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.

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.

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.

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)..

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.

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.

This course is an introduction to musicological and ethnomusicological research. It includes four parts: objects and methods, sources, musical research and presentation standards. Field research in musicology and ethnomusicology is a dynamic and interdisciplinary process that combines the study of music with cultural anthropology, sociology, linguistics, and other disciplines. It allows researchers to gain a deep and holistic understanding of music in its cultural context, contribute to the preservation of musical traditions, and promote intercultural understanding.

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.

This course provides an introduction to concepts and approaches to music research as encountered in the co-disciplines of historical musicology and ethnomusicology. It aims to develop students’ critical thinking in areas of historiography, fieldwork, musical meaning, and aesthetics. It introduces students to some of the methodologies and research techniques employed musicology and ethnomusicology.

This course offers an analytical study of the older forms of music and Arabic Song: longa, Samai, Dulab, Tahmila, Bachraf, Taqsím, Mawwals, Qasîda, Taqtouqa, Mouwashah, Dawr etc.

The students are arranged by Ensembles either vocal, instrumental or a combination of two and are encouraged to collaborate and perform regularly, fostering their confidence on stage and building their team work skills in the process.

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.

Attendance and participation are of primary importance for this class. Stdents will be introduced to a wide variety of techniques and styles in order to learn correct body alignment in basic positions, build a kinesthetic awareness of their own physical abilities, and develop a sense of musicality and rhythm. Students will learn the following dances: waltz, tango, cha-cha, salsa, cumbia, merengue, foxtrot, country line dance, rumba, swing, samba, etc

This course explores the influence of music on the individual and on society and the influence of society on the musician and composer - and thereby on the music industry. It concentrates on the socialization processes and the factors affecting musical behavior. It also deals with the formation of self­musical image in accordance with the musical image of society, expectations, competition and cooperation, leadership and self­confidence, creativity and the aesthetic values of creativity etc.

This course is an introduction to music in its relation to religion. It includes general concepts on religion, philosophy, the sacred and their rapport with music. Subjects to study: the function of sacred music, the relationship of religion with music, tradition and renewal in sacred music; sacred music categories, forms and genres of sacred music, classification of sacred songs in the Maronite Church, and the characteristics of sacred music etc.

Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the western Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope St. Gregory the Great with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes. Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. Multi-voice elaborations of Gregorian chant, known as organum, were an early stage in the development of Western polyphony. Gregorian chant was traditionally sung by choirs of men and boys in churches, or by men and women of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, Ambrosian chant still continues in use in Milan, and there are musicologists exploring both that and the Mozarabic chant of Christian Spain. Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. During the 20th century, Gregorian chant underwent a musicological and popular resurgence.

The Christian churches of the East are the guardians of a tradition dating back to the early days of Christianity. The Syriac Church is part of a community of independent Christian churches that were born in the East as a result of the separation from the Church of the West. The Syriac church music is vocal, and its liturgical language is Syriac. Ancient language, it is a late dialect of Aramaic (the language spoken by Christ). Syriac is still spoken today, both within the Church and outside. The Syriac scholars who exerted a lasting influence on the Christian world, include St-Ephrem (306-373), Jacob of Serugh (451-521), St. Severus, Patriarch of Antioch (died 538), Jacob of Edessa (died 708) and Bar Hebraeus (died in 1286). Saint Ephraim has composed a very large number of hymns and liturgies. As is the case in all the churches of the East, the Sunday mass dominates the spiritual and religious life of the faithful. It is celebrated by the priest who stands at the altar while the deacons, placed in two groups or more exactly in two choirs on each side of the altar, sing alternately (antiphonal) all by assisting the priest in the celebration of the mass. Syriac chant places its melodic styles (qinto) within an overall unit (oktōēchos, or set of eight modes). The texts of the sacred songs were compiled in more than twenty liturgical books that include a comprehensive collection of hymns. The texts of the prayers are contained in fifteen liturgical books, including the shkhimo or book of offices for the days of the week, the book of the Holy Mass, the fanqith, or book of prayers for the year (Sundays, holy days...) and the book betkaz (treasure of melodies), complete collection of Church songs.

The Aim of this course is to go through the foundations of Byzantine chant and its three ‘genera’: the diatonic, the chromatic, and the enharmonic; its eight ‘modes’ or ‘tones’; its roots: Greek (as proven by historians who suggest that as Christianity “took over the language of the Greeks… so also it took over the religious music of the Greeks and adapted it to its own needs”) Non-Greek ( as proven by historians who tend to assert, “the basis of the Christian music during the early centuries was not simply Greek, but Graeco-Roman” and Hebrew); and its key characteristics: as being Entirely vocal, no use of instruments, Monophonic, using only melodies in one part, Antiphonic, executed by two alternately chanting choirs, ison, the holding-note, and leading the chant. As well as the difference between Orthodox Byzantine chants and Catholic Byzantine Chants.

This course Covers the Armenian chant, composed in one of eight modes, written in khaz, a form of indigenous musical notation. As well as many the ancient origin of these chants, extending to pre-Christian times, while others are relatively modern, including several composed by Saint Mesrop Mashtots, who re-introduced the Armenian alphabet. Some of the best performers of these chants or sharakans, are at the Holy Cathedral of Etchmiadzin, and include the late soprano Lusine Zakaryan. The Armenian religious music that remained liturgical until Komitas Vardapet introduced polyphony in the end of the 19th century. Apart from his contribution to religious music, Komitas may be considered the founder of modern classical Armenian music. From 1899 to 1910, he travelled through the Armenian highlands and collected more than 3,000 folk tunes many of which he harmonized and transformed into Lieder.

This course is an introduction to mime techniques, following two main schools/artists: Corporal Mime (Etienne Decroux) and Pantomime (Marcel Marceau). Students will learn about the history and philosophy of mime and mime techniques. At the end of the course students will implement short mime performance.

This course focuses on music interpretation in various aspects. After defining the term interpretation in its musical and non-musical forms, it will expose and detail the musical elements on which the listener should rely to evaluate a musical interpretation. It will carry on by covering the emergence of performers throughout the different eras of music history while studying the genres, the forms, the instruments, and the styles that evolved. It will also point out the differences in performances between a classical musical work and that of a traditional folk/jazz/arab music. It will follow by presenting the impact of technology on performance with its advantages and disadvantages as well as the effect of the performer’s communication with the audience. This course would not be complete without encompassing the study of the philosophical perception of the listener of any musical work in general, but more specifically, that of experimental and aleatory music of the XXth century.

A general overview of Music and New technology worldwide, how musicians, musicologists and artists should cope with the changes and apply the utilization of the technology.

This course will concentrate on how to listen to a film in an analytical and critical manner. This will allow film music to go from being an unconscious experience to a conscious experience. It will focus on the evolution of the unique art of film music, especially its meanings, functions, associations, techniques, and styles. Topics will include the interaction between visual and musical elements; significant film scores/soundtracks and composers.

The objectives of the course are: ­ discovering how music can be an additional means of communication for the disabled child; ­ exploring musical situations developed with children with disabilities; ­ promoting the relationship of special needs students with their environment (other children, professionals, parents etc.) by music. It deals with the issues and the values of integration today and the importance of the artistic practice of people with disabilities: access to culture, to museums etc. It also studies cases of students with different disabilities and their musical practices. A visit to institutions dealing with children with disabilities, in order to have direct observation practice, would be an integral part of this course.

This course provides an introduction to the best known Western music education methods: Carl Orff, Zoltan Kodály, Edgar Willems, Emile Jaques­Dalcroze, Marcel Corneloup, Maurice Chevais, Maurice Martenot, suzuki etc.

Music psychology is the empirical study of how humans perceive and experience music, and the resulting impact on individual, group and cultural behavior. This course will encompass an introductory exploration of music psychology across a lifespan. It explains the different stages of the musical development of the baby, child and adolescent at the sensory­motor, social/emotional, psychomotor and intellectual/communicative levels.

The objective of this course is to identify methodological psychoeducational training paths for the music teachers regarding in particular the musical class learning management as it might contribute to the development of basic skills defined for music education and, more generally, social and individual student development.

This course introduces elementary school teacher candidates to the use of computer applications in the classroom. The course covers the basics of computer hardware and software and explores how these tools can be used to enhance teaching and learning. Students will learn to use various software applications to create multimedia content, develop lesson plans, manage student data, and facilitate communication with parents and other stakeholders. The course will also cover internet safety and ethical considerations related to the use of technology in the classroom.

The students are arranged by Ensembles either vocal, instrumental or a combination of two and are encouraged to collaborate and perform regularly, fostering their confidence on stage and building their team work skills in the process.

Attendance and participation are of primary importance for this class. Stdents will be introduced to a wide variety of techniques and styles in order to learn correct body alignment in basic positions, build a kinesthetic awareness of their own physical abilities, and develop a sense of musicality and rhythm. Students will learn the following dances: waltz, tango, cha-cha, salsa, cumbia, merengue, foxtrot, country line dance, rumba, swing, samba, etc

This course is an introduction to mime techniques, following two main schools/artists: Corporal Mime (Etienne Decroux) and Pantomime (Marcel Marceau). Students will learn about the history and philosophy of mime and mime techniques. At the end of the course students will implement short mime performance.

This course focuses on music interpretation in various aspects. After defining the term interpretation in its musical and non-musical forms, it will expose and detail the musical elements on which the listener should rely to evaluate a musical interpretation. It will carry on by covering the emergence of performers throughout the different eras of music history while studying the genres, the forms, the instruments, and the styles that evolved. It will also point out the differences in performances between a classical musical work and that of a traditional folk/jazz/arab music. It will follow by presenting the impact of technology on performance with its advantages and disadvantages as well as the effect of the performer’s communication with the audience. This course would not be complete without encompassing the study of the philosophical perception of the listener of any musical work in general, but more specifically, that of experimental and aleatory music of the XXth century.

A general overview of Music and New technology worldwide, how musicians, musicologists and artists should cope with the changes and apply the utilization of the technology.

Development of voice and speech techniques for the stage, including those of relaxation, breathing, resonance, and development of speaking voice. Speech training uses text work to train students in standard Arabic speech.

This course introduces students to puppetry as a global art form. In this class, students will explore puppetry techniques and styles worldwide. They will identify this theatre's different objectives and aspects: educational, didactic, poetic, and entertaining. This course will culminate in an original short-form puppetry performance where each student designs and creates his puppet. As an introduction to theatre for children, students build a broad base of theatre content knowledge and skills, including theory and practice in theatre education specifically.

This course will look at the history and development of musicals, from their roots in classical European opera, and early American musical entertainment, their heyday in the post-modern era, and their evolution in the late 20th century as a result of the music publishing and recording industry. In addition, the course will compare musicals to other forms of drama, take an in-depth look at the basic structures of the stories and songs in musicals, determine what makes some musicals better than others, and look at scenes from famous and masterpiece musicals.

The course is an exploration of home-school relations. It focuses on developing an understanding of traditional and non-traditional families, structural and life style variations and parenting in diverse cultures and at-risk families. Implications from this understanding will guide development of a parent involvement plan that includes effective ways to communicate with parents, conference with parents, and plan parent meetings and home visits. Special attention will be given to cultural and family events, which affect young children, such as divorce, child abuse and neglect, illness or death of family members and life in a violent society.

This course is an introduction to musicological and ethnomusicological research. It includes four parts: objects and methods, sources, musical research and presentation standards. Field research in musicology and ethnomusicology is a dynamic and interdisciplinary process that combines the study of music with cultural anthropology, sociology, linguistics, and other disciplines. It allows researchers to gain a deep and holistic understanding of music in its cultural context, contribute to the preservation of musical traditions, and promote intercultural understanding.

This course provides an introduction to concepts and approaches to music research as encountered in the co-disciplines of historical musicology and ethnomusicology. It aims to develop students’ critical thinking in areas of historiography, fieldwork, musical meaning, and aesthetics. It introduces students to some of the methodologies and research techniques employed musicology and ethnomusicology.

This course offers an analytical study of the older forms of music and Arabic Song: longa, Samai, Dulab, Tahmila, Bachraf, Taqsím, Mawwals, Qasîda, Taqtouqa, Mouwashah, Dawr etc.

Collecting and classifying the patrimony (cultural heritage) of Lebanon and the broader Arab world involves preserving and organizing various aspects of culture, including music, dance, folklore, literature, visual arts, and historical artifacts.

Popular music encompasses a wide range of musical styles and genres, and as a result, it includes a diverse array of musical instruments. The choice of instruments often varies depending on the genre, culture, and individual artist preferences.

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.

The students are arranged by Ensembles either vocal, instrumental or a combination of two and are encouraged to collaborate and perform regularly, fostering their confidence on stage and building their team work skills in the process.

This course explores the influence of music on the individual and on society and the influence of society on the musician and composer - and thereby on the music industry. It concentrates on the socialization processes and the factors affecting musical behavior. It also deals with the formation of self­musical image in accordance with the musical image of society, expectations, competition and cooperation, leadership and self­confidence, creativity and the aesthetic values of creativity etc.

This course is an introduction to music in its relation to religion. It includes general concepts on religion, philosophy, the sacred and their rapport with music. Subjects to study: the function of sacred music, the relationship of religion with music, tradition and renewal in sacred music; sacred music categories, forms and genres of sacred music, classification of sacred songs in the Maronite Church, and the characteristics of sacred music etc.

Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the western Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope St. Gregory the Great with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes. Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. Multi-voice elaborations of Gregorian chant, known as organum, were an early stage in the development of Western polyphony. Gregorian chant was traditionally sung by choirs of men and boys in churches, or by men and women of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, Ambrosian chant still continues in use in Milan, and there are musicologists exploring both that and the Mozarabic chant of Christian Spain. Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. During the 20th century, Gregorian chant underwent a musicological and popular resurgence.

The Christian churches of the East are the guardians of a tradition dating back to the early days of Christianity. The Syriac Church is part of a community of independent Christian churches that were born in the East as a result of the separation from the Church of the West. The Syriac church music is vocal, and its liturgical language is Syriac. Ancient language, it is a late dialect of Aramaic (the language spoken by Christ). Syriac is still spoken today, both within the Church and outside. The Syriac scholars who exerted a lasting influence on the Christian world, include St-Ephrem (306-373), Jacob of Serugh (451-521), St. Severus, Patriarch of Antioch (died 538), Jacob of Edessa (died 708) and Bar Hebraeus (died in 1286). Saint Ephraim has composed a very large number of hymns and liturgies. As is the case in all the churches of the East, the Sunday mass dominates the spiritual and religious life of the faithful. It is celebrated by the priest who stands at the altar while the deacons, placed in two groups or more exactly in two choirs on each side of the altar, sing alternately (antiphonal) all by assisting the priest in the celebration of the mass. Syriac chant places its melodic styles (qinto) within an overall unit (oktōēchos, or set of eight modes). The texts of the sacred songs were compiled in more than twenty liturgical books that include a comprehensive collection of hymns. The texts of the prayers are contained in fifteen liturgical books, including the shkhimo or book of offices for the days of the week, the book of the Holy Mass, the fanqith, or book of prayers for the year (Sundays, holy days...) and the book betkaz (treasure of melodies), complete collection of Church songs.

The Aim of this course is to go through the foundations of Byzantine chant and its three ‘genera’: the diatonic, the chromatic, and the enharmonic; its eight ‘modes’ or ‘tones’; its roots: Greek (as proven by historians who suggest that as Christianity “took over the language of the Greeks… so also it took over the religious music of the Greeks and adapted it to its own needs”) Non-Greek ( as proven by historians who tend to assert, “the basis of the Christian music during the early centuries was not simply Greek, but Graeco-Roman” and Hebrew); and its key characteristics: as being Entirely vocal, no use of instruments, Monophonic, using only melodies in one part, Antiphonic, executed by two alternately chanting choirs, ison, the holding-note, and leading the chant. As well as the difference between Orthodox Byzantine chants and Catholic Byzantine Chants.

This course Covers the Armenian chant, composed in one of eight modes, written in khaz, a form of indigenous musical notation. As well as many the ancient origin of these chants, extending to pre-Christian times, while others are relatively modern, including several composed by Saint Mesrop Mashtots, who re-introduced the Armenian alphabet. Some of the best performers of these chants or sharakans, are at the Holy Cathedral of Etchmiadzin, and include the late soprano Lusine Zakaryan. The Armenian religious music that remained liturgical until Komitas Vardapet introduced polyphony in the end of the 19th century. Apart from his contribution to religious music, Komitas may be considered the founder of modern classical Armenian music. From 1899 to 1910, he travelled through the Armenian highlands and collected more than 3,000 folk tunes many of which he harmonized and transformed into Lieder.

This course focuses on music interpretation in various aspects. After defining the term interpretation in its musical and non-musical forms, it will expose and detail the musical elements on which the listener should rely to evaluate a musical interpretation. It will carry on by covering the emergence of performers throughout the different eras of music history while studying the genres, the forms, the instruments, and the styles that evolved. It will also point out the differences in performances between a classical musical work and that of a traditional folk/jazz/arab music. It will follow by presenting the impact of technology on performance with its advantages and disadvantages as well as the effect of the performer’s communication with the audience. This course would not be complete without encompassing the study of the philosophical perception of the listener of any musical work in general, but more specifically, that of experimental and aleatory music of the XXth century.

A general overview of Music and New technology worldwide, how musicians, musicologists and artists should cope with the changes and apply the utilization of the technology.

Oral tradition and music transcription are two distinct approaches to preserving and transmitting music. Oral tradition refers to the passing down of knowledge, stories, or music through spoken or sung communication rather than through written or notated forms. It is a common method of transmitting cultural heritage, including music, from one generation to another. Music transcription involves the process of notating music in a written form, such as sheet music or musical notation. This is done to document, analyze, and share music in a format that can be easily reproduced and studied.

This course is an introduction to musicological and ethnomusicological research. It includes four parts: objects and methods, sources, musical research and presentation standards. Field research in musicology and ethnomusicology is a dynamic and interdisciplinary process that combines the study of music with cultural anthropology, sociology, linguistics, and other disciplines. It allows researchers to gain a deep and holistic understanding of music in its cultural context, contribute to the preservation of musical traditions, and promote intercultural understanding.

This course is an introduction to music in its relation to religion. It includes general concepts on religion, philosophy, the sacred and their rapport with music. Subjects to study: the function of sacred music, the relationship of religion with music, tradition and renewal in sacred music; sacred music categories, forms and genres of sacred music, classification of sacred songs in the Maronite Church, and the characteristics of sacred music etc.

Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the western Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope St. Gregory the Great with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes. Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. Multi-voice elaborations of Gregorian chant, known as organum, were an early stage in the development of Western polyphony. Gregorian chant was traditionally sung by choirs of men and boys in churches, or by men and women of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, Ambrosian chant still continues in use in Milan, and there are musicologists exploring both that and the Mozarabic chant of Christian Spain. Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. During the 20th century, Gregorian chant underwent a musicological and popular resurgence.

The Christian churches of the East are the guardians of a tradition dating back to the early days of Christianity. The Syriac Church is part of a community of independent Christian churches that were born in the East as a result of the separation from the Church of the West. The Syriac church music is vocal, and its liturgical language is Syriac. Ancient language, it is a late dialect of Aramaic (the language spoken by Christ). Syriac is still spoken today, both within the Church and outside. The Syriac scholars who exerted a lasting influence on the Christian world, include St-Ephrem (306-373), Jacob of Serugh (451-521), St. Severus, Patriarch of Antioch (died 538), Jacob of Edessa (died 708) and Bar Hebraeus (died in 1286). Saint Ephraim has composed a very large number of hymns and liturgies. As is the case in all the churches of the East, the Sunday mass dominates the spiritual and religious life of the faithful. It is celebrated by the priest who stands at the altar while the deacons, placed in two groups or more exactly in two choirs on each side of the altar, sing alternately (antiphonal) all by assisting the priest in the celebration of the mass. Syriac chant places its melodic styles (qinto) within an overall unit (oktōēchos, or set of eight modes). The texts of the sacred songs were compiled in more than twenty liturgical books that include a comprehensive collection of hymns. The texts of the prayers are contained in fifteen liturgical books, including the shkhimo or book of offices for the days of the week, the book of the Holy Mass, the fanqith, or book of prayers for the year (Sundays, holy days...) and the book betkaz (treasure of melodies), complete collection of Church songs.

The Aim of this course is to go through the foundations of Byzantine chant and its three ‘genera’: the diatonic, the chromatic, and the enharmonic; its eight ‘modes’ or ‘tones’; its roots: Greek (as proven by historians who suggest that as Christianity “took over the language of the Greeks… so also it took over the religious music of the Greeks and adapted it to its own needs”) Non-Greek ( as proven by historians who tend to assert, “the basis of the Christian music during the early centuries was not simply Greek, but Graeco-Roman” and Hebrew); and its key characteristics: as being Entirely vocal, no use of instruments, Monophonic, using only melodies in one part, Antiphonic, executed by two alternately chanting choirs, ison, the holding-note, and leading the chant. As well as the difference between Orthodox Byzantine chants and Catholic Byzantine Chants.

This course Covers the Armenian chant, composed in one of eight modes, written in khaz, a form of indigenous musical notation. As well as many the ancient origin of these chants, extending to pre-Christian times, while others are relatively modern, including several composed by Saint Mesrop Mashtots, who re-introduced the Armenian alphabet. Some of the best performers of these chants or sharakans, are at the Holy Cathedral of Etchmiadzin, and include the late soprano Lusine Zakaryan. The Armenian religious music that remained liturgical until Komitas Vardapet introduced polyphony in the end of the 19th century. Apart from his contribution to religious music, Komitas may be considered the founder of modern classical Armenian music. From 1899 to 1910, he travelled through the Armenian highlands and collected more than 3,000 folk tunes many of which he harmonized and transformed into Lieder.

The Syro-Maronite chant repertoire includes hymns, psalms, and various liturgical texts, which are sung during different parts of the Maronite Mass and the divine office. This course consists in the study and analysis of different chants and different forms, the text, the modality, the notation, the composition, etc.The Syro-Maronite chant reflects the deep historical and theological roots of the Maronite community and continues to be an essential element of their religious expression.

This course studies some key of Byzantine chant like the liturgical use, system of notation system, modality, melismatic, responsorial singing, etc. and the liturgical roles.

Ceremonial music and dances are integral to cultural expressions and rituals across the world. They play a significant role in religious ceremonies, rites of passage, and traditional celebrations. Here’s a glimpse of some ceremonial music and dances from different cultures: Hula (Hawaii): Hula, Samba (Brazi), Dandiya Raas (India), Taiko Drumming (Japan), Whirling Dervishes (Turkey and Middle East), Maori Haka (New Zealand), Flamenco (Spain), Gamelan (Indonesia), Zulu War Dance (South Africa), Scottish Highland Games (Scotland), etc. These forms of expression play a vital role in preserving cultural heritage, conveying meaning, and bringing communities together during significant events and celebrations.

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 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 provides an introduction to concepts and approaches to music research as encountered in the co-disciplines of historical musicology and ethnomusicology. It aims to develop students’ critical thinking in areas of historiography, fieldwork, musical meaning, and aesthetics. It introduces students to some of the methodologies and research techniques employed musicology and ethnomusicology.

This course focuses on music interpretation in various aspects. After defining the term interpretation in its musical and non-musical forms, it will expose and detail the musical elements on which the listener should rely to evaluate a musical interpretation. It will carry on by covering the emergence of performers throughout the different eras of music history while studying the genres, the forms, the instruments, and the styles that evolved. It will also point out the differences in performances between a classical musical work and that of a traditional folk/jazz/arab music. It will follow by presenting the impact of technology on performance with its advantages and disadvantages as well as the effect of the performer’s communication with the audience. This course would not be complete without encompassing the study of the philosophical perception of the listener of any musical work in general, but more specifically, that of experimental and aleatory music of the XXth century.

A general overview of Music and New technology worldwide, how musicians, musicologists and artists should cope with the changes and apply the utilization of the technology.

Oral tradition and music transcription are two distinct approaches to preserving and transmitting music. Oral tradition refers to the passing down of knowledge, stories, or music through spoken or sung communication rather than through written or notated forms. It is a common method of transmitting cultural heritage, including music, from one generation to another. Music transcription involves the process of notating music in a written form, such as sheet music or musical notation. This is done to document, analyze, and share music in a format that can be easily reproduced and studied.

This course deepens the knowledge learned in choral I. Continuing to work on the technique of direction, on the didactics of voices, on polyphonic conducting, on meters and more complicated rhythmic formulas, the student will also learn how to prepare a piece for choir, how to deal with technical difficulties, how to practice with the choir and how to direct before an audience. By watching movies about great choir masters and orchestra rehearsals, we observe their actions and their methods of work.

This course will develop diction competencies of future teachers. Students will first be asked to distinguish between phonetics and phonology. They will then learn the International Phonetic Alphabet; knowledge that will give them access to all the features of the phonetics of the French language. All the rules of pronunciation and diction will be subsequently addressed (pronunciation of sounds, letters, accents, links, intonation) to finally reach a correct and expressive reading of a poetic corpus - narrative or theatrical. All theoretical information will be immediately followed by practical exercises that will be based on the very practice of students. These, through listening exercises and diction, will be asked to identify their shortcomings and those of others, to explain and to address them gradually.

The Syro-Maronite chants are a significant component of the liturgical tradition of the Syriac Maronite Church. These chants have a rich history, liturgical significance, and unique characteristics that set them apart within the broader context of Christian liturgical music. A comprehensive analysis of Syro-Maronite chants involves examining their historical development, musical characteristics, composition, theological significance, and role within the Maronite liturgy.

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.

Introduction to the concept of sound, transmission modes, transmitters and receivers (natural human ears, etc., artificial & electronic)

The course introduces students to various aspects of the Music Industry, by exploring the multidisciplinary nature of the field. The students will become informed about the different job opportunities that the music industry offers, and will be made aware of common practices that assure a professional final product. Moreover, students will explore the adjacent fields to the music industry, and understand how these tie in to their work and contribute to the field.

The Music business domain explained: how to create a competitive advantage with competitors in the music domain, how to make money from music, how to decrease cost and increase benefits. Ability to understand companies' hierarchies, schedules, headcounts, and apply on case studies in the business domain.

Basics of Analog and digital audio sounds, the transfer from system to system, The theoretical introduction of the mostly known systems, A2D transformation, quality measures for audio. Introduction to Video streaming and recording techniques.

Advanced studio work in Recording, Mixing, Editing, Processing, Mastering, and handling different studios and different tools.

Internship in a Music Industry related firm for the optimal experience.

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.

The Christian churches of the East are the guardians of a tradition dating back to the early days of Christianity. The Syriac Church is part of a community of independent Christian churches that were born in the East as a result of the separation from the Church of the West. The Syriac church music is vocal, and its liturgical language is Syriac. Ancient language, it is a late dialect of Aramaic (the language spoken by Christ). Syriac is still spoken today, both within the Church and outside. The Syriac scholars who exerted a lasting influence on the Christian world, include St-Ephrem (306-373), Jacob of Serugh (451-521), St. Severus, Patriarch of Antioch (died 538), Jacob of Edessa (died 708) and Bar Hebraeus (died in 1286). Saint Ephraim has composed a very large number of hymns and liturgies. As is the case in all the churches of the East, the Sunday mass dominates the spiritual and religious life of the faithful. It is celebrated by the priest who stands at the altar while the deacons, placed in two groups or more exactly in two choirs on each side of the altar, sing alternately (antiphonal) all by assisting the priest in the celebration of the mass. Syriac chant places its melodic styles (qinto) within an overall unit (oktōēchos, or set of eight modes). The texts of the sacred songs were compiled in more than twenty liturgical books that include a comprehensive collection of hymns. The texts of the prayers are contained in fifteen liturgical books, including the shkhimo or book of offices for the days of the week, the book of the Holy Mass, the fanqith, or book of prayers for the year (Sundays, holy days...) and the book betkaz (treasure of melodies), complete collection of Church songs.

The Aim of this course is to go through the foundations of Byzantine chant and its three ‘genera’: the diatonic, the chromatic, and the enharmonic; its eight ‘modes’ or ‘tones’; its roots: Greek (as proven by historians who suggest that as Christianity “took over the language of the Greeks… so also it took over the religious music of the Greeks and adapted it to its own needs”) Non-Greek ( as proven by historians who tend to assert, “the basis of the Christian music during the early centuries was not simply Greek, but Graeco-Roman” and Hebrew); and its key characteristics: as being Entirely vocal, no use of instruments, Monophonic, using only melodies in one part, Antiphonic, executed by two alternately chanting choirs, ison, the holding-note, and leading the chant. As well as the difference between Orthodox Byzantine chants and Catholic Byzantine Chants.

This course Covers the Armenian chant, composed in one of eight modes, written in khaz, a form of indigenous musical notation. As well as many the ancient origin of these chants, extending to pre-Christian times, while others are relatively modern, including several composed by Saint Mesrop Mashtots, who re-introduced the Armenian alphabet. Some of the best performers of these chants or sharakans, are at the Holy Cathedral of Etchmiadzin, and include the late soprano Lusine Zakaryan. The Armenian religious music that remained liturgical until Komitas Vardapet introduced polyphony in the end of the 19th century. Apart from his contribution to religious music, Komitas may be considered the founder of modern classical Armenian music. From 1899 to 1910, he travelled through the Armenian highlands and collected more than 3,000 folk tunes many of which he harmonized and transformed into Lieder.

This course focuses on music interpretation in various aspects. After defining the term interpretation in its musical and non-musical forms, it will expose and detail the musical elements on which the listener should rely to evaluate a musical interpretation. It will carry on by covering the emergence of performers throughout the different eras of music history while studying the genres, the forms, the instruments, and the styles that evolved. It will also point out the differences in performances between a classical musical work and that of a traditional folk/jazz/arab music. It will follow by presenting the impact of technology on performance with its advantages and disadvantages as well as the effect of the performer’s communication with the audience. This course would not be complete without encompassing the study of the philosophical perception of the listener of any musical work in general, but more specifically, that of experimental and aleatory music of the XXth century.

A general overview of Music and New technology worldwide, how musicians, musicologists and artists should cope with the changes and apply the utilization of the technology.

This course will concentrate on how to listen to a film in an analytical and critical manner. This will allow film music to go from being an unconscious experience to a conscious experience. It will focus on the evolution of the unique art of film music, especially its meanings, functions, associations, techniques, and styles. Topics will include the interaction between visual and musical elements; significant film scores/soundtracks and composers.

Locations visit for Festivals, Sound planning and big events to support in installing the sound systems. It is considered a hands-on course while documenting all what was experienced through visits.

Music Production through the use of new software and hardware and an output end of course project is a necessity. Introducing students to become production managers and consultants.

This workshop aims to introduce students to the art and craft of lighting and sound design in performing arts. Students will develop an appreciation of stage lighting and sound creation from both conceptual and practical perspectives. They will be trained to analyze the lighting and sound design of live performances through examining the choice of equipment employed and using the vocabulary and technical terminology related to the field.

lab Euterpe

The scope of the course includes the study of therapeutic space, materials, materials and adaptive technology, audio-video-lighting software management and implementation.

The course aims to acquire the basic knowledge of the physiology of the vocal apparatus and the components that contribute to the formation of sound. It also aims to acquire the fundamental concepts of basic vocal technique: intonation, emission, posture, breathing, vibration and listening; knowledge of the registers of the human voice and the development of the voice from childhood to adulthood; experiences exploring one's own vocal potential.

The course explains the anatomy-neurophysiological basics of brain function; the general principles of neurobiology; the organization and functioning of cognitive, sensory and motor systems and their patterns of organization and interaction.

This course provides an examination of the various psychological disorders, as well as multidimensional conceptualization of mental health, clinical, and experimental perspectives of the study of psychopathology. Emphasis is placed on terminology, classification, etiology, assessment, diagnosis, and treatment of major disorders. Upon completion, students should be able to distinguish between normal and abnormal behavior patterns as well as demonstrate knowledge of etiology, symptoms, and therapeutic techniques related to music.

Methods and techniques of the Euterpe Method related to activity in therapeutic intervention.

Deepening knowledge on the essential issues of Special Pedagogy in an intertwining of language ideas, strategies and experiences to build educational and care projects, where empathy, resilience, and freedom are fundamental elements.

Observation of therapeutic activities ME and role-play.

The course aims to learn the fundamentals of Euterpe Method composition for therapeutic intervention purposes, the management of the sound bank in composition during therapeutic sessions, and sound processing methods.

The observation internship is oriented towards participation in communities of practice, the observation of innovative approaches and modes of intervention.

This course focuses on music interpretation in various aspects. After defining the term interpretation in its musical and non-musical forms, it will expose and detail the musical elements on which the listener should rely to evaluate a musical interpretation. It will carry on by covering the emergence of performers throughout the different eras of music history while studying the genres, the forms, the instruments, and the styles that evolved. It will also point out the differences in performances between a classical musical work and that of a traditional folk/jazz/arab music. It will follow by presenting the impact of technology on performance with its advantages and disadvantages as well as the effect of the performer’s communication with the audience. This course would not be complete without encompassing the study of the philosophical perception of the listener of any musical work in general, but more specifically, that of experimental and aleatory music of the XXth century.

The objectives of the course are: ­ discovering how music can be an additional means of communication for the disabled child; ­ exploring musical situations developed with children with disabilities; ­ promoting the relationship of special needs students with their environment (other children, professionals, parents etc.) by music. It deals with the issues and the values of integration today and the importance of the artistic practice of people with disabilities: access to culture, to museums etc. It also studies cases of students with different disabilities and their musical practices. A visit to institutions dealing with children with disabilities, in order to have direct observation practice, would be an integral part of this course.

Music psychology is the empirical study of how humans perceive and experience music, and the resulting impact on individual, group and cultural behavior. This course will encompass an introductory exploration of music psychology across a lifespan. It explains the different stages of the musical development of the baby, child and adolescent at the sensory­motor, social/emotional, psychomotor and intellectual/communicative levels.

The objective of this course is to identify methodological psychoeducational training paths for the music teachers regarding in particular the musical class learning management as it might contribute to the development of basic skills defined for music education and, more generally, social and individual student development.

This introductory course is also enrolled in general education as a prerequisite for students who will pursue psychology training. This course will provide students with the basic concepts in psychology and will facilitate their access to knowledge during their academic curriculum. It includes the following objectives: understanding psychology from a historical and a theoretical perspective (Gestalt, phenomenological, experimental, scientific, psychoanalytic and cognitive, etc.); understanding the various fields of psychology (clinical, experimental, developmental, educational, social, etc.) and the different methods used (experimental, clinical, psychometric, projective, etc.); providing an appropriate approach to personality issues - basic needs, affective and emotional (feelings, emotions), intellectual (cognition, memory) and social (social influence).