, which will contain analytical notes, interpretation of the work in terms of music history, and stylistic and interpretative instructions.
The coached works are a part of the student’s repertoire; therefore, they do not increase the time load. The organisation is taken care of by the coordinator and the members of the section.
Detailed rules are announced at the start of the academic year.
Prerequisites
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.
Playing in ensembles, 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
• 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
• 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.
• is able to do independent musical research at the level of a beginning musician and musical researcher.
• can situate music in its historical, social and cultural context. Has an insight in the characteristics of the various style periods as far as musical aesthetics and music theory are concerned.
• has an insight in the broad artistic context and opinions concerning them, according to which his own musical performances may be tested.
• 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 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 clearly capable of reflection, analysis and evaluation.
• has a clear ambition to excel.
Collaboration skills
The student can make a substantial artistic contribution to the musical group process.
• Collaborates efficiently with other musicians, both for chamber music and as a member of a combo or an ensemble.
• can take the demands, the (implicit) expectations and the relevant observations of the patrons into consideration.
• exhibits candour, sympathy, respect and appreciation towards the responsibilities and interests of others he cooperates with.
• can cooperate with others even on a subject that is of no immediate interest to him personally.
Materials used
::Click here for additional information::
Scores, which can be borrowed free of charge at libraries or can be bought.
Repertoire recordings, available at multimedia centres or multimedia sections of libraries.
Study costs
Purchase cost of scores for personal use; impossible to assess precisely.
Study guidance
At the start of the academic year, students receive the binding guidelines and the available information concerning the organisation of the study unit and of student coaching.
A meeting is held where students can get to know each other and agree to form ensembles and to choose a repertoire.
On the Faculty’s notice board, some space will be reserved where the students can post ads on the formation of ensembles.
Additionally:
- study progress report talks.
- coaching.
- teachers' consultation hours
Teaching Methods
Tutorials
Auditions
Concerts
Guided independent learning
Attending concerts by more advanced students
Assessment
All students will play at semestrial examination concerts (open to the general public), which will be marked by an internal examination board.
Evaluation of the portfolio
Any student who does not comply with requirements set for the portfolio will be marked as ABSENT for the Small Ensembles study unit.
Lecturer(s)
Coordinator: Kris Deprey
CO-coordinator -voice: Andrew Wise
Lecturers: Beelaerts Paul, Ketels Marcel, Konink Wim, Rathé Filip, Valibouse Arielle, Chris Deprey; Mireille Capelle, M.M. De Smet, Patrick Beuckels
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