www.kcb.

be partner in de Universitaire Associatie Brussel

ba/ma Music
ba Musical
Music Teaching
Certication Programme
Royal Conservatory of Brussels
School of Arts
2013
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CONTENTS
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Enrolment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Study curricula . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Bachelor & Master in Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Music theory and writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Instrument / voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Polyphonic instruments and voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Historical instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Instrument / chamber music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Musical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Postgraduate Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Music teaching certication programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Programme entrance examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
General information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Open house 2013 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
How to reach the Royal Conservatory Brussels? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
This informational booklet was realized by the department Koninklijk Conservatorium Brussel in cooperation
with the Public Relations Division of the Erasmushogeschool Brussels.
The course curricula presented here are still subject to change due to ongoing
changes in government regulations. Please contact the department Koninklijk
Conservatorium Brussel itself for the most recent informational updates.
Fotos: Joost Goethals, Daniel Suy and Erasmushogeschool Brussel.
Editorial Ofces: Peter Swinnen, Department Chair. January 2013.
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PREFACE
Building upon a rich international tradition the Royal Conservatory of Brussels
wants to educate and train gifted students into excelling musicians who are inqui-
sitive and open-minded and contribute to society through artistic reection on it.
The ultimate goal of the process of academisering is to integrate research into
the educational system and into artistic performance. The conservatoire does not
produce pseudo-scientists but aims to educate conscious, well-informed, critical
musicians who are in touch with a broad cultural context and are able to work with
intuitive, emotional and spiritual contents and integrate these contents into the
realisation of a work of art. This process is charactericed by a continious tension
between tradition and innovation
In a world in which prosperity is very much dened in economic terms as a function
of material wealth, protability, efciency and usefulness, the Royal Conservatory of
Brussels wants to contribute to mans overall sense of well-being through music and
art. The art of music is particularly well suited to this purpose because of its ability
to strike mans cognitive and emotional chords and create an integration of both.
The Conservatory is located in the cultural heart of Brussels. It organizes numerous
artistic events and is therefore very much a part of and contributor to the social and
cultural life of the capital city. The Queen Elisabeth Contest, the Festival of Flanders,
the Festival of the Arts (KunstenfestivaldesArts), Ars Musica, the Munt Opera House,
the Museum of Instruments, the ne arts museum Bozar, the Flagey initiative, the
Goethe-institute: these are just a few of the cultural events and names of other insti-
tutions the Conservatory actively contributes to or cooperates with.
The Conservatory can dissipate its artistic, esthetic and human values in a very
rich context thanks to its international faculty and student body, the multicultural
character of the surrounding city and the Conservatorys integration in the citys
cultural and social life. The multicultural dimension of the Conservatory not only
shows through its music curricula and concert programs, but can be experienced
daily through interaction with the people teaching and studying there.
The Royal Conservatory of Brussels is rst and foremost an artistic institute of higher
learning. The achievement of the highest degree of artistic competence is essen-
tial for music to reveal its full signicance. All participants in the musical learning
process are confronted with and must deal with the tension between tradition and
innovation. Every musician must strike a balance between these two ends of the
spectrum so as to avoid gliding off into either pure conservatism or new-modern
DEPARTMENT KONINKLIJK CONSERVATORIUM BRUSSEL
School of Arts
Regentschapsstraat 30, 1000 Brussel
Tel.: +32 (0)2 513 45 87 - Fax: +32 (0)2 513 22 53
e-mail: kcb@kcb.be
www.kcb.be - www.erasmushogeschool.be
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opportunism. All sections within the Conservatory (Music Theory / Instrument
Vocal / Historical instruments / Jazz / Musical / and Teacher training) deal with this
tension between tradition and innovation in their own way by emphasising different
aspects of the continuum in their programs.
The music curricula and forms of examination at the Royal Conservatory of Brussels
are based on international standards and checked against the curricula of similar
European institutions. An international perspective is essential and very benecial
for students and faculty both here and abroad as it sets standards of quality and
excellence.
For each student a move to the capital city of Europe to the Royal Conservatory of
Brussels equals a move into the world.
Peter Swinnen, Department Chair
ENROLMENT
An entrance examination is required of every new student. The examination
pertains to overall knowledge of music and to the instrument the student wants
to select in its future study program.
The study curricula can be viewed on the website or consulted in print in the
study guide. Upon request they can also be mailed to you. The website and
study guide also contain further information regarding general admission requi-
rements, part-time study programs, qualications needed to be considered for
reductions in course load and study program, and many other topics.
The dates of the artistic admission tests are posted on the website or can be
obtained by contacting the ofce of students affairs at KCB. Participation requires
no later than two weeks prior to the date of the test. An entrance examination at
a later date can only be scheduled upon approval of the Department Chair based
upon a request addressed to the Department Chair stating the reasons for the
exception requested.
Enrolment is only effective after all required documents and copies of diplomas
and study certicates have been submitted to the student administrative ofce.
More information: www.ehb.be/inschrijven.
STUDY CURRICULA
This prospectus gives a general overview of the study curricula. For further
information please consult the website www.kcb.be.
Course workload is expressed on an annual basis in terms of number of class
hours per year. However, on a weekly basis course work load can vary greatly
due to the project based nature of certain courses (e.g. choir and orchestra).
Other courses are semester-based.
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BACHELOR & MASTER IN MUSIC

Music Theory / Writing
Ba 1 Writing
Ba 2 Writing
Ba 3 Writing
Ma 1 Writing
Ma 2 Writing
Composition
Ba 1 Composition
Ba 2 Composition
Ba 3 Composition
Ma 1 Composition
Ma 2 Composition
Conducting
Ba 1 Orchestral Conducting Wind & Brassband Conducting
Ba 2 Orchestral Conducting Wind & Brassband Conducting
Ba 3 Orchestral Conducting Wind & Brassband Conducting
Ma 1 Orchestral Conducting Wind & Brassband Conducting
Ma 2 Orchestral Conducting Wind & Brassband Conducting
Instrument / Voice
Ba 1 Orchestral Instruments Historical Instruments Chamber music
Ba 2 Orchestral Instruments Historical Instruments Chamber music
Ba 3 Orchestral Instruments Historical Instruments Chamber music
Ma 1 Orchestral Instruments Historical Instruments Chamber music
Ma 2 Orchestral Instruments Historical Instruments Chamber music
Ba 1 Piano Organ Harp Guitar Voice
Ba 2 Piano Organ Harp Guitar Voice
Ba 3 Piano Organ Harp Guitar Voice
Ma 1 Piano Organ Harp Guitar Voice
Ma 2 Piano Organ Harp Guitar Voice
Jazz
Ba 1 Jazz instr./voice
Ba 2 Jazz instr./voice
Ba 3 Jazz instr./voice Composition, Arranging
Ma 1 Jazz instr./voice Composition, Arranging
Ma 2 Jazz instr./voice Composition, Arranging
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BACHELOR MUSICAL
POSTGRADUATE
MUSI C TEACHING CERTIFI CATION PROGRAMME

Musical
Ba 1 Musical
Ba 2 Musical
Ba 3 Musical

After a master instrument

During or after each master.
Offered in 4 years of 45 credits.
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MUSIC THEORY & WRITING
TEACHING STAFF
General Music Education Rudy Van der Cruyssen
Bart Buyle
History of Music Christine Van den Buys
Johan Eeckeloo
Koen Buyens
Orchestral Conducting Patrick Davin
Wind & Brass Band conducting Norbert Nozy
Piet Jeegers
Harmony - Counterpoint - Kristin De Smedt
Fugue and Composition Franklin Gyselynck
Jan Dhaene
Jan Van Landeghem
Jurgen De Pillecyn
Ann Kuppens
Peter Swinnen
Hans Van Daele
Soe Van Herle (assist.)
Wouter Lenaerts (assist.)
Analysis Jean-Paul Byloo
Annelies Van Parys
Applied Harmony Dirk De Hertogh
Wouter Lenaerts (assist.)
Helmut De Backer
Peter Kestens (assist.)
Lies Van Avermaet (assist.)
Marc Vandewiele (assist.)
Ethnic Music Martin Gort (assist.)
Encylclopedia Johan Eeckeloo
Posture and Movement Eef Pareyn (assist.)
Vocal Training Lu Yu-Cheng (assist.)
Music Technology Katarzyna Glowicka (assist.)
History of Culture Koen Buyens
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CR: credits
CH: contact hours
BACHELOR MUSIC WRITING

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Harmony I, II, III 45 15 45 15 45 15
Theory and ear training 1, 2 80 4 80 4
Rhythm and intonation 1, 2 100 5 100 5
History of music 1, 2, 3 60 6 60 6 60 6
Encyclopedia and research 30 3
Applied harmony 1, 2, 3 30 9 30 9 30 9
Score arranging & reduction 1, 2 30 9 30 9
Musical instruments 1, 2 30 6 30 6
Choir 1, 2, 3 60 3 60 3 60 3
History of culture 1, 2 30 3 30 3
Formal analysys 1 30 6
Optional subjects 6 3 9
Total 465 60 435 60 285 60
MASTER MUSIC WRITING

Ma 1 Ma 2
Required subjects CH CR CH CR
Counterpoint I 45 12
Counterpoint II 45 18
Analysis counterpoint 30 6
Fugue (Master exam) 60 30
Analysis Fugue 30 6
Orchestration I, II 30 9 30 9
Formal analysis 2 30 6
Applied harmony 4 30 6
Introduction to philosophy 60 3
Optional subjects 3 12
Total 210 60 180 60
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Preliminary studies: proof of obained credits needed for harmony I, II and for theory and
eartraining 1 and rhythm and intonation 1
Recommended optional subjets: Orchestral conducting
Music technology
Applied harmony
Ethnic music
Fugue (in master)
Artistic project (in master)
CR: credits
CH: contact hours
BACHELOR COMPOSITION

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Harmony III 45 15
Composition I, II, III 60 12 60 12 60 12
Counterpoint I 45 12
Counterpoint II 45 18
Formal analysis 1, 2 30 6 30 6
Theory and ear training 2 80 4
Rhythm and intonation 2 100 5
History of music 1, 2, 3 60 6 60 6 60 6
Encyclopedia and research 30 3
History of culture 30 3
Musical instruments 1, 2 30 6 30 6
Score arranging & reduction 1 30 9
Orchestration I 30 9
Contemporary music notation 30 3
Optional subjects 9 6 6
Total 405 60 285 60 255 60
MASTER COMPOSITION

Ma 1 Ma 2
Required subjects CH CR CH CR
Composition IV 60 24
Composition (master exam) 60 30
Orchestration II, III 30 9 30 9
Analysis (for composers) I, II 30 6 30 9
Introduction to philosophy 30 3
Optional subjects 18 12
Total 150 60 120 60
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Preliminary studies: proof of obained credits needed for harmony I, II and for theory and
eartraining 1 and rhythm and intonation 1
Recommended optional subjets: Posture and Movement in bachelor
CR: credits
CH: contact hours
BACHELOR ORCHESTRAL CONDUCTING

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Harmony III 45 15
Orchestral conducting I, II, III 60 12 60 12 60 12
Counterpoint I 45 12
Counterpoint II 45 18
Analysis counterpoint 30 6
Theory and ear training 2 80 4
Rhythm and intonation 2 100 5
History of music 1, 2, 3 60 6 60 6 60 6
Encyclopedia and research 30 3
Musical instruments 1, 2 30 6 30 6
Formal analysis 1, 2 30 6 30 6
Score reading & reduction 1, 2 30 9 30 9
History of culture 1 30 3
Optional subjects 6 9 3
Total 435 60 255 60 255 60
MASTER ORCHESTRAL CONDUCTING

Ma 1 Ma 2
Required subjects CH CR CH CR
Orchestral conducting IV 60 24
Orchestral conducting (master exam) 60 30
Score reading & reduction 3 30 6
Orchestration I, II 30 9 30 9
Contemporary music notation 30 3
Introduction to philosophy 30 3
Training sessions 0 9 0 12
Optional subjects 9 6
Total 150 60 120 60
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BACHELOR WIND & BRASSBAND CONDUCTING

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Harmony III 45 15
Wind and brassband conducting I, II, III 60 12 60 12 60 12
Counterpoint I 45 12
Counterpoint II 45 18
Analysis counterpoint 30 6
Theory and ear training 2 80 4
Rhythm and intonation 2 100 5
History of music 1, 2, 3 60 6 60 6 60 6
Encyclopedia and research 30 3
Musical instruments 1, 2 30 6 30 6
Formal analysis 1, 2 30 6 30 6
Score reading & reduction 1, 2 30 9 30 9
History of culture 1 30 3
Optional subjects 6 9 3
Total 435 60 255 60 255 60
MASTER WIND & BRASSBAND CONDUCTING

Ma 1 Ma 2
Required subjects CH CR CH CR
Wind and brassband conducting IV 60 24
Wind and brassband conducting (master exam) 60 30
Score reading & reduction 3 30 6
Orchestration I, II 30 9 30 9
Contemporary music notation 30 3
Introduction to philosophy 30 3
Training sessions 0 9 0 12
Optional subjects 9 6
Total 150 60 120 60
Preliminary studies: proof of obained credits needed for harmony I, II and for theory and
eartraining 1 and rhythm and intonation 1
Recommended optional subjets: Posture and Movement in bachelor
CR: credits
CH: contact hours
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INSTRUMENT / VOICE
Orchestral instrument Piano
Organ Harp
Guitar Voice
Historical instruments Instrument / chamber music
TEACHING STAFF
Violin Katalin Sebestyen
Yuzuko Horigome
Valeri Oistrakh
Zygmund Kowalski
Yossif Ivanov
Philippe Grafn
Naaman Sluchin
Viola Paul De Clerck
Tony Nys
Cello Viviane Spanoghe
Jeroen Reuling
Olsi Leka (assist.)
Double Bass Frank Coppieters
Flute Frank Hendrickx
Carlos Bruneel
Oboe Paul Dombrecht
Jan Maebe (assist.)
Cor Anglais / Oboe damore Stefaan Verdegem
Clarinet Benjamin Dieltjens
Saxophone Norbert Nozy
Bassoon Luc Loubry
French Horn Luc Berg
Trumpet Emmanuel Mellaerts
Trombone Bart Van Nieuwenhuyze
Tuba Stephan Vanaenrode
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Percussion Gert Franois
Bart Quartier
Chamber Music Viviane Spanoghe
Luc Loubry
Dirk Vermeulen
Etienne Siebens
Thomas Dieltjens
Eric Robberecht (assist.)
Bert Vanderhoeft (assist.)
Contemporary music Bart Bouckaert (assist.)
Pianist-accompanists Luc Devos
Thomas Dieltjens
Paul Hermsen
Alexander Leman
Anne Op De Beeck
Stefaan Poelmans
Ccile Mangeot
Katsuza Mizumoto
Benjamin Van Esser
Katrien Verbeke
Leonard Duna
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* violin, viola cello, double bass ute, oboe, cor Anglais - oboe damore, clarinet, saxophone,
bassoon, French horn, trumpet, trombone-tuba and percussion
* violin, viola cello, double bass ute, oboe, cor Anglais - oboe damore, clarinet, saxophone,
bassoon, French horn, trumpet, trombone-tuba and percussion
ORCHESTRAL INSTRUMENTS*(BACHELOR)

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Main instrument I, II, III 60 24 60 24 60 27
Chamber music 1, 2 15 6 30 6
Orchestra 1,2,3 60 6 60 6 60 6
Theory and ear training 1, 2 80 4 80 4
Rhythm and intonation 1, 2 100 5 100 5
Harmony and analysis 1, 2 45 9 45 9
History of music 1, 2, 3 60 6 60 6 60 6
Formal analysis 1 30 6
Encyclopedia and research 30 3
Posture and movement 30 3
History of culture 30 3
Optional subjects 30 6
Total 465 60 420 60 300 60
ORCHESTRAL INSTRUMENTS* (MASTER)

Ma 1 Ma 2
Required subjects CH CR CH CR
Main instrument IV, V (master exam) 60 30 60 30
Chamber music 3,4 45 6 60 12
Orchestra 4,5 60 6 60 6
Formal analysis 2 30 6
Introduction to philosophy 30 3
Optional subjects 60 9 60 12

Total 315 60 240 60
CR: credits
CH: contact hours
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POLYPHONIC INSTRUMENTS AND VOICE
TEACHING STAFF
Piano Daniel Blumenthal
Aleksandar Madzar
Jan Michiels
Boyan Vodenitcharov
Piet Kuijken
Hans Ryckelynck (assist.)
Katia Veekmans (assist.)
Accompanying voice Hlne Luyten
Inge Spinette
Organ Luc Bastiaens
Harp Jana Bouskova
Guitar Antigoni Goni
Voice Dinah Bryant
Dina Grossberger
Lena Lootens
Jan Vande Weghe (coaching)
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PIANO (BACHELOR)

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Piano I, II, III 60 24 60 24 60 27
Chamber music 1, 2 15 6 30 6
Choir 1, 2 60 3 60 3
Theory and ear training 1, 2 80 4 80 4
Rhythm and intonation 1, 2 100 5 100 5
Harmony and analysis 1, 2, 3 45 9 45 9 45 9
History of music 1, 2, 3 60 6 60 6 60 6
Applied harmony 1, 2 15 3 15 9
Encyclopedia and research 30 3
Posture and movement 30 3
History of culture 30 3
Optional subject 30 3
Total 495 60 435 60 240 60
PIANO (MASTER)

Ma 1 Ma 2
Required subjects CH CR CH CR
Piano IV, V (master exam)* 60 30 60 30
Chamber music 3, 4 45 6 60 12
Accompanying voice & sight reading 1,2 30 6 30 6
Study of literature 30 3
Counterpoint 30 6
Formal analysis 1, 2 30 6 30 6
Introduction to philosophy 30 3
Optional subject 15 6
Total 210 60 240 60
CR: credits
CH: contact hours
*Including improvisation
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ORGAN (BACHELOR)

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Organ I, II, III 60 24 60 24 60 27
Chamber music 1, 2 15 6 30 6
Choir 1, 2 60 3 60 3
Theory and ear training 1, 2 80 4 80 4
Rhythm and intonation 1, 2 100 5 100 5
Harmony and analysis 1, 2, 3 45 9 45 9 45 9
History of music 1, 2, 3 60 6 60 6 60 6
Applied harmony 1, 2 15 3 15 9
Encyclopedia and research 30 3
Posture and movement 30 3
History of culture 30 3
Harpsichord 30 3

Total 495 60 435 60 240 60
ORGAN (MASTER)

Ma 1 Ma 2
Required subjects CH CR CH CR
Organ IV, V (master exam) 60 30 60 30
Chamber music 3, 4 45 6 60 12
Study of literature 30 3
Formal analysis 1, 2 30 6 30 6
Counterpoint 30 6
Applied harmony 3 15 6
Introduction to philosophy 30 3
Optional subject 30 3 30 9

Total 210 60 240 60
CR: credits
CH: contact hours
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HARP (BACHELOR)

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Harp I, II, III 60 24 60 24 60 27
Chamber music 1, 2 15 6 30 6
Choir or 1 orchestra project 1, 2, 3 60 3 60 3 60 3
Theory and ear training 1, 2 80 4 80 4
Rhythm and intonation 1, 2 100 5 100 5
Harmony and analysis 1, 2, 3 45 9 45 9 45 9
History of music 1, 2, 3 60 6 60 6 60 6
Contemporary music 30 6
Encyclopedia and research 30 3
Posture and movement 30 3
History of culture 30 3
Optional subject 30 3 30 3
Total 495 60 450 60 315 60
HARP (MASTER)

Ma 1 Ma 2
Required subjects CH CR CH CR
Harp IV, V (master exam) 60 30 60 30
Chamber music 3, 4 45 6 60 12
Choir or 1 orchestral project 4, 5 60 6 60 6
Formal analysis 1, 2 30 6 30 6
Introduction to philosophy 30 3
Optional subject 60 9 30 6
Total 285 60 240 60
CR: credits
CH: contact hours
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GUITAR (BACHELOR)

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Guitar I, II, III 60 24 60 24 60 27
Chamber music 1, 2 15 6 30 6
Choir 1, 2 60 3 60 3
Theory and ear training 1, 2 80 4 80 4
Rhythm and intonation 1, 2 100 5 100 5
Harmony and analysis 1, 2, 3 45 9 45 9 45 9
History of music 1, 2, 3 60 6 60 6 60 6
Applied harmony 1, 2 15 3 15 9
Encyclopedia and research 30 3
Posture and movement 30 3
History of culture 30 3
Optional subject 30 3

Total 495 60 435 60 240 60
GUITAR (MASTER)

Ma 1 Ma 2
Required subjects CH CR CH CR
Guitar IV, V (master exam) 60 30 60 30
Chamber music 3, 4 45 6 60 12
Historical music 1, 2 30 6 30 6
Formal analysis 1, 2 30 6 30 6
Applied harmony 3 15 6
Introduction to philosophy 30 3
Optional subject 60 6 30 3

Total 240 60 240 60
CR: credits
CH: contact hours
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VOICE (BACHELOROPLEIDING)

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Voice I, II, III 60 18 60 21 60 27
Chamber music of vocaal ensemble 1 30 6
Choir 1, 2 60 3 60 3
Theory and ear training 1, 2 80 4 80 4
Rhythm and intonation 1, 2 100 5 100 5
Harmony and analysis 1, 2 45 9 45 9
History of music 1, 2, 3 60 6 60 6 60 6
Applied Harmony 1, 2, 3 15 6 15 6 15 6
Formal analysis 1 30 6
Encyclopedia and research 30 3
Foreign languages 1, 2 30 3 30 3
Body awareness 30 3
Acting for singers 1, 2 30 3 30 3
History of culture 30 3
Optional subject 30 3

Total 510 60 480 60 285 60
VOICE (MASTEROPLEIDING)

Ma 1 Ma 2
Required subjects CH CR CH CR
Voice IV, V (master exam) 60 30 60 30
Chamber music of vocaal ensemble 2, 3 30 6 60 12
Formal analysis 2 30 6
Introduction to philosophy 30 3
Acting for singers 3, 4 30 3 30 3
Optional subject 90 12 120 15
Total 270 60 270 60
CR: credits
CH: contact hours
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HISTORICAL INSTRUMENTS
TEACHING STAFF
Baroque violin Franois Fernandez
Baroque cello Alain Gervreau
Viola da Gamba Philippe Pierlot
Violone/ double bass Frank Coppieters
Flauto Traverso Barthold Kuijken
Frank Theuns
Baroque oboe Paul Dombrecht
Recorder Bart Coen
Peter De Clercq (assist.)
Natural horn Luc Berg
Harpsichord Herman Stinders
Pianoforte Boyan Vodenitcharov
Piet Kuijken
Lute N.N.
Chamber music Herman Stinders
Jan De Winne
Alain Gervreau
THEORY OF HI STORI CAL PERFORMANCE PRACTI CE
Peter Van Heyghen
HARPSI CHORD-ACCOMPANI STS
Dominik Riepe
Soe Van Herle
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HISTORICAL INSTRUMENTS* (BACHELOR)

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Main instrument I, II, III 60 18 60 18 60 24
Chamber music 1, 2, 3 30 6 30 6 30 6
Repertoire study/sight reading 1, 2 30 3 30 3
Theory of historical performance practice 1, 2, 3 75 6 75 6 75 6
Orchestra/ consort 1, 2, 3 60 3 60 3 60 3
Philosophy and aesthetics of ancient music 1 30 3
Theory and ear training 1, 2 80 4 80 4
Rhythm and intonation 1, 2 100 5 100 5
Harmony and analysis 1, 2 45 9 45 9
History of music 1, 2, 3 60 6 60 6 60 6
Formal analysis 1 30 6
Posture and movement 30 3
History of culture 30 3

Total 540 60 540 60 405 60
HISTORICAL INSTRUMENTS* (MASTER)

Ma 1 Ma 2
Required subjects CH CR CH CR
Main instrument IV, V (master exam) 60 30 60 30
Chamber music 4, 5 45 9 60 12
Repertoire study/sight reading 3 30 3
Theory of historical performance practice 4, 5 75 6 75 6
Orchestra/ consort 4, 5 60 6 60 6
Philosophy and aesthetics of ancient music 2 30 3
Study of sources/ edition 6
Optional subject 30 3
Total 330 60 255 60
CR: credits
CH: contact hours
* baroque violin and viola, baroque cello, viola da gamba, violone-double bass, recorder, auto
traverso, baroque oboe, natural horn, harpsichord, pianoforte and lute
* baroque violin and viola, baroque cello, viola da gamba, violone-double bass, recorder, auto
traverso, baroque oboe, natural horn, harpsichord, pianoforte and lute
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INSTRUMENTS - CHAMBER MUSIC
(MAIN SUBJECT)
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INSTRUMENTS/CHAMBER MUSIC (BACHELOR)

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Main instrument I, II, III 30 18 30 18 60 18
Chamber music I, II, III 60 12 60 12 60 12
Theory and ear training 1, 2 80 4 80 4
Rhythm and intonation 1, 2 100 5 100 5
Harmony and analysis 1, 2, 3 45 9 45 9 45 9
History of music 1, 2, 3 60 6 60 6 60 6
Formal analysis 1, 2 30 6 30 6
Encyclopedia and research 30 3
Posture and movement 30 3
History of culture 30 3
Study of the repertoire (paper) 1 6
Total 435 60 405 60 285 60
INSTRUMENTS/CHAMBER MUSIC (MASTER)

Ma 1 Ma 2
Required subjects CH CR CH CR
Chamber music IV, V (master exam) 60 30 60 30
Instrument IV, V 60 18 60 18
Study of the repertoire (paper) 2, 3 3 3
Concert playing 1, 2 9 9
Total 120 60 120 60
CR: credits
CH: contact hours
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JAZZ
Jazz (including pop and world music)
Composition (arranging)
TEACHING STAFF
Double Bass / Electric Bass Bart De Nolf
Christophe Wallemme
Electric Guitar Fabien Degryse
Peter Hertmans
Piano Diederik Wissels
Nathalie Loriers
Saxophone / Woodwinds John Ruocco
Jeroen Van Herzeele
Drums Lionel Beuvens / Pieter Bast
Latin-percussion Martin Gort
Trumpet Girolamo Lattuca
Voice David Linx
History of jazz Chris Mentens
Rhythm Peter Van Marle
Vibraphone Bart Quartier
Trombone Lode Mertens
Arranging, Harmony, Analysis Piet Nijsten
Composition, Arranging / Improvisation Kris Defoort
Band leading Girolamo Lattuca
Fabien Degryse
Bart De Nolf
Dirk Schreurs
Jeroen Van Herzeele
Peter Van Marle (Latin)
Pieter Bast
Lode Mertens
Christophe Wallemme
Diederik Wissels
David Linx
Lionel Beuvens
Nathalie Loriers
Ear training / Reading training Bart De Nolf
Kurt Bud
Peter Van Marle (ritmiek)
Piano second instrument Dirk Schreurs
Peter Van Marle (Latin Piano)
Piet Nijsten
Piano technique Katleen Sedeyn
Big Band John Ruocco
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JAZZ INSTRUMENT / VOICE* (BACHELOR)
with Ba 3 Module Instument/Voice

Ba 1 Ba 2 Ba 3
Required subjects CH CR CH CR CH CR
Main instrument I, II, III 60 21 60 21 60 21
Ensemble 1, 2, 3 90 3 90 3 120 9
Ear training 1, 2, 3 45 6 45 6 30 3
Reading training 1, 2 45 6 45 6
Jazz harmony and analysis 1, 2, 3 45 9 45 9 45 12
Arranging 1, 2 45 3 45 6
Jazz rhythm 1, 2 30 3 30 3
History of music (classical) 60 6
History of jazz 1, 2 45 3 45 3
Piano (pianotechnique for pianists) 1, 2, 3 15 3 15 3 15 3
History of culture 30 3
Jazz encyclopedia and research 30 3
Optional subjects 30 3

Total 420 60 450 60 390 60
JAZZ INSTRUMENT / VOICE* (BACHELOR)
with Ba 3 Module Composition, Arranging

Ba 3
Required subjects CH CR
Jazz composition 30 21
Arranging 2 60 6
Musical instruments and orchestration 1 30 6
Ear training 3 30 3
Jazz harmony and analysis 3 45 12
Harmony and analysis (classical) 1 30 3
Piano 3 15 3
Conducting technique 30 3
History of jazz 2 45 3
Total 315 60
CR: credits
CH: contact hours
* piano, saxophone-woodwinds, percussion, vibraphone, trumpet, trombone, electric guitar,
violin, double bass - electric bass
* piano, saxophone-woodwinds, percussion, vibraphone, trumpet, trombone, electric guitar,
violin, double bass - electric bass
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* piano, saxophone-woodwinds percussion vibraphone, trumpet, trombone, electric guitar,
violin, double bass - electric bass
Main instrument includes also prima vista and jazz heuristics
Jazz-composition includes also jazz heuristics
JAZZ INSTRUMENT/VOICE* (MASTER)

Ma 1 Ma 2
Required subjects CH CR CH CR
Main instrument IV, V (master exam) 60 27 60 30
Ensemble 4, 5 120 12 120 15
Ear training 4 30 3
Jazz analysis 30 6
Free Improvisation 30 6
Concert playing Jazz 1, 2 3 3
Introduction to philosophy 30 3
Optional subjects 30 6 60 6

Total 300 60 270 60
JAZZ COMPOSITION, ARRANGING (MASTER)

Ma 1 Ma 2
Required subjects CH CR CH CR
Jazz composition II,III (master exam) 30 21 30 30
Arranging 3 30 12 30 12
Contemporary free counterpoint 1, 2 30 6 30 6
Ear training 4 30 3
Piano 4, 5 15 3 15 3
Introduction to philosophy 30 3
Harmony and analysis (classical) 2, 3 30 6 30 6
Musical instruments and orchestration 2 30 3
Music technology 1, 2 60 3 60 3

Total 285 60 195 60
CR: credits
CH: contact hours
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MUSICAL
TEACHING STAFF
Voice Peter De Smet
Jonas Cole
(+ Optional subject Voice)
Inge Minten
Acting training Ronnie Commissaris
(+ Optional subject Acting)
Production support Stephen Collins

Dance expression Lulu Aertgeerts
(+ Optional subject Dance)
Classical dance Etienne Van Geel
Modern dance Peter Kongs
Lounge dance Geert Audenaert
Tapdance Hilde Goyens
General musical education Bart Buyle
Roel Peeters
Patrick Desmedt
Close Harmony and Patrick Desmedt
applied harmony (+ Optional subject Piano)
Diction & phonetics Evelien DHaeseleer
Musical-easthetics William Lanckrock
Jan Van Driessche
Extra Competency Luc De Smet
Paula Bangels
Lulu Aertgeerts
Adam Solya
Audition training Bart Buyle
Repertoire Pietro Ramman
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MUSICAL PROFESSIONAL BACHELOR

1 2 3 4
Required subjects CH CR CH CR CH CR CH CR
GME musical 75 6 75 5 75 5
Close Harmony 30 3 30 3 30 3 30 3
Dance 180 7 180 7 180 7 180 10
Diction and phonetics 60 3 60 3 30 3 30 3
Musical aesthetics 60 3 60 3
Optional subject 30 3 30 3
Project/Production 275 16 275 13 450 16 450 19
Voice 30 6 30 6 30 6 30 6
Extra competency 60 3 60 3 60 3

Total 770 47 800 46 885 46 720 41
The diploma Musical is a professional bachelor. A masterdegree
Musical doesnt exist.
The 180 credits are organised in 4 part time years.
CR: credits
CH: contact hours
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POSTGRADUATE
A post master program on instrument (20 credits/semester) or theoretical
program.
The student develops his own artistic project (e.g. soloist concert program,
preparation for orchestral career...) with the help of a tutor.
Special admission test.
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MUSIC TEACHING CERTIFICATION PROGRAMME
To follow the Music teaching certication programme, a perfect knowlegde of
Dutch is required. For the study programme, please consult the Dutch part of
this prospectus.
TEACHING STAFF
See page 33, 34, 35 (Dutch part).
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PROGRAMMES ADMISSION TESTS
GENERAL MUSI C ADMI SSION TEST
(compulsory for every student who did not acquire any credits in higher music
education, bachelor/master level)
intonation of a prepared melody(download from www.kcb.be)
intonation of a non-prepared melody
knowledge of music theory
interactive rhythmic exercisis
interview on motivation
SPECI FI C ADMI SSION TEST
The jury can refuse a candidate if his program is not correct.
MUSI C THEORY AND WRI TI NG
ear training, voice-rhythm, theory
keyboard test
interview on motivation
COMPOSI TI ON
Show previous work and discuss motivation.
CONDUCTI NG
profound knowledge of a classical composition (or important work for Wind
& brass band)
ear training test
interview: motivation and maturity
INSTRUMENT / VOI CE
Violin
two etudes (Kreutzer, Fiorillo, Rode, Wieniawsky, Paganini etc.)
two contracting movements from a sonata by Corelli, Hndel, Vivaldi or
Bach
(one part of a) freely chosen concerto
Viola
two etudes
three works from the standard repertoire
Cello
two etudes (Dotzauer III, Duport, Franchomme or Popper)
three works from the standard repertoire, including one concerto (or part
thereof) and two works from different sylistic periods. At least one from
memory.
Double Bass
two etudes (Nanny, Kreutzer, Simandl, Van De Velde)
three works from the standard repertoire
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Flute, oboe, cor anglais, clarinet, saxophone, bassoon, french horn,
trumpet, trombone and tuba
two advanced etudes
two works from the standard repertoire
Percussion
one etude for snare drum
one etude for four timpani
one etude or work for multiple percussion instruments
one work for vibraphone
one work for marimba
a prima vista 2 mallets and 4 mallets
Piano
two etudes
one prelude and fugue from The Well-Tempered Clavier of J.S. Bach
three works from the standard repertoire
all from memory
Organ
one freely chosen work
three chorale variations from the Orgelb, chlein of J.S. Bach
one work from the 19th or 20th century
Harp
two complete works from different stylistic periods
Guitar
two etudes (Coste, Villa-Lobos, Giuliani, Sors, Tarrega)
one work by Bach (complete suite or sonata for access to master grades)
two works from the standard repertoire (Bach, Sors, Moreno, Torroba,
Castelnuovo-Tedesco, Ponce, etc...) (complete works for access to master
grades)
one work from the 20th century
all from memory
Voice
three classical arias, including one from an oratorio
one freely chosen work (aria or lied)
four lieder
Chamber music major
At least two movements from two important works (min. 20 minutes)
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HI STORI CAL INSTRUMENTS
Baroque violin
allemande and sarabande (partita nr 2) J.S. Bach
sonata nr 1 or 2 from Sonate in stile moderno Dario Castello
1st and last movement, sonata in g. A. Corelli
Baroque viola
2 movements solosonata or suite J.S. Bach or solo fantasy (violin)
by G. Ph. Telemann
Baroque cello
suite J.S. Bach: allemande, courante, sarabande
one sonata A. Vivaldi
one concerto or sonata in another style
Viola da Gamba
a German or Italian sonata
a French suite
an English division (e.g. Simpson)
Violone / double bass
4 orchestral fragments (1 by J.S. Bach)
three works from the repertoire
Recorder
two advanced etudes
three works from the standard repertoire
Flauto Traverso
one fantasy by Telemann
one French suite
one freely chosen work
Baroque oboe
two advanced etudes
two works from the repertoire
Natural horn
two etudes
rst movement concerto nr. 1 in DW. A. Mozart
Harpsichord
two sonatas by Scarlatti
two preludes and fugues (J.S. Bach)
three works from the repertoire
(e.g. suite Couperin, Hndel, Telemann, etc.)
Pianoforte
C. P. E. Bach (sonata, fantasy)
Haydn or Mozart (sonata, variations)
Beethoven (variations, sonata max op. 54)
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Lute
Renaissance lute
fantasy
tabulature of a vocal model
dance
Baroque lute: movement from French and German suite
Theorbe: French and Italian work (one instrument is sufcient)
ADMI SSI ON TEST JAZZ
For Jazz & light music:
1) Individual
- playing a motive by ear
- clapping or speaking the rhythm of a short fragment
2) In a group (with teachers)
- the student chooses two works beforehand from a list of ve jazz
standards to be studied (list supplied at registration)
- a work chosen by the student (bring sheet music)
- a work a prima vista after 10 min. preparation
For Composition, Arrangement:
- present three own compositions
ADMI SSI ON TEST MUSI CAL
For more information, please consult our website:
www.ehb.be/pagina/toelatingsproef-ba-musical
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GENERAL INFORMATION
MUSI C-MAKING IN GROUP
The opportunity to perform in a group is very important to a musicians deve-
lopment. Each course programme therefore includes a mandatory ensemble
element. Depending on the course chosen, each student is assigned to either
the choir, wind band, symphony orchestra, baroque orchestra / consort, big
band or other ensembles. A training orchestra also exists and enables students
to gain experience as a conductor, soloist, or orchestral musician.
Students can perform internships in professional orchestras, and the vocal
department collaborates with the Operastudio.
SEMINARS / GUEST LECTURES
Each year the study programme is enriched with numerous seminars. National
and international lecturers are invited. The seminars can be taken for credit in
some courses.
PRACTI CE ROOMS
Depending on availability students can use unoccupied classrooms at the Kleine
Zavel 5 for study purposes, between the hours of 8h a.m. and 9.30h p.m. Most
classrooms are equipped with a piano.
CONCERT HALL
Students of the conservatory have free admission to all concerts given in the
concert hall, including those organised by third parties (PVSK, Ars Musica
festival, Queen Elisabeth contest etc.) on presentation of their student card.
Students or teaching staff who wish to make use of the concert hall when it is
available must do so by making a reservation.
STUDENT ADMINI STRATIVE OFFI CE
The student administrative ofce is the administrative heart of the Conservatory.
This is where students can full all administrative duties and gain information
about registration, curriculum, exams, seminars, etc
Opening hours: Monday to Friday 9h-12.30h / 13.30h-16h. Closed Wednesdays
During the exams, opening hours change. You can consult the website
www.kcb.be to stay informed.
Telephone: 02/213 41 23 - Fax: 02/513 22 53
e-mail: jan.vanderwegen@ehb.be
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LI BRARY
Tel.: 02/213 41 39
bib.kcb@ehb.be
www.kcb.be
The conservatory library contains a public lending collection of sheet music as
well as an international appreciated heritage collection. Both together result
in a large and unique unity, in particular appropriate for artistic and scientic
research.
Opening hours:
Monday to Friday: 9.30h-16.30h
Closed Wednesday mornings
STUDYING AT ANOTHER INSTITUTION
All fully registered students can take courses at a domestic or foreign institu-
tion of higher education, as long as it is within the framework of a cooperation
agreement or an approved European programme.
INTERNATIONAL RELATIONS
The Royal Brussels Conservatory is a member of an international network of
higher education schools of music in Europe. This offers students the possibi-
lity of spending some of their study time (from three months to one year) at
a university (or equivalent institution) abroad. This period of foreign study is
considered part of the regular curriculum of the Conservatory and will not delay
the students regular time of graduation.
Cordinator of International Relations: Jan dHaene.
More info at www.kcb.be
STUDENT SUPPORT
Many courses in the conservatory are taught individually or in small groups.
Therefore the individual lecturers are always the rst people you should turn to
for support in your studies. These lecturers are more aware of issues pertaining
to methods of study than is customary in other forms of education.
In addition a programme coordinator is appointed for each course. This person
advises students about the way their curriculum is progressing and can also
offer support for technical problems related to the course. In case of conict
with your own lecturer, this is the person you should turn to next.
In the specic case of General Music Education in the rst year, students can
turn to Bart Buyle.
Furthermore students can always seek help from Stuvo EhB, the social services
division of the Erasmushogeschool (see below).
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SOCI AL SERVI CES
Within the Erasmushogeschool Brussel the Stuvo EhB manages all student
social services. You can turn to Stuvo EhB for nancial problems, housing, legal
advice, sports, psychological support (study counselling, anxiety etc.). This
service also works together with the VUB.
Stuvo EhB is located in A. Dansaertstraat 123, 1000 Brussel.
Tel: 02/527 14 99.
Stuvo EhB is part of the Brussels housing initiative Quartier Latin. Extensive and
detailed information about room rentals can be found on www.ehb.be/stuvo.
MEALS AND SNACKS
Between 8 AM an 9 PM there are sandwiches, meals (to warm in a
microwave available on place), snacks and drinks permanently available at the
Kleine Zavel 5.
OPEN HOUSE 2013
MUSI CAL
Saturday March 16th (from 2 PM)
Nijverheidskaai 170, 1070 Anderlecht, Blok D (parking 250m to the right of
the enhance).
CLASSI CAL MUSI C AND JAZZ
Sunday March 24th (from 2 PM): Regentschapstraat 30 and Kleine Zavel 5,
1000 Brussel.
With :
Information stands
Public lessons
Possibility to speak with the teaching staff
Opportunity to audition
Student concerts
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HOW TO REACH THE
CONSERVATORY?
Tram lines: 92 94
stop Kleine Zavel
Bus lines: 48 95 27
stop Kleine Zavel,
Grote Zavel
The Conservatory is
located 10 minutes away
from the Central Station;
take the Cantersteen exit.
Then follow successively
Kunstberg - Koudenberg
- Regentschapsstraat.
Main building:
Regentschapsstraat 30 - 1000 Brussel
Telephone: 02/213 41 23 - Fax: 02/513 22 53
Other buildings:
Kleine Zavel 4 - 5 and the corner with Karmelietenstraat
Musical:
Nijverheidskaai 170 - 1070 Brussel
Visit our web site http://www.kcb.be and www.ehb.be
Tip!
The various EhB locations throughout the city can all be reached easily by
public transport. As a student you can benet from e very advantageous fare
to travel throughout the city - just be sure to purchase a MIVB-public trans-
port pass at the beginning of the academic year and you can travel the bus,
trolley or subway on the entire MIVB public transport network in Brussels (in
2012 the fare amounted to 204 for the entire academic year)!
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Nijverheidskaai 170 1070 Brussel tel: 02/523 37 37 fax: 02/523 37 57 info@ehb.be
CAMPUS DANSAERT
- ba Communication Management
- ba Journalism
- ba Social Work
(Social Work/Social and Legal Services/
Community Educational and Cultural Work)
- ba Ofce Management
- ba Hotel Management
- ba Tourism and Leisure Management
EDUCATION
- ba Preschool Education
- ba Primary Education
- ba Secondary Education
- ba Early Childhood Education
HEALTH CARE & LANDSCAPE ARCHITECTURE
- ba Nursing
- ba Midwifery
- ba Nutrition and Dietetics
- ba Bio-Medical Laboratory Technology
- ba Landscape and Garden Architecture
INDUSTRIAL SCIENCES & TECHNOLOGY
- ba Multimedia and Communication Science
- ba Applied Computer Science
ROYAL CONSERVATORY OF BRUSSELS | School of Arts
- ba/ma of Arts in Music
- Music Teaching Certication Programme
- ba Musical
RITS | School of Arts
- ba/ma of Arts in Audio-visual Arts
(Film/Television/Documentary Film/Animation Film/Radio/Scriptwriting)
- ba Audio-visual Arts
(Production Assistant/Cinematography/Sound/Editing/Stage Management)
- ba/ma of Arts in Drama
(Performing/Direction, Scriptwriting)
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