Music Academy / PERFORMING ARTS / ACCOMPANIMENT I
| Course: | ACCOMPANIMENT I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12901 | Izborni | 1 | 1 | 1++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | It is not conditioned |
| Aims | For piano students: - Improving the technique of joint playing and artistic communication. - Improving the art of working on new compositions. - Improving prima vista playing skills and transposition techniques. - Acquiring a pedagogical qualification - piano accompanist - accompanist in music schools and higher education institutions - Professional application of knowledge as an artistic collaborator-accompanist in concert practice For brass and string students: - Getting to know the problems of joint playing and artistic communication from the point of view of piano collaboration. - Training for independent work on new compositions. - Getting to know the technique of playing prima vista in piano literature - The ability to analyze piano parts in compositions performed with piano accompaniment |
| Learning outcomes | Student pianists will: - To acquire the art of playing together in correlation with different instruments - Recognize the specifics of the work of an artistic collaborator and be qualified to work as a piano collaborator in music schools, higher education institutions and concert institutions - Apply the techniques of playing prima vista and transposition to different intervals - Apply the knowledge of stylistic characteristics to the performance of a specific composition - Expand knowledge of literature for different instruments, vocal and operatic literature - To acquire the art of practical work with singers - Realize the assigned literature from the point of view of the musical context of the compositions - Improve the skills of correct interpretation of assigned musical material - Develop your own opinion based on the collected information and be able to evaluate the examples listened to, - Have personal access to the artwork, - Critically assess and evaluate ones own achievements as well as the achievements of other musicians in a joint performance. The student will: - Get to know and study the techniques of joint playing in correlation with the piano - Recognize the specifics of the work of artistic collaboration - Get to know the technique of playing prima vista on the piano - Apply the knowledge of stylistic characteristics to the performance of a specific composition - Realize the assigned literature from the point of view of the musical context of the compositions - Improve the skills of correct interpretation of assigned musical material - Develop ones own opinion based on the collected information and be able to evaluate the examples listened to, - Have personal access to the artwork, - Critically assess and evaluate ones own achievements as well as the achievements of the pianist in the joint performance. Wind and string students will: - Get to know and study the techniques of joint playing in correlation with the piano - Recognize the specifics of the work of artistic collaboration - Get to know the technique of playing prima vista on the piano - Apply the knowledge of stylistic characteristics to the performance of a specific composition - Realize the assigned literature from the point of view of the musical context of the compositions - Improve the skills of correct interpretation of assigned musical material - Develop ones own opinion based on the collected information and be able to evaluate the examples listened to, - Have personal access to the artwork, - Critically assess and evaluate ones own achievements as well as the achievements of the pianist in the joint performance. |
| Lecturer / Teaching assistant | Professor Oleksij Molčanov Teaching assistant Vladana Perović |
| Methodology | For piano students: -Lectures, exercises, joint rehearsals, concert practice For brass and string students: -Lectures, exercises and rehearsals with piano collaboration |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| 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. For piano students: Work on: - Independent singing accompanied by passages from operas (Tchaikovsky, Mozart, Verdi) - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for your instrument (e.g. clarinetist-repertoire for clarinet, etc.), at least 10 composition - Meeting with the basics of piano playing technique is recommended |
| Student workload | For piano students: Weekly: 1 credit x 40/30 = 1 hour and 20 minutes Structure: 1 hours of lectures 0 hours of practice 0 hours and 20 minutes of individual student work (preparation for exercises, colloquiums, doing homework) including consultations During the semester: Lessons and final exam: (1 hour and 20 minutes) x 16 = 21 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (1 hour and 20 minutes) = 2 hours and 40 minutes Total workload for the course: 1 x 30 = 30 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 21 hours and 20 minutes (teaching) + 2 hours and 40 minutes (preparation) + 6 hours (overtime) For brass and string students: Weekly: 1 credit x 40/30 = 1 hour and 20 minutes Structure: 1 hours of lectures 0 hours of practice 0 hours and 20 minutes of individual student work (preparation for exercises, colloquiums, doing homework) including consultations During the semester: Lessons and final exam: (1 hour and 20 minutes) x 16 = 21 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (1 hour and 20 minutes) = 2 hours and 40 minutes Total workload for the course: 1 x 30 = 30 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 21 hours and 20 minutes (teaching) + 2 hours and 40 minutes (preparation) + 6 hours (overtime) |
| Per week | Per semester |
| 1 credits x 40/30=1 hours and 20 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
1 hour(s) i 20 minuts x 16 =21 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 1 hour(s) i 20 minuts x 2 =2 hour(s) i 40 minuts Total workload for the subject: 1 x 30=30 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) 6 hour(s) i 0 minuts Workload structure: 21 hour(s) i 20 minuts (cources), 2 hour(s) i 40 minuts (preparation), 6 hour(s) i 0 minuts (additional work) |
| Student obligations | For piano students: 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. For string and brass students: Regular attendance at classes, regular practice with a piano accompanist, listening to music (CD i DVD) and reading professional literature. |
| Consultations | |
| Literature | For piano students: - Sheet music for playing prima vista (piano operas by Mozart, Verdi, Bizet) - Sheet music for independent singing with your own accompaniment (piano operas by Tchaikovsky, Verdi, Puccini) - Sheet music for transposition for the entire grade (collections for the 5th-6th grade of elementary school) - 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, Tchaikovsky, Mozart for violin and orchestra, Weber for clarinet and orchestra, Humela, Arutjunjana for trumpet and orchestra, compositions by Doppler, Enesko, Tafanela for flute and piano, Sarasate, Venjavski for violin and piano, Bara, Brandt for trumpet and piano, Martinu for clarinet and piano.) For string and brass students: - Sheet music for playing, i.e. piano versions of compositions from ones own repertoire - Sheet music for accompaniment, i.e. piano excerpts of compositions from the school repertoire for different instruments (beginner schools and pedagogical collections for violin, viola, cello, flute, clarinet, trumpet) -Literature for playing prima vista |
| Examination methods | For piano students: Colloquium program: -Transposition for the whole degree - Independent singing with own accompaniment of a passage from the opera Exam program: - Accompaniment of at least two works of a smaller or larger form or two movements of a concert for the chosen instrument. For string and brass students: Colloquium program: - The colloquium is conducted in the form of a theoretical knowledge test. The student must make an analysis of the piano parts of school compositions repertoire for his instrument. Exam program: -Theoretical analysis of piano parts of own repertoire. - Cooperation with the piano player during the exam in the main subject (the grade, quality and awareness of musical communication during program execution) Evaluation: 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 | Lessons for pianists are conducted individually Lessons for strings and brass players are held in groups of 2 to 5 students |
| 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 / MANAGEMENT IN CULTURE I
| Course: | MANAGEMENT IN CULTURE I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12854 | 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 / PSYCHOLOGY I
| Course: | PSYCHOLOGY I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12896 | Obavezan | 1 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | After passing the exam in Psychology 1, students will be able to: use acquired knowledge from the field of general psychology 1 critically develop ideas and arguments based on psychological understanding improve personal artistic sensibility through adopted information about psychological theories of personality develop structural - dynamic personality traits that initiate, direct their activity towards specific ones goals and tasks evaluate works of art using elements of psychological theoretical concepts developing self-motivation through critical self-awareness and the ability to introspect present through a biographical study the personality of the creator using basic research elements with the aim of better understanding the personality structure. develop the ability of teamwork by mastering the competencies for mutual tolerance, agreement, organisation. |
| 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 / METHODOLOGY OF SCEINTIFIC WORK I
| Course: | METHODOLOGY OF SCEINTIFIC WORK I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12940 | Obavezan | 1 | 2 | 3++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | none |
| Aims | Training for writing professional and academic scholarly papers. |
| Learning outcomes | Upon passing this exam, the student will be able to: explain the concept of science and scientific methodology; analyze various research methods and evaluate their strengths and weaknesses; apply the rules for writing scientific papers and demonstrate their application in practice; independently produce a scientific paper. Recognizing the reasons for scientific work in general and scientific work in the context of music. Familiarity with basic types of musicological documents and sources. Knowledge of standard publications and proficiency in using them. |
| Lecturer / Teaching assistant | prof. Tatjana Krkeljić |
| Methodology |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | On the concept of scientific research work |
| I week exercises | |
| II week lectures | types of scientific research work |
| II week exercises | |
| III week lectures | types of scientific research work |
| III week exercises | |
| IV week lectures | What some of the academic papers look like |
| IV week exercises | |
| V week lectures | The usual structure of some of the academic papers |
| V week exercises | |
| VI week lectures | The usual structure of some of the academic papers |
| VI week exercises | |
| VII week lectures | Scientific and critical apparatus |
| VII week exercises | |
| VIII week lectures | Scientific and critical apparatus |
| VIII week exercises | |
| IX week lectures | Colloquium |
| IX week exercises | |
| X week lectures | styles of calling citations |
| X week exercises | |
| XI week lectures | styles of calling citations |
| XI week exercises | |
| XII week lectures | Harvard style |
| XII week exercises | |
| XIII week lectures | Harvard style |
| XIII week exercises | |
| XIV week lectures | Harvard style |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises | harvard style |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
3 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 | |
| Consultations | |
| Literature | Šuvakoviÿ, U. (2010), Academic writing in social sciences, Dossier, Belgrade; Šobajiÿ, D. (2007), How to write scientific work, FMU, Belgrade; Miljeviÿ, M. (2007) Methodology of scientific work, University of East Sarajevo |
| 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 / METHODICS OF TEACHING INSTRUMENTS WITH PEDAGOGICAL PRACTICE I
| Course: | METHODICS OF TEACHING INSTRUMENTS WITH PEDAGOGICAL PRACTICE I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12942 | Obavezan | 1 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | no condicionality |
| Aims | The goal of studying the course 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 | Acquiring theoretical knowledge and developing the ability to problematize a topic from previous areas, by demonstrating ones own analytical and critical thinking; knowledge of different approaches in designing programs in primary and secondary music schools; designing the content of the lesson in the form of written preparations and simulations; recognition of knowledge evaluation criteria; developing the ability to think creatively, connect theory and practice, and present musical content in class. |
| Lecturer / Teaching assistant | Prof. Jelena Martinović Bogojević, PhD Mladen Popović, MA, associate in teaching |
| 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 | Determining the music ability of students to enrol in secondary music school |
| I week exercises | |
| II week lectures | Determining the music ability of students to enrol in secondary music school |
| II week exercises | |
| III week lectures | Rational organization of an instrument class in a secondary music school |
| III week exercises | |
| IV week lectures | Rational organization of an instrument class in a secondary music school |
| IV week exercises | |
| V week lectures | The role of technical exercises, scales and etudes in the acquisition of playing skills |
| V week exercises | |
| VI week lectures | The role of technical exercises, scales and etudes in the acquisition of playing skills |
| VI week exercises | |
| VII week lectures | Work on motivation in music schools |
| VII week exercises | |
| VIII week lectures | Colloquium |
| VIII week exercises | |
| IX week lectures | Motivation of students to learn to play an instrument |
| IX week exercises | |
| X week lectures | Stylistic determinants in the interpretation of baroque music |
| X week exercises | |
| XI week lectures | Stylistic determinants of interpretation of classical style in music |
| XI week exercises | |
| XII week lectures | Stylistic determinants of the interpretation of the music of the Romantic period |
| XII week exercises | |
| XIII week lectures | Stylistic determinants of music interpretation of the first half of the 20th century |
| XIII week exercises | |
| XIV week lectures | Analysis of curricula for secondary music schools in the country |
| XIV week exercises | |
| XV week lectures | Analysis of curricula for secondary music schools in the region (Serbia, Croatia, Slovenia...) |
| XV week exercises |
| Student workload | Continuation of the final exam: (2 hours and 40 minutes) x 16 = 42 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, registration, 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 make-up exam period, including taking the make-up exam from 0 - 30 hours. Load structure: 42 hours and 40 minutes (teaching) + 5 hours and 20 minutes (preparation) + 12 hours (additional work) |
| 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 in classes, analyze subject programs, show interest in the implementation of methodical procedures characteristic for work in teaching a certain instrument |
| 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, Beograd: Zavod z udžbenike i nastavna sredstva. Bogunović, B. (2008): Muzički talenat i uspešnost, Beograd: Institut za pedagoška istraživanja. Šćapov, A. (1963): Metodika nastave klavira, Beograd: Muzička akademija Šobajić, D. Slušanje zamišljenog, Cetinje: Muzička akademija Šobajić, D. (1996): Temelji savremenog pjanizma, Novi Sad: Svetovi Nejgauz, H. : O umetnosti sviranja na klaviru Serdar, A. : Martinović Bogojević, J., (2009): Aktuelne klavirske metode za početnike, iskustvo Francuske i Rusije, Podgorica: ZUNS Martinović- Bogojević, J. (2010): Bartokov Mikrokosmos kao klavirski metod, Podgorica: Muzički centar Crne Gore. 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 91-100%: 10. |
| 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 I
| Course: | CHOIR WITH BASES OF VOCAL TECHNIQUE I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12850 | Obavezan | 1 | 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 I
| Course: | ORCHESTRA I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12852 | Obavezan | 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 / CHAMBER MUSIC I
| Course: | CHAMBER MUSIC I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12899 | Obavezan | 1 | 4 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | None |
| Aims | *Improving technical and collaborative skills in ensemble playing and artistry of musical expression; *Performing chamber music repertoire from different eras and styles as a member of classical and non-classical ensembles. * Studying the repertoire of significant chamber music literature from all stylistic periods; * Improving the principles of chamber music performance; * Improving sightreading and speed learning skills; * Training for concert performance; * Collaboration of students throughout all the performance departments. |
| Learning outcomes | * Independent research on the interpretation of chamber music work; possession of basic knowledge about the skill of ensamble playing in different ensembles; realization of concert activity as a chamber musician and piano accompanist (the latter refers to pianists); demonstrating teamwork skills and their development with students of all ages in primary, secondary and higher music education schools; applying knowledge of principles of chamber music performance in teaching process in school for primary, secondary and higher music education; modification of existing teaching models (methods, techniques, learning and teaching strategies) adapting them to new practice conditions, implementing teaching in all institutions for music education: developing competence for lifelong learning at home and students in music education institutions. |
| Lecturer / Teaching assistant | * Professor Žana Lekić, MMus, Professor Miran Begić, MMus Professor Predrag Janković, MMus, Associate Professor Nataša Popović, MMus, ProfessorDanijel Cerović, MMus |
| Methodology | - Lectures, performances |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | |
| I week exercises | *Meeting agenda: forming the ensemble, selecting the program for the quiz and exam, and creating the lecture schedule. |
| 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 in the final week of the 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 50 points; * Final exam: maximum 50 points; * A passing grade is obtained if the student collects 50 points. |
| Special remarks | Special indication for the subject: * During the semester, the student must complete one 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 25 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) |
| 12897 | Izborni | 1 | 14 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed undergraduate studies in Performing Arts |
| 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 prof. Bojan Martinović, assoc. prof. 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| Student workload | weekly 14 credits x 40/30 = 18 hours and 40 minutes Structure: 4 hours of lectures 2 hours of exercise 12 hours and 40 minutes of individual student work (preparation for laboratory exercises, for colloquia, homework) including consultations in the semester Teaching and final exam: (18 hours and 40 minutes) x 16 = 298 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (18 hours and 40 minutes) = 37 hours and 20 minutes Total load for the subject: 14 x 30 = 420 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 298 hours and 40 minutes (teaching) + 37 hours and 20 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 14 credits x 40/30=18 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 16 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
18 hour(s) i 40 minuts x 16 =298 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 18 hour(s) i 40 minuts x 2 =37 hour(s) i 20 minuts Total workload for the subject: 14 x 30=420 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) 84 hour(s) i 0 minuts Workload structure: 298 hour(s) i 40 minuts (cources), 37 hour(s) i 20 minuts (preparation), 84 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 required: 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 concert or recital lasting 50 minutes Note:. 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 s 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 / TROMBONE I
| Course: | TROMBONE I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12903 | Izborni | 1 | 14 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed three-year basic studies at the Academy of Music. |
| 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 | Learning outcomes: The student will: - Get to know, analyze, judge, evaluate and perform trombone repertoire from early music to modern trends of the 21st century. - Get to know and become aware of the functions of the musical instrument, understand the interaction of the musical instrument and the tone that needs to be realized. - Apply technical skills to the performance of a specific composition. - Familiarize yourself with the trombone repertoire, synthesize the acquired knowledge while creating your own interpretation of the work of art. - 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. -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, compositions of medium difficulty from different stylistic eras 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 | In the week 15 credits x 40/30 = 20 hours Structure: 4 hours of lectures 2 hours of exercises 14 hours of individual student work (preparation for laboratory exercises, colloquiums, homework) including consultations. In the semester Teaching and final exam: (20 hours) x 16 = 320 hours Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (20 hours) = 40 hours Total workload for the course: 15 x 30 = 450 hours Supplementary work for exam preparation in the make-up exam period, including taking the make-up exam from 0 - 30 hours. Load structure: 320 hours (teaching) + 40 hours (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 14 credits x 40/30=18 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 16 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
18 hour(s) i 40 minuts x 16 =298 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 18 hour(s) i 40 minuts x 2 =37 hour(s) i 20 minuts Total workload for the subject: 14 x 30=420 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) 84 hour(s) i 0 minuts Workload structure: 298 hour(s) i 40 minuts (cources), 37 hour(s) i 20 minuts (preparation), 84 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 | C.Colin: Lip flexibilities - Part III M.Bitsch: Etudes de rythme V.Blaževič: Keys - Part IV G.B.Pergolesi: Sinfonie A.Vivaldi: Concerto a minor A.Vivaldi: Sonata No V N.Rota: Concerto F.David: Konzertino L.Gröndahl: Concert M.Spisak: concertino Bj.Bjelinski: Three biblical legends 2.12. Supplementary literature (at the time of application of the study program proposal) J. Rochut: Melodic etudes on vocalises by Marco Bordogni (75-100) D. Shostakovich: 4 preludes M. Ravel: Piece en forme de habanera D. Millhaud: Concertino d Hiver |
| Examination methods | Monitoring of work throughout the year, public performances, colloquium, annual exam before the examination board. 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 |
| 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 I
| Course: | VIOLA I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12907 | Izborni | 1 | 14 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed Bachelor studies |
| 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, consultations, and public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Work on repertoire consisting of: A Bach partita, sonata, or suite A complete sonata with piano A complete concerto A concert piece A concert etude with a minimum total duration of 60 minutes. |
| 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 Workload 14 credits × 40/30 = 18 hours and 40 minutes Structure: 4 hours of lectures 2 hours of exercises 12 hours and 40 minutes of individual student work (preparation for practical exercises, colloquia, and assignments), including consultations Semester Workload Teaching and final exam: (18 hours and 40 minutes) × 16 = 298 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, verification): 2 × (18 hours and 40 minutes) = 37 hours and 20 minutes |
| Per week | Per semester |
| 14 credits x 40/30=18 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 16 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
18 hour(s) i 40 minuts x 16 =298 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 18 hour(s) i 40 minuts x 2 =37 hour(s) i 20 minuts Total workload for the subject: 14 x 30=420 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) 84 hour(s) i 0 minuts Workload structure: 298 hour(s) i 40 minuts (cources), 37 hour(s) i 20 minuts (preparation), 84 hour(s) i 0 minuts (additional work) |
| Student obligations | Student Obligations Regular attendance of classes; participation in public lessons, class concerts, and academy concerts; consistent individual 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; Concertos with cadenza; J.S. Bach: Suites, Partitas, and Sonatas for solo instrument. |
| Examination methods | Assessment and Grading Class attendance: 30 points Colloquium: 20 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 / VIOLIN I
| Course: | VIOLIN I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12909 | Izborni | 1 | 14 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed bachelors studies |
| Aims | Objectives of studying the subject: - Improving advanced violin playing techniques - Developing listening and expressive skills. - Acquaintance with complex violin literature of all periods and styles. - Improving the skills needed for independent work on a musical piece - Improving the ability to understand all musical styles - Improving the ability to perform a piece of music in all styles and create ones own interpretation |
| Learning outcomes | The student will be able to: He has a fully developed ability to learn, self-motivate and be independent in the act of preparing a complex violin repertoire Independently solves technical problems as well as problems with intonation Performs advanced technical exercises and etudes provided for in the study program He publicly performs an advanced concert repertoire made up of various styles He knows and performs the violin repertoire of the 20th and 21st centuries He collaborates with various artistic ensembles Knows and recognizes the elements of a musical work in detail He contributes to the realization of the performance of a musical piece with his ideas in accordance with its stylistic features He rules the techniques of text memorization He decides on the repertoire he performs and on his further training as a performer He decides on his musical expression He performs at concerts and competitions |
| 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 |
| 14 credits x 40/30=18 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 16 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
18 hour(s) i 40 minuts x 16 =298 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 18 hour(s) i 40 minuts x 2 =37 hour(s) i 20 minuts Total workload for the subject: 14 x 30=420 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) 84 hour(s) i 0 minuts Workload structure: 298 hour(s) i 40 minuts (cources), 37 hour(s) i 20 minuts (preparation), 84 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) |
| 12915 | Izborni | 1 | 14 | 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 |
| 14 credits x 40/30=18 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 16 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
18 hour(s) i 40 minuts x 16 =298 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 18 hour(s) i 40 minuts x 2 =37 hour(s) i 20 minuts Total workload for the subject: 14 x 30=420 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) 84 hour(s) i 0 minuts Workload structure: 298 hour(s) i 40 minuts (cources), 37 hour(s) i 20 minuts (preparation), 84 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 / GUITAR I
| Course: | GUITAR I/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12917 | Izborni | 1 | 16 | 2+0+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed undergraduate guitar studies and successful entrance to master studies. |
| Aims | - Master the interpretation of ONE selected GUITAR CONCERTO using the piano reduction. - Deepen understanding of form, style, and orchestral writing within the reduction. - Prepare the complete concerto (all three movements) for public performance and the final exam. |
| Learning outcomes | The student will be able to: - analyse the form and style of the selected concerto (movement structure, thematic work, harmonic plan); - realise the full piano reduction in a musically convincing collaboration with the pianist; - develop orchestral thinking (balance, dynamics, colour) within the piano accompaniment context; - prepare and perform the complete concerto (I–III) at a high artistic level. |
| Lecturer / Teaching assistant | Prof Danijel Cerović |
| Methodology | Individual lessons; joint rehearsals with pianist (piano reduction); score analysis; public classes and internal concerts; consultations. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Selection of the CONCERTO and edition. Analysis of movement I (expo/development/recap). Tempo map and cadenza plan. |
| I week exercises | |
| II week lectures | Solo part work (Mvmt I): phrasing, articulation, cadential control. First rehearsal with pianist – balance. |
| II week exercises | |
| III week lectures | Integrating orchestral cues into the piano reduction. Dynamic plan and agogics for Mvmt I. |
| III week exercises | |
| IV week lectures | Stabilising tempi and transitions. Cadenza shaping (if applicable) – musicality vs. virtuosity. |
| IV week exercises | |
| V week lectures | Introduction to Mvmt II: character, tone colour, legato/voicing. First joint read‑through of Mvmt II. |
| V week exercises | |
| VI week lectures | Refining Mvmt II: dialogue with accompaniment, breathing, rubato. Recording & playback analysis. |
| VI week exercises | |
| VII week lectures | Midterm (internal): performance of Mvmt I with piano. Feedback and correction roadmap. |
| VII week exercises | |
| VIII week lectures | Introduction to Mvmt III: tempo, rhythmic precision, motor coordination. Difficult passages. |
| VIII week exercises | |
| IX week lectures | Ensemble rehearsal – full Mvmt III. Dynamic contrasts and texture clarity. |
| IX week exercises | |
| X week lectures | Consolidating Movements I & II. Fixing problem spots, intonation control. |
| X week exercises | |
| XI week lectures | Final refinements of Mvmt III. Stagecraft: walk‑on/off, cadenza/applause, pianist coordination. |
| XI week exercises | |
| XII week lectures | General rehearsal (I–III) with pauses. Record & review; micro‑corrections. |
| XII week exercises | |
| XIII week lectures | Run‑through without stops. Focus on stamina, mental focus, dramaturgy. |
| XIII week exercises | |
| XIV week lectures | Fine‑tuning tempi and colour; coordinating piano pedalling and guitar resonance. Short hall rehearsal. |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises | Final exam: performance of the entire CONCERTO (all three movements) with piano reduction. |
| Student workload | |
| Per week | Per semester |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular individual and joint rehearsals; part preparation; attendance at public classes; internal performances; keeping a practice log (tempi, phrasing, feedback). |
| Consultations | By arrangement with the professor; additional slots with pianist as scheduled. |
| Literature | Mauro Giuliani: Concertos op. 30 / op. 36 (Tecla Editions) - Joaquín Rodrigo: Concierto de Aranjuez (Schott / Ediciones Joaquín Rodrigo) - Heitor Villa‑Lobos: Concerto (Max Eschig) - Mario Castelnuovo‑Tedesco: Concerto No.1 / No.2 (Ricordi) - Dušan Bogdanović: Concerto (composer’s editions) - Leo Brouwer: Concerto Elegiaco (Chester / Max Eschig) - Piano reductions: appropriate editions of the selected concerto |
| Examination methods | Midterm (Mvmt I with piano) – 30% Continuous evaluation (rehearsal work, progress) – 20% Final exam (full concerto I–III with piano) – 50% |
| Special remarks | The student chooses ONE concerto for the entire semester. Programme and tempo maps are agreed with the professor and pianist. At least one internal performance before the exam is recommended. |
| 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) |
| 12902 | Izborni | 2 | 1 | 1++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Successfully passed the Corepetition I exam |
| Aims | For piano students: - Improving the technique of joint playing and artistic communication. - Improving the art of working on new compositions. - Improving prima vista playing skills and transposition techniques. - Acquiring a pedagogical qualification - piano accompanist - accompanist in music schools and higher education institutions - Professional application of knowledge as an artistic collaborator-accompanist in concert practice For string and brass students: - Getting to know the problems of joint playing and artistic communication from the point of view of piano collaboration. - Training for independent work on new compositions. - Getting to know the technique of playing prima vista in piano literature - The ability to analyze piano parts in compositions performed with piano accompaniment |
| Learning outcomes | For piano students: The student will: - To acquire the art of playing together in correlation with different instruments - Recognize the specifics of the work of an artistic collaborator and be qualified to work as a piano collaborator in music schools, higher education institutions and concert institutions - Apply the techniques of playing prima vista and transposition to different intervals - Apply the knowledge of stylistic characteristics to the performance of a specific composition - Expand knowledge of literature for different instruments, vocal and operatic literature - To acquire the art of practical work with singers - Realize the assigned literature from the point of view of the musical context of the compositions - Improve the skills of correct interpretation of assigned musical material - Develop your own opinion based on the collected information and be able to evaluate the examples 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. For string and brass students: The student will: - Get to know and study the techniques of joint playing in correlation with the piano - Recognize the specifics of the work of artistic collaboration - Get to know the technique of playing prima vista on the piano - Apply the knowledge of stylistic characteristics to the performance of a specific composition - Realize the assigned literature from the point of view of the musical context of the compositions - Improve the skills of correct interpretation of assigned musical material - Develop ones own opinion based on the collected information and be able to evaluate the examples listened to, - Have personal access to the artwork, - Critically assess and evaluate ones own achievements as well as the achievements of the pianist in the joint performance. |
| Lecturer / Teaching assistant | Professor Oleksij Molčanov Teaching assistant Vladana Perović |
| Methodology | For piano students: -Lectures, exercises, joint rehearsals, concert practice For string and brass students: -Lectures, exercises and rehearsals with piano collaboration |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| 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 For piano students: Work on: -Exercises of playing prima vista and artistic analysis of excerpts from operas (Verdi, Tchaikovsky, Mozart, Bizet) - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for a related instrument (e.g. clarinetist-repertoire for flute, trumpet, etc.), at least 10 compositions - Familiarization with the basics of piano playing technique is recommended |
| Student workload | For piano students: Weekly: 1 credit x 40/30 = 1 hour and 20 minutes Structure: 1 hours of lectures 0 hours of practice 0 hours and 20 minutes of individual student work (preparation of notes, for colloquiums, doing homework) including consultations During the semester: Lessons and final exam: (1 hour and 20 minutes) x 16 = 21 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (1 hour and 20 minutes) = 2 hours and 40 minutes Total workload for the course: 1 x 30 = 30 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 21 hours and 20 minutes (teaching) + 2 hours and 40 minutes (preparation) + 6 hours (overtime) For string and brass students: Weekly: 1 credit x 40/30 = 1 hour and 20 minutes Structure: 1 hours of lectures 0 hours of practice 0 hours and 20 minutes of individual student work (preparation for exercises, colloquiums, doing homework, including consultations) During the semester. Lessons and final exam: (1 hour and 20 minutes) x 16 = 21 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (1 hour and 20 minutes) = 2 hours and 40 minutes Total workload for the course: 1 x 30 = 30 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 21 hours and 20 minutes (teaching) + 2 hours and 40 minutes (preparation) + 6 hours (overtime) |
| Per week | Per semester |
| 1 credits x 40/30=1 hours and 20 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
1 hour(s) i 20 minuts x 16 =21 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 1 hour(s) i 20 minuts x 2 =2 hour(s) i 40 minuts Total workload for the subject: 1 x 30=30 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) 6 hour(s) i 0 minuts Workload structure: 21 hour(s) i 20 minuts (cources), 2 hour(s) i 40 minuts (preparation), 6 hour(s) i 0 minuts (additional work) |
| Student obligations | For piano students: -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. For string and brass students: -Regular attendance at classes, regular practice with a piano accompanist, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | For piano students: - Sheet music for playing prima vista (piano operas by Mozart, Verdi, Bizet, Tchaikovsky) - Sheet music for transposition for the entire grade (collections for the 5th-6th grade of elementary school) - 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, Tchaikovsky, Mozart for violin and orchestra, Weber for clarinet and orchestra, Humela, Arutjunjana for trumpet and orchestra, compositions by Doppler, Enesko, Tafanel, Ditije for flute and piano, Sarasate, Venjavski for violin and piano, Bara, Brandt for trumpet and piano, Martinu for clarinet and piano) For string and brass students: - Sheet music for playing, i.e. piano versions of compositions from ones own repertoire - Sheet music for accompaniment, i.e. piano excerpts of compositions from the school repertoire for different instruments (beginner schools and pedagogical collections for violin, viola, cello, flute, clarinet, trumpet) - Literature for playing prima vista |
| Examination methods | For student pianists :Colloquium program: - Playing prima vista musical material of operas -Transposition for the whole degree Exam program: - Accompanying the program with different soloists, lasting at least 30 minutes, which includes at least two movements of the concert for selected instrument and orchestra. For string and brass students: Colloquium program: - The colloquium is conducted in the form of a theoretical knowledge test. The student must make an analysis of the piano parts of school compositions repertoire for a related instrument. Exam program: -Theoretical analysis of piano parts of own repertoire - Cooperation with the piano player during the exam in the main subject (the grade, quality and awareness of musical communication during program execution) Evaluation: 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 | Lessons for pianists are conducted individually Lessons for strings and brass players are held in groups of 2 to 5 students |
| 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 / PSYCHOLOGY II
| Course: | PSYCHOLOGY II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12927 | Obavezan | 2 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | |
| Aims | |
| Learning outcomes | After passing the exam in Psychology 2, students will be able to: use knowledge from the psychology of creativity they fundamentally understand the flow of the creative process and its legality improve personal creative motivation and creativity develop the ability for personal growth and development through a deeper understanding of personal processes that will enable them to develop imagination, intuition and emotional understanding of both oneself and the work of art evaluate and theoretically interpret a work of art on the basis of acquired knowledge about psychological characteristics of contemporary musical creativity expand knowledge about the relationship between psychology and music present a work of art using the basic elements of the research method in art - case studies |
| 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 / MANAGEMENT IN CULTURE II
| Course: | MANAGEMENT IN CULTURE II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12937 | 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 / METHODOLOGY OF SCEINTIFIC WORK II
| Course: | METHODOLOGY OF SCEINTIFIC WORK II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12941 | Obavezan | 2 | 2 | 3++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | none |
| Aims | Training for writing professional and scientific academic papers |
| Learning outcomes | Students should acquire the following competencies: recognizing the reasons for scientific work in general and scientific work in the field of music; knowing the basic types of musicological documents and sources; knowing standard publications and how to use them. |
| Lecturer / Teaching assistant | prof, Tatjana Krkeljic |
| Methodology | lecrures |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Oxford style citations and references |
| I week exercises | |
| II week lectures | Oxford style citations and references |
| II week exercises | |
| III week lectures | Scientific methods research |
| III week exercises | |
| IV week lectures | Planning research and formulation hypothesis |
| IV week exercises | |
| V week lectures | Preparation and enforcement interviews in research |
| V week exercises | |
| VI week lectures | Designing survey and analysis results |
| VI week exercises | |
| VII week lectures | Literature review : Finding and evaluation source |
| VII week exercises | |
| VIII week lectures | Critical thinking and literature analysis |
| VIII week exercises | |
| IX week lectures | Development theoretical frame research |
| IX week exercises | |
| X week lectures | Research ethics and questions integrity |
| X week exercises | |
| XI week lectures | Statistical analysis data and interpretation results |
| XI week exercises | |
| XII week lectures | Writing a masters thesis : Structure and formatting |
| XII week exercises | |
| XIII week lectures | Colloquium |
| XIII week exercises | |
| XIV week lectures | Procedure submission of masters thesis : Administrative details |
| XIV week exercises | |
| XV week lectures | |
| XV week exercises | Preparation for the defense of the masters thesis and further steps in research process |
| Student workload | |
| Per week | Per semester |
| 2 credits x 40/30=2 hours and 40 minuts
3 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 | |
| Consultations | |
| Literature | Šuvakoviÿ, U. (2010), Academic writing in social sciences, Dossier, Belgrade; Šobajiÿ, D. (2007), How to write scientific work, FMU, Belgrade; Miljeviÿ, M. (2007) Methodology of scientific work, University of East Sarajevo |
| 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 / METHODICS OF TEACHING INSTRUMENTS WITH PEDAGOGICAL PRACTICE II
| Course: | METHODICS OF TEACHING INSTRUMENTS WITH PEDAGOGICAL PRACTICE II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12943 | Obavezan | 2 | 2 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed exam from the course Instrument Teaching Methods I |
| Aims | The goal of the course 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 | *Acquiring theoretical knowledge and developing the ability to problematize a topic from previous areas, by demonstrating ones own analytical and critical thinking; knowledge of different approaches in designing programs in primary and secondary music schools; designing the content of the lesson in the form of written preparations and simulations; recognition of knowledge evaluation criteria; developing the ability to think creatively, connect theory and practice, and present musical content in class. |
| Lecturer / Teaching assistant | Prof. Jelena Martinović-Bogojević, PhD Mladen Popović, MA, teaching assistant |
| 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 | The concept of professional research |
| I week exercises | |
| II week lectures | Selection of the topic of professional research |
| II week exercises | |
| III week lectures | Analysis of relevant literature for the selected topic |
| III week exercises | |
| IV week lectures | Analysis of relevant literature for the selected topic |
| IV week exercises | |
| V week lectures | Synopsis writing and literature selection |
| V week exercises | |
| VI week lectures | Colloquiom |
| VI week exercises | |
| VII week lectures | Defining the research part |
| VII week exercises | |
| VIII week lectures | Conducting the research |
| VIII week exercises | |
| IX week lectures | Conducting the research |
| IX week exercises | |
| X week lectures | Analysis of the obtained data |
| X week exercises | |
| XI week lectures | Analysis of the obtained data |
| XI week exercises | |
| XII week lectures | Writing of the professional paper and individual consultations |
| XII week exercises | |
| XIII week lectures | Writing of the professional paper and individual consultations |
| XIII week exercises | |
| XIV week lectures | Writing of the professional paper and individual consultations |
| XIV week exercises | |
| XV week lectures | PPT presentation of the professional paper |
| 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 | The student is obliged to actively participate in the selection of the topic within the framework of instrumental classes in primary and secondary music schools, research the literature, conduct research and be able to anticipate and present the results. |
| 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 | |
| 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) |
| 12851 | Obavezan | 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) |
| 12853 | Obavezan | 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) |
| 12900 | Obavezan | 2 | 4 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | None |
| Aims | *Improving technical and collaborative skills in ensemble playing and artistry of musical expression; *Performing chamber music repertoire from different eras and styles as a member of classical and non-classical ensembles. * Studying the repertoire of significant chamber music literature from all stylistic periods; * Improving the principles of chamber music performance; * Improving sightreading and speed learning skills; * Training for concert performance; * Collaboration of students throughout all the performance departments. |
| Learning outcomes | * Independent research on the interpretation of chamber music work; possession of basic knowledge about the skill of ensamble playing in different ensembles; realization of concert activity as a chamber musician and piano accompanist (the latter refers to pianists); demonstrating teamwork skills and their development with students of all ages in primary, secondary and higher music education schools; applying knowledge of principles of chamber music performance in teaching process in school for primary, secondary and higher music education; modification of existing teaching models (methods, techniques, learning and teaching strategies) adapting them to new practice conditions, implementing teaching in all institutions for music education: developing competence for lifelong learning at home and students in music education institutions. |
| Lecturer / Teaching assistant | * Professor Žana Lekić, MMus, Professor Miran Begić, MMus Professor Predrag Janković, MMus, Associate Professor Nataša Popović, MMus, ProfessorDanijel 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 in the final week of the 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 50 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 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 25 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) |
| 12898 | Izborni | 2 | 14 | 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. prof. 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| Student workload | weekly 14 credits x 40/30 = 18 hours and 40 minutes Structure: 4 hours of lectures 2 hours of exercise 12 hours and 40 minutes of individual student work (preparation for laboratory exercises, for colloquia, homework) including consultations in the semester Teaching and final exam: (18 hours and 40 minutes) x 16 = 298 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (18 hours and 40 minutes) = 37 hours and 20 minutes Total load for the subject: 14 x 30 = 420 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 298 hours and 40 minutes (teaching) + 37 hours and 20 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 14 credits x 40/30=18 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 16 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
18 hour(s) i 40 minuts x 16 =298 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 18 hour(s) i 40 minuts x 2 =37 hour(s) i 20 minuts Total workload for the subject: 14 x 30=420 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) 84 hour(s) i 0 minuts Workload structure: 298 hour(s) i 40 minuts (cources), 37 hour(s) i 20 minuts (preparation), 84 hour(s) i 0 minuts (additional work) |
| Student obligations | 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| Consultations | |
| Literature | 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| Examination methods | Exam program: Piano concert or recital lasting 50 minutes Note:. 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 s 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 / TROMBONE II
| Course: | TROMBONE II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12904 | Izborni | 2 | 14 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed three-year basic studies at the Academy of Music |
| 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, analyze, judge, evaluate and perform trombone repertoire from early music to modern trends of the 21st century. - Get to know and become aware of the functions of the musical instrument, understand the interaction of the musical instrument and the tone that needs to be realized. - Apply technical skills to the performance of a certain composition. - Familiarize yourself with the trombone repertoire, synthesize the acquired knowledge while creating your own interpretation of the work of art. - 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. -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 profesor Aleksandar Bencic |
| Methodology | lectures,exercises, koncertes.... |
| 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, compositions of medium difficulty from different stylistic eras 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 | In the week 15 credits x 40/30 = 20 hours Structure: 4 hours of lectures 2 hours of exercises 14 hours of individual student work (preparation for laboratory exercises, colloquiums, homework) including consultations. In the semester Teaching and final exam: (20 hours) x 16 = 320 hours Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (20 hours) = 40 hours Total workload for the course: 15 x 30 = 450 hours Supplementary work for exam preparation in the make-up exam period, including taking the make-up exam from 0 - 30 hours. Load structure: 320 hours (teaching) + 40 hours (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 14 credits x 40/30=18 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 16 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
18 hour(s) i 40 minuts x 16 =298 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 18 hour(s) i 40 minuts x 2 =37 hour(s) i 20 minuts Total workload for the subject: 14 x 30=420 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) 84 hour(s) i 0 minuts Workload structure: 298 hour(s) i 40 minuts (cources), 37 hour(s) i 20 minuts (preparation), 84 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 | C.Colin: Lip flexibilities - Part III M.Bitsch: Etudes de rythme V.Blaževič: Keys - Part IV G.B.Pergolesi: Sinfonie A.Vivaldi: Concerto a minor A.Vivaldi: Sonata No V N.Rota: Concerto F.David: Konzertino L.Gröndahl: Concert M.Spisak: concertino Bj.Bjelinski: Three biblical legends 2.12. Supplementary literature (at the time of application of the study program proposal) J. Rochut: Melodic etudes on vocalises by Marco Bordogni (75-100) D. Shostakovich: 4 preludes M. Ravel: Piece en forme de habanera D. Millhaud: Concertino d Hiver |
| Examination methods | Monitoring of work throughout the year, public performances, colloquium, annual exam before the examination board. 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 |
| 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 / VIOLIN II
| Course: | VIOLIN II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12910 | Izborni | 2 | 14 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed violin I MA exam |
| Aims | - Improving advanced violin playing techniques - Developing listening and expressive skills. - Acquaintance with complex violin literature of all periods and styles. - Improving the skills needed for independent work on a musical piece - Improving the ability to understand all musical styles - Improving the ability to perform a piece of music in all styles and create ones own interpretation |
| Learning outcomes | He has a fully developed ability to learn, self-motivate and be independent in the act of preparing a complex violin repertoire Independently solves technical problems as well as problems with intonation Performs advanced technical exercises and etudes provided for in the study program He publicly performs an advanced concert repertoire made up of various styles He knows and performs the violin repertoire of the 20th and 21st centuries He collaborates with various artistic ensembles Knows and recognizes the elements of a musical work in detail He contributes to the realization of the performance of a musical piece with his ideas in accordance with its stylistic features He rules the techniques of text memorization He decides on the repertoire he performs and on his further training as a performer He decides on his musical expression He performs at concerts and competitions |
| 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 |
| 14 credits x 40/30=18 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 16 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
18 hour(s) i 40 minuts x 16 =298 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 18 hour(s) i 40 minuts x 2 =37 hour(s) i 20 minuts Total workload for the subject: 14 x 30=420 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) 84 hour(s) i 0 minuts Workload structure: 298 hour(s) i 40 minuts (cources), 37 hour(s) i 20 minuts (preparation), 84 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 II
| Course: | VIOLONCELLO II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12912 | Izborni | 2 | 14 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed Cello I Exam, Master’s Level |
| Aims | Mastering advanced cello playing techniques; Developing auditory and expressive skills; Familiarizing with complex cello repertoire from all periods and styles; Enhancing skills necessary for independent work on a musical piece; Improving the ability to understand all musical styles; Advancing the capability to perform musical works in any style and to create one’s own interpretation. |
| Learning outcomes | Upon passing this exam, the student will be able to: Demonstrate fully developed learning skills, self-motivation, and independent initiative; Prepare and interpret a complex cello repertoire; Independently address technical and intonation challenges; Perform advanced technical exercises and etudes prescribed in the study program; Publicly perform an advanced concert repertoire encompassing various musical styles; Master and perform 20th- and 21st-century cello works; Collaborate effectively with diverse artistic ensembles; Analyze and recognize the structural and expressive elements of a musical work; Contribute personal interpretative ideas to performances while respecting the stylistic characteristics of the piece; Employ effective memorization techniques for music; Make informed decisions regarding repertoire selection and their ongoing performance development; Shape and express their individual musical interpretation; Perform confidently in concerts and competitions. |
| Lecturer / Teaching assistant | Mladen Popović, Teaching Associate, M.A., Distinguished Artist” |
| Methodology | * Lectures, hands-on practice, individual 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 tehnican 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 |
| 14 credits x 40/30=18 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 16 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
18 hour(s) i 40 minuts x 16 =298 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 18 hour(s) i 40 minuts x 2 =37 hour(s) i 20 minuts Total workload for the subject: 14 x 30=420 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) 84 hour(s) i 0 minuts Workload structure: 298 hour(s) i 40 minuts (cources), 37 hour(s) i 20 minuts (preparation), 84 hour(s) i 0 minuts (additional work) |
| Student obligations | * Consistent class attendance, participation in public lessons and concerts (both class and academy-wide), regular practice, active engagement in seminars and international competitions, listening to recordings, and study of professional literature. |
| Consultations | |
| Literature | J. S. Bach – 6 Suites for Solo Cello, BWV 1007–1012 D. Popper – Cello Etudes A. Piatti – 12 Caprices for Solo Cello L. Boccherini – Cello Concertos J. Haydn – Cello Concertos E. Elgar – Cello Concerto in E minor D. Shostakovich – Cello Concerto No. 1 E. Lalo – Cello Concerto in D minor P. I. Tchaikovsky – “Rococo Variations” S. Prokofiev – Sinfonia Concertante A. Dvořák – Cello Concerto in B minor R. Schumann – Cello Concerto in A minor A. Barber – Cello Concerto L. van Beethoven – 5 Sonatas for Cello and Piano J. Brahms – 2 Sonatas for Cello and Piano S. Rachmaninoff – Sonata, Op. 19 in G minor D. Shostakovich – Sonata, Op. 40 in D minor D. Popper – Virtuoso Compositions for Cello and Piano G. Cassadó – Virtuoso Works for Cello and Piano P. I. Tchaikovsky – Virtuoso Compositions and Pieces Other compositions with similar technical and interpretative demands. |
| Examination methods | Colloquium during the semester and final exam at the end of the semester. Colloquium Program: technical exercises, scales, and etudes. Examination Program: A concerto of the student’s choice from the prescribed repertoire Grading: Attendance: maximum 30 points Colloquium: maximum 20 points Final Exam Performance: maximum 50 points |
| 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 | The course can be attended in Montenegrin or 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 / FLUTE II
| Course: | FLUTE II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12916 | Izborni | 2 | 14 | 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 |
| 14 credits x 40/30=18 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 16 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
18 hour(s) i 40 minuts x 16 =298 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 18 hour(s) i 40 minuts x 2 =37 hour(s) i 20 minuts Total workload for the subject: 14 x 30=420 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) 84 hour(s) i 0 minuts Workload structure: 298 hour(s) i 40 minuts (cources), 37 hour(s) i 20 minuts (preparation), 84 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 / GUITAR II
| Course: | GUITAR II/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 12918 | Izborni | 2 | 16 | 2+0+0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completion of the first semester of Master studies in Guitar. |
| Aims | - To develop interpretative and analytical skills through performance of a program encompassing different stylistic periods. - To deepen the understanding of formal structures and performance styles through work on a Bach suite, a cyclic form composition, and a free-choice work. - To achieve artistic maturity by integrating technical, musical, and aesthetic dimensions of interpretation. |
| Learning outcomes | Upon successful completion, the student will be able to: - Analyze and interpret musical works from various periods and styles; - Distinguish stylistic characteristics of Baroque, Classical, Romantic, and Contemporary guitar literature; - Establish contrast and dramaturgical balance within a coherent concert program; - Demonstrate artistic independence in preparation and performance of repertoire; - Present a program of up to 45 minutes, including a Bach suite, a cyclic form composition, and a free-choice piece. |
| Lecturer / Teaching assistant | Prof Danijel Cerović |
| Methodology | Individual lessons with the professor, analytical and interpretative sessions, stylistic and formal analyses, masterclasses, concert performances, and consultations. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Introduction to the semester: selection of a Bach suite, cyclic composition, and a free-choice work. Structural analysis and work plan. |
| I week exercises | |
| II week lectures | Analysis and initial work on the Bach suite – Prelude and Allemande. Understanding Baroque articulation and rhythmic logic. |
| II week exercises | |
| III week lectures | Work on the cyclic composition – analysis of form, character, and thematic contrast. Connecting technical aspects with musical structure. |
| III week exercises | |
| IV week lectures | Beginning of work on the free-choice piece. Stylistic analysis and definition of interpretative approach. |
| IV week exercises | |
| V week lectures | Adjustments and program balance: dynamics, agogics, and expressive coherence between pieces. |
| V week exercises | |
| VI week lectures | Work on central movements of the Bach suite – Sarabande and Bourrée/Gavotte. Phrase, counterpoint, and ornamentation. |
| VI week exercises | |
| VII week lectures | Midterm (internal presentation): performance of parts of the Bach suite and cyclic composition. Feedback and discussion. |
| VII week exercises | |
| VIII week lectures | Work on the final movements of the suite – Gigue. Consolidation of Baroque style and expression. |
| VIII week exercises | |
| IX week lectures | Advanced work on the cyclic composition – technical stability, clarity of form, balance between movements. |
| IX week exercises | |
| X week lectures | Work on the free-choice piece – interpretative freedom, contemporary techniques, and expressivity. |
| X week exercises | |
| XI week lectures | Establishing contrast and dramaturgy among the works. Developing transitions and program sequence. |
| XI week exercises | |
| XII week lectures | Preparation for complete performance. Refining tempo, dynamics, and expression. |
| XII week exercises | |
| XIII week lectures | General rehearsal – full program performance (45 minutes). |
| XIII week exercises | |
| XIV week lectures | Evaluation of interpretation and artistic coherence of the program. |
| XIV week exercises | |
| XV week lectures | Final exam – public performance of the complete program (Bach suite, cyclic composition, and free-choice work). |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance and consultations; continuous work on all three pieces; active participation in masterclasses and concerts; independent analysis and preparation of the program. |
| Consultations | By appointment with the professor, according to the schedule posted on the academy board or online platform. |
| Literature | J.S. Bach: BWV 995–998; BWV 1001–1006; BWV 1007–1012 Selection of original compositions for guitar: M. Giuliani, F. Sor, De Fosa, N. Coste, D. Aguado, L. Legnani, N. Paganini, G. Regondi, J.K. Mertz, F. Tárrega. Selection of 20th and 21st century guitar compositions: J. Manén, M. Ponce, M. Castelnuovo‑Tedesco, A. José, A. Ginastera, J. Rodrigo, D. Bogdanović, L. Brouwer, H.W. Henze, F. Mompou, H. Haug, A. Barrios, F.M. Torroba, W. Walton, B. Britten, A. Ourkouzounov and others. |
| Examination methods | Program lasting up to 45 minutes consisting of at least three compositions contrasting in style, form, and character. Evaluation: Attendance and participation – 30 points Midterm – 20 points Final exam – 50 points |
| Special remarks | Students select repertoire in consultation with the professor. Performance of selected works at internal concerts during the semester is encouraged. |
| 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) |
| 13212 | Izborni | 3 | 1 | 1++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Successfully passed the exam Correpetition II |
| Aims | For piano students: - Improving the technique of joint playing and artistic communication. - Improving the art of working on new compositions. - Improving prima vista playing skills and transposition techniques. - Acquiring a pedagogical qualification - piano accompanist - accompanist in music schools and higher education institutions - Professional application of knowledge as an artistic collaborator-accompanist in concert practice For string and brass students: - Getting to know the problems of joint playing and artistic communication from the point of view of piano collaboration. - Training for independent work on new compositions. - Getting to know the technique of playing prima vista in piano literature - The ability to analyze piano parts in compositions performed with piano accompaniment |
| Learning outcomes | For piano students: The student will: - To acquire the art of playing together in correlation with different instruments - Recognize the specifics of the work of an artistic collaborator and be qualified to work as a piano collaborator in music schools, higher education institutions and concert institutions - Apply the techniques of playing prima vista and transposition to different intervals - Apply the knowledge of stylistic characteristics to the performance of a specific composition - Expand knowledge of literature for different instruments, vocal and operatic literature - To acquire the art of practical work with singers - Realize the assigned literature from the point of view of the musical context of the compositions - Improve the skills of correct interpretation of assigned musical material - Develop your own opinion based on the collected information and be able to evaluate the examples 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. For string and brass students: The student will: - Get to know and study the techniques of joint playing in correlation with the piano - Recognize the specifics of the work of artistic collaboration - Get to know the technique of playing prima vista on the piano - Apply the knowledge of stylistic characteristics to the performance of a specific composition - Realize the assigned literature from the point of view of the musical context of the compositions - Improve the skills of correct interpretation of assigned musical material - Develop ones own opinion based on the collected information and be able to evaluate the examples listened to, - Have personal access to the artwork, - Critically assess and evaluate ones own achievements as well as the achievements of the pianist in the joint performance. |
| Lecturer / Teaching assistant | Professor Oleksij Molčanov Teaching assistant Vladana Perović |
| Methodology | For student pianists. Lectures, exercises, joint rehearsals, concert practice For string and brass students: Lectures, exercises and rehearsals with piano collaboration |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: - With exercises of playing prima vista and artistic analysis of excerpts from operas - With transposition exercises for the whole degree -Rehearsing at least three smaller works with different chosen ones instruments, that is, the entire concert for the selected instrument and orchestra, which they make up part of the final exam. -Practice of cyclic composition, ie sonata for selected instrument and piano For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - Studying and analyzing compositions from the pedagogical repertoire for grades I-VI schools for another instrument (e.g. brass - repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| Student workload | For piano students: Weekly: 1 credit x 40/30 = 1 hour and 20 minutes Structure: 1 hours of lectures 0 hours of practice 0 hours and 20 minutes of individual student work (preparation for exercises, colloquiums, doing homework, including consultations) During the semester Lessons and final exam: (1 hour and 20 minutes) x 16 = 21 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (1 hour and 20 minutes) = 2 hours and 40 minutes Total workload for the course: 1 x 30 = 30 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 21 hours and 20 minutes (teaching) + 2 hours and 40 minutes (preparation) + 6 hours (overtime) For string and brass students: Weekly: 1 credit x 40/30 = 1 hour and 20 minutes Structure: 1 hours of lectures 0 hours of practice 0 hours and 20 minutes of individual student work (preparation of exercises, for colloquiums, preparation of homework, including consultations During the semester Lessons and final exam: (1 hour and 20 minutes) x 16 = 21 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (1 hour and 20 minutes) = 2 hours and 40 minutes Total workload for the course: 1 x 30 = 30 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 21 hours and 20 minutes (teaching) + 2 hours and 40 minutes (preparation) + 6 hours (overtime) |
| Per week | Per semester |
| 1 credits x 40/30=1 hours and 20 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
1 hour(s) i 20 minuts x 16 =21 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 1 hour(s) i 20 minuts x 2 =2 hour(s) i 40 minuts Total workload for the subject: 1 x 30=30 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) 6 hour(s) i 0 minuts Workload structure: 21 hour(s) i 20 minuts (cources), 2 hour(s) i 40 minuts (preparation), 6 hour(s) i 0 minuts (additional work) |
| Student obligations | For piano students: Regular attendance at classes, performances at public classes, class concerts and academy concerts, regularly exercise, active participation in seminars and international competitions, listening to music (CD and DVD) and reading professional literature. For string and brass students: Regular attendance at classes, regular practice with a piano accompanist, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | For piano students: - Sheet music for playing prima visto (piano operas by Mozart, Verdi, Bizet, Tchaikovsky, Rachmaninoff, composers of the 20th century) - Sheet music for transposition for the entire grade (collections for the 5th-6th grade of elementary school, pedagogical repertoire for 1st grade of high school) - Sheet music for accompaniment, that is, joint playing of concerts with different instruments (concerts Mozart, Rejneka, Nielsen, Jolivet for flute and orchestra, Venjavski, Paganini, Saint-Saëns, Sibelius, Tchaikovsky, Mozart, Prokofiev for violin and orchestra, Weber for clarinet and orchestra, Arutjunjan for trumpet and orchestra, Lalo, Šumana for cello and orchestra, compositions by Doppler, Enesko, Tafanela for flute and piano, Sarasate, Venjavski for violin and piano, Bara, Brandt for trumpet and piano, Martinu for clarinet and piano. For string and brass students: - Sheet music for playing, i.e. piano versions of compositions from ones own repertoire - Sheet music for accompaniment, i.e. piano excerpts of compositions from the school repertoire for different instruments (beginner schools and pedagogical collections for violin, viola, cello, flute, clarinet, trumpet) -Literature for playing prima vista |
| Examination methods | For piano students: Colloquium program: - The playing of prima vista musical material of the opera -Transposition for the whole degree -Rehearsing one composition with a soloist, which could be repeated for the final exam. Exam program: - Accompaniment of at least two pieces of smaller form or two movements of a concert for the chosen instrument. For string and brass students: Colloquium program: - The colloquium is conducted in the form of a theoretical knowledge test. The student must make an analysis of the piano parts of school compositions repertoire for another instrument. Exam program: -Theoretical analysis of piano parts of own repertoire. - Cooperation with the piano player during the exam in the main subject (the grade, quality and awareness of musical communication during program execution) Evaluation: 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 | Lessons for pianists are conducted individually Lessons for strings and brass players are held in groups of 2 to 5 students |
| 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) |
| 13188 | Obavezan | 3 | 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
0 sat(a) theoretical classes 0 sat(a) practical classes 2 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 / TRUMPET III
| Course: | TRUMPET III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13191 | Izborni | 3 | 16 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed the exam in the course Trumpet II |
| Aims | Improving trumpet playing technique, developing auditory, cognitive, and expressive abilities. Enhancing the student’s skill in independently shaping, creating, and exploring their own artistic expression. Researching and presenting new or lesser-known musical literature written for the trumpet. Preparing the student for future concert performances as a soloist, chamber, or orchestral musician by refining technical and interpretative skills. Becoming familiar with and performing highly complex trumpet repertoire, extensive solo concert programs, and presenting them to the public. |
| Learning outcomes | To become familiar with, analyze, assess, evaluate, and perform trumpet repertoire from early music to modern trends of the 21st century. To become acquainted with and develop awareness of the functions of the playing apparatus, and to understand the interaction between the performer’s apparatus and the tone to be produced. To apply technical skills in the performance of specific compositions. To become familiar with trumpet repertoire and synthesize acquired knowledge in creating one’s own interpretation of a musical work. To perform the assigned literature from historical and stylistic perspectives, recognizing the historical, social, and musical context of the given compositions. To distinguish the stylistic characteristics of the assigned program and develop skills for their accurate interpretation. To form independent opinions based on collected information and to be able to evaluate listened examples. To critically assess and evaluate one’s own technical and interpretative achievements, as well as those of other musicians. |
| Lecturer / Teaching assistant | Nikola Mijajlović, MA, Associate Professor |
| Methodology | Lectures, exercises, concerts, etc. |
| 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 the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| I week exercises | |
| II week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| II week exercises | |
| III week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| III week exercises | |
| IV week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| IV week exercises | |
| V week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| V week exercises | |
| VI week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing 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 the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| VIII week exercises | |
| IX week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| IX week exercises | |
| X week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| X week exercises | |
| XI week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| XI week exercises | |
| XII week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| XII week exercises | |
| XIII week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| XIII week exercises | |
| XIV week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| XIV week exercises | |
| XV week lectures | The course content is delivered within an open curriculum, with the pace adapted to the prior knowledge and abilities of each individual student. The compulsory components of the course include technical exercises, scales, orchestral excerpts, etudes, and compositions of a difficulty level appropriate to the student’s stage of study, representing various stylistic periods and forms. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular class attendance; performances at public lessons, class and academy concerts; consistent individual practice; active participation in seminars and international competitions; as well as listening to music (CDs and DVDs) and reading relevant professional literature. |
| Consultations | |
| Literature | Henri Tomasi – Concerto Heinrich Sutermeister – Gavotte de concert Henri Tomasi – Triptyque Johann Wilhelm Hertel – Concerto No. 1, No. 2, No. 3 Leopold Mozart – Concerto in D Major Michael Haydn – Concerto in C Major Stanley Friedman – Solus for Unaccompanied Trumpet Alfred Desenclos – Incantation, Thrène et Danse Thierry Escaich – Tanz-Fantasie Florent Schmitt – Suite pour trompette et piano Anthony Plog – Concerto for Trumpet, Brass Ensemble and Percussion Pablo de Sarasate – Chansons Tziganes (Gypsy Songs) Peter Maxwell Davies – Sonata Robert Planel – Concerto Eric Ewazen – Concerto for Trumpet and Strings Charles Chaynes – Concerto Robert Henderson – Variations Movements (1967) for Solo Trumpet Hans Werner Henze – Sonatina for Solo Trumpet |
| Examination methods | Continuous monitoring of the student’s progress throughout the academic year, public performances, a midterm examination (colloquium), and a final exam before an examination committee at the end of the semester. Exam Requirements: Orchestral excerpts from all study years; a concerto or solo recital featuring a program of diverse character and/or stylistic periods, including at least one cyclical work. At least one composition must be performed from memory. |
| Special remarks | |
| Comment | Languages of instruction: Montenegrin, 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 / VIOLA III
| Course: | VIOLA III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13192 | Izborni | 3 | 16 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed exam Viola Master II |
| Aims | Mastering the technique of playing the viola and interpretation of viola 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 violist, chamber and orchestral musician. Creating the basis for pedagogical work as a viola 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 viola repertoire. Recognize the difference between solo and chamber repertoire. Improve the technique of playing the viola with the program that is provided as part of the study program. Have knowledge about viola works created in the 17th century - the Baroque period. Establish communication with the piano collaborator in the performance of solo and chamber works. |
| Lecturer / Teaching assistant | docent Mikhail Bereznitskiy |
| Methodology | Lectures, exercises, consultations, and public performances. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Work on repertoire consisting of: A Bach partita, sonata, or suite A complete sonata with piano A complete concerto A concert piece A concert etude with a minimum total duration of 60 minutes. Work on previously assigned material and preparation for its public performance. Final exam – mandatory in the form of a public performance. |
| 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 Workload: 14 credits × 40/30 = 18 hours and 40 minutes Structure: 4 hours of lectures 2 hours of exercises 12 hours and 40 minutes of individual student work (preparation for practical exercises, colloquia, and assignments), including consultations Semester Workload: Teaching and final exam: (18 hours and 40 minutes) × 16 = 298 hours and 40 minutes Necessary preparation before the beginning of the semester (administration, enrollment, verification): 2 × (18 hours and 40 minutes) = 37 hours and 20 minutes. |
| Per week | Per semester |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 hour(s) i 0 minuts (additional work) |
| Student obligations | Student Obligations: Regular attendance of classes; participation in public lessons, class concerts, and academy concerts; consistent individual 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; Concertos with cadenza; J.S. Bach: Suites, Partitas, and Sonatas for solo instrument. |
| Examination methods | Assessment and Grading: Class attendance: 30 points Colloquium: 20 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 / VIOLIN III
| Course: | VIOLIN III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13193 | Izborni | 3 | 16 | 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 lesson. 2. Performs independently in communication with the piano accompanist during rehearsals. 3. Improves the technique of playing the violin with a more technically demanding program. 4. Acquires the practice and routine that is needed during an independent performance in front of the public 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 | 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 dynamics adapted to the prior knowledge and abilities of the individual student. The mandatory content of the course is: - technical exercises and etudes, - compositions of different stylistic periods and forms The student is required to pass tests during the year 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 | |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 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 III
| Course: | VIOLONCELLO III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13194 | Izborni | 3 | 16 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed Cello II Exam, Master’s Level |
| Aims | Refinement of left- and right-hand motor skills; Development of intentional and expressive dynamics; Mastery of advanced cello playing techniques; Enhancement of auditory and expressive abilities; Familiarization with complex cello repertoire from all periods and styles; Improvement of skills necessary for independent work on a musical piece; Advancement of the ability to understand all musical styles; Development of the ability to perform musical works in all styles and create one’s own interpretation. |
| Learning outcomes | Upon completion of the course, the student will be able to: Independently create, express, and realize their own artistic concepts; Solve technical and intonation challenges independently; Perform advanced technical exercises and etudes as prescribed by the study program; Publicly perform an advanced concert repertoire encompassing various musical styles; Master and perform 20th- and 21st-century cello repertoire; Collaborate effectively with diverse artistic ensembles; Thoroughly analyze and recognize elements of a musical work; Contribute interpretative ideas to the performance of a musical work in accordance with its stylistic characteristics; Independently develop solutions to cello-specific challenges and broader musical problems; Independently execute performance programs in collaboration with other musicians; Refine articulation techniques and advanced performance techniques based on classical methodology; Master and apply complex and contemporary playing techniques; Employ effective memorization strategies for musical works; Make informed decisions regarding repertoire selection and ongoing performance development; Shape and express their individual musical interpretation; Perform confidently in concerts and competitions. |
| Lecturer / Teaching assistant | Mladen Popović, Teaching Associate, M.A., Distinguished Artist |
| Methodology | * Lectures, hands-on practice, individual 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 |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 hour(s) i 0 minuts (additional work) |
| Student obligations | * Consistent class attendance, participation in public lessons and concerts (both class and academy-wide), regular practice, active engagement in seminars and international competitions, listening to recordings, and study of professional literature |
| Consultations | |
| Literature | 20th- and 21st-Century Works: Bartók – Rhapsody No. 1 Daidov – At the Fountain, Op. 20 Ginastera – Pampeana No. 2 Martinu – Variations on a Theme by Rossini Paganini – Moses Variations Popper – Papillon Popper – Vito, Op. 55, No. 1 Tchaikovsky – Pezzo Capriccioso Complete Cello Sonatas: Brahms Beethoven Rachmaninoff Shostakovich Prokofiev Debussy Supplementary Repertoire: In addition to the above literature, students may perform any compositions written for cello, as selected by the instructor, while also considering the student’s own suggestions. |
| Examination methods | Assessment: Colloquium: during the semester Final Exam: at the end of the semester Colloquium Program: Technical exercises, scales, and etudes Final Exam Program: A recital consisting of works from the prescribed and supplementary repertoire Grading: Attendance: maximum 30 points Colloquium: maximum 20 points Final Exam Performance: maximum 50 points |
| 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 | The course can be attended in Montenegrin or 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 / FLUTE III
| Course: | FLUTE III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13196 | Izborni | 3 | 16 | 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 |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 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 / PIANO III
| Course: | PIANO III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13200 | Izborni | 3 | 16 | 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, |
| Lecturer / Teaching assistant | full time prof. Bojan Martinović, ass. prof. 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| Student workload | weekly 16 credits x 40/30 = 21 hours and 20 minutes Structure: 2 hours of lectures 19 hours and 20 minutes of individual student work (preparation for laboratory exercises, colloquia, homework) including consultations in the semester Teaching and final exam: (21 hours and 20 minutes) x 16 = 341 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (21 hours and 20 minutes) = 42 hours and 40 minutes Total load for the subject: 16 x 30 = 480 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 480 (teaching) + 42 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 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 required: 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 concert or recital lasting 50 minutes Note:. 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 s 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 / GUITAR III
| Course: | GUITAR III/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13199 | Izborni | 3 | 17 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completed undergraduate guitar studies and successful entrance exam for Master Studies. |
| Aims | - To achieve artistic and interpretative advancement through the performance of one selected CONCERTO for guitar and orchestra (piano reduction). - To deepen analytical and orchestral thinking within the piano reduction context. - To prepare a complete concerto as an artistically coherent programme for public performance and final examination. |
| Learning outcomes | The student will be able to: - Interpret the selected concerto in accordance with stylistic and formal principles. - Develop independence in preparation and collaboration with the pianist (piano reduction). - Analyse orchestral texture and transfer its content effectively to the guitar. - Achieve technical mastery and artistic expressiveness at a concert level. - Perform the complete concerto (I–III movements) as part of a public performance or final exam. |
| Lecturer / Teaching assistant | Prof Danijel Cerović |
| Methodology | Individual lessons with the professor, rehearsals with pianist, analytical and interpretative work, public classes, concerts, and consultations. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Selection of the concerto and edition. Structural analysis of the first movement and thematic overview. |
| I week exercises | |
| II week lectures | Work on the solo part of the first movement: phrasing, dynamics, tempo control. First joint rehearsal with the pianist. |
| II week exercises | |
| III week lectures | Resolving technical and interpretative challenges in the first movement. Coordination of dialogue between guitar and piano. |
| III week exercises | |
| IV week lectures | Correction of cadenzas and transitions. Refinement of articulation and musical expressiveness in the first movement. |
| IV week exercises | |
| V week lectures | Introduction to the second movement: form, character, tone colour. Connection of lyrical phrasing and expressive development. |
| V week exercises | |
| VI week lectures | Work on the second movement: balance and dynamic control. Joint interpretation with the pianist. |
| VI week exercises | |
| VII week lectures | Midterm performance (first movement with piano). Feedback and discussion on progress. |
| VII week exercises | |
| VIII week lectures | Introduction to the third movement: technical endurance, rhythm, precision, and control of articulation. |
| VIII week exercises | |
| IX week lectures | Unification of tempo and phrasing in the third movement. Dynamic design and preparation for the final climax. |
| IX week exercises | |
| X week lectures | Integration of all movements. Linking formal and emotional logic of the concerto. |
| X week exercises | |
| XI week lectures | Final corrections of interpretation. Full rehearsal with the pianist. |
| XI week exercises | |
| XII week lectures | General rehearsal (I–III movements). Recording analysis and micro‑corrections. |
| XII week exercises | |
| XIII week lectures | Concert simulation – uninterrupted performance. Focus on expression and control of stage tension. |
| XIII week exercises | |
| XIV week lectures | Final adjustments: refinement of tempo, dynamics, and stage presentation. |
| XIV week exercises | |
| XV week lectures | Final exam – performance of the complete concerto (I–III movements) with piano reduction. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 17 credits x 40/30=22 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 20 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
22 hour(s) i 40 minuts x 16 =362 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 22 hour(s) i 40 minuts x 2 =45 hour(s) i 20 minuts Total workload for the subject: 17 x 30=510 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) 102 hour(s) i 0 minuts Workload structure: 362 hour(s) i 40 minuts (cources), 45 hour(s) i 20 minuts (preparation), 102 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance at lessons and rehearsals; continuous preparation and collaboration with the pianist; participation in public classes and internal performances; documentation and analysis of artistic progress. |
| Consultations | By arrangement with the professor; additional rehearsal sessions with the pianist according to schedule. |
| Literature | - Mauro Giuliani: Concertos op.30 / op.36 (Tecla Editions) - Manuel M. Ponce: Concierto del Sur (Ediciones Musicales Mexicanas) - Joaquín Rodrigo: Concierto de Aranjuez (Schott / Ediciones Joaquín Rodrigo) - Heitor Villa-Lobos: Concerto (Max Eschig) - Mario Castelnuovo-Tedesco: Concerto No.1 / No.2 (Ricordi) - Dušan Bogdanović: Concerto (author’s edition) - Leo Brouwer: Concerto Elegiaco (Chester / Max Eschig) |
| Examination methods | Midterm (first movement with piano) – 30% Continuous evaluation (rehearsal work, progress) – 20% Final exam (complete concerto performance with piano) – 50% |
| Special remarks | The student selects one concerto for the entire semester. The programme and schedule are agreed with the professor and pianist. At least one internal performance is recommended prior to the final exam. |
| 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) |
| 13198 | Obavezan | 3 | 17 | 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 |
| 17 credits x 40/30=22 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 20 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
22 hour(s) i 40 minuts x 16 =362 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 22 hour(s) i 40 minuts x 2 =45 hour(s) i 20 minuts Total workload for the subject: 17 x 30=510 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) 102 hour(s) i 0 minuts Workload structure: 362 hour(s) i 40 minuts (cources), 45 hour(s) i 20 minuts (preparation), 102 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) |
| 13213 | Izborni | 4 | 1 | 1++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Successfully passed the exam Correpetition III |
| Aims | For piano students: - Improving the technique of joint playing and artistic communication. - Improving the art of working on new compositions. - Improving prima vista playing skills and transposition techniques. - Acquiring a pedagogical qualification - piano accompanist - accompanist in music schools and higher education institutions - Professional application of knowledge as an artistic collaborator-accompanist in concert practice For string and brass students: - Getting to know the problems of joint playing and artistic communication from the point of view of piano collaboration. - Training for independent work on new compositions. - Getting to know the technique of playing prima vista in piano literature - The ability to analyze piano parts in compositions performed with piano accompaniment |
| Learning outcomes | For piano students: The student will: - To acquire the art of playing together in correlation with different instruments - Recognize the specifics of the work of an artistic collaborator and be qualified to work as a piano collaborator in music schools, higher education institutions and concert institutions - Apply the techniques of playing prima vista and transposition to different intervals - Apply the knowledge of stylistic characteristics to the performance of a specific composition - Expand knowledge of literature for different instruments, vocal and operatic literature - To acquire the art of practical work with singers - Realize the assigned literature from the point of view of the musical context of the compositions - Improve the skills of correct interpretation of assigned musical material - Develop your own opinion based on the collected information and be able to evaluate the examples listened to, - Have personal access to the artwork, - Critically assess and evaluate ones own achievements as well as the achievements of other musicians in a joint performance. For string and brass students: The student will: - Get to know and study the techniques of joint playing in correlation with the piano - Recognize the specifics of the work of artistic collaboration - Get to know the technique of playing prima vista on the piano - Apply the knowledge of stylistic characteristics to the performance of a specific composition - Realize the assigned literature from the point of view of the musical context of the compositions - Improve the skills of correct interpretation of assigned musical material - Develop ones own opinion based on the collected information and be able to evaluate the examples listened to, - Have personal access to the artwork, - Critically assess and evaluate ones own achievements as well as the achievements of the pianist in the joint performance. |
| Lecturer / Teaching assistant | Professor Oleksij Molčanov Teaching assistant Vladana Perović |
| Methodology | For piano students: Lectures, exercises, joint rehearsals, concert practice For string and brass students: Lectures, exercises and rehearsals with piano collaboration |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| 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. For piano students: Work on: -Prepare and practice material for the final exam, that is, a recital with soloists. The recital is a must contains a performance with at least three soloists on different instruments. For string and brass students: Work on: - To study and analyze the piano part of ones own repertoire. - To study and analyze compositions from the pedagogical repertoire for I-VI grades of elementary school schools for another instrument (e.g. brass-repertoire for strings and vice versa), at least 10 composition - Familiarization with the basics of the technique of playing prima vista on the piano |
| Student workload | For piano students: Weekly: 1 credit x 40/30 = 1 hour and 20 minutes Structure: 1 hours of lectures 0 hours of practice 0 hours and 20 minutes of individual student work (preparation for exercises, colloquiums, doing homework) including consultations During the semester: Lessons and final exam: (1 hour and 20 minutes) x 16 = 21 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (1 hour and 20 minutes) = 2 hours and 40 minutes Total workload for the course: 1 x 30 = 30 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 21 hours and 20 minutes (teaching) + 2 hours and 40 minutes (preparation) + 6 hours (overtime) For string and brass students: Weekly: 1 credit x 40/30 = 1 hour and 20 minutes Structure: 1 hours of lectures 0 hours of practice 0 hours and 20 minutes of individual student work (preparation for exercises, colloquiums, doing homework, including consultations) During the semester: Lessons and final exam: (1 hour and 20 minutes) x 16 = 21 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, registration, certification): 2 x (1 hour and 20 minutes) = 2 hours and 40 minutes Total workload for the course: 1 x 30 = 30 hours Supplementary work for exam preparation in the remedial exam period, including taking a make-up exam from 0 - 30 hours. Load structure: 21 hours and 20 minutes (teaching) + 2 hours and 40 minutes (preparation) + 6 hours (overtime) |
| Per week | Per semester |
| 1 credits x 40/30=1 hours and 20 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 0 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
1 hour(s) i 20 minuts x 16 =21 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 1 hour(s) i 20 minuts x 2 =2 hour(s) i 40 minuts Total workload for the subject: 1 x 30=30 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) 6 hour(s) i 0 minuts Workload structure: 21 hour(s) i 20 minuts (cources), 2 hour(s) i 40 minuts (preparation), 6 hour(s) i 0 minuts (additional work) |
| Student obligations | For piano students: -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. For string and brass students: -Regular attendance at classes, regular practice with a piano accompanist, listening to music (CD and DVD) and reading professional literature. |
| Consultations | |
| Literature | For piano students: - Sheet music for accompaniment, that is, playing compositions together with different instruments (concerts Mozart, Rejneke, Nielsen, K.F.E. Bach for flute and orchestra, Venjavski, Paganini, Sen- Sansa, Sibelius, Tchaikovsky, Mozart, Brahms, Khachaturjan for violin and orchestra, Weber for clarinet and orchestra, Arutjunjan for trumpet and orchestra, Dvorak, Lalo, Schuman for cello and piano, compositions by Doppler, Enesko, Tafanel, Kazele for flute and piano, Sarasate, Venjavski for violin and piano, , Brandt for trumpet and piano, Martinu for clarinet and piano and similar) For string and brass students: - Sheet music for playing, i.e. piano versions of compositions from ones own repertoire - Sheet music for accompaniment, i.e. piano excerpts of compositions from the school repertoire for different instruments (beginner schools and pedagogical collections for violin, viola, cello, flute, clarinet, trumpet) -Literature for playing prima vista |
| Examination methods | For piano students: Colloquium program: - Accompaniment, that is, the performance of the work of the final recital Exam program: - Public performance, that is, a recital as a piano collaboration lasting at least 45 minutes. The program must include at least three compositions, two of which are cyclic (concert and sonata). One of the cyclic compositions performed as a whole, and in others individual movements (for example I or II-III). Compositions performed on the exam must include at least three stylistic eras, and the soloists must be represented on at least three different instruments. For string and brass students: Colloquium program: - The colloquium is conducted in the form of a theoretical knowledge test. The student must make an analysis of the piano parts of school compositions repertoire for another instrument. Exam program: -Theoretical analysis of piano parts of own repertoire. - Cooperation with the piano player during the exam in the main subject (the grade, quality and awareness of musical communication during program execution) Evaluation: 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 | Lessons for pianists are conducted individually Lessons for strings and brass players are held in groups of 2 to 5 students |
| 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) |
| 13189 | Obavezan | 4 | 4 | +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 |
| 4 credits x 40/30=5 hours and 20 minuts
0 sat(a) theoretical classes 0 sat(a) practical classes 2 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 | |
| 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 / RESEARCH
| Course: | RESEARCH/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13214 | Obavezan | 4 | 9 | 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 |
| 9 credits x 40/30=12 hours and 0 minuts
1 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 11 hour(s) i 0 minuts of independent work, including consultations |
Classes and final exam:
12 hour(s) i 0 minuts x 16 =192 hour(s) i 0 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 12 hour(s) i 0 minuts x 2 =24 hour(s) i 0 minuts Total workload for the subject: 9 x 30=270 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) 54 hour(s) i 0 minuts Workload structure: 192 hour(s) i 0 minuts (cources), 24 hour(s) i 0 minuts (preparation), 54 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 / MASTER DISSERTATION- PIANO
| Course: | MASTER DISSERTATION- PIANO/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13201 | Izborni | 4 | 16 | 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. prof. 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto Student work |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| 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 concert etudes, one of which must be by Chopin, Lista, Rachmaninov, Debussy - 2 preludes and fugues from Johann Sebastian Bachs Well-Tempered Piano or one larger baroque work by J.S. Bach, F. Handel; that is, several works by Kupren, Ramo, Skarlati - Classical sonata, variations or rondo (W. A. Mozart, J. Haydn, F. Schubert, L. W. Beethoven) - At least one major romantic work or cycle lasting about 20 minutes - At least one part of the XX or XXI century - Piano concerto |
| Student workload | weekly 16 credits x 40/30 = 21 hours and 20 minutes Structure: 2 hours of lectures 19 hours and 20 minutes of individual student work (preparation for laboratory exercises, colloquia, homework) including consultations in the semester Teaching and final exam: (21 hours and 20 minutes) x 16 = 341 hours and 20 minutes Necessary preparation before the beginning of the semester (administration, enrollment, certification): 2 x (21 hours and 20 minutes) = 42 hours and 40 minutes Total load for the subject: 16 x 30 = 480 hours Additional work for exam preparation in the remedial exam period, including taking the remedial exam from 0 - 30 hours. Load structure: 480 (teaching) + 42 hours and 40 minutes (preparation) + 30 hours (additional work) |
| Per week | Per semester |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 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 required: 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 concert or recital lasting 50 minutes Note:. 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 s 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 / MASTERS DISSERTATION- VIOLIN
| Course: | MASTERS DISSERTATION- VIOLIN/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13202 | Izborni | 4 | 16 | 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 |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 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 / MASTER DISSERTATION- CONTRABASS
| Course: | MASTER DISSERTATION- CONTRABASS/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13205 | Izborni | 4 | 16 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed the entrance 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 | |
| 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 semester Teaching and final exam: (18 hours and 40 minutes) × 16 = 298 hours and 40 minutes Necessary preparation before the semester starts (administration, enrollment, registration): 2 × (18 hours and 40 minutes) = 37 hours and 20 minutes Total workload for the course: 14 × 30 = 420 hours Additional work for preparation for the make-up exam, including taking the make-up exam: 0–30 hours Workload structure: 298 hours and 40 minutes (teaching) 37 hours and 20 minutes (preparation) 30 hours (additional work) |
| Per week | Per semester |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 hour(s) i 0 minuts (additional work) |
| Student obligations | Students are required to attend lectures, exercises, and carry out practical work |
| Consultations | Weekly 14 credits × 40/30 = 18 hours and 40 minutes Structure: 4 hours of lectures 2 hours of exercises 12 hours and 40 minutes of individual student work (preparation for laboratory exercises, colloquia, completion of assignments), including consultations |
| Literature | Études – various composers; pieces – smaller and larger forms, sonatas; concertos with cadenzas; J.S. Bach: suites, partitas, and sonatas for solo instrument |
| Examination methods | Attendance: 30 points Colloquium: 20 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 / MASTER DISSERTATION -FLUTE
| Course: | MASTER DISSERTATION -FLUTE/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13206 | Izborni | 4 | 16 | 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 |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 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 / MASTER DISSERTATION-CLARINET
| Course: | MASTER DISSERTATION-CLARINET/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13207 | Izborni | 4 | 16 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Passed exam in Clarinet III |
| Aims | • To enable the student to independently conduct artistic-research work in the chosen artistic field, applying contemporary methodological approaches and solving problems based on relevant evidence; • To develop a creative and analytical approach in applying theoretical and practical knowledge, including the use of professional and scientific literature, comparison of results, data selection, structured writing, creating presentations, and effectively presenting research findings orally; • To deepen artistic and technical excellence in clarinet performance through mastery of tone control, breathing, intonation, articulation, and sound flexibility; • To develop an authentic interpretative expression through studying stylistic repertoire from different musical periods and performing works in various musical styles, while creating a personal musical interpretation; • To integrate theoretical, technical, and stylistic knowledge into independent artistic practice aimed at strengthening performance independence, developing analytical thinking, work discipline, and musical hearing as a foundation for a versatile artistic expression; • To develop the ability to plan, organize, and realize the practical component of the artistic-research master’s project, including a public performance as the presentation of the artistic work and an integral part of the research process. |
| Learning outcomes | Upon completing the course, the student will be able to: • Independently analyze problems in the field of art and find solutions through critical thinking and evidence-based methods, in line with research process requirements; • Effectively present the results of their work, demonstrating precision in writing and oral presentation, and the ability to participate in professional discussions following public presentation of conclusions applicable to artistic practice; • Connect and apply interdisciplinary knowledge, independently conduct evaluation and self-evaluation of their research work, developing a comprehensive and responsible approach to artistic research; • Master advanced clarinet performance techniques, including tone, breathing, intonation, articulation control, and use of modern and extended techniques when suitable for artistic purposes; • Independently prepare and perform technically and interpretatively demanding programs from different stylistic periods — solo, chamber, and orchestral — with developed strategies for efficient practice, memorization, and public performance; • Analyze, interpret, and critically evaluate musical works, recognize their stylistic, formal, and performance characteristics, and shape their own artistic expression with maturity; • Independently resolve technical and interpretative challenges, apply different work methods, and develop a professional approach to repertoire preparation; • Collaborate effectively with other musicians, including a piano accompanist, through developed communication, teamwork, and musical interaction skills in preparation for public performances; • Independently plan, organize, and realize an artistic project, perform in concerts and competitions, critically evaluate their own and others’ work, and actively work on professional development. |
| Lecturer / Teaching assistant | professor Petar Garić |
| Methodology | Teaching is conducted through individual mentorship with guided research in the selected artistic field. The process includes: • Independent research work under mentor supervision; • Analysis and application of theoretical and practical knowledge relevant to the selected topic; • Use of modern research methods and evidence-based conclusions; • Continuous consultation of available literature and sources; • Preparation of a written thesis and public presentation of research results; • Work on the artistic project under mentor supervision through all stages—from planning and preparation to public performance; • Collaboration with a piano accompanist and ongoing musical cooperation; • Analysis of interpretations, technical and stylistic aspects of musical works; • Participation in seminars, masterclasses, and public performances; • Use of modern methods for repertoire preparation, analysis, and memorization; • Public presentation of results through a concert performance and written report. Special emphasis is placed on developing critical thinking, creativity, and the ability to independently perform and present research in accordance with contemporary academic and artistic standards. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| I week exercises | |
| II week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| II week exercises | |
| III week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| III week exercises | |
| IV week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| IV week exercises | |
| V week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| V week exercises | |
| VI week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| VI week exercises | |
| VII week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| VII week exercises | |
| VIII week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| VIII week exercises | |
| IX week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| IX week exercises | |
| X week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| X week exercises | |
| XI week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| XI week exercises | |
| XII week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| XII week exercises | |
| XIII week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| XIII week exercises | |
| XIV week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| XIV week exercises | |
| XV week lectures | The Master’s Thesis represents an independent artistic-research work in which the student demonstrates mastery of research methodology in evidence-based artistic fields and contributes to the area chosen for the thesis, under the supervision and guidance of the mentor or co-mentor. The structure of the artistic-research master’s thesis is defined in Article 4 of the relevant regulations, while Articles 16, 17, 18, 20, 21, and 28 define the procedure for registration, defense, and scope of the research component. The topic of the written research paper, which may or may not be directly connected to the artistic project, is formulated with mentor guidance. The student defines a research hypothesis and questions, determines objectives, designs an appropriate research approach, and selects methods consistent with the topic and artistic or theoretical context. The student independently and with mentor support collects and processes relevant literature. Upon completion of the research, the student prepares the master’s thesis in accordance with the official rules of master’s studies. The artistic project, as part of the artistic-research master’s thesis, consists of a solo recital demonstrating technical, interpretative, and artistic maturity consistent with the final level of master’s studies. The project is realized with mentor supervision in alignment with the goals of the master’s program. Structure and Scope of the Artistic Project: The student must give a public concert performance lasting at least 45 minutes. The concert program must include a combination of the following works: • A clarinet concerto of choice • A solo clarinet piece of choice • A clarinet and piano sonata of choice • A clarinet and piano piece of choice Note: One piece must be performed from memory. The student may also perform one composition on an instrument from the clarinet family (E-flat clarinet or bass clarinet). |
| XV week exercises |
| Student workload | Weekly: 16 ECTS × 40/30 = 21 hours 20 minutes Structure: 2 hours of lectures 19 hours 20 minutes of individual student work (preparation, assignments, consultations) Per semester: (21h 20min) × 16 = 341h 20min Preparation before semester: 42h 40min Total workload: 480 hours Additional preparation for resit exams: up to 30 hours Total structure: 480h (teaching) + 42h 40min (preparation) + 30h (extra work) |
| Per week | Per semester |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 hour(s) i 0 minuts (additional work) |
| Student obligations | • Regular communication with the mentor, research work, following guidelines and deadlines, preparation of the written thesis and artistic project. |
| Consultations | |
| Literature | To be proposed in consultation with the mentor/co-mentor according to the research field. Etudes: • F. Thurston – Passage Studies (1, 2, 3) • R. Jettel – Der vollkommene Klarinettist • R. Jettel – Spezial-Etüden • M. Bitsch – 12 Études de rythme • R. Kell – 17 Staccato Studies • E. Bozza – 14 Études de mécanisme • P. Jeanjean – 16 Études modernes • J.S. Bach – U. Delecluse: 15 Études • K. Kroll – Capricci Pieces: • W. Lutosławski – Dance Preludes • E. Křenek – Kleine Suite • A. Berg – Vier Stücke, op. 5 • L. Berio – Sequenza IX • Bassi – Fantasy on Themes from Rigoletto • J. Françaix – Thème et Variations • B. Kovács – Hommage • P. Boulez – Domaines • K. Penderecki – Prelude for Clarinet • I. Stravinsky – Three Pieces for Clarinet Solo Concertos: W.A. Mozart – Concerto in A major P. Hindemith – Concerto C. Nielsen – Concerto, Op. 57 S. Šulek – Concerto A. Obradović – Concerto Kalevi Aho – Clarinet Concerto Malcolm Arnold – Clarinet Concertos Nos. 1 & 2 Eugène Bozza – Clarinet Concerto for Clarinet and Small Orchestra A. Copland – Clarinet Concerto J. Corigliano – Clarinet Concerto Edison Denisov – Clarinet Concerto J. Françaix – Clarinet Concerto Magnus Lindberg – Clarinet Concerto K. Penderecki – Clarinet Concerto H. Tomasi – Clarinet Concerto Sonatas: A. Bax – Sonata J. Brahms – Sonata No. 2 in E-flat Major P. Hindemith – Sonata F. Poulenc – Sonata M. Reger – Sonatas Nos. 1, 2, and 3 J. Cage – Sonata for Clarinet Solo A. Copland – Sonata for Clarinet and Piano Supplementary Literature: In addition to the listed works, other compositions written for clarinet may be performed in agreement with the mentor, according to interpretative requirements suitable for the master’s level. |
| Examination methods | • Defense of the master’s thesis: oral defense of the written research paper and public concert performance; • Evaluation components: Quality of written thesis: 15% Quality of oral defense: 10% Quality of artistic project performance: 75% • The grade is determined by majority vote of the Defense Committee and follows the ECTS grading scale: Grade A – defended with exceptional success Grade B – defended with above-average success Grade C – defended with average success Special Note: The defense of the master’s thesis is public. |
| 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 / MASTERS DISSERTATION- TRUMPET
| Course: | MASTERS DISSERTATION- TRUMPET/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13210 | Izborni | 4 | 16 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | The exam in the subject Trumpet III has been passed. |
| Aims | Refining trumpet playing technique, developing listening, cognitive, and expressive abilities. Enhancing the students skill in independently shaping, creating, and exploring their own artistic expression. Researching and presenting new or lesser-known music literature written for trumpet. Preparing the student for future concert solo, chamber, and orchestral performances by perfecting technical and interpretative skills. Familiarizing with and performing very complex trumpet literature, an extensive solo concert program, and presenting it to the public. Preparing a masters thesis and preparing and performing the program for the masters exam. |
| Learning outcomes | The student will: * Become familiar with, analyze, assess, evaluate, and perform a trumpet repertoire ranging from early music to modern trends of the 21st century. * Become aware of the functions of the playing apparatus, understand the interaction between the playing apparatus and the tone that needs to be produced. * Apply technical skills to perform a given composition. * Familiarize themselves with the trumpet repertoire and synthesize acquired knowledge to create their own interpretation of an artistic work. * Realize the given literature from a historical and stylistic perspective, recognizing the historical, social, and musical context of the compositions. * Differentiate stylistic features of the assigned program and develop skills for their correct interpretation. * Formulate their own opinion based on collected information and be able to assess the listened examples. * Critically evaluate and assess their own technical and interpretative achievements, as well as those of other musicians. |
| Lecturer / Teaching assistant | Nikola Mijajlović, MMus, associate professor. |
| Methodology | Lectures, exercises, concerts. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| I week exercises | |
| II week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| II week exercises | |
| III week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| III week exercises | |
| IV week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| IV week exercises | |
| V week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| V week exercises | |
| VI week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| VI week exercises | |
| VII week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| VII week exercises | |
| VIII week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| VIII week exercises | |
| IX week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| IX week exercises | |
| X week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| X week exercises | |
| XI week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| XI week exercises | |
| XII week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| XII week exercises | |
| XIII week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| XIII week exercises | |
| XIV week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| XIV week exercises | |
| XV week lectures | The content is delivered within an open curriculum, with a pace adapted to the prior knowledge and abilities of each individual student. The mandatory content of the subject includes technical exercises, scales, orchestral solos, études, and medium-difficulty compositions from different stylistic periods and forms. |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 16 credits x 40/30=21 hours and 20 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 19 hour(s) i 20 minuts of independent work, including consultations |
Classes and final exam:
21 hour(s) i 20 minuts x 16 =341 hour(s) i 20 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 21 hour(s) i 20 minuts x 2 =42 hour(s) i 40 minuts Total workload for the subject: 16 x 30=480 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) 96 hour(s) i 0 minuts Workload structure: 341 hour(s) i 20 minuts (cources), 42 hour(s) i 40 minuts (preparation), 96 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 | Here is a list of trumpet works and compositions by various composers: 1. **H. Tomasi**: *Concert* 2. **H. Sutermeister**: *Gavotte de concert* 3. **H. Tomasi**: *Tryptique* 4. **J. W. Hertel**: *Concerto No. 1, 2, 3* 5. **L. Mozart**: *Concerto in D Major* 6. **M. Haydn**: *Concerto in C Major* 7. **Friedman**: *Solus for Unaccompanied Trumpet* 8. **A. Desenclos**: *Incantation, Thrène et Danse* 9. **Thierry Escaich**: *Tanz-Fantasie* 10. **Florent Schmitt**: *Suite pour trompette et piano* 11. **Anthony Plog**: *Concerto for Trumpet, Brass Ensemble, and Percussion* 12. **Pablo Sarasate**: *Chansons Ziganes* 13. **Peter Maxwell Davies**: *Sonata* 14. **Robert Planel**: *Concerto* 15. **Eric Ewazen**: *Concerto for Trumpet and Strings* 16. **Charles Chaynes**: *Concerto* 17. **Robert Henderson**: *Variations Movements 1967 for Trumpet Solo* 18. **Hans Werner Henze**: *Sonatina for Solo Trumpet* These pieces cover a wide range of styles and challenges, providing both technical and interpretive depth for trumpet performers. |
| Examination methods | Monitoring of work throughout the entire year, public performances, colloquium, and the annual exam before the examination committee. Master Exam: Part I: Orchestral solos from all years. Part II: Solo recital with a program of diverse character and/or stylistic periods, with at least one cyclical work (the program for both parts of the masters exam must be approved by the department). At least one composition must be performed from memory. Part III: Preparation and defense of a written masters thesis of medium length. This structure ensures that the student demonstrates both technical proficiency and a deep understanding of music theory and history. |
| Special remarks | The languages in which the classes can be attended are 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 / MASTER DISSERTATION- ACCORDION
| Course: | MASTER DISSERTATION- ACCORDION/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13208 | Izborni | 4 | 17 | 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 |
| 17 credits x 40/30=22 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 20 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
22 hour(s) i 40 minuts x 16 =362 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 22 hour(s) i 40 minuts x 2 =45 hour(s) i 20 minuts Total workload for the subject: 17 x 30=510 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) 102 hour(s) i 0 minuts Workload structure: 362 hour(s) i 40 minuts (cources), 45 hour(s) i 20 minuts (preparation), 102 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 / MASTER DISSERTATION-GUITAR
| Course: | MASTER DISSERTATION-GUITAR/ |
| Course ID | Course status | Semester | ECTS credits | Lessons (Lessons+Exercises+Laboratory) |
| 13209 | Obavezan | 4 | 17 | 2++0 |
| Programs | PERFORMING ARTS |
| Prerequisites | Completion of the first semester of Master studies in Guitar. |
| Aims | To develop interpretative and analytical skills through performance of a program encompassing different stylistic periods. - To deepen the understanding of formal structures and performance styles through work on a Bach suite, a cyclic form composition, and a free-choice work. - To achieve artistic maturity by integrating technical, musical, and aesthetic dimensions of interpretation. |
| Learning outcomes | - To develop interpretative and analytical skills through performance of a program encompassing different stylistic periods. - To deepen the understanding of formal structures and performance styles through work on a Bach suite, a cyclic form composition, and a free-choice work. - To achieve artistic maturity by integrating technical, musical, and aesthetic dimensions of interpretation. |
| Lecturer / Teaching assistant | Prof Danijel Cerović |
| Methodology | Individual lessons with the professor, analytical and interpretative sessions, stylistic and formal analyses, masterclasses, concert performances, and consultations. |
| Plan and program of work | |
| Preparing week | Preparation and registration of the semester |
| I week lectures | Introduction to the semester: selection of a Bach suite, cyclic composition, and a free-choice work. Structural analysis and work plan. |
| I week exercises | |
| II week lectures | Analysis and initial work on the Bach suite – Prelude and Allemande. Understanding Baroque articulation and rhythmic logic. |
| II week exercises | |
| III week lectures | Work on the cyclic composition – analysis of form, character, and thematic contrast. Connecting technical aspects with musical structure. |
| III week exercises | |
| IV week lectures | Beginning of work on the free-choice piece. Stylistic analysis and definition of interpretative approach. |
| IV week exercises | |
| V week lectures | Adjustments and program balance: dynamics, agogics, and expressive coherence between pieces. |
| V week exercises | |
| VI week lectures | Work on central movements of the Bach suite – Sarabande and Bourrée/Gavotte. Phrase, counterpoint, and ornamentation. |
| VI week exercises | |
| VII week lectures | Midterm (internal presentation): performance of parts of the Bach suite and cyclic composition. Feedback and discussion. |
| VII week exercises | |
| VIII week lectures | Work on the final movements of the suite – Gigue. Consolidation of Baroque style and expression. |
| VIII week exercises | |
| IX week lectures | Advanced work on the cyclic composition – technical stability, clarity of form, balance between movements. |
| IX week exercises | |
| X week lectures | Work on the free-choice piece – interpretative freedom, contemporary techniques, and expressivity. |
| X week exercises | |
| XI week lectures | Establishing contrast and dramaturgy among the works. Developing transitions and program sequence. |
| XI week exercises | |
| XII week lectures | Preparation for complete performance. Refining tempo, dynamics, and expression. |
| XII week exercises | |
| XIII week lectures | General rehearsal – full program performance (45 minutes). |
| XIII week exercises | |
| XIV week lectures | Evaluation of interpretation and artistic coherence of the program. |
| XIV week exercises | |
| XV week lectures | Final exam – public performance of the complete program (Bach suite, cyclic composition, and free-choice work). |
| XV week exercises |
| Student workload | |
| Per week | Per semester |
| 17 credits x 40/30=22 hours and 40 minuts
2 sat(a) theoretical classes 0 sat(a) practical classes 0 excercises 20 hour(s) i 40 minuts of independent work, including consultations |
Classes and final exam:
22 hour(s) i 40 minuts x 16 =362 hour(s) i 40 minuts Necessary preparation before the beginning of the semester (administration, registration, certification): 22 hour(s) i 40 minuts x 2 =45 hour(s) i 20 minuts Total workload for the subject: 17 x 30=510 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) 102 hour(s) i 0 minuts Workload structure: 362 hour(s) i 40 minuts (cources), 45 hour(s) i 20 minuts (preparation), 102 hour(s) i 0 minuts (additional work) |
| Student obligations | Regular attendance and consultations; continuous work on all three pieces; active participation in masterclasses and concerts; independent analysis and preparation of the program. |
| Consultations | By appointment with the professor, according to the schedule posted on the academy board or online platform. |
| Literature | J.S. Bach: BWV 995–998; BWV 1001–1006; BWV 1007–1012 Selection of original compositions for guitar: M. Giuliani, F. Sor, De Fosa, N. Coste, D. Aguado, L. Legnani, N. Paganini, G. Regondi, J.K. Mertz, F. Tárrega. Selection of 20th and 21st century guitar compositions: J. Manén, M. Ponce, M. Castelnuovo‑Tedesco, A. José, A. Ginastera, J. Rodrigo, D. Bogdanović, L. Brouwer, H.W. Henze, F. Mompou, H. Haug, A. Barrios, F.M. Torroba, W. Walton, B. Britten, A. Ourkouzounov and others. |
| Examination methods | Program lasting up to 45 minutes consisting of at least three compositions contrasting in style, form, and character. Evaluation: Attendance and participation – 30 points Midterm – 20 points Final exam – 50 points |
| Special remarks | Students select repertoire in consultation with the professor. Performance of selected works at internal concerts during the semester is encouraged. |
| 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 |
-01.jpeg&w=220&h=150)
