Реферат: 2. Special requirements for admission: the history of Ukraine, Ukrainian language and literature, and creative competition with 2 rounds: 1
Art of Music * (piano, organ), bachelor
1. Information on the profile of education
Field of knowledge (code)
Arts 0202
Profile of education (code)
Art of Music *6.020204
Specialization (Major subject)
Piano, organ
Educational objective
Basic higher education
Qualification
Bachelor of arts,, teacher of piano class
EQL
Bachelor
Duration of formation
4 years
Form of study
Full time
2. Special requirements for admission: the history of Ukraine, Ukrainian language and literature, and creative competition with 2 rounds: 1. performance solo program of three pieces of music (polyphonic composition, large-scale work, concert piece, etude), 2. solfeggio - verbally and in writing (musical dictation).
3. General field of study: This area is intended to prepare professional art direction, capable of musical performance, music pedagogy, music and educational activities in secondary special and higher educational institutions and culture institutions.
4. Professional profile of graduates: specialists EQL «bachelor» can occupy the following positions: teacher of art and instrumental disciplines in secondary and higher institutions of culture (piano, chamber ensemble, accompanist class), head of performing groups (chamber ensembles).
5. Possibility of further study: after the EQL «bachelor» cabin training can enter the magistracy in the direction 8.020205 „ Art of Music ”, за спеціалізацією „ Piano ”
6. Structure diagram of this trend:
№
Title discipline
Year of study
Semester in which the discipline studied
Credit ECTS
Humanitarian and socio-economic training
1.
Ukrainian language
1
1, 2
3,0
2.
History of Ukraine
1
2
3,0
3.
Philosophy
2
4
2,0
4.
Cultural
3
5
1,0
5.
Economic theory
3
5
2,0
6.
Jurisprudence
4
7
1,5
7.
Sociology
4
7
1,0
8.
Politics
4
7
2,0
9.
Foreign Language
1
1, 2
5,0
Foreign Language
2
2, 4
2,75
10.
Physical education
1
1, 2
б/к
Physical education
2 - 4
3 - 7
б/к
11.
Religion
3
5
1,0
Cycle natural-science training
1.
Security life activities and base Civil Defence
1
1
2,0
2.
Psychology
1
1, 2
1,5
Psychology
2
3, 4
1,7
3.
Pedagogy
1
1, 2
1,5
Pedagogy
2
3, 4
1, 75
4.
Principles of pedagogical skills
3
5, 6
2,0
5.
Ecology
4
7
1,0
6.
Health
3
6
1,0
7.
New Information Technology
1
1
1,0
Cycle training in the specialty
1.
Theory of Music
1
1, 2
4,0
Theory of Music
2, 3
3 - 6
4,5
2.
The history of world music culture
1
1, 2
4, 0
The history of world music culture
2 - 4
3 - 8
8,0
3.
Special instrument
1
1, 2
6,0
Special instrument
2 - 4
3 - 8
18,0
4.
History of Piano Performance Art
1
2
5,0
5.
Music Pedagogy
2
3
1,5
6.
Pedagogical practicum
2 - 4
3 - 8
9,5
7.
Methodology of teaching play on a special instrument
2
3
3,5
8.
Performing interpretation
4
8
3,5
9.
Accompanist class
1
1, 2
14,0
Accompanist class
2 - 4
3 - 8
8,0
10
Chamber Ensemble
2 - 4
3 - 8
10, 0
11.
Music Psychology
2
4
1,5
12.
Accompanist Practicum
2 - 4
4 - 8
3,5
13.
History of Ukrainian music
3
5, 6
2, 5
14.
Piano Ensemble
1
1, 2
6,0
15.
Introduction to the profession
1
1
2,0
16.
Fundamentals of Improvisation
3
6
2,0
17.
Folklore
2
3, 4
2,0
18.
W / C on current issues in music education
3
6
1,0
19.
Propedeutics (of the University education. Work on the Internet. Working with search engines library)
1
1
2,0
7. Terms of assessment:
^ National Scale
Rate
Scale ЕСТS
excellent
90 – 100%
А – perfect– excellent performance with few errors
well
83 – 89%
В – very good – above average with some mistakes
well
75 – 82%
С – good – generally correct performance (work) with several blunders
satisfactorily
63 – 74%
D satisfactorily – many drawbacks
satisfactorily
50 – 62%
Е enough – performance meets the minimum criteria of evaluation
unsatisfactorily
21 – 49%
FХ unsatisfactorily – in order to obtain credit needs some revision
unsatisfactorily
0 – 20%
F unsatisfactorily – necessary to re-study the course
The mark “passed” is assigned to the student who has at least 50% of the points.
8. Requirements for the state certification:
State Examination «Comprehensive qualifying exam in professional disciplines» consists of two parts
1. Special instrument.
Form holding - performing a solo piano program, which consists of three pieces: polyphonic composition, Sonata (full cycle) or a concert (I or II and III part), piece complicated form.
In the State Examination program should be displayed differently stylistic directions of academic music.
Критерії оцінювання:
Evaluation of «excellent» - holistically conscious examination of the entire program at a high artistic and technical level. Sufficiently high level of maturity of musical thinking, technical training, creative attitude to work and convincing performance interpretation. persuasiveness of treatment and artistry. Full use of color possibilities of the piano. Ability to overcome excessive nervousness.
Assessment of «good» - a conscious examination of the entire program at a sufficient artistic and technical level in the presence of some immaterial deficiencies, namely: some minor technical errors and lack of expressiveness and emotionality.
Evaluation of «satisfactory» - examination of the entire program on low-art technical standards, lack of understanding and implementation of the image, the presence of significant technical and text errors.
Evaluation of «unsatisfactory» - the lack of integrity and understanding of the image performed by examination programs, large number of textual errors, and technical failures, inability to mentally tune in to a qualitative examination of the program and overcome anxiety.
2. Methodology of teaching plaing on a special instrument, the history of piano performing arts.
Form holding - oral exam .. The student answers the question, according to the chosen ticket. The first question concerns the methods of teaching to play on the Special instrument. The second - the history of piano performing arts.
Evaluation Criteria:
Evaluation of «excellent» – answer to the question is characterized by fullness, depth mastery of the material has a deep skills and ownership of scientific terminology. High level logic description of the material.
Assessment of «good» – response to the questions at a sufficient level, but contains minor flaws and incomplete mastery of the material ownership of scientific terminology. Sufficient level logic presentation of the material. Minor errors corrected in response on the additional clarifying questions.
Evaluation of «satisfactory» - response to the question on the middle level misspelled, inaccuracies and incomplete mastery of the material, substantial gaps in the possession of scientific terminology. Satisfactory level logic description of the material. Inaccuracies in responses to the additional clarifying questions not corrected.
Evaluation of «unsatisfactory» – response to the the question contains a number of gross errors, material misstatement, poor ownership of material, almost no awareness of of scientific terminology. Unsatisfactory level logic description of the material. Inaccuracies in responses to the additional clarifying questions not corrected.
9 Coordinator ЕСТS at the Institute of Culture and Arts:
Fedorisheva Svitlana Pavlivna
Deputy Director for academic work
Address
Phone
10. Content of the working programs:
Cycle of training in the specialty
1. Theory of Music
Working curriculum
subject „ Theory of Music (solfeggio)"
1. Name of the course.
Theory of Music (solfeggio) :
Form (s) of study: full-time.
Specialty (-es): Art of Music
2. Course Code.
[ІКМ]. [ММ_Форт_09] [3_1_2]
3. Type of Course (mandatory or optional for the student).
Mandatory
4. Year (s) training.
1- st. .
5. Semester / semesters.
1
The number of credits ECTS.
2
7. Surname name patronymic, position, rank, scientific degree
teacher (teachers) who teach discipline:.
Kovaleva Anna Hryhoriyivna – elder lecturer in theory, music history and musical training (Red square 4, room.2-01).
8. The objective of the course (in terms of educational outcomes and competence).
The aim of the course - the development of musical knowledge and skills in students of their skills in practical work on development of musical abilities in children school. Acquiring basic types of students, namely: writing music dictation, reading from a letter one, two and many voices examples, exercises on music theory, construction and solfeggioning chains chords, hearing analysis.
Stimulating students' creative activity (creating vocal exercises, music games, etc.). The study methodology literature.
9. Prerequisites (actual knowledge required to master the course).
The course of music theory and solfeggio CMS, college
10. Course Content.
№
^ Content of the modules and their structures
Загальна к.г.
лек
практ
інд.
сам.
^ The first module
1.1.
Solfeggio.
6
6
1.2.
Musical dictation
4
4
1.3.
Hearing analysis
4
4
1.4.
Intonation Exercise
4
4
^ The second module
2.1.
Intonation Exercise
6
6
2.2.
Solfeggio.
4
4
2.3
Musical dictation
4
4
2.4
Hearing analysis
4
4
^ TOTAL HOURS
72
36
36
2
11. List of recommended textbooks.
The main educational literature
Агажанов А. Курс сольфеджио. – Вып. !. – М., 1974
Агажанов А. Курс сольфеджио. – Вып.2. – М., 1973
Агажанов А., Блюм Д. Сольфеджио. Прим. из полифонич. литературы. – М., 1972
Алексеев Б. Гармоническое сольфеджио. – М., 1966.
Драгомиров П. Учебник сольфеджио. – М., 1965
Качалина Н. Сольфеджио. – Вып.1. – М., 1981.
Качалина Н. Сольфеджио. – Вып.2. – М., 1982.
Качалина Н. Сольфеджио. – Вып.3. – М., 1983.
Ладухин Н. Одноголосное сольфеджио. – М., 1983.
Лицвенко Н. Курс многоголосного сольфеджио. – Вып.1. – М., 1971
Островский А., Соловьев С., Шокин В. Сольфеджио. – Вып.2. – М., 1977.
Рубец А. Одноголосное сольфеджио. – М., 1984.
Серебряний М. Сольфеджіо. – « Музична Україна» - К., 1991.
Масленкова Л. Сольфеджио. – Изд. «Лань». – С.-Петербург – 1998.
Агажанов А. Двухголосные диктанты. – М., 1962.
Алексеев Б., Блюм Д. Систематический курс музыкального диктанта. – М., 1978
Ладухин Н. 1000 примеров музыкального диктанта. – М., 1981.
Лопатина И. Сборник диктантов. – М., 1985
20. Методическое пособие по музыкальному диктанту. – М., 1969
21. Мюллер Т. Двух- и трехголосные диктанты. – М., 1978.
22 Фрейндлиг Г. Двухголосные диктанты. – Л., 1975.
23. Давыдова Е. Методика преподавания сольфеджио. – М., 1986.
24. Незванов В. Интонирование на уроках сольфеджио. – Л., 1985.
25. Уткин Б. Воспитание профессионального слуха музыканта в училище. – М., 1985
Additional educational materials:
1 Виноградов Г., Красовская Е. Занимательная теория музики. – М., Советский композитор – 1991.
2. Красинская.Л., Уткин В. Занимательная теория музики – М, «Музыка» - 1991.
3. Смаглій Г., Маловик Л. Основи теорії музики – Харків, вид «Фак» - 2001.
4. Холопова В. Теория музыки. – С.-Петербург - Изд.»Лань» - 2002
5. Побережна Г. Щерлиця Т. Загальна теорія музики. – К., «Вища школа» - 2004
6. Виноградов Г, Гармония и сольлфеджио. – К., «Музична Україн» - 2006
12. Teaching Methods
Students’ Activities:
- Intonation exercises;
- Music in all kinds of dictation;
- Intoning intervals and chords;
- the theory of writing music;
- Self-study of musical examples.
Current control:
Two modules.
Form semester control:
Tests.
І3. The evaluation criteria (in%)
Semester rating is calculated based on the criteria:
- Modular written work 60%
(transposition musical examples 10%
^ Site Evaluation IWS
№
Types of independent work of students
The maximum point rating by type (%)
1.
Needless dictation
5 %
2.
Solfeggio
5 %
3.
Self-study examples of musical
5 %
As a whole
15%
14. Languages Teaching
Ukrainian, Russian
Working curriculum
subject „ Theory of Music (harmony)
1. Name of the course
Theory of Music (harmony) :
Form (s) of study: full-time.
Specialty (-es): Art of Music
2. Course Code.
[ІКМ]. [ММ_форт_09].[3_1_2]
3. Type of Course (mandatory or optional for the student).
Mandatory
4. Year (s) training.
1-й .
5. Semester / semesters.
2
The number of credits ЕСТS.
2
7. Surname name patronymic, position, rank, scientific degree
teacher (teachers) who teach discipline:.
Kovaleva Anna Hryhoriyivna – elder lecturer in theory, music history and musical training (Red square 4, room.2-01).
8. The objective of the course (in terms of educational outcomes and competence).
The aim of the course - to give future specialists (in combination with courses harmony, polyphony and analysis of musical works) necessary musical theoretical training provided for relevant professiogram.
9. Передумови (актуальні знання, необхідні для опанування курсу).
The course of music theory and harmony CMS, college
10. Course Content.
№
^ Content of the modules and their structures
total
lec.
prac.
ind.
indep.
^ The first module
1.1.
The main categories of harmony
4
4
1.2.
Basic laws voicekeeping.
4
4
1.3.
Keyboard sextaccordes
6
6
1.4.
Features of fourthsextaccordes
4
4
1.5
Checkpoint and support fourthsextaccordes
^ The second module
2.1
The general concept of modal alteration
6
6
2.2.
Alterative chords of the dominant group.
6
6
2.3.
Unchords sounds: checkpoints and support
6
6
^ TOTAL HOURS
72
36
36
11. List of recommended textbooks.
The main educational literature
Григорьев С.С. Теоретический курс гармонии. М., 1981
Бершацкая Т.С. Лекции по гармонии. – В., 1985
Дубовский И. Евсеев С, Способин С., Соколов В. Учебник гармонии – М., 1984
Мюллер Т.Ф. Гармония. – М., 1982
Тюлин Ю.Н., Привано Н.Г. Учебник гармонии. – м., 1986
Холопов Ю.Н. Гармония. Теоретический курс. – М., 1988
Зелинский В. Н. Курс гармонии в задачах. – М., 1982
Можжевелов Б.В. Мелодии для гармонизации. – Л., 1982
Мутли А.Ф. Сборник задач по гармонии. – М., 1986
Мясоедова Н.С., Мясоедов А.Н. Пособие по игре на фортепиано в курсе гармонии. – М., 1986
Мясоедов А.Н. Задачи по гармонии. – М., 1981
Гуляницкая Н. Введение в современную гармонию. - М., 1984
Чугунов Ю. Гармония в джазе. - М., 1988
Сарджент У. Джаз. Генезис. Музыкальній язык. Эстетика. – М., 1987
Синькова Н. О гармонии П.И. Чайковского. – М., 1989
Additional educational materials:
1. Гуляницкая Н. Введение в современную гармонию. – М., 1984
2. Очерки по истории гармонии в русской и советской музыке: Вып. 1. – 1985; Вып. 2. – М., 1985; Вып.3. – М.. 1989
3. Скребкова –Филатова М.С. Фактура в музыке. – М., 1985
4. Осніна С. Гармонія. Сольфеджіо Ч.1. – М., « Музика», 2002
5. Виноградов Г. Гармония и сольфеджио. – К., «Музична Україна» - 2006
Teaching Methods.
Lecture description of theory, practical tasks of harmonization a given melody (written and pianos), analysis of music harmony.
Students’ Activities:
- Harmonization of melodies;
- Harmonic analysis;
- Creating an accompaniment to tunes;
- playing music figures sequences and the piano;
Current control:
Two modules.
Form semester control:
exam.
І3. The evaluation criteria (in%)
Semester rating is calculated based on the criteria:
- Modular written work 60%
(with them c.i.w.) (15%)
- - other types of work: practical problems 15%, playing music figures sequences and the piano 15%, harmonization of melodies 10%
^ Site Evaluation IWS
№
Types of independent work of students
The maximum point rating by type (%)
1.
Creating acompanement to melodies
5 %
2.
Written work on harmonization
5 %
3.
Harmonic analysis
5 %
As a whole
15%
14. Languages Teaching
Ukrainian, Russian
Working curriculum
subject „ Theory of Music (harmony)"
1. Name of the course
Theory of Music (harmony) :
Form (s) of study: full-time.
Specialty (-es): Art of Music
2. Course Code.
[ІКМ]. [ММ_Форт].[3_1_2]
3. Type of Course (mandatory or optional for the student).
Mandatory
4. Year (s) training.
2-й. .
5. Semester / semesters.
3
The number of credits.
1,1
7. Surname name patronymic, position, rank, scientific degree
teacher (teachers) who teach discipline:.
Kovaleva Anna Hryhoriyivna – elder lecturer in theory, music history and musical training (Red square 4, room.2-01).
8. The objective of the course (in terms of educational outcomes and competence).
The aim of the course - of students in technological skills vminta in elementary musical creativity, which is essential factor in successful and valuable for future professional activities.
9. Prerequisites (actual knowledge required to master the course).
The course of music theory and harmony CMS, college, 1 courses solfeggio and harmony HEI
10. Course Content..
№
^ Content of the modules and their structures
total
pract.
ind.
indep.
^ The first module
1.1.
The general theory of modulation
2
2
1.2.
Enharmonizm septaccordes reduced.
2
2
1.3.
Modulations without a common chord
2
2
1.4.
Gradual modulation to distant tone
2
2
1.5
Checkpoint and support fourthsextaccordes
2
3
^ The second module
2.1
Major-minor system
2
2
2.2.
Overview of parallel Major-minor.
2
2
2.3.
Ways of functional harmony-tune major-minor system from its source to the 18 cent.
2
2
^ The third module
3.1
Features harmnic language of Viennese classics
2
4
3.2
Features of the harmonic language of the romantic period composers
4
4
3.3
Features of the harmonic language of Russian and Ukrainian schools
2
4
3.4
Features of the harmonic language of the greatest composers 20 cent.
4
4
^ TOTAL HOURS
61
28
33
11. List of recommended textbooks.
The main educational literature
Григорьев С.С. Теоретический курс гармонии. М., 1981
Бершацкая Т.С. Лекции по гармонии. – В., 1985
Дубовский И. Евсеев С, Способин С., Соколов В. Учебник гармонии – М., 1984
Мюллер Т.Ф. Гармония. – М., 1982
Тюлин Ю.Н., Привано Н.Г. Учебник гармонии. – м., 1986
Холопов Ю.Н. Гармония. Теоретический курс. – М., 1988
Зелинский В. Н. Курс гармонии в задачах. – М., 1982
Можжевелов Б.В. Мелодии для гармонизации. – Л., 1982
Мутли А.Ф. Сборник задач по гармонии. – М., 1986
Мясоедова Н.С., Мясоедов А.Н. Пособие по игре на фортепиано в курсе гармонии. – М., 1986
Мясоедов А.Н. Задачи по гармонии. – М., 1981
Гуляницкая Н. Введение в современную гармонию. - М., 1984
Чугунов Ю. Гармония в джазе. - М., 1988
Сарджент У. Джаз. Генезис. Музыкальній язык. Эстетика. – М., 1987
Синькова Н. О гармонии П.И. Чайковского. – М., 1989
Additional educational materials:
1. Гуляницкая Н. Введение в современную гармонию. – М., 1984
2. Очерки по истории гармонии в русской и советской музыке: Вып. 1. – 1985; Вып. 2. – М., 1985; Вып.3. – М.. 1989
3. Скребкова –Филатова М.С. Фактура в музыке. – М., 1985
4. Осніна С. Гармонія. Сольфеджіо Ч.1. – М., « Музика», 2002
5. Виноградов Г. Гармония и сольфеджио. – К., «Музична Україна» - 2006
12. Teaching Methods.
Lecture description of theory, practical tasks of harmonization a given melody (written and pianos), analysis of music harmony.
Students’ Activities:
- Harmonization of melodies;
- Harmonic analysis;
- Creating an accompaniment to tunes;
- playing music figures sequences and the piano;
Current control:
Three modules.
Form semester control:
test.
І3 The evaluation criteria (in%)
Semester rating is calculated based on the criteria:
- Modular written work 60%
(with them c.i.w.) (15%)
- - other types of work: practical problems 15%, playing music figures sequences and the piano 15%, harmonization of melodies 10%
Site Evaluation IWS
№
Types of independent work of students
The maximum point rating by type (%)
1.
Creating acompanement to melodies
5 %
2.
Written work on harmonization
5 %
3.
Harmonic analysis
5 %
As a whole
15%
14. Languages Teaching
Ukrainian, Russian
Working curriculum
subject „ Theory of Music "
1. Назва курсу.
Theory of Music (basis of composition) :
Form (s) of study: full-time.
Specialty (-es): Art of Music
2. Course Code.
[ІКМ]. [ММ_Форт].[3_1_2]
3. Type of Course (mandatory or optional for the student).
Mandatory
4. Year (s) training.
2-й .
5. Semester / semesters.
4-й.
The number of credits
1,2
7. Surname name patronymic, position, rank, scientific degree
teacher (teachers) who teach discipline:.
Kovaleva Anna Hryhoriyivna – elder lecturer in theory, music history and musical training (Red square 4, room.2-01).
8. The objective of the course (in terms of educational outcomes and competence).
The aim of the course - of students in technological skills in elementary musical creativity, which is essential factor in successful and valuable for future professional activities.
9.Prerequisites (actual knowledge required to master the course).
The course of music theory and harmony CMS, 1,2, courses solfeggio and harmony HEI
10. Course Content.
№
^ Content of the modules and their structures
total
pract.
ind.
indep.
^ The first module
.
^ Topics of practical classes
1.1.
Introduction to the course. Specuality and nature of creative work.
2
1.2.
Compose. Melody and its most important features.
2
1.3.
Compose. The concept of melodic waves. Highlights tunes.
2
1.4.
Melodization voices harmonic database structures.
2
1.5
Melodics-syntactic structure.
2
^ Independent students work
1.6
Create melodies for this phrase (motives)
1.7
Creating a bass voice to this melody
1.8
Creating melodies with this bass
1.9
Melodization voices harmonic constructions
14
^ The second module
^ Topics of practical classes
2.1.
Principles of thematic development and build.
4
2.2.
Structurally unstable (open loop) construction.
2
2.3
Structurally - resistant (completed) building.
2
^ Independent students work
2.5
End entrance constructions
2.6.
The end of the final constructs
2.7.
Create a variation of present phrase.
2.8
Create melodies, variations to the present theme
2.9
Create melodies free to deploy.
10
^ The third module
^ Topics of practical classes
3.1
Period and its classification.
2
3.2
Period as independent musical form.
2
3.3
Dynamization part of a musical work.
2
3.4
The main part of her new appearance (reprise).
2
3.5
A simple form of two partial
2
3.6
A simple form of three partial.
4
3.7
Complex musical forms
4
^ Independent students work
3.8
Establishment period for the given phrase
3.9
Creating advanced period for the given phrase.
3.10
Creation of the period is shortened by the given phrase.
3.11
Create Preludes in the form of the period.
12
^ TOTAL HOURS
65
30
35
11. List of recommended textbooks
The main educational literature
Мазель Л.А. Строение музыкальных произведений. –М. 1979.
Попова Т.В. Основы русской народной музыки. – М., 1977.
Ливанова Т.Н. История западно-европейской музыки до 1789 года. Т.1-2 – М., 1983.
Круглов Ю.В. Русские обрядовые песни. – М., 1981.
Шреер –Ткаченко А.Я. История украинской музыки. – м., 1981.
Левашова О.Е. Келдыш, Кандинский О.И. История русской музыки – Т.1 – М., 1980.
Мазель Л.А. Проблемы классической гармонии. – М.,1972
Гнесин м.Ф. Начальный курс практической композиции. – М., 1962.
Месснер Е.И. Основы композиции. – М. 1986.
Additional educational materials:
1.Мальцев С О психологии музыкальной импровизации. – М. «Музыка». – 1991.
Суханцева В. Музыка как мир человека. – К.. «Факт». – 2000ю
Побережна Г. Щерлиця Т. Загальна теорія музики. Підручник. – К., «Вища школа». – 2004.
Муха А. Композитори України та української діаспори. – К. «Музична Україна» - 2004.
12.Teaching Methods.
Lecture theory, practical problems of composition.
Student Activities:
- composing of Melodic;
- composing a preliminary and final constructions;
- composing a period for the given phrase;
- create simple musical forms;
- improvisation at the piano;
- analysis of musical works..
Current control:
Three modules.
Form semester control: exam.
І3. The evaluation criteria (in%)
Semester rating is calculated based on the criteria:
- Modular written work 60%
(with them i.w.s.) (15%)
- - practical problems 15% , analysis of musical works 10%, composing melody 15%
Site Evaluation IWS
№
Types of independent work of students
The maximum point rating by type (%)
1.
Establishment period for independent phrase
5 %
2.
Analysis of simple musical forms
5 %
3.
Creating independent two partial three partial forms
5 %
^ As a whole
15%
14. Languages Teaching
Ukrainian, Russian
Working curriculum
subject „ Theory of Music (polyphony)"
1. Name of the course
„ Theory of Music (polyphony)"
Form (s) of study: full-time.
Specialty (-es): Art of Music
2. Course Code.
[ІКМ].[ММ_Форт]. [3_1_2]
3. Type of Course (mandatory or optional for the student).
Mandatory
4. Year (s) training.
3
5. Semester / semesters.
5
6. The number of credits
1
7. Surname name patronymic, position, rank, scientific degree
teacher (teachers) who teach discipline:.
Samokhina Natalya Nikolaevna- associate professor of theory, music history and musical training (Red Square 4, room.2-16).
8. The objective of the course (in terms of educational outcomes and competence).
The aim of the course: to develop skills for future professional musicians analyze polyphonic works of local and foreign composers and bring understanding of the basic laws of the world's polyphonic art.
9 Prerequisites (actual knowledge required to master the course).
Сourse music literature, solfeggio CMS, college, 1,2 сourses HEI.
10. Course Content..
№
^ Content of the modules and their structures
total
lec
pract.
individ.
independ.
^ The first module «History of polyphonic art»
1.1.
Polyphony Middle Ages
4
5
1.2.
Polyphony Renaissance
4
5
1.3.
Polyphony XVII – first half XVIII сent..
4
5
1.4.
Polyphony second half XVIII – XIXсent.
4
4
1.5.
Polyphony XX – beginning XXI сent.
4
5
^ The second module «Features of construction and analysis of polyphonic works»
2.1
Features of construction and analysis of polyphonic pieces strict style
4
5
2.2.
Features of construction and analysis of polyphonic compositions free style
4
4
^ TOTAL HOURS
61
28
33
11. List of recommended textbooks.
The main educational literature
Бонфельд М.Ш. Введение в музыкознание: Учебное пособие для вузов. – М., 2001.
Григорьев С., Мюллер Т. Учебник полифонии. – М., 1977.
Евдокимова Ю. Учебник полифонии: Вып. I. – М., 2000.
Музыкальная энциклопедия: В 6 т. – М., 1973–1982.
Мюллер Т. Полифония. – М., 1989.
Полифония: Сборник теоретических статей / Сост. и ред. К. Южак. –
М., 975.
Ройтерштейн М.И. Практическая полифония: Учебное пособие для студентов педагогических институтов. – М., 1988.
Скребков С. Учебник полифонии. – М., 1982.
Степанов А., Чугаев А. Полифония. – М., 1972.
Фраёнов В.П. Учебник полифонии. – М., 1987.
Additional educational materials:
1. Бершадская Т. Основные композиционные закономерности народного многоголосия русской народной песни. – Л., 1961.
2. Биркан Р.И. Типовые письменные задания по полифонии // Задания и рекомендации по музыкально-теоретическим дисциплинам. – Л., 1983.
3. Богатырёв С.С. Обратимый контрапункт. – М., 1960.
4. Должанский А. 24 прелюдии и фуги Шостаковича. – Л., 1962.
5. Дубовский И. Имитационная обработка русской народной песни. – М., 1963.
6. Дубовский И. Простейшие закономерности русского народно-песенного двух- трёхголосного склада. – М., 1964.
7. Евдокимова Ю.К. Полифония средних веков и эпохи Возрождения. – М., 1985.
8. Золотарёв Б. Фуга. – М., 1965.
9. Корчинский Е. К вопросу о теории канонической имитации. – Л., 1960.
10. Кулаковский Л. О русском народном многоголосии. – М.; Л., 1961.
11. Литинский Г. Образование имитаций строгого письма. – М., 1971.
12. Методология и методика анализа музыкальных произведений: Сб. научных трудов. – Киев, 1984.
13. Напреев Б.Д. Вертикально-подвижной контрапункт в полифонии XIII–XVI вв.: Учебное пособие. – Л., 1983.
14. Основы теоретического музыкознания: Учебное пособие / Под ред. М.И. Ройтерштейна. – М., 2003.
15. Павлюченко С. Практическое руководство по контрапункту строгого письма. – Л., 1963.
16. Протопопов В. История полифонии: В 2 т. – М., 1962. – Т. 1; М., 1965. – Т. 2.
17. Пустыльник И. Подвижной контрапункт и свободное письмо. – Л., 1967.
18. Пустыльник И. Практическое руководство по написанию канона. – Л., 1975.
19. Ровенко А. Практические основы стреттно-имитационной полифонии: Учебное пособие для музыкальных вузов. – М., 1986.
20. Скребков С. Полифонический анализ. – М., 1940.
21. Скребков С. Теория имитационной полифонии. – Киев, 1983.
22. Танеев С. Подвижной контрапункт строгого письма. – М., 1959.
23. Тюлин Ю. Искусство контрапункта. – М., 1964.
24. Холопов Ю.Н. Канон. Генезис и ранние этапы развития // Теоретические наблюдения над историей музыки. – М., 1978.
25. Холопов Ю.Н. Хиндемит и его «Ludus tonalis». – М., 1964.
26. Южак А. О природе и специфике полифонического мышления. – М., 1975.
27. Южак К. Некоторые вопросы современной теории сложного контрапункта // Вопросы теории и эстетики музыки. Вып. 4. – Л., 1965.
Sheet music samples for analysis:
1. Агажанов А., Блюм Д. Сольфеджио: Примеры из полифонической литера-
туры. – М., 1972.
2. Мюллер Т. Полифонический анализ: Хрестоматия. – М., 1964.
3. Полифонические циклы И.С. Баха, Д. Шостаковича, П. Хиндемита, Р. Щед-
рина, А. Пирумова, Б. Бартока.
4. Сборники обработок народных песен (М. Балакирев, П. Чайковский, А. Лядов).
5. Соколов Вл. Примеры из полифонической литературы. – М., 1962.
6. 100 канонов для детского хора / Сост. Л. Абелян, В. Попов. – М., 1969.
7. Хрестоматия по канону / Сост. И.Я. Пустыльник. – М., 1973.
12. Teaching Methods.
1. Practice sessions
2. Cultural and musicological analysis of musical works
4.Demonstration of relevant audio and video materials.
Students’ Activities:
- Study related materials in textbooks;
- Introducing a superior primary sources;
- Listening and analysis of relevant music.
Current control:
Two modules (one in the first semester, one - in the second semester).
Form semester control:
Exam
І3. The evaluation criteria (in%)
Semester rating is calculated based on the criteria:
- Modular written work 60% (two for 30%)
- other types of work: individual interviews, music quiz 40%,
( with them 15% to independent work)
^ Site Evaluation IWS
№
Types of independent work of students
The maximum point rating by type (%)
1.
Coverage of the workshop one of the issues submitted for IWS
5 %
2.
Coverage of issues submitted for IWS during the interview
5 %
3.
Music analysis
5 %
As a whole
15 %
14. Languages Teaching
Ukrainian
Working curriculum
subject „ Theory of Music (analysis of musical works)"
1. Name of the course.
Theory of Music (analysis of musical works) :
Form (s) of study: full-time.
Specialty (-es): Art of Music
2. Course Code.
[ІКМ]. [ММ_Форт].[3_1_2]
3. Type of Course (mandatory or optional for the student).
Mandatory
4. Year (s) training.
3-й .
5. Semester / semesters.
6-й.
The number of credits ЕСТS.
1,2
7. Surname name patronymic, position, rank, scientific degree
teacher (teachers) who teach discipline:.
Vasilenko Andrei Ivanovich- Senior lecturer in theory, music history and musical training (Red square 4, room 2-16).
8. The objective of the course (in terms of educational outcomes and competence).
The aim of the course – forming by the students system of knowledge about the construction of musical works and musical-expressive means and their interaction.
9. Prerequisites (actual knowledge required to master the course).
Music Theory Course (1-5 semesters), course history of world music culture.
10. Course Content..
№
^ Content of the modules and their structures
total
pract.
individ.
independ.
^ The first module «Basic methodological principles of analysis of musical works».
1.1
The notion of forms and genres of music, musical style and basic facilities of musical expression
4
4
1.2
Simple musical forms. Period: the definition, types and function in musical form.
4
4
1.3
Simple forms; partial one, two and three partial. Definition, types and musical examples.
4
4
^ The second module «Complex musical forms».
2.1
Complex three partial form; definition, types, ways of evolution, feature designs.
4
5
2.2
Form of sonata; definition, main structural parameters, types, ways of evolution, feature designs.
4
5
2.3
Formes of rondo and rondo-sonata; definition, structure, evolution ways, feature designs.
4
5
2.4
Variations. Pathways of evolution, structural parameters, feature designs.
4
4
2.5
Overview of forms in vocal and choral music.
2
4
^ TOTAL HOURS
65
30
35
11. List of recommended textbooks.
The main educational literature
Мазель Л.А. Строение музыкальных произведений. –М. 1979.
Попова Т.В. Основы русской народной музыки. – М., 1977.
Ливанова Т.Н. История западно-европейской музыки до 1789 года. Т.1-2 – М., 1983.
Круглов Ю.В. Русские обрядовые песни. – М., 1981.
Шреер –Ткаченко А.Я. История украинской музыки. – м., 1981.
Левашова О.Е. Келдыш, Кандинский О.И. История русской музыки – Т.1 – М., 1980.
Мазель Л.А. Проблемы классической гармонии. – М.,1972
Гнесин м.Ф. Начальный курс практической композиции. – М., 1962.
Месснер Е.И. Основы композиции. – М. 1986.
Additional educational materials:
1.Мальцев С О психологии музыкальной импровизации. – М. «Музыка». – 1991.
Суханцева В. Музыка как мир человека. – К.. «Факт». – 2000ю
Побережна Г. Щерлиця Т. Загальна теорія музики. Підручник. – К., «Вища школа». – 2004.
Муха А. Композитори України та української діаспори. – К. «Музична Україна» - 2004.
12. Teaching Methods.
Study of theoretical material.
Analysis of musical compositions.
Students’ Activities:
Analysis of musical compositions of various styles and genres.
Current control:
Two modules.
Form semester control:
Exam.
І3. The evaluation criteria (in%)
Semester rating is calculated based on the criteria:
- analysis of the proposed musical compositions 60%
- interview with the theoretical issues - 30%,
- annotation of additional literary primary sources - 10%
^ Site Evaluation IWS
№
Types of independent work of students
The maximum point rating by type (%)
1.
Coverage of the workshop one of the issues submitted for IWS
5 %
2.
Coverage of questions submitted to IWS during the interview
5 %
As a whole
10 %
14. Languages Teaching
Ukrainian, Russian
14. Languages Teaching
Ukrainian, Russian (for the desire of student)
2. The history of world music culture
Working curriculum subject „ The history of world music culture "
1. Name of the course.
The history of world music culture :
Form (s) of study: full-time.
Specialty (-es): Art of Music
2. Course Code.
[ІКМ].[ММ_Форт_09]. [2_1_6]
3. Type of Course (mandatory or optional for the student).
Mandatory
4. Year (s) training.
1 .
5. Semester / semesters.
1, 2
The number of credits ЕСТS.
4
7. Surname name patronymic, position, rank, scientific degree
teacher (teachers) who teach discipline:.
Vasilenko Andrei Ivanovich- Senior lecturer in theory, music history and musical training (Red square 4, room 2-16).
8. The objective of the course (in terms of educational outcomes and competence).
The aim of the course - learning the most important historical events and stages of development of European music culture from its origins to the early twentieth century. Achievements practical skills of analysis works most prominent domestic and foreign composers, the use of historical and theoretical knowledge in teaching and performing activity.
9. Prerequisites (actual knowledge required to master the course).
Сourse music literature CMS, college
10. Course Content.
№
^ Content of the modules and their structures
total
lec
pract.
individ.
independ.
^ The first module «The ways of Western European culture Western European music from its sources to the early 18 century»
1.1.
The main historical stages of European musical culture.
4
1.2.
Overview of the culture of Ancient World.
2
1.3.
European musical culture of the Middle Ages.
2
2
6
1.4.
The ways of European musical culture during the period Renaissance.
2
2
6
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