Official Master’s Degree “Barcelona Jazz Master”
ECTS | 60 |
Specialties | Performance and Composition |
Duration | September 9, 2024 - May 23, 2025 |
Teaching language | Catalan, Spanish, English |
Mode | Attending. It is necessary to attend 80% of classes in order to be evaluated |
Fees credit | 68.95 € |
The Master’s Degree in Advanced Artistic Studies in Jazz and Modern Music Performance and Composition “Barcelona Jazz Master” focuses on the artistic development of students with the utmost rigour and level of excellence.
The two specialisations offered by the programme are built around the student’s individual study project and their Final Master’s Project (TFM), which must revolve around a theme that they wish to explore in depth and which must be detailed in the admission process.
This master’s degree can be completed in a single academic year or in a maximum of three.
To be admitted to the Barcelona Jazz Master’s you must have a higher education degree.
This qualification may consist of:
Documentation to be submitted
1. Audiovisual portfolio
2. Motivation letter: brief personal presentation of the applicant, detailing his or her reasons for pursuing the master’s degree and his or her expectations.
3. Master’s research plan, which should include:
4. Resume, with basic personal information, photograph, academic, professional and language proficiency data.
5. Copy of ID card / passport
6. Copy of higher education degree
Admission criteria
The admission procedure has two phases:
Phase 1: assessment
The following documents will be assessed by the selection board:
1. The audiovisual portfolio
2. The motivation letter
3. The Master’s research plan
If the selection board considers that the applicant has a good profile, he/she will be invited to phase 2, which is carried out telematically..
Phase 2: Test and interview
1. Written test (online), consisting of:
2. Interview (online), where the board may ask for a verbal explanation of some elements described in the documentation of the admission process or aspects that the board has not been able to see in the documentation submitted. On the other hand, the applicant will be able to raise any doubts he/she may have about the master’s degree..
The curriculum is focused on excellence in the interpretative and compositional field through a deep work with the instrument, creativity, ensemble dynamics and external commissions. It also allows contact and deepening in one of the autochthonous styles, such as flamenco, through elective subjects.
Subjects | ECTS | Semestre |
---|---|---|
Individual speciality teaching | ||
Instrumental interpretation I | 10 | 1 |
Instrumental interpretation II | 10 | 2 |
Professional Practices | ||
External Artistic Practices (interpretation) | 4 | 1 o 2 |
Master Work / End Concert | ||
Recording and Post-Production Techniques | 3 | 2 |
Composition, direction and premiere of a work or set of works for a particular musical template | 9 | 2 |
Interpretive set practice | ||
Combo | 3 | 1 & 2 |
Improvisation (rhythmic format) | 2 | 1 |
Additional theoretical training | ||
Improvisation (practical/instrumental) | 2 | 1 o 2 |
Settings and Orchestration (jazz) | 4 | 1 |
Composition and counterpoint techniques | 4 | 2 |
Analysis and Transcript | 3 | 1 |
Optatives | ||
Flamenco Companion | 3 | 2 |
Flamenco Analysis | 3 | 1 |
Professional Promotion | 3 | 1 |
Physiological and psychological aspects of interpretive practice | 3 | 2 |
Documentary resources and research methodologies | 3 | 1 |
Subjects | ECTS | Semestre |
---|---|---|
Individual speciality teaching | ||
Composition I | 10 | 1 |
Composition II | 10 | 2 |
Professional Practices | ||
External Artistic Practices (direction) | 4 | 1 i 2 |
Master Work / End Concert | ||
Recording and Post-Production Techniques | 3 | 2 |
Composition, direction and premiere of a work or set of works for a particular musical template | 9 | 1 i 2 |
Interpretive set practice | ||
Improvisation (rhythmic format) | 2 | 1 |
Improvisation (practical/instrumental) | 2 | 1 |
Additional theoretical training | ||
MIDI Sequencing | 3 | 1 o 2 |
Settings and Orchestration (jazz) | 4 | 1 |
Composition and counterpoint techniques | 4 | 2 |
Analysis and Transcript | 3 | 1 |
Optatives | ||
Flamenco Composition Techniques | 3 | 1 i 2 |
Instrumentation and Orchestration Foundations | 3 | 1 |
Flamenco Analysis | 3 | 1 |
Documentary resources and research methodologies | 3 | 1 |
The general objective of the Artistic Master’s Degree in Advanced Studies in Jazz and Modern Music is to train professionals with a high degree of specialisation.
Specifically, the master’s degree aims to:
The master’s degree is aimed at students who want to:
The Master’s is taught by professors from the Department of Jazz and Modern Music and by external teachers with a recognized artistic and professional background.
Coordination : Lluc Casares and Néstor Giménez
Teaching staff
Name | Subject |
---|---|
Alcina, Ismael | Instrumental Performance: Bass |
Asensio, Joan | Flamenco Analysis; Flamenco accompaniment |
Baecker, Rolf | Documentary Resources and Research Methodologies |
Barbal, Margarida | Physiological and psychological aspects of interpretive practice |
Benítez, Gorka | Instrumental Performance: Flute; Instrumental Performance: Saxophone |
Bover, Albert | Instrumental Performance: Piano; Improvisation |
Camps, Jonathan | Physiological and psychological aspects of interpretive practice |
Canela, Carme | Instrumental Performance: Voice |
Capella, Francesc | Instrumental Performance: Piano; Improvisation; Composition |
Carod, Apel·les | Instrumental Performance: Fiddle |
Casares, Lluc | Combo; Improvisation |
Cassanyes, Àlex | Arrangements and orchestration |
Conangla, Ferran | Audio recording and post-production techniques |
Díaz, Joan | Composition; Instrumental Performance: Piano; Instrumental Performance: Keyboards |
Dubuclet, John | Instrumental Performance: Trombone |
Figuerola, Xavier | Instrumental Performance: Clarinet; Instrumental Performance: Saxophone |
Fina, Xavier | Professional Promotion |
Finger, Ana | Instrumental Performance: Voice |
Font, Gerard | Audio recording and post-production techniques |
Forcada, Daniel | Instrumental Performance: Percussion |
Giménez, Néstor | Composition |
Guinovart, Albert | Fundamentals of instrumentation and orchestration |
Gómez, David | Instrumental Performance: Drums |
González, Arecio | Combo |
Ibáñez, Xavier | Instrumental Performance: Keyboards; Combo |
Krause, Jo | Instrumental Performance: Drums |
Lara, Mireia | Instrumental Performance: Voice |
Martin, Carlos | Instrumental Performance: Trombone |
Mercader, Nan | Instrumental Performance: Percussion |
Monné, Joan | Interpretació Performance: Piano |
Mora, Mireia | Physiological and psychological aspects of interpretive practice |
Pérez, Dani | Instrumental Performance: Guitar; Improvisation |
Prieto, Jesús | Instrumental Performance: Guitar |
Reig, Irene | Combo |
Reinón, Eladio | Instrumental Performance: Saxophone |
Rossy, Mario | Instrumental Performance: Double Bass; Analysis and transcription |
Sánchez, Joaquín | Flamenco composition techniques |
Sanmartí, Joan | Composition; Instrumental Performance: Guitar |
Sanpablo, Alberto | Professional Promotion |
Saña, Oriol | Instrumental performance: jazz violin |
Simon, Matthew | Instrumental Performance: Trumpet |
Tancredi, Eduardo | Instrumental Performance: Piano |
Tapscott, Alfred | MIDI |
Terraza, Ignasi | Instrumental Performance: Piano; Improvisation |
Vidal, Joan | Composition techniques and counterpoint |
Vidal, Lluís | Composition; Instrumental performance: Piano |
Xirgu, David | Instrumental Performance: Drums |
Zamora, Ignasi | Instrumental Performance: Electric Bass |