Faculté de Musique

Licence en Enseignement Musical Supérieur Spécialisé

Hybride

Concentrations:

- Ecriture Musicale
- Instrument de Musique
- Chant (Chant Arabe / Chant Classique Occidental)
- Solfège / Dictée
- Solfeggio/Dictation

Mission

Le Département de l'enseignement supérieur spécialisé de l'éducation musicale à l'Université de l'USEK s'engage à préparer, inspirer et motiver les élèves vers l'excellence dans leur carrière professionnelle, dans leur formation, leur Composition et leur Performance.
Le D&...
eacute;partement fournit une culture musicale unique et favorise les plus hauts standards d'enseignement et appuie l’établissement d'un engagement créatif à travers ses propres accomplissements, le travail de ses membres et personnels et la réalisation de ses diplômés.
Le Département s'efforce de répondre aux besoins éducatifs de ses élèves diversifiés grâce à l'instruction, la performance, les bourses et le service public, et génère des activités musicales créatives qui ont une importance locale, nationale et internationale.

Objectifs Éducatifs du Programme

1. les diplômés réaliseront des degrés standards de performance musicale (à travers des études appliquées de musique, des ensembles et des master-classes).
2. Les diplômés démontreront des compétences de base dans les domaines de l'histoire et l’analyse, la théorie avancée et la technologie de la musique.
3. Les diplômés montreront une compétence de base dans la formation de l'oreille, le chant, l’improvisation, la composition et la réalisation à première vue.
4. Les diplômés démontreront une connaissance bien travaillée (un niveau approprié des compétences techniques et interprétatives), préparant un répertoire de base dans leur spécialisation en l’exécutant complètement et de manière expressive en faisant preuve de leadership en tant que soliste, en tant que membre d’un ensemble.
5. Les diplômés montreront une capacité d'appliquer des approches créatives à l'étude des problèmes et des études autogérées, et à concevoir et réaliser des événements et des programmes musicaux.

Aboutissements du Programme

a. Développer les compétences et la compréhension du langage musical et la composition d’une variété de styles, de périodes et genres tant dans la tradition européenne occidentale que dans les cultures non-occidentales.
b. Développer des compétences de critiques et défendre un jugement musical, en ce qui concerne la signification contextuelle et la valeur esthétique de son propre travail et celui des autres.
c. Développer une connaissance approfondie et une compréhension de l'histoire musicale occidentale et son analyse et pour les traditions de la musique arabe et libanaise.
d. Développer de compétences techniques et une sensibilisation musicale pour les performances et le leadership de petites et grandes chorales.
e. Développer des connaissances et compétences dans l'utilisation de la technologie telle qu'elle s'applique à la notation, l’arrangement, l’enregistrement et la composition musicale.
f. Développer une connaissance approfondie et une compréhension des instruments de musique, leurs systèmes de classification, les aspects techniques liés à leurs constructions et leurs qualités sonores, aussi bien que leur utilisation et leur importance dans une composition.
g. Développer la connaissance et la compréhension d'une variété du business de musique et des pratiques de l’industrie musicale.
h. Développer une connaissance pratique de la musique dans son lien avec la danse, le théâtre et l'expérience religieuse.
i. Développer une habilité intense à entendre, à analyser, à lire, à écrire et à harmoniser et composer la musique à un niveau de base.
j. Acquérir une compréhension suffisante de la théorie musicale avancée, des formes musicales, des processus et des structures et d'utiliser ces connaissances dans la composition et des contextes de performance.
k. Développer des connaissances et des compétences de jeu d’un instrument majeur ou de chant et la capacité à lire à première vue.
l. Développer les compétences qui les préparent à des carrières de performance musicale et d'enseignement privé et des études supérieures et pratique indépendante, y compris une maîtrise technique importante pour résoudre des problèmes professionnels et un ensemble cohérent d'objectifs artistiques/intellectuel qui se manifestent dans leur travail.
m. Acquérir des compétences artistiques et techniques, des compétences collaboratives et des connaissances des répertoires nécessaires pour l'expression artistique dans leur domaine majeur de performance.
n. Développer une capacité à identifier et travailler sur le plan conceptuel avec les éléments de la musique, à un niveau avancé.
o. Développer une formation en musique qui les prépare à une large gamme d'activités éducatives et professionnelles qui incluent le solfège et la dictée en tant qu’élément de base.
96 crédits
General Education Common Core
MUSC235Analysis of the 17th Century Music
2 credits
This course will provide a deep analysis (form, genre, structure, themes, rhythm, orchestration and harmonic and polyphonic writing, language, general nature of the work) of musical styles and composition, in examples mostly selected from Greek, Medieval, Renaissance, and Baroque Music.
MUSC355Analysis of the 18th Century Music
2 credits
Analysis of corresponding parts in the history course of the 18th century.
MUSC455Analysis of the 19th Century Music
2 credits
Analysis of corresponding parts in the history course of the 19th century.
MUSC255Applied Musical Computing
1 credits
The course is intended for students interested in the world of sound (training, recording, publishing and editing), as well as the musical production. This is a theoretical course illustrated by examples multimedia and completed by practical application sessions.
This course offers the students the M.I.D.I. Norms and the technique of the DIGITAL AUDIO, presenting to the manipulator of huge facilities such as the creation of libraries containing thousands of sounds "samples" and ready to be used, registration of an infinity of tracks in M.I.D.I and more than 64 tracks in audio, the correction of wrong notes and tempo notation and printing of the music sheet and a lot of other very mundane tasks of our time, but which were considered impossible, in the audio field, twenty years ago. Man is the only creator and innovative element and the computer is that his tool towards the accomplishment of his work in a faster and more advanced ways.
MUSC240Arab Music I
2 credits
This course will provide a deep analysis (form, genre, structure, themes, rhythm, orchestration and harmonic and polyphonic writing, language, general nature of the work) of musical styles and composition, in examples mostly selected from Greek, Medieval, Renaissance, and Baroque Music.
MUSC420Choir Conducting I
1 credits
This course aims to train musicians on vocals, choirs and choir conducting. It includes concepts about the human voice and its education, the choir and its training, the conductor of the choir (values, posture, technique, behavior, etc.), choral conducting (departure gesture, the fermata, the stop gestures, the syncopation and offbeat, repeat, etc.). This course includes exercises on the evolution of the musical ear, on conductor gestures, on the conducting of simple meters (2/4, 3/4, 4/4).
MUSC425Choir Conducting II
1 credits
This course aims to train musicians on vocals, choirs and choir conducting. It includes concepts about the human voice and its education, the choir and its training, the conductor of the choir (values, posture, technique, behavior, etc.), choral conducting (departure gesture, the fermata, the stop gestures, the syncopation and offbeat, repeat, etc.). This course includes exercises on the evolution of the musical ear, on conductor gestures, on the conducting of simple meters (2/4, 3/4, 4/4).
MUSC210Choral Singing I
1 credits
Choral singing closely follows the course of history. Each year the students learn to interpret, in the context of Western choral singing of the Faculty, the corresponding repertory according to the current history course.
MUSC215Choral Singing II
1 credits
Choral singing closely following the course of history. Each year the students learn to interpret, in the context of Western choral singing of the Faculty, the corresponding repertory according to the current history course.
MUSC310Choral Singing III
1 credits
Choral singing closely follows the course of history. Each year the students learn to interpret, in the context of Western choral singing of the Faculty, the corresponding repertory according to the current history course.
MUSC315Choral Singing IV
1 credits
Choral singing closely follows the course of history. Each year the students learn to interpret, in the context of Western choral singing of the Faculty, the corresponding repertory according to the current history course.
MUSC230History of the 17th Century Music
2 credits
This course will consist of an investigation of the principal styles of European music from ancient Greece to the time of Bach and Handel. It will focus on a panoramic view of the main events, composers, genres, forms, schools, language and problems of music during those periods.
MUSC350History of the 18th Century Music
2 credits
This course opens on the years that mark the death of Jean­Sébastien Bach, the decline of the baroque era, with the dawn of the classical musical style. It deals with the following subjects: French (from 1661 to 1764) music, music of the Germanic countries around Bach and Handel, English music in the 18th century, the birth and diffusion of classicism in Polish music, music in Spain, the music in Italy from the death of Carissimi to the end of the eighteenth century, classicism in Austria and the German­speaking countries, from the death of Telemann to the death of Beethoven, the formation of the classical style in Europe and the classical masters: Haydn and Mozart.
MUSC450History of the 19th Century Music
2 credits
This course explores the music of the Romantic era. 1 ­ Characteristics of Romantic music: themes of Romanticism, individuality of style, expressive subjects, nationalism and exoticism, the use of timbers to obtain a variety of sensations and atmospheres, the use of chromatic harmony, contrasts in nuances etc. 2. Vocal music, program music, the Romantic Symphony, the brief forms and developed forms. 3. Romantic composers: Beethoven, Schubert, Schumann, Chopin, Liszt, Mendelssohn, Berlioz, Tchaikovsky, Smetana, Dvorak, Brahms, Verdi, Puccini, Wagner, Mahler.
MUSC220Music Critique and Aesthetic Judgment I
1 credits
MUSC225Music Critique and Aesthetic Judgment II
1 credits
MUSC320Music Critique and Aesthetic Judgment III
1 credits
This course includes a guided reading and musical critique, taking in readings in the literature and the science of music. Each student will have to read a book (or chapters in a book) per semester and present the content to others. The criticism is about:
- Various reports and interviews, mainly in the field of contemporary musical creation.
- Conception, realization and animation of a series of programs devoted to classical, modern and contemporary music.
- A roundtable around musical works by various composers.
- A report on a festival and concerts presented as part of this festival.
- Leaflet of a compact disc, published flyers or texts in concert programs.
- Symposia concerning music and conferences contained therein.
MUSC325Music Critique and Aesthetic Judgment IV
1 credits
This course includes a guided reading and musical critique, taking in readings in the literature and the science of music. Each student will have to read a book (or chapters in a book) per semester and present the content to others. The criticism is about:
- Various reports and interviews, mainly in the field of contemporary musical creation.
- Conception, realization and animation of a series of programs devoted to classical, modern and contemporary music.
- A roundtable around musical works by various composers.
- A report on a festival and concerts presented as part of this festival.
- Leaflet of a compact disc, published flyers or texts in concert programs.
- Symposia concerning music and conferences contained therein.
MUG330Music Languages
2 credits
The goal of this course is to give to the students a general idea about the evolution of musical language from its beginning to the twentieth century: the scale of harmonics; the cycle of fifths, consonance and attraction, tolerance, habituation, equalization, the formation of the scales, relative pitch and absolute pitch, the organization of the sounds in space and in time, the melodic order and the harmonic order, the chromatic scale; the irregular and altered scales; from ditonic scale to heptatonic scale; accuracy and the acoustic systems; the equal temperament.
MUG335Musical Acoustics
2 credits
This course concentrates on: vibratory motion of typical musical sound sources, propagation of sound, wavelength, period and frequency, pressure and acoustic intensity, the acoustic impedance speed, etc; perceived pitch, loudness and timbre of a sound; the objectively measurable properties of a sound wave; explaining how sound is generated - transformed by the musical instruments and the human voice; defining the reverberation time of a hall, using a formula relating reverberation time to the volume of the hall and the absorption of its surfaces, and discussing the acoustical properties desirable in concert halls and opera houses; microphones, amplifiers, speakers and sound captation acoustic treatment and correction.
MUSC250Musical Computing
2 credits
The course is intended for students interested in the world of sound (training, recording, publishing and editing), as well as musical production. This is a theoretical course illustrated by multimedia examples and completed by practical application sessions.
MUSC340Musical Forms
2 credits
The examination of the form is a fundamental element of any analysis, because the form depends on the various components of a work, namely melody, rhythm, instrumentation, dynamics, tonal course, elements of unity and contrast ratio, relationship between text and music if it is a voice composition and other components. To understand musical forms, is to discern the sound architecture.
MUSC400Organology and instrumentation
3 credits
This course studies different musical instruments from antiquity to the present day, including the history, classifications, mechanics, acoustics, development, manufacturing, the different families of instruments, and helps deepen the concept of instrumentation and know the specificity of each instrument, in terms of timbres, register, transposition, combination of timbers, transcription, etc.
Specialization - Emphasis: Music Composition
CTP210Counterpoint I
2 credits
2 parts A. 1st and 2nd species (note against note and two against one) B. 3rd and 4th species (4 notes against one and syncopations) C. 5th species (Florid Counterpoint).
CTP220Counterpoint II
2 credits    |    Pré-requis: MPR301 Or MPR512 Or MPR363 Or CTP210
Counterpoint of 3 and 4 parts - A. Cp. to 3 parts, B. Cp. to 4 parts, C. Cp. Invertible.
CTP330Counterpoint III
3 credits    |    Pré-requis: MPR 302 Or MPR 522 Or MUP 463 Or CTP 220
Counterpoint of 3 and 4 parts - A. Cp. to 3 parts, B. Cp. to 4 parts, C. Cp. invertible
CTP440Counterpoint IV
4 credits    |    Pré-requis: MPR 303 Or MUP 563 Or CTP 330
The Fugue. A. The first elements of the fugue: exhibition, counter­exhibition, theme, answer. B. The second elements of the fugue (entertainment, strata, pedal), with analysis of Bach's fugues. C. Composition of two fugues: one on a given theme, the other on a new theme.
HRP330Harmony III
3 credits    |    Pré-requis: MPR 201 Or MPR 205 Or MUP 259 Or MUP 261 Or HRP 220
Given chant. A. - Chords of the Dominant 9th major and minor, with and without fundamental ­ Chords of the 7th in various species. B. ­ Alteration, Delays and Pedals. C. ­ The foreign notes: alteration, delays, pedals, notes of passage, anticipation, appoggiatura, etc.
HRP440Harmony IV
4 credits    |    Pré-requis: MPR 203 or MUP 459 or HRP 330
Harmonization in different styles: A. ­ Modal Harmony. B. -Jazz Harmony. C. ­ Harmony in different styles (from Baroque music to contemporary music).
CMU201Music Composition I
3 credits    |    Pré-requis: HRG320 and HRG330
Composition of short melodies and songs with piano accompaniment, based on tonal harmony: use of 7th of dominant chords with melodic foreign notes (passing notes and cambiata).
CMU202Music Composition II
3 credits    |    Pré-requis: CMU 201
Composition of melodies and songs in different classic genres (dances, marches, chorales, etc.), using the resources of harmonic and contrapuntal technique.
CMU303Music Composition III
3 credits
Composition for instrumental and vocal in the modal harmony (Arabic music included), jazz and different styles of the Occidental repertoire. Composition for String Quartet in a free style (harmony, counterpoint, contemporary or mixture).
SDO304Solfeggio/Dictation IV
3 credits    |    Pré-requis: MPR223 Or MPR431 Or MUP357 Or SDO303
4th course
a­ Solfeggio parlati : ­ Pozzoli: secondo corso du n°1 au n°36.
b­ Solfeggio cantati: ­ Pozzoli: secondo corso du n°1 au n°28.
c­ Dictation : ­ Noël Gallon du n°61 au n°80. ­ Noël Gallon (2 voix) du n°1 au n°20.
Specialization - Emphasis: Musical Instrument
PAC201Accompaniment Practice I
1 credits
PAC202Accompaniment Practice II
1 credits
PAC303Accompaniment Practice III
1 credits
PAC304Accompaniment Practice IV
1 credits
PAC405Accompaniment Practice V
1 credits
PAC406Accompaniment Practice VI
2 credits
MUA201Arab Instrumental Ensemble I
1 credits
The student, guided by a teacher, must work with a group of instrumentalists in which he/she is to demonstrate a progressive quality of playing and a high-level degree of musical maturity.
MUA202Arab Instrumental Ensemble II
1 credits
The student, guided by a teacher, must work with a group of instrumentalists in which he/she is to demonstrate a progressive quality of playing and a high-level degree of musical maturity.
MUA303Arab Instrumental Ensemble III
1 credits
The student, guided by a teacher, must work with a group of instrumentalists in which he/she is to demonstrate a progressive quality of playing and a high-level degree of musical maturity.
MUA304Arab Instrumental Ensemble IV
1 credits
The student, guided by a teacher, must work with a group of instrumentalists in which he/she is to demonstrate a progressive quality of playing and a high-level degree of musical maturity.
MUA405Arab Instrumental Ensemble V
1 credits
The student, guided by a teacher, must work with a group of instrumentalists in which he/she is to demonstrate a progressive quality of playing and a high-level degree of musical maturity.
MUA406Arab Instrumental Ensemble VI
1 credits
The student, guided by a teacher, must work with a group of instrumentalists in which he/she is to demonstrate a progressive quality of playing and a high-level degree of musical maturity.
MUC201Chamber Music I
1 credits
The aim of this music performance course is to provide the opportunity for the students as performers to come together with other like­minded musicians in an ensemble setting to rehearse and perform from the chamber orchestra repertoire. In this course we will focus on overall concepts of self and ensemble expression, engagement, participation, and performance. We will also address musical concepts of ensemble and individual balance, blend, intonation, phrasing, dynamics, articulation, tone, rhythmic precision, color, and ensemble clarity. We are going to listen to ourselves, to each other and to the composer’s voice.
MUC202Chamber Music II
1 credits
MUC202Chamber Music II
1 credits
MUC303Chamber Music III
1 credits
The aim of this music performance course is to provide the opportunity for the students as performers to come together with other like­minded musicians in an ensemble setting to rehearse and perform from the chamber orchestra repertoire. In this course we will focus on overall concepts of self and ensemble expression, engagement, participation, and performance. We will also address musical concepts of ensemble and individual balance, blend, intonation, phrasing, dynamics, articulation, tone, rhythmic precision, color, and ensemble clarity. We are going to listen to ourselves, to each other and to the composer’s voice.
MUC304Chamber Music IV
1 credits
MUC405Chamber Music V
1 credits
The aim of this music performance course is to provide the opportunity for the students as performers to come together with other like­minded musicians in an ensemble setting to rehearse and perform from the chamber orchestra repertoire. In this course we will focus on overall concepts of self and ensemble expression, engagement, participation, and performance. We will also address musical concepts of ensemble and individual balance, blend, intonation, phrasing, dynamics, articulation, tone, rhythmic precision, color, and ensemble clarity. We are going to listen to ourselves, to each other and to the composer’s voice.
MUC406Chamber Music VI
1 credits
The aim of this music performance course is to provide the opportunity for the students as performers to come together with other like­minded musicians in an ensemble setting to rehearse and perform from the chamber orchestra repertoire. In this course we will focus on overall concepts of self and ensemble expression, engagement, participation, and performance. We will also address musical concepts of ensemble and individual balance, blend, intonation, phrasing, dynamics, articulation, tone, rhythmic precision, color, and ensemble clarity. We are going to listen to ourselves, to each other and to the composer’s voice.
HRG215Harmony I A
2 credits
Figured Bass and given Song: A. ­ Realization of a given bass with 3 sound chords (root position, 1st and 2nd inversions). ­ Harmonization of a song given with 3 chord sounds (all positions). B. Modulations to the adjacent and distant tones, uni­tonal and modulating harmonic movements, figured bass and given song. C. Chords of the dominant 7th, with and without fundamental, regular and exceptional resolution: given bass and given song.
HRG225Harmony I B
1 credits
HRG315Harmony II A
1 credits
Figured Bass.
A. ­ Chords of the Dominant 9th major and minor, with and without fundamental ­ Chords of the 7th in various species.
B. ­ Changes, delays and pedals.
C. ­ The foreign notes: changes, delays, pedals, notes of passage, anticipation, appoggiatura, etc.
HRG325Harmony II B
1 credits
Instrument IV
3 credits
Instrument V
3 credits
Instrument VI
3 credits
Instrument VII
3 credits
Instrument VIII
4 credits
PNO201Piano I
2 credits
PPB201Public Performance I
1 credits
PPB202Public Performance II
2 credits
PPB303Public Performance III
2 credits
Secondary Instrument I
2 credits
MUSISCSecondary Instrument Level I
2 credits
SDO 230Solfeggio/Dictation III
1 credits
SDO 304Solfeggio-Dictation IV
3 credits
STR 210 Transposed Solfeggio I
2 credits
STR 220Transposed Solfeggio II
2 credits
Specialization - Emphasis: Singing
SFA201Accompanied Solfeggio I
2 credits
The “accompanied solfeggio” course consists of singing solfeggio exercises, according to its level, accompanied by a pianist; this accompaniment is usually written by the author of the music theory manual for all levels. In this course students put their theoretical solfeggio into living practice and adapt it for a joint execution; to an aesthetic interpretation (phrasing, nuances and agogic respect) and a solid mastery of the intonation.
SFA202Accompanied Solfeggio II
2 credits
The “accompanied solfeggio” course consists of singing solfeggio exercises, according to its level, accompanied by a pianist; this accompaniment is usually written by the author of the music theory manual for all levels. In this course students put their theoretical solfeggio into living practice and adapt it for a joint execution; to an aesthetic interpretation (phrasing, nuances and agogic respect) and a solid mastery of the intonation.
CCA 201Arab Choral singing I
1 credits
CCA 202Arab Choral singing II
1 credits
CCA 303Arab Choral singing III
1 credits
CCA 304Arab Choral singing IV
1 credits
THA 340Arab Music Theory IV
2 credits
CHA304Arab Singing IV
3 credits
CHA405Arab Singing V
3 credits
CHA406Arab Singing VI
3 credits
SDA 304Arab Solfeggio IV - IV
2 credits
EMS305Didactics and Physiology of the voice and the ear
3 credits
Singing is an art and a profession. This course treats the anatomy, the physiology, the acoustics, the phonetics and the technique of the voice and the ear.
HRG215Harmony I A
1 credits
Figured Bass and given Song: A. ­ Realization of a given bass with 3 sound chords (root position, 1st and 2nd inversions). ­ Harmonization of a song given with 3 chord sounds (all positions). B. Modulations to the adjacent and distant tones, uni­tonal and modulating harmonic movements, figured bass and given song. C. Chords of the dominant 7th, with and without fundamental, regular and exceptional resolution: given bass and given song.
HRG225Harmony I B
1 credits
Figured Bass and given Song: A. ­ Realization of a given bass with 3 sound chords (root position, 1st and 2nd inversions). ­ Harmonization of a song given with 3 chord sounds (all positions). B. Modulations to the adjacent and distant tones, uni­tonal and modulating harmonic movements, figured bass and given song. C. Chords of the dominant 7th, with and without fundamental, regular and exceptional resolution: given bass and given song.
HRG315Harmony II A
1 credits
Figured Bass.
A. ­ Chords of the Dominant 9th major and minor, with and without fundamental ­ Chords of the 7th in various species.
B. ­ Changes, delays and pedals.
C. ­ The foreign notes: changes, delays, pedals, notes of passage, anticipation, appoggiatura, etc.
HRG325Harmony II B
1 credits
Figured Bass.
A. ­ Chords of the Dominant 9th major and minor, with and without fundamental ­ Chords of the 7th in various species.
B. ­ Changes, delays and pedals.
C. ­ The foreign notes: changes, delays, pedals, notes of passage, anticipation, appoggiatura, etc.
CHO304Occidental classical singing IV
3 credits
CHO405Occidental classical singing V
3 credits
CHO406Occidental classical singing VI
3 credits
EVO201Occidental vocal ensemble I
1 credits
The student, guided by a teacher, must work with a group of singers and display a progressive quality of interpretation and an important degree of musical maturity.
EVO202Occidental vocal ensemble II
1 credits
The student, guided by a teacher, must work with a group of singers and display a progressive quality of interpretation and an important degree of musical maturity.
EVO303Occidental vocal ensemble III
1 credits
The student, guided by a teacher, must work with a group of singers and display a progressive quality of interpretation and an important degree of musical maturity.
EVO304Occidental vocal ensemble IV
1 credits
The student, guided by a teacher, must work with a group of singers and display a progressive quality of interpretation and an important degree of musical maturity.
EVO405Occidental vocal ensemble V
1 credits
The student, guided by a teacher, must work with a group of singers and display a progressive quality of interpretation and an important degree of musical maturity.
EVO406Occidental vocal ensemble VI
1 credits
The student, guided by a teacher, must work with a group of singers and display a progressive quality of interpretation and an important degree of musical maturity.
OUD 201Oud I
2 credits
OUD 202Oud II
2 credits
PNO303Piano III
2 credits    |    Pré-requis: MPR402 Or MPR323 Or MUP202 Or PNO202
Exercises: -SCHMIT and then Hanon (No. 21-31)
Scales: -major and minor with arpeggios + inversions and in opposite direction over 2-3-4 octaves + chromatic scale starting with each note.
Studies: -CZERNY Op. 849 "studies of the mechanism" (10 studies)
- CZERNY "Small velocity" Op. 636 (12 studies)
Bach: -"Small Preludes and Fughettas", only the preludes (at least 8 preludes)
Pieces: - “From Bach to the Present Day" volume II, III.
- les classiques favorites, volume II
- SCHUMANN "Album for the Young" op. 68
- PROKOFIEV "Music for Children" Op. 65 No. 1-2-3-5-6-10-12
-KHACHATURIAN "Children's Album" No. 1-2-3-4.
-KABALEWSKI “Plays for Children” Op. 27 (No. 8 up to 16)
- TSCHAIKOWSKI: “Children” Op Album. 39
- BARTÓK: Mikrokosmos book 3 - For Children Book I.
- “Piano Pieces for children”
- CHOPIN: Mazurka op. 68 no 2 - 3.
13 Pieces per course + 2 sonatinas (one of Beethoven and one of Clementi)
PPB201Public Performance I
1 credits
The student, guided by a teacher, must give a public performance in which he/she is to demonstrate an interpretation of quality with a certain degree of musical maturity.
PPB202Public Performance II
2 credits
The student, guided by a teacher, must give a public performance in which he/she is to demonstrate a high-standard of interpretation and a high-level degree of musical maturity.
PPB303Public Performance III
2 credits
The student, guided by a teacher, must give a public performance in which he/she is to demonstrate a high-standard of interpretation and a high-level degree of musical maturity.
KAN 201Qanoun I
2 credits
KAN 202 Qanoun II
2 credits
SDO230Solfeggio-Dictation III
1 credits    |    Pré-requis: SDO220
3rd course
a­ Solfeggio parlati : ­ Pozzoli: appendice al primo corso du n°1 au n°31.
b­ Solfeggio cantati: ­ Pozzoli: appendiceal prima corso du no1 au no27.
c- Dictation:-Noel Gallon du no41 au no60. - melodic intervals: all intervals, and major and minor chords.
SDO304Solfeggio-Dictation IV
3 credits    |    Pré-requis: MPR223 Or MPR431 Or MUP357 Or SDO303
4th course
a­ Solfeggio parlati : ­ Pozzoli: secondo corso du n°1 au n°36.
b­ Solfeggio cantati: ­ Pozzoli: secondo corso du n°1 au n°28.
c­ Dictation : ­ Noël Gallon du n°61 au n°80. ­ Noël Gallon (2 voix) du n°1 au n°20.
Specialization - Emphasis: Solfeggio/Dictation
SFA201Accompanied Solfeggio I
2 credits
The “accompanied solfeggio” course consists of singing solfeggio exercises, according to its level, accompanied by a pianist; this accompaniment is usually written by the author of the music theory manual for all levels. In this course students put their theoretical solfeggio into living practice and adapt it for a joint execution; to an aesthetic interpretation (phrasing, nuances and agogic respect) and a solid mastery of the intonation.
SFA202Accompanied Solfeggio II
2 credits
The “accompanied solfeggio” course consists of singing solfeggio exercises, according to its level, accompanied by a pianist; this accompaniment is usually written by the author of the music theory manual for all levels. In this course students put their theoretical solfeggio into living practice and adapt it for a joint execution; to an aesthetic interpretation (phrasing, nuances and agogic respect) and a solid mastery of the intonation.
SFA203Accompanied Solfeggio III
2 credits
The “accompanied solfeggio” course consists of singing solfeggio exercises, according to its level, accompanied by a pianist; this accompaniment is usually written by the author of the music theory manual for all levels. In this course students put their theoretical solfeggio into living practice and adapt it for a joint execution; to an aesthetic interpretation (phrasing, nuances and agogic respect) and a solid mastery of the intonation.
CCA201Arab Choral Singing I
1 credits
The Arabic choir offers an opportunity to practice singing an Arabic vocal repertoire, and to discover the richness of Arabic music and its forms through singing, interpreting different styles and exploring vocal genres.
CCA202Arab Choral Singing II
1 credits
The Arabic choir offers an opportunity to practice singing an Arabic vocal repertoire, and to discover the richness of Arabic music and its forms through singing, interpreting different styles and exploring vocal genres.
SDA202Arab Solfeggio II
2 credits
EMS305Didactics and Physiology of the voice and the ear
3 credits
Singing is an art and a profession. This course treats the anatomy, the physiology, the acoustics, the phonetics and the technique of the voice and the ear.
HRG315Harmony II A
1 credits
Figured Bass.
A. ­ Chords of the Dominant 9th major and minor, with and without fundamental ­ Chords of the 7th in various species.
B. ­ Changes, delays and pedals.
C. ­ The foreign notes: changes, delays, pedals, notes of passage, anticipation, appoggiatura, etc.
HRG325Harmony II B
1 credits
Figured Bass.
A. ­ Chords of the Dominant 9th major and minor, with and without fundamental ­ Chords of the 7th in various species.
B. ­ Changes, delays and pedals.
C. ­ The foreign notes: changes, delays, pedals, notes of passage, anticipation, appoggiatura, etc.
EVO201Occidental Vocal Ensemble I
1 credits
The student, guided by a teacher, must work with a group of singers and display a progressive quality of interpretation and an important degree of musical maturity.
EVO202Occidental vocal ensemble II
1 credits
The student, guided by a teacher, must work with a group of singers and display a progressive quality of interpretation and an important degree of musical maturity.
PNO202Piano II
2 credits
SDO304Solfeggio-Dictation IV
3 credits    |    Pré-requis: MPR223 Or MPR431 Or MUP357 Or SDO303
4th course
a­ Solfeggio parlati : ­ Pozzoli: secondo corso du n°1 au n°36.
b­ Solfeggio cantati: ­ Pozzoli: secondo corso du n°1 au n°28.
c­ Dictation : ­ Noël Gallon du n°61 au n°80. ­ Noël Gallon (2 voix) du n°1 au n°20.
SDO405Solfeggio-Dictation V
3 credits    |    Pré-requis: MPR224 Or MPR541 Or MUP358 Or SDO304
a- Solfeggio parlati :
- Pozzoli: Secondo corso du n°37 au n°68.
b- Solfeggio cantati:
- Pozzoli: Terzo corso du n°1 au n°25.
c- Dictée / Dictation :
- Noël Gallon du n°81 au n°100.
- Noël Gallon (2 voix) du n°21 au n°40.
- Accords à trois sons : 5ème ag et 5ème dim (à l'Etat fondamental).
- Chords of 3 sounds : 5th aug and dim (at the root position)
SDO406Solfeggio-Dictation VI
3 credits    |    Pré-requis: MPR225 Or MPR457 Or SDO405
Spoken Solfege: Il Nouvo Pozzoli Vol. 2: N. 59-90 (+ Ornaments 5 exercises)
A: N. 59-72 (Alternation of 7 keys, irregular meters, jazz style)
B: N. 73-84 (ditto most difficult and irregular and proportional time groups)
C: N. 85-98 (Idem more difficult)
Pages 70-71-72, N. 1, 2, 3, 4, 5.
Singing Solfege: Pozzoli (former) Appendix al Terzo Corso: N. 1 – 40
A: N. 1-13 (various 2nd, 3ce, 4te)
B: N. 14-25 (various 5te, 6te, 7th, 9th, chromaticism)
C: N. 26-40 (ornaments, enharmonic, Oriental and defective scales, modes)
STR210Transposed Solfeggio I
2 credits
In music, transposition refers to the process, or operation, of moving a collection of notes (pitches or pitch classes) up or down in pitch by a constant interval.The circumstances that could lead a musician to transpose, either at sight or by rewriting the score, are diverse. One of the most common is the accompaniment to a singer whose tessitura is unsuited to the original key. Musicians playing a transposing instrument (clarinet, Horn, trumpet...) can be also brought to this practice, when they play a part that was not originally written for their instrument. The transposition at sight is to decrypt and transpose the score at the same time. It is a challenge requiring conversion training, more cerebral than spontaneous. Several methods are possible, but the most widely recognized, is the "transposition by the keys”, which consists of replacing the key used in the score – G clef, for example - by another key which gives the note corresponding to the transposition. At the same time, we need to change the armor and in some cases, accidentals - sharps, flats, etc. - indicated punctually on the score, using mathematical logic.
STR220Transposed Solfeggio II
2 credits
In music, transposition refers to the process, or operation, of moving a collection of notes (pitches or pitch classes) up or down in pitch by a constant interval.The circumstances that could lead a musician to transpose, either at sight or by rewriting the score, are diverse. One of the most common is the accompaniment to a singer whose tessitura is unsuited to the original key. Musicians playing a transposing instrument (clarinet, Horn, trumpet...) can be also brought to this practice, when they play a part that was not originally written for their instrument. The transposition at sight is to decrypt and transpose the score at the same time. It is a challenge requiring conversion training, more cerebral than spontaneous. Several methods are possible, but the most widely recognized, is the "transposition by the keys”, which consists of replacing the key used in the score – G clef, for example - by another key which gives the note corresponding to the transposition. At the same time, we need to change the armor and in some cases, accidentals - sharps, flats, etc. - indicated punctually on the score, using mathematical logic.
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