Official Master’s Degree “Barcelona Jazz Master”
| ECTS | 60 |
| Specialties | Performance and Composition |
| Duration | From September to July |
| 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 objective of this Master is to develop the individual artistic profile of the students as performers or composers of jazz and modern music, with a maximum level of excellence.
The study program offers two different specialties: Performance and Composition. And is articulated around the individual study project of each student, who will have to translate their work into their final cycle project. In the specialty of performing, this final project consists of a public concert, the recording in a professional studio, and the post-production of a master copy of a record label. In the specialty of composition , the final project consists of the preparation and realization of a public concert with the interpretation of the work or set of works written by the student.
This master’s degree can be taken in its entirety in the period of a single academic year (minimum) and up to three years (maximum).
As a prerequisite for access to the Master’s degree, it is necessary to accredit a higher degree (240 ECTS credits).
This degree can consist of:
a) Official Higher Degree in Musical Art Education in Spain.
b) Degree issued by a higher education institution of the European Higher Education Area that allows access to master’s degree courses in the country of issue.
c) Degree according to systems outside the European Higher Education Area without the need for homologation (see particular cases), provided that the degree acquired allows access to postgraduate courses in the country of issue.
Admission criteria
Assessment of the candidate by a court, by means of an audio recording of a duration between 15 to 20 minutes, with 3 works of the itinerary to which it chooses. They can be solo or accompanied performances (60%).
The recording must be made with a fixed camera, without editions, in which the face of the candidate is clearly seen, in an interpretation of the last 6 months. Therefore, it is important to state the date of registration.
For the final assessment, the following criteria will be taken into account:
1. Quality in the musical interpretation of the works: communication / transmission of the interpretation, coherence and interpretative creativity.
2. Difficulty and technical aspects
3. Phrasing, improvisational level, tempo
Once the first selection phase has been passed, a face-to-face or videoconference interview will be held with the selected candidates.
Assessment of the candidate by a court, by means of audio recording, lasting 15 to 20 minutes, with 3 original works and the corresponding attached scores, in a conventional and intelligible musical notation format (60% ).
For the final assessment, the following criteria will be taken into account:
1. Musical quality of the works: musical resources used, coherence, creativity, originality
2. Mastery of instrumentation
Once the first selection phase has been passed, a face-to-face or videoconference interview will be held with the selected candidates.
Jazz and modern music are musics in a constant process of hybridization, which is why the contents of the master’s degree offer a great stylistic and musical transversality, which, in addition to jazz and fusion, allow us to delve into peripheral styles such as flamenco, music. Latin, rock, pop, or electronic music.
In both itineraries, the credits are organized as follows:
| 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 of Advanced Studies in Jazz and Modern Music is the training of specialized professionals. Specifically, this master’s degree aims to:
It is intended for students who want to:
Coordination : Teacher: Daniel Pérez
The Master’s is taught by professors from the Department of Jazz and Modern Music, in addition to external teachers with a recognized artistic and professional background.
Teaching is based on individual, group classes, work groups and individual directed and autonomous work.
| Name | Subject |
|---|---|
| Alcina, Ismael | Instrumental Performance: Bass |
| Asensio, Joan | Flamenco Analysis; Flamenco Companion |
| 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: Sing |
| Capella, Francesc | Instrumental Performance: Piano; Improvisation; Composition |
| Casares, Lluc | Combo; Improvisation |
| Carod, Apel·les | Instrumental Performance: Fiddle |
| 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: Sing |
| Font, Gerard | Audio recording and post-production techniques |
| Forcada, Daniel | Instrumental Performance: Percussion |
| Fumero, Horacio | Instrumental Performance: Double Bass; Combo; Improvisation |
| 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: Sing |
| 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 |
| Vergés, Lluís | Arrangements and Orchestration |
| Vidal, Lluís | Composition; Instrumental performance: Piano |
| Xirgu, David | Instrumental Performance: Drums |
| Zamora, Ignasi | Instrumental Performance: Electric Bass |
Master’s degree verified by the Agency for the Quality of the University System of Catalonia
