The Composition programme is aimed at composers and songwriters who see themselves as future innovators in the field of popular music as a contemporary artistic expression.

The programme takes its starting-point in the student's vision, and aims to further develop the individual's artistic and educational profile. The student becomes part of a diverse and inspirational learning environment in which teachers, tutors and fellow students stimulate and challenge the student's development. The programme takes the form of a mixture of scheduled classes and intense project periods, and via the Conservatory’s extensive cooperation with external partners in Denmark and abroad, students obtain access to an extensive professional network that will enhance their future employment opportunities as composers or songwriters, educators and entrepreneurs in a changing music industry.

The Bachelor programme in Composition has two special subject areas:

1. Instrumental/electronic Composition
Besides composition, applicants for this specialisation will focus within the course on acoustic and electronic arrangement. The specialisation is aimed at composers of electronic music and composers who work with arrangements for various ensembles.

2. Songwriting
Besides composition, applicants for this specialisation will focus within the course on writing song lyrics. The specialisation is aimed at songwriters.

how do I apply?

You can read about this and much more under APPLICATION and ENTRANCE EXAMINATION below.


  • Information meeting at RMC: 5 November 2019
  • Deadline for online application: 3 December 2019 at 12:00  CET
  • 1st round: Early January 2020. You are not present
  • Outcome of the 1st round: No later than 15 January 2020 by email
  • 2nd round: 20-21 January (song) and 23-24 January (comp) 2020
  • Outcome of 2nd round: 15 april 2020 by email
  • Start of study: 17 August 2020

Read the general information about the application process HERE



In addition to possessing talent and a deep passion for instrumental/electronic composition or songwriting, you must have written a sufficient number of works, and thereby acquired an adequate amount of experience and insight, to enable a personal artistic expression to be perceptible in the applicant at the entry examination.

You must be able to take responsibility for your own learning process, and be able to work independently, but also be open to cooperation with others. You should in general be open to experimentation, so as to discover new aspects of yourself as an artist. All genres and styles are welcome.

The entrance examination at RMC is not coordinated with programmes at other academies of music. You are welcome to seek admission to several academies.

You can apply for several programmes at RMC simultaneously, but the entry examinations are not coordinated.


You must apply online through Studieoptag.
You must create a profile, fill in the online application form and upload relevant files. 


In the application form you will be asked to answer the following:

  • What are your artistic and professional goals? (Max 1000 keystrokes)
  • How do you feel the study programme can help you achieve your artistic and professional goals? (Max 500 keystrokes)
  • List of credits with precise specification of your own role and, if applicable, the role of any others in relation to the submitted works.
  • Explain your ambitions artistic reflexions on the submitted works. (Max 2400 keystrokes)
  • Which music tools (software/instruments) do you master? (Max 500 keystrokes)
  • Describe your background and experience. (Max 1200 keystrokes)
  • Elaborate on which experiences have been most important to you (Max 1000 keystrokes)
  • Inform of any pervious education (both on conservatories and universities) as well as any other teaching you have recived (Max 1000 keystrokes)

In the application form you will be asked to upload the following:

Special subject area Instrumental/electronic composition

  • Music: Two works composed, arranged and produced by you only. Any kind of co-write is not allowed. (total duration max 10 minutes.) If the submitted works are excerpts from compositions, you must state this in the submitted list of credits. 
  • Scores: Upload sheet music or other graphical notation to the submitted works, if scoring is a part of your compositional work.

 Special subject area Songwriting

  • Music: Two works composed, with lyrics, arranged and produced by you only. Lyrics should normally be in Danish, Swedish, Norwegian or English. If the works contain lyrics in other languages, you must provide a Danish or English translation. Any kind of co-write is not allowed. (total duration max 10 minutes.) If the submitted works are excerpts from compositions, you must state this in the submitted list of credits. 
  • Lyrics: Upload the lyrics to the two submitted works. You must upload a file for each work.

You bear the artistic responsibility for the overall expression of the individual works, both in terms of composition, arrangement and productions.
You are welcome to make use of musicians and sound engineers on the submitted works, but you bear the full responsibility for the final production and arrangement.
Most applicants perform themselves on the recorded material, but this is not a requirement. Neither is it necessary for you to be able to play an instrument or sing in order to apply. We are for example happy to admit applicants who work exclusively on the computer.


Applicants for a bachelor programme at RMC must pay an application fee of 500 DKK. The fee covers part of the costs associated with the entrance examination and is non-refundable after the application deadline.

If you are applying for both special subject areas of the Bachelor programme in Composition, you must submit two applications and pay the application fee twice due to technical reasons. RMC will refund one of the application fees immediately after the application deadline.


The deadline for applications is 1 December at 12:00 CET. If this date is a Saturday, Sunday or a public holiday, the deadline will be at 12:00 CET on the next weekday.

Entrance examination


All who apply for admission to the Bachelor programme in Composition, will have their applications assessed at the first round of the entrance examination.


The entrance examination for the bachelor programme in Composition takes place in two rounds.

At the 1st round, an assessment panel will assess the submitted works and the related enclosures (list of credits, reflections on the submitted works, scores/lyrics). You are not present.

2nd round consists of a combined presentation of a work and an interview.


At the 1st round of the entrance examination, an assessment panel consisting of three examiners will listen to the submitted works and read the related enclosures. You are not present.


After the first round, an overall assessment is undertaken, based on:

  • Your ability to create music, borne by an independent artistic expression.

  • To which extent you possess skills in composition or songwriting and other relevant musical skills, necessary to realize your music and artistic expression.

  • Your ability to reflect on your own practice – including the ability to describe the artistic intention behind the submitted works. Why do you compose as you do? What makes your compositions unique? How do your works fit into the contemporary scene? What should the admission panel especially listen for?

You will be assessed according to a 100 point scale, which is a subdivision of the Danish 7 step grading scale. A minimum of 40 points, corresponding to 02 in the Danish 7 step grading scale, is required to pass the audition.

The assessment is given, related to the level that is required to commence the programme.


On the basis of the assessment, a number of applicants are selected to advance to the 2nd round of the entrance examination. This group is usually three times larger than the number of applicants who can be admitted to the programme.

The 1st round must be passed in order for the applicant to proceed to the 2nd round.

All applicants will receive an e-mail about the outcome of the 1st round. Applicants who are selected to advance to the 2nd round of the entrance examination will be notified in the e-mail of the time at which the examination will be held.

All applicants, who are not through to the 2nd round, are offered a short feedback by telephone from the internal examiner from the entrance examination.


The 2nd round of the entrance examination consists of a presentation of musical works followed by an interview.

Work Presentation
You must bring along and present two recorded works, meeting the following criteria:

Special subject area: Instrumental/ Electronic Composition
Works that have been composed, arranged and produced entirely by yourself.

Special subject area: Songwriting
Works with lyrics which have been written, composed, arranged and produced entirely by yourself. Both works must include lyrics.

  • Total duration max. 10 minutes. If the composition is an excerpt from a longer work, you must make this clear.

  • You must bring the works on a USB key in the file format WAV, AIFF or MP3, so that they can be played on the examiners’ computer.

  • The works must not be identical with the works you uploaded in your application, and which were assessed in the first round.

  • You are only allowed to play two works, i.e. you cannot play extracts from other works.

  • You are not allowed to perform the works live during the presentation.

The interview is based on the work presented, the written application, the submitted CV and the two works submitted for the 1st round assessment. You get an opportunity to describe in detail and place into perspective your technical and artistic profile, professional goals and motivation for seeking admission to the programme. Duration: 10 minutes.

The presentation and the interview are carried out alone for a panel of three examinators. You are not allowed to bring other persons to the presentation or interview.


After the presentation and interview, an overall assessment is undertaken, based on: 

  • Your artistic and compositional competencies.

  • Your ability to reflect upon own practice.

  • Your ability to develop and realise artistic projects, independently and in collaboration with others.

You will be assessed according to a 100 point scale, which is a subdivision of the Danish 7 step grading scale. A minimum of 40 points, corresponding to 02 in the Danish 7 step grading scale, is required to pass the audition.

The assessment is given, related to the level that is required to commence the programme.



On the basis of the results of the entrance examination’s 1st and 2nd round, the best-qualified applicants are admitted to the programme. If several applicants are equally well-qualified, factors such as the requirements of the music business may be included in the Conservatory’s decision on who to admit.

Ten students are usually admitted to the programme. Due to the limited number of places, the Conservatory may be obliged to reject some applicants even if they have passed the entrance examination.

You will receive an e-mail in the beginning of April informing you of whether or not you have been admitted.

All applicants, who are not offered a study place, are offered a short feedback by telephonefrom the internal examiner.


A limited number of applicants who are qualified for admission, but who have not been admitted due to a lack of places available, may be offered a place on a waiting list. In the period up to 1 June, applicants on the waiting list may be offered admission.


Illness must be documented by medical certificate if you wish to have the opportunity to take a make-up examination. The medical certificate must be provided no later than three days after the examination date. The Conservatory will determine the date of any make-up examination, and you will be notified of this as soon as possible. It will not be possible to take the make-up examination at any other time than that set by RMC. You are responsible for paying the cost of the medical certificate.


The entrance examination is normally conducted in Danish. Foreign applicants may however take the entrance examination in English.

Programme structure

The Bachelor study programme in composition corresponds to 180 ECTS points, equivalent to three years of full-time study at 1,620 working hours per year. A year of full-time study includes all work connected with the study programme, including classes, independent study, examinations and all other study-related activities.

The programme aims to develop the student’s artistic expression and professional qualifications to enable the students to create and communicate an independent artistic expression, and to develop and practise artistic-based teaching.

The study programme has a focus on providing for the student's own ideas and practice with the best conditions for expression, in a study environment that encourages experimentation, investigation and an open working process. The teaching covers such areas as the artistic idea, storytelling, writing lyrics in Danish and English, composition, arrangement, instrumentation, production and – for songwriters – lyrics writing in Danish and English.

The teaching alternates between individual projects and joint learning, and aims to provide learning that as far as possible is tailored to the individual student, but at the same time builds upon on a common platform for production, discussion, criticism and the exchange of experience.

The subject Artistic Development Work - in which the student, in a process and product-oriented practice, develops an independent artistic expression - has a central placement in the programme.

The teaching is mainly provided within a particular year group; however, subjects and projects may also be provided in classes made up of students drawn from various years and/or study programmes.

The programme concludes in a Bachelor project, in which the student writes, produces and communicates his or her own works via a studio recording and a public performance.

The table below shows how the subjects and ECTS points are distributed in the programme.

Study Plan, Composition


1st SEM.

2nd SEM.

3rd SEM.

4th SEM.

5th SEM.

6th SEM.


Artistic Development Work








Bachelor Project





Music Education & Learning








Specialisation: Composition/Songwriting 















Art and Culture Studies



2,5 2,5




















You can read more about the objectives and structure of the programme in the programme curriculum, where you will also find detailed descriptions of the individual subjects – click on the link to the right, or on the individual subjects in the table above.

The programme is a full-time programme of study, and attendance at tuition is compulsory.  The language of instruction is usually Danish, but teachers may provide teaching in English to individuals or small groups as necessary.  Teaching given by guest teachers, or in connection with study tours, will however typically be provided in English.

During the course of studies it is optional to apply for exchange studies at a foreign conservatoire or for self-planned studies abroad.

The bachelor programme Composition provides the students with a foundation for further studies at Master´s level at a Danish or a foreign conservatoire. RMC offers the Masters´s programmes Music Performance, hereunder European Jazz Master and Nordic Master: The Composing Musician, as well as Music Creation and Music Education 

Career opportunities

Graduates of the Songwriter programme are typically engaged in writing songs for their own bands/projects, or for other artists, publishers, film or television, etc. Songwriters often work on a freelance basis in a market that is rapidly changing and highly competitive, but where there is also a growing need for content providers who can supply original material of high quality. The employment opportunities depend on both market fluctuations in the business and on the priorities of cultural policy, and may therefore vary a great deal.

Awinbeh Ayagiba, dimitteret i 2016


Hvad beskæftiger du dig med i dag?
For tiden arbejder jeg på at udgive min soloplade som jeg har brugt de sidste par år på at skrive og færdiggøre – og ellers skriver og producerer jeg løbende for andre artister, senest Jada, Phlake, Benal, Alina Baraz, Soon, Elias Boussnina, med flere.

Hvorfor valgte du at studere Komposition?
Jeg stod et sted i mit liv, hvor jeg ikke helt vidste hvad jeg skulle foretage mig. Jeg fik et praj om sangskriverlinien og kom fandeme ind mod alt forventning. Jeg havde spillet i en masse bands før, men var gået lidt i stå, så RMC var en skøn mulighed for at starte lidt forfra og forbedre mig overall.

Hvad var dine vigtigste opdagelser under uddannelsen?
At det aldrig er for sent at lære noget nyt! Da jeg startede på RMC havde jeg en masse ideer om, hvad jeg kunne – og især hvad jeg ikke kunne. Men efter de tre års eksperimenter havde jeg mere og mere bevæget mig over i produktion, især vokalproduktion, og dette håndværk, som jeg ikke rigtigt anede noget om inden konservatoriet, blev essentielt for, hvordan jeg efterfølgende har arbejdet med musik.

Hvad er det bedste, du fik med fra uddannelsen?
Gode venner! Og et skønt netværk. Vi havde nogle rigtig gode lærere, som præsenterede os for en masse nye ting og tanker, og det var fedt, men personligt fik jeg nok lige så meget ud af at spejle mig i og arbejde med de andre studerende. Jeg var i starten vild angst for at blive “opdaget” som en der ikke hørte til – men når man lige snakkede med de andre ude i gården, var alle jo også i gang med deres vildt forskellige processer, og det var fedt lige at få nogle flere perspektiver på tingene.

Nikolaj Paakjær, dimitteret i 2018

Foto: David Milo Davidson

Hvad beskæftiger du dig med i dag?
Jeg underviser unge mennesker med psykiske udfordringer i primært sangskrivning og musikproduktion.

Hvorfor valgte du at studere Komposition?
Eftersom at en meget stor del af min tid hver dag i forvejen gik med at skrive, var det meget befriende, at jeg kunne kvitte mit lærerjob og få tiden. At det var det eneste, jeg behøvede at gøre i nogle år, var et drømmescenarie.

Jeg ønskede også at få mit arbejde ud af mit natkøkken og få noget respons på det, jeg havde gang i, og på det udtryk, jeg var ved at udvikle på. Det tiltalte mig rigtig meget at få lov at færdes i et så koncentreret kreativt, vibrerende miljø, hvor man kunne blive inspireret og udfordret.

Hvad var dine vigtigste opdagelser under uddannelsen?
Jeg synes, at jeg i løbet af de tre år fik skarpslebet mit udtryk som sangskriver og fundet frem til en gennemgående stemme eller DNA uanset hvilken slags musik, jeg arbejder på. Jeg blev bedre til at skabe klarhed omkring, hvad den enkelte sang vil.

Hvad er det bedste, du fik med fra uddannelsen?
Jeg har fået lov at lære en masse sympatiske og inspirerende mennesker at kende i et fællesskab hvor vi ærligt kunne dele sangskriverliv fra den oversvømmende inspiration til den træge ørkenvandring, det også kan være. Folk som jeg har fortsat et kreativt samarbejde med i forskellige sammenhænge.

Anders Hjernø, dimitteret i 2018


Hvad beskæftiger du dig med i dag?
Jeg er sangskriver og musiker, men jeg har også en deltidsstilling som pædagogmedhjælper for at have en stabil indtægt, mens jeg er i gang med at bygge min musikkarriere op igen.

Før jeg begyndte på RMC levede jeg af at spille musik, men jeg valgte bevidst at bruge min studietid til at fordybe mig i at skrive og komponere. Derfor skruede jeg meget ned for både udgivelses- og koncertaktiviteter for i stedet at bruge tiden på at udforske og eksperimentere. Med andre ord at gøre alt det jeg ikke havde råd til at gøre dengang min indtægt var baseret på honorarer.

Den tid jeg bruger på musik deles imellem kunstneriske gøremål og mere merkantile gøremål, såsom at søge penge, booke koncerter og at holde forskellige slags møder. Udover det er jeg med til at drive plade- og forlagsselskabet Aftenrutine.

Hvad var dine vigtigste opdagelser under uddannelsen?
Jeg lærte at sangskrivning og komposition ikke udelukkende kan sættes på formel. Jeg lærte om mig selv, at jeg trives med systemer og skemaer, men at jeg er nødt til at acceptere og udsætte mig selv for kaos, hvis der skal komme noget interessant ud af mig.

Jeg lærte at strukturere og arbejde med mange opgaver samtidig, men jeg lærte også, at det vigtigste er at finde ud af hvad der er vigtigst. Der er meget der er vigtigt, men få ting der er vigtigst.

Vidste du, hvad du ville bruge din uddannelse til?
Ja, jeg ville være en brændende dygtig sangskriver, og jeg glædede mig til at RMC skulle gøre mig til netop dét. Jeg tænkte at jeg skulle lære alt; jeg skulle lære at spille klaver, tage sangtimer, skrive orkesterarrangementer og derudover reformere elevdemokratiet på skolen.

På et tidspunkt gik det op for mig at der kun er 24 timer i døgnet, og så var det at jeg begyndte at tænke over det der med, at der er mange ting der er vigtige, men få ting der er vigtigst. Og så begyndte jeg at vælge fra og at skrotte drømme. Det er en vigtig lektie, og en lektie man kan bruge resten af livet.

Hvordan ser du fremtiden for sangskrivere og komponister?
Jeg har ikke lyst til at komme med prognoser på sangskrivernes og komponisternes vegne. Personligt tror jeg at fremtiden tager form efter hvilke kampe man vælger. Hvis du gerne vil være stjerne på den store måde, så ser fremtiden ud på en bestemt måde, for det er forbeholdt de få at være store stjerner. Hvis du gerne vil være rigtig god til at skrive den musik som er populær, så ser fremtiden også ud på en bestemt måde, fordi der er rigtig mange om buddet, og mange af dem er rigtig dygtige.

Personligt vil gerne leve af at arbejde med musik, men jeg har samtidig besluttet, at jeg ikke gider at føle mig som en fiasko hvis det ikke sker. Det er en rar beslutning at have taget, for det giver mig arbejdsro til at få skrevet noget musik. Min kamp er ikke at få en karriere, for det er ikke vigtigt for mig. Min kamp er at få arbejdsro til at skabe indsigtsfulde og præcise værker, og hvis der kommer en karriere ud af det, så er det dejligt. Hvis der ikke gør det, så har jeg stadig lavet noget indsigtsfuldt og præcist, og det er det vigtigste.

Dísa Jakobsdottir, dimitteret i 2015


Hvad beskæftiger du dig med i dag?
Jeg synger i forskellige bands, jeg er massør, arbejder med en naturlæge på et urteapotek og holder meditationer med sang, gong og tibetanske syngeskalaer, og underviser i sang på konservatoriet i Reykjavik.

Hvorfor valgte du at studere Komposition?
Jeg ville udfordre mig selv som kunstner og sanger, finde ud af hvad jeg kunne inden for musikken – og også uden for rammerne – og eksperimentere med min stemme. Jeg ville også møde andre inden for det samme område og lære af dem, dele inspirationer og ideer og få feedback.

Hvad var dine vigtigste opdagelser under uddannelsen?
Jeg lærte at stole mere på mine egne ideer, lærte at jeg godt kunne lave musik fra bunden af og blive glad for resultatet, samt at komme væk fra mainstream retninger. Det var noget som sad meget fast i mig i for lang tid, men som uddannelsen hjælp mig ud af. Jeg fandt også mange nye rum i min stemme og måder at lege med den på, som jeg er meget taknemlig for. Den er mit hovedinstrument og kerne.

Hvad er det bedste, du fik med fra uddannelsen?
Jeg var meget glad for at få plads og rum til at eksperimentere og få feedback på mine ideer. Jeg fik et rigtig godt netværk og gode venner, mødte inspirerende mennesker og lærere som viste mig nye perspektiver på kunst, spiritualitet og forskellige måder at lytte og anskue på.


Below, please find a list of teaching staff on the programme in the fall semester 2019, permanent academic staff as well as contract teachers.

RMC prioritizes diversity in terms of genre and fields of expertise when the entire group of teachers is composed.

As a student, you are offered a wide spectrum of professional impulses from permanent teaching staff as well as from contract and external teachers.

Within the core subjects of the programme, the teaching performed by the permanent staff will normally not exceed more than two thirds of the total number of teaching hours.

In relation to special courses, projects and similar activities, you will have the opportunity to meet a large number of external teachers.

Artistic Development Work:

Niels Lyhne Løkkegaard

Søren Kjærgaard

Kasper Tranberg

Anders Mathiasen

Sharin Foo

Qarin Wikström

Torben Snekkestad


Artistic Development Work - Individual Subject-specific Tuition:

Britt Hein Jespersen

Cæcilie Trier

Jacob Anderskov

Pablo Llambias

Nikolaj Vonsild

Sharin Foo


Special Subject:

Ejnar Kanding

Pablo Llambias


Music Education and Learning:

Malene Bichel

Jens Skou Olsen

Torben Westergaard

Kim Boeskov

Maria Westvall

Albert Raft Rasmussen



Niels Lyhne Løkkegaard

Jeppe Zeeberg

Nikolaj Vonsild

Simon Formann

Simon Toldam

Maria Faust

Marie Fisker

Lotte Anker

Michael Møller

Anders P. Jensen

Jacob Anderskov


Cultural and Business Studies:

Sharin Foo

Thorsten Høeg

Henrik Marstal

Kresten Osgood

Head of programme

Programme Coordinator

Claus Finderup

Study Programme (BMus C)

About RMC

Rhythmic Music Conservatory (RMC) is an educational institution under the Danish Ministry of Culture and works on a non-commercial basis. RMC was founded in 1986 as the first music academy in Europe to specialize in contemporary rhythmic music.


RMC offers the highest education in contemporary rhythmic music - a multifaceted concept that embraces widely diverse genres such as rock, pop, jazz, urban, metal and electronic music.


Contemporary rhythmic music is a creative and performative art that builds upon a solid foundation in professional and cultural traditions.


At RMC contemporary rhythmic music means openness, curiosity, diversity and a critical position.

RMC Vision Statement 2019-2022

RMC is a pioneer in the study, practice and development of contemporary music.


At RMC, students and staff thrive in a creative atmosphere of inspiring exchange and inventive inquiry.


RMC educates future innovators in music who enrich artistic and cultural experience in the world.


Informed by deep knowledge and upon a foundation of highly developed skills, graduates install themselves in society and actualize potentials in a wide network of relations, both locally and globally.