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.

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.

Choral singing is 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 current history course.

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.

This course aims to teach the student the Arab music in all its categories, popular and art music, theoretical and practical, the Maghreb and the Mashreq. Several titles and themes will be discussed: the General history of Arabic music, the maqams, the Arab musical scale and the modal system, the rhythms and musical writings of: Ibn Al-Munajjim, Al-Kindi and Al-Farabi.

This course will consist of an investigation of the principal styles of European music from ancient Greece to early Baroque Music. It will focus on a panoramic view of the main events, composers, genres, forms, schools, language and problems of the music during those periods. This course will also 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 early Baroque Music.

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. The student will be able to Interpret the specifications of mixing boards, microphones, and signal processors, explain the syntax of the audio reinforcement and recording field and discuss the implementation of sound reinforcement devices into the microphone, mixing board, amplification and speaker matrix.

The aim of the course is to introduce musical instruments, their history, their individual characteristics and their classification. The course focuses on an overview of the main currents of organology, the identification of the different families of musical instruments; it reviews the instruments mechanics, acoustics, evolution, manufacturing and their social and historical contextualization.

This course opens on 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 German-speaking 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.

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.

This course enhances students' knowledge of the modern orchestra while reinforcing core musicianship skills. Instrumentation study investigates the technical limitations and expressive potential of individual instruments. In examining instrumental characteristics, the unit will also cover the fundamentals of acoustics and timbre perception and will demand a thorough grasp of the harmonic series and its broader musical implications. Throughout the course, students will be required to present their own transcriptions.

This course is designed to: 1 - Sensitize students to Lebanese folk music. 2 - Make them aware of the danger that threatens this music: a heritage endangered. The disappearance of the songs with the disappearance of the circumstances and opportunities serving their raison d’être. The disappearance of the 'old', guardians and deliverers of the tradition. A heritage uncollected, not recorded in a scientific way. 3 - Let them know the diversity of forms: mostly unwell known and unknown forms. 4 - Study Poetic-musical internal structure of each form of traditional song.

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)..

The course aims to put together actors and musicians to create an ensemble show based on a specific subject. The objective is to help students from both these fields to work in a group setting and in a creative way, enabling them to reach a proper artistic expression of their talents and skills.

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).

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).

Counterpoint of 3 and 4 parts - A. Cp. to 3 parts, B. Cp. to 4 parts, C. Cp. Invertible.

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.

Harmonization in different styles: A. ­ Modal Harmony. B. -Jazz Harmony. C. ­ Harmony in different styles (from Baroque music to contemporary music).

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.