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Degree in Jazz & Modern Music Performance

Taller de Músics offers the Higher Degree in Music consisting of 240 ECTS credits, within the speciality of Jazz Performance and Modern Music in two itineraries: Jazz Itinerary and Modern Music Itinerary. The Bachelor of Music has, for all purposes, the same validity as an undergraduate degree issued by a university.

  • Academic Period: September to June
  • Registration period: July - September
  • Modality: Presential and non-presential
  • Duration: 4 years
  • Title: Bachelor's degree in
  • Jazz and Modern Music Performance

Degree in Jazz and Modern Music Performance


The aim of the Bachelor Degree in Interpretation of Jazz and Modern Music is to train musicians to be capable of:

  • competently interpreting different repertoires of jazz and modern music as a basis for dealing with any other modern repertoire
  • understanding, designing and organising study and practice in such a way that they can become their own teacher
  • and knowing the professional, technological, artistic and cultural environment so that they can design, create and direct their own project or integrate into the projects of others, adding value.

The design of the two itineraries offered (Jazz and Modern Music) has a very practical character thanks to the dynamic work done from by Taller de Músics, the master’s and workshop programs, along with the involvement of the Management & Productions department of the Taller de Músics in the students’ projects. The teaching staff includes pedagogical professionals specialised in Jazz and Modern Music, who are active artists at the highest level.


Access to higher artistic education requires the fulfilment of certain academic preconditions of which passing a specific access test that should, taking the the subsequent management of the admission procedure into consideration, be completed enough time ahead prior to the start of the academic year. The specific access test allows to asses the students’ attainment levels of the abilities and competences necessary to be admitted to higher education.

Specialisation in Interpretation

The profile of the student who accesses studies in the specialisation of interpretation, both in the field of Jazz and Modern Music and in the field of Traditional Music and Flamenco, is that of a student who knows styles, historical periods and formations representative of these kinds of music.

The student must be able to recognise habitual forms, both additively and through a score, and should be able to locate himself, expressing himself with rhythmic and harmonic adaptation. Likewise, they must show a predisposition to build their own or personalised sound, be able to link breathing with the musical phrase and must know how to adapt the interpretation and improvisation in differentiated styles, showing technical skills concerning the instrument that allow them to reach higher studies without specific difficulties.

They must also know how to use musical notation to write and read with fluency. In addition, they must know how to build their study strategies in order to overcome challenges of an academic or practical nature. They must be able to express opinions and artistic evaluations in a respectful and coherent way, and show abilities to work both individually and in a team.


Pedagogical team

Jordi Gaspar

Pedagogical Director

Santiago Galán


Joan Albert Amargós

Artistic Advisor

Néstor Giménez

Coordinator of the Bachelor Degree in Jazz and Modern Music Performance

Clara Luna

Voices Coordinator

Joan Monné

Instrumental Ensembles Coordinator

Octavio Hernández

Strings and Patches Coordinator at Bachelor of Music


Adrià Plana
Electric Guitar, Sight-Reading
Alejandro di Costanzo
Piano, Instrumental Ensemble, Secondary Instrument Piano
Ana Rosa Landa
Piano, Secondary Instrument Piano
Andreu Moreno
Drums, Specific Repertoire, Secondary Instrument Drums
Àngel Ferrer
Electric Guitar, Secondary Instrument Electric Guitar
Anna Luna
Voice, Secondary Instrument Voice
Anna Ponces
Supplementary Repertoire
Antonio Navarro
Voice, Instrumental Ensemble, Secondary Instrument Voice, Instrumental Ensemble
Apel·les Carod
Violin Violin
Carola Ortiz
Voice, Vocal Improvisation, Secondary Instrument
Clara Luna
Voice, Vocal Choir
Clara Peya
Supplementary Repertoire
Cristina López
Flamenco History, Specific Repertoire, Flamenco Singing
David Domínguez
Percussion, Rhythmic Basics of Flamenco Cajón Flamenco
David Leiva
Flamenco Guitar, Flamenco Harmony, Sight-Reading Flamenco Guitar
David Mengual
Instrumental Ensemble
David Pastor
Trumpet Trumpet
Einat Tal
Body Education
Enric Vázquez
Jazz History Jazz History
Genís Bou
Specific Repertoire Sax, Harmony, Instrumental Ensemble, Jazz Techniques
Javier Cisneros
Instrument and Voice Pedagogy, Didactics of Basic Musical Learning, Information and Communication Techniques / Computer Music (II)
Jefferson Otto
Drums, Secondary Instrument
Joan Mar Sauqué
Trumpet, Horn
Joan Monné
Piano, Instrumental Ensemble
Jordi Bonell
Electric Guitar, Instrumental Ensemble
Jordi Farrés
Electric Guitar, Improvisation (I), Instrumental Ensemble
Jordi Gardeñas
Drums, Improvisation (I), Secondary Instrument
Jordi Matas
Electric Guitar, Instrumental Ensemble, Specific Repertoire
Juan Jurado
Romantic Music Analysis, Post Romantic Music Analysis, Music in the 20th and 21st Centuries (I), Music in the 20th and 21st Centuries (II), Main Composition, Applied Composition
Judit Neddermann
Specific Repertoire
Kiko Caballero
Acoustics and Organology, Techniques for Recording and Postproduction
Lluc Casares
Luis Alfonso Guerra “Luisito”
Percussion, Secondary Instrument Percussion, Flamenco Percussion
Marc Ayza
Drums, Instrumental Ensemble, Secondary Instrument
Marcel·lí Bayer
Sax/Clarinet, Instrumental Ensemble Clarinet, Sax
Mark Aanderud
Piano, Secondary Instrument
Martí Serra
Improvisation (II)
Martin Leiton
Electric Bass, Double Bass, Formal Analysis, Instrumental Ensemble
Miguel Ángel Cordero
Electric Bass, Double Bass, Instrumental Ensemble
Néstor Giménez
Piano, Ear Training, Harmony, Instrumental Ensemble
Núria González Cols
Voice, Instrumental Ensemble, Vocal Improvisation
Octavi Rumbau
Instrumentation and Orchestration (I), Instrumentation and Orchestration (IV)
Octavio Hernández
Electric Guitar, Secondary Instrument
Olga López Espejo
Voice (I), Voice (II)
Pablo Carrascosa
Spanish Basics of Contemporary Composition, Composition and Production for Audiovisual Media Basics (III), Composition and Production for Audiovisual Media Basics (IV)
Pablo Schvarzman
Supplementary Repertoire
Pau Lligadas
Electric Bass, Double Bass, Instrumental Ensemble, Secondary Instrument
Pau Solsona
Piano, Instrumental Ensemble Piano
Pau Vidal
Transverse Flute Transverse Flute, Instrumental Ensemble
Ramon Ángel Rey
Drums, Instrumental Ensemble, Drums Improvisation
Raül Reverter
Sax, Instrumental Ensemble
Paul Stouthamer
Ear Training Cello
Raül Reverter
Sax, Instrumental Ensemble
Raynald Colom
Instrumental Ensemble
Riqui Sabatés
Electric Guitar Electric Guitar, Instrumental Ensemble
Santi de la Rubia
Sax/Clarinet, Improvisation (I), Instrumental Ensemble Sax, Instrumental Ensemble
Sergi Sirvent
Piano, Improvisation (II), Instrumental Ensemble
Toni Pagès
Drums, Secondary Instrument Drums
Toni Vaquer
Piano, Instrumental Ensemble, Composition Basics
Úrsula Pilar San Cristóbal
Language and Communication, Musical Thought, Research in Music Education (I)
Vicenç Solsona
Electric Guitar, Instrumental Ensemble, Transposition and Comping Electric Guitar
Vicent Pérez
Trombone, Instrumental Ensemble, Secondary Instrument Trombone, Instrumental Ensemble
Víctor de Diego
Instrumental Ensemble
Yeray Hernández
Electric Guitar Electric Guitar, Instrumental Ensemble


The syllabus of the Bachelor of Music consists of 4 academic courses of 60 ECTS credits each, distributed across subjects of different categories:

  • Basic training subjects: They are subjects of culture, thought, history, language and techniques of music.
  • Compulsory specialisation subjects: They are subjects of instrument or voice, complementary instrumental training, ensemble music, improvisation, composition, production, and management.
  • Optional subjects: They complement the training with a range of different subjects.
  • Work at the end of the studies.

The assignment of credits for each subject includes the hours corresponding to the academic classes, hours of study, the accomplishment of works, practices, projects and the preparation of examinations and evaluation tests.

Download Study Plan Jazz and Modern Music Performance



In order to obtain a bachelor’s degree in Music, it is necessary to prepare and publicly defend a final work, which is a direct outcome of what has been learned. This is the writing of a project with a set of explanations, theories, ideas or reasoning on a specific subject that should even more be put into practice in the form of a concert or performance key.

The student must demonstrate the ability to apply the acquired knowledge and know how to communicate conclusions, knowledge and theories on which it is based. The TFT must communicate the results or conclusions reached in the study of subject in an organised, formal, clear and precise way, as well as the methodology used, the process followed, the documents consulted etc. In short, it is a question of transmitting that is most important.

Professional skills

The graduate in Interpretation must be a highly qualified professional in musical interpretation, with mastery of his instrument and the repertoire inherent to his specialisation, knowing the technical and acoustic characteristics of his instrument and deepening its historical development, as well as that of a complementary instrument.

The graduate must perform at a high level in accordance with the specific characteristics of his/her modality and specialisation, both as a soloist and as member of an instrumental ensemble. Furthermore must he/she have the capacity to situate him/herself in multidisciplinary artistic contexts, always with a well-defined artistic personality being receptive to evolution.

They must also have knowledge of technological possibilities as a tool for the creation and support of their work. Likewise, they must be trained in the exercise of musical analysis with a wide aesthetic spectrum, and must have critical thought about the creative fact along with the capacity to transmit it orally and rigorously in writing. Finally, they must have a solid humanistic and methodological background to be able to carry out musical research and experimentation tasks.


Click on the links below to get further information about how to apply to Bachelor of Music, academic calendar, tutorial action plan, scholarships and funding, credit recognition, mobility programmes, Internal Quality Assurance System (SGIC), student card…

General Information about Bachelor of Music

Other links of interest:

Applying for the Bachelor of Music: requirements, calendar, sample tests…



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