BA in Music and Musicology – European Art Music | Antonine University

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BA in Music and Musicology – European Art Music

Explanations in Arabic, documentation in French, English, and Arabic

  • 90Credits
  • 3Duration of the program
  • $125Price
Official Name of the Program BA in Music and Musicology – European Art Music
Official Degree Level Bachelor of Arts
Price/Credit Collective course: $125 – Individual course: $165
Campuses Availability Hadat–Baabda; Mejdlaya–Zgharta

Program Objectives

This program responds to the growing need of Lebanese society, which is inherent in music-related professions.

It is, for the European Art Music Concentration, high-level professional musicians in western great historical musical traditions, mainly in Baroque music, with a musicological university background. These trades are to be carried out in professional musical performance and training frameworks.

To do so, students must improve their expertise at an advanced level in the following three areas:

  • Knowledge:
    - in historical musicology;
    - in systematical musicology; and
    - in psychology and didactics.
  • Expertise:
    - in musical auditory expertise;
    - in musical reading;
    - in musical memorization;
    - in individual musical practice; and
    - in collective musical practice.
  • Soft-skills:
    - Verbal and musical, written and oral communication;
    - Critical thinking;
    - Scientific rigor;
    - Ethical correctness; and
    - Friendliness in diversity.
Eligibility

All the programs at the Faculty of Music and Musicology are aimed at students with variable musical skills. The concentrations focus on a variety of predispositions and penchants, from the pedagogical and psychological (Music Education Sciences and Music Therapy,) the technical (Media and Technology,) the scientific (Music Traditions,) or the first-rate artistic performance (Arab Art Music and European Art Music) to the desire to pursue academic learning in higher education.

Conditions of admission are:

  • validation of the Lebanese baccalaureate in all of its programs, including a musical technical baccalaureate (the latter requires the validation of two remedial bridging courses totaling six additional credits); and

  • demonstration of core practical musical skills, by validating preparatory level of Western music ear training (if not applicable, a remedial program is scheduled for the first semester of studies).
Teaching Methods

Educational practices are classified into:

  • collective scientific courses of musicology, music education sciences and music therapy delivered as lectures, while resorting, at the same time, to ancillary and diverse learning strategies, including group work and preparation of literature reviews, synthesis reports, and presentations by students based on the information and communication technologies (ICT) in education;

  • introductory course to documentation and computer music, which combines an introduction to research logic with an emphasis on the researcher's deontological ethics with practical learning of essential software use of text and database processing, musical notation and sound recording;

  • music (Levantine and Western) and harmony training courses which combine ear training with musical listening, memorization, collective singing, collective and individual solfeggio reading and musical dictation, while making use of the information and communication technologies (ICT) in education;

  • training courses in musical awakening (Levantine and Western), of an efficient nature, which make use of a multitude of music pedagogical exercises aimed at equipping the future educators from amongst the students;

  • supervision of students’ internship in music education;

  • group music lessons, intended for the learning of musical practice (Oriental or Western) as a group;

  • individual music instruction courses aimed at the development of students enrolled in the Arab Art Music or European Art Music concentrations in terms of high-end instrumental or vocal learning;

  • oral communication skills (French, English or Arabic), enabling students to improve their language communication skills, knowing that the core language of teaching at the Faculty of Music and Musicology is Arabic;

  • Citizenship and Ethics courses, generally provided as part of joint university education, delivered as lectures, while resorting, at the same time, to ancillary and diverse learning strategies, including group work and preparation of literature reviews, synthesis reports, and presentations by students based on the information and communication technologies (ICT) in education;

  • Computer music and sound technology courses taught to the students of the Music, Technology, and Media department by the Faculty of Information and Communication, using the teaching standards and approaches specific to this faculty.

It is noteworthy to mention in this context that the students of MGT, SEM, MTM, and MTP concentrations are required to attend one-on-one non-degree individual music instruction courses (at the Antonine School of Music or in another academic setting.) These courses will contribute to the certification, before graduation, of the preparatory piano level and level three of individual musical practice, instrumental or vocal, whether oriental or occidental. Transcripts of the validity of these levels are mandatory for the diploma.

Besides, they must engage assiduously in the weekly practice of group music lessons, without paying any fees for group music lessons, which have been previously validated. Attendance reporting for these courses is required for graduation for at least two semesters.

Evaluation Process

The system for assessing students' achievement of course learning outcomes is based on the evaluation components as follows, depending on the types of courses taught:

  • Theoretical courses A of mainly lecture-based teaching leading to a cumulative assessment of four evaluative components, as follows:
    - Component 1, with 20%: continuous evaluation (classroom activities, tests, assignments, oral presentations, etc.)
    - Component 2, with 20%: Test 1 (Written test of 30 minutes.)
    - Component 3, with 20%: Test 2 (Written test of 30 minutes.)
    - Component 4, with 40%: Final exam (anonymous test taken at the end of the semester.)

  • Theoretical courses B of mainly lecture-based teaching leading to a cumulative assessment of four evaluative components, as follows:
    - Component 1, with 20%: continuous evaluation (classroom activities, tests, assignments, oral presentations, etc.)
    - Component 2, with 20%: Test 1 (Written test of 30 minutes.)
    - Component 3, with 20%: Test 2 (Written test of 30 minutes.)
    - Componet 4, with 40%: Final exam (anonymous test taken at the end of the semester.)

  • Musical awakening course, and introduction to office automation and documentation course leading to a cumulative assessment of four evaluative components, as follows:

    - Component 1, with 20%.
    - Component 2, with 30%.
    - Component 3, with 20%.
    - Component 4, with 30%.

  • Courses of occidental musical training, Mashriqi musical training, and harmony, leading to a cumulative evaluation consisting of six evaluative components, as follows:
    - Component 1, with 10%.
    - Component 2, with 10%.
    - Component 3, summary, with 30%.
    - Component 4, with 10%.
    - Component 5 with 10%.
    - Component 6, summary, with 30%.

  • The internships are evaluated by the supervising teacher as follows:
    - Component 1, evaluation of internship participation, with 30%;
    - Component 2, evaluation of placement learning outcomes, with 30%;
    - Component 3, evaluation of the placement report with 40%.

  • Individual musical practice courses shall be evaluated by the teacher and a Board of Examiners as follows:
    - Component 1, continuous assessment, with 60%;
    - Component 2, assessment by the Board of Examiners, with 40%.

  • Collective musical practice courses evaluated as follows:
    - Component 1, continuous assessment, with 60%;
    - Component 2, evaluation following participation in a concert, with 40%.

Communication courses give rise to assessments for this type of course in compliance with the general evaluation framework in place at the Antonine University (UA) level. The classes of communication in Arabic are based on their decomposition on music awakening courses.

The elective courses chosen from the course offerings of the other UA departments shall be assessed in the existing framework implemented by the departments offering these courses.

The passing grade for all courses in the undergraduate is set at 60/100.

Grading
The scoring of results and the conditions for graduation differs between:

  • The students under the academic system without GPA (cohorts enrolled for the first time in BA before September 2019 and not concerned by the calculation of the GPA); and
  • The students covered by the academic system with GPA (cohorts enrolled for the first time in BA from September 2019 and concerned by the calculation of the GPA.)

The main difference involves the taking into consideration of the calculation of the Grade Point Average or GPA for the graduation of students under the academic system with GPA; the GPA does not consider the graduation of students under the academic regime without GPA.

The result obtained by a student enrolled in a given course appears as a numerical notation of 100 on the Student Information System (SIS).

In the case of students under the academic regime with GPA, this result is translated into the SIS and the transcripts into the alphabetical ranking.

Graduation Requirements
Graduation requirements vary between

  • Students under the academic regime without GPA (cohorts registered for the first time in a bachelor's degree before September 2019 and concerned with the calculation of the GPA); and
  • Students under the academic regime with GPA (cohorts registered for the first time in a bachelor's degree from September 2019 and concerned with the calculation of the GPA.)

The main difference involves the calculation of the Grade Point Average or GPA for the graduation of students under the academic regime with GPA, the GPA not being taken into consideration for the graduated students under the academic regime without GPA.

  • Eligibility for the graduation of students under the academic regime without GPA
    To be eligible for graduation with a BA in Music and Musicology, students from the academic regime without GPA (cohorts registered for the first time in BA before September 2019 and not concerned by the calculation of the GPA) must fulfill the following requirements:
    - Validate all the credits of the courses required for the curriculum.
    - Validate all the academic requirements of the curriculum, that are not considered to be curricula units (in particular, the requirements in terms of individual and collective musical practice.)
    - Validate all other admission requirements.
    - Demonstrate ethical conduct in the university.
    - Have honored payment of all tuition fees at the university.

  • Eligibility for the graduation of students under the academic regime with GPA
    To be eligible for graduation with a BA in Music and Musicology, students under the academic regime with GPA (cohorts registered for the first time in BA from September 2019 and concerned by the GPA calculation) must fulfill the following requirements:
    - Validate all credits for the academic program courses;
    - Validate all other admission requirements.
    - Achieve an overall cumulative GPA greater than or equal to 2.0/4. An equivalent to an overall average greater than or equal to 70/100.
    - Achieve a cumulative GPA specific to the discipline (for the musical training courses) of greater than or equal to 2.0/4.
    - Demonstrate ethical conduct in the university.
    - Have honored payment of all tuition fees at the university.
Program Learning Outcomes (PLOs)
  • Common PLOs
    After completing the program, students can:
    - decipher and transcribe (after listening to) a musical score of a simple musical sequence used in the chosen professional context;
    - perform a simple musical sequence, used in the professional context selected, in individual and collective situations;
    - interpret musical sequences from several traditions from a historical, musicological point of view;
    - analyze from a systematic musicological point of view (sociology, anthropology of music, musical acoustics, the psychology of musical perception, organology, and analytical musicology) musical sequences from several traditions;
    - apply the theories of music psychopedagogy and music didactics in the situation of music teaching; and
    - communicate orally and in writing, in an appropriate manner, in the verbal and musical languages required from a professional point of view, using necessary technological tools and respecting diversity, ethical correctness and the demand for excellence.

  • Specific PLOs
    After completing this program, students can more particularly perform a European musical work in a relevant and historically informed mode according to the tradition of its time. In accordance with the standards of the contextual style of the work and with the technical musical requirements inherent in that style, including, baroque music, ornamentation, improvised diminution and the realization of a basso continuo, in both individual and collective situations.
Job Prospects

Graduates of this program shall become high-level professional musicians in historical musical traditions of the West, with a musicological university background. These trades are to be carried out in professional musical performance and training frameworks.

Program Structure

General Requirements


Code Course Credits
MUMS 125 Introduction to Documentation and Office Automation
3
ETHI 401 Ethics of Life and Society
Ethics of Life and Society
ETHI 401
3 Credits
This course revolves around the foundation of ethical discernment following a systematic approach in the field of musicology, to establish a constructive process aimed at evaluating and correcting professional behavior (individual and collective) in general and in particular. This course also addresses the foundations of ethical discernment, which allow the formation of human and professional relationships based on respect for others and respect for their intellectual, moral, and human rights. It also introduces the concepts of plagiarism, to the definition of ethical questions, the values and conditions of protection of research and intellectual property.
3
SCOP 202 Citizenship and Society
Citizenship and Society
SCOP 202
3 Credits
This course enables students to improve their awareness of the ideals and values of citizenship and community service as a means of active participation in society.
3
ARCS 101 Oral and Written Communication Skills in Arabic
Oral and Written Communication Skills in Arabic
ARCS 101
3 Credits
The objective of this course is to allow the students, at the beginning of their university studies, to use classical Arabic, both oral and written, to communicate effectively in the university context, then later during work. To this end, the course seeks to activate the four linguistic skills that allow the individual to understand the spoken language (by listening,) produce it (by speaking,) understand the written language (by reading,) then use it (by writing.) This is obtained through: - Exposure to authentic audio and visual materials that touch contemporary reality and the exercise of active listening to understand the apparent meaning and reveal the underlying senses. - The practice of speaking oneself (engaging in interactive conversation or delivering a speech), in small groups, by asking open-ended questions that inspire discussion and by activities that promote self-confidence and prompt quick ideas. - Acquisition of basic principles of the art of diction (prosaic and poetic) with clear pronunciation, well-articulated letters, well balanced metrically syllables (short, and long,) correct accentuation, and intonation expressive, while paying particular attention to the non-verbal element of the expression. - Intensification of the conscious readings of each text and the progressive analysis of all the levels of content and form (going from the general to the details, then in-depth and beyond the text,) then the expression d scientific criticism supported by arguments and evidence. - The practice of systematic writing, the use of punctuation marks and spelling rules and activities that promote critical thinking.
3
Faculty Common Courses


Code Course Credits
MUMS 102 Musical Acoustics
Musical Acoustics
MUMS 102
3 Credits
Musical acoustics is the major dealing with musical sounds within the acoustic discipline or science of sounds, in connection to systematic musicology. The study focuses on the data that are useful for the development of the musicologist and the music educator. In particular, in terms of systemic configuration (time, pitch, timbre, and intensity level) of musical sounds, according to their instrumental or phonatory emission, their propagation, and their sensory perception. Therefore, by referring to the acoustic discipline in its neurosensory and psychoacoustic physical, organological, phonatory, and perceptual changes (a study of quantifiable connections between the stimulus and stimuli in auditory and musical perceptions.)
3
MUMS 140 Introduction to Musicology and Musical Language
Introduction to Musicology and Musical Language
MUMS 140
3 Credits
The title of this course is compatible with two complementary meanings of the expression, musical language. The first meaning discusses music as universal human competence seen as an articulated language, therefore as a structured system of sound signs dedicated to communication or expression. Thus, the diversity of traditions and systems is therefore compatible with the plural notion of languages, the productions associated with these musical languages being considered as so many words, speeches, or musical utterances. This course introduces the study of the temporal articulation of melodic units constituting musical utterances. In addition, the versions of the melodic and rhythmic structures that are to be analyzed in the musical traditions (mainly Mediterranean.) Also, if necessary, shape-forming texture and timbre. The second meaning of the term "musical language" refers to the vernacular term used in musicology and music theory to describe these systems. Therefore, it constitutes a fundamental milestone in the initiation of first-year students of music and musicology. It goes through a historical definition of the concept of music and the history of the fields of musicology. This double historical and systematic approach constitutes the concept of general musicology.
3
TMIX 105 Music Production
Music Production
TMIX 105
3 Credits
This course will require students to create a song, instrumental piece, album, or soundtrack for films, thus maintaining a degree of sound and musical creativity and consistency; therefore, the course will take place through recording techniques, mixing, computerized composition, and mastering of music.
3
MUHM 135 Music History of Europe I (Antiquity - Baroque Era)
Music History of Europe I (Antiquity - Baroque Era)
MUHM 135
3 Credits
This course discusses the achievements and musical interpretations of the Renaissance and Baroque, especially in Europe. We will learn about specific composers and instruments as well as the terms, musical expressions, and specialized vocabulary. We will distinguish between the different forms of compositions, and we will learn to analyze them.
3
MUHM 136 Music History of Europe II (1750-1913)
Music History of Europe II (1750-1913)
MUHM 136
3 Credits
This course studies the life and musical achievements of the classical and romantic eras in Europe. It presents the leading composers of these periods, as well as the musical notions, the styles, and compositional forms and the typical instruments of these eras. This course is, in any case, an opportunity for listening, combined with a preliminary analysis of classic and romantic musical examples.
3
MUHM 137 Music History of the Occident III
Music History of the Occident III
MUHM 137
3 Credits
This course studies the leading scholarly and popular musical trends of the 20th century in the West. It studies music history, in terms of musical language, forms, as well as composition and interpretative styles. It consists of both an analytical and a historical overview of musical language, biographies, and works, often carried out through a double socio-political and semiotic spectrum.
3
MUHM 138 Music History of Mašriq I (Antiquity - 18th century)
Music History of Mašriq I (Antiquity - 18th century)
MUHM 138
3 Credits
This course explores the leading musical traditions of the Mašriq for the period extending from antiquity to the dawn of the Nahḍa. In particular, it studies the emergence and development of Abrahamic religious traditions (Hebrew, Christian, and Muslim) and secular artistic traditions of the Mašriq, from the Kingdom of Ugarit to the music of the Abbasid courts and its extensions to the Mamluk and Ottoman periods, with an opening to the Arab-Andalusian traditions of the Maghreb. It revises these dynamics from different angles, including religious, political and social transformations, modal and rhythmic systems, styles and musical forms, organology, and musical aesthetics.
3
MUHM 139 Music History of Mašriq II (19th - 20th Centuries)
Music History of Mašriq II (19th - 20th Centuries)
MUHM 139
3 Credits
Study of the mutations in the artistic Arab musical tradition, which occurred at the time of the Nahḍa (Arab Renaissance 1798 - 1939,) from musical systems as well as that of genres and forms, with particular emphasis on the endogenous renewal process undertaken within this tradition.
3
MUSE 101 Music Pedagogy and Didactics
Music Pedagogy and Didactics
MUSE 101
3 Credits
This course consists of a reflection on the knowledge, and their influence on the musical conceptions of the students. It describes the process of didactic transpositions. It also includes writings on the history of pedagogy and its evolution (doctrines, models, methods, and styles,) as evidenced by approaches to skills and learning outcomes that are currently part of both school and university pedagogy.
3
MUSE 102 Musical Psychopedagogy
Musical Psychopedagogy
MUSE 102
3 Credits
This course covers the general standards of musical psychopedagogy and forms the basis of the educational sciences module. It represents the theoretical side of practical courses relating to musical awakening. As far as content is concerned, the first part of the course related to musical awakening. It also introduces the study of musical development starting in intrauterine life, passes through the kindergarten class, ends in primary school, with an explanation of the phase of use of the so-called active methods and the subsequent use of "musical awakening." As for the second part, it focuses on children's musical faculties such as imagination, creativity, and sensitivity.
3
MUMS 105 Introduction to Ethnomusicology and Organology
Introduction to Ethnomusicology and Organology
MUMS 105
3 Credits
This course consists of an introduction to the ethnomusicological discipline, with a focus on organology. It discusses some of its underlying concerns and the skills and methods associated with the nature of Ethnomusicology and its theories (concepts, epistemology, and historical evolution). It introduces organology as a scientific discipline studying musical instruments, from its interweaving with ethnomusicology. This course involves the development of typology systems for instrument classification and interpretation, as well as a traditional approach to instruments and the playing methods in keeping with the musical traditions of Mašriq and Europe.
3
MUMS 106 Introduction to the Ethnomusicology
Introduction to the Ethnomusicology
MUMS 106
3 Credits
The popular musical traditions of Lebanon and the Levant constitute the object of study of this course, which falls under an ethnomusicological analytical perspective. This study, therefore, establishes a socio-anthropological contextualization of these practices, while proposing a literary characterization. It also analyzes the melodic and rhythmic musical system, and this, with the establishment of links between these different data. More particularly, this course offers a brief description of the vocal musical forms of these traditions, such as 'atābā, mījānā, baġdādī, abū zzilūf, qérrādī, m'annā, šrūqī, ḥidā. An organological description is also sketched for the musical instruments in use, such as ṭabl, derbakkeh, mehbāj, mizmār, mijwiz, minjayra, rabāba, 'ūd. Primary practical data are provided on socio-artistic practices associated with the above, mainly popular and collective dabkeh dance. Besides, Lebanese singers and instrumentalists are presented, as well as the concept of crossbreeding and modernization.
3
Major Requirements – Baroque music


Code Course Credits
MUIE301 Individual European musical practice - advanced 3
Individual European musical practice - advanced 3
MUIE301
2 Credits
Individual course of vocal or instrumental practice of the artistic music tradition of Europe, in the 3rd advanced level.
2
MUIE302 Individual European musical practice - advanced 4
Individual European musical practice - advanced 4
MUIE302
2 Credits
Individual course of vocal or instrumental practice of the artistic music tradition of Europe, in the 4th advanced level.
2
MUIE303 Individual European musical practice - advanced 5
Individual European musical practice - advanced 5
MUIE303
3 Credits
Individual course of vocal or instrumental practice of the artistic music tradition of Europe, in the 5th advanced level.
3
MUIE304 Individual European musical practice - advanced 6
Individual European musical practice - advanced 6
MUIE304
3 Credits
Individual course of vocal or instrumental practice of the artistic music tradition of Europe, in the 6th advanced level.
3
MUFE135 Basso continuo I
Basso continuo I
MUFE135
3 Credits
This course treats the basic principles of Basso continuo and the historical context of its genesis. It uses major basso continuo sources of the different regions (national and epochal styles) in order to put the theory into the practice of Basso Continuo later. Different scores and examples will be treated while discovering the figured bass techniques.
3
MUFE136 Basso continuo II
Basso continuo II
MUFE136
3 Credits
This course puts specific playing techniques of the harpsichord (toucher, timing, arpeggios) into its historical frame based on original books and sources. It also adds to the music theory knowledge, harmony, counterpoint, and baggage of basic historical instrumentation and orchestration. Most importantly, this course enables the student to read and play basso continuo from figured and unfigured bass, and also from manuscripts and historical prints.
3
MUSE103 Awakening to western music
Awakening to western music
MUSE103
3 Credits
The musical awakening develops the child's interest, sensitivity, and spirit of discovery, following a pedagogical approach based on creativity and play. This familiarization with the world of music is mostly a cultural constitution of personality and a way of discovering oneself and others. The educator introduces the child to the world of sound and explores his vocal abilities, his auditory system, and his physical abilities, as well as his musical faculties (imagination and creativity) through playful activities. He also introduces him to musical languages and western musical instruments.
3
MUFO 302 Western musical training IIIa
Western musical training IIIa
MUFO 302
1 Credits
Western musical training courses intend to facilitate the learning of western instruments and singing, as well as the understanding of musical texts and their interpretation. It also aims to refine auditory culture through the development of attention, memorization, intonation, and analytical skills. These studies promote the acquisition of the critical and aesthetic sense, essential for the development of musicological and educational skills. The third level consists of the ability to perform a rather difficult rhythmic reading using the simple and compound meter, to sing with proper intonation exercises in a key with up to three alterations, to exercise ear training. Besides, it prepares the student for the dictations of one and two voices and sight-reading. During this course, students will learn the notion of major and minor keys containing five alterations, closely related keys, triads, and their inversions, some cadences and nonchord tones, as well as the seven natural modes.
1
MUFO 303 Western musical training IIIb
Western musical training IIIb
MUFO 303
3 Credits
Western musical training courses intend to facilitate the learning of western instruments and singing, as well as the understanding of musical texts and their interpretation. It also aims to refine auditory culture through the development of attention, memorization, intonation, and analytical skills. These studies promote the acquisition of the critical and aesthetic sense, essential for the development of musicological and educational skills. The third level consists of the ability to perform a rather difficult rhythmic reading using the simple and compound meter, to sing with proper intonation exercises in a key with up to three alterations, to exercise ear training. Besides, it prepares the student for the dictations of one and two voices and sight-reading. During this course, students will learn the notion of major and minor keys containing five alterations, closely related keys, triads, and their inversions, some cadences and nonchord tones, as well as the seven natural modes.
3
MUFO401 Western musical training IV
Western musical training IV
MUFO401
3 Credits
Western musical training courses intend to facilitate the learning of western instruments and singing, as well as the understanding of musical texts and their interpretation. It also aims to refine auditory culture through the development of attention, memorization, intonation, and analytical skills. These studies promote the acquisition of the critical and aesthetic double sense, necessary for the development of musicological and educational skills. The fourth course consists of exercising rhythmic reading by alternating both treble and bass clefs with the exercise and with the change of time signature. Also, to sing with proper intonation in different tonalities music of the classical and modern repertoire. Besides that, to exercise ear training in addition to dictations with one and two voices, harmonic dictations, and sight-reading. Also, the acquisition of all Major and minor keys, seventh chords, cadences, and nonchord notes, as well as the capacity of making a tonal plan of a musical score, a reading of an orchestral score and initiation to contemporary music.
3
MUFO903 Baroque musical training I
Baroque musical training I
MUFO903
3 Credits
This class treats Individual questions on musical theory and notation. It offers the teacher's support in research based on original pieces. It also includes stylistic work on the performed pieces. Shortly, this course puts all the theory class information under the loop and, more specifically, targets the instrumentalist's repertoire directly.
3
MUHM 110 History, analysis, and practice of modal musical
History, analysis, and practice of modal musical
MUHM 110
3 Credits
This course consists of a musicological and practical initiation to monodic, modal, religious, ancient, medieval and living musical traditions of the Mediterranean basin: Syriac Maronite song, Byzantine Hellenophone and Arabophone song and Romano-Franc or Gregorian, Latin language, as well as traditions of Christian cantillation (in Arabic, Latin and Greek) and Islamic, in Arabic. It communicates to each tradition a historical and liturgical summary, as well as an initiation to the modal system and to the rhythmic system and, if existing, to the system of musical scriptural notation, the essentials of teaching having been devolved to the vocal learning of an anthology of sequences from these traditions. This course is offered in the second year of bachelor in music and musicology and is the prologue of the studies of music history.
3
Major Requirements: 4 elective courses


Code Course Credits
MUPC 114 Historically informed performance
Historically informed performance
MUPC 114
3 Credits
This course puts into practice all the acquired theoretical baggage. It treats ornaments, improvisation, and basso continuo accompaniment; it also answers basic questions on orchestration and instrumentation the way it has been done in the baroque era. Practical issues (voicing, tuning) will be discussed and treated based on specific sources.
3
MUFE 133 Baroque music theory I
Baroque music theory I
MUFE 133
3 Credits
This course aims to develop an overview of the leading regional principles of music, notation, and performance matters from the 16th to the 18th century. Original pieces are then studied carefully in order to understand the composition of this era. Music theory and composition rules, including harmony and counterpoint, are also a major course of this course.
3
MUFE 134 Baroque music theory II
Baroque music theory II
MUFE 134
3 Credits
This seminar is about dealing with early prints and manuscripts and also with original notation. The students learn to identify different types of notation. It adds to the previous course a more detailed look into historical prints and composition techniques. This course offers approaches to finding answers concerning theory rules, harmony, and form in original sources.
3
MUPC 113 Baroque ensemble
Baroque ensemble
MUPC 113
3 Credits
This class offers the students (instrumentalists and singers) to put everything they have learned in theory into practice. It allows them to practice chamber music, basso continuo, ensemble playing, and communication-based on early music sources. It puts their knowledge on historically informed performance practice into a discussion with other musicians. It gets them to find a common idea of the music and a unique way of performing a given piece of music based on their knowledge in early music. With the teacher's support and guidance on all those levels, and with the musical baggage already acquired, the students will be able to analyze and perform any piece of the early music repertoire.
3
MUMS 110 Form analysis of European art music
Form analysis of European art music
MUMS 110
3 Credits
Based on numerous examples, chosen from the musical repertoires of the Renaissance, the Baroque period and the European classical period, this course offers an analytical study of the harmonic musical language, the contrapuntal style, and musical forms, thus aiming at the development of analytical skills applied to European tonal music.
3
MUPC 102 Occidental chamber music
Occidental chamber music
MUPC 102
3 Credits
Occidental classical music practice.
3
MUP C101 Occidental choir
Occidental choir
MUP C101
3 Credits
This course consists of a common practice of choral singing in occidental classical music within the framework of the Antonine University Choir.
3
MUFE 103 Counterpoint I - individual course
Counterpoint I - individual course
MUFE 103
2 Credits
Introduction to contrapuntal writing according to the French school
2
MUFE 104 Figured harmony at the keyboard – initiation
Figured harmony at the keyboard – initiation
MUFE 104
1 Credits
Introduction to the use of a keyboard (mainly the piano) in the harmonic accompaniment of a simple melody (sung or played).
1
MUFE 107 Harmony IIa - individual course
Harmony IIa - individual course
MUFE 107
1 Credits
Advanced studies of consonant harmony, according to French school.
1
MUFE 108 Harmony IIb - individual course
Harmony IIb - individual course
MUFE 108
1 Credits
Advanced studies of consonant harmony and initiation to the seventh chord, according to French school.
1
PSYC 603 Introduction to psychology
Introduction to psychology
PSYC 603
3 Credits
This course focuses on the origin, history, and specialties of psychology, while briefly describing its different concepts, as well as its different schools' interpretations of human behavior with the effect of motivation and emotions on human responses. This course also addresses the study of personality and social integration, while introducing basic notions of psychopathology and mental health into the family, school, and social contexts.
3
PSYC 604 Developmental psychology (Musicology)
Developmental psychology (Musicology)
PSYC 604
3 Credits
This course presents the basic concepts and models of child psychology, following the childhood stages from conception day till the age of 12 years. It offers an introduction to theoretical concepts and contemporary research, relating to the different sectors of psychological development.
3
PSYC 331 Introduction to psychopathology
Introduction to psychopathology
PSYC 331
3 Credits
Psychopathology is a branch of psychology that aims to make a comparative study concerning normal and pathological processes on the psychological level. This course presents and analyzes the broad categories of psychological disorders (psychosis, neuroses, narcissism pathologies). It places them in their historical and theoretical contexts while associating different therapeutic approaches.
3
MUMS 115 Receptive music therapy
Receptive music therapy
MUMS 115
3 Credits
This course introduces receptive music therapy and represents both its theoretical and practical aspects. The theoretical part defines music therapy as a science of its right. It defines its framework and its fields of intervention, as an adjunct to medical therapy, particularly in psychiatry and neurology. It introduces receptive music therapy as a method of listening to musical extracts capable of causing effects in patients who are called upon to incorporates into the therapeutic process. As for the second part, it introduces creativity and claims in favor of music therapy, the use of the musical elements listened to in the therapeutic relationship.
3
MUMS 116 Active music therapy
Active music therapy
MUMS 116
3 Credits
This course introduces active music therapy and represents both its theoretical and practical aspects. The theoretical part defines music therapy as a science of its right. It defines its framework and its fields of intervention, as an adjunct to medical therapy, particularly in psychiatry and neurology. It presents active music therapy as a method that promotes non-verbal sound communication in the field of music therapy and which uses vocal and instrumental practice, often improvised in patients, to establish such communication for therapeutic purposes. As for the second part, it brings experimentation and argues the use of music elements listened to in the therapeutic relationship in support of music therapy.
3