level II jazz course - info -

After last year's release from Santa Cecilia, anything goes and nothing goes in terms of accessibility to the old traditional courses.

In general, exceptions aside, I can say a three-year program or a two-year program depending on your level of preparation regarding the entrance test. The three-year program would not be mandatory; it is enough to be ready for admission.

In Milan, this is planned:

THREE-YEAR PROGRAM

http://www.consmilano.it/fileadmin/storage/didattica/triennio_ord._corretto/Scuola_di_Jazz_-_DCPL40_-_PIANOFORTE_JAZZ.pdf

TWO-YEAR PROGRAM

http://www.consmilano.it/fileadmin/storage/didattica/biennio_ordinamentale_13-14/Scuola_di_jazz_-_DCSL40_-_PIANOFORTE_JAZZ_BIENNIO.pdf

As always, every conservatory equips itself as best it can

Regarding age, I wouldn't worry too much; in the two-year programs, it seems to me there are more over 30s... what else... . The few twenty-somethings compete with the few forty-somethings

ScalaQuaranta wrote:

- in your opinion, would I be chronologically too far ahead compared to my hypothetical "classmates"?

Based on the titles you have, it doesn't seem like you have stayed still; I don't know if you make it a matter of learning agility or specifically a relational one with any potential young classmates in the course

in short... after my piano diploma I didn't throw myself into frenzied concertizing, but I must say that all in all my hands still respond without particular hitches. maybe I am just making too many useless problems for myself.

essentially I meant a relational issue, but not so much regarding the young classmates... also... but not only....

it's the whole school entourage that scares me a little. That is, after having been serenely behind desks for many years and having found a job in exactly the same field but on the opposite side.... it creates a bit of confusion in roles for me.

this discomfort (I don't know if natural or exaggerated) I felt especially during the last years of composition:

when I was attending complementary subjects, some professors (aware of my age, my qualifications and my job) related to me in a friendly peer-to-peer manner, discussing the program to be carried out, talking serenely about music, giving me bibliographic indications and suggestions, etc., but without assignments or school oral exams along the way;

other professors, however, demanded absolute presence at lessons: her over there explaining, us over here following her, taking notes, distinct and absolutely separate roles, 2-3 oral exams per semester before the official exam... with the terror (but pure terror!!!) of having one of my own students as a classmate! (this never happened to me, fortunately, even though for a few years I had classmates more or less the same age as my students).

Now this comes to my mind... then maybe, even if that were the case, I would just get over it naturally.

I have always had the motivation for this type of study and it has never diminished.

Anyway, thank you for your suggestions which are increasingly strengthening my intention to enroll!

ScalaQuaranta

is anyone informed about the conservatory of torino?

I took a look at the site, the particular thing is that for the three-year degree they are very precise regarding the Jazz part, here is some useful information

http://www.conservatoriotorino.eu/cst.asp?cattid=141&id=76&idparent=3

For the two-year program there is no trace (I am referring only to the Jazz classes) except for something called "JAZZ (TECHNOLOGICAL SUB-MAJOR)"

http://www.conservatoriotorino.eu/cst.asp?cattid=98&id=16&idparent=3

As for the part that is always better to ask at the registrar's office, in this case it seems quite necessary...

ScalaQuaranta wrote:

some teachers (aware of my age, my academic qualifications and my job) related to me in a friendly manner as peers, discussing the syllabus to be covered, speaking serenely about music, giving me bibliographic directions and suggestions, etc., but without assignments or school-style mid-term exams;

It seems natural to me, being peers can bring people closer... but

ScalaQuaranta wrote:

other teachers, on the other hand, demanded absolute presence at lessons: you over there explaining, us over here following you, taking notes, distinct and absolutely separate roles, 2-3 exams per semester before the official exam... with the terror (but pure terror!!!) of having one of my own students as a classmate! (this never happened to me, fortunately, even though for a few years I had classmates more or less the same age as my students).

...also push people away... there is also the spirit of "competition" which unfortunately (in my opinion) can come into play. Besides, you have 4 diplomas

In any case, I wouldn't see anything wrong with it; surely your students don't come to you to learn Jazz... so where is the problem? On the contrary, I would be honored to share my journey with a master (whom I respect)

actually I was referring to middle school students, not my instrument students

in the worst-case scenario (unsupportive course instructors, potential rigidity of the course, having to put oneself out there) it would trigger

a series of relational dynamics (at school) that are difficult to predict and manage.

I'll give a few examples:

- a music teacher and his middle school student find themselves being classmates in the conservatory. at school, the music teacher demands commitment and when questioning students he demands the maximum and is a bit stingy with grades. the student, at school, is essentially a 'blockhead' but in the conservatory, he is talented. a day comes when the music history professor at the conservatory intends to check progress and decides to give an oral exam, in the very sense feared by all students who are and have been: AN ORAL EXAM. that is a very intense period for the music teacher, between work, study, managing life, etc., and he is not ready to face an oral exam, with a grade and in front of all his classmates. can you imagine the devastating effect it could have if the poor music teacher were to declare "no, maestro, I am not prepared today" ??? in the presence of his student-classmate 'blockhead'???? beyond the real-time 'getting screwed over' (read: social networks), a sort of cooperation would be created among all the students, a loss of credibility and authority for the music teacher, a general legitimization of not studying and contesting the poor teacher's grades, since word has gotten out that even the teacher often doesn't study at the conservatory.... conservatory, the music school.... ohooo.... come on, our music teacher???? is he an ass at the conservatory????? then what does he expect from us?

and the students' parents? "how can... that little fool give my son a 4 because he got one answer wrong..... and he's the most ignorant one???? and then???? giving a 4 in music???? the most useless of subjects????? tomorrow I'm going to school with my son and I'm going to give this damn teacher a piece of my mind!!!"

not to mention the loss of respect from colleagues who, inevitably, would also become aware of the matter. not everyone, granted.... but gossipers and malicious people often hide even behind a university degree!

you understand well that the issue is a bit thorny. without a doubt, my high motivation would make me ignore all these 'nuisances'.

naturally, my academic qualifications and my personal studies on the subject protect me a little. but only up to a certain point!

thank you for your comments and I greet you with this funny video by Antonio Albanese:

which somehow summarizes or rather, implies many of my frustrations in this post!

anyway.... long live music, long live jazz... and happy holidays!

ScalaQuaranta

Open content (youtube)

So ScalaQuaranta (I understand you) to avoid dangers you should register in Palermo

it is a very, very extreme case, naturally. especially due to the fact that it is very unlikely that one of my middle school students could find me as a fellow student, given that the Level II course is (or should be) a university-level course.... unless this hypothetical student has outstanding and obvious artistic abilities that would allow for their admission!

with this, I believe I have completed my paranoid outing phase! ;-P

Scala, I was asking myself the same questions as I felt the urge to enroll in the two-year electronic music program... but I also have some more bureaucratic questions that I will ask in other sections

Regarding the Jazz issue, we had talked about it in the past in chat (I don't know if you remember?) and the elements were the same ones touched upon by many in the topic

frank, sincerely I removed it!

ScalaQuaranta wrote:

frank, sincerely I removed it!

Me too... if we were in chat, it was definitely late at night

Hello ScalaQuaranta.

- is it currently still possible to attend the jazz course (specifically, piano) of the old system (2 years) or should I enroll in the 3+2?

Why do you say old system? That was 3 years and no longer exists.

The two-year program, although formally still experimental, is already part of the new system and you can access it with an old system diploma or a first-level three-year degree (musical or otherwise). However, you must pass an entrance exam which varies from conservatory to conservatory.

- do my educational qualifications allow me to obtain credits and/or exemptions from attendance?

Of course, but it depends on the study plan of your conservatory. At the time of enrollment, you will present all your qualifications and accreditation requests.

- in your opinion, would I be chronologically too far ahead compared to my hypothetical "classmates"

The average age of jazz musicians in a conservatory is not very low, don't worry.

thanks to you too, Zedef. regarding the jazz v.o. course, I had a lapse in memory! I thought it lasted 2 years. never mind.