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

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

This course is designed to give students the basic concepts, current practices and modern training for management and marketing in several areas. It is addressed to students pursuing studies in music. It will give them a practical managerial introduction - complete and innovative management and marketing - as they are applied in artistic events. It will help them learn how to organize, to implement and manage an artisitic event.

This workshop course is intended to introduce the performers (actors, singers, musicians) to meet the requirements of their profession, in terms of stage presence, communication, impact and the dramatic action (in any communication there is an inner life and a dramatic effect to produce). The objectives of this workshop are to: • master a sense of rhythm • master the techniques of relaxation and concentration • understand and discover their bodies and know to involve them • develop self­confidence • develop creativity and imagination • develop stage presence, i.e. justify it, give it meaning and enrich it with an internal life • mastering the meaning of space • master the techniques of improvisation • create dramatic connections with all possible scenographic elements • be able to work in a group.

The course is intended for students interested in the world of sound (training, recording, publishing and editing), as well as musical production. This is a theoretical course illustrated by multimedia examples and completed by practical application sessions.

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

This course will provide a deep analysis (form, genre, structure, themes, rhythm, orchestration and harmonic and polyphonic writing, language, general nature of the work) of musical styles and composition, in examples mostly selected from Greek, Medieval, Renaissance, and Baroque Music.

Analysis of corresponding parts in the history course of the 18th century.

Analysis of corresponding parts in the history course of the 19th century.

This course aims to teach the student about Arab music in all its categories, popular and art music, theoretical and practical, the Maghreb and the Mashreq. Several titles and themes will be discussed: the general history of Arabic music, the maqams, the Arab musical scale and the modal system, the rhythms and musical writings of: Ibn Al­Munajjim, Al­Kindi and Al­Farabi.

This course aims to train musicians on vocals, choirs and choir conducting. It includes concepts about the human voice and its education, the choir and its training, the conductor of the choir (values, posture, technique, behavior, etc.), choral conducting: departure gesture, the fermata, the stop gestures, the syncopation and offbeat, repeat, etc. This course includes exercises on the evolution of the musical ear, on conductor gestures, on the conducting of simple meters (2/4, 3/4, 4/4).

This course aims to train musicians on vocals, choirs and choir conducting. It includes concepts about the human voice and its education, the choir and its training, the conductor of the choir (values, posture, technique, behavior, etc.), choral conducting: departure gesture, the fermata, the stop gestures, the syncopation and offbeat, repeat, etc. This course includes exercises on the evolution of the musical ear, on conductor gestures, on the conducting of simple meters (2/4, 3/4, 4/4).

Choral singing closely follows the course of history. Each year the students learn to interpret, in the context of Western choral singing of the Faculty, the corresponding repertory according to the current history course.

Choral singing closely following the course of history. Each year the students learn to interpret, in the context of Western choral singing of the Faculty, the corresponding repertory according to the current history course.

Choral singing closely follows the course of history. Each year the students learn to interpret, in the context of Western choral singing of the Faculty, the corresponding repertory according to the current history course.

Choral singing closely follows the course of history. Each year the students learn to interpret, in the context of Western choral singing of the Faculty, the corresponding repertory according to the current history course.

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

This course opens on the years that mark the death of Jean­Sébastien Bach, the decline of the baroque era, with the dawn of the classical musical style. It deals with the following subjects: French (from 1661 to 1764) music, music of the Germanic countries around Bach and Handel, English music in the 18th century, the birth and diffusion of classicism in Polish music, music in Spain, the music in Italy from the death of Carissimi to the end of the eighteenth century, classicism in Austria and the German­speaking countries, from the death of Telemann to the death of Beethoven, the formation of the classical style in Europe and the classical masters: Haydn and Mozart.

This course explores the music of the Romantic era. 1 ­ Characteristics of Romantic music: themes of Romanticism, individuality of style, expressive subjects, nationalism and exoticism, the use of timbers to obtain a variety of sensations and atmospheres, the use of chromatic harmony, contrasts in nuances etc. 2. Vocal music, program music, the Romantic Symphony, the brief forms and developed forms. 3. Romantic composers: Beethoven, Schubert, Schumann, Chopin, Liszt, Mendelssohn, Berlioz, Tchaikovsky, Smetana, Dvorak, Brahms, Verdi, Puccini, Wagner, Mahler.

This course includes: A guided reading and musical critique - Readings in the literature and the science of music. Each student will have to read a book (or chapters in a book) per semester and present the content to others. The criticism is about: • Various reports and interviews, mainly in the field of contemporary musical creation. • Conception, realization and animation of a series of programs devoted to classical, modern and contemporary music. • A roundtable around musical works by various composers. • A report on a festival and concerts presented as part of this festival. • Leaflet of a compact disc, published flyers or texts in concert programs. • Symposia concerning music and conferences contained therein.

This course includes: A guided reading and musical critique - Readings in the literature and the science of music. Each student will have to read a book (or chapters in a book) per semester and present the content to others. The criticism is about: • Various reports and interviews, mainly in the field of contemporary musical creation. • Conception, realization and animation of a series of programs devoted to classical, modern and contemporary music. • A roundtable around musical works by various composers. • A report on a festival and concerts presented as part of this festival. • Leaflet of a compact disc, published flyers or texts in concert programs. • Symposia concerning music and conferences contained therein.

This course includes: A guided reading and musical critique - Readings in the literature and the science of music. Each student will have to read a book (or chapters in a book) per semester and present the content to others. The criticism is about: • Various reports and interviews, mainly in the field of contemporary musical creation. • Conception, realization and animation of a series of programs devoted to classical, modern and contemporary music. • A roundtable around musical works by various composers. • A report on a festival and concerts presented as part of this festival. • Leaflet of a compact disc, published flyers or texts in concert programs. • Symposia concerning music and conferences contained therein.

This course includes: A guided reading and musical critique - Readings in the literature and the science of music. Each student will have to read a book (or chapters in a book) per semester and present the content to others. The criticism is about: • Various reports and interviews, mainly in the field of contemporary musical creation. • Conception, realization and animation of a series of programs devoted to classical, modern and contemporary music. • A roundtable around musical works by various composers. • A report on a festival and concerts presented as part of this festival. • Leaflet of a compact disc, published flyers or texts in concert programs. • Symposia concerning music and conferences contained therein.

The goal of this course is to give to the students a general idea about the evolution of musical language from its beginning to the twentieth century: the scale of harmonics; the cycle of fifths, consonance and attraction, tolerance, habituation, equalization, the formation of the scales, relative pitch and absolute pitch, the organization of the sounds in space and in time, the melodic order and the harmonic order, the chromatic scale; the irregular and altered scales; from ditonic scale to heptatonic scale; accuracy and the acoustic systems; the equal temperament.

This course concentrates on: Vibratory motion of typical musical sound sources, propagation of sound, wavelength, period and frequency, pressure and acoustic intensity, the acoustic impedance speed etc. Perceived pitch, loudness and timbre of a sound. The objectively measurable properties of a sound wave Explaining how sound is generated - transformed by the musical instruments and the human voice Defining the reverberation time of a hall, using a formula relating reverberation time to the volume of the hall and the absorption of its surfaces, and discussing the acoustical properties desirable in concert halls and opera houses Microphones, amplifiers, speakers and sound captation acoustic treatment and correction.

The examination of the form is a fundamental element of any analysis, because the form depends on the various components of a work: Melody, rhythm, instrumentation, dynamics, tonal course, elements of unity and contrast ratio, relationship between text and music if it is a voice composition and other components. To understand musical forms, is to discern the sound architecture.

This course studies different musical instruments from antiquity to the present day. History, classifications, mechanical, acoustic, development, manufacturing, the different families of instruments etc. and helps deepen the concept of instrumentation and know the specificity of each instrument: timbre, register, transposition, combination of timbers, transcription etc.

2 parts A. 1st and 2nd species (note against note and two against one) B. 3rd and 4th species (4 notes against one and syncopations) C. 5th species (Florid Counterpoint).

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

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

The Fugue. A. The first elements of the fugue: exhibition, counter­exhibition, theme, answer. B. The second elements of the fugue (entertainment, strata, pedal), with analysis of Bach's fugues. C. Composition of two fugues: one on a given theme, the other on a new theme.

Given chant. A. - Chords of the Dominant 9th major and minor, with and without fundamental ­ Chords of the 7th in various species. B. ­ Alteration, Delays and Pedals. C. ­ The foreign notes: Alteration, delays, pedals, notes of passage, anticipation, appoggiatura etc.

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

Composition of short melodies and songs with piano accompaniment, based on tonal harmony: use of 7th of dominant chords with melodic foreign notes (passing notes and cambiata).

Composition of melodies and songs in different classic genres (dances, marches, chorales, etc.), using the resources of harmonic and contrapuntal technique.

Composition for instrumental and vocal in the modal harmony (Arabic music included), jazz and different styles of the Occidental repertoire. Composition for String Quartet in a free style (harmony, counterpoint, contemporary or mixture).

Exercises: ­ the little Pischna Scales: ­ major and minor arpeggios + inversions and in the opposite direction on 4 octaves + the third and tenth with arpeggios + chromatic range with reverse starting with each note. Studies: ­ Moskowsky Op. 91 issue 1 ­ Czerny, "Study of velocity" (to choose 24 studies, either a single book or both) Bach: ­"two­part Inventions" (at least 8 inventions) Pieces: ­ Mozart sonatas easy (N ° 5 k283, N ° 16 k545) ­ Haydn No. 2 in e minor No. 7 in d major No. 11 in g major No. 43 in c major (depending on the Edition Peters) ­ Beethoven No. 19 ­ 20 ­ Chopin : Waltz No. 3­6­10 Mazurka Op. 7 No 1 – 2 Op. 24 No 3, Op. 67 No 2 – 3 – 4, Op. 68 No.4 ­ Favorite classics, volume II and III ­ Debussy: the little Negro ­ Prokofiev: "Music for Children" op. 65 No. 4 ­ 9. ­Bartok: Mikrokosmos book IV ­ For Children book II To do: 2 complete sonatas (or 6 movements of the sonatas) and 6 pieces (Romantic and modern) or 1 whole Sonata and 8 pieces.

4th course a­ Solfeggio parlati : ­ Pozzoli: secondo corso du n°1 au n°36. b­ Solfeggio cantati: ­ Pozzoli: secondo corso du n°1 au n°28. c­ Dictation : ­ Noël Gallon du n°61 au n°80. ­ Noël Gallon (2 voix) du n°1 au n°20.