Analysis of corresponding parts in the history course of the 20th century.

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.

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).

This course discusses: The different currents and musical styles of the 20th century: Impressionism, symbolism, neo­ classicism, expressionism, dodecaphony, serial music, electronic music, electroacoustic and concrete music, random music. The characteristics of the 20th century are also studied: the importance given to the different timbres of instruments especially percussion instruments and their use in a new way. Percussion instruments become prominent and numerous, reflecting the interest of this century for unusual rhythms and timbres (tone colors). Fundamental changes in the treatment of chords. The traditional distinction between dissonance and consonance is abandoned. New structures of chords: Polychord (new structure not based on third but on fourths), and tone cluster etc. The exploration of alternatives to the traditional tonal system. The musicians of this period are also discussed: Debussy, Ravel, Stravinsky, Schoenberg, Berg, Webern, Bartok.

The students will use suitable playing or singing techniques with any instrument or singing program of their choice. They are asked to achieve level IV.

This course helps both musicians, students and engineers better design their music, providing access to its standard and technique of DIGITAL AUDIO, that presents to the manipulator enormous facilities, such as the creation of libraries containing thousands of “sampled sounds” ready to be used, the registration of an infinity of its tracks in M.I.D.I and more than 64 tracks in audio, the correction of false notes and tempo, the notation and printing of scores and many other mundane tasks of our time, which were considered impossible in the audio field, twenty years ago. Humans are the only creators and innovative elements and computers are their tools, used in the fulfilment of their work in a faster and more sophisticated way. Finally, students put into practice what they have acquired and completed: a project showing their knowledge in the field of the M.I.D.I and audio.

This course aims to foster the ability to research, to develop a working process, to master the method specific to science, to find simple, authentic and objective, methods to organize the stages of data collection, and to carry out the results of scientific research. This course discusses: The key concepts, names and references, drafting and presentation protocols, the different stages of a scientific work from the position of the problem, to the collection of data - until the final draft.

The objective of this course is to teach students how to summarize, analyze, and present information that they will have to handle during their work in musicology. In addition to learning how to calculate the various statistical indicators; attention will be paid to the choice of the most appropriate statistical methods, depending on the nature of the data and the interpretation of statistical results.

4th course a- Solfeggio parlati : - Pozzoli: secondo corso dun o1 au no36. b- Solfeggio cantati: - Pozzoli: secondo corso du n o1 au no28. c- Dictation : -Noel Gallon du no61 au no80. -Noel Gallon (2 voix) du no1 au no20.

The Aim of this course is to analyze, in order to understand and transfer a written musical piece developed in any time, style, genre, or form.

This course deals with Lebanese curriculum of music education and its development over the years (sixties to the present day). It also deals with the textbook as a multifaceted tool; the textbook from here and elsewhere, from yesterday to tomorrow. In a cross­cultural aim, taking into account both the specificity of our culture and the trend towards globalization, this course introduces students to prepare a syllabus for the musical material to teach in interrelation with other subjects, using technological means, and taking into account the importance of group work.

This course of Electro­acoustic has to study sound perception and its physical causes and, by extension, all the elastic vibrations of the audio signal. This course studies the electro­ acoustic series from the microphone to the speaker. It envisages two types of work: live sound and recording at the studio. This course has two parts - theoretical and practical, that allow students to use this electro­acoustic equipment in a scientific and professional manner.

This course provides (according specialization) specific information on: ­ the rights of authors and performers, the role and the functioning of authors’ societies (Sacem, SDRM, SACD), and interpreters (Adami, Spedidam), and producers, ­ the right to work, including for employees of a show, for the hiring of artists, the amount of fees, taxes, ­ music contracts, which govern the dissemination of live performance, audiovisual production, musical or phonographic edition and career management, ­ legislation and legal rules concerning the management of associations and cultural enterprises, ­ the organization and the occasional production of shows, therules for amateur musicians ­ the legal developments related to new technologies and Internet. ­ Contracts and obligations concerning teachers ­ salary scale ­ indemnity.

The purpose of this course is: 1­ Empowering students to make orchestrations or musical arrangements from a specific format (Piano Sonata) for any format orchestral (Duo, Trio Quartet, Chamber etc.). 2- Teaching them how to reduce orchestral scores to piano score. The student will: ­ learn the fundamental of arranging for different orchestral ensembles. ­ acquire the basic element such as writing a melody/harmony for strings, woodwinds, brass and percussions. ­ examine and analyze orchestral scores from the repertoire. ­ anticipate musical colors and texture, as created by instrumental combinations.

Philosophy and music and not Philosophy of Music because music is an art, a science, a school, and creativity; it is not, therefore, just a concept addressed by philosophy diagnosing, analyzing and criticizing. It is an objective epistemological and analytical approach, implicating the philosophy of music, as a latter attempt to understand humans and help them understand the mysteries of the universe, the sound, the melody, and the rhythm. It also does not exclude this scenography, because fantasy creator is mostly interested in the colors of the Sun of reality and the vibrant life of existence. After trying to get closer to the music and its place in human knowledge priorities, we will identify the most important theories of philosophers who read this art and built philosophical representations for this art in general, and the role of avant­ garde music, in particular. What is the relationship of music with humans, with society, with the world, with God etc. ? This is a part of interrogative matters that we will try to answer in this course.

This course covers the theories and processes of music therapy, the history of the profession, and a survey of basic principles, methods, techniques, and applications. Students will visit facilities where music therapy is practiced, observe music therapists in action, and discuss the role of music in therapy within a wide variety of clinical and community settings. In addition, they will be introduced to music therapy practices in different countries, through published literature.