Music Academy / PERFORMING ARTS / SOLFEGE I
| Course: | SOLFEGE I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 596 | Obavezan | 1 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | Auditory perception, vocal reproduction and recording of different tonal melodic, rhythmic and harmonic structures |
| Learning outcomes | After the student passes this exam, he/she will be able to: 1. Vocally interprets a melody on a major or minor tonal basis, with mutation and alterations, using a functional way of musical thinking. 2. Vocally interprets the melody on an atonal basis, which is built from all kinds of trichords and tetrachords, major and minor seconds, major and minor thirds, using the interval way of musical thinking 3. Performs rhythmic lines in two-part, three-part and four-part measures, in which the counting unit, two-part, four-part and eight-part division of the counting unit occurs, as well as in complex octave measures. 4. Intonates, aurally recognizes and writes down dominant and leading seventh chords and their turns in the given tonality 5. Write down monophonic melodies with mutation and alteration, and write down two-voice homophonic examples on a diatonic basis |
| Lecturer / Teaching assistant | dr Vedrana Marković, mr Ana Perunović-Ražnatović |
| Methodology | Lectures, exercises, consultations |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Acquaintance with subject content and literature; basic characteristics of the functional method |
| I week exercises | major and minor scales; tunes; cadences |
| II week lectures | Mutation |
| II week exercises | Melodic examples with mutation: intonation and writing |
| III week lectures | Tonally stable alterations |
| III week exercises | Listening, recording and intoning examples with tonally stable alterations |
| IV week lectures | Tonally labile alterations |
| IV week exercises | Auditory perception, recording and intonation of examples with tonally labile alterations |
| V week lectures | Rhythm: two-part, three-part and four-part beats, with different counting units, with even division of the counting unit |
| V week exercises | Vocal and manual reproduction of different rhythmic lines |
| VI week lectures | Unanimous dictation with mutation and gradually introduced alterations; Melodic - Intonation of melodies with processed issues |
| VI week exercises | Listening, writing down and intoning examples with combinations of mutation and alteration |
| VII week lectures | Two-voice dictation - homophony |
| VII week exercises | Auditory perception, recording and intonation of two-voice homophonic examples |
| VIII week lectures | Aural perception, naming, intoning and writing down chords: D7 and rotations, and VII7 |
| VIII week exercises | Aural perception, recording and intonation of melodic examples with D7 and turns, and VII7 |
| IX week lectures | Basic characteristics of the interval method; All types of trichorades and tetrachorades - auditory perception, naming, intonation and writing |
| IX week exercises | Listening, recording and intoning melodic examples with all types of trichords and tetrachords |
| X week lectures | Intervals: big and small seconds - auditory perception, naming, intonation |
| X week exercises | Listening, recording and intoning melodic examples with major and minor seconds |
| XI week lectures | Intervals: big and small thirds - auditory perception, naming, intonation |
| XI week exercises | Auditory perception, writing and intonation of melodic examples with major and minor thirds |
| XII week lectures | Unanimous dictation with gradually introduced alterations; two-voice dictation - homophony (diatonic base) |
| XII week exercises | Auditory perception, recording and intonation of melodic examples with gradually introduced alterations |
| XIII week lectures | Melody - Intonation of a prima vista melody with discussed issues |
| XIII week exercises | Auditory perception, recording and intonation of melodic examples with mutations and alterations |
| XIV week lectures | Rhythm – Performance of rhythmic lines with the problem addressed |
| XIV week exercises | performance of melodic-rhythmic examples |
| XV week lectures | Preparation for the exam: Intonation of a prima vista melody on a tonal and atonal basis |
| XV week exercises | Preparation for the written part of the exam: melodic dictation with mutations and alterations |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | Popović, B.: Intonacija; Radičeva D.: Jednoglasni diktati, Dvoglasni diktati, Intoniranje intervala, Muzički ritam; Štatkić, R.: Melodika; Drobni I.: Solfeggieto; Marković, V.: Solfeđo 1 |
| Examination methods | prisustvo nastavi: 20 poena; 3 kolokvijuma po 10 poena; Završni ispit : 50 poena;Prelazna ocjena se dobija ako student sakupi 50 poen. |
| Special remarks | It is possible to follow the lessons in Montenegrin and English |
| Comment | - |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / HISTORY OF MUSIC I
| Course: | HISTORY OF MUSIC I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2195 | Obavezan | 1 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | The immediate goal of the subject is to learn the forms and styles of different eras, and especially individual creative contributions, study sources, the relationship of art to the political, economic and social context - thus, a complex knowledge of different phenomena from musical life and their mutual relationship. The aim of the lessons is also for students to learn and acquire the habit of self-education and to develop the basis of musical-historical critical thinking in the areas of musical expression, production, reproduction. |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ENGLISH LANGUAGE I
| Course: | ENGLISH LANGUAGE I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2209 | Obavezan | 1 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCOMPANIMENT I
| Course: | ACCOMPANIMENT I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2234 | Obavezan | 1 | 2 | 1++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed secondary music school - instrumental major and successfully passed the entrance exam. |
| Aims | - Mastering the technique of joint playing and artistic communication. - Training for independent work on new compositions. - Mastering the skills of playing prima vista and transposition techniques. - Acquiring knowledge to work as an artistic associate accompanist. - Creation of the basis for acquiring a pedagogical qualification - piano associate - accompanist in music schools. |
| Learning outcomes | The student will: - Get to know and study the techniques of playing together in correlation with different instruments - Get to know and study the techniques of playing prima vista and transposition to different intervals - Apply the acquired technical skills to the performance of a certain composition - Get to know the literature for different instruments, vocal and operatic literature |
| Lecturer / Teaching assistant | Professor Oleksij Molčanov Teaching assistant Vladana Perović |
| Methodology | -Lectures, exercises, joint rehearsals, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| I week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| II week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| II week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| III week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| III week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| IV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| IV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| V week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| V week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| VI week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| VI week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| VII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| VII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| VIII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| VIII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| IX week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| IX week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| X week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| X week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| XI week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| XI week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| XII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| XII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| XIII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| XIII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| XIV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| XIV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| XV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| XV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, i.e. romance, songs and arias (Varlamov, Guriljev, Glinka, Šubert, works of baroque masters, arias from operas Mozart, Verdi, Gluck) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Accompaniment of a major baroque work (sonatas by J.S. Bach or F. Handel for flute and piano, baroque sonatas for violin and piano - Accompaniment of smaller works with the chosen instrument |
| Student workload | Weekly 2 credits x 40/30 = 2 hours and 40 minutes Structure: 1 hour....of lectures 0 hours….. exercise 1 hour 40 minutes……… individual student work (preparation for exercises, colloquiums, doing homework) including consultations In the semester Lessons and final exam: (2 hours and 40 minutes) x 16 = 42 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (2 hours and 40 minutes) = 5 hours and 20 minutes Total workload for the course: 2 x 30 = 60 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 42 hours and 40 minutes (teaching) + 5 hours and 20 minutes (preparation) + 12 hours (overtime) |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 1 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance at classes, performances at public classes, class concerts and academy concerts, regular exercise, active |
| Consultations | |
| Literature | -Sheet music for playing prima vista (collections for elementary school, coordinated with the necessary pedagogical repertoire for level IV class. Polyphonic compositions by J.S. Bach, etudes by Černi, Berens, Diverno, Ravin, sonatas and sonatas by Klementi, Mozart, compositions minor form of Schubert, Tchaikovsky, Mendelssohn, Schumann) - Sheet music for independent singing with your own accompaniment (romances and songs by Glinka, Varlamova, Guriljova, Šubert) - Sheet music for transposition - Sheet music for accompaniment, that is, playing together with different instruments (baroque sonatas, compositions Doppler, Enesko, Tafanela for flute and piano, Sarasate, Venjavski for violin and piano) |
| Examination methods | Colloquium program: - Playing primarily lighter instrumental and vocal compositions from the above list - Independent singing of two prepared vocal compositions with own accompaniment Exam program: - Independent singing of an opera aria with own accompaniment (Mozart, Verdi, Gluk, Glinka) - Accompaniment of a baroque composition (choice of movements or whole sonata for flute and piano, ie violin and piano) Gradeing: Comings: 30 points; Colloquium 20; Exam 50 points 91 – 100 grade A 81 – 90 grade B 71 – 80 grade C 61 – 70 grade D 51 – 60 grade E 0 – 50 grade F |
| Special remarks | Languages in which it is possible to follow classes: English, Russian, Ukrainian. |
| Comment | Teaching is done individually |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / MUSICAL ANALYSIS I
| Course: | MUSICAL ANALYSIS I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3322 | Obavezan | 1 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | At the end of the class, the students are introduced to the characteristics of Renaissance and Baroque music, and they are equipped for recognizing the differences between these stylistic epochs and understanding the compositional processes through harmonies, musical form and other musical components. |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / HIST. OF MUSIKAL INSTRUM. AND MUSICAL PERFORMANS I
| Course: | HIST. OF MUSIKAL INSTRUM. AND MUSICAL PERFORMANS I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 10215 | Obavezan | 1 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | no conditionality |
| Aims | The aim of the course is to get acquainted with the development of musical instruments (I group piano, guitar, accordion; wind and string instruments), the development of literature for certain instruments and acquaintance with characteristic schools, their most important representatives, through chronological cross-section through different epochs. |
| Learning outcomes | Students know the development of instruments (piano, guitar, accordion, classical wind instruments, classical wind instruments) through the epochs. They know the capital musical works written for these instruments, as well as the development of different schools and the role of the most important performers, which allows them a better and more analytical interpretation of works from different eras. |
| Lecturer / Teaching assistant | Prof. dr Jelena Martinović-Bogojević Assoc. Prof. Tatjana Krkeljić, MA |
| Methodology | Lectures with demonstrations on given topics; discussions within the lecture. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Group I: Piano, guitar, accordion Introduction to the course Group II: Wind and string instrumentsMusical instruments and their role in the music of primitive social communities. |
| I week exercises | |
| II week lectures | Group I: The Renaissance of Lauta and its role in Renaissance music Group II: Types and role of instruments in the music of ancient civilizations (Mesopotamia, Egypt, China, India) |
| II week exercises | |
| III week lectures | Group I: Baroque Baroque lute, French lute players and the influence of lute music on harpsichord music. Archilaut and soprano lute. Tab. Group II: Musical instruments in ancient times. |
| III week exercises | |
| IV week lectures | Group I French harpsichordists: F. Couperin |
| IV week exercises | |
| V week lectures | Group I French harpsichordists: J. P. Rameau |
| V week exercises | |
| VI week lectures | Group I Music for keyboard instruments in England (virginalists) |
| VI week exercises | |
| VII week lectures | Group I: Music for keyboard instruments in Flemish countries. |
| VII week exercises | |
| VIII week lectures | Group I: Scarlatti and the influence of Spanish music. Baroque ornaments |
| VIII week exercises | |
| IX week lectures | Group I: J.S. Bach: Keyboard music (harpsichord, organs, clavichord) |
| IX week exercises | |
| X week lectures | Group I: J.S.Bach: The Well Temperated Clavier |
| X week exercises | |
| XI week lectures | J.S. Bach: Goldberg variations, French Suites, English Suites; Partitas |
| XI week exercises | |
| XII week lectures | Group I: Bachs transcriptions of the Well-tempered Piano for accordion, transcriptions for guitar |
| XII week exercises | |
| XIII week lectures | Group I: G. F. Handel: Suites for harpsichord |
| XIII week exercises | |
| XIV week lectures | Group I: Analytical listening to the selected works of Baroque era |
| XIV week exercises | |
| XV week lectures | Group I: Famous performers of the baroque music for keyboards |
| XV week exercises |
| Student workload | Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (2 hours and 40 minutes) = 5 hours and 20 minutes Total subject load: 2 x 30 = 60 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 42 hours and 40 minutes (teaching) + 5 hours and 20 minutes (preparation) + 12 hours (additional work)i |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | Students are required to actively participate and discuss the selected topics and demonstrate the ability to listen to music analytically and to know music literature. |
| Consultations | |
| Literature | Andrejs, J. (1996): Historija muzike, Zagreb: Školaska knjiga.Abraham, Dž. (2001): Oksfordska istorija muzike, Beograd: Clio; Tranchefort, F-R: Guide de la musique de piano et de clavcin; Paris, A. (1989): Dictionnaire des interpretes et de l’interpretation musicales; Palisca, C. V. (2005): Barokna glazba, Zagreb: Hrvatsko muzikološko društvo.Šonberg, H. (2005). Veliki pijanisti, Beograd: Dereta. Sach, C. (2006), The History of Musical Instruments, Dover Publications, NY p. 260-454. |
| Examination methods | Forms of knowledge assessment and evaluation: Theoretical knowledge from the areas covered and ways of their practical application. Colloquium and Oral exam. 51-60%: E, 61-70%: D, 71-80%: C, 81-90%: B, 91-100%, A |
| Special remarks | Specific areas are done in consultation with the professors of the instrument: assoc. prof. Vujadin Krivokapić, MA, assoc. prof. Danijel Cerivuć, MA and prof. Predrag Janković |
| Comment | Group I: piano, guitar, accordion (lecturer Professor Jelena Martinović Bogojević, PhD) Group II: wind and string instruments (lecturer, Associate Professor Tatjana Krkeljić, MA). |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ORCHESTRA I
| Course: | ORCHESTRA I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4470 | Izborni | 1 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | - Passed entrance exam. |
| Aims | - Mastering the technique of playing in orchestra and acquiring orchestral practice. |
| Learning outcomes | Student: - Knows and performs orchestral literature of various styles and genres. - Possesses practical and theoretical knowledge in common music making. - He knows and develops his own technique. - He is aware of non-verbal communication with other members of the orchestra. - He is able to hear and shape the common sound of the orchestra, and adapt it to the general intonation, dynamics and tone color. |
| Lecturer / Teaching assistant | - Teacher: Miran Begić, full professor. - Associate: Dušan Obrenović, teaching associate. |
| Methodology | - Lectures, practical work, exercises, public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| I week exercises | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | - Lectures: 2 academic hours per week. - Exercises: 3 academic hours per week. |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | - Regular attendance, active work in classes, public performances, academy concerts. |
| Consultations | - Individual and group type. |
| Literature | - Works by baroque composers for strings. - Works of classicism and romanticism to modern and contemporary compositions. |
| Examination methods | - Attendance: 30 points; - Colloquiums: 20 points; - Exams: 50 points (including public performances, activity and commitment in class). |
| Special remarks | - Group work with students. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHOIR WITH BASES OF VOCAL TECHNIQUE I
| Course: | CHOIR WITH BASES OF VOCAL TECHNIQUE I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4476 | Izborni | 1 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | None |
| Aims | Getting to know the history of vocal performance, mastering the problems of choral singing and performing in a choral ensemble. Acquaintance of students with capital works of vocal and vocal instrumental literature. The goal is to master the basic elements of choral vocal technique and develop harmonic hearing. The goal is to nurture and develop the ability to implement theoretical knowledge such as solfeggio counterpoint, harmonic analysis and style analysis in the student through performing practice. |
| Learning outcomes | * Knowledge and performance of choral literature of different styles and genres; possession of practical and theoretical knowledge about joint work; knowing and developing own vocal technique; training for independent management of larger groups of singers that are formed according to the requirements of the score (childrens choir, womens choir, mens choir and mixed choir). |
| Lecturer / Teaching assistant | M.Sc. Aleksandra Knežević |
| Methodology | Lectures, practical work, exercises, public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, the subject Choral conducting with playing choral scores, other related study programs, as chosen by the teacher. The repertoire includes artistic vocal and vocal-instrumental music from old music to music of the XXI century. History and development of singing; Selection of works for performance Rehearsals by voices; Basic concepts of acoustics Rehearsals by voices; The ear as a sound receiver Rehearsals by voices; Organs for preparing, creating and shaping tones Rehearsals by voices; Physiology of the singing organ Joint rehearsals; Qualification of singing voices Rehearsals by voices; Breathing while singing Rehearsals by voices; Technical breathing exercises Joint rehearsals; Voice impostation Joint rehearsals; Vocal processing |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance, active work in classes, public performances, academy concerts |
| Consultations | |
| Literature | Choral and vocal-instrumental literature from 16th century polyphony to contemporary authors; B. Đurović: Basics of vocal technique; V. Ilić: Choral vocalizations |
| Examination methods | Attendance: 30 points; Colloquiums (two per semester) 20; Exams 20 points; Public performances 20: Activity and engagement in class: 10 |
| Special remarks | Language at the lessons: montenegrin |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHAMBER MUSIC I
| Course: | CHAMBER MUSIC I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2220 | Obavezan | 1 | 4 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | * Admission into the first year of BMUS programme. |
| Aims | *Developing technical and colaborative skills in ensamble playing and exploring creativity in interpretation. (artistry of musical expression) *Performing chamber music repertoire from different eras and styles as a member of classical and non-classical ensembles. *Getting familiar with the chamber music literature from all stylistic periods. * Collaboration of students throughout all the performance departments; * Introduction to principles of chamber music performance; * Developing musical taste and musicality through ensamble playing; * Improving sightreading and speed learning skills; * Enabling students to independently work on new repertoire; * Developing teamwork skills through ensemble playing. |
| Learning outcomes | * Awareness and development of tone qualities, shaping, balance and blending and sustained solid intonation within ensemble; understanding and recognizing approaches to music analysis; develop an awareness and understanding of repertoire for a variety of chamber ensembles; understanding historical, social and musical contexts of chamber music repertoire and the ability to analyze a given music literature from its historical and stylistic aspects; develop an ability to recognize key stylistic areas and historical informed performance; assimilate and integrate the acquired knowledge into a common interpretation of the repertoire within the ensemble; engaging effectively in the work of the ensemble; knowledge of specifics and strategies of chamber ensemble rehearsals. |
| Lecturer / Teaching assistant | * Professor Žana Lekić, MMus, Professor Miran Begić, MMus, Professor Predrag Janković, MMus, Associate Professor Nataša Popović, MMus, Professor Danijel Cerović, MMus |
| Methodology | * Lectures, performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | *Meeting agenda: forming the ensemble, selecting the program for the quiz and exam, and creating the lecture schedule. |
| I week exercises | |
| II week lectures | * The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of the ensemble members. Mastering the musical score of a chamber work for the colloquium involves structural and harmonic analysis, as well as the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the overall musical heritage of the corresponding epoch. |
| II week exercises | |
| III week lectures | *Mastering the musical score of a chamber work through structural and harmonic analysis and the recognition of fundamental stylistic features, which leads to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works belonging to the overall musical heritage of the corresponding epoch. |
| III week exercises | |
| IV week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| IV week exercises | |
| V week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| V week exercises | |
| VI week lectures | *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| VI week exercises | |
| VII week lectures | Colloquium |
| VII week exercises | |
| VIII week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| VIII week exercises | |
| IX week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| IX week exercises | |
| X week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| X week exercises | |
| XI week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XI week exercises | |
| XII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XII week exercises | |
| XIII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XIII week exercises | |
| XIV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XIV week exercises | |
| XV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XV week exercises |
| Student workload | * Weekly: 4 credits x 40/30 = 5 hours and 20 minutes Structure: 2 hours lectures 0 hours practical 2 hours and 20 minutes Indipendent and directed learning (non contact) (preparation for laboratory exercises, for colloquia, individual practice and rechearsals) including consultations * During the semester: Teaching and final exam: (5 hours and 20 minutes) x 16 = 85 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (5 hours and 20 minutes) = 10 hours and 40 minutes Total load for the subject: 4 x 30 = 120 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 85 hours and 20 minutes (teaching) + 10 hours and 40 minutes (preparation) + 24 hours (additional work) |
| Per week | Per semester |
| 4 credits x 40/30=5 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 3 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
5 hour(s) i 20 minuts x 16 =85 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 5 hour(s) i 20 minuts x 2 =10 hour(s) i 40 minuts Total workload for the subject: 4 x 30=120 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 24 hour(s) i 0 minuts Workload structure: 85 hour(s) i 20 minuts (cources), 10 hour(s) i 40 minuts (preparation), 24 hour(s) i 0 minuts (additional work) |
| Student obligations | *Regular class attendance, exercise, independent and joint work; Public appearances; * Monitoring concerts, seminars and lectures of visiting professors, active participation in seminars; * Listening, comparison and analysis of different performances of a given composition, reading professional literature; * Colloquium in the ninth week of the semester; * Exam after the completed semester. |
| Consultations | |
| Literature | * The repertoire for chamber music is very extensive and the choice of literature is determined in accordance with the composition of the ensemble as well as the level of knowledge, skills and abilities of the members of the ensemble. * Chamber opus (duo, trio, quartets, quintets) of the following composers: J. S. Bach, A. Vivaldi, J. Haydn, W. A. Mozart, L. v. Beethoven, F. Sor, M. Giuliani, F. Schubert, F. Mendelssohn - Bartholdy, J. Brahms, R. Schumann, JK Mertz, F. Luzatto, N. Coste, A. Dvořak, B. Smetana, S. Rachmaninoff , M. Ravel, C. Debussy, E. Satie, ML Tournier, D. Shostakovitch, A. Khachaturian, P. Hindemith, B. Martinů, B. Bartok, A. Reicha, F. Danzi, B. Britten, Castelnuovo- Tedesco, J. Ibert, J. Francaix, JM Damase, D. Milhaud, S. Barber, J. Pauer, W. Lutoslawski, Leonard Call, Dušan Bogdanović, Leo Brower, Manuel de Falla, Federico Mompou, B. Dowlasz, J Feld, M. Reger, V. Zolotarjov, J. Tiensuu, V. Podgorni, J. Gancer, B. Shehu, F. Dobler, V. Zubitshy, A. Piazzolla et al. * Compositions for piano duo: - J. S. Bach, F. Händel, J. Chr. Bach, WA Mozart, L. van Beethoven, H. Jadin, F. Schubert, R. Schumann, F. Chopin, G. Faure, J. Brahms, M. Reger, A. Dvorak, E. Grieg, S. Rachmaninoff, C. Saint-Saens, C. Debussy, M. Ravel, F. Poulenc, D. Milhaud, E. Satie, W. Lutoslawski, I. Stravinsky, D. Shostakovitch, B. Britten, A. Schnittke, and others. * Compositions from chamber opus and other composers that meet the requirements of the required level of study. * Compositions from the chamber opus of Montenegrin composers that meet the requirements of the required level of study. * Transcriptions that meet the requirements of the required level of study (non-standard ensembles). |
| Examination methods | * Attendance: maximum 30 points; * Colloquium: maximum 20 points; * Final exam: maximum 50 points; * A passing grade is obtained if the student collects 50 points. |
| Special remarks | * During the semester, the student must complete one cyclic work for chamber ensemble; program includes original compositions and already existing transcriptions which meet the requirements of the required level of study, lasting up to 15 minutes. * Languages in which it is possible to attend classes: - Montenegrin and English |
| Comment | * The number of members in the ensemble and the number of ensembles depends first of all on the capacity of the Music Academy and the enrollment of new candidates for each subsequent academic year. * Due to the different affinities and performing abilities of students, as well as the specifics of the formation of various chamber ensembles, ensemble members can be students of the same or different years of study; * It is required, at least once during the semester to organize a public appearance that can be within the class; * The formed ensemble can be changed during the semester only for objective reasons (e.g. illness of an ensemble member, termination of the student status of an ensemble member, obtaining a scholarship to continue studies at another faculty, etc.). |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / PIANO I
| Course: | PIANO I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 616 | Obavezan | 1 | 11 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Degree in High Music school – instrumental department and successfully done entrance exam |
| Aims | Mastering the technique of the piano playing and interpretation of piano literature - Training for independent work on new compositions - Acquiring knowledge and skills to act as a concert pianist, chamber musician and accompanist. - Creating the basis for acquiring pedagogical qualifications – piano teachers in music schools. |
| Learning outcomes | Student will: - Acquire and be aware of the production of the piano tone in relation to the functioning of the instrument mechanism - Acquire and be aware of the functions of the playing apparatus; understand the interaction of the playing apparatus and the tone to be realized - Apply technical skills to perform a certain composition,, - Acquire piano repertoire - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation - Create your own opinion based on the collected information and be able to evaluate the heard examples, - Systematize the acquired knowledge in creating your own interpretation; have a personal approach to the work of art, Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | full time prof. Bojan Martinović, assos. professor Vladimir Domazetović |
| Methodology | Lectures, exercises, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| I week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| II week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| II week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| III week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| III week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| IV week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| IV week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| V week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| V week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| VI week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| VI week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| VII week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| VII week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| VIII week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| VIII week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| IX week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| IX week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| X week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| X week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| XI week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| XI week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| XII week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| XII week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| XIII week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| XIII week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| XIV week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| XIV week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| XV week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| XV week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - On all major and minor scales in the distance of octaves, thirds, sixths and decimes. Parallel and opposite. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one major baroque work by J.S. Bach or F. Handel - Smaller compositions from the Baroque period: Kupren, Ramo, Skarlati, Handel One romantic work lasting up to 10 minutes |
| Student workload | Weekly 11 credits x 40/30 = 14 hours and 40 minutes Structure: 3 hours of lectures 1 hour of exercises 10 hours and 40 minutes of individual student work (preparation for laboratory exercises, for colloquia, homework) including consultations During the semester Teaching and final exam: (14 hours and 40 minutes) x 16 = 234 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (14 hours and 40 minutes) = 29 hours and 20 minutes Total workload for the course: 11 x 30 = 330 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 234 hours and 40 minutes (teaching) + 29 hours and 20 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 11 credits x 40/30=14 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 12 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
14 hour(s) i 40 minuts x 16 =234 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 14 hour(s) i 40 minuts x 2 =29 hour(s) i 20 minuts Total workload for the subject: 11 x 30=330 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 66 hour(s) i 0 minuts Workload structure: 234 hour(s) i 40 minuts (cources), 29 hour(s) i 20 minuts (preparation), 66 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | Representation of the following authors is necessary: JS Bach: Prelude and Fugues, Toccatas, English Suite, Partite; GF Handel: Suite; D. Scarlatti: Sonatas, Ramo, Kupren, VAMocart: Sonatas, Fantasies, Variations, Piano Concertos, F. Schubert: Sonatas, Lv Beethoven: Sonatas, Ronda, Bagatele, Piano Concertos, Variations, F. Chopin: Etudes, Polonaises, Balde, Scherzo, Fantasy, Polonaise Fantasy, Mazurkas, Preludes, Berzeza, Barcarola, Piano Concertos, Variations, Sonatas; F. List: Etudes, Rhapsodies, Sonata in E minor, Year of Pilgrimage cycle, Piano Concertos, JR Schumann: Fantasy, Chryslerian, Forest Scenes, Childrens Scenes, Piano Concerto, E. Grieg: Piano Concerto, Sonata, J. Brahms: Sonatas Variations, Intermezza, Rhapsodies, K. Debussy, M. Ravel: Gaspard de la nuit, Mirroirs, Piano Concertos, Sonatina, A. Scriabin: Sonatas, Preludes, Etudes, Poems, S. Rachmaninoff: Etudes of Paintings, Preludes, Sonatas, Variations , S. Prokofiev: Sonatas, Etudes, Piano Concertos, Đ. Ligeti: Etudes, Music of the Little Riders O. Messian: 20 Views of the Child Jesus, A. Schoenberg, A. Berg, I. Stravinsky, A. Webern. |
| Examination methods | Colloquium program: - 24 major and minor scales. - At least two etudes Exam program: - Polyphonic piece - A piese of choice Grading: Presence: 30 points; Colloquium 20; Exam 50 points 91 – 100 grade A 81 – 90 grade B 71 – 80 grade C 61 – 70 grade D 51 – 60 grade E 0 – 50 grade F |
| Special remarks | Languages in which it is possible to attend classes: English, French. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CONTRABASS I
| Course: | CONTRABASS I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 1225 | Obavezan | 1 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | There is no requirement |
| Aims | Mastery of double bass playing technique and interpretation of the double bass literature. Training for independent work on new compositions. Acquiring the knowledge and skills necessary to perform as a concert soloist, chamber musician, and orchestral musician. Establishing the foundation for obtaining pedagogical qualifications — to work as a double bass teacher in music schools. Mastering performance techniques, developing creativity, and enhancing stage presence. |
| Learning outcomes | The student will: Become familiar with and develop awareness of double bass tone production in relation to the functioning of the instrument’s mechanism. Become familiar with and develop awareness of the functions of the playing apparatus; understand the interaction between the playing apparatus and the tone that is to be produced. Apply technical skills in the performance of a selected composition. Become acquainted with the double bass repertoire. Interpret the assigned literature from historical and stylistic perspectives, that is, recognize the historical, social, and musical context of the given compositions. Distinguish the stylistic characteristics of the assigned program and develop the skills necessary for their accurate interpretation. Form their own opinions based on gathered information and be able to evaluate the listened examples. Systematize the acquired knowledge in creating their own interpretation; have a personal approach to the artistic work. Critically assess and evaluate their own technical and interpretative achievements, as well as the technical and interpretative achievements of other musicians. |
| Lecturer / Teaching assistant | Distinguished artist, M.A. Zoran Zakrajšek – teaching associate |
| Methodology | Lectures, exercises, practical work |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Student preparation for classes, program selection, literature |
| I week exercises | Student preparation for classes, program selection, literature |
| II week lectures | Work on the literature and selected compositions, études, scales |
| II week exercises | Work on the literature and selected compositions, études, scales |
| III week lectures | Work on performance technique, analysis of the composer’s works |
| III week exercises | Work on performance technique, analysis of the composer’s works |
| IV week lectures | Work on performance technique, preparation for public performance |
| IV week exercises | Work on performance technique, preparation for public performance |
| V week lectures | Work on performance technique, lessons with accompaniment |
| V week exercises | Work on performance technique, lessons with accompaniment |
| VI week lectures | Work on performance technique, lessons with accompaniment |
| VI week exercises | Work on performance technique, lessons with accompaniment |
| VII week lectures | Free week |
| VII week exercises | Free week |
| VIII week lectures | Colloquium – assessment of previously covered material |
| VIII week exercises | Colloquium – assessment of previously covered material |
| IX week lectures | Performance technique |
| IX week exercises | Performance technique |
| X week lectures | Work on performance technique, lessons with accompanist |
| X week exercises | Work on performance technique, lessons with accompanist |
| XI week lectures | Colloquium – assessment of previously covered material |
| XI week exercises | Colloquium – assessment of previously covered material |
| XII week lectures | Performance technique |
| XII week exercises | Performance technique |
| XIII week lectures | Performance technique |
| XIII week exercises | Performance technique |
| XIV week lectures | Preparation for the final exam, lessons with accompanist |
| XIV week exercises | Preparation for the final exam, lessons with accompanist |
| XV week lectures | Preparation for the final exam, lessons with accompanist |
| XV week exercises | Preparation for the final exam, lessons with accompanist |
| Student workload | Per semester Teaching and final exam: (17 hours and 20 minutes) × 16 = 277 hours and 20 minutes Necessary preparation before the semester starts (administration, enrollment, registration): 2 × (17 hours and 20 minutes) = 34 hours and 40 minutes Total workload for the course: 13 × 30 = 390 hours Additional work for preparation for the make-up exam, including taking the make-up exam: 0–30 hours Workload structure: 277 hours and 20 minutes (teaching) 34 hours and 40 minutes (preparation) 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Students are required to attend lectures, exercises, and carry out practical work |
| Consultations | Weekly 13 credits × 40/30 = 17 hours and 20 minutes Structure: 4 hours of lectures 2 hours of exercises 11 hours and 20 minutes of individual student work (preparation for laboratory exercises, colloquia, completion of assignments), including consultations |
| Literature | Scales – at least two; études – various composers; pieces – smaller and larger forms, sonatas, technical exercises, concertos |
| Examination methods | Attendance: 30 points 2 × Colloquium: 2 × 10 points Final exam: maximum 50 points Passing grade: 51 points |
| Special remarks | No specific indications |
| Comment | No special remarks |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLA I
| Course: | VIOLA I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 1485 | Obavezan | 1 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed the entrance exam. |
| Aims | Mastering viola playing technique and interpretation of viola literature. Training for independent work in the analysis and interpretation of new compositions. Acquiring knowledge to enable the candidate to become a successful concert violist, chamber, and orchestral musician. Establishing a foundation for pedagogical work as a viola teacher in elementary and secondary music schools. Preparing the candidate for orchestral and chamber performance. |
| Learning outcomes | The student will be able to: Identify and define the main objectives in mastering the viola repertoire. Recognize the difference between solo and chamber repertoire. Improve viola playing technique through the program prescribed within the study curriculum. Possess knowledge of viola works composed in the 17th century – the Baroque period. Establish communication with the piano accompanist when performing solo and chamber works. Develop coordination between the left and right hands while mastering the basic etudes prescribed by the curriculum. |
| Lecturer / Teaching assistant | docent Mikhail Bereznitskiy |
| Methodology | Lectures, exercises, practical work. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Student preparation for classes, program selection, literature. |
| I week exercises | Work on literature and selected compositions, etudes, and scales. |
| II week lectures | Work on literature and selected compositions, etudes, and scales. |
| II week exercises | Work on literature and selected compositions, etudes, and scales. |
| III week lectures | Work on literature and selected compositions, etudes, and scales. |
| III week exercises | Work on literature and selected compositions, etudes, and scales. |
| IV week lectures | Work on literature and selected compositions, etudes, and scales. |
| IV week exercises | Work on literature and selected compositions, etudes, and scales. |
| V week lectures | Work on literature and selected compositions, etudes, and scales. |
| V week exercises | Work on literature and selected compositions, etudes, and scales. |
| VI week lectures | Work on literature and selected compositions, etudes, and scales. |
| VI week exercises | Work on literature and selected compositions, etudes, and scales. |
| VII week lectures | Work on literature and selected compositions, etudes, and scales. |
| VII week exercises | Work on literature and selected compositions, etudes, and scales. |
| VIII week lectures | Work on literature and selected compositions, etudes, and scales. |
| VIII week exercises | Work on performance technique, analysis of composers’ works. |
| IX week lectures | Work on performance technique, analysis of composers’ works. |
| IX week exercises | Work on performance technique, analysis of composers’ works. |
| X week lectures | Work on performance technique, analysis of composers’ works. |
| X week exercises | Work on performance technique, analysis of composers’ works. |
| XI week lectures | Work on performance technique, analysis of composers’ works. |
| XI week exercises | Work on performance technique, analysis of composers’ works. |
| XII week lectures | Work on performance technique, preparation for public performance. |
| XII week exercises | Colloquium – assessment of previously covered material |
| XIII week lectures | Work on performance technique – lessons with accompanist |
| XIII week exercises | Performance technique |
| XIV week lectures | Work on performance technique – lessons with accompanist |
| XIV week exercises | Performance technique |
| XV week lectures | Performance technique |
| XV week exercises | Preparation for final exam – work with accompanist |
| Student workload | Weekly: 13 credits × 40/30 = 17 hours and 20 minutes Structure: 4 hours of lectures 2 hours of exercises 11 hours and 20 minutes of individual student work (preparation for lab exercises, colloquia, assignments), including consultations Per semester: Teaching and final exam: (10 hours and 40 minutes) × 16 = 170 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, verification): 2 × (10 hours and 40 minutes) = 21 hours and 20 minutes Total workload for the course: 8 × 30 = 240 hours Additional work for exam preparation during the retake period, including taking the retake exam: 0–30 hours Workload structure: 170 hours and 40 minutes (teaching) + 21 hours and 20 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance of classes, performances at public lessons, class concerts, and academy concerts; consistent practice; active participation in seminars and international competitions; listening to music (CDs and DVDs) and reading professional literature. |
| Consultations | |
| Literature | Scales – at least two, etudes – various authors, pieces – smaller and larger forms, sonatas, technical exercises, concerts. |
| Examination methods | Class attendance: 30 points 2 colloquia: 2 × 10 points Final exam: maximum 50 points Passing grade: 51 points |
| Special remarks | Special note on the topic: Languages in which classes can be conducted: English, Russian |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCORDION I
| Course: | ACCORDION I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2024 | Obavezan | 1 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Graduated from music high school- instrumental course and successfully passed Entrance Exam. |
| Aims | Course objectives: - Mastering the technique of playing the accordion and interpreting the literature for the accordion. - Training for independent work on new compositions. - Acquiring knowledge and skills to act as a concert accordionist and chamber musician. - Creating a basis for acquiring pedagogical qualifications - accordion teachers in music schools. |
| Learning outcomes | The student will: - Introduce, analyze, judge, evaluate and perform the repertoire for classical accordion from early music to modern trends of the 21st century. - Introduce and be aware of the functions of the playing apparatus, understand the interaction of the playing apparatus and the tone that needs to be realized. - Apply technical skills to perform a certain composition. - Get acquainted with the repertoire for classical accordion and synthesize the acquired knowledge when creating your own interpretation of a work of art. - Realize the given literature from the historical and stylistic aspect, ie recognize the historical, social and musical context of the given compositions. - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation. - Create your own opinion based on the collected information and be able to evaluate the heard examples. -Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | Full professor Predrag Jankovic |
| Methodology | Lectures, exercises, concerts |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| I week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| Student workload | In the semester: Teaching and final exam: (17 hours and 20 minutes) x 16 = 277 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (17 hours and 20 minutes) = 34 hours and 40 minutes Total load for the course: 13 x 30 = 390 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 277 hours and 20 minutes (teaching) + 34 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Student responsibilities: Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | H. Brehme: Divertimento in F H. Brehme: Paganiniana I, II ed.Hohner Verlag G. Shenderyov: Etudes for accordion Music Moscow D. Scarlatti: Sonatas ed. Peters Leipzig J. S. Bach: Das Wohltemperierte Piano and Urtext Collection of compositions for Bayan no. 5, 8 A. Repnikov: Toccata, Capriccio ed. Music Moscow D. Bobic: Childrens suites for accordion ed. Kajda Varazdin, G. Frescobaldi: Canzone Urtext V. Bonakov: Collection of compositions for accordion ed.Music Moscow |
| Examination methods | Colloquium program: • Two scales per fifth or quartic circle through 2 octaves in parallel and in opposite motion, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sixths) Exam program: 1. Polyphonic composition 2. Cyclic composition 3. The composition of the old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Grading: Attendance: 30 points; Colloquium 20 points; Exam 50 points 91 – 100 Grade A 81 – 90 Grade B 71 – 80 Grade C 61 – 70 Grade D 51 – 60 Grade E 0 – 50 Grade F |
| Special remarks | Languages in which it is possible to attend classes: Montenegrin, Russian, and English. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / GUITAR I
| Course: | GUITAR I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2025 | Obavezan | 1 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Week I Introduction to the semester; assessment of the student’s technical level; selection of technical exercises according to individual needs. Beginning work on major and minor scales in two octaves – MM 80. Analysis of assigned repertoire and semester work plan. |
| I week exercises | |
| II week lectures | Week II Scales with thirds and sixths; broken and simultaneous triads. Introduction to cadences (T–S–D–T). Beginning work on the concert étude (e.g. Villa-Lobos Etude No. 1 or Sor Op. 35 No. 22). Focus on articulation, hand stability, and dynamic control. |
| II week exercises | |
| III week lectures | Continuation of the étude – technical precision, rhythmic stability, and phrasing. Parallel introduction of a Baroque transcription (e.g. Cimarosa Sonata, Bach or Weiss). Left-hand exercises (position shifts, intonation). |
| III week exercises | |
| IV week lectures | Combination of scales (different keys) and étude work. Introduction of a post-1950 composition (e.g. Frank Martin, Brouwer, Tansman). Structural and technical analysis of modern idioms. Focus on precision and right-hand control. |
| IV week exercises | |
| V week lectures | Development of the étude and Baroque sonata – phrasing, agogics, and tone. Continued work on the modern piece. Introduction of a free-choice composition (e.g. Giuliani, Lauro, Albéniz). Use of recordings for interpretative analysis. |
| V week exercises | |
| VI week lectures | Connecting technical material with repertoire: cadences, legato, arpeggio, scalar passages. Work on the overall coherence of each piece. Preparation for the mid-term exam – tempo stabilization and memorization. |
| VI week exercises | |
| VII week lectures | MID-TERM EXAM – evaluation of both technical and repertoire components: scales (major/minor), cadences, |
| VII week exercises | |
| VIII week lectures | Post-exam corrections. Refinement of tone and dynamics. Work on phrasing connections and stage presence. Focus on musicality and expressive articulation. |
| VIII week exercises | |
| IX week lectures | Continuation of all repertoire – deepening of interpretation. Technical exercises for right-hand stability (rasgueado, arpeggio, alternation). Introduction of memory training. |
| IX week exercises | |
| X week lectures | Repertoire consolidation. Exercises for technical security and vibrato control. Detailed stylistic analysis of each composer. Beginning to link repertoire into a unified program. |
| X week exercises | |
| XI week lectures | Work on expression and dynamics in contrasting pieces (Baroque vs. modern). Recording sections of the program and mentor analysis. Focus on stage performance and control of performance anxiety. |
| XI week exercises | |
| XII week lectures | General rehearsal of program sections. Adjustments in tempo and interpretative details. Tonal balance and phrasing in ensemble context (if collaboration with piano or orchestra is included). |
| XII week exercises | |
| XIII week lectures | Full run-through of the complete semester program in concert form. Final mentoring suggestions and refinement of tone and dynamics. |
| XIII week exercises | |
| XIV week lectures | Full run-through of the complete semester program in concert form. Final mentoring suggestions and refinement of tone and dynamics. |
| XIV week exercises | |
| XV week lectures | PERFORMANCE – presentation of the required program: Assigned concert étude Composition written after 1950 Transcription of a Baroque sonata (single movement) Free-choice composition |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / FLUTE I
| Course: | FLUTE I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2048 | Obavezan | 1 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Translating to English: Mandatory participation in the colloquium and passing the colloquium on the subject FLUTE I - technical exercises and etudes, mandatory attendance at FLUTE I lectures. |
| Aims | Translation: - Establishing a theoretical foundation for understanding the basic elements of playing the flute; - Determining procedures for analyzing these elements; - Releasing psychophysical tension to free up energy; Discovering possibilities and issues in breathing, technique, and musicality. |
| Learning outcomes | Translating to English: Recognizes and defines the fundamental objectives in mastering the flute repertoire in all stylistic epochs. • Depending on the overall level of performance in flute competitions. • Refines basic and advanced flute playing techniques (scales - diatonic and chromatic, tonal and technical exercises, leaps, legato, etc.). • Possesses basic knowledge of works written for the wooden flute (Renaissance, Baroque, Classicism). • Possesses basic knowledge of performing works written for the modern (Boehm) flute in the Baroque style. • Successfully controls breathing and intonation, adapting in collaboration with other instruments. |
| Lecturer / Teaching assistant | Red. prof. Marija Đurđević Ilić |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CLARINET I
| Course: | CLARINET I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2602 | Obavezan | 1 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed high school of music- instrumental major and successfully passed the entrance exam. |
| Aims | - Mastering the technique of clarinet playing (breathing techniques, tone shaping, intonation control). - Developing auditory and expressive abilities. - Introduction to clarinet literature. - Introduction to basic methods of independent practice. - Working on correct body posture. |
| Learning outcomes | The student will be able to: 1. Know and understand the basic techniques of correct breathing. 2. Know and understand the basics of correct body posture when playing the clarinet. 3. Understand the correct embouchure and mouthpiece setting. 4. Understand the correct tongue placement and its application in clarinet performance. 5. Understand the basics of left and right-hand technique and their issues. 6. Perform basic scales, major and minor, with their triads. 7. Know and perform the repertoire stipulated by the study program. 8. Collaborate with a piano accompanist to master the repertoire. |
| Lecturer / Teaching assistant | mr Petar Garić |
| Methodology | Lectures, practice, consultations, and public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| I week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| II week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| II week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| III week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| III week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| IV week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| IV week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| V week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| V week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VI week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VI week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VII week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VIII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VIII week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| IX week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| IX week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| X week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| X week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XI week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XI week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XII week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XIII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XIII week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XIV week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XIV week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XV week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XV week exercises | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| Student workload | Weekly: 8 credits x 40/30 = 10 hours and 40 minutes Structure: 3 hours lectures; 0 hours practice; 7 hours and 40 minutes individual student work (preparation for lab exercises, colloquia, homework assignments), including consultations. Per Semester: Teaching and final exam: (10 hours and 40 minutes) x 16 = 170 hours and 40 minutes Necessary preparation before the start of the semester (administration, enrolment, certification): 2 x (10 hours and 40 minutes) = 21 hours and 20 minutes Total workload for the course: 8 x 30 = 240 hours. Additional work for exam preparation in the remedial examination period, including taking the remedial exam, from 0 - 30 hours. Workload Structure: 170 hours and 40 minutes (teaching) + 21 hours and 20 minutes (preparation) + 30 hours (additional work). |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance, performances in public classes, class concerts, and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD), and reading professional literature. |
| Consultations | |
| Literature | J.S. Bach, A. Gampieri – 21 etudes, A. Uhl – 48 etuden, R. Kell – 17 staccato studies, C. Rose – 32 etudes; C.M. Weber – Concertino, C. Stamitz – selection from 11 concertos, J.V. Stamitz – Concerto in B-flat major, C. Saint-Saëns – Sonata, F. Mendelssohn – Sonata. C.M. Weber – Variations No. 1, H. Rabaud – Solo de concours, A. Messager – Solo de concours, A. Grgin – Theme and Variations No. 1, D. Despić – Dances for solo clarinet. |
| Examination methods | Colloquium Programme: Scales (major) legato, staccato, broken, thirds, triads, V7. Two etudes from the literature. Technical exercises. Exam Programme: Sonata of choice from the literature. Piece or virtuoso work of choice from the literature. Grading: Attendance: 30 points; Colloquium: 20 points; Exams: 50 points. 91 – 100 Grade A, 81 – 90 Grade B, 71 – 80 Grade C, 61 – 70 Grade D, 51 – 60 Grade E, 0 – 50 Grade F. |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / TRUMPET I
| Course: | TRUMPET I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2606 | Obavezan | 1 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed secondary music school – instrumental department, and successfully passed the entrance exam. |
| Aims | Improvement of trumpet playing technique, development of aural, cognitive, and expressive abilities. Introduction to intermediate-level literature for trumpet. Training for independent work on new compositions and the creation of one’s own interpretation. Preparing the student for future concert solo, chamber, and orchestral performance by refining technical and interpretative skills through the study of fundamental musical literature composed for trumpet. Familiarization with the characteristics of major musical styles. |
| Learning outcomes | The student is capable of creating, realizing, and expressing their own artistic concepts; understands, analyzes, and performs a representative repertoire for the trumpet; is able to interpret and reproduce musical material in an individual (unique) way and present it to the wider public through public performances and/or projects. They understand the patterns and processes on which musical improvisation is based and are able to apply them. They have acquired good habits regarding body posture and practice techniques, which prevent professional injuries. The student is aware of techniques, forms, and sound shaping in musical creation; has developed the ability to critically develop ideas and arguments and present them to the wider public; has fully developed learning ability, self-motivation, and independence in the field of practice techniques; and understands the interrelations and interdependence of the practical and theoretical parts of the study program. |
| Lecturer / Teaching assistant | Nikola Mijajlović, MA, Associate Professor |
| Methodology | Lectures, exercises, concerts. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| I week exercises | |
| II week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| II week exercises | |
| III week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| III week exercises | |
| IV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| IV week exercises | |
| V week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| V week exercises | |
| VI week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| VI week exercises | |
| VII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| VII week exercises | |
| VIII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| VIII week exercises | |
| IX week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| IX week exercises | |
| X week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| X week exercises | |
| XI week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XI week exercises | |
| XII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XII week exercises | |
| XIII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XIII week exercises | |
| XIV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XIV week exercises | |
| XV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance; performances at public lessons, class concerts, and academy concerts; consistent practice; active participation in seminars and international competitions; listening to music (CDs and DVDs); and reading professional literature. |
| Consultations | |
| Literature | Arban: *Grande méthode complète* A. W. Johanson: *Daily Exercises* (Part I) Werner: *40 Studies for Trumpet* A. Wizzutti: *Technical Studies* James Stamp: *Warm-Ups + Studies* Bai Lin: *Lip Flexibilities* Brandt: *34 Etüden* Wurm: *Etüden* Max Schlossberg: *Daily Drills and Technical Studies* P. Clodomir: *Petits exercices / Vingt études chantantes* |
| Examination methods | **Colloquium and Exam** **Scales:** F major, B-flat major, E-flat major and their parallel minors — D minor, G minor, C minor; one technically demanding etude; orchestral excerpts: * L. van Beethoven: *Overture Leonore No. 2* (signal) * L. van Beethoven: *Overture Leonore No. 3* (signal) * M. Ravel: *Bolero* * G. Donizetti: *Don Pasquale* * G. Bizet: *Carmen* (signal and low solo) **Exam content:** * A cyclical work of a difficulty level equal to or higher than the compositions listed in the first-year literature; * One composition chosen from the listed literature (or another work of equal or greater difficulty). One of the compositions must be performed from memory. |
| Special remarks | |
| Comment | Jezici na kojima je moguće pratiti nastavu : crnogorski i engleski. Languages of instruction: Montenegrin and English. |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLIN I
| Course: | VIOLIN I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3090 | Obavezan | 1 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed the entrance exam. |
| Aims | Mastering violin playing technique and interpretation of violin literature. Training for independent work in the analysis and interpretation of new compositions Acquiring knowledge in order for the candidate to be a successful concert violinist, chamber and orchestral musician. Creating the basis for pedagogical work as a violin teacher in elementary and secondary music schools. Preparation of candidates for orchestral and chamber music. |
| Learning outcomes | The student will be able to: Recognize and define the basic goals in mastering the violin repertoire. Recognize the difference between solo and chamber repertoire. Improve the technique of playing the violin with the program that is provided as part of the study program. Have knowledge about violin works created in the 17th century - the Baroque period. Establish communication with the piano collaborator in the performance of solo and chamber works. Establish the correlation of left and right hands during the mastering of the basic etudes provided by the plan and program. |
| Lecturer / Teaching assistant | prof. Mikhail Bereznitskiy, prof Vujadin Krivokapic |
| Methodology | Lessons, exercises, practical work. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| I week exercises | |
| II week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| II week exercises | |
| III week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| III week exercises | |
| IV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| IV week exercises | |
| V week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| V week exercises | |
| VI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| VI week exercises | |
| VII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| VII week exercises | |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| VIII week exercises | |
| IX week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| IX week exercises | |
| X week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| X week exercises | |
| XI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| XI week exercises | |
| XII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| XII week exercises | |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| XIII week exercises | |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| XIV week exercises | |
| XV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through three octaves) with double notes - technical exercises, caprices and etudes - compositions from different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo violin), of which one work must be performed by heart. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / TROMBONE I
| Course: | TROMBONE I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3873 | Obavezan | 1 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | CompletedThe student will: - Get to know and become aware of tone production on the trombone in relation to the functioning of the mechanism of the instrument. - Get to know and become aware of the functions of the musical instrument; to understand the interaction of the instrument and the tone to be realized - Apply technical skills to the performance of a specific composition, - Familiar repertoire written for trombone. - Realize the assigned literature from a historical and stylistic aspect, that is, recognize the historical, social and musical context of the given compositions. - Distinguish the stylistic features of the given program and develop the skills of their correct interpretation. - Form your own opinion based on the collected information and be able to evaluate the examples you have listened to. - Systematize acquired knowledge while creating your own interpretation; have personal access to the work of art. Critically assess and evaluate ones own technical and interpretive achievements as well as the technical and interpretive achievements of other musicians secondary music school - instrumental major and successfully passed the entrance exam |
| Aims | study subjects: - Training for independent work on new compositions. - Acquiring Mastery of trombone playing technique and interpretation of trombone literature. - knowledge and skills for working as a concert trombonist and chamber musician. - Creating the basis for acquiring a pedagogical qualification - trombone teacher in music schools. |
| Learning outcomes | |
| Lecturer / Teaching assistant | Full professor Aleksandar Benčić |
| Methodology | Lectures, exercises, concerts ......... |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is technical exercises, scales, orchestral solos, etudes, music secondary schools, difficulties of different stylistic epochs and forms. |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | Weekly 13 credits x 40/30 = 17 hours and 20 minutes Structure: 1 hour and 30 minutes of lectures 15 hours and 50 minutes of individual student work (preparation for laboratory exercises, colloquiums, homework) including consultations In the semester Classes and final exam: (17 hours and 20 minutes) x 16 = 277 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (17 hours and 20 minutes) = 34 hours and 40 minutes Total workload for the course: 13 x 30 = 390 hours Supplementary work for exam preparation in the make-up exam period, including taking the make-up exam from 0 - 30 hours. Load structure: 277 hours and 20 minutes (teaching) + 34 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance at classes, performances at public classes, class concerts and academy concerts, regular exercise, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | A.Laffosse: Tongue - Play in binary and ternarystaccato and studies L.Maggio: System for Brass (from 1-5) B.Slokar: Warm-ups + Technical Routines M.Schlossberg: Daily drills and technical studies N.Rimsky-Korsakov: Concerto for trombone and piano B.Marcello: Sonata No. I V. Blaževič: Keys - Part I Ranieri: 10 etudes J.E. Galliard: Sonata no. VI J.B. Loeillet: Sonata in A flat major |
| Examination methods | Monitoring of work throughout the year, public performances, colloquium, annual exam before the exam committee. Content of the colloquium: Major and minor (harmonic) scales with a triad and an expanded dominant seventh chord in major and an expanded diminished seventh chord in minor (the candidate selects the scales to be played). Etude of a technical nature; Orchestra solos; Exam content: - Cyclic work from compulsory or supplementary literature - Composition of your choice from compulsory or supplementary literature (one of the compositions is performed by heart) Grading: excellent ( 5 ) - excellent results considering the level of study, they stand out in terms of technique, interpretation and difficulty of the program; very good ( 4 ) - above average results, program of medium difficulty. Grading: Arrivals: 30 points; Colloquium 20; Exam 50 points 91 – 100 grade A 81 – 90 grade B 71 – 80 grade C 61 – 70 grade D 51 – 60 grade E 0 – 50 marks |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / SOLFEGE II
| Course: | SOLFEGE II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2150 | Obavezan | 2 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | Auditory perception, vocal reproduction and recording of different tonal melodic, rhythmic and harmonic structures |
| Learning outcomes | After the student passes this exam, he/she will be able to: 1. Vocally interprets a melody on a major or minor tonal basis, with mutation and alterations, and diatonic modulation into tonalities of the first fifth affinity, as well as simple modal melodies, using a functional way of musical thinking. 2. Vocally interprets simpler melodies on an atonal basis, in which, in addition to the problems mastered in the previous semester, pure intervals prevail: fourths, fifths and octaves, using the interval way of musical thinking 3. Performs rhythmic lines in mixed-complex beats, simpler rhythms by speaking and typing 4. Write down a melody on a major or minor tonal basis, in which altered tones and mutation occur, as well as a melody in which diatonic modulation occurs in the tonalities of the first fifth affinity. 5. He writes down a two-voice movement in which simple polyphony prevails, and diatonic movements in major or minor tonality. 6. Aurally perceives, names and writes down a series of chords in certain harmonic relationships, using diatonic chords. |
| Lecturer / Teaching assistant | dr Vedrana Marković, mr Ana Perunović Ražnatović |
| Methodology | Lectures, exercises |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Acquaintance with subject content and literature |
| I week exercises | Vocal reproduction of melodic examples with mutation and alterations |
| II week lectures | Introduction to modal melody; simpler examples, major character modes |
| II week exercises | Auditory perception, intonation and recording of melodic examples on the modal basis of the major character |
| III week lectures | simpler examples, minor character modes |
| III week exercises | Auditory perception, intonation and recording of melodic examples on the modal basis of the minor character |
| IV week lectures | intonation of modal melodies |
| IV week exercises | Auditory perception, intonation and recording of melodic examples on a modal basis |
| V week lectures | Auditory perception, intonation and recording of chords - main triads in harmonic relationships; Mixed complex beats, without dividing the counting unit of a simple beat |
| V week exercises | Observing and writing down the main triads; vocal and manual reproduction of the rhythmic line in mixed-complex beats |
| VI week lectures | Introduction to diatonic modulation (first fifth relation) - aural perception, intonation and writing of modulating melodies |
| VI week exercises | Auditory perception, intonation and recording of melodic examples with diatonic modulation |
| VII week lectures | Auditory perception, intonation and recording of akarads - secondary triads in harmonic relationships |
| VII week exercises | Listening, intoning and writing down melodic examples with secondary triads in harmonic relationships |
| VIII week lectures | Two-part dictation with a simpler polyphonic composition, diatonic movements |
| VIII week exercises | Auditory perception, intonation and recording of two-voice position of polyphonic material |
| IX week lectures | Intervals: pure fifths - auditory perception, naming, intonation |
| IX week exercises | Aural perception, intonation and recording of the melodic flow with pure fifths |
| X week lectures | Unison dictation: modulation into tonalities of the first fifth affinity |
| X week exercises | Shorter oral dictations with diatonic modulation |
| XI week lectures | Intervals: pure fourths - auditory perception, naming, intonation |
| XI week exercises | Aural perception, intonation and recording of the melodic flow with pure fourths |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / HISTORY OF MUSIC II
| Course: | HISTORY OF MUSIC II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2196 | Obavezan | 2 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | The immediate goal of the subject is to learn the forms and styles of different eras, and especially individual creative contributions, study sources, the relationship of art to the political, economic and social context - thus, a complex knowledge of different phenomena from musical life and their mutual relationship. The aim of the lessons is also for students to learn and acquire the habit of self-education and to develop the basis of musical-historical critical thinking in the areas of musical expression, production, reproduction. |
| Learning outcomes | The immediate goal of the subject is to learn the forms and styles of different eras, and especially individual creative contributions, study sources, the relationship of art to the political, economic and social context - thus, a complex knowledge of different phenomena from musical life and their mutual relationship. The aim of the lessons is also for students to learn and acquire the habit of self-education and to develop the basis of musical-historical critical thinking in the areas of musical expression, production, reproduction. |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ENGLISH LANGUAGE II
| Course: | ENGLISH LANGUAGE II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2210 | Obavezan | 2 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCOMPANIMENT II
| Course: | ACCOMPANIMENT II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2235 | Obavezan | 2 | 2 | 1++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Successfully passed the Corepetition I exam |
| Aims | - Mastering the technique of joint playing and artistic communication. - Training for independent work on new compositions. - Mastering the skills of playing prima vista and transposition techniques. - Acquiring knowledge to work as an artistic associate accompanist. - Creation of the basis for acquiring a pedagogical qualification - piano associate - accompanist in music schools. |
| Learning outcomes | - The student will - Get to know and study the techniques of playing together in correlation with different instruments - Get to know and study the techniques of playing prima vista and transposition to different intervals - Apply the acquired technical skills to the performance of a specific composition - Get to know the literature for different instruments, vocal and operatic literature - Get to know the technology of working with singers and acquire the skills of practical work with them - Realize the assigned literature from the stylistic aspect, that is, the musical context of the given compositions - Develop the skills of correct interpretation of assigned musical material - Form your own opinion based on the collected information and be able to evaluate the examples you have listened to, - Have personal access to the artwork, - To evaluate and evaluate ones own achievements as well as the achievements of other musicians in a joint performance. - To be qualified to work as a piano assistant in music schools |
| Lecturer / Teaching assistant | Professor Oleksij Molčanov Teaching assistant Vladana Perović |
| Methodology | Lectures, exercises, joint rehearsals, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| I week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| II week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| II week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| III week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| III week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| IV week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| IV week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| V week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| V week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| VI week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| VI week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| VII week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| VII week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| VIII week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| VIII week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| IX week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| IX week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| X week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| X week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| XI week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| XI week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| XII week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| XII week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| XIII week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| XIII week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| XIV week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| XIV week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| XV week lectures | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| XV week exercises | - The content is delivered in an open curriculum, with a dynamic adapted to the students prior knowledge and in agreement possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Schubert, Suman, Brahms, Hugo Wolf, Verdi, Mozart) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of IV-V grade OMŠ) - Initial exercises of transposition by half a step - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Accompaniment of smaller works with the chosen instrument |
| Student workload | Weekly 2 credits x 40/30 = 2 hours and 40 minutes Structure: 1 hour....of lectures 0 hours….. exercise 1 hour 40 minutes……… individual student work (preparation for exercises, colloquiums, doing homework) including consultations In the semester Lessons and final exam: (2 hours and 40 minutes) x 16 = 42 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (2 hours and 40 minutes) = 5 hours and 20 minutes Total workload for the course: 2 x 30 = 60 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 42 hours and 40 minutes (teaching) + 5 hours and 20 minutes (preparation) + 12 hours (overtime) |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 1 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | -Regular attendance at classes, performances at public classes, class concerts and academy concerts, regular exercise, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | - Sheet music for playing prima vista (collections for elementary school, coordinated with the necessary pedagogical repertoire for level V-VI class. Polyphonic compositions by J.S. Bach, etudes by Černi, Berens, Diverno, Ravin, sonatas and sonatas by Klementi, Mozart, compositions minor form of Schubert, Tchaikovsky, Mendelssohn, Schumann) - Sheet music for independent singing with your own accompaniment (romances and songs by Schubert, Suman, Brahms, Hugo Wolf, operas arias by Mozart, Verdi, Gluck) - Sheet music for transposition - Sheet music for accompaniment, that is, joint playing of concerts with different instruments (concerts Mercadante, Štamica, Mozart for flute and orchestra, Venjavski, Vjetan, Barbera, Mozart for violin and orchestra) - Sheet music for rehearsing, that is, playing compositions of smaller and larger forms with different instruments (compositions Doppler, Enesko, Tafanela for flute and piano, Sarasate, Venjavski for violin and piano, Bara, Brandt for trumpet and piano) |
| Examination methods | Colloquium program: - Playing primarily lighter instrumental and vocal compositions from the above list - Transposition by half a degree - Independent singing of two prepared vocal compositions with own accompaniment, one of which must be an opera aria Exam program: - Accompaniment of one movement of an instrumental concert (instrument of choice, according to the possibilities of the Music academies) - Accompanying one composition of a smaller or larger form (a change of the soloist, that is, of the soloing instrument, is mandatory) Gradeing: Comings: 30 points; Colloquium 20; Exam 50 points 91 – 100 grade A 81 – 90 grade B 71 – 80 grade C 61 – 70 grade D 51 – 60 grade E 0 – 50 grade F |
| Special remarks | Languages in which it is possible to follow classes: English, Russian, Ukrainian. |
| Comment | Teaching is done individually |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / HIST. OF MUSIKAL INSTRUM. AND MUSICAL PERFORMAN.II
| Course: | HIST. OF MUSIKAL INSTRUM. AND MUSICAL PERFORMAN.II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 10216 | Obavezan | 2 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | no conditionallity |
| Aims | The aim of the cours is to get acquainted with the development of musical instruments (I group piano, guitar, accordion; wind and string instruments), the development of literature for certain instruments and familiarization with the characteristic schools, their most important representatives, through a chronological section through different eras. |
| Learning outcomes | Students know the development of instruments (piano, guitar, harmonica, classical brass instruments, classical brass instruments) through the ages. They know major musical works written for these instruments, as well as the development of different schools and the role of the most important performers, which enables them to interpret works from different eras more qualitatively and analytically. |
| Lecturer / Teaching assistant | Prof. Jelena Martinovic Bogojevic, PhD Prof. Tatjana Krkeljić, MA |
| Methodology | Lectures with demonstrations on given topics; discussions within lectures |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Group I (piano, guitar, accordion): Pre-classicism (Bachs sons) and the development of keyboard instruments Group II: |
| I week exercises | |
| II week lectures | Group I: Genesis of sonata-symphonic thinking, historical assumptions |
| II week exercises | |
| III week lectures | Group I: The beginning of the classical style |
| III week exercises | |
| IV week lectures | Group I: J. Haydn and his contribution to the development of classical forms. Sonatas for piano. |
| IV week exercises | |
| V week lectures | Group I: W. A. Mozart: Personality and work |
| V week exercises | |
| VI week lectures | Group I: W.A. Mozart: Piano sonatas |
| VI week exercises | |
| VII week lectures | Group I: W. A. Mozart: Piano concerto |
| VII week exercises | |
| VIII week lectures | Group I: W.A: Mozart: variations |
| VIII week exercises | |
| IX week lectures | Group I: L. van Beethoven: Personality and work |
| IX week exercises | |
| X week lectures | Group I: L. van Beethoven: Piano sonatas |
| X week exercises | |
| XI week lectures | Group I: L. van Beethoven: late piano sonatas |
| XI week exercises | |
| XII week lectures | Group I: L. van Beethoven: Piano concertos |
| XII week exercises | |
| XIII week lectures | Group I: L. van Beethoven: Variations and bagatelles |
| XIII week exercises | |
| XIV week lectures | Group I: Overview of the development of the instrument in the era of classicism (possibility of new expressiveness) |
| XIV week exercises | |
| XV week lectures | Group I: The greatest pianists - interpretations of the classical style |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | Students are required to actively participate, analytically listen to music of a certain stylistic period, show interest in critical interpretation of the performance of certain music works. |
| Consultations | |
| Literature | Andrejs, J. (1996): Historija muzike, Zagreb: Školaska knjiga.Abraham, Dž. (2001): Oksfordska istorija muzike, Beograd: Clio; Tranchefort, F-R: Guide de la musique de piano et de clavcin; Paris, A. (1989): Dictionnaire des interpretes et de l’interpretation musicales; Palisca, C. V. (2005): Barokna glazba, Zagreb: Hrvatsko muzikološko društvo.Šonberg, H. (2005). Veliki pijanisti, Beograd: Dereta. Sach, C. (2006), The History of Musical Instruments, Dover Publications, NY p. 260-454. |
| Examination methods | Theoretical knowledge from the areas covered and methods of their practical application. Colloquium and Oral exam. 51-60%: E, 61-70%: D, 71-80%: C, 81-90%: B, 91-100%, A |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / MUSICAL ANALYSIS II
| Course: | MUSICAL ANALYSIS II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 10218 | Obavezan | 2 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | At the end of the class, the students are introduced to the characteristics of Renaissance and Baroque music and ready for recognize the differences between these stylistic epochs and understan the compositional processes through harmonies, musical form and other musical components |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHOIR WITH BASES OF VOCAL TECHNIQUE II
| Course: | CHOIR WITH BASES OF VOCAL TECHNIQUE II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4477 | Izborni | 2 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | * Knowledge and performance of choral literature of different styles and genres; possession of practical and theoretical knowledge about joint work; knowing and developing own vocal technique; training for independent management of larger groups of singers that are formed according to the requirements of the score (childrens choir, womens choir, mens choir and mixed choir). |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, the subject Choral conducting with playing choral scores, other related study programs, as chosen by the teacher. The repertoire includes artistic vocal and vocal-instrumental music from old music to music of the XXI century. History and development of singing; Selection of works for performance Rehearsals by voices; Basic concepts of acoustics Rehearsals by voices; The ear as a sound receiver Rehearsals by voices; Organs for preparing, creating and shaping tones Rehearsals by voices; Physiology of the singing organ Joint rehearsals; Qualification of singing voices Rehearsals by voices; Breathing while singing Rehearsals by voices; Technical breathing exercises Joint rehearsals; Voice impostation Joint rehearsals; Vocal processing |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ORCHESTRA II
| Course: | ORCHESTRA II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 5010 | Izborni | 2 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | - Passed exam Orchestra with Knowledge of Orchestral Literature I. |
| Aims | - Mastering the technique of playing in orchestra and acquiring orchestral practice. |
| Learning outcomes | Student: - Knows and performs orchestral literature of various styles and genres. - Possesses practical and theoretical knowledge in common music making. - He knows and develops his own technique. - He is aware of non-verbal communication with other members of the orchestra. - He is able to hear and shape the common sound of the orchestra, and adapt it to the general intonation, dynamics and tone color. |
| Lecturer / Teaching assistant | - Teacher: Miran Begić, full professor. - Associate: Dušan Obrenović, teaching associate. |
| Methodology | - Lectures, practical work, exercises, public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| I week exercises | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | - Lectures: 2 academic hours per week. - Exercises: 3 academic hours per week. |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | - Regular attendance, active work in classes, public performances, academy concerts. |
| Consultations | - Individual and group type. |
| Literature | - Works by baroque composers for strings. - Works of classicism and romanticism to modern and contemporary compositions. |
| Examination methods | - Attendance: 30 points; - Colloquiums: 20 points; - Exams: 50 points (including public performances, activity and commitment in class). |
| Special remarks | - Group work with students. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHAMBER MUSIC II
| Course: | CHAMBER MUSIC II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2221 | Obavezan | 2 | 4 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | None |
| Aims | *Developing technical and colaborative skills in ensamble playing and exploring creativity in interpretation. (artistry of musical expression) *Performing chamber music repertoire from different eras and styles as a member of classical and non-classical ensembles. *Getting familiar with the chamber music literature from all stylistic periods. * Collaboration of students throughout all the performance departments; * Introduction to principles of chamber music performance; * Developing musical taste and musicality through ensamble playing; * Improving sightreading and speed learning skills; * Enabling students to independently work on new repertoire; * Developing teamwork skills through ensemble playing. |
| Learning outcomes | * Awareness and development of tone qualities, shaping, balance and blending and sustained solid intonation within ensemble; understanding and recognizing approaches to music analysis; develop an awareness and understanding of repertoire for a variety of chamber ensembles; understanding historical, social and musical contexts of chamber music repertoire and the ability to analyze a given music literature from its historical and stylistic aspects; develop an ability to recognize key stylistic areas and historical informed performance; assimilate and integrate the acquired knowledge into a common interpretation of the repertoire within the ensemble; engaging effectively in the work of the ensemble; knowledge of specifics and strategies of chamber ensemble rehearsals. |
| Lecturer / Teaching assistant | * Professor Žana Lekić, MMus, Professor Miran Begić, MMus, Professor Predrag Janković, MMus, Associate Professor Nataša Popović, MMus, Professor Danijel Cerović, MMus |
| Methodology | * Lectures, performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | *Meeting agenda: forming the ensemble, selecting the program for the quiz and exam, and creating the lecture schedule. |
| I week exercises | |
| II week lectures | * The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of the ensemble members. Mastering the musical score of a chamber work for the colloquium involves structural and harmonic analysis, as well as the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the overall musical heritage of the corresponding epoch. |
| II week exercises | |
| III week lectures | *Mastering the musical score of a chamber work through structural and harmonic analysis and the recognition of fundamental stylistic features, which leads to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works belonging to the overall musical heritage of the corresponding epoch. |
| III week exercises | |
| IV week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| IV week exercises | |
| V week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| V week exercises | |
| VI week lectures | *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| VI week exercises | |
| VII week lectures | Colloquium |
| VII week exercises | |
| VIII week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| VIII week exercises | |
| IX week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| IX week exercises | |
| X week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| X week exercises | |
| XI week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XI week exercises | |
| XII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XII week exercises | |
| XIII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XIII week exercises | |
| XIV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XIV week exercises | |
| XV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XV week exercises |
| Student workload | * Weekly: 4 credits x 40/30 = 5 hours and 20 minutes Structure: 2 hours lectures 0 hours practical 2 hours and 20 minutes Indipendent and directed learning (non contact) (preparation for laboratory exercises, for colloquia, individual practice and rechearsals) including consultations * During the semester: Teaching and final exam: (5 hours and 20 minutes) x 16 = 85 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (5 hours and 20 minutes) = 10 hours and 40 minutes Total load for the subject: 4 x 30 = 120 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 85 hours and 20 minutes (teaching) + 10 hours and 40 minutes (preparation) + 24 hours (additional work) |
| Per week | Per semester |
| 4 credits x 40/30=5 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 3 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
5 hour(s) i 20 minuts x 16 =85 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 5 hour(s) i 20 minuts x 2 =10 hour(s) i 40 minuts Total workload for the subject: 4 x 30=120 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 24 hour(s) i 0 minuts Workload structure: 85 hour(s) i 20 minuts (cources), 10 hour(s) i 40 minuts (preparation), 24 hour(s) i 0 minuts (additional work) |
| Student obligations | *Regular class attendance, exercise, independent and joint work; * Public appearances; * Monitoring concerts, seminars and lectures of visiting professors, active participation in seminars; * Listening, comparison and analysis of different performances of a given composition, reading professional literature; * Colloquium in the ninth week of the semester; * Exam after the completed semester. |
| Consultations | |
| Literature | * The repertoire for chamber music is very extensive and the choice of literature is determined in accordance with the composition of the ensemble as well as the level of knowledge, skills and abilities of the members of the ensemble. * Chamber opus (duo, trio, quartets, quintets) of the following composers: J. S. Bach, A. Vivaldi, J. Haydn, W. A. Mozart, L. v. Beethoven, F. Sor, M. Giuliani, F. Schubert, F. Mendelssohn - Bartholdy, J. Brahms, R. Schumann, JK Mertz, F. Luzatto, N. Coste, A. Dvořak, B. Smetana, S. Rachmaninoff , M. Ravel, C. Debussy, E. Satie, ML Tournier, D. Shostakovitch, A. Khachaturian, P. Hindemith, B. Martinů, B. Bartok, A. Reicha, F. Danzi, B. Britten, Castelnuovo- Tedesco, J. Ibert, J. Francaix, JM Damase, D. Milhaud, S. Barber, J. Pauer, W. Lutoslawski, Leonard Call, Dušan Bogdanović, Leo Brower, Manuel de Falla, Federico Mompou, B. Dowlasz, J Feld, M. Reger, V. Zolotarjov, J. Tiensuu, V. Podgorni, J. Gancer, B. Shehu, F. Dobler, V. Zubitshy, A. Piazzolla et al. * Compositions for piano duo: - J. S. Bach, F. Händel, J. Chr. Bach, WA Mozart, L. van Beethoven, H. Jadin, F. Schubert, R. Schumann, F. Chopin, G. Faure, J. Brahms, M. Reger, A. Dvorak, E. Grieg, S. Rachmaninoff, C. Saint-Saens, C. Debussy, M. Ravel, F. Poulenc, D. Milhaud, E. Satie, W. Lutoslawski, I. Stravinsky, D. Shostakovitch, B. Britten, A. Schnittke, and others. * Compositions from chamber opus and other composers that meet the requirements of the required level of study. * Compositions from the chamber opus of Montenegrin composers that meet the requirements of the required level of study. * Transcriptions that meet the requirements of the required level of study (non-standard ensembles). |
| Examination methods | * Attendance: maximum 30 points; * Colloquium: maximum 20 points; * Final exam: maximum 50 points; * A passing grade is obtained if the student collects 50 points. |
| Special remarks | * During the semester, the student must complete one cyclic work for chamber ensemble; program includes original compositions and already existing transcriptions which meet the requirements of the required level of study, lasting up to 15 minutes. * Languages in which it is possible to attend classes: - Montenegrin and English |
| Comment | * The number of members in the ensemble and the number of ensembles depends first of all on the capacity of the Music Academy and the enrollment of new candidates for each subsequent academic year. * Due to the different affinities and performing abilities of students, as well as the specifics of the formation of various chamber ensembles, ensemble members can be students of the same or different years of study; * It is required, at least once during the semester to organize a public appearance that can be within the class; * The formed ensemble can be changed during the semester only for objective reasons (e.g. illness of an ensemble member, termination of the student status of an ensemble member, obtaining a scholarship to continue studies at another faculty, etc.). |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / PIANO II
| Course: | PIANO II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2230 | Obavezan | 2 | 11 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Successfully passed the Piano I exam |
| Aims | Mastering the technique of the piano playing and interpretation of piano literature - Training for independent work on new compositions - Acquiring knowledge and skills to act as a concert pianist, chamber musician and accompanist. - Creating the basis for acquiring pedagogical qualifications – piano teachers in music schools. |
| Learning outcomes | Student will: - Acquire and be aware of the production of the piano tone in relation to the functioning of the instrument mechanism - Acquire and be aware of the functions of the playing apparatus; understand the interaction of the playing apparatus and the tone to be realized - Apply technical skills to perform a certain composition,, - Acquire piano repertoire - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation - Create your own opinion based on the collected information and be able to evaluate the heard examples, - Systematize the acquired knowledge in creating your own interpretation; have a personal approach to the work of art, Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | full time prof. Bojan Martinović, assos. professor Vladimir Domazetović |
| Methodology | Lectures, exercises, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| I week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| II week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| II week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| III week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| III week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| IV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| IV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| V week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| V week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VI week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VI week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VIII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VIII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| IX week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| IX week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| X week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| X week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XI week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XI week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XIII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XIII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XIV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XIV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| Student workload | Weekly 11 credits x 40/30 = 14 hours and 40 minutes Structure: 3 hours of lectures 1 hour of exercise 10 hours and 40 minutes of individual student work (preparation for laboratory exercises, for colloquia, homework) including consultations During the semester Teaching and final exam: (14 hours and 40 minutes) x 16 = 234 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (14 hours and 40 minutes) = 29 hours and 20 minutes Total workload for the course: 11 x 30 = 330 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 234 hours and 40 minutes (teaching) + 29 hours and 20 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 11 credits x 40/30=14 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 12 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
14 hour(s) i 40 minuts x 16 =234 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 14 hour(s) i 40 minuts x 2 =29 hour(s) i 20 minuts Total workload for the subject: 11 x 30=330 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 66 hour(s) i 0 minuts Workload structure: 234 hour(s) i 40 minuts (cources), 29 hour(s) i 20 minuts (preparation), 66 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature |
| Consultations | |
| Literature | Representation of the following authors is necessary: JS Bach: Prelude and Fugues, Toccatas, English Suite, Partite; GF Handel: Suite; D. Scarlatti: Sonatas, Ramo, Kupren, VAMocart: Sonatas, Fantasies, Variations, Piano Concertos, F. Schubert: Sonatas, Lv Beethoven: Sonatas, Ronda, Bagatele, Piano Concertos, Variations, F. Chopin: Etudes, Polonaises, Balde, Scherzo, Fantasy, Polonaise Fantasy, Mazurkas, Preludes, Berzeza, Barcarola, Piano Concertos, Variations, Sonatas; F. List: Etudes, Rhapsodies, Sonata in E minor, Year of Pilgrimage cycle, Piano Concertos, JR Schumann: Fantasy, Chryslerian, Forest Scenes, Childrens Scenes, Piano Concerto, E. Grieg: Piano Concerto, Sonata, J. Brahms: Sonatas Variations, Intermezza, Rhapsodies, K. Debussy, M. Ravel: Gaspard de la nuit, Mirroirs, Piano Concertos, Sonatina, A. Scriabin: Sonatas, Preludes, Etudes, Poems, S. Rachmaninoff: Etudes of Paintings, Preludes, Sonatas, Variations , S. Prokofiev: Sonatas, Etudes, Piano Concertos, Đ. Ligeti: Etudes, Music of the Little Riders O. Messian: 20 Views of the Child Jesus, A. Schoenberg, A. Berg, I. Stravinsky, A. Webern. |
| Examination methods | Colloquium program: - Classical sonata / variations or 4 sonatas by D. Scarlatti - One concert etude Exam program: - Polyphony - Sonata form - At least one great romantic work - At least one work written in the XX or XXI century Note: The duration of the exam is a minimum of 40 minutes. The exam is performed by heart Rating: Arrivals: 30 points; Colloquium 20; Exam 50 points 91 - 100 grade A 81 - 90 grade B 71 - 80 grade C 61 - 70 grade D 51 - 60 grade E 0 - 50 drade F |
| Special remarks | Languages in which it is possible to attend classes: English, French. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCORDION II
| Course: | ACCORDION II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2594 | Obavezan | 2 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Graduated from music high school- instrumental course and successfully passed Entrance Exam. |
| Aims | Mastering the technique of playing the accordion and interpreting the literature for the accordion. - Training for independent work on new compositions. - Acquiring knowledge and skills to act as a concert accordionist and chamber musician. - Creating a basis for acquiring pedagogical qualifications - accordion teachers in music schools. |
| Learning outcomes | The student will: - Introduce, analyze, judge, evaluate and perform the repertoire for classical accordion from early music to modern trends of the 21st century. - Introduce and be aware of the functions of the playing apparatus, understand the interaction of the playing apparatus and the tone that needs to be realized. - Apply technical skills to perform a certain composition. - Introduce with the repertoire for classical accordion and synthesize the acquired knowledge when creating your own interpretation of a work of art. - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions. - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation. - Create your own opinion based on the collected information and be able to evaluate the heard examples. -Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | Full professor Predrag Jankovic |
| Methodology | Lectures, exercises, concerts |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| I week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (1st row-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, doublets (thirds and sixths) 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 25 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| Student workload | In the semester: Teaching and final exam: (17 hours and 20 minutes) x 16 = 277 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (17 hours and 20 minutes) = 34 hours and 40 minutes Total load for the course: 13 x 30 = 390 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 277 hours and 20 minutes (teaching) + 34 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Student responsibilities: Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | A. Beloshitsky: Suite no.4 ed. Schmulling R. Brucci: Scherzo ed. Hohner Verlag A. Kusyakov: Winter Pictures ed.Music Moscow D. Scarlatti: Sonate ed. Peters Leipzig J. S. Bach: Das Wohltemperiertes Piano and Urtext E. Krajcar-Percan: 3 R manuscript, G. Frescobaldi: Canzone Urtext V. Bonakov: Collection of compositions for accordion ed. Music Moscow A. Repnikov: Toccata, Capriccio ed. Music Moscow R. Wirthner: Concert Etude on the Theme of Paganini, "La Campanella" A. Beloshitsky: Concert Driptych |
| Examination methods | Colloquium program: • Two scales per fifth or quartic circle through 2 octaves in parallel and in opposite motion, thirds and sixths in parallel and in opposite motion, through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sixths) Exam program: 1. Polyphonic composition 2. Cyclic composition 3. The composition of the old master 4. Original composition for accordion 5. Concert etude/virtuoso composition Grading: Attendance: 30 points; Colloquium 20 points; Exam 50 points 91 – 100 Grade A 81 – 90 Grade B 71 – 80 Grade C 61 – 70 Grade D 51 – 60 Grade E 0 – 50 Grade F |
| Special remarks | Languages in which it is possible to attend classes: Montenegrin, Russian, and English |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / GUITAR II
| Course: | GUITAR II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2595 | Obavezan | 2 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed secondary music school – instrumental department, successfully passed the entrance examination. |
| Aims | - To master the technique and interpretation of guitar literature. - To develop the ability to interpret new compositions independently. - To acquire knowledge and skills for performing as a concert guitarist and chamber musician. - To develop expressiveness, style, and artistic maturity. - To establish the foundations for pedagogical work in music schools. |
| Learning outcomes | The student will be able to: - analyze, evaluate, and interpret the classical guitar repertoire from the Baroque to the modern period; - distinguish stylistic features and develop skills for accurate interpretation; - master performance technique and apply it in artistic interpretation; - connect historical and stylistic context with musical expression; - achieve an artistic level of performance and independently prepare a concert program; - develop critical thinking and express a personal interpretative standpoint. |
| Lecturer / Teaching assistant | Prof. Danijel Cerovic |
| Methodology | Lectures, individual lessons, public classes, concerts, analytical and interpretative work, independent practice, and consultations. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Introduction to the program and technical requirements of the semester. Major/minor scales through two octaves with various fingerings. Short etude for left-hand development. Introduction to the Baroque style (example: Allemande or Prelude from a suite by J. S. Bach or S. L. Weiss). |
| I week exercises | |
| II week lectures | Scales in thirds and sixths; cadences in basic keys. Etude of choice (e.g., Sor, Giuliani). Analysis and beginning work on a simpler Classical piece (e.g., Carcassi, Aguado). |
| II week exercises | |
| III week lectures | Technical work: coordination of both hands and legato. Combination of Baroque repertoire (e.g., Courante or Bourrée) and a short Romantic piece (e.g., Tárrega – Preludio). Development of phrasing and dynamics. |
| III week exercises | |
| IV week lectures | Right-hand technique – arpeggio, tirando/apoyando. Etude for balance between hands (Giuliani or Villa-Lobos). Work on a Baroque movement of choice and a |
| IV week exercises | |
| V week lectures | Chromatic exercises and position changes. Combined program: Baroque movement (e.g., Sarabande) + etude + 20th-century piece of choice. Developing sensitivity for tone and color. |
| V week exercises | |
| VI week lectures | Week VI Technical work on speed and precision. Coordination of both hands. Consolidation of repertoire: short suite (or excerpts), etude, and contemporary piece. Preparation for the technical midterm exam. |
| VI week exercises | |
| VII week lectures | Midterm exam – technical assessment: scales, arpeggios, position shifts, and an etude of choice (Sor, Giuliani, or Villa-Lobos). No repertoire section. |
| VII week exercises | |
| VIII week lectures | Introduction to sonata form: overview of the sonata cycle and work on the first movement (e.g., Giuliani, Cimarosa). Technical focus on precision of dynamics and phrasing. |
| VIII week exercises | |
| IX week lectures | Technical exercises for tone clarity and control of position changes. Work on the second movement of the sonata – contrast of character and tempo. Analysis of Classical style. |
| IX week exercises | |
| X week lectures | Tone consistency and control of vibrato. Work on the finale of the sonata or a theme with variations (examples: Martin, Mertz, Tárrega). Critical listening and comparison of interpretations. |
| X week exercises | |
| XI week lectures | Introduction to a free-choice composition. Discussion of style and expression. Technical focus: articulation, tone, and balance between fingers. |
| XI week exercises | |
| XII week lectures | Elaboration of the free composition and connection of technical and interpretative goals. Preparation of the program for internal public class or recording. |
| XII week exercises | |
| XIII week lectures | Final work on the complete program. Correction of details and stage preparation. Work on concentration and performance stability. |
| XIII week exercises | |
| XIV week lectures | Complete performance of the selected program: suite (Bach or Weiss), sonata or theme with variations, etude, and free-choice composition. Progress analysis and individual feedback. |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises | Final rehearsal and exam program: selected suite, sonata or theme with variations, and a free-choice piece that contrasts the rest of the program. |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance at individual lessons, active participation in classes and public performances, continuous work on technical and interpretative programs, preparation for the midterm and final exam. |
| Consultations | By appointment with the professor, during office hours published on the notice board and the academy website. |
| Literature | - Heitor Villa-Lobos: Twelve Etudes, Max Eschig, Paris, 1927. - Fernando Sor: Collected Works for Guitar, Tecla Editions, London, 1980. - Mauro Giuliani: Collected Works for Guitar, Tecla Editions, London, 1982. - J. S. Bach: Suites for Lute, available editions. - S. L. Weiss: Suites for Lute, available editions. - D. Cimarosa: Sonatas, Zonibon. - Frank Martin: Quatre pièces brèves, Universal Edition, 1930. - Leo Brouwer: Estudios sencillos, Max Eschig, Paris, 1972. |
| Examination methods | Midterm exam (technical assessment) and final exam (complete program performance before a committee). Continuous evaluation throughout the semester. |
| Special remarks | Possibility of performing selected pieces during public classes and concerts. The program may be adjusted to the student’s individual abilities and interests, with mandatory fulfillment of the semester’s technical and interpretative objectives. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CONTRABASS II
| Course: | CONTRABASS II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2599 | Obavezan | 2 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed the Double Bass I exam |
| Aims | Mastery of double bass playing technique and interpretation of the double bass literature. Training for independent work on new compositions. Acquiring the knowledge and skills necessary to perform as a concert soloist, chamber musician, and orchestral musician. Establishing the foundation for obtaining pedagogical qualifications — to work as a double bass teacher in music schools. Mastering performance techniques, developing creativity, and enhancing stage presence. |
| Learning outcomes | The student will: Become familiar with and develop awareness of double bass tone production in relation to the functioning of the instrument’s mechanism. Become familiar with and develop awareness of the functions of the playing apparatus; understand the interaction between the playing apparatus and the tone that is to be produced. Apply technical skills in the performance of a selected composition. Become acquainted with the double bass repertoire. Interpret the assigned literature from historical and stylistic perspectives, that is, recognize the historical, social, and musical context of the given compositions. Distinguish the stylistic characteristics of the assigned program and develop the skills necessary for their accurate interpretation. Form their own opinions based on gathered information and be able to evaluate the listened examples. Systematize the acquired knowledge in creating their own interpretation; have a personal approach to the artistic work. Critically assess and evaluate their own technical and interpretative achievements, as well as the technical and interpretative achievements of other musicians. |
| Lecturer / Teaching assistant | Distinguished artist, M.A. Zoran Zakrajšek – teaching associate |
| Methodology | Lectures, exercises, practical work |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Student preparation for classes, program selection, literature |
| I week exercises | Student preparation for classes, program selection, literature |
| II week lectures | Work on the literature and selected compositions, études, scales |
| II week exercises | Work on the literature and selected compositions, études, scales |
| III week lectures | Work on performance technique, analysis of the composer’s works |
| III week exercises | Work on performance technique, analysis of the composer’s works |
| IV week lectures | Work on performance technique, preparation for public performance |
| IV week exercises | Work on performance technique, preparation for public performance |
| V week lectures | Work on performance technique, lessons with accompaniment |
| V week exercises | Work on performance technique, lessons with accompaniment |
| VI week lectures | Work on performance technique, lessons with accompaniment |
| VI week exercises | Work on performance technique, lessons with accompaniment |
| VII week lectures | Free week |
| VII week exercises | Free week |
| VIII week lectures | Colloquium – assessment of previously covered material |
| VIII week exercises | Colloquium – assessment of previously covered material |
| IX week lectures | Performance technique |
| IX week exercises | Performance technique |
| X week lectures | Work on performance technique, lessons with accompaniment |
| X week exercises | Work on performance technique, lessons with accompaniment |
| XI week lectures | Colloquium – assessment of previously covered material |
| XI week exercises | Colloquium – assessment of previously covered material |
| XII week lectures | Performance technique |
| XII week exercises | Performance technique |
| XIII week lectures | Performance technique |
| XIII week exercises | Performance technique |
| XIV week lectures | Preparation for the final exam, lessons with accompanist |
| XIV week exercises | Preparation for the final exam, lessons with accompanist |
| XV week lectures | Preparation for the final exam, lessons with accompanist |
| XV week exercises | Preparation for the final exam, lessons with accompanist |
| Student workload | Per semester Teaching and final exam: (17 hours and 20 minutes) × 16 = 277 hours and 20 minutes Necessary preparation before the semester starts (administration, enrollment, registration): 2 × (17 hours and 20 minutes) = 34 hours and 40 minutes Total workload for the course: 13 × 30 = 390 hours Additional work for preparation for the make-up exam, including taking the make-up exam: 0–30 hours Workload structure: 277 hours and 20 minutes (teaching) 34 hours and 40 minutes (preparation) 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Students are required to attend lectures, exercises, and carry out practical work |
| Consultations | Weekly 13 credits × 40/30 = 17 hours and 20 minutes Structure: 4 hours of lectures 2 hours of exercises 11 hours and 20 minutes of individual student work (preparation for laboratory exercises, colloquia, completion of assignments), including consultations |
| Literature | Scales – at least two; études – various composers; pieces – smaller and larger forms, sonatas, technical exercises, concertos |
| Examination methods | Attendance: 30 points 2 × Colloquium: 2 × 10 points Final exam: maximum 50 points Passing grade: 51 points |
| Special remarks | No special remarks |
| Comment | No specific indications |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / FLUTE II
| Course: | FLUTE II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2601 | Obavezan | 2 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CLARINET II
| Course: | CLARINET II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2603 | Obavezan | 2 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed secondary music school - instrumental major and successfully passed the entrance exam. |
| Aims | - Mastering the technique of playing the clarinet (breathing techniques, tone shaping, intonation control). - Developing listening and expressive skills. - Acquaintance with clarinet literature. - Getting to know the basic methods of independent exercise - Work on correct body posture |
| Learning outcomes | The student will be able to: 1. Knows and understands the basic techniques of proper breathing 2. Knows and understands the basics of proper posture when playing the clarinet 3. Understands the correct setting of the mouth and mouthpiece 4. Understands the correct setting of the tongue and its application in clarinet performance 5. Understands the basics of left and right hand techniques and their problems 6. Derives basic scales, major and minor, with their triads 7. Knows and performs the repertoire provided by the study program 8. Collaborates with a piano associate in order to master the repertoire |
| Lecturer / Teaching assistant | mr Petar Garic |
| Methodology | Lectures, exercises, consultations and public performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| I week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| II week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| II week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| III week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| III week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| IV week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| IV week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| V week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| V week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| VI week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| VI week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| VII week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| VII week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| VIII week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| VIII week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| IX week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| IX week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| X week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| X week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| XI week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| XI week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| XII week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| XII week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| XIII week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| XIII week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| XIV week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| XIV week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| XV week lectures | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| XV week exercises | - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. . |
| Student workload | Weekly 8 credits x 40/30 = 10 hours and 40 minutes Structure: 3 hours of lectures 0 hours of practice 7 hours and 40 minutes of individual student work (preparation for laboratory exercises, colloquiums, homework) including consultations In the semester Classes and final exam: (10 hours and 40 minutes) x 16 = 170 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (10 hours and 40 minutes) = 21 hours and 20 minutes Total workload for the course: 8 x 30 = 240 hours Additional work for exam preparation in the make-up exam period, including taking the make-up exam from 0 - 30 hours. Load structure: 170 hours and 40 minutes (teaching) + 21 hours and 20 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance at classes, performances at public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | J.S.Bach, A. Gampieri – 21 etudes, A. Uhl – 48 etuden, R. Kell – 17 staccato studies, C. Rose – 32 etudes; C.M.Weber – Concertino, C. Stamitz – izbor od 11 koncerata, J.V. Stamitz – koncert B-dur, C. Saint-Saens – Sonata, F. Mendelssohn – Sonata. C.M.Weber – Varijacije br. 1, H. Rabaud – Solo de concurs, A- Messager – Solo de concurs, A. Grgin – Tema sa varijacijama br. 1, D. Despić – Igre za klarinet solo. |
| Examination methods | Colloquium program: Scales (minor) legato, staccato, broken down, thirds, triads, VII7 Two etudes from literature technical exercises Exam program: A concert on a selection from literature A piece for solo clarinet or a virtuoso work chosen from literature Grading: Arrivals: 30 points; Colloquium 20; Exams 50 points |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / TRUMPET II
| Course: | TRUMPET II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2607 | Obavezan | 2 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed the exam in the subject Trumpet I. |
| Aims | Improvement of trumpet playing technique, development of aural, cognitive, and expressive abilities. Introduction to intermediate-level literature for trumpet. Training for independent work on new compositions and the creation of one’s own interpretation. Preparing the student for future concert solo, chamber, and orchestral performance by refining technical and interpretative skills through the study of fundamental musical literature composed for trumpet. Familiarization with the characteristics of major musical styles. |
| Learning outcomes | The student is capable of creating, realizing, and expressing their own artistic concepts; understands, analyzes, and performs a representative repertoire for the trumpet; is able to interpret and reproduce musical material in an individual (unique) way and present it to the wider public through public performances and/or projects. They understand the patterns and processes on which musical improvisation is based and are able to apply them. They have acquired good habits regarding body posture and practice techniques, which prevent professional injuries. The student is aware of techniques, forms, and sound shaping in musical creation; has developed the ability to critically develop ideas and arguments and present them to the wider public; has fully developed learning ability, self-motivation, and independence in the field of practice techniques; and understands the interrelations and interdependence of the practical and theoretical parts of the study program. |
| Lecturer / Teaching assistant | Nikola Mijajlović, MA, Associate Professor |
| Methodology | Lectures, exercises, concerts. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| I week exercises | |
| II week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| II week exercises | |
| III week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| III week exercises | |
| IV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| IV week exercises | |
| V week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| V week exercises | |
| VI week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| VI week exercises | |
| VII week lectures | Colloquium |
| VII week exercises | |
| VIII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| VIII week exercises | |
| IX week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| IX week exercises | |
| X week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| X week exercises | |
| XI week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XI week exercises | |
| XII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XII week exercises | |
| XIII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XIII week exercises | |
| XIV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XIV week exercises | |
| XV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance; performances at public lessons, class concerts, and academy concerts; consistent practice; active participation in seminars and international competitions; listening to music (CDs and DVDs); and reading professional literature. |
| Consultations | |
| Literature | Arban: *Grande méthode complète* A. W. Johanson: *Daily Exercises* (Part I) Werner: *40 Studies for Trumpet* A. Wizzutti: *Technical Studies* James Stamp: *Warm-Ups + Studies* Bai Lin: *Lip Flexibilities* Brandt: *34 Etüden* Wurm: *Etüden* Max Schlossberg: *Daily Drills and Technical Studies* P. Clodomir: *Petits exercices / Vingt études chantantes* |
| Examination methods | Colloquium and Exam Scales:F major, B-flat major, E-flat major and their parallel minors — D minor, G minor, C minor; one technically demanding etude; orchestral excerpts: L. van Beethoven: *Overture Leonore No. 2 (signal) L. van Beethoven: *Overture Leonore No. 3 (signal) M. Ravel: Bolero G. Donizetti: Don Pasquale G. Bizet: *Carmen (signal and low solo) Exam content: * A cyclical work of a difficulty level equal to or higher than the compositions listed in the first-year literature; * One composition chosen from the listed literature (or another work of equal or greater difficulty). One of the compositions must be performed from memory. |
| Special remarks | |
| Comment | Languages of instruction: Montenegrin and English. |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLIN II
| Course: | VIOLIN II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3091 | Obavezan | 2 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed exam Violin I |
| Aims | Mastering the technique of playing the violin and interpretation of violin literature. Training for independent work in the analysis and interpretation of new compositions Acquiring knowledge in order for the candidate to be a successful concert violinist, chamber and orchestral musician. Creating the basis for pedagogical work as a violin teacher in elementary and secondary music schools. Preparation of candidates for orchestral and chamber music. |
| Learning outcomes | The student will be able to: Recognize and define the basic goals in mastering the violin repertoire. Recognize the difference between solo and chamber repertoire. Improve the technique of playing the violin with the program that is provided as part of the study program. Have knowledge about violin works created in the 17th century - the Baroque period. Establish communication with the piano collaborator in the performance of solo and chamber works. Establish the correlation of left and right hands during the mastering of the basic etudes provided by the plan and program. |
| Lecturer / Teaching assistant | prof. Mikhail Bereznitskiy, prof. Vujadin Krivokapic |
| Methodology | Lessons, exercises, practical work. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| I week exercises | |
| II week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| II week exercises | |
| III week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| III week exercises | |
| IV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| IV week exercises | |
| V week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| V week exercises | |
| VI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VI week exercises | |
| VII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VII week exercises | |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VIII week exercises | |
| IX week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| IX week exercises | |
| X week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| X week exercises | |
| XI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XI week exercises | |
| XII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XII week exercises | |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XIII week exercises | |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XIV week exercises | |
| XV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triplets with double notes - technical exercises, caprices and etudes, - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLA II
| Course: | VIOLA II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3097 | Obavezan | 2 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed exam: Viola I |
| Aims | Course Objectives: Mastering viola playing technique and interpretation of viola literature. Training for independent work in the analysis and interpretation of new compositions. Acquiring knowledge to enable the candidate to become a successful concert violist, chamber, and orchestral musician. Establishing a foundation for pedagogical work as a viola teacher in elementary and secondary music schools. Preparing the candidate for orchestral and chamber performance. |
| Learning outcomes | The student will be able to: Identify and define the main objectives in mastering the viola repertoire. Recognize the difference between solo and chamber repertoire. Improve viola playing technique through the program prescribed within the study curriculum. Possess knowledge of viola works composed in the 17th century – the Baroque period. Establish communication with the piano accompanist when performing solo and chamber works. Develop coordination between the left and right hands while mastering the basic etudes prescribed by the curriculum. |
| Lecturer / Teaching assistant | docent Mikhail Bereznitskiy |
| Methodology | Lectures, exercises, consultations, practical work, and public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Work on literature and selected compositions. |
| I week exercises | Work on literature and selected compositions. |
| II week lectures | Work on literature and selected compositions. |
| II week exercises | Work on literature and selected compositions. |
| III week lectures | Work on literature and selected compositions. |
| III week exercises | Work on literature and selected compositions. |
| IV week lectures | Work on literature and selected compositions. |
| IV week exercises | Work on literature and selected compositions. |
| V week lectures | Work on literature and selected compositions. |
| V week exercises | Work on literature and selected compositions. |
| VI week lectures | Work on literature and selected compositions. |
| VI week exercises | Work on literature and selected compositions. |
| VII week lectures | Work on literature and selected compositions. |
| VII week exercises | Work on literature and selected compositions. |
| VIII week lectures | Work on literature and selected compositions. |
| VIII week exercises | Work on literature and selected compositions. |
| IX week lectures | Work on performance technique and analysis of composers’ works. |
| IX week exercises | Work on performance technique and analysis of composers’ works. |
| X week lectures | Work on performance technique and preparation for public performances. |
| X week exercises | Work on performance technique and preparation for public performances. |
| XI week lectures | Work on performance technique – lessons with accompanist. |
| XI week exercises | Work on performance technique – lessons with accompanist. |
| XII week lectures | Work on performance technique – lessons with accompanist. |
| XII week exercises | Work on performance technique – lessons with accompanist. |
| XIII week lectures | Colloquium – assessment of previously covered material. |
| XIII week exercises | Performance technique. |
| XIV week lectures | Work on performance technique – lessons with accompanist. |
| XIV week exercises | Colloquium – assessment of previously covered material. |
| XV week lectures | Work on performance technique – lessons with accompanist. |
| XV week exercises | Work on performance technique – lessons with accompanist. |
| Student workload | Weekly Workload: 13 credits × 40/30 = 17 hours and 20 minutes Structure: 4 hours of lectures 2 hours of exercises 11 hours and 20 minutes of individual student work (preparation for practical classes, colloquia, assignments), including consultations Semester Workload: Teaching and final exam: (10 hours and 40 minutes) × 16 = 170 hours and 40 minutes Necessary preparation before the start of the semester (administration, enrollment, verification): 2 × (10 hours and 40 minutes) = 21 hours and 20 minutes Total workload: 8 × 30 = 240 hours Additional work for exam preparation and retake exam: 0–30 hours Workload structure: 170 h 40 min (teaching) + 21 h 20 min (preparation) + 30 h (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance of classes, performances at public lessons, class concerts, and academy concerts; consistent practice; active participation in seminars and international competitions; listening to music (CDs and DVDs) and reading professional literature. |
| Consultations | |
| Literature | Etudes – various authors; pieces – smaller and larger forms, sonatas, technical exercises; concerts. |
| Examination methods | Class attendance: 30 points 2 colloquia: 2 × 10 points Final exam: maximum 50 points Passing grade: 51 points |
| Special remarks | Special note for the subject: languages in which classes can be taken: English, Russian. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / TROMBONE II
| Course: | TROMBONE II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3874 | Obavezan | 2 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed the Trombone I exam. |
| Aims | - Mastering the technique of playing the trombone and interpretation of trombone literature. - Training for independent work on new compositions. - Acquiring knowledge and skills to work as a concert trombonist and chamber musician. - Creating the basis for acquiring a pedagogical qualification - trombone teacher in music schools |
| Learning outcomes | The student will: - Get to know and become aware of tone production on the trombone in relation to the functioning of the mechanism of the instrument. - Get to know and become aware of the functions of the musical instrument; to understand the interaction of the instrument and the tone to be realized - Apply technical skills to the performance of a specific composition, - Familiar repertoire written for trombone. - Realize the assigned literature from a historical and stylistic aspect, i.e. recognize the historical, social and musical context of the given compositions - Distinguish the stylistic features of the given program and develop the skills of their correct interpretation - Form your own opinion based on the collected information and be able to evaluate the examples you have listened to, - Systematize acquired knowledge while creating your own interpretation; have personal access to the artwork, Critically assess and evaluate ones own technical and interpretive achievements as well as the technical and interpretive achievements of other musicians |
| Lecturer / Teaching assistant | Full professor Aleksandar Bencic |
| Methodology | lectures, exercises, concerts... |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is technical exercises, scales, orchestral solos, etudes, music secondary schools, difficulties of different stylistic epochs and forms. |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | weekly 13 credits x 40/30 = 17 hours and 20 minutes Structure: 1 hour and 30 minutes of lectures 15 hours and 50 minutes of individual student work (preparation for laboratory exercises, colloquiums, homework) including consultations in the semester Classes and final exam: (17 hours and 20 minutes) x 16 = 277 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (17 hours and 20 minutes) = 34 hours and 40 minutes Total workload for the course: 13 x 30 = 390 hours Additional work for exam preparation in the make-up exam period, including taking the make-up exam from 0 - 30 hours. Load structure: 277 hours and 20 minutes (teaching) + 34 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Uredno pohađanje nastave, nastupi na javnim časovima, koncertima klase i koncertima akademije, redovno vježbanje, aktivno učešće na seminarima i međunarodnim takmičenjima, slušanje muzike (CD i DVD) i čitanje stručne literature. |
| Consultations | |
| Literature | A.Laffosse: Tongue - Play in binsary and ternarystaccato and studies L.Maggio: System for Brass (from 1-5) B.Slokar: Warm-ups + Technical Routines M.Schlossberg: Daily drills and technical studies N.Rimsky-Korsakov: Concerto for trombone and piano B.Marcello: Sonata No. I V. Blaževič: Keys - Part I Ranieri: 10 etudes J.E. Galliard: Sonata no. VI J.B. Loeillet: Sonata in A flat major |
| Examination methods | Monitoring of work throughout the year, public performances, colloquium, annual exam before the exam committee. Content of the colloquium: Major and minor (harmonic) scales with a triad and an expanded dominant seventh chord in major and an expanded diminished seventh chord in minor (the candidate selects the scales to be played). Etude of a technical nature; Orchestra solos; Exam content: - Cyclic work from compulsory or supplementary literature - Composition of your choice from compulsory or supplementary literature (one of the compositions is performed by heart) Grading: excellent ( 5 ) - excellent results considering the level of study, they stand out in terms of technique, interpretation and difficulty of the program; very good ( 4 ) - above average results, program of medium difficulty. Grading: Arrivals: 30 points; Colloquium 20; Exam 50 points 91 – 100 grade A 81 – 90 grade B |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / SOLFEGE III
| Course: | SOLFEGE III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2151 | Obavezan | 3 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | Auditory perception, vocal reproduction and recording of different tonal melodic, rhythmic and harmonic structures |
| Learning outcomes | After the student passes this exam, he/she will be able to: 1. Vocally interprets a melody on a major or minor tonal basis, with mutation and alterations, and diatonic modulation into tonalities of another fifth affinity, using a functional way of musical thinking, as well as melodies on the tonal basis of folklore scales. 2. Vocally interprets the melody on an atonal basis, in which, in addition to the problems mastered in the previous semester, major and minor sixths prevail, as well as chords: major and minor sextachord and major and minor quarter sextachord, using the interval way of musical thinking. 3. Performs the rhythmic line in two-part, three-part and four-part measures, with characteristic "irregular" figures: duos and quartols in three-part measure, as well as trios in two-part and four-part measure. 4. Write down a melody on a major or minor tonal basis, in which altered tones and mutation occur, as well as a melody in which diatonic modulation occurs 5. Write down a two-voice movement in which simple polyphony prevails, with a mutation, in a major or minor tonality. 6. Aurally perceives, recognizes and writes down a series of chords in certain harmonic relationships, using altered chords of the diatonic type. |
| Lecturer / Teaching assistant | dr Vedrana MArković, mr Ana Perunović Ražnatović |
| Methodology | Lectures, exercises, consultations |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Getting to know the content of the course |
| I week exercises | Auditory perception and intonation of melodic examples based on diatonic major and minor scales |
| II week lectures | Melodic: examples with diatonic modulations; altered chords of diatonic type DD7, DS7 |
| II week exercises | Aural perception and intonation of melodic examples in which altered chords of the diatonic type DD7, DS7 prevail |
| III week lectures | Pentatonic, Rhythm: duos, trios, quartos |
| III week exercises | Auditory perception and intonation of pentatonic examples; vocal and manual reproduction of rhythmic lines: duoles, trioles, quartoles |
| IV week lectures | Folk scales: Gypsy and Balkan minor |
| IV week exercises | Auditory perception, intonation and recording of melodies based on Gypsy and Balkan minor |
| V week lectures | Folk scales: Phrygian moldur and oriental major |
| V week exercises | Auditory perception, intonation and recording of melodies based on Phrygian moldur and oriental major |
| VI week lectures | two-voice dictation with mutation |
| VI week exercises | Aural perception, intonation and recording of two-voice position with mutation |
| VII week lectures | monophonic dictation with several diatonic modulations |
| VII week exercises | Auditory perception, intonation and recording of a melody with diatonic modulation |
| VIII week lectures | intonation a prima vista with diatonic modulations |
| VIII week exercises | Auditory perception, intonation and recording of a melody with diatonic modulation |
| IX week lectures | Intervals: major sixths |
| IX week exercises | Auditory perception, intonation and recording of the melody in which major sixths occur |
| X week lectures | Intervals: minor sixths |
| X week exercises | Auditory perception, intonation and recording of a melody in which minor sixths appear |
| XI week lectures | technical exercises for intonation: major and minor sextachords |
| XI week exercises | Hearing, intoning and writing down a melody in which major and minor sextacords occur |
| XII week lectures | technical exercises for intonation: major and minor quarter sixth chords |
| XII week exercises | Auditory perception, intonation and writing down of a melody in which major and minor quarter-sixth chords occur |
| XIII week lectures | Intonation a prima vista example with diatonic modulation |
| XIII week exercises | Auditory perception, intonation and recording of a melody in which several diatonic modulations occur |
| XIV week lectures | Altered chords of the diatonic type: N6, VII for D |
| XIV week exercises | Aural perception, intonation and writing down of a melody in which altered chords of the diatonic type appear: N6, VII for D |
| XV week lectures | Preparation for the oral part of the exam |
| XV week exercises | Preparation for the written part of the exam |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance, active work in classes |
| Consultations | |
| Literature | Popović, B.: Intonacija; Radičeva D.: Jednoglasni diktati, Dvoglasni diktati, Intoniranje intervala, Muzički ritam; Štatkić, R.: Melodika; Drobni I.: Solfeggieto; Marković, V. : Posebne ljestvične strukture |
| Examination methods | Class attendance: 20 points; 3 colloquiums of 10 points each; Final exam: 50 points; A passing grade is obtained if the student collects 50 points. |
| Special remarks | It is possible to follow the lessons in Montenegrin and English |
| Comment | - |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / HISTORY OF MUSIC III
| Course: | HISTORY OF MUSIC III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2197 | Obavezan | 3 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | The immediate goal of the subject is to learn the forms and styles of different eras, and especially individual creative contributions, study sources, the relationship of art to the political, economic and social context - thus, a complex knowledge of different phenomena from musical life and their mutual relationship. The aim of the lessons is also for students to learn and acquire the habit of self-education and to develop the basis of musical-historical critical thinking in the areas of musical expression, production, reproduction. |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ENGLISH LANGUAGE III
| Course: | ENGLISH LANGUAGE III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2211 | Obavezan | 3 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCOMPANIMENT III
| Course: | ACCOMPANIMENT III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2236 | Obavezan | 3 | 2 | 1++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | -Successfully passed the exam Correpetition II |
| Aims | - Mastering the technique of joint playing and artistic communication. - Training for independent work on new compositions. - Mastering the skills of playing prima vista and transposition techniques. - Acquiring knowledge to work as an artistic associate accompanist. - Creation of the basis for acquiring a pedagogical qualification - piano associate - accompanist in music schools. |
| Learning outcomes | The student will: - Get to know and study the techniques of playing together in correlation with different instruments - Get to know and study the techniques of playing prima vista and transposition to different intervals - Apply the acquired technical skills to the performance of a specific composition - Get to know the literature for different instruments, vocal and operatic literature - Get to know the technology of working with singers and acquire the skills of practical work with them - Realize the assigned literature from the stylistic aspect, that is, the musical context of the given compositions - Develop the skills of correct interpretation of assigned musical material - Form your own opinion based on the collected information and be able to evaluate the examples you have listened to, - Have personal access to the artwork, - To evaluate and evaluate ones own achievements as well as the achievements of other musicians in a joint performance. - To be qualified to work as a piano assistant in music schools |
| Lecturer / Teaching assistant | Professor Oleksij Molčanov Teaching assistant Vladana Perović |
| Methodology | -Lectures, exercises, joint rehearsals, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| I week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| II week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| II week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| III week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| III week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| IV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| IV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| V week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| V week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| VI week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| VI week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| VII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| VII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| VIII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| VIII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| IX week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| IX week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| X week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| X week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| XI week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| XI week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| XII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| XII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| XIII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| XIII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| XIV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| XIV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| XV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| XV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Exercises of transposition by half a degree - Rehearsing individual movements, that is, the entire concert for the selected instrument i orchestra - Rehearsing at least two smaller works with different selected instruments |
| Student workload | Weekly 2 credits x 40/30 = 2 hours and 40 minutes Structure: 1 hour....of lectures 0 hours….. exercise 1 hour 40 minutes……… individual student work (preparation for exercises, colloquiums, doing homework) including consultations In the semester Lessons and final exam: (2 hours and 40 minutes) x 16 = 42 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (2 hours and 40 minutes) = 5 hours and 20 minutes Total workload for the course: 2 x 30 = 60 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 42 hours and 40 minutes (teaching) + 5 hours and 20 minutes (preparation) + 12 hours (overtime) |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 1 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | -Regular attendance at classes, performances at public classes, class concerts and academy concerts, regular exercise, active= participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | - Sheet music for playing prima vista (collections for elementary school, coordinated with the necessary pedagogical repertoire for level VI class. Polyphonic compositions by J.S. Bach, etudes by Černi, Berens, Bertiini, Ravin, sonatas and sonatas by Beethoven, Mozart, compositions smaller form of Schubert, Tchaikovsky, Mendelssohn, Schumann, 20th century composers) - Sheet music for independent singing with your own accompaniment (romances and songs by Schubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, opera arias by Verdi, Puccini, Bellini) - Sheet music for transposition - Sheet music for accompaniment, that is, joint playing of concerts with different instruments (Mozart, Rajneka concerts for flute and orchestra, Venjavski, Paganini, Saint-Saëns, Sibelius Barber, Mozart for violin and orchestra, Štamica for clarinet and orchestra, Humela, Haydn for trumpet and orchestra) - Sheet music for rehearsing, i.e. playing compositions of smaller and larger form with Raylic instruments (compositions Doppler, Enesko, Tafanela for flute and piano, Sarasate, Venjavski for violin and piano, Bara, Brandt for trumpet and piano, Raboa, Martina for clarinet and piano) |
| Examination methods | Colloquium program: - Playing primarily lighter instrumental and vocal compositions from the above list - Transposition by half a step - Independent singing of two prepared compositions with own accompaniment, one of which must be an opera aria Exam program: - Accompanying two compositions of a smaller form or two movements of a concert (it is mandatory to change the soloist, that is, the soloist instrument in the case of performing smaller compositions) Gradeing: Comings: 30 points; Colloquium 20; Exam 50 points 91 – 100 grade A 81 – 90 grade B 71 – 80 grade C 61 – 70 grade D 51 – 60 grade E 0 – 50 grade F |
| Special remarks | Languages in which it is possible to follow classes: English, Russian, Ukrainian. |
| Comment | Teaching is done individually |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / MUSICAL ANALYSIS III
| Course: | MUSICAL ANALYSIS III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 10691 | Obavezan | 3 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | At the end of the lesson, the students are introduced to the characteristics of classicism and romanticism music, they are trained to recognize the differences between these stylistic eras and understand compositional procedures through harmonies, musical form and other musical components |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / HIST. OF MUSIKAL INSTRUM. AND MUSICAL PERFORMA.III
| Course: | HIST. OF MUSIKAL INSTRUM. AND MUSICAL PERFORMA.III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 10693 | Obavezan | 3 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | No conditionality. |
| Aims | The aim of studying the subject is to get acquainted with the development of musical instruments (I group piano, guitar, accordion; wind and string instruments), the development of literature for certain instruments and familiarization with the characteristic schools, their most important representatives, through a chronological section through different eras. |
| Learning outcomes | Students know the development of instruments (piano, guitar, accordion, classical wind instruments, classical wind instruments) through the epochs. They know major musical works written for these instruments, as well as the development of different schools and the role of the most important performers, which enables them to interpret works from different eras in a more qualitative and analytical way. |
| Lecturer / Teaching assistant | Prof. Jelena Martinović Bogojević, PhD Prof. Tatjana Krkeljić, MA |
| Methodology | Lectures with demonstrations on given topics; discussions within lectures. Teaching takes place in the form of lectures, through which a chronological cross-section of the development of instruments and a historical cross-section of the development of performance is made. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Group I: The genesis of pianism during the transition from classicism to romanticism |
| I week exercises | |
| II week lectures | Group I: Franz Schubert and his piano opus |
| II week exercises | |
| III week lectures | Group I: Felix Mendelssohn and his piano opus |
| III week exercises | |
| IV week lectures | Group I: Franz Liszt and new pianism |
| IV week exercises | |
| V week lectures | Group I: Frederick Chopin and the new pianism |
| V week exercises | |
| VI week lectures | Group I: Chopins etudes, ballads, scherzos |
| VI week exercises | |
| VII week lectures | Group I: Chopins sonatas, preludes and piano concertos |
| VII week exercises | |
| VIII week lectures | Group I: Colloquium with audio test |
| VIII week exercises | |
| IX week lectures | Group I: Schumann and his piano opus |
| IX week exercises | |
| X week lectures | Group I: German School of Pianism |
| X week exercises | |
| XI week lectures | Group I: French School of Pianism (A. Cortot) |
| XI week exercises | |
| XII week lectures | Group I: Russian School of Pianism (Rubinstein brothers) |
| XII week exercises | |
| XIII week lectures | Group I: Sergei Rachmaninov and his piano opus |
| XIII week exercises | |
| XIV week lectures | Group I: Guitar music by Spanish composers of the 19th century |
| XIV week exercises | |
| XV week lectures | Group I: Accordion music in the 19th century |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | Students are obliged to take an active part in the teaching process, through discussions, listen analytically and know the literature written for the mentioned instruments and give their reflection on the music of a certain epoch. |
| Consultations | |
| Literature | Andrejs, J. (1996): Historija muzike, Zagreb: Školaska knjiga.Abraham, Dž. (2001): Oksfordska istorija muzike, Beograd: Clio; Tranchefort, F-R: Guide de la musique de piano et de clavcin; Paris, A. (1989): Dictionnaire des interpretes et de l’interpretation musicales; Palisca, C. V. (2005): Barokna glazba, Zagreb: Hrvatsko muzikološko društvo.Šonberg, H. (2005). Veliki pijanisti, Beograd: Dereta. Sach, C. (2006), The History of Musical Instruments, Dover Publications, NY p. 260-454. F.Llips; umjetnost sviranja na harmonici ; V. Ogrizovič, Gitara; |
| Examination methods | Theoretical knowledge from the areas covered and methods of their practical application. Colloquium and Oral exam. 51-60%: E, 61-70%: D, 71-80%: C, 81-90%: B, 91-100%, A |
| Special remarks | Teaching for this subject takes place in groups Group I: piano, guitar, accordion (lecturer: professor Jelena Martinović Bogojević) II group: wind and string instruments (lecturer professor Tatjana Krkeljić). |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHOIR WITH BASES OF VOCAL TECHNIQUE III
| Course: | CHOIR WITH BASES OF VOCAL TECHNIQUE III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4856 | Izborni | 3 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | Getting to know the history of vocal performance, mastering the problems of choral singing and performing in a choral ensemble. Acquaintance of students with capital works of vocal and vocal instrumental literature. The goal is to master the basic elements of choral vocal technique and develop harmonic hearing. The goal is to nurture and develop the ability to implement theoretical knowledge such as solfeggio counterpoint, harmonic analysis and style analysis in the student through performing practice. |
| Learning outcomes | * Knowledge and performance of choral literature of different styles and genres; possession of practical and theoretical knowledge about joint work; knowing and developing own vocal technique; training for independent management of larger groups of singers that are formed according to the requirements of the score (childrens choir, womens choir, mens choir and mixed choir). |
| Lecturer / Teaching assistant | M.Sc. Aleksandra Knežević |
| Methodology | Lectures, practical work, exercises, public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, the subject Choral conducting with playing choral scores, other related study programs, as chosen by the teacher. The repertoire includes artistic vocal and vocal-instrumental music from old music to music of the XXI century. History and development of singing; Selection of works for performance Rehearsals by voices; Basic concepts of acoustics Rehearsals by voices; The ear as a sound receiver Rehearsals by voices; Organs for preparing, creating and shaping tones Rehearsals by voices; Physiology of the singing organ Joint rehearsals; Qualification of singing voices Rehearsals by voices; Breathing while singing Rehearsals by voices; Technical breathing exercises Joint rehearsals; Voice impostation Joint rehearsals; Vocal processing |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance, active work in classes, public performances, academy concerts |
| Consultations | |
| Literature | Choral and vocal-instrumental literature from 16th century polyphony to contemporary authors; B. Đurović: Basics of vocal technique; V. Ilić: Choral vocalizations |
| Examination methods | Attendance: 30 points; Colloquiums (two per semester) 20; Exams 20 points; Public performances 20: Activity and engagement in class: 10 |
| Special remarks | Language at the lessons: montenegrin |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ORCHESTRA III
| Course: | ORCHESTRA III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4872 | Izborni | 3 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | - Passed exam Orchestra with Knowledge of Orchestral Literature II. |
| Aims | - Mastering the technique of playing in orchestra and acquiring orchestral practice. |
| Learning outcomes | Student: - Knows and performs orchestral literature of various styles and genres. - Possesses practical and theoretical knowledge in common music making. - He knows and develops his own technique. - He is aware of non-verbal communication with other members of the orchestra. - He is able to hear and shape the common sound of the orchestra, and adapt it to the general intonation, dynamics and tone color. |
| Lecturer / Teaching assistant | - Teacher: Miran Begić, full professor. - Associate: Dušan Obrenović, teaching associate. |
| Methodology | - Lectures, practical work, exercises, public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| I week exercises | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | - Lectures: 2 academic hours per week. - Exercises: 3 academic hours per week. |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | - Regular attendance, active work in classes, public performances, academy concerts. |
| Consultations | - Individual and group type. |
| Literature | - Works by baroque composers for strings. - Works of classicism and romanticism to modern and contemporary compositions. |
| Examination methods | - Attendance: 30 points; - Colloquiums: 20 points; - Exams: 50 points (including public performances, activity and commitment in class). |
| Special remarks | - Group work with students. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHAMBER MUSIC III
| Course: | CHAMBER MUSIC III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2222 | Obavezan | 3 | 4 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | None |
| Aims | *Developing technical and colaborative skills in ensamble playing and exploring creativity in interpretation. (artistry of musical expression) *Performing chamber music repertoire from different eras and styles as a member of classical and non-classical ensembles. *Getting familiar with the chamber music literature from all stylistic periods. * Collaboration of students throughout all the performance departments; * Introduction to principles of chamber music performance; * Developing musical taste and musicality through ensamble playing; * Improving sightreading and speed learning skills; * Enabling students to independently work on new repertoire; * Developing teamwork skills through ensemble playing. |
| Learning outcomes | * Awareness and development of tone qualities, shaping, balance and blending and sustained solid intonation within ensemble; understanding and recognizing approaches to music analysis; develop an awareness and understanding of repertoire for a variety of chamber ensembles; understanding historical, social and musical contexts of chamber music repertoire and the ability to analyze a given music literature from its historical and stylistic aspects; develop an ability to recognize key stylistic areas and historical informed performance; assimilate and integrate the acquired knowledge into a common interpretation of the repertoire within the ensemble; engaging effectively in the work of the ensemble; knowledge of specifics and strategies of chamber ensemble rehearsals. |
| Lecturer / Teaching assistant | * Professor Žana Lekić, MMus, Professor Miran Begić, MMus, Professor Predrag Janković, MMus, Associate Professor Nataša Popović, MMus, Professor Danijel Cerović, MMus |
| Methodology | * Lectures, performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | *Meeting agenda: forming the ensemble, selecting the program for the quiz and exam, and creating the lecture schedule. |
| I week exercises | |
| II week lectures | * The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of the ensemble members. Mastering the musical score of a chamber work for the colloquium involves structural and harmonic analysis, as well as the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the overall musical heritage of the corresponding epoch. |
| II week exercises | |
| III week lectures | *Mastering the musical score of a chamber work through structural and harmonic analysis and the recognition of fundamental stylistic features, which leads to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works belonging to the overall musical heritage of the corresponding epoch. |
| III week exercises | |
| IV week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| IV week exercises | |
| V week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| V week exercises | |
| VI week lectures | *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| VI week exercises | |
| VII week lectures | Colloquium |
| VII week exercises | |
| VIII week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| VIII week exercises | |
| IX week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| IX week exercises | |
| X week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| X week exercises | |
| XI week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XI week exercises | |
| XII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XII week exercises | |
| XIII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XIII week exercises | |
| XIV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XIV week exercises | |
| XV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XV week exercises |
| Student workload | * Weekly: 4 credits x 40/30 = 5 hours and 20 minutes Structure: 2 hours lectures 0 hours practical 2 hours and 20 minutes Indipendent and directed learning (non contact) (preparation for laboratory exercises, for colloquia, individual practice and rechearsals) including consultations * During the semester: Teaching and final exam: (5 hours and 20 minutes) x 16 = 85 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (5 hours and 20 minutes) = 10 hours and 40 minutes Total load for the subject: 4 x 30 = 120 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 85 hours and 20 minutes (teaching) + 10 hours and 40 minutes (preparation) + 24 hours (additional work) |
| Per week | Per semester |
| 4 credits x 40/30=5 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 3 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
5 hour(s) i 20 minuts x 16 =85 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 5 hour(s) i 20 minuts x 2 =10 hour(s) i 40 minuts Total workload for the subject: 4 x 30=120 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 24 hour(s) i 0 minuts Workload structure: 85 hour(s) i 20 minuts (cources), 10 hour(s) i 40 minuts (preparation), 24 hour(s) i 0 minuts (additional work) |
| Student obligations | *Regular class attendance, exercise, independent and joint work; * Public appearances; * Monitoring concerts, seminars and lectures of visiting professors, active participation in seminars; * Listening, comparison and analysis of different performances of a given composition, reading professional literature; * Colloquium in the ninth week of the semester; * Exam after the completed semester. |
| Consultations | |
| Literature | * The repertoire for chamber music is very extensive and the choice of literature is determined in accordance with the composition of the ensemble as well as the level of knowledge, skills and abilities of the members of the ensemble. * Chamber opus (duo, trio, quartets, quintets) of the following composers: J. S. Bach, A. Vivaldi, J. Haydn, W. A. Mozart, L. v. Beethoven, F. Sor, M. Giuliani, F. Schubert, F. Mendelssohn - Bartholdy, J. Brahms, R. Schumann, JK Mertz, F. Luzatto, N. Coste, A. Dvořak, B. Smetana, S. Rachmaninoff , M. Ravel, C. Debussy, E. Satie, ML Tournier, D. Shostakovitch, A. Khachaturian, P. Hindemith, B. Martinů, B. Bartok, A. Reicha, F. Danzi, B. Britten, Castelnuovo- Tedesco, J. Ibert, J. Francaix, JM Damase, D. Milhaud, S. Barber, J. Pauer, W. Lutoslawski, Leonard Call, Dušan Bogdanović, Leo Brower, Manuel de Falla, Federico Mompou, B. Dowlasz, J Feld, M. Reger, V. Zolotarjov, J. Tiensuu, V. Podgorni, J. Gancer, B. Shehu, F. Dobler, V. Zubitshy, A. Piazzolla et al. * Compositions for piano duo: - J. S. Bach, F. Händel, J. Chr. Bach, WA Mozart, L. van Beethoven, H. Jadin, F. Schubert, R. Schumann, F. Chopin, G. Faure, J. Brahms, M. Reger, A. Dvorak, E. Grieg, S. Rachmaninoff, C. Saint-Saens, C. Debussy, M. Ravel, F. Poulenc, D. Milhaud, E. Satie, W. Lutoslawski, I. Stravinsky, D. Shostakovitch, B. Britten, A. Schnittke, and others. * Compositions from chamber opus and other composers that meet the requirements of the required level of study. * Compositions from the chamber opus of Montenegrin composers that meet the requirements of the required level of study. * Transcriptions that meet the requirements of the required level of study (non-standard ensembles). |
| Examination methods | * Attendance: maximum 30 points; * Colloquium: maximum 20 points; * Final exam: maximum 50 points; * A passing grade is obtained if the student collects 50 points. |
| Special remarks | * During the semester, the student must complete one cyclic work for chamber ensemble; program includes original compositions and already existing transcriptions which meet the requirements of the required level of study, lasting up to 15 minutes. * Languages in which it is possible to attend classes: - Montenegrin and English |
| Comment | * The number of members in the ensemble and the number of ensembles depends first of all on the capacity of the Music Academy and the enrollment of new candidates for each subsequent academic year. * Due to the different affinities and performing abilities of students, as well as the specifics of the formation of various chamber ensembles, ensemble members can be students of the same or different years of study; * It is required, at least once during the semester to organize a public appearance that can be within the class; * The formed ensemble can be changed during the semester only for objective reasons (e.g. illness of an ensemble member, termination of the student status of an ensemble member, obtaining a scholarship to continue studies at another faculty, etc.). |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / PIANO III
| Course: | PIANO III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2231 | Obavezan | 3 | 11 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Successfully passed the Piano II exam |
| Aims | Mastering the technique of the piano playing and interpretation of piano literature - Training for independent work on new compositions - Acquiring knowledge and skills to act as a concert pianist, chamber musician and accompanist. - Creating the basis for acquiring pedagogical qualifications – piano teachers in music schools. |
| Learning outcomes | Student will: - Acquire and be aware of the production of the piano tone in relation to the functioning of the instrument mechanism - Acquire and be aware of the functions of the playing apparatus; understand the interaction of the playing apparatus and the tone to be realized - Apply technical skills to perform a certain composition,, - Acquire piano repertoire - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation - Create your own opinion based on the collected information and be able to evaluate the heard examples, - Systematize the acquired knowledge in creating your own interpretation; have a personal approach to the work of art, Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | full time prof. Bojan Martinović, assos. professor Vladimir Domazetović |
| Methodology | Lectures, exercises, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| I week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| II week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| II week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| III week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| III week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| IV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| IV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| V week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| V week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| VI week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| VI week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| VII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| VII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| VIII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| VIII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| IX week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| IX week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| X week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| X week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| XI week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| XI week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| XII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| XII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| XIII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| XIII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| XIV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| XIV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| XV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| XV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Scales. Double notes: octaves, thirds. Parallel and opposite. 11 chords. - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - One romantic work lasting up to 10 minutes - A contemporary work written in the XX or XXI century |
| Student workload | Weekly 11 credits x 40/30 = 14 hours and 40 minutes Structure: 3 hours of lectures 1 hour of exercise 10 hours and 40 minutes of individual student work (preparation for laboratory exercises, for colloquia, homework) including consultations During the semester Teaching and final exam: (14 hours and 40 minutes) x 16 = 234 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (14 hours and 40 minutes) = 29 hours and 20 minutes Total workload for the course: 11 x 30 = 330 hoursAdditional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 234 hours and 40 minutes (teaching) + 29 hours and 20 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 11 credits x 40/30=14 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 12 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
14 hour(s) i 40 minuts x 16 =234 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 14 hour(s) i 40 minuts x 2 =29 hour(s) i 20 minuts Total workload for the subject: 11 x 30=330 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 66 hour(s) i 0 minuts Workload structure: 234 hour(s) i 40 minuts (cources), 29 hour(s) i 20 minuts (preparation), 66 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature |
| Consultations | |
| Literature | Representation of the following authors is necessary: JS Bach: Prelude and Fugues, Toccatas, English Suite, Partite; GF Handel: Suite; D. Scarlatti: Sonatas, Ramo, Kupren, VAMocart: Sonatas, Fantasies, Variations, Piano Concertos, F. Schubert: Sonatas, Lv Beethoven: Sonatas, Ronda, Bagatele, Piano Concertos, Variations, F. Chopin: Etudes, Polonaises, Balde, Scherzo, Fantasy, Polonaise Fantasy, Mazurkas, Preludes, Berzeza, Barcarola, Piano Concertos, Variations, Sonatas; F. List: Etudes, Rhapsodies, Sonata in E minor, Year of Pilgrimage cycle, Piano Concertos, JR Schumann: Fantasy, Chryslerian, Forest Scenes, Childrens Scenes, Piano Concerto, E. Grieg: Piano Concerto, Sonata, J. Brahms: Sonatas Variations, Intermezza, Rhapsodies, K. Debussy, M. Ravel: Gaspard de la nuit, Mirroirs, Piano Concertos, Sonatina, A. Scriabin: Sonatas, Preludes, Etudes, Poems, S. Rachmaninoff: Etudes of Paintings, Preludes, Sonatas, Variations , S. Prokofiev: Sonatas, Etudes, Piano Concertos, Đ. Ligeti: Etudes, Music of the Little Riders O. Messian: 20 Views of the Child Jesus, A. Schoenberg, A. Berg, I. Stravinsky, A. Webern. |
| Examination methods | Colloquium program: - 24 major and minor scales. - Minimum 2 etudes Exam program: - Polyphonic work - At least one romantic work - At least one work written in the XX or XXI century Rating: Arrivals: 30 points; Colloquium 20; Exam 50 points 91 - 100 grade A 81 - 90 grade B 71 - 80 grade C 61 - 70 grade D 51 - 60 grade E 0 - 50 grade F |
| Special remarks | Languages in which it is possible to attend classes: English, French. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLONCELLO III
| Course: | VIOLONCELLO III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2612 | Obavezan | 3 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed exam in the subject Cello II |
| Aims | Mastering cello playing technique and interpretation of cello literature; Developing the ability to work independently in the analysis and interpretation of new compositions; Acquiring knowledge and skills necessary to become a successful concert cellist, chamber, and orchestral musician; Establishing a foundation for pedagogical work as a cello teacher in elementary and secondary music schools; Preparing the candidate for orchestral and chamber music performance. |
| Learning outcomes | The student will be able to: 1. Apply knowledge of the basics of cello repertoire performance during class activities. 2. Perform independently and communicate effectively with the piano accompanist during rehearsals. 3. Improve cello playing technique through work on more technically demanding pieces. 4. Develop practice habits and routines necessary for independent public performance. 5. Recognize differences between musical styles and independently analyze their own interpretative approach to a given piece. 6. Demonstrate knowledge of music and cello literature from the 19th century — the Romantic period. 7. In communication with the mentor, analyze and design an interpretation plan for a specific piece (in the pre-performance stage, without the instrument), followed by practical elaboration. 8. Become familiar with the responsibilities and challenges of working as a cello teacher in elementary music schools. |
| Lecturer / Teaching assistant | Mr. Mladen Popović, teaching associate (Master’s degree) – distinguished artist |
| Methodology | Lectures, practical classes, consultations, and public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. The mandatory course content includes work on: Scales and triads through four octaves with double stops; Technical exercises (caprices and etudes). |
| I week exercises | |
| II week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. The mandatory course content includes work on: Scales and triads through four octaves with double stops; Technical exercises (caprices and etudes). |
| II week exercises | |
| III week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. The mandatory course content includes work on: Scales and triads through four octaves with double stops; Technical exercises (caprices and etudes). |
| III week exercises | |
| IV week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. The mandatory course content includes work on: Scales and triads through four octaves with double stops; Technical exercises (caprices and etudes). |
| IV week exercises | |
| V week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. The mandatory course content includes work on: Scales and triads through four octaves with double stops; Technical exercises (caprices and etudes). |
| V week exercises | |
| VI week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. The mandatory course content includes work on: Scales and triads through four octaves with double stops; Technical exercises (caprices and etudes). |
| VI week exercises | |
| VII week lectures | The tehnical colloquium |
| VII week exercises | |
| VIII week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| VIII week exercises | |
| IX week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| IX week exercises | |
| X week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| X week exercises | |
| XI week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| XI week exercises | |
| XII week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| XII week exercises | |
| XIII week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| XIII week exercises | |
| XIV week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| XIV week exercises | |
| XV week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance of classes, performances at public lessons, class concerts, and academy concerts, consistent practice, active participation in seminars and international competitions, listening to music (CDs and DVDs), and reading professional literature. |
| Consultations | |
| Literature | Solo Cello: J. S. Bach – 6 Suites for Solo Cello, BWV 1007–1012 D. Popper – Etudes for Solo Cello A. Piatti – 12 Caprices for Solo Cello Cello and Piano: L. van Beethoven – 5 Sonatas for Piano and Cello J. Brahms – 2 Sonatas for Cello and Piano L. Boocherini: 6 Sonatas for Cello and Piano D. Popper – Virtuoso Compositions for Cello and Piano G. Cassadó – Virtuoso Compositions for Cello and Piano Cello Concertos: J. Haydn – Cello Concertos E. Elgar – Cello Concerto in E minor C. Saint-Saëns – Cello Concertos No. 1 and 2 |
| Examination methods | Forms of knowledge assessment and grading: Midterm exam program: Major and minor scales through four octaves with triads and seventh chords, including thirds, sixths, octaves, and tenths; Two etudes; Technical exercises. Final exam program: A sonata of the student’s choice from the specified literature; A solo cello piece or a virtuoso work of the student’s choice corresponding to the required study level. |
| Special remarks | * The student is required to pass a midterm exam during the semester, which includes technical exercises, scales, and études, as well as a final exam where they will perform pieces from the assigned repertoire, including a concert/sonata/virtuoso piece/solo cello work, with one piece being performed from memory. |
| Comment | Classes can be attended in Montenegrin and English. |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CLARINET III
| Course: | CLARINET III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2617 | Obavezan | 3 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | passed clarinet II exam. |
| Aims | - Mastering the technique of playing the clarinet (breathing techniques, tone shaping, intonation control). - Developing listening and expressive skills. - Acquaintance with clarinet literature. - Training students for independent work and creating their own interpretation of a musical piece. - Acquiring knowledge necessary for the performance of a concert performer - clarinetist, as a soloist, chamber and orchestral musician. |
| Learning outcomes | The student will be able to: 1. Knows and understands advanced sound production and control techniques 2. Knows and understands techniques for overcoming intonation problems 3. Performs advanced technical exercises provided for in the study program 4. Performs scales in different ways with refinement of performance speed 5. Knows the difference between periods and styles of compositions in the clarinet repertoire 6. Publicly performs the repertoire provided for in the study program 7. Works independently on the repertoire with a piano accompanist |
| Lecturer / Teaching assistant | mr Petar Garic |
| Methodology | Lectures, exercises, consultations and public performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| I week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| II week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| II week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| III week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| III week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| IV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| IV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| V week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| V week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| VI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| VI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| VII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| VII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| VIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| IX week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| IX week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| X week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| X week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| XI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| XI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| XII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| XII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| XIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| XIV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| XV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| XV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. Mandatory course content is: - breathing exercises, - technical exercises and etudes, - scales, - orchestral solo, - compositions of different stylistic periods and forms. During the year, the student is obliged to pass colloquiums in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the given literature (concert, sonata, virtuoso piece and piece for solo clarinet), of which one piece must be performed by heart. |
| Student workload | Weekly 8 credits x 40/30 = 10 hours and 40 minutes Structure: 3 hours of lectures 0 hours of practice 7 hours and 40 minutes of individual student work (preparation for laboratory exercises, colloquiums, homework) including consultations In the semester Classes and final exam: (10 hours and 40 minutes) x 16 = 170 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (10 hours and 40 minutes) = 21 hours and 20 minutes Total workload for the course: 8 x 30 = 240 hours Additional work for exam preparation in the make-up exam period, including taking the make-up exam from 0 - 30 hours. Load structure: 170 hours and 40 minutes (teaching) + 21 hours and 20 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance at classes, performances at public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | J.S.Bach, A. Gampieri – 21 etudes, M. Bitsch - 12 etudes de rythme, R. Kell – 17 staccato studies, E. Bozza - 14 etudes de mecanisme, P. Jeanjean - 16 etudes modernes; J. S. Bach, U. Delecluse: 15 etudes C.M.Weber – Concerto br. 1 u f - molu, A. Copland: Koncert, L. Spohr: izbor od 4 koncerta, G. Finzi – Koncert, J. L. Eybler – koncert u B – duru. B. Martinu – Sonatina, A. Honegger – Sonatine, M. Arnold – Sonatina, F. Draeseke – Sonata op. 38, F. Devienne – Deuxieme Sonate, J. Horovitz: Sonatina, N. Rota: Sonata, Z. Vauda: Sonata, E. Chausson - Andante et allegro, L. Cahuzac - Varijacije na provansalsku temu, G. Rossini - Introdukcija, tema i varijacije, A. Grgin – Tema sa varijacijama br. 2 B. Kovacs – Hommages, G. Donizetti – Primo studio, Ante Grgin – Capriccio |
| Examination methods | Colloquium program: Scales (major and minor) legato, staccato, extended, thirds, triads, V7, VII7 Two etudes from literature technical exercises Exam program: A sonata chosen from literature A piece for solo clarinet or a virtuoso work chosen from literature Grading: Arrivals: 30 points; Colloquium 20; Exams 50 points 91 – 100 grade A 81 – 90 grade B 71 – 80 grade C 61 – 70 grade D 51 – 60 grade E 0 – 50 grade F |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / TRUMPET III
| Course: | TRUMPET III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2618 | Obavezan | 3 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed the exam in the subject Trumpet II |
| Aims | * Mastery of trumpet playing technique and interpretation of trumpet literature. * Preparation for independent work on new compositions. * Acquisition of knowledge and skills for performing as a concert trumpeter and chamber musician. * Laying the foundation for obtaining pedagogical qualifications as a trumpet teacher in music schools. |
| Learning outcomes | The student will: * Learn and master breathing techniques; * Become aware of and improve tone production and shaping, and establish intonation stability; * Become aware of and enhance articulation techniques and synchronization; * Learn proper body and instrument posture, and understand methods of injury prevention; * Learn rules and techniques of practice, and adopt good habits; * Learn and master techniques for analyzing and memorizing musical texts; * Become familiar with intermediate-level trumpet repertoire; * Recognize the historical, social, and musical context of compositions, and perform assigned literature with historical and stylistic awareness; * Learn the main musical styles and perform specific music in a stylistically appropriate manner. |
| Lecturer / Teaching assistant | Nikola Mijajlović, MA, Associate Professor |
| Methodology | Lectures, exercises, concerts. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| I week exercises | |
| II week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| II week exercises | |
| III week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| III week exercises | |
| IV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| IV week exercises | |
| V week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| V week exercises | |
| VI week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| VI week exercises | |
| VII week lectures | Colloquium |
| VII week exercises | |
| VIII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| VIII week exercises | |
| IX week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| IX week exercises | |
| X week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| X week exercises | |
| XI week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XI week exercises | |
| XII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XII week exercises | |
| XIII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XIII week exercises | |
| XIV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XIV week exercises | |
| XV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance; performances at public lessons, class concerts, and academy concerts; consistent practice; active participation in seminars and international competitions; listening to music (CDs and DVDs); and reading professional literature. |
| Consultations | |
| Literature | Arban: *Grande méthode complète* A. W. Johanson: *Daily Exercises* (Part I) Werner: *40 Studies for Trumpet* A. Wizzutti: *Technical Studies* James Stamp: *Warm-Ups + Studies* Bai Lin: *Lip Flexibilities* Brandt: *34 Etüden* Wurm: *Etüden* Max Schlossberg: *Daily Drills and Technical Studies* P. Clodomir: *Petits exercices / Vingt études chantantes* |
| Examination methods | **Colloquium and Exam** **Scales:** F major, B-flat major, E-flat major and their parallel minors — D minor, G minor, C minor; one technically demanding etude; orchestral excerpts: * L. van Beethoven: *Overture Leonore No. 2* (signal) * L. van Beethoven: *Overture Leonore No. 3* (signal) * M. Ravel: *Bolero* * G. Donizetti: *Don Pasquale* * G. Bizet: *Carmen* (signal and low solo) **Exam content:** * A cyclical work of a difficulty level equal to or higher than the compositions listed in the first-year literature; * One composition chosen from the listed literature (or another work of equal or greater difficulty). One of the compositions must be performed from memory. |
| Special remarks | |
| Comment | Languages of instruction: Montenegrin and English. |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / GUITAR III
| Course: | GUITAR III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2620 | Obavezan | 3 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed secondary music school - instrumental track and successfully passed the entrance exam. |
| Aims | Mastery of guitar playing technique and interpretation of guitar literature. Training for independent work on new compositions. Acquisition of knowledge and skills for acting as a concert guitarist and as a member of a chamber ensemble. Establishing foundations for acquiring pedagogical qualifications as a guitar teacher in music schools |
| Learning outcomes | Student will: Familiarize, analyze, assess, evaluate, and perform a repertoire for classical guitar from early music to modern trends of the 21st century. Get acquainted with and become aware of the functions of the playing apparatus, understand the interaction of the playing apparatus and the tone to be realized. Apply acquired technical skills to performance in a specific composition. Get to know the repertoire for classical guitar and synthesize acquired knowledge in creating their own interpretation of artistic work. Work on specific technical aspects, interpretation, and acquaintance with contemporary guitar literature. Execute assigned literature from historical and stylistic aspects, recognizing the historical, social, and musical context of given compositions. Differentiate stylistic features of the assigned program and develop skills for their correct stylistic interpretation. Formulate their own opinion based on gathered information and be able to evaluate listened examples. Critically assess and evaluate their own technical and interpretative achievements, as well as the technical and interpretative achievements of other musicians. |
| Lecturer / Teaching assistant | Professor Danijel Cerović |
| Methodology | Individual lessons, exercises, concerts |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Overview of the semester program and technical requirements. Major/minor scales through two octaves, thirds and sixths. Etude of choice (Sor, Giuliani). Introduction to Renaissance transcription (Dowland). |
| I week exercises | |
| II week lectures | Scales with triads – simultaneous and broken; cadences. Etude (Villa-Lobos No. 1–3). Free choice Romantic piece (Tárrega or Llobet). |
| II week exercises | |
| III week lectures | Work on hand coordination. Etude (Aguado – Metodo para guitarra). Transcription from Renaissance tablature (Dowland – example Pavane). |
| III week exercises | |
| IV week lectures | Chromatic exercises and position changes. Etude of choice (Sor or Giuliani). 20th-century piece (Brouwer – Estudios sencillos). |
| IV week exercises | |
| V week lectures | Technical focus: speed and finger precision. Etude (Villa-Lobos No. 7). Renaissance transcription – contrapuntal analysis. |
| V week exercises | |
| VI week lectures | Tone control and dynamics. Etude of choice (Aguado). Piece composed after 1950 (Bogdanović or Henze). |
| VI week exercises | |
| VII week lectures | Midterm exam – technical assessment: scales, cadences, etude of choice. No repertoire section. |
| VII week exercises | |
| VIII week lectures | Scales through two octaves in all major and minor keys. Etude (Sor, Giuliani). Free-choice composition (Mertz or de Fossa). |
| VIII week exercises | |
| IX week lectures | Right-hand technique – arpeggio and rasgueado. Etude (Villa-Lobos No. 8). Renaissance transcription – analysis of tempo and ornamentation. |
| IX week exercises | |
| X week lectures | Harmonic analysis of the etude. Composition written after 1950 (Brouwer, Bogdanović). Scales in sixths and triads. |
| X week exercises | |
| XI week lectures | Technical focus: position changes, legato and vibrato. Etude of choice. Free-choice piece (Legnani or Llobet). |
| XI week exercises | |
| XII week lectures | Work on musicality and phrasing. Renaissance transcription. Short contemporary composition (Bogdanović). |
| XII week exercises | |
| XIII week lectures | Tone consistency and rhythm control. Etude (Villa-Lobos No. 11). Romantic composition (Tárrega). |
| XIII week exercises | |
| XIV week lectures | Connecting technical and interpretative goals. Comprehensive program review: etude, contemporary piece, transcription, and free-choice work. |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises | Final rehearsal and exam preparation: 1. Concert etude of choice 2. Composition written after 1950 3. Renaissance transcription 4. Free-choice composition 5. Scales and cadences. |
| Student workload | Class and final exam: (17 hours and 20 minutes) x 16 = 277 hours and 20 minutes Necessary preparation before the semester starts (administration, enrollment, verification): 2 x (17 hours and 20 minutes) = 34 hours and 40 minutes Total workload for the subject: 13 x 30 = 390 hours Additional work for exam preparation in the retake exam period, including taking the retake exam from 0 - 30 hours. Structure of the workload: 277 hours and 20 minutes (class) + 34 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance in classes, participation in public lessons, class concerts, and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CDs and DVDs), and reading professional literature. |
| Consultations | |
| Literature | Technical exercises: according to the mentors choice Scales (major/minor): across 2 octaves; thirds, sixths, triads – simultaneously and broken; cadences MM; quarter note – min. 90 Heitor Villa-Lobos: Twelve Studies; Max Eschig, Paris 1927. Sor, Fernando: Collected Works for Guitar; Tecla editions (B. Jeffery) 1980. Mauro Giuliani: Collected Works for Guitar; Tecla editions (B. Jeffery) 1982. Dionisio Aguado: 14 Studies (Method for Guitar). Compositions of free choice (John Dowland). Compositions of free choice (F. Tárrega, M. Llobet, J.K. Mertz, F. de Fossa, L. Legnani). Compositions of free choice (D. Bogdanović, L. Brower, H.W. Henze). Content of the mandatory program for the 1st semester: Assigned concert etude. Composition written after 1950. Transcription of a composition from Renaissance tablature. One composition of free choice. Scales. |
| Examination methods | Exam Program: Scales Etudes Exam Content: Assigned concert etude Composition written after 1950 Transcription of a composition from Renaissance tablature One composition of choice |
| Special remarks | Languages in which it is possible to attend classes: Montenegrin / Serbian / Croatian / Bosnian, English |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCORDION III
| Course: | ACCORDION III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2621 | Obavezan | 3 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Graduated from music high school- instrumental course and successfully passed Entrance Exam. |
| Aims | Course objectives: - Mastering the technique of playing the accordion and interpreting the literature for the accordion. - Training for independent work on new compositions. - Acquiring knowledge and skills to act as a concert accordionist and chamber musician. - Creating a basis for acquiring pedagogical qualifications - accordion teachers in music schools. |
| Learning outcomes | Learning Outcomes: The student will: - Introduce, analyze, judge, evaluate and perform the repertoire for classical accordion from early music to modern trends of the 21st century. - Introduce and be aware of the functions of the playing apparatus, understand the interaction of the playing apparatus and the tone that needs to be realized. - Apply technical skills to perform a certain composition. - Get acquainted with the repertoire for classical accordion and synthesize the acquired knowledge when creating your own interpretation of a work of art. - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions. - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation. - Create your own opinion based on the collected information and be able to evaluate the heard examples. -Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | Full professor Predrag Jankovic |
| Methodology | Lectures, exercises, concerts |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| I week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • • Scales (2nd order-major/minor): through 2 octaves in parallel and opposite, thirds and sexts in parallel and opposite, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, double notes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, A. Belositski:3 etudes Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| Student workload | In the semester: Teaching and final exam: (17 hours and 20 minutes) x 16 = 277 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (17 hours and 20 minutes) = 34 hours and 40 minutes Total load for the course: 13 x 30 = 390 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 277 hours and 20 minutes (teaching) + 34 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | H. Brehme: Paganiniana I, II ed.Hohner Verlag G. Shenderyov: 24 Etudes for accordion ed. Music Moscow A. Belositski 3 Etudes ed. Music Moscow J. S. Bach: Das Wohltemperiertes Klavier I, II J. S. Bach: English Suites ed. Peters Leipzig Z. Bozanic: Toccata manuscript V. Malich: Toccata manuscript D. Bobic: Sonata no.1, 2 ed. Kajda Varazdin B. Shehu: Convulsiones, manuscript F. Parac: Pastorala manuscript |
| Examination methods | Colloquium program: • Two scales per fifth or quartic circle through 2 octaves in parallel and in opposite motion, thirds and sixths in parallel and in opposite motion, 32 in R. H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sixths) Exam program: 1. Polyphonic composition 2. Cyclic composition 3. The composition of the old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Grading: Attendance: 30 points; Colloquium 20 points; Exam 50 points 91 – 100 Grade A 81 – 90 Grade B 71 – 80 Grade C 61 – 70 Grade D 51 – 60 Grade E 0 – 50 Grade F |
| Special remarks | Languages in which it is possible to attend classes: Montenegrin, Russian, and English. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLIN III
| Course: | VIOLIN III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3092 | Obavezan | 3 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed violin exam II |
| Aims | - Mastering the technique of playing the violin and interpretation of violin literature. – Training for independent work in the analysis and interpretation of new compositions – Acquiring knowledge so that the candidate can be a successful concert violinist, chamber and orchestral musician. - Creating the basis for pedagogical work as a violin teacher in elementary and secondary music schools. – Preparation of candidates for orchestral and chamber music. |
| Learning outcomes | The student will be able to: 1. Uses knowledge from the basics of playing the violin repertoire during the realization of the lesson. 2. Performs independently in communication with the piano collaborator during rehearsals. 3. Improves the technique of playing the violin with a more technically demanding program. 4. Acquires the practice and routine needed during an independent performance in front of an audience 5. Sees the difference between styles and independently analyzes his approach in the interpretation of a certain work. 6. Has knowledge about music and violin literature that was created in the 19th century = period of romanticism. 7. In communication with the mentor, he analyzes and devises a plan for the interpretation of a specific work (stage without an instrument), after which he approaches practical elaboration. |
| Lecturer / Teaching assistant | prof. Vujadin Krivokapic |
| Methodology | Lectures, exercises, consultations and public performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| I week exercises | |
| II week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| II week exercises | |
| III week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| III week exercises | |
| IV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| IV week exercises | |
| V week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| V week exercises | |
| VI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VI week exercises | |
| VII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VII week exercises | |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VIII week exercises | |
| IX week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| IX week exercises | |
| X week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| X week exercises | |
| XI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XI week exercises | |
| XII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XII week exercises | |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XIII week exercises | |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XIV week exercises | |
| XV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / SOLFEGE IV
| Course: | SOLFEGE IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2152 | Obavezan | 4 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / HISTORY OF MUSIC IV
| Course: | HISTORY OF MUSIC IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2198 | Obavezan | 4 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | The immediate goal of the subject is to learn the forms and styles of different eras, and especially individual creative contributions, study sources, the relationship of art to the political, economic and social context - thus, a complex knowledge of different phenomena from musical life and their mutual relationship. The aim of the lessons is also for students to learn and acquire the habit of self-education and to develop the basis of musical-historical critical thinking in the areas of musical expression, production, reproduction. |
| Learning outcomes | |
| Lecturer / Teaching assistant | Amila Ramović Vladimir Đurišić |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Romanticism - introductory remarks. |
| I week exercises | Introductory remarks and methodology |
| II week lectures | European romanticism: contextual and ideological considerations of Europe after 1815. |
| II week exercises | Romantic PIANO |
| III week lectures | Romantic piano music: Chopin, Schumann, Liszt |
| III week exercises | LISZTOMANIA |
| IV week lectures | Romanticism in critique and in institutions |
| IV week exercises | |
| V week lectures | Bach revival: Schumann, Mendelsonn and others |
| V week exercises | Crisis of Sonata and Symphony: new forms of romanticism: Lied, theme with variations, etc. |
| VI week lectures | Program music of Romanticism: SYMPHONIC POEM of Franz Liszt |
| VI week exercises | Berlioz Fantastic Symphony, example |
| VII week lectures | Reception of Liszt symphonic poem |
| VII week exercises | Liszt late piano Music |
| VIII week lectures | German National opera. Weber |
| VIII week exercises | examples of Weber music |
| IX week lectures | French and Italian opera of the first half of 19th century. Mayerbeer and Rossini and others. |
| IX week exercises | examples |
| X week lectures | Russian national music. Glinka |
| X week exercises | Russian national music. The Mighty Five. |
| XI week lectures | War of the German romantics. Weimar-Leipzig. |
| XI week exercises | Chech music nationalism. Slavic music nationalisms. |
| XII week lectures | Wagner and his reform. |
| XII week exercises | The Ring of Nibelungs. |
| XIII week lectures | Framch music of the second half of the 19th century. |
| XIII week exercises | French operetta. |
| XIV week lectures | German music od the late 19th century: Brahms. |
| XIV week exercises | German music of the late 19th century: Bruckner. |
| XV week lectures | Strauss and his contemporaries. |
| XV week exercises | German Moderna and Modernism: Nietzsche and Wanger: conclusions or openings. |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | Р. Пејовић, Музика минулог доба, 2005; С. Маринковић, Историја музике, 2005; J. Andreis, Povjest glazbe, 1975. Oksfordska istorija muzike (prevod). Dž. Judkin, Muzika u srednjovekovnoj Evropi, 2003. |
| Examination methods | Colloquium, Test, Final Oral Exam |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ENGLISH LANGUAGE IV
| Course: | ENGLISH LANGUAGE IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2212 | Obavezan | 4 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCOMPANIMENT IV
| Course: | ACCOMPANIMENT IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2237 | Obavezan | 4 | 2 | 1++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | -Successfully passed the exam Correpetition III |
| Aims | - Mastering the technique of joint playing and artistic communication. - Training for independent work on new compositions. - Mastering the skills of playing prima vista and transposition techniques. - Acquiring knowledge to work as an artistic associate accompanist. - Creation of the basis for acquiring a pedagogical qualification - piano associate - accompanist in music schools. |
| Learning outcomes | The student will: - Get to know and study the techniques of playing together in correlation with different instruments - Get to know and study the techniques of playing prima vista and transposition to different intervals - Apply the acquired technical skills to the performance of a specific composition - Get to know the literature for different instruments, vocal and operatic literature - Get to know the technology of working with singers and acquire the skills of practical work with them - Realize the assigned literature from the stylistic aspect, that is, the musical context of the given compositions - Develop the skills of correct interpretation of assigned musical material - Form your own opinion based on the collected information and be able to evaluate the examples you have listened to, - Have personal access to the artwork, - To evaluate and evaluate ones own achievements as well as the achievements of other musicians in a joint performance. - To be qualified to work as a piano assistant in music schools |
| Lecturer / Teaching assistant | Professor Oleksij Molčanov Teaching assistant Vladana Perović |
| Methodology | -Lectures, exercises, joint rehearsals, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| I week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| II week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| II week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| III week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| III week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| IV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| IV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| V week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| V week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| VI week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| VI week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| VII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| VII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| VIII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| VIII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| IX week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| IX week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| X week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| X week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| XI week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| XI week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| XII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| XII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| XIII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| XIII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| XIV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| XIV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| XV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| XV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by own vocal compositions, that is romance, songs and arias (Shubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, Verdi, Puccini, Bellini) - Prima vista playing exercises (collections of piano compositions for primary music school: Milič, Artoboljevskaja, Grifina at the level of VI grade OMŠ) - Transposition exercises for half steps and getting to know the transposition technique for whole steps - Accompanying individual movements, that is, the entire concert for the selected instrument i orchestra - Accompanying at least two smaller pieces with different selected instruments |
| Student workload | Weekly 2 credits x 40/30 = 2 hours and 40 minutes Structure: 1 hour....of lectures 0 hours….. exercise 1 hour 40 minutes……… individual student work (preparation for exercises, colloquiums, doing homework) including consultations In the semester Lessons and final exam: (2 hours and 40 minutes) x 16 = 42 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (2 hours and 40 minutes) = 5 hours and 20 minutes Total workload for the course: 2 x 30 = 60 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 42 hours and 40 minutes (teaching) + 5 hours and 20 minutes (preparation) + 12 hours (overtime) |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 1 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | -Regular attendance at classes, performances at public classes, class concerts and academy concerts, regular exercise, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | - Sheet music for playing prima vista (collections for elementary school, coordinated with the necessary pedagogical repertoire for level VI class. Polyphonic compositions by J.S. Bach, etudes by Černi, Berens, Bertiini, Ravin, sonatas and sonatas by Beethoven, Mozart, compositions smaller form of Schubert, Tchaikovsky, Mendelssohn, Schumann, 20th century composers) - Sheet music for independent singing with your own accompaniment (romances and songs by Schubert, Suman, Brahms, Hugo Wolff, Tchaikovsky, Rachmaninov, opera arias by Verdi, Puccini, Bellini) - Sheet music for transposition - Sheet music for accompaniment, that is, joint playing of concerts with different instruments (Mozart, Rajneka concerts for flute and orchestra, Venjavski, Paganini, Saint-Saëns, Sibelius Barber, Mozart for violin and orchestra, Štamica for clarinet and orchestra, Humela, Haydn for trumpet and orchestra, Lalo, Šumana for cello and orchestra) - Sheet music for rehearsing, i.e. playing compositions of smaller and larger form with Raylic instruments (compositions Doppler, Enesko, Tafanela for flute and piano, Sarasate, Venjavski for violin and piano, Bara, Brandt for trumpet and piano, Raboa, Martina for clarinet and piano) |
| Examination methods | Colloquium program: - Playing prima vista instrumental and vocal compositions from the above list - Transposition by half a step - Independent singing of two prepared compositions with own accompaniment, one of which must be an opera aria Exam program: - Accompanying two compositions of a larger form (a change of soloist, that is, of the soloing instrument is mandatory) or of the instrumental concert as a whole Gradeing: Comings: 30 points; Colloquium 20; Exam 50 points 91 – 100 grade A 81 – 90 grade B 71 – 80 grade C 61 – 70 grade D 51 – 60 grade E 0 – 50 grade F |
| Special remarks | Languages in which it is possible to follow classes: English, Russian, Ukrainian. |
| Comment | Teaching is done individually |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / MUSICAL ANALYSIS IV
| Course: | MUSICAL ANALYSIS IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 10692 | Obavezan | 4 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | At the end of the lesson, the students are introduced to the characteristics of classicism and romanticism music, they are trained to recognize the differences between these stylistic eras and understand compositional procedures through harmonies, musical form and other musical components |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / HIST. OF MUSIKAL INSTRUM. AND MUSICAL PERFORMAN.IV
| Course: | HIST. OF MUSIKAL INSTRUM. AND MUSICAL PERFORMAN.IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 10694 | Obavezan | 4 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHOIR WITH BASES OF VOCAL TECHNIQUE IV
| Course: | CHOIR WITH BASES OF VOCAL TECHNIQUE IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4857 | Izborni | 4 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | Getting to know the history of vocal performance, mastering the problems of choral singing and performing in a choral ensemble. Acquaintance of students with capital works of vocal and vocal instrumental literature. The goal is to master the basic elements of choral vocal technique and develop harmonic hearing. The goal is to nurture and develop the ability to implement theoretical knowledge such as solfeggio counterpoint, harmonic analysis and style analysis in the student through performing practice. |
| Learning outcomes | * Knowledge and performance of choral literature of different styles and genres; possession of practical and theoretical knowledge about joint work; knowing and developing own vocal technique; training for independent management of larger groups of singers that are formed according to the requirements of the score (childrens choir, womens choir, mens choir and mixed choir). |
| Lecturer / Teaching assistant | M.Sc. Aleksandra Knežević |
| Methodology | Lectures, practical work, exercises, public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, the subject Choral conducting with playing choral scores, other related study programs, as chosen by the teacher. The repertoire includes artistic vocal and vocal-instrumental music from old music to music of the XXI century. History and development of singing; Selection of works for performance Rehearsals by voices; Basic concepts of acoustics Rehearsals by voices; The ear as a sound receiver Rehearsals by voices; Organs for preparing, creating and shaping tones Rehearsals by voices; Physiology of the singing organ Joint rehearsals; Qualification of singing voices Rehearsals by voices; Breathing while singing Rehearsals by voices; Technical breathing exercises Joint rehearsals; Voice impostation Joint rehearsals; Vocal processing |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance, active work in classes, public performances, academy concerts |
| Consultations | |
| Literature | Choral and vocal-instrumental literature from 16th century polyphony to contemporary authors; B. Đurović: Basics of vocal technique; V. Ilić: Choral vocalizations |
| Examination methods | Attendance: 30 points; Colloquiums (two per semester) 20; Exams 20 points; Public performances 20: Activity and engagement in class: 10 |
| Special remarks | Language at the lessons: montenegrin |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ORCHESTRA IV
| Course: | ORCHESTRA IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4873 | Izborni | 4 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | - Passed exam Orchestra with Knowledge of Orchestral Literature III. |
| Aims | - Mastering the technique of playing in orchestra and acquiring orchestral practice. |
| Learning outcomes | Student: - Knows and performs orchestral literature of various styles and genres. - Possesses practical and theoretical knowledge in common music making. - He knows and develops his own technique. - He is aware of non-verbal communication with other members of the orchestra. - He is able to hear and shape the common sound of the orchestra, and adapt it to the general intonation, dynamics and tone color. |
| Lecturer / Teaching assistant | - Teacher: Miran Begić, full professor. - Associate: Dušan Obrenović, teaching associate. |
| Methodology | - Lectures, practical work, exercises, public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| I week exercises | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | - Lectures: 2 academic hours per week. - Exercises: 3 academic hours per week. |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | - Regular attendance, active work in classes, public performances, academy concerts. |
| Consultations | - Individual and group type. |
| Literature | - Works by baroque composers for strings. - Works of classicism and romanticism to modern and contemporary compositions. |
| Examination methods | - Attendance: 30 points; - Colloquiums: 20 points; - Exams: 50 points (including public performances, activity and commitment in class). |
| Special remarks | - Group work with students. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHAMBER MUSIC IV
| Course: | CHAMBER MUSIC IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2223 | Obavezan | 4 | 4 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | None |
| Aims | *Developing technical and colaborative skills in ensamble playing and exploring creativity in interpretation. (artistry of musical expression) *Performing chamber music repertoire from different eras and styles as a member of classical and non-classical ensembles. *Getting familiar with the chamber music literature from all stylistic periods. * Collaboration of students throughout all the performance departments; * Introduction to principles of chamber music performance; * Developing musical taste and musicality through ensamble playing; * Improving sightreading and speed learning skills; * Enabling students to independently work on new repertoire; * Developing teamwork skills through ensemble playing. |
| Learning outcomes | * Awareness and development of tone qualities, shaping, balance and blending and sustained solid intonation within ensemble; understanding and recognizing approaches to music analysis; develop an awareness and understanding of repertoire for a variety of chamber ensembles; understanding historical, social and musical contexts of chamber music repertoire and the ability to analyze a given music literature from its historical and stylistic aspects; develop an ability to recognize key stylistic areas and historical informed performance; assimilate and integrate the acquired knowledge into a common interpretation of the repertoire within the ensemble; engaging effectively in the work of the ensemble; knowledge of specifics and strategies of chamber ensemble rehearsals. |
| Lecturer / Teaching assistant | * Professor Žana Lekić, MMus, Professor Miran Begić, MMus, Professor Predrag Janković, MMus, Associate Professor Nataša Popović, MMus, Professor Danijel Cerović, MMus |
| Methodology | * Lectures, performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | *Meeting agenda: forming the ensemble, selecting the program for the quiz and exam, and creating the lecture schedule. |
| I week exercises | |
| II week lectures | * The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of the ensemble members. Mastering the musical score of a chamber work for the colloquium involves structural and harmonic analysis, as well as the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the overall musical heritage of the corresponding epoch. |
| II week exercises | |
| III week lectures | *Mastering the musical score of a chamber work through structural and harmonic analysis and the recognition of fundamental stylistic features, which leads to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works belonging to the overall musical heritage of the corresponding epoch. |
| III week exercises | |
| IV week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| IV week exercises | |
| V week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| V week exercises | |
| VI week lectures | *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| VI week exercises | |
| VII week lectures | Colloquium |
| VII week exercises | |
| VIII week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| VIII week exercises | |
| IX week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| IX week exercises | |
| X week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| X week exercises | |
| XI week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XI week exercises | |
| XII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XII week exercises | |
| XIII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XIII week exercises | |
| XIV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XIV week exercises | |
| XV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XV week exercises |
| Student workload | * Weekly: 4 credits x 40/30 = 5 hours and 20 minutes Structure: 2 hours lectures 0 hours practical 2 hours and 20 minutes Indipendent and directed learning (non contact) (preparation for laboratory exercises, for colloquia, individual practice and rechearsals) including consultations * During the semester: Teaching and final exam: (5 hours and 20 minutes) x 16 = 85 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (5 hours and 20 minutes) = 10 hours and 40 minutes Total load for the subject: 4 x 30 = 120 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 85 hours and 20 minutes (teaching) + 10 hours and 40 minutes (preparation) + 24 hours (additional work) |
| Per week | Per semester |
| 4 credits x 40/30=5 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 3 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
5 hour(s) i 20 minuts x 16 =85 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 5 hour(s) i 20 minuts x 2 =10 hour(s) i 40 minuts Total workload for the subject: 4 x 30=120 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 24 hour(s) i 0 minuts Workload structure: 85 hour(s) i 20 minuts (cources), 10 hour(s) i 40 minuts (preparation), 24 hour(s) i 0 minuts (additional work) |
| Student obligations | *Regular class attendance, exercise, independent and joint work; * Public appearances; * Monitoring concerts, seminars and lectures of visiting professors, active participation in seminars; * Listening, comparison and analysis of different performances of a given composition, reading professional literature; * Colloquium in the ninth week of the semester; * Exam after the completed semester. |
| Consultations | |
| Literature | * The repertoire for chamber music is very extensive and the choice of literature is determined in accordance with the composition of the ensemble as well as the level of knowledge, skills and abilities of the members of the ensemble. * Chamber opus (duo, trio, quartets, quintets) of the following composers: J. S. Bach, A. Vivaldi, J. Haydn, W. A. Mozart, L. v. Beethoven, F. Sor, M. Giuliani, F. Schubert, F. Mendelssohn - Bartholdy, J. Brahms, R. Schumann, JK Mertz, F. Luzatto, N. Coste, A. Dvořak, B. Smetana, S. Rachmaninoff , M. Ravel, C. Debussy, E. Satie, ML Tournier, D. Shostakovitch, A. Khachaturian, P. Hindemith, B. Martinů, B. Bartok, A. Reicha, F. Danzi, B. Britten, Castelnuovo- Tedesco, J. Ibert, J. Francaix, JM Damase, D. Milhaud, S. Barber, J. Pauer, W. Lutoslawski, Leonard Call, Dušan Bogdanović, Leo Brower, Manuel de Falla, Federico Mompou, B. Dowlasz, J Feld, M. Reger, V. Zolotarjov, J. Tiensuu, V. Podgorni, J. Gancer, B. Shehu, F. Dobler, V. Zubitshy, A. Piazzolla et al. * Compositions for piano duo: - J. S. Bach, F. Händel, J. Chr. Bach, WA Mozart, L. van Beethoven, H. Jadin, F. Schubert, R. Schumann, F. Chopin, G. Faure, J. Brahms, M. Reger, A. Dvorak, E. Grieg, S. Rachmaninoff, C. Saint-Saens, C. Debussy, M. Ravel, F. Poulenc, D. Milhaud, E. Satie, W. Lutoslawski, I. Stravinsky, D. Shostakovitch, B. Britten, A. Schnittke, and others. * Compositions from chamber opus and other composers that meet the requirements of the required level of study. * Compositions from the chamber opus of Montenegrin composers that meet the requirements of the required level of study. * Transcriptions that meet the requirements of the required level of study (non-standard ensembles). |
| Examination methods | * Attendance: maximum 30 points; * Colloquium: maximum 20 points; * Final exam: maximum 50 points; * A passing grade is obtained if the student collects 50 points. |
| Special remarks | * During the semester, the student must complete one cyclic work for chamber ensemble; program includes original compositions and already existing transcriptions which meet the requirements of the required level of study, lasting up to 15 minutes. * Languages in which it is possible to attend classes: - Montenegrin and English |
| Comment | * The number of members in the ensemble and the number of ensembles depends first of all on the capacity of the Music Academy and the enrollment of new candidates for each subsequent academic year. * Due to the different affinities and performing abilities of students, as well as the specifics of the formation of various chamber ensembles, ensemble members can be students of the same or different years of study; * It is required, at least once during the semester to organize a public appearance that can be within the class; * The formed ensemble can be changed during the semester only for objective reasons (e.g. illness of an ensemble member, termination of the student status of an ensemble member, obtaining a scholarship to continue studies at another faculty, etc.). |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / PIANO IV
| Course: | PIANO IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3119 | Obavezan | 4 | 11 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Successfully passed the Piano III exam |
| Aims | Mastering the technique of the piano playing and interpretation of piano literature - Training for independent work on new compositions - Acquiring knowledge and skills to act as a concert pianist, chamber musician and accompanist. - Creating the basis for acquiring pedagogical qualifications – piano teachers in music schools. |
| Learning outcomes | Student will: - Acquire and be aware of the production of the piano tone in relation to the functioning of the instrument mechanism - Acquire and be aware of the functions of the playing apparatus; understand the interaction of the playing apparatus and the tone to be realized - Apply technical skills to perform a certain composition,, - Acquire piano repertoire - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation - Create your own opinion based on the collected information and be able to evaluate the heard examples, - Systematize the acquired knowledge in creating your own interpretation; have a personal approach to the work of art, Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | full time prof. Bojan Martinović, assos. professor Vladimir Domazetović |
| Methodology | Lectures, exercises, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| I week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| II week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| II week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| III week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| III week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| IV week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| IV week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| V week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| V week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| VI week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| VI week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| VII week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| VII week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| VIII week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| VIII week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| IX week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| IX week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| X week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| X week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| XI week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| XI week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| XII week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| XII week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| XIII week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| XIII week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| XIV week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| XIV week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| XV week lectures | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| XV week exercises | The content is performed in an open curriculum, dynamically adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (V.A. Mozart, J. Haydn, D. Scarlatti, Beethoven) - At least one major romantic work or cycle lasting about 10 minutes - Piano concerto |
| Student workload | Weekly 11 credits x 40/30 = 14 hours and 40 minutes Structure: 3 hours of lectures 1 hour of exercise 10 hours and 40 minutes of individual student work (preparation for laboratory exercises, for colloquia, homework) including consultations During the semester Teaching and final exam: (14 hours and 40 minutes) x 16 = 234 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (14 hours and 40 minutes) = 29 hours and 20 minutes Total workload for the course: 11 x 30 = 330 hoursAdditional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 234 hours and 40 minutes (teaching) + 29 hours and 20 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 11 credits x 40/30=14 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 12 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
14 hour(s) i 40 minuts x 16 =234 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 14 hour(s) i 40 minuts x 2 =29 hour(s) i 20 minuts Total workload for the subject: 11 x 30=330 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 66 hour(s) i 0 minuts Workload structure: 234 hour(s) i 40 minuts (cources), 29 hour(s) i 20 minuts (preparation), 66 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature |
| Consultations | |
| Literature | Representation of the following authors is necessary: JS Bach: Prelude and Fugues, Toccatas, English Suite, Partite; GF Handel: Suite; D. Scarlatti: Sonatas, Ramo, Kupren, VAMocart: Sonatas, Fantasies, Variations, Piano Concertos, F. Schubert: Sonatas, Lv Beethoven: Sonatas, Ronda, Bagatele, Piano Concertos, Variations, F. Chopin: Etudes, Polonaises, Balde, Scherzo, Fantasy, Polonaise Fantasy, Mazurkas, Preludes, Berzeza, Barcarola, Piano Concertos, Variations, Sonatas; F. List: Etudes, Rhapsodies, Sonata in E minor, Year of Pilgrimage cycle, Piano Concertos, JR Schumann: Fantasy, Chryslerian, Forest Scenes, Childrens Scenes, Piano Concerto, E. Grieg: Piano Concerto, Sonata, J. Brahms: Sonatas Variations, Intermezza, Rhapsodies, K. Debussy, M. Ravel: Gaspard de la nuit, Mirroirs, Piano Concertos, Sonatina, A. Scriabin: Sonatas, Preludes, Etudes, Poems, S. Rachmaninoff: Etudes of Paintings, Preludes, Sonatas, Variations , S. Prokofiev: Sonatas, Etudes, Piano Concertos, Đ. Ligeti: Etudes, Music of the Little Riders O. Messian: 20 Views of the Child Jesus, A. Schoenberg, A. Berg, I. Stravinsky, A. Webern. |
| Examination methods | Colloquium program: - Classical sonata / variations or 4 sonatas by D. Scarlatti - One concert etude Exam program: - Piano concerto - At least one great romantic work - At least one work written in the XX or XXI century Note: The duration of the exam is a minimum of 25 minutes Rating: Arrivals: 30 points; Colloquium 20; Exam 50 points 91 - 100 grade A 81 – 90 grade B 71 - 80 grade C 61 - 70 grade s D 51 - 60 grade s E 0 - 50 grade F |
| Special remarks | Languages in which it is possible to attend classes: English, French. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLIN IV
| Course: | VIOLIN IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3093 | Obavezan | 4 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed violin exam III |
| Aims | - Mastering the technique of playing the violin and interpretation of violin literature. - Training for independent work in the analysis and interpretation of new compositions - Acquiring knowledge in order for the candidate to be a successful concert violinist, chamber and orchestral musician. - Creating the basis for pedagogical work as a violin teacher in elementary and secondary music schools. - Preparation of candidates for orchestral and chamber music. |
| Learning outcomes | Learning outcomes: The student will be able to: Uses knowledge from the basics of playing the violin repertoire during the realization of the lesson. Performs independently in communication with a piano collaborator during rehearsals. Improves the technique of playing the violin with a more technically demanding program. He acquires the practice and routine needed during an independent performance in front of an audience He sees the difference between the styles and independently analyzes his approach to the interpretation of a certain work. He has knowledge about music and violin literature that was created in the 19th century = the period of romanticism. In communication with the mentor, he analyzes and devises a plan for the interpretation of a specific work (stage without an instrument), after which he approaches the practical elaboration Get to know the problems of performing the duties of a violin teacher in lower music schools. |
| Lecturer / Teaching assistant | prof. Vujadin Krivokapic |
| Methodology | Lectures, exercises, consultations and public performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| I week exercises | |
| II week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| II week exercises | |
| III week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| III week exercises | |
| IV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| IV week exercises | |
| V week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| V week exercises | |
| VI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VI week exercises | |
| VII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VII week exercises | |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VIII week exercises | |
| IX week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| IX week exercises | |
| X week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| X week exercises | |
| XI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XI week exercises | |
| XII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XII week exercises | |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XIII week exercises | |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XIV week exercises | |
| XV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLONCELLO IV
| Course: | VIOLONCELLO IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3096 | Obavezan | 4 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed exam in the subject Cello III |
| Aims | Mastering cello playing technique and interpretation of cello literature; Developing the ability to work independently in the analysis and interpretation of new compositions; Acquiring knowledge and skills necessary to become a successful concert cellist, chamber, and orchestral musician; Establishing a foundation for pedagogical work as a cello teacher in elementary and secondary music schools; Preparing the candidate for orchestral and chamber music performance. |
| Learning outcomes | The student will be able to: 1. Apply knowledge of the basics of cello repertoire performance during class activities. 2. Perform independently and communicate effectively with the piano accompanist during rehearsals. 3. Improve cello playing technique through work on more technically demanding pieces. 4. Develop practice habits and routines necessary for independent public performance. 5. Recognize differences between musical styles and independently analyze their own interpretative approach to a given piece. 6. Demonstrate knowledge of music and cello literature from the 19th century — the Romantic period. 7. In communication with the mentor, analyze and design an interpretation plan for a specific piece (in the pre-performance stage, without the instrument), followed by practical elaboration. 8. Become familiar with the responsibilities and challenges of working as a cello teacher in elementary music schools. |
| Lecturer / Teaching assistant | Mr. Mladen Popović, teaching associate (Master’s degree) – distinguished artist |
| Methodology | Lectures, practical classes, consultations, and public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. |
| I week exercises | |
| II week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. |
| II week exercises | |
| III week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. |
| III week exercises | |
| IV week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. |
| IV week exercises | |
| V week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. |
| V week exercises | |
| VI week lectures | *The content is delivered in an open curriculum, with the pace tailored to the prior knowledge and abilities of each individual student. The mandatory lecture content includes: scales and triads across four octaves with double notes; technical exercises, caprices, and études. |
| VI week exercises | |
| VII week lectures | The tehnival colloquium |
| VII week exercises | |
| VIII week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| VIII week exercises | |
| IX week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| IX week exercises | |
| X week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| X week exercises | |
| XI week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| XI week exercises | |
| XII week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| XII week exercises | |
| XIII week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| XIII week exercises | |
| XIV week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| XIV week exercises | |
| XV week lectures | * The content is delivered in an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The mandatory lecture content includes the study of compositions from different stylistic periods and forms. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance of classes, performances at public lessons, class concerts, and academy concerts, consistent practice, active participation in seminars and international competitions, listening to music (CDs and DVDs), and reading professional literature. |
| Consultations | |
| Literature | Solo Cello: J. S. Bach – 6 Suites for Solo Cello, BWV 1007–1012 D. Popper – Etudes for Solo Cello A. Piatti – 12 Caprices for Solo Cello Cello and Piano: L. van Beethoven – 5 Sonatas for Piano and Cello J. Brahms – 2 Sonatas for Cello and Piano L. Boocherini: 6 Sonatas for Cello and Piano D. Popper – Virtuoso Compositions for Cello and Piano G. Cassadó – Virtuoso Compositions for Cello and Piano Cello Concertos: J. Haydn – Cello Concertos E. Elgar – Cello Concerto in E minor C. Saint-Saëns – Cello Concertos No. 1 and 2 |
| Examination methods | Forms of knowledge assessment and grading: Midterm exam program: Major and minor scales through four octaves with triads and seventh chords, including thirds, sixths, octaves, and tenths; Two etudes; Technical exercises. Final exam program: A sonata of the student’s choice from the specified literature; A solo cello piece or a virtuoso work of the student’s choice corresponding to the required study level. |
| Special remarks | * The student is required to pass a midterm exam during the semester, which includes technical exercises, scales, and études, as well as a final exam where they will perform pieces from the assigned repertoire, including a concert/sonata/virtuoso piece/solo cello work, with one piece being performed from memory. |
| Comment | Classes can be attended in Montenegrin and English. |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / GUITAR IV
| Course: | GUITAR IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3115 | Obavezan | 4 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed secondary music school - instrumental track and successfully passed entrance exam. |
| Aims | Mastery of guitar playing technique and interpretation of guitar literature. Training for independent work on new compositions. Acquisition of knowledge and skills to act as a concert guitarist and as a member of a chamber ensemble. Establishing the foundations for acquiring pedagogical qualifications – guitar teacher in music schools |
| Learning outcomes | The student will: Familiarize, analyze, judge, evaluate, and perform repertoire for classical guitar from early music to modern trends of the 21st century. Understand and become aware of the functions of the players apparatus, understand the interaction of the players apparatus and the tone to be realized. Apply acquired technical skills to perform in a specific composition. Acquaint with the classical guitar repertoire and synthesize acquired knowledge in creating their own interpretation of artistic work. Master the performance of polyphonic pieces on the guitar and enhance understanding of the issues surrounding the performance of the sonata cycle. Perform the assigned literature from historical and stylistic aspects, recognizing the historical, social, and musical context of given compositions. Differentiate the stylistic features of the assigned program and develop skills for their correct stylistic interpretation. Formulate their own opinion based on gathered information and be able to evaluate listened examples. Critically assess and evaluate their own. |
| Lecturer / Teaching assistant | Adjunct Professor Danijel Cerović |
| Methodology | Individual lessons, exercises, concerts. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Introduction to the semester: overview of the program and technical requirements. Major/minor scales through two octaves; cadences in basic keys. Introduction to Bach’s fugues – analysis of form and texture. |
| I week exercises | |
| II week lectures | Scales in thirds and sixths. Work on the selected fugue from J. S. Bach’s oeuvre. Analysis of thematic material and the first stage of work – separating voices. |
| II week exercises | |
| III week lectures | Technical focus: coordination of hands and precision in polyphonic voice leading. Further work on the exposition of the fugue, tone control, and balance. |
| III week exercises | |
| IV week lectures | Chromatic exercises and position changes. Work on the middle section of the fugue – imitations, sequences, and technical stability. |
| IV week exercises | |
| V week lectures | Scales in triads, simultaneous and broken. Work on the final section of the fugue – tempo moderation and control of expression. |
| V week exercises | |
| VI week lectures | Consolidation of the fugue – complete review. Developing interpretative vision and character. Etude of choice (Sor, Giuliani, Bogdanović). |
| VI week exercises | |
| VII week lectures | Midterm exam – technical assessment: scales, cadences, and a short excerpt from the fugue. |
| VII week exercises | |
| VIII week lectures | Introduction to the sonata cycle – analysis of structure and form (Giuliani, Sor). Beginning work on the first movement of the sonata. |
| VIII week exercises | |
| IX week lectures | Work on thematic development and contrast in the sonata. Technical focus: articulation and dynamic control. |
| IX week exercises | |
| X week lectures | Second movement of the sonata – form and character. Analysis of melodic material and phrasing. Scales and triads in related keys. |
| X week exercises | |
| XI week lectures | Right-hand technique – precision of arpeggios and tone control. Work on the final movement of the sonata (Brouwer, Castelnuovo-Tedesco). |
| XI week exercises | |
| XII week lectures | Corrections of technical and musical details in the fugue and sonata. Developing interpretative coherence between the forms. |
| XII week exercises | |
| XIII week lectures | Work on stage performance and memorization. Connecting technical and expressive aspects. |
| XIII week exercises | |
| XIV week lectures | General rehearsal of the program: fugue + sonata. Progress analysis and individual feedback. |
| XIV week exercises | |
| XV week lectures | Final rehearsal and exam program: 1. Scales and cadences 2. Fugue of choice from J. S. Bach’s works 3. Sonata of choice (Sor, Giuliani, Bogdanović, Brouwer, Turina, Scott, or Castelnuovo-Tedesco). |
| XV week exercises |
| Student workload | In the semester: Teaching and final exam: (17 hours and 20 minutes) x 16 = 277 hours and 20 minutes Necessary preparation before the start of the semester (administration, enrollment, validation): 2 x (17 hours and 20 minutes) = 34 hours and 40 minutes Total workload for the subject: 13 x 30 = 390 hours Additional work for exam preparation in the retake exam period, including retake exam taking from 0 - 30 hours. Load structure: 277 hours and 20 minutes (teaching) + 34 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance of classes, participation in public lessons, class concerts, and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CDs and DVDs), and reading professional literature. |
| Consultations | |
| Literature | Technical exercises: according to the mentors choice Scales (major/minor): across 2 octaves; thirds, sixths, triads - simultaneously and broken; cadences Metronome marking; quarter note – minimum 90 Selection of compositions (Sonata cycle) from the works of: F. Sor, M. Giuliani, D. Bogdanović, L. Brower, J. Turina, C. Scot. M. Castelnuovo-Tedesco J.S. Bach: Fugue (BWV 997, BWV 998, BWV 1000, BWV 1001, BWV 1003, BWV 1005) Contents of the mandatory program: Scales Fugue of choice from the works of J.S. Bach Sonata of choice |
| Examination methods | Midterm Exam Program: Scales Etudes Final Exam Program: Fugue of choice from the works of J.S. Bach Sonata of choice |
| Special remarks | Languages in which it is possible to attend classes: Montenegrin, English |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCORDION IV
| Course: | ACCORDION IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3117 | Obavezan | 4 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Graduated from music high school- instrumental course and successfully passed Entrance Exam. |
| Aims | - Mastering the technique of playing the accordion and interpreting the literature for the accordion. - Training for independent work on new compositions. - Acquiring knowledge and skills to act as a concert accordionist and chamber musician. - Creating a basis for acquiring pedagogical qualifications - accordion teachers in music schools |
| Learning outcomes | The student will: - Introduce, analyze, judge, evaluate and perform the repertoire for classical accordion from early music to modern trends of the 21st century. - Introduce and be aware of the functions of the playing apparatus, understand the interaction of the playing apparatus and the tone that needs to be realized. - Apply technical skills to perform a certain composition. - Get acquainted with the repertoire for classical accordion and synthesize the acquired knowledge when creating your own interpretation of a work of art. - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions. - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation. - Create your own opinion based on the collected information and be able to evaluate the heard examples. -Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | Full professor Predrag Jankovic |
| Methodology | Lectures, exercises, concerts |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| I week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Prelude and Fugue in Fis dur, Cis moll, F minor, C minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Repnikov: Toccata, Capriccio, V. Bonakov: Collection of compositions for accordion, V. Trojan: The ruined Cathedral, W. Jacobi: Jota, J. Derbenko: Ein Winterbild, F. Angelis: Romance 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 30 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| Student workload | In the semester: Teaching and final exam: (17 hours and 20 minutes) x 16 = 277 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (17 hours and 20 minutes) = 34 hours and 40 minutes Total load for the course: 13 x 30 = 390 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 277 hours and 20 minutes (teaching) + 34 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | J. S. Bach: Das Wohltemperiertes Klavier I, II J. S. Bach: English Suites ed. Peters Leipzig W. Jacobi : Divertimento pour accordeon ed. Hohner Verlag V. Malich : Toccata manuscript M. Miletic:Toccata manuscript W. A. Mozart : Sonatas ed Peters Leipzig J. Haydn: Sonata ed.Peters Leipzig Anthology of Accordion Literature No.7, 8 V. Semyonov: Sonata no. 1 ed.Karthaus Schmulling G. Shenderyov: 4 compositions in the old style ed.Karthaus Schmulling B. Lorentzen: Tears ed.W.Hansen Z. Bozanic: Toccata |
| Examination methods | Forms of knowledge assessment and grading: Colloquium program: • Two scales per fifth or quartic circle through 2 octaves in parallel and in opposite motion, thirds and sixths in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sixths) Exam program: 1. Polyphonic composition 2. Cyclic composition 3. The composition of the old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Grading: Attendance: 30 points; Colloquium 20 points; Exam 50 points 91 – 100 Grade A 81 – 90 Grade B 71 – 80 Grade C 61 – 70 Grade D 51 – 60 Grade E 0 – 50 Grade F |
| Special remarks | Languages in which it is possible to attend classes: Montenegrin, Russian, and English. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / TRUMPET IV
| Course: | TRUMPET IV/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3120 | Obavezan | 4 | 13 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed the exam in the subject Trumpet III |
| Aims | * Mastery of trumpet playing technique and interpretation of trumpet literature. * Preparation for independent work on new compositions. * Acquisition of knowledge and skills for performing as a concert trumpeter and chamber musician. * Laying the foundation for obtaining pedagogical qualifications as a trumpet teacher in music schools. |
| Learning outcomes | The student will: * Learn and master breathing techniques; * Become aware of and improve tone production and shaping, and establish intonation stability; * Become aware of and enhance articulation techniques and synchronization; * Learn proper body and instrument posture, and understand methods of injury prevention; * Learn rules and techniques of practice, and adopt good habits; * Learn and master techniques for analyzing and memorizing musical texts; * Become familiar with intermediate-level trumpet repertoire; * Recognize the historical, social, and musical context of compositions, and perform assigned literature with historical and stylistic awareness; * Learn the main musical styles and perform specific music in a stylistically appropriate manner. |
| Lecturer / Teaching assistant | Mr. Nikola Mijajlović, Associate Professor |
| Methodology | Lectures, exercises, concerts. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| I week exercises | |
| II week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| II week exercises | |
| III week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| III week exercises | |
| IV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| IV week exercises | |
| V week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| V week exercises | |
| VI week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| VI week exercises | |
| VII week lectures | Colloquium |
| VII week exercises | |
| VIII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| VIII week exercises | |
| IX week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| IX week exercises | |
| X week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| X week exercises | |
| XI week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XI week exercises | |
| XII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XII week exercises | |
| XIII week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XIII week exercises | |
| XIV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XIV week exercises | |
| XV week lectures | The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory components of the course include breathing exercises, technical exercises, scales, orchestral excerpts, etudes, and moderately difficult compositions from various stylistic periods and forms. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 13 credits x 40/30=17 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 15 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
17 hour(s) i 20 minuts x 16 =277 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 17 hour(s) i 20 minuts x 2 =34 hour(s) i 40 minuts Total workload for the subject: 13 x 30=390 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 78 hour(s) i 0 minuts Workload structure: 277 hour(s) i 20 minuts (cources), 34 hour(s) i 40 minuts (preparation), 78 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance; performances at public lessons, class concerts, and academy concerts; consistent practice; active participation in seminars and international competitions; listening to music (CDs and DVDs); and reading professional literature. |
| Consultations | |
| Literature | Arban: *Grande méthode complète* A. W. Johanson: *Daily Exercises* (Part I) Werner: *40 Studies for Trumpet* A. Wizzutti: *Technical Studies* James Stamp: *Warm-Ups + Studies* Bai Lin: *Lip Flexibilities* Brandt: *34 Etüden* Wurm: *Etüden* Max Schlossberg: *Daily Drills and Technical Studies* P. Clodomir: *Petits exercices / Vingt études chantantes* |
| Examination methods | **Colloquium and Exam** **Scales:** F major, B-flat major, E-flat major and their parallel minors — D minor, G minor, C minor; one technically demanding etude; orchestral excerpts: * L. van Beethoven: *Overture Leonore No. 2* (signal) * L. van Beethoven: *Overture Leonore No. 3* (signal) * M. Ravel: *Bolero* * G. Donizetti: *Don Pasquale* * G. Bizet: *Carmen* (signal and low solo) **Exam content:** * A cyclical work of a difficulty level equal to or higher than the compositions listed in the first-year literature; * One composition chosen from the listed literature (or another work of equal or greater difficulty). One of the compositions must be performed from memory. |
| Special remarks | |
| Comment | Languages of instruction: Montenegrin and English. |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / HISTORY OF MUSIC V
| Course: | HISTORY OF MUSIC V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2199 | Obavezan | 5 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCOMPANIMENT V
| Course: | ACCOMPANIMENT V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2238 | Obavezan | 5 | 2 | 1++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | -Successfully passed the exam of the course Correpetition IV. |
| Aims | - Mastering the technique of joint playing and artistic communication. - Training for independent work on new compositions. - Mastering the skills of playing prima vista and transposition techniques. - Acquiring knowledge to work as an artistic associate accompanist. - Creation of the basis for acquiring a pedagogical qualification - piano associate - accompanist in music schools. |
| Learning outcomes | The student will: - Get to know and study the techniques of playing together in correlation with different instruments - Get to know and study the techniques of playing prima vista and transposition to different intervals - Apply the acquired technical skills to the performance of a specific composition - Get to know the literature for different instruments, vocal and operatic literature - Get to know the technology of working with singers and acquire the skills of practical work with them - Realize the assigned literature from the stylistic aspect, that is, the musical context of the given compositions - Develop the skills of correct interpretation of assigned musical material - Form your own opinion based on the collected information and be able to evaluate the examples you have listened to, - Have personal access to the artwork, - To evaluate and evaluate ones own achievements as well as the achievements of other musicians in a joint performance. - To be qualified to work as a piano assistant in music schools |
| Lecturer / Teaching assistant | Professor Oleksij Molčanov Teaching assistant Vladana Perović |
| Methodology | -Lectures, exercises, joint rehearsals, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| I week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| II week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| II week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| III week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| III week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| IV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| IV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| V week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| V week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| VI week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| VI week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| VII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| VII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| VIII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| VIII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| IX week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| IX week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| X week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| X week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| XI week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| XI week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| XII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| XII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| XIII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| XIII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| XIV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| XIV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| XV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| XV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - Independent singing accompanied by ones own scene, that is, an act from an opera. - Prima vista playing exercises (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - Transposition exercises for the whole degree - Accompanying the entire concert for the selected instrument and orchestra - Rehearsing at least three smaller works with different selected instruments |
| Student workload | Weekly 2 credits x 40/30 = 2 hours and 40 minutes Structure: 1 hour....of lectures 0 hours….. exercise 1 hour 40 minutes……… individual student work (preparation for exercises, colloquiums, doing homework) including consultations In the semester Lessons and final exam: (2 hours and 40 minutes) x 16 = 42 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (2 hours and 40 minutes) = 5 hours and 20 minutes Total workload for the course: 2 x 30 = 60 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 42 hours and 40 minutes (teaching) + 5 hours and 20 minutes (preparation) + 12 hours (overtime) |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 1 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | -Regular attendance at classes, performances at public classes, class concerts and academy concerts, regular exercise, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | - Sheet music for playing prima visto (inventions by J.S. Bach, sonatas by Haydn and Mozart, etudes by Černi, Berens, Klementi, compositions smaller form of Mendelssohn, Schubert, Schumann, Chopin, Tchaikovsky) - Piano excerpt of selected opera (Verdi, Puccini, Mozart, Bellini, Bizet, Rachmaninov, Tchaikovsky) - Sheet music for transposition - Sheet music for accompaniment, that is, joint playing of concerts with different instruments (Mozart, Rajneka concerts for flute and orchestra, Venjavski, Paganini, Saint-Saëns, Sibelius Barber, Mozart for violin and orchestra, Štamica for clarinet and orchestra, Humela, Haydn for trumpet and orchestra, Lalo, Šumana for cello and orchestra) - Sheet music for rehearsing, that is, playing compositions of smaller and larger forms with different instruments (compositions Doppler, Enesko, Tafanela for flute and piano, Sarasate, Venjavski for violin and piano, Bara, Brandt for trumpet and piano, Rabo, Martinu for clarinet and piano) |
| Examination methods | Colloquium program: - Playing prima vista instrumental and vocal compositions from the above list - Transposition for the whole degree - Tutoring one composition of your choice from the program for the final exam of the 6th semester Exam program: - Performance with own accompaniment and independent singing of a scene, that is, an act from an opera - Gradeing: Comings: 30 points; Colloquium 20; Exam 50 points 91 – 100 grade A 81 – 90 grade B 71 – 80 grade C 61 – 70 grade D 51 – 60 grade E 0 – 50 grade F |
| Special remarks | Languages in which it is possible to follow classes: English, Russian, Ukrainian. |
| Comment | Teaching is done individually |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / PEDAGOGY I
| Course: | PEDAGOGY I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4826 | Obavezan | 5 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / MUSICAL ANALYSIS V
| Course: | MUSICAL ANALYSIS V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11417 | Obavezan | 5 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | At the end of the class, the students are familiar with the characteristics of 20th century music, they are trained to understand numerous compositional procedures. |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / INTERNSHIP I
| Course: | INTERNSHIP I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11434 | Obavezan | 5 | 2 | +2+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
0 sat(a) theoretical classes 0 sat(a) practical classes 2 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CONCERT PRACTISE I
| Course: | CONCERT PRACTISE I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11436 | Obavezan | 5 | 2 | +2+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | ne conditions |
| Aims | Acquiring concert practice from instrument lessons |
| Learning outcomes | The student will: - Gain concert experience. - Master the scene. |
| Lecturer / Teaching assistant | Vujadin Krivokapić, violina Predrag Janković, harmonika Danijel Cerović, gitara Marija Đurđević Ilić, flauta Bojan Martinović, klavir Vladimir Domazetović, klavir Aleksej Molčanov, Korepeticija/klavir Miran Begić, violina Violončelo – Mladen Popović Viola – Mikhail Bereznjicki Kontrabas – Klarinet – Petar Garić Truba-Nikola Mijajlović Trombon-Aleksandar Benčić Nataša Popović, kamerna muzika Žana Lekić. Kamerna muzika, Aleksandra Knežević |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| I week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| II week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| II week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| III week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| III week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| IV week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| IV week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| V week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| V week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VI week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VI week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VII week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VII week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VIII week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VIII week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| IX week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| IX week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| X week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| X week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XI week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XI week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XII week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XII week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XIII week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XIII week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XIV week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XIV week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XV week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XV week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| Student workload | weekly 2 credits x 40/30 ═ 5 hours and 20 minutes. Structure: 1 hour and 30 minutes. Practice 3 hours and 50 minutes. independent work in the semester in the semester Lessons and final exam (2 hours and 15 minutes) x 15 ═ 33 hours and 45 minutes. Necessary preparations before the beginning of the semester (administration, registration, certification) 2 x (2 hours and 15 minutes) ═ 4 hours and 30 minutes. Total workload 4 x 30 hours ═ 120 hours Structure: 33 hours and 45 minutes (class) + 4 hours and 30 minutes. (preparation) + 81 hours and 45 minutes. (independent and supplementary work) |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
0 sat(a) theoretical classes 0 sat(a) practical classes 2 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | The literature is based on the repertoire played by the student on an instrument, choir, orchestra, chamber music and accompaniment. |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHOIR WITH BASES OF VOCAL TECHNIQUE V
| Course: | CHOIR WITH BASES OF VOCAL TECHNIQUE V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4858 | Izborni | 5 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | Getting to know the history of vocal performance, mastering the problems of choral singing and performing in a choral ensemble. Acquaintance of students with capital works of vocal and vocal instrumental literature. The goal is to master the basic elements of choral vocal technique and develop harmonic hearing. The goal is to nurture and develop the ability to implement theoretical knowledge such as solfeggio counterpoint, harmonic analysis and style analysis in the student through performing practice. |
| Learning outcomes | * Knowledge and performance of choral literature of different styles and genres; possession of practical and theoretical knowledge about joint work; knowing and developing own vocal technique; training for independent management of larger groups of singers that are formed according to the requirements of the score (childrens choir, womens choir, mens choir and mixed choir). |
| Lecturer / Teaching assistant | M.Sc. Aleksandra Knežević |
| Methodology | Lectures, practical work, exercises, public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, the subject Choral conducting with playing choral scores, other related study programs, as chosen by the teacher. The repertoire includes artistic vocal and vocal-instrumental music from old music to music of the XXI century. History and development of singing; Selection of works for performance Rehearsals by voices; Basic concepts of acoustics Rehearsals by voices; The ear as a sound receiver Rehearsals by voices; Organs for preparing, creating and shaping tones Rehearsals by voices; Physiology of the singing organ Joint rehearsals; Qualification of singing voices Rehearsals by voices; Breathing while singing Rehearsals by voices; Technical breathing exercises Joint rehearsals; Voice impostation Joint rehearsals; Vocal processing |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance, active work in classes, public performances, academy concerts |
| Consultations | |
| Literature | Choral and vocal-instrumental literature from 16th century polyphony to contemporary authors; B. Đurović: Basics of vocal technique; V. Ilić: Choral vocalizations |
| Examination methods | Attendance: 30 points; Colloquiums (two per semester) 20; Exams 20 points; Public performances 20: Activity and engagement in class: 10 |
| Special remarks | Language at the lessons: montenegrin |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ORCHESTRA V
| Course: | ORCHESTRA V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4870 | Izborni | 5 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | - Passed exam Orchestra with Knowledge of Orchestral Literature IV. |
| Aims | - Mastering the technique of playing in orchestra and acquiring orchestral practice. |
| Learning outcomes | Student: - Knows and performs orchestral literature of various styles and genres. - Possesses practical and theoretical knowledge in common music making. - He knows and develops his own technique. - He is aware of non-verbal communication with other members of the orchestra. - He is able to hear and shape the common sound of the orchestra, and adapt it to the general intonation, dynamics and tone color. |
| Lecturer / Teaching assistant | - Teacher: Miran Begić, full professor. - Associate: Dušan Obrenović, teaching associate. |
| Methodology | - Lectures, practical work, exercises, public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| I week exercises | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | - Lectures: 2 academic hours per week. - Exercises: 3 academic hours per week. |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | - Regular attendance, active work in classes, public performances, academy concerts. |
| Consultations | - Individual and group type. |
| Literature | - Works by baroque composers for strings. - Works of classicism and romanticism to modern and contemporary compositions. |
| Examination methods | - Attendance: 30 points; - Colloquiums: 20 points; - Exams: 50 points (including public performances, activity and commitment in class). |
| Special remarks | - Group work with students. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / SOLFEGE V
| Course: | SOLFEGE V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2153 | Obavezan | 5 | 3 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 2 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / WIND INSTRUMENTS TRAINING I
| Course: | WIND INSTRUMENTS TRAINING I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11442 | Obavezan | 5 | 4 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | none |
| Aims | The aim of studying the subject is to form a teaching staff for music instrument pedagogy in elementary and secondary music schools according to the needs of the educational process. It aims to enable students to independently analyze and study issues of music pedagogy and individual instrumental instruction. |
| Learning outcomes | The student has acquired theoretical knowledge and is capable of articulately discussing topics from the covered areas, demonstrating analytical and critical thinking skills. They are familiar with various approaches to designing programs in elementary and secondary music schools and can devise and execute their content in the form of written preparations and simulations. The student is acquainted with knowledge evaluation criteria. They have developed the ability for creative thinking, the ability to connect theory and practice, and are capable of presenting musical content in teaching. |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 4 credits x 40/30=5 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 3 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
5 hour(s) i 20 minuts x 16 =85 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 5 hour(s) i 20 minuts x 2 =10 hour(s) i 40 minuts Total workload for the subject: 4 x 30=120 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 24 hour(s) i 0 minuts Workload structure: 85 hour(s) i 20 minuts (cources), 10 hour(s) i 40 minuts (preparation), 24 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | Oscar, Odena (2012): Musical Creativity, Insights from Music Education Research, London:Rutledge. Bjerkvol, J., R. (2006): Nadahnuto biće. Beograd: Plato. Mirković- Radoš (1996-2010): Psihologija muzike, Beogra: Zavod z udžbenike i nastavna sredstva. Bogunović, B. (2008): Muzički talenat i uspešnost, Beograd: Institut za pedagoška istraživanja. Rojko P, Metodika nastave glazbe, teorijsko- tematski aspekti, online izdanje, Zagreb, 2012. Martinović Bogojević, J., (2013): Interdisciplinary approach in developing textbooks for Music culture, proceedings from the third international symposium of musical pedagogues, Pula, 18th-20th april, 2013. 157-187. Selak, S. (2011), Metodika nastave limenih duhaćih instrumenata , MA, Zagreb;Galamian, I. (1977), Sviranje na violini i violinska pedagogija, Beograd;Miranov, L (1964). Metodika violine, Zagreb;Nagy, M.(1972), Metodika violončela, MA, Zagreb;Benzi, W. (1963) Il contrabasso, Milano;Dietz, W. (1998) Teaching Woodwinds: A Method and Resource Handbook for Music Educators, Schirmer Books; NY |
| Examination methods | Theoretical knowledge from the areas covered and methods of their practical application. Colloquium and Oral exam. 51-60%: 6, 61-70%: 7, 71-80%: 8, 81-90%: 9, 91-100%, 10 |
| Special remarks | Lectures take place in groups (piano, guitar, accordion) (classical wind and string instruments) |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHAMBER MUSIC V
| Course: | CHAMBER MUSIC V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2224 | Obavezan | 5 | 5 | 2+2+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | None |
| Aims | *Developing technical and colaborative skills in ensamble playing and exploring creativity in interpretation. (artistry of musical expression) *Performing chamber music repertoire from different eras and styles as a member of classical and non-classical ensembles. *Getting familiar with the chamber music literature from all stylistic periods. * Collaboration of students throughout all the performance departments; * Introduction to principles of chamber music performance; * Developing musical taste and musicality through ensamble playing; * Improving sightreading and speed learning skills; * Enabling students to independently work on new repertoire; * Developing teamwork skills through ensemble playing. |
| Learning outcomes | * Awareness and development of tone qualities, shaping, balance and blending and sustained solid intonation within ensemble; understanding and recognizing approaches to music analysis; develop an awareness and understanding of repertoire for a variety of chamber ensembles; understanding historical, social and musical contexts of chamber music repertoire and the ability to analyze a given music literature from its historical and stylistic aspects; develop an ability to recognize key stylistic areas and historical informed performance; assimilate and integrate the acquired knowledge into a common interpretation of the repertoire within the ensemble; engaging effectively in the work of the ensemble; knowledge of specifics and strategies of chamber ensemble rehearsals. |
| Lecturer / Teaching assistant | * Professor Žana Lekić, MMus, Professor Miran Begić, MMus, Professor Predrag Janković, MMus, Associate Professor Nataša Popović, MMus, Professor Danijel Cerović, MMus |
| Methodology | * Lectures, performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | *Meeting agenda: forming the ensemble, selecting the program for the quiz and exam, and creating the lecture schedule. |
| I week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| II week lectures | * The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of the ensemble members. Mastering the musical score of a chamber work for the colloquium involves structural and harmonic analysis, as well as the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the overall musical heritage of the corresponding epoch. |
| II week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| III week lectures | *Mastering the musical score of a chamber work through structural and harmonic analysis and the recognition of fundamental stylistic features, which leads to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works belonging to the overall musical heritage of the corresponding epoch. |
| III week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| IV week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| IV week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| V week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| V week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| VI week lectures | *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| VI week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| VII week lectures | Colloquium |
| VII week exercises | Colloquium |
| VIII week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| VIII week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| IX week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| IX week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| X week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| X week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| XI week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XI week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| XII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XII week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| XIII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XIII week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| XIV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XIV week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| XV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XV week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| Student workload | * Weekly: 4 credits x 40/30 = 5 hours and 20 minutes Structure: 2 hours lectures 0 hours practical 2 hours and 20 minutes Indipendent and directed learning (non contact) (preparation for laboratory exercises, for colloquia, individual practice and rechearsals) including consultations * During the semester: Teaching and final exam: (5 hours and 20 minutes) x 16 = 85 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (5 hours and 20 minutes) = 10 hours and 40 minutes Total load for the subject: 4 x 30 = 120 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 85 hours and 20 minutes (teaching) + 10 hours and 40 minutes (preparation) + 24 hours (additional work) |
| Per week | Per semester |
| 5 credits x 40/30=6 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 2 excercises 2 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
6 hour(s) i 40 minuts x 16 =106 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 6 hour(s) i 40 minuts x 2 =13 hour(s) i 20 minuts Total workload for the subject: 5 x 30=150 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 30 hour(s) i 0 minuts Workload structure: 106 hour(s) i 40 minuts (cources), 13 hour(s) i 20 minuts (preparation), 30 hour(s) i 0 minuts (additional work) |
| Student obligations | *Regular class attendance, exercise, independent and joint work; * Public appearances; * Monitoring concerts, seminars and lectures of visiting professors, active participation in seminars; * Listening, comparison and analysis of different performances of a given composition, reading professional literature; * Colloquium in the ninth week of the semester; * Exam after the completed semester. |
| Consultations | |
| Literature | * The repertoire for chamber music is very extensive and the choice of literature is determined in accordance with the composition of the ensemble as well as the level of knowledge, skills and abilities of the members of the ensemble. * Chamber opus (duo, trio, quartets, quintets) of the following composers: J. S. Bach, A. Vivaldi, J. Haydn, W. A. Mozart, L. v. Beethoven, F. Sor, M. Giuliani, F. Schubert, F. Mendelssohn - Bartholdy, J. Brahms, R. Schumann, JK Mertz, F. Luzatto, N. Coste, A. Dvořak, B. Smetana, S. Rachmaninoff , M. Ravel, C. Debussy, E. Satie, ML Tournier, D. Shostakovitch, A. Khachaturian, P. Hindemith, B. Martinů, B. Bartok, A. Reicha, F. Danzi, B. Britten, Castelnuovo- Tedesco, J. Ibert, J. Francaix, JM Damase, D. Milhaud, S. Barber, J. Pauer, W. Lutoslawski, Leonard Call, Dušan Bogdanović, Leo Brower, Manuel de Falla, Federico Mompou, B. Dowlasz, J Feld, M. Reger, V. Zolotarjov, J. Tiensuu, V. Podgorni, J. Gancer, B. Shehu, F. Dobler, V. Zubitshy, A. Piazzolla et al. * Compositions for piano duo: - J. S. Bach, F. Händel, J. Chr. Bach, WA Mozart, L. van Beethoven, H. Jadin, F. Schubert, R. Schumann, F. Chopin, G. Faure, J. Brahms, M. Reger, A. Dvorak, E. Grieg, S. Rachmaninoff, C. Saint-Saens, C. Debussy, M. Ravel, F. Poulenc, D. Milhaud, E. Satie, W. Lutoslawski, I. Stravinsky, D. Shostakovitch, B. Britten, A. Schnittke, and others. * Compositions from chamber opus and other composers that meet the requirements of the required level of study. * Compositions from the chamber opus of Montenegrin composers that meet the requirements of the required level of study. * Transcriptions that meet the requirements of the required level of study (non-standard ensembles). |
| Examination methods | * Attendance: maximum 30 points; * Colloquium: maximum 20 points; * Final exam: maximum 50 points; * A passing grade is obtained if the student collects 50 points. |
| Special remarks | * During the semester, the student must complete one cyclic work for chamber ensemble; program includes original compositions and already existing transcriptions which meet the requirements of the required level of study, lasting up to 15 minutes. * Languages in which it is possible to attend classes: - Montenegrin and English |
| Comment | * The number of members in the ensemble and the number of ensembles depends first of all on the capacity of the Music Academy and the enrollment of new candidates for each subsequent academic year. * Due to the different affinities and performing abilities of students, as well as the specifics of the formation of various chamber ensembles, ensemble members can be students of the same or different years of study; * It is required, at least once during the semester to organize a public appearance that can be within the class; * The formed ensemble can be changed during the semester only for objective reasons (e.g. illness of an ensemble member, termination of the student status of an ensemble member, obtaining a scholarship to continue studies at another faculty, etc.). |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / PIANO V
| Course: | PIANO V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3490 | Obavezan | 5 | 5 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Successfully passed the Piano IV exam |
| Aims | Mastering the technique of the piano playing and interpretation of piano literature - Training for independent work on new compositions - Acquiring knowledge and skills to act as a concert pianist, chamber musician and accompanist. - Creating the basis for acquiring pedagogical qualifications – piano teachers in music schools. |
| Learning outcomes | Student will: - Acquire and be aware of the production of the piano tone in relation to the functioning of the instrument mechanism - Acquire and be aware of the functions of the playing apparatus; understand the interaction of the playing apparatus and the tone to be realized - Apply technical skills to perform a certain composition,, - Acquire piano repertoire - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation - Create your own opinion based on the collected information and be able to evaluate the heard examples, - Systematize the acquired knowledge in creating your own interpretation; have a personal approach to the work of art, Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | full time prof. Bojan Martinović, assos. professor Vladimir Domazetović |
| Methodology | Lectures, exercises, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| I week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| II week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| II week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| III week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| III week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| IV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| IV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| V week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| V week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| VI week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| VI week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| VII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| VII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| VIII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| VIII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| IX week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| IX week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| X week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| X week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| XI week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| XI week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| XII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| XII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| XIII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| XIII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| XIV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| XIV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| XV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| XV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Technical exercises and instructive etudes by various authors (Brahms, Cherny, Clementi, Kessler, Moškovski, Mošeles, etc.) - At least two etudes - Polyphony. At least one work from the Baroque era or one work by Mendelssohn, Saint-Saens, Hindemith, Shostakovich, Shchedrin and others. - At least one romantic work or cycle - At least one work or cycle written in the XX or XXI century - Piano Concerto by V.A. Mozart |
| Student workload | In a week 10 credits x 40/30 = 13 hours and 20 minutesStructure: 3 hours of lectures 1 hour of exercise 9 hours and 20 minutes of individual student work (preparation for laboratory exercises, for colloquia, homework) including consultations In the semester Teaching and final exam: (13 hours and 20 minutes) x 16 = 213 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (13 hours and 20 minutes) = 26 hours and 40 minutes Total workload for the course: 10 x 30 = 300 hoursAdditional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 213 hours and 20 minutes (teaching) + 26 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 5 credits x 40/30=6 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 4 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
6 hour(s) i 40 minuts x 16 =106 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 6 hour(s) i 40 minuts x 2 =13 hour(s) i 20 minuts Total workload for the subject: 5 x 30=150 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 30 hour(s) i 0 minuts Workload structure: 106 hour(s) i 40 minuts (cources), 13 hour(s) i 20 minuts (preparation), 30 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature |
| Consultations | |
| Literature | Representation of the following authors is necessary: JS Bach: Prelude and Fugues, Toccatas, English Suite, Partite; GF Handel: Suite; D. Scarlatti: Sonatas, Ramo, Kupren, VAMocart: Sonatas, Fantasies, Variations, Piano Concertos, F. Schubert: Sonatas, Lv Beethoven: Sonatas, Ronda, Bagatele, Piano Concertos, Variations, F. Chopin: Etudes, Polonaises, Balde, Scherzo, Fantasy, Polonaise Fantasy, Mazurkas, Preludes, Berzeza, Barcarola, Piano Concertos, Variations, Sonatas; F. List: Etudes, Rhapsodies, Sonata in E minor, Year of Pilgrimage cycle, Piano Concertos, JR Schumann: Fantasy, Chryslerian, Forest Scenes, Childrens Scenes, Piano Concerto, E. Grieg: Piano Concerto, Sonata, J. Brahms: Sonatas Variations, Intermezza, Rhapsodies, K. Debussy, M. Ravel: Gaspard de la nuit, Mirroirs, Piano Concertos, Sonatina, A. Scriabin: Sonatas, Preludes, Etudes, Poems, S. Rachmaninoff: Etudes of Paintings, Preludes, Sonatas, Variations , S. Prokofiev: Sonatas, Etudes, Piano Concertos, Đ. Ligeti: Etudes, Music of the Little Riders O. Messian: 20 Views of the Child Jesus, A. Schoenberg, A. Berg, I. Stravinsky, A. Webern. |
| Examination methods | Colloquium program: - Minimum 2 etudes - At least one work from the Romantic era Exam program: - Recital lasting 50 minutes - Polyphony - Concert etude - Sonata, variations or rondo - A romantic work - A work of the XX or XXI century The program is performed by heart. Rating: Arrivals: 30 points; Colloquium 20; Exam 50 points 91 - 100 grade A 81 - 90 grade B 71 - 80 grade C 61 - 70 grade D 51 - 60 grade E 0 - 50 grade F |
| Special remarks | Languages in which it is possible to attend classes: English, French. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLIN V
| Course: | VIOLIN V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3094 | Obavezan | 5 | 7 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed violin exam IV |
| Aims | - Mastering the technique of playing the violin and interpretation of violin literature. - Training for independent work in the analysis and interpretation of new compositions - Acquiring knowledge in order for the candidate to be a successful concert violinist, chamber and orchestral musician. - Creating the basis for pedagogical work as a violin teacher in elementary and secondary music schools. - Preparation of candidates for orchestral and chamber music. |
| Learning outcomes | Learning outcomes: The student will be able to: Uses knowledge from the basics of playing the violin repertoire during the realization of the lesson. Performs independently in communication with a piano collaborator during rehearsals. Improves the technique of playing the violin with a more technically demanding program. He acquires the practice and routine needed during an independent performance in front of an audience He sees the difference between the styles and independently analyzes his approach to the interpretation of a certain work. He has knowledge about music and violin literature that was created in the 19th century = the period of romanticism. In communication with the mentor, he analyzes and devises a plan for the interpretation of a specific work (stage without an instrument), after which he approaches the practical elaboration Get to know the problems of performing the duties of a violin teacher in lower music schools. |
| Lecturer / Teaching assistant | prof. Vujadin Krivokapic |
| Methodology | Lectures, exercises, consultations and public performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| I week exercises | |
| II week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| II week exercises | |
| III week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| III week exercises | |
| IV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| IV week exercises | |
| V week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| V week exercises | |
| VI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VI week exercises | |
| VII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VII week exercises | |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VIII week exercises | |
| IX week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| IX week exercises | |
| X week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| X week exercises | |
| XI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XI week exercises | |
| XII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XII week exercises | |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XIII week exercises | |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XIV week exercises | |
| XV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 7 credits x 40/30=9 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 7 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
9 hour(s) i 20 minuts x 16 =149 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 9 hour(s) i 20 minuts x 2 =18 hour(s) i 40 minuts Total workload for the subject: 7 x 30=210 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 42 hour(s) i 0 minuts Workload structure: 149 hour(s) i 20 minuts (cources), 18 hour(s) i 40 minuts (preparation), 42 hour(s) i 0 minuts (additional work) |
| Student obligations | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / FLUTE V
| Course: | FLUTE V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3500 | Obavezan | 5 | 7 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 7 credits x 40/30=9 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 7 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
9 hour(s) i 20 minuts x 16 =149 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 9 hour(s) i 20 minuts x 2 =18 hour(s) i 40 minuts Total workload for the subject: 7 x 30=210 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 42 hour(s) i 0 minuts Workload structure: 149 hour(s) i 20 minuts (cources), 18 hour(s) i 40 minuts (preparation), 42 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCORDION V
| Course: | ACCORDION V/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3512 | Obavezan | 5 | 7 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Graduated from music high school- instrumental course and successfully passed Entrance Exam. |
| Aims | - Mastering the technique of playing the accordion and interpreting the literature for the accordion. - Training for independent work on new compositions. - Acquiring knowledge and skills to act as a concert accordionist and chamber musician. - Creating a basis for acquiring pedagogical qualifications - accordion teachers in music schools. |
| Learning outcomes | The student will: - Introduce, analyze, judge, evaluate and perform the repertoire for classical accordion from early music to modern trends of the 21st century. - Introduce and be aware of the functions of the playing apparatus, understand the interaction of the playing apparatus and the tone that needs to be realized. - Apply technical skills to perform a certain composition. - Get acquainted with the repertoire for classical accordion and synthesize the acquired knowledge when creating your own interpretation of a work of art. - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions. - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation. - Create your own opinion based on the collected information and be able to evaluate the heard examples. -Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | Full professor Predrag Jankovic |
| Methodology | Lectures, exercises, concerts |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| I week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor • Scales (3rd order-major/minor): through 2 octaves in parallel and in opposite movement, thirds and sextes in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sextes) MM; quarter - min. 80 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: Childrens ensembles V. Zolotaryov, A. Nagajev, V. Zubitsky, A. Beloshitsky: Suite no.4 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: P. Londonov: Scherzo-toccata, V. Bonakov: Sonata-balada 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, G. Shenderov: 24 Concert Etudes, R. Brucci: Concert etudes, M.Moszkowski: etudes in F major, G minor, A. Krzanowski: Three studies Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| Student workload | In the semester Teaching and final exam: (13 hours and 20 minutes) x 16 = 213 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (13 hours and 20 minutes) = 26 hours and 40 minutes Total load for the course: 10 x 30 = 300 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 213 hours and 20 minutes (teaching) + 26 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 7 credits x 40/30=9 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 7 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
9 hour(s) i 20 minuts x 16 =149 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 9 hour(s) i 20 minuts x 2 =18 hour(s) i 40 minuts Total workload for the subject: 7 x 30=210 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 42 hour(s) i 0 minuts Workload structure: 149 hour(s) i 20 minuts (cources), 18 hour(s) i 40 minuts (preparation), 42 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | M. Moszkowski: etudes in F major, G minor ed.International music company A. Krzanowski: Three studies manuscript I. Josipovic: Arambesque manuscript J. S. Bach: Orgelwerke ed. Peters Leipzig A. Nordheim: Flashing ed W.Hansen G. Shenderov: 24 Etudes ed. Music Moskow B. Papandopulo: 8 manuscript studies M. Brajkovic: Contrasts manuscript J. S. Bach: 16 Konzerte ed. Peters Leipzig P. Londonov: Scherzo-toccata ed, Music Moskow |
| Examination methods | Forms of knowledge assessment and grading: Colloquium program: • Two scales per fifth or quartic circle through 2 octaves in parallel and in opposite motion, thirds and sixths in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sixths) Exam program: 1. Polyphonic composition 2. Cyclic composition 3. The composition of the old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Grading: Attendance: 30 points; Colloquium 20 points; Exam 50 points 91 – 100 Grade A 81 – 90 Grade B 71 – 80 Grade C 61 – 70 Grade D 51 – 60 Grade E 0 – 50 Grade F |
| Special remarks | Languages in which it is possible to attend classes: Montenegrin, Russian, and English. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLIN 5
| Course: | VIOLIN 5/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11456 | Obavezan | 5 | 11 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 11 credits x 40/30=14 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 12 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
14 hour(s) i 40 minuts x 16 =234 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 14 hour(s) i 40 minuts x 2 =29 hour(s) i 20 minuts Total workload for the subject: 11 x 30=330 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 66 hour(s) i 0 minuts Workload structure: 234 hour(s) i 40 minuts (cources), 29 hour(s) i 20 minuts (preparation), 66 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CLARINET 5
| Course: | CLARINET 5/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11465 | Obavezan | 5 | 11 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed Clarinet IV exam. |
| Aims | - Mastering the technique of clarinet playing (breathing techniques, tone shaping, intonation control). - Developing auditory and expressive abilities. - Introduction to clarinet literature of all periods and styles. - Enabling the student for independent work and creating their own interpretation of a musical work. - Acquiring the knowledge necessary for the work of a concert performer - clarinetist, as a soloist, chamber and orchestral musician. |
| Learning outcomes | The student will be able to: 1. Understand and perform advanced techniques of sound control, its range and quality. 2. Perform advanced technical exercises and etudes stipulated by the study program. 3. Publicly perform advanced concert repertoire consisting of various styles. 4. Know and perform clarinet repertoire of the 20th and 21st centuries. 5. Contribute to the realization of a musical works performance with their own ideas in accordance with its stylistic features. 6. Independently realize a program performance in collaboration with other performers. 7. Decide on the repertoire they perform and on their further performing development. 8. Decide on their musical expression. 9. Perform in concerts and competitions. |
| Lecturer / Teaching assistant | mr Petar Garić |
| Methodology | Lectures, practice, consultations, and public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| I week exercises | |
| II week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| II week exercises | |
| III week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| III week exercises | |
| IV week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| IV week exercises | |
| V week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| V week exercises | |
| VI week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VI week exercises | |
| VII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VII week exercises | |
| VIII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VIII week exercises | |
| IX week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| IX week exercises | |
| X week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| X week exercises | |
| XI week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XI week exercises | |
| XII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XII week exercises | |
| XIII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XIII week exercises | |
| XIV week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XIV week exercises | |
| XV week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XV week exercises |
| Student workload | Weekly: 8 credits x 40/30 = 10 hours and 40 minutes Structure: 3 hours lectures; 0 hours practice; 7 hours and 40 minutes individual student work (preparation for lab exercises, colloquia, homework assignments), including consultations. Per Semester: Teaching and final exam: (10 hours and 40 minutes) x 16 = 170 hours and 40 minutes Necessary preparation before the start of the semester (administration, enrolment, certification): 2 x (10 hours and 40 minutes) = 21 hours and 20 minutes Total workload for the course: 8 x 30 = 240 hours. Additional work for exam preparation in the remedial examination period, including taking the remedial exam, from 0 - 30 hours. Workload Structure: 170 hours and 40 minutes (teaching) + 21 hours and 20 minutes (preparation) + 30 hours (additional work). |
| Per week | Per semester |
| 11 credits x 40/30=14 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 12 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
14 hour(s) i 40 minuts x 16 =234 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 14 hour(s) i 40 minuts x 2 =29 hour(s) i 20 minuts Total workload for the subject: 11 x 30=330 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 66 hour(s) i 0 minuts Workload structure: 234 hour(s) i 40 minuts (cources), 29 hour(s) i 20 minuts (preparation), 66 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance, performances in public classes, class concerts, and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD), and reading professional literature. |
| Consultations | |
| Literature | F. Thurston - Passage Studies (1, 2, 3), R. Jettel - Der vollkommene Klarinettist, R. Jettel – Spezial-Etuden, M. Bitsch - 12 etudes de rythme, R. Kell – 17 staccato studies, E. Bozza - 14 etudes de mecanisme, P. Jeanjean - 16 etudes modernes; J. S. Bach, U. Delecluse: 15 etudes, K. Kroll: Capricci. C.M. Weber – Concerto No. 2 in E-flat major, A. Copland: Concerto, P. Hindemith – Concerto, H. Tomasi – Concerto. A. Bax – Sonata, B. Bjelinski – Sonata, D. G. Mason – Sonata Op. 14, J. Brahms – Sonata No. 1 in F minor, P. Hindemith – Sonata, F. Poulenc – Sonata. R. Schumann – Fantasiestücke, R. Schumann – 3 Romances, A. Grgin – Rhapsody, H. Sutermeister – Capriccio, E. Chausson - Andante et allegro, L. Cahuzac - Variations on a Provençal Theme, G. Rossini - Introduction, Theme and Variations, A. Grgin – Theme and Variations No. 2, B. Kovacs – Hommages, Ante Grgin – Capriccio. |
| Examination methods | Colloquium Programme: Scales (major, minor, whole-tone) legato, staccato, broken, thirds, triads, V7, VII7. Two etudes from the literature. Technical exercises. Exam Programme: Sonata of choice from the literature. Piece for solo clarinet or virtuoso work of choice from the literature. Grading: Attendance: 30 points; Colloquium: 20 points; Exams: 50 points. 91 – 100 Grade A, 81 – 90 Grade B, 71 – 80 Grade C, 61 – 70 Grade D, 51 – 60 Grade E, 0 – 50 Grade F. |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCOMPANIMENT VI
| Course: | ACCOMPANIMENT VI/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2239 | Obavezan | 6 | 2 | 1++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | -Successfully passed the exam of the course Correpetition V. |
| Aims | - Mastering the technique of joint playing and artistic communication. - Training for independent work on new compositions. - Mastering the skills of playing prima vista and transposition techniques. - Acquiring knowledge to work as an artistic associate accompanist. - Creation of the basis for acquiring a pedagogical qualification - piano associate - accompanist in music schools. |
| Learning outcomes | The student will: - Get to know and study the techniques of playing together in correlation with different instruments - Get to know and study the techniques of playing prima vista and transposition to different intervals - Apply the acquired technical skills to the performance of a specific composition - Get to know the literature for different instruments, vocal and operatic literature - Get to know the technology of working with singers and acquire the skills of practical work with them - Realize the assigned literature from the stylistic aspect, that is, the musical context of the given compositions - Develop the skills of correct interpretation of assigned musical material - Form your own opinion based on the collected information and be able to evaluate the examples you have listened to, - Have personal access to the artwork, - To evaluate and evaluate ones own achievements as well as the achievements of other musicians in a joint performance. - To be qualified to work as a piano assistant in music schools |
| Lecturer / Teaching assistant | Professor Oleksij Molčanov Teaching assistant Vladana Perović |
| Methodology | -Lectures, exercises, joint rehearsals, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| I week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| II week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| II week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| III week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| III week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| IV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| IV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| V week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| V week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| VI week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| VI week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| VII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| VII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| VIII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| VIII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| IX week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| IX week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| X week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| X week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| XI week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| XI week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| XII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| XII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| XIII week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| XIII week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| XIV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| XIV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| XV week lectures | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| XV week exercises | The content is carried out in an open curriculum, with a dynamic adapted to the students prior knowledge and consent possibilities of the Music Academy Work on: - -With exercises for playing the prima vista (compositions from the pedagogical repertoire for the 1st grade of secondary school musical schools, that is, the inventions of J.S. Bach, sonatas by Haydn, compositions of a smaller form Chopin, Mendelssohn, Schubert) - -With transposition exercises for the whole degree - -Accompanying the entire concert for the selected instrument and orchestra - -Accompaniment of at least three smaller pieces with different selected instruments |
| Student workload | Weekly 2 credits x 40/30 = 2 hours and 40 minutes Structure: 1 hour....of lectures 0 hours….. exercise 1 hour 40 minutes……… individual student work (preparation for exercises, colloquiums, doing homework) including consultations In the semester Lessons and final exam: (2 hours and 40 minutes) x 16 = 42 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (2 hours and 40 minutes) = 5 hours and 20 minutes Total workload for the course: 2 x 30 = 60 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 42 hours and 40 minutes (teaching) + 5 hours and 20 minutes (preparation) + 12 hours (overtime) |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 1 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | -Regular attendance at classes, performances at public classes, class concerts and academy concerts, regular exercise, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | - Sheet music for playing prima vista (inventions by J.S. Bach, sonatas by Haydn and Mozart, etudes by Cherni, Berens, Klementi, compositions smaller form of Mendelssohn, Schubert, Schumann, Chopin, Tchaikovsky) - Sheet music for transposition - Sheet music for accompaniment, that is, joint playing of concerts with different instruments (Mozart, Rajnecke concerts for flute and orchestra, Venjavski, Paganini, Saint-Saëns, Sibelius, Barber, Mozart for violin and orchestra, Štamitz for clarinet and orchestra, Hummel, Haydn for trumpet and orchestra, Lalo, Schumann for cello and orchestra) - Sheet music for rehearsing, that is, playing compositions of smaller and larger forms with different instruments (compositions Doppler, Enesko, Tafanela for flute and piano, Sarasate, Venjavski for violin and piano, Bara, Brandt for trumpet and piano, Rabo, Martinu for clarinet and piano) |
| Examination methods | Colloquium program: - Tutoring one composition of your choice from the program for the final exam of the 6th semester Exam program: A final recital with at least two solos lasting at least 30 minutes, which is performed publicly and must contain - Accompanying the entire instrumental concert - Accompaniment of two or more compositions of a smaller or larger form Gradeing: Comings: 30 points; Colloquium 20; Exam 50 points 91 – 100 grade A 81 – 90 grade B 71 – 80 grade C 61 – 70 grade D 51 – 60 grade E 0 – 50 grade F |
| Special remarks | Languages in which it is possible to follow classes: English, Russian, Ukrainian |
| Comment | Teaching is done individually |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / PEDAGOGY II
| Course: | PEDAGOGY II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4827 | Obavezan | 6 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / MUSICAL ANALYSIS VI
| Course: | MUSICAL ANALYSIS VI/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11418 | Obavezan | 6 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | At the end of the class, the students made significant progress in all aspects of musical analysis and on using the example of the selected program, they are able to analytically understand the works of different stylistic epochs. |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / INTERNSHIP II
| Course: | INTERNSHIP II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11435 | Obavezan | 6 | 2 | +2+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
0 sat(a) theoretical classes 0 sat(a) practical classes 2 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CONCERT PRACTISE II
| Course: | CONCERT PRACTISE II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11437 | Obavezan | 6 | 2 | +2+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | no conditionality |
| Aims | Acquiring concert practice from instrument lessons |
| Learning outcomes | The student will: - Gain concert experience. - Master the scene. |
| Lecturer / Teaching assistant | |
| Methodology | public performances and concerts of the academy |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| I week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| II week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| II week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| III week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| III week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| IV week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| IV week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| V week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| V week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VI week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VI week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VII week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VII week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VIII week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| VIII week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| IX week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| IX week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| X week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| X week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XI week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XI week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XII week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XII week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XIII week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XIII week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XIV week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XIV week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XV week lectures | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| XV week exercises | Preparation and registration of the semester During the semester, in the form of exercises, rehearsals and public performances, students gain concert practice by mastering certain performance requirements. Practice takes place through cooperation with cultural institutions, secondary and junior music schools, and CSO. Areas characteristic of performing arts are dealt with through practice. Final test Certification of the semester and registration of grades Additional classes and regular exam period |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
0 sat(a) theoretical classes 0 sat(a) practical classes 2 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | weekly 2 credits x 40/30 ═ 5 hours and 20 minutes. Structure: 1 hour and 30 minutes. Practice 3 hours and 50 minutes. independent work in the semester Lessons and final exam (2 hours and 15 minutes) x 15 ═ 33 hours and 45 minutes. Necessary preparations before the beginning of the semester (administration, registration, certification) 2 x (2 hours and 15 minutes) ═ 4 hours and 30 minutes. Total workload 4 x 30 hours ═ 120 hours Structure: 33 hours and 45 minutes (class) + 4 hours and 30 minutes. (preparation) + 81 hours and 45 minutes. (independent and supplementary work) |
| Consultations | |
| Literature | The literature is based on the repertoire played by the student on an instrument, choir, orchestra, chamber music and accompaniment. |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / HISTORY OF MONTENEGRIN MUSIC
| Course: | HISTORY OF MONTENEGRIN MUSIC/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11592 | Obavezan | 6 | 2 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 0 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
2 hour(s) i 40 minuts x 16 =42 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 2 hour(s) i 40 minuts x 2 =5 hour(s) i 20 minuts Total workload for the subject: 2 x 30=60 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 12 hour(s) i 0 minuts Workload structure: 42 hour(s) i 40 minuts (cources), 5 hour(s) i 20 minuts (preparation), 12 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHOIR WITH BASES OF VOCAL TECHNIQUE VI
| Course: | CHOIR WITH BASES OF VOCAL TECHNIQUE VI/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4859 | Izborni | 6 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | * Knowledge and performance of choral literature of different styles and genres; possession of practical and theoretical knowledge about joint work; knowing and developing own vocal technique; training for independent management of larger groups of singers that are formed according to the requirements of the score (childrens choir, womens choir, mens choir and mixed choir). |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ORCHESTRA VI
| Course: | ORCHESTRA VI/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 4871 | Izborni | 6 | 3 | 2+3+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | - Passed exam Orchestra with Knowledge of Orchestral Literature V. |
| Aims | - Mastering the technique of playing in orchestra and acquiring orchestral practice. |
| Learning outcomes | Student: - Knows and performs orchestral literature of various styles and genres. - Possesses practical and theoretical knowledge in common music making. - He knows and develops his own technique. - He is aware of non-verbal communication with other members of the orchestra. - He is able to hear and shape the common sound of the orchestra, and adapt it to the general intonation, dynamics and tone color. |
| Lecturer / Teaching assistant | - Teacher: Miran Begić, full professor. - Associate: Dušan Obrenović, teaching associate. |
| Methodology | - Lectures, practical work, exercises, public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| I week exercises | - The content is carried out in an open curriculum, with dynamics and a program adapted to the needs of public performances of the Academy of Music, and other related study programs, as chosen by the teacher. The repertoire includes artistic instrumental and vocal-instrumental music, from the Baroque era to the music of the XXI century. - String orchestra (Vn I, Vn II, Vl, Vc, Cb). - Connecting different groups of strings. - Exercises with woodwinds and brass. - Acquaintance with the intended literature or concert program. - Acquaintance with a specific overture (V. A. Mozart, L. van Beethoven). - Joining a group of strings and wind instruments (overture). - Acquaintance with the given symphony (J. Haydn, V. A. Mozart). - Work on technically demanding parts in the overture. - Work on technically demanding parts in the symphony. - Getting to know the orchestral accompaniment. - Setting up the interpretation of the overture and symphony. - Rehearsal with a soloist (violin, piano, flute). - Preparations for the concert. - Concert. |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | - Lectures: 2 academic hours per week. - Exercises: 3 academic hours per week. |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 3 excercises -1 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | - Regular attendance, active work in classes, public performances, academy concerts. |
| Consultations | - Individual and group type. |
| Literature | - Works by baroque composers for strings. - Works of classicism and romanticism to modern and contemporary compositions. |
| Examination methods | - Attendance: 30 points; - Colloquiums: 20 points; - Exams: 50 points (including public performances, activity and commitment in class). |
| Special remarks | - Group work with students. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / SOLFEGE VI
| Course: | SOLFEGE VI/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2154 | Obavezan | 6 | 3 | 1+1+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 3 credits x 40/30=4 hours and 0 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 1 excercises 2 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
4 hour(s) i 0 minuts x 16 =64 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 4 hour(s) i 0 minuts x 2 =8 hour(s) i 0 minuts Total workload for the subject: 3 x 30=90 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 18 hour(s) i 0 minuts Workload structure: 64 hour(s) i 0 minuts (cources), 8 hour(s) i 0 minuts (preparation), 18 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / WIND INSTRUMENTS TRAINING II
| Course: | WIND INSTRUMENTS TRAINING II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11443 | Obavezan | 6 | 4 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | No conditionality |
| Aims | The goal of studying the subject is the formation of teaching staff for teaching instruments in primary and secondary music schools according to the needs of the educational process. To train the student to independently analyze and study issues of music pedagogy and individual instrumental teaching. |
| Learning outcomes | The student has acquired theoretical knowledge and is able to problematize topics from previous areas in an argumentative manner, demonstrating his analytical and critical thinking; the student knows different approaches in designing programs in elementary and secondary music schools and can design and perform their content in the form of written preparations and simulations; the student knows the criteria for evaluating knowledge. He has a developed ability to think creatively, the ability to connect theory and practice, he is able to present musical content in class. |
| Lecturer / Teaching assistant | Prof. Jelena Martinović-Bogojević, PhD Prof. Tatjana Krkeljić, MA |
| Methodology | Lectures with demonstrations on given topics; discussions in lectures and workshops; preparation for class; preparation of student presentations in workshops; consultations, practical lectures - simulation. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Introductory lecture (course content) |
| I week exercises | |
| II week lectures | Music pedagogy as a scientific discipline |
| II week exercises | |
| III week lectures | Significance and characteristics of the instrument teaching methods |
| III week exercises | |
| IV week lectures | Significant music didactics concepts in the 20th century (Orff, Dalcroze, Willems) |
| IV week exercises | |
| V week lectures | Significant music didactics concepts in the 20th century (Martenot, Artobolevskaya, Nikolayev) |
| V week exercises | |
| VI week lectures | Characteristics of individual instrument teaching |
| VI week exercises | |
| VII week lectures | Determining a childs musical abilities |
| VII week exercises | |
| VIII week lectures | Encouraging musical creativity among students of lower music schools (Part I) |
| VIII week exercises | |
| IX week lectures | Encouraging musical creativity among students of lower music schools (Part II) |
| IX week exercises | |
| X week lectures | The optimal start to learning the instrument |
| X week exercises | |
| XI week lectures | Analysis of subject programs for teaching instruments in primary music schools (1st cycle) |
| XI week exercises | |
| XII week lectures | Analysis of subject programs for teaching instruments in primary music schools (2nd cycle) |
| XII week exercises | |
| XIII week lectures | Analysis of subject programs for teaching instruments in primary music schools (3rd cycle) |
| XIII week exercises | |
| XIV week lectures | Methods for beginners (Part I) |
| XIV week exercises | |
| XV week lectures | Methods for beginners (Part II) |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 4 credits x 40/30=5 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 3 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
5 hour(s) i 20 minuts x 16 =85 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 5 hour(s) i 20 minuts x 2 =10 hour(s) i 40 minuts Total workload for the subject: 4 x 30=120 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 24 hour(s) i 0 minuts Workload structure: 85 hour(s) i 20 minuts (cources), 10 hour(s) i 40 minuts (preparation), 24 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance of lectures, active participation, analysis of topics covered, demonstration of certain teaching methods. |
| Consultations | |
| Literature | Oscar, Odena (2012): Musical Creativity, Insights from Music Education Research, London:Rutledge. Bjerkvol, J., R. (2006): Nadahnuto biće. Beograd: Plato. Mirković- Radoš (1996-2010): Psihologija muzike, Beogra: Zavod z udžbenike i nastavna sredstva. Bogunović, B. (2008): Muzički talenat i uspešnost, Beograd: Institut za pedagoška istraživanja. Rojko P, Metodika nastave glazbe, teorijsko- tematski aspekti, online izdanje, Zagreb, 2012. Martinović Bogojević, J., (2013): Interdisciplinary approach in developing textbooks for Music culture, proceedings from the third international symposium of musical pedagogues, Pula, 18th-20th april, 2013. 157-187. Selak, S. (2011), Metodika nastave limenih duhaćih instrumenata , MA, Zagreb;Galamian, I. (1977), Sviranje na violini i violinska pedagogija, Beograd;Miranov, L (1964). Metodika violine, Zagreb;Nagy, M.(1972), Metodika violončela, MA, Zagreb;Benzi, W. (1963) Il contrabasso, Milano;Dietz, W. (1998) Teaching Woodwinds: A Method and Resource Handbook for Music Educators, Schirmer Books; NY |
| Examination methods | Theoretical knowledge from the areas covered and methods of their practical application. Colloquium and Oral exam. 51-60%: 6, 61-70%: 7, 71-80%: 8, 81-90%: 9, 91-100%, 10 |
| Special remarks | Lectures take place in groups (piano, guitar, accordion) (classical wind and string instruments) |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CHAMBER MUSIC VI
| Course: | CHAMBER MUSIC VI/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 2225 | Obavezan | 6 | 5 | 2+2+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | None |
| Aims | *Developing technical and colaborative skills in ensamble playing and exploring creativity in interpretation. (artistry of musical expression) *Performing chamber music repertoire from different eras and styles as a member of classical and non-classical ensembles. *Getting familiar with the chamber music literature from all stylistic periods. * Collaboration of students throughout all the performance departments; * Introduction to principles of chamber music performance; * Developing musical taste and musicality through ensamble playing; * Improving sightreading and speed learning skills; * Enabling students to independently work on new repertoire; * Developing teamwork skills through ensemble playing. |
| Learning outcomes | * Awareness and development of tone qualities, shaping, balance and blending and sustained solid intonation within ensemble; understanding and recognizing approaches to music analysis; develop an awareness and understanding of repertoire for a variety of chamber ensembles; understanding historical, social and musical contexts of chamber music repertoire and the ability to analyze a given music literature from its historical and stylistic aspects; develop an ability to recognize key stylistic areas and historical informed performance; assimilate and integrate the acquired knowledge into a common interpretation of the repertoire within the ensemble; engaging effectively in the work of the ensemble; knowledge of specifics and strategies of chamber ensemble rehearsals. |
| Lecturer / Teaching assistant | * Professor Žana Lekić, MMus, Professor Miran Begić, MMus, Professor Predrag Janković, MMus, Associate Professor Nataša Popović, MMus, Professor Danijel Cerović, MMus |
| Methodology | * Lectures, performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | *Meeting agenda: forming the ensemble, selecting the program for the quiz and exam, and creating the lecture schedule. |
| I week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| II week lectures | * The course content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of the ensemble members. Mastering the musical score of a chamber work for the colloquium involves structural and harmonic analysis, as well as the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the overall musical heritage of the corresponding epoch. |
| II week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| III week lectures | *Mastering the musical score of a chamber work through structural and harmonic analysis and the recognition of fundamental stylistic features, which leads to the establishment of basic interpretative parameters. This implies a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works belonging to the overall musical heritage of the corresponding epoch. |
| III week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| IV week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| IV week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| V week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| V week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| VI week lectures | *Final segment of the work on the program for the colloquium: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| VI week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| VII week lectures | Colloquium |
| VII week exercises | Colloquium |
| VIII week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| VIII week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| IX week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| IX week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| X week lectures | *Mastering the musical score of a chamber work for the exam through structural and harmonic analysis and the recognition of fundamental stylistic features, leading to the establishment of basic interpretative parameters. This involves a correlation with the course *Musical Work Analysis*. In this way, the student has the opportunity to make a comparison between the composition being studied and the works of the entire musical heritage of the epoch to which it belongs. |
| X week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| XI week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XI week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| XII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XII week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| XIII week lectures | *Examining articulation elements in addressing performance issues related to ensemble playing in terms of meter, rhythm, and agogics. Special emphasis is placed on achieving tonal balance within the ensemble. |
| XIII week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| XIV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XIV week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| XV week lectures | *Final segment of the work on the program for the exam: achieving a cohesive tonal image of the chamber ensemble, consistency in concept, and the persuasiveness of musical expression. |
| XV week exercises | * Practicing the practical application of theoretical content from lectures through work on chamber music pieces and ensemble. |
| Student workload | * Weekly: 4 credits x 40/30 = 5 hours and 20 minutes Structure: 2 hours lectures 0 hours practical 2 hours and 20 minutes Indipendent and directed learning (non contact) (preparation for laboratory exercises, for colloquia, individual practice and rechearsals) including consultations * During the semester: Teaching and final exam: (5 hours and 20 minutes) x 16 = 85 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (5 hours and 20 minutes) = 10 hours and 40 minutes Total load for the subject: 4 x 30 = 120 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 85 hours and 20 minutes (teaching) + 10 hours and 40 minutes (preparation) + 24 hours (additional work) |
| Per week | Per semester |
| 5 credits x 40/30=6 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 2 excercises 2 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
6 hour(s) i 40 minuts x 16 =106 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 6 hour(s) i 40 minuts x 2 =13 hour(s) i 20 minuts Total workload for the subject: 5 x 30=150 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 30 hour(s) i 0 minuts Workload structure: 106 hour(s) i 40 minuts (cources), 13 hour(s) i 20 minuts (preparation), 30 hour(s) i 0 minuts (additional work) |
| Student obligations | *Regular class attendance, exercise, independent and joint work; * Public appearances; * Monitoring concerts, seminars and lectures of visiting professors, active participation in seminars; * Listening, comparison and analysis of different performances of a given composition, reading professional literature; * Colloquium in the ninth week of the semester; * Exam after the completed semester. |
| Consultations | |
| Literature | * The repertoire for chamber music is very extensive and the choice of literature is determined in accordance with the composition of the ensemble as well as the level of knowledge, skills and abilities of the members of the ensemble. * Chamber opus (duo, trio, quartets, quintets) of the following composers: J. S. Bach, A. Vivaldi, J. Haydn, W. A. Mozart, L. v. Beethoven, F. Sor, M. Giuliani, F. Schubert, F. Mendelssohn - Bartholdy, J. Brahms, R. Schumann, JK Mertz, F. Luzatto, N. Coste, A. Dvořak, B. Smetana, S. Rachmaninoff , M. Ravel, C. Debussy, E. Satie, ML Tournier, D. Shostakovitch, A. Khachaturian, P. Hindemith, B. Martinů, B. Bartok, A. Reicha, F. Danzi, B. Britten, Castelnuovo- Tedesco, J. Ibert, J. Francaix, JM Damase, D. Milhaud, S. Barber, J. Pauer, W. Lutoslawski, Leonard Call, Dušan Bogdanović, Leo Brower, Manuel de Falla, Federico Mompou, B. Dowlasz, J Feld, M. Reger, V. Zolotarjov, J. Tiensuu, V. Podgorni, J. Gancer, B. Shehu, F. Dobler, V. Zubitshy, A. Piazzolla et al. * Compositions for piano duo: - J. S. Bach, F. Händel, J. Chr. Bach, WA Mozart, L. van Beethoven, H. Jadin, F. Schubert, R. Schumann, F. Chopin, G. Faure, J. Brahms, M. Reger, A. Dvorak, E. Grieg, S. Rachmaninoff, C. Saint-Saens, C. Debussy, M. Ravel, F. Poulenc, D. Milhaud, E. Satie, W. Lutoslawski, I. Stravinsky, D. Shostakovitch, B. Britten, A. Schnittke, and others. * Compositions from chamber opus and other composers that meet the requirements of the required level of study. * Compositions from the chamber opus of Montenegrin composers that meet the requirements of the required level of study. * Transcriptions that meet the requirements of the required level of study (non-standard ensembles). |
| Examination methods | * Attendance: maximum 30 points; * Colloquium: maximum 20 points; * Final exam: maximum 50 points; * A passing grade is obtained if the student collects 50 points. |
| Special remarks | * During the semester, the student must complete one cyclic work for chamber ensemble; program includes original compositions and already existing transcriptions which meet the requirements of the required level of study, lasting up to 15 minutes. * Languages in which it is possible to attend classes: - Montenegrin and English |
| Comment | * The number of members in the ensemble and the number of ensembles depends first of all on the capacity of the Music Academy and the enrollment of new candidates for each subsequent academic year. * Due to the different affinities and performing abilities of students, as well as the specifics of the formation of various chamber ensembles, ensemble members can be students of the same or different years of study; * It is required, at least once during the semester to organize a public appearance that can be within the class; * The formed ensemble can be changed during the semester only for objective reasons (e.g. illness of an ensemble member, termination of the student status of an ensemble member, obtaining a scholarship to continue studies at another faculty, etc.). |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / PIANO VI
| Course: | PIANO VI/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3491 | Obavezan | 6 | 5 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Successfully passed the Piano V exam |
| Aims | Mastering the technique of the piano playing and interpretation of piano literature - Training for independent work on new compositions - Acquiring knowledge and skills to act as a concert pianist, chamber musician and accompanist. - Creating the basis for acquiring pedagogical qualifications – piano teachers in music schools. |
| Learning outcomes | Student will: - Acquire and be aware of the production of the piano tone in relation to the functioning of the instrument mechanism - Acquire and be aware of the functions of the playing apparatus; understand the interaction of the playing apparatus and the tone to be realized - Apply technical skills to perform a certain composition,, - Acquire piano repertoire - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation - Create your own opinion based on the collected information and be able to evaluate the heard examples, - Systematize the acquired knowledge in creating your own interpretation; have a personal approach to the work of art, Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | full time prof. Bojan Martinović, assos. prof. Vladimir Domazetović |
| Methodology | Lectures, exercises, concert practice |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| I week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| II week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| II week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| III week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| III week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| IV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| IV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| V week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| V week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VI week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VI week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VIII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| VIII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| IX week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| IX week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| X week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| X week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XI week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XI week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XIII week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XIII week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XIV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XIV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XV week lectures | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| XV week exercises | The content is performed in an open curriculum, dynamics adapted to the prior knowledge and abilities of each student. Work on: - Two concert etudes - Classical sonata, variations and rondo (VA Mozart, J. Haydn, D. Scarlatti, L. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX and XXI century |
| Student workload | In the semester Teaching and final exam: (13 hours and 20 minutes) x 16 = 213 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (13 hours and 20 minutes) = 26 hours and 40 minutes Total workload for the course: 10 x 30 = 300 hoursAdditional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 213 hours and 20 minutes (teaching) + 26 hours and 40 minutes (preparation) + 30 hours (additional work) In a week 10 credits x 40/30 = 13 hours and 20 minutesStructure: 3 hours of lectures 1 hour of exercise 9 hours and 20 minutes of individual student work (preparation for laboratory exercises, for colloquia, homework) including consultations |
| Per week | Per semester |
| 5 credits x 40/30=6 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 4 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
6 hour(s) i 40 minuts x 16 =106 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 6 hour(s) i 40 minuts x 2 =13 hour(s) i 20 minuts Total workload for the subject: 5 x 30=150 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 30 hour(s) i 0 minuts Workload structure: 106 hour(s) i 40 minuts (cources), 13 hour(s) i 20 minuts (preparation), 30 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature |
| Consultations | |
| Literature | Representation of the following authors is necessary: JS Bach: Prelude and Fugues, Toccatas, English Suite, Partite; GF Handel: Suite; D. Scarlatti: Sonatas, Ramo, Kupren, VAMocart: Sonatas, Fantasies, Variations, Piano Concertos, F. Schubert: Sonatas, Lv Beethoven: Sonatas, Ronda, Bagatele, Piano Concertos, Variations, F. Chopin: Etudes, Polonaises, Balde, Scherzo, Fantasy, Polonaise Fantasy, Mazurkas, Preludes, Berzeza, Barcarola, Piano Concertos, Variations, Sonatas; F. List: Etudes, Rhapsodies, Sonata in E minor, Year of Pilgrimage cycle, Piano Concertos, JR Schumann: Fantasy, Chryslerian, Forest Scenes, Childrens Scenes, Piano Concerto, E. Grieg: Piano Concerto, Sonata, J. Brahms: Sonatas Variations, Intermezza, Rhapsodies, K. Debussy, M. Ravel: Gaspard de la nuit, Mirroirs, Piano Concertos, Sonatina, A. Scriabin: Sonatas, Preludes, Etudes, Poems, S. Rachmaninoff: Etudes of Paintings, Preludes, Sonatas, Variations , S. Prokofiev: Sonatas, Etudes, Piano Concertos, Đ. Ligeti: Etudes, Music of the Little Riders O. Messian: 20 Views of the Child Jesus, A. Schoenberg, A. Berg, I. Stravinsky, A. Webern. |
| Examination methods | Exam program: - Piano Concerto by V. A. Mozart Note: The exam is performed by heart Rating: Arrivals: 50 points; Exam 50 points 91 - 100 grade A 81 - 90 grade B 71 - 80 grade C 61 - 70 r grade D 51 - 60 grade E 0 – 50 grade F |
| Special remarks | Languages in which it is possible to attend classes: English, French. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLIN VI
| Course: | VIOLIN VI/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3095 | Obavezan | 6 | 7 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed violin exam V |
| Aims | - Mastering the technique of playing the violin and interpretation of violin literature. - Training for independent work in the analysis and interpretation of new compositions - Acquiring knowledge in order for the candidate to be a successful concert violinist, chamber and orchestral musician. - Creating the basis for pedagogical work as a violin teacher in elementary and secondary music schools. - Preparation of candidates for orchestral and chamber music. |
| Learning outcomes | Learning outcomes: The student will be able to: Uses knowledge from the basics of playing the violin repertoire during the realization of the lesson. Performs independently in communication with a piano collaborator during rehearsals. Improves the technique of playing the violin with a more technically demanding program. He acquires the practice and routine needed during an independent performance in front of an audience He sees the difference between the styles and independently analyzes his approach to the interpretation of a certain work. He has knowledge about music and violin literature that was created in the 19th century = the period of romanticism. In communication with the mentor, he analyzes and devises a plan for the interpretation of a specific work (stage without an instrument), after which he approaches the practical elaboration Get to know the problems of performing the duties of a violin teacher in lower music schools. |
| Lecturer / Teaching assistant | prof. Vujadin Krivokapic |
| Methodology | Lectures, exercises, consultations and public performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| I week exercises | |
| II week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| II week exercises | |
| III week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| III week exercises | |
| IV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| IV week exercises | |
| V week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| V week exercises | |
| VI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VI week exercises | |
| VII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VII week exercises | |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| VIII week exercises | |
| IX week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| IX week exercises | |
| X week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| X week exercises | |
| XI week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XI week exercises | |
| XII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XII week exercises | |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XIII week exercises | |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XIV week exercises | |
| XV week lectures | The content is delivered in an open curriculum, with a dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory course content is: - scales and triads (through four octaves) with double notes - technical exercises, caprices and etudes - compositions of different stylistic periods and forms. During the year, the student is required to pass tests in which technical exercises, scales and etudes are performed, and exams in which they will perform works from the assigned literature (concert, sonata, virtuoso work and work for solo clarinet), of which one work must be performed by heart. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 7 credits x 40/30=9 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 7 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
9 hour(s) i 20 minuts x 16 =149 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 9 hour(s) i 20 minuts x 2 =18 hour(s) i 40 minuts Total workload for the subject: 7 x 30=210 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 42 hour(s) i 0 minuts Workload structure: 149 hour(s) i 20 minuts (cources), 18 hour(s) i 40 minuts (preparation), 42 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / FLUTE VI
| Course: | FLUTE VI/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3501 | Obavezan | 6 | 7 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 7 credits x 40/30=9 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 7 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
9 hour(s) i 20 minuts x 16 =149 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 9 hour(s) i 20 minuts x 2 =18 hour(s) i 40 minuts Total workload for the subject: 7 x 30=210 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 42 hour(s) i 0 minuts Workload structure: 149 hour(s) i 20 minuts (cources), 18 hour(s) i 40 minuts (preparation), 42 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / ACCORDION VI
| Course: | ACCORDION VI/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 3513 | Obavezan | 6 | 7 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Graduated from music high school- instrumental course and successfully passed Entrance Exam. |
| Aims | - Mastering the technique of playing the accordion and interpreting the literature for the accordion. - Training for independent work on new compositions. - Acquiring knowledge and skills to act as a concert accordionist and chamber musician. - Creating a basis for acquiring pedagogical qualifications - accordion teachers in music schools. |
| Learning outcomes | The student will: - Introduce, analyze, judge, evaluate and perform the repertoire for classical accordion from early music to modern trends of the 21st century. - Introduce and be aware of the functions of the playing apparatus, understand the interaction of the playing apparatus and the tone that needs to be realized. - Apply technical skills to perform a certain composition. - Get acquainted with the repertoire for classical accordion and synthesize the acquired knowledge when creating your own interpretation of a work of art. - Realize the given literature from the historical and stylistic aspect, IE recognize the historical, social and musical context of the given compositions. - Distinguish the stylistic features of a given program and develop the skills of their correct interpretation. - Create your own opinion based on the collected information and be able to evaluate the heard examples. -Critically estimate and evaluate ones own technical and interpretive achievements as well as technical and interpretive achievements of other musicians. |
| Lecturer / Teaching assistant | Full professor Predrag Jankovic |
| Methodology | Lectures, exercises, concerts |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| I week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| II week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| III week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| V week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| VIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| IX week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| X week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XI week lectures | |
| XI week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIII week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XIV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week lectures | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| XV week exercises | The content is delivered in an open curriculum, with a dynamic adapted to the prior knowledge and abilities of the individual student. • Technical exercises: according to the choice of the mentor 1. Polyphonic compositions: J. S. Bach: Fantasy and Fugue in A minor, Toccata and Fugue in D minor, B. Marcello-J. S. Bach: Concerto in D minor, D. Shostakovich: 24 preludes and fugues in F major, F minor, B major, E minor 2. Cyclic compositions: A. Kusyakov: Sonata no.1, 4, V. Zubicky: Concert partita, Carpathian suite, B. Precz: Sonata no.1, A. Nagajev: Sonata, A. Beloshitsky: Concert triptych, V. Zolotaryov: Partita, V Bonakov: Sonata-ballad 3. Compositions of old masters: J. S. Bach: French Suite, Sonatas by D. Scarlatti, J. A. Benda, G. B. Platti, Compositions by J. Ph. Rameau, F. Couperin 4. Original compositions: A. Nordheim: Flashing, S. Gubaidulina: De profundis, P. Londonov: Scherzo-toccata 5. Concert etudes/virtuoso compositions: H. Brehme: Paganiniana I,II, M. Moszkowski: Spanish caprice, I. Stravinsky: Tango, R. Shchedrin: In Style of Albeniz Semester content (annual program): 1. Polyphonic composition 2. Cyclic composition 3. Composition of an old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Minimum program duration is 35 minutes * Within the program, there can be several compositions whose duration corresponds to the minimum minutes. |
| Student workload | In the semester: Teaching and final exam: (13 hours and 20 minutes) x 16 = 213 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (13 hours and 20 minutes) = 26 hours and 40 minutes Total load for the course: 10 x 30 = 300 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 213 hours and 20 minutes (teaching) + 26 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 7 credits x 40/30=9 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 7 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
9 hour(s) i 20 minuts x 16 =149 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 9 hour(s) i 20 minuts x 2 =18 hour(s) i 40 minuts Total workload for the subject: 7 x 30=210 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 42 hour(s) i 0 minuts Workload structure: 149 hour(s) i 20 minuts (cources), 18 hour(s) i 40 minuts (preparation), 42 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance, performances in public classes, class concerts and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | J. S. Bach: Orgelwerke, 16 Konzerte ed. Peters Leipzig A. Kusyakov: Sonata no.1, 4 ed. Karthaus Schmuuling V. Zubicky: Concert Partita, Carpathian Suite ed.Music Moscow V. Zolotaryov: Partita ed. Music Moscow A. Nordheim: Flashing ed W.Hansen S. Gubaidulina: De profundis ed Music Moscow D. Shostakovic: D. Shostakovich: 24 preludes and fugues ed.Soviet composer Moscow A. Nagaev: Sonata ed. Music Moscow V. Londonov: Scherzo-toccata ed, Music Moscow V. Bonakov: Sonata-ballad ed. Soviet composer Moscow M. Moszkowski: Spanish caprice ed. Karthaus Schmulling R. Shchedrin: In Style of Albeniz ed. Soviet composer Moscow |
| Examination methods | Colloquium program: • Two scales per fifth or quartic circle through 2 octaves in parallel and in opposite motion, thirds and sixths in parallel and in opposite motion, 32 in R.H. through 2 octaves, broken octaves and octave repetition, bellow shake, two-strokes (thirds and sixths) Exam program: 1. Polyphonic composition 2. Cyclic composition 3. The composition of the old master 4. Original composition for accordion 5. Concert etude / virtuoso composition Grading: Attendance: 30 points; Colloquium 20 points; Exam 50 points 91 – 100 Grade A 81 – 90 Grade B 71 – 80 Grade C 61 – 70 Grade D 51 – 60 Grade E 0 – 50 Grade F |
| Special remarks | Languages in which it is possible to attend classes: Montenegrin, Russian, and English. |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / VIOLIN 6
| Course: | VIOLIN 6/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11457 | Obavezan | 6 | 11 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | |
| Lecturer / Teaching assistant | |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | |
| II week lectures | |
| II week exercises | |
| III week lectures | |
| III week exercises | |
| IV week lectures | |
| IV week exercises | |
| V week lectures | |
| V week exercises | |
| VI week lectures | |
| VI week exercises | |
| VII week lectures | |
| VII week exercises | |
| VIII week lectures | |
| VIII week exercises | |
| IX week lectures | |
| IX week exercises | |
| X week lectures | |
| X week exercises | |
| XI week lectures | |
| XI week exercises | |
| XII week lectures | |
| XII week exercises | |
| XIII week lectures | |
| XIII week exercises | |
| XIV week lectures | |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 11 credits x 40/30=14 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 12 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
14 hour(s) i 40 minuts x 16 =234 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 14 hour(s) i 40 minuts x 2 =29 hour(s) i 20 minuts Total workload for the subject: 11 x 30=330 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 66 hour(s) i 0 minuts Workload structure: 234 hour(s) i 40 minuts (cources), 29 hour(s) i 20 minuts (preparation), 66 hour(s) i 0 minuts (additional work) |
| Student obligations | |
| Consultations | |
| Literature | |
| Examination methods | |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
Music Academy / PERFORMING ARTS / CLARINET 6
| Course: | CLARINET 6/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 11466 | Obavezan | 6 | 11 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed Clarinet V exam. |
| Aims | - Mastering the technique of clarinet playing (breathing techniques, tone shaping, intonation control). - Developing auditory and expressive abilities. - Introduction to clarinet literature of all periods and styles. - Enabling the student for independent work and creating their own interpretation of a musical work. - Acquiring the knowledge necessary for the work of a concert performer - clarinettist, as a soloist, chamber and orchestral musician. |
| Learning outcomes | The student will be able to: 1. Understand and perform advanced techniques of sound control, its range and quality. 2. Perform advanced technical exercises and etudes stipulated by the study program. 3. Publicly perform advanced concert repertoire consisting of various styles. 4. Know and perform clarinet repertoire of the 20th and 21st centuries. 5. Contribute to the realization of a musical works performance with their own ideas in accordance with its stylistic features. 6. Independently realize a program performance in collaboration with other performers. 7. Decide on the repertoire they perform and on their further performing development. 8. Decide on their musical expression. 9. Perform in concerts and competitions. |
| Lecturer / Teaching assistant | professor Petar Garić |
| Methodology | Lectures, practice, consultations, and public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| I week exercises | |
| II week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| II week exercises | |
| III week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| III week exercises | |
| IV week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| IV week exercises | |
| V week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| V week exercises | |
| VI week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VI week exercises | |
| VII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VII week exercises | |
| VIII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| VIII week exercises | |
| IX week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| IX week exercises | |
| X week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| X week exercises | |
| XI week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XI week exercises | |
| XII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XII week exercises | |
| XIII week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XIII week exercises | |
| XIV week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XIV week exercises | |
| XV week lectures | The content is taught in an open curriculum, with dynamics adapted to the prior knowledge and abilities of the individual student. Mandatory content includes: - Breathing exercises, - Technical exercises and etudes, - Scales, - Orchestral excerpts, - Compositions of various stylistic periods and forms. The student is required to pass colloquia during the year, performing technical exercises, scales, and etudes, and exams, where they will perform works from the prescribed literature (concerto, sonata, virtuoso piece, and a work for solo clarinet), one of which must be performed from memory. |
| XV week exercises |
| Student workload | Weekly: 8 credits x 40/30 = 10 hours and 40 minutes Structure: 3 hours lectures; 0 hours practice; 7 hours and 40 minutes individual student work (preparation for lab exercises, colloquia, homework assignments), including consultations. Per Semester: Teaching and final exam: (10 hours and 40 minutes) x 16 = 170 hours and 40 minutes Necessary preparation before the start of the semester (administration, enrolment, certification): 2 x (10 hours and 40 minutes) = 21 hours and 20 minutes Total workload for the course: 8 x 30 = 240 hours. Additional work for exam preparation in the remedial examination period, including taking the remedial exam, from 0 - 30 hours. Workload Structure: 170 hours and 40 minutes (teaching) + 21 hours and 20 minutes (preparation) + 30 hours (additional work). |
| Per week | Per semester |
| 11 credits x 40/30=14 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 12 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
14 hour(s) i 40 minuts x 16 =234 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 14 hour(s) i 40 minuts x 2 =29 hour(s) i 20 minuts Total workload for the subject: 11 x 30=330 hour(s) Additional work for exam preparation in the preparing exam period, including taking the remedial exam from 0 to 30 hours (remaining time from the first two items to the total load for the item) 66 hour(s) i 0 minuts Workload structure: 234 hour(s) i 40 minuts (cources), 29 hour(s) i 20 minuts (preparation), 66 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance, performances in public classes, class concerts, and academy concerts, regular practice, active participation in seminars and international competitions, listening to music (CD and DVD), and reading professional literature. |
| Consultations | |
| Literature | F. Thurston - Passage Studies (1, 2, 3), R. Jettel - Der vollkommene Klarinettist, R. Jettel – Spezial-Etuden, M. Bitsch - 12 etudes de rythme, R. Kell – 17 staccato studies, E. Bozza - 14 etudes de mecanisme, P. Jeanjean - 16 etudes modernes; J. S. Bach, U. Delecluse: 15 etudes, K. Kroll: Capricci. C.M. Weber – Concerto No. 2 in E-flat major, A. Copland: Concerto, P. Hindemith – Concerto, H. Tomasi – Concerto. A. Bax – Sonata, B. Bjelinski – Sonata, D. G. Mason – Sonata Op. 14, J. Brahms – Sonata No. 1 in F minor, P. Hindemith – Sonata, F. Poulenc – Sonata. R. Schumann – Fantasiestücke, R. Schumann – 3 Romances, A. Grgin – Rhapsody, H. Sutermeister – Capriccio, E. Chausson - Andante et allegro, L. Cahuzac - Variations on a Provençal Theme, G. Rossini - Introduction, Theme and Variations, A. Grgin – Theme and Variations No. 2, B. Kovacs – Hommages, Ante Grgin – Capriccio. |
| Examination methods | Colloquium Programme: Scales (major, minor, whole-tone) legato, staccato, broken, thirds, triads, V7, VII7. Two etudes from the literature. Technical exercises. Exam Programme: Concerto of choice from the literature. Piece for solo clarinet or virtuoso work of choice from the literature. Grading: Attendance: 30 points; Colloquium: 20 points; Exams: 50 points. 91 – 100 Grade A, 81 – 90 Grade B, 71 – 80 Grade C, 61 – 70 Grade D, 51 – 60 Grade E, 0 – 50 Grade F. |
| Special remarks | |
| Comment |
| Grade: | F | E | D | C | B | A |
| Number of points | less than 50 points | greater than or equal to 50 points and less than 60 points | greater than or equal to 60 points and less than 70 points | greater than or equal to 70 points and less than 80 points | greater than or equal to 80 points and less than 90 points | greater than or equal to 90 points |
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