Jazz Drums and Percussion Bachelor’s Degree – Study Plans and Educational Regulations

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Section A – General Data Management

School	JAZZ SCHOOL
Department	DIPARTIMENTO DI NUOVE TECNOLOGIE E LINGUAGGI MUSICALI
A1 – Name of the course of study	First Level Academic Diploma Course in Jazz Drums and Percussion

Section B – Study Plan Management

Type of activity	Subject area	Industry (Group)	Teaching	CFA	Lessons/Study Hours	Optional/Required	Lesson	Profit Verification
First year CFA: 60
Base	Musicological disciplines	CODM/04 – History of Music	History and Historiography of Music 1	3	18/57 32%	Obligatory	Theoretical-practical/collective	Suitability
Base	Musicological disciplines	CODM/06 – History of jazz, improvised and audio-tactile music	Storia del jazz 1	6	36/114 32%	Obligatory	Theoretical-practical/collective	Suitability
Base	Theoretical-analytical-practical disciplines	COTP/06 – Theory, rhythm and musical perception	Ear training	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Featuring	Compositional disciplines	CODC/04 – Jazz composition	Jazz Harmony 1	6	36/114 32%	Obligatory	Theoretical-practical/collective	Suitability
Featuring	Ensemble interpretative disciplines	COMI/06 – Jazz ensemble music	Ensemble music for jazz ensembles 1	3	15/60 25%	Obligatory	Ensemble/Group	Suitability
Featuring	Ensemble interpretative disciplines	COMI/08 – Musical improvisation technique	Musical Improvisation Techniques 1	6	36/114 32%	Obligatory	Theoretical-practical/collective	Suitability
Featuring	Interpretative disciplines of jazz, improvised and audio-tactile music	COMJ/11 – Batteria e percussioni jazz	Performance Practices and Repertoires – (Jazz Drums and Percussion) 1	9	27/198 14%	Obligatory	Individual	Examination
Related	Related and supplementary activities	COME/04 – Electroacoustics	Technologies and techniques of audio recording and recording	6	18/132 14%	Obligatory	Ensemble/Group	Examination
Student Choice	Student’s own choice			6		Obligatory
Further training activities	Further training activities	XXX – Other training activities	1	3	15/60 25%	Obligatory		Examination
Foreign language	Knowledge of a foreign language	CODL/02 – Community Foreign Language	Community foreign language 2	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Second year cfa: 60
Base	Musicological disciplines	CODM/04 – History of Music	History and Historiography of Music 2	3	18/57 32%	Obligatory	Theoretical-practical/collective	Examination
Base	Musicological disciplines	CODM/06 – History of jazz, improvised and audio-tactile music	History of Jazz 2	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Base	Interpretative disciplines of jazz, improvised and audio-tactile music	COMJ/09 – Jazz piano	Piano for Jazz Instruments and Singing – (biennial) 1	3	10/65 15%	Obligatory	Individual	Suitability
Featuring	Compositional disciplines	CODC/04 – Jazz composition	Jazz Harmony 2	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Featuring	Ensemble interpretative disciplines	COMI/06 – Jazz ensemble music	Ensemble music for jazz ensembles 2	6	30/120 25%	Obligatory	Ensemble/Group	Examination
Featuring	Ensemble interpretative disciplines	COMI/08 – Musical improvisation technique	Musical Improvisation Techniques 2	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Featuring	Interpretative disciplines of jazz, improvised and audio-tactile music	COMJ/11 – Batteria e percussioni jazz	Performance Practices and Repertoires – (Jazz Drums and Percussion) 2	9	27/198 14%	Obligatory	Individual	Examination
Related	Related and supplementary activities	CODC/05 – Jazz Orchestration and Concertation	Tecniche di scrittura e di arrangiamento per vari tipi di ensemble 1	6	36/114 32%	Obligatory	Theoretical-practical/collective	Suitability
Student Choice	Student’s own choice			6		Obligatory
Further training activities	Further training activities	XXX – Other training activities	2	3	15/60 25%	Obligatory		Examination
Foreign language	Knowledge of a foreign language	CODL/02 – Community Foreign Language	Community Foreign Language – English Language 2	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Third year cfa: 60
Base	Interpretative disciplines of jazz, improvised and audio-tactile music	COMJ/09 – Jazz piano	Piano for Jazz Instruments and Singing – (biennial) 2	6	20/130 15%	Obligatory	Individual	Examination
Featuring	Compositional disciplines	CODC/04 – Jazz composition	Jazz Harmony 3	3	18/57 32%	Obligatory	Theoretical-practical/collective	Examination
Featuring	Ensemble interpretative disciplines	COMI/06 – Jazz ensemble music	Ensemble music for jazz ensembles 3	3	15/60 25%	Obligatory	Ensemble/Group	Examination
Featuring	Ensemble interpretative disciplines	COMI/08 – Musical improvisation technique	Musical Improvisation Techniques 3	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Featuring	Interpretative disciplines of jazz, improvised and audio-tactile music	COMJ/11 – Batteria e percussioni jazz	Performance Practices and Repertoires – (Jazz Drums and Percussion) 3	12	35/265 13%	Obligatory	Individual	Examination
Related	Related and supplementary activities	CODC/05 – Jazz Orchestration and Concertation	Tecniche di scrittura e di arrangiamento per vari tipi di ensemble 2	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Student Choice	Student’s own choice			6		Obligatory
Further training activities	Further training activities	COME/05 – Musical informatics	Music Informatics	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Further training activities	Further training activities	XXX – Other training activities	3	3	15/60 25%	Obligatory		Examination
Final exam	Final exam			9		Obligatory

Constitution

Section C

C1 – Learning objectives
After completing the degree programme, graduates of First will have developed technical skills and specific knowledge to such an extent that they will be able to plan and develop their own artistic ideas. To reach these goals, as well as to get the ability to interact within mixed musical groups, students will master the most representative repertoire – including ensemble repertoire and piano accompaniment – and the related performance practices . These objectives must also be achieved by promoting the development of perceptual hearing and memorization skills and by acquiring specific knowledge related to the organizational, compositional and analytical models of music and their interaction. Specific care should be devoted to the acquisition of appropriate postural and emotional control techniques. Al termine del Triennio gli studenti devono aver acquisito una conoscenza approfondita degli aspetti stilistici, storici estetici generali e relativi al proprio specifico indirizzo. Furthermore, with reference to the specificity of the individual courses, the student must possess adequate skills related to the field of improvisation. E’ obiettivo formativo del corso anche l’acquisizione di adeguate competenze nel campo dell’informatica musicale nonché quelle relative ad una seconda lingua comunitaria It is also an educational objective of the course to acquire skills in music information technology as well as those related to a second community language
C2 – Final exam
The final exam has the function of highlighting the candidate’s peculiarities that emerged during the three-year period. It can concern any of the subject areas of the School attended, provided that the discipline is active in the current academic year; The program will be at the candidate’s free choice and must not coincide with another program performed entirely in previous exams.
C3 – Employment prospects
Access to Level II, advanced and specialized courses. Concert Employment in public administration (title equivalent to Level I degree). Teacher of music disciplines in non-professional schools. Teacher of music disciplines in professional schools. Teacher of music education. The course offers the student employment opportunities in the following areas: – Jazz and popular solo instrumentalist – Instrumentalist in jazz and popular ensembles – Instrumentalist in jazz and popular orchestral ensembles.
C4 – Knowledge and understanding
Graduates acquire technical skills and musical, cultural, interpretive, harmonic and improvisational skills related to the instrument or singing, necessary to address, with full awareness of related performance practices, the different repertoires of the various styles of new languages in jazz.
C5 – Applying knowledge and understanding
Graduates should be able to delve into the performance and interpretive aspects of vocal performance and apply them in solo and ensemble concert activity.
C6 – Making judgements
Graduates must have the ability to integrate knowledge as well as to make judgments based on the information in their possession.
C7 – Communication skills
Graduates must be able to communicate their knowledge clearly to specialist and nonspecialist interlocutors.
C8 – Learning skills
Graduates must have developed those learning skills that enable them to study independently as well.

Curriculum for the Bachelor’s Degree

School of Jazz Drumming and Percussion – COMJ/11

General Statement

The area concerns the acquisition of the technical skills and musical, cultural and interpretative competencies related to the instrument, and those related, necessary to deal, with full awareness of related performance practices, with the different repertoires of the various eras up to the present day. Aspects of performance and interpretation related to the use of the instrument in solo, ensemble, and orchestral concert activities will also be explored.
For the purpose of a complete training of the instrumentalist, disciplines related to the history and technology of the instrument, as well as methodological knowledge related to the teaching of the instrument,
are also included in the field. It also includes the in-depth study of related treatises, the repertoire with reference to different historical periods, and methodologies related to improvisation on the instrument, as well as techniques of reading and extemporaneous accompaniment.

Training Objectives.

After completing the degree programme, graduates of First Level in Jazz Drums and Percussion will have developed: technical skills and specific knowledge to such an extent that they will be able to plan and develop their own artistic ideas . To this end, particular emphasis will be placed on the study of the most representative repertoire of the instrument – including ensemble repertoire – and related performance practices, also with the aim of developing the student’s ability to interact within variously composed musical groups. These objectives must also be achieved by promoting the development of perceptual hearing and memorization skills and by acquiring specific knowledge related to the organizational, compositional and analytical models of music and their interaction. Specific care should be devoted to the acquisition of appropriate postural and emotional control techniques. Al termine del Triennio gli studenti devono aver acquisito una conoscenza approfondita degli aspetti stilistici, storici estetici generali e relativi al proprio specifico indirizzo. Furthermore, with reference to the specificity of the individual courses, the student must possess adequate skills related to the field of improvisation. It is also an educational objective of the course to acquire skills in music information technology as well as those related to a second community language

Academic Credits
Academic credits are adopted in compliance with D.M. n. 124/09 – table A. In relation to the overall needs for better functioning, the Institute has the authority to exchange the annuality of some teachings in this study plan, respecting the coherence of the educational pathway, prerequisites, and the annual amount of credits

Entrance Examination

The first test tends to test the candidate’s instrumental/vocal skills and musical maturity, the second test the candidate’s theoretical knowledge and basic musical culture.
FIRST TEST.
1) Performance of 2 pieces taken from the list below, one of which is chosen by the candidate, one chosen by the commission (with accompaniment bass/double bass, drums and any other instruments or using backing tracks on digital support)
TRACK LIST:

In a sentimental mood
Now’s the time
Take the a train
Bye bye black bird
Moanin
All of me
There is no greater love
There will never be another you
What is this thing called love
I’ve got rhythm
2) Performance of a standard (1 Ballad) of the candidate’s choice for solo instrument
3) Performing a song at first sight. For harmonic instruments: with melody and theme songs to harmonize. For monodic instruments: Reading
of the melody and possible interpretation of the theme songs
4) Assessment of technical skills (scales, arpeggios, etc.)

SECOND TEST.
1) The candidate should demonstrate mastery in the use of notation codes, knowledge of the basic elements of music theory, and the practice of fundamental skills related to listening and rhythmic and sung reading.
2) The candidate will be able to recognize intervals (within the octave), major and minor scales, modal scales, chords (triads and quadriads
in fundamental position)
3) Assessment through an oral interview of the basic musical skills of Elements of History of Jazz Music.

MUSICAL, GENERAL AND MOTIVATIONAL
INTERVIEWNotes: The Commission has the right, for the purpose of evaluation, to select a part of the programme presented and to listen again and/or to interrupt the performance.
Candidates already holding the relevant licenses obtained from Higher Music Education Institutions under Law 508/99 are exempt from test no. 2

First year

Jazz drums and percussion I

Course year: 1 – Credits: 9 – Hours: 27 – Individual lesson – Assessment form: Exam taken in front of a Commission.
Program of Study:

Technical insights into the rudiments for drum and drum-set orchestrations.
Studies of basic polyrhythms. (patterns of 4 measures/ interpretation/ comping/ solo).
The origins. The “Second line” drumming. Il Ragtime.
Coordination studies. (comping of progressive difficulty). Applications in typical compositional forms: Blues, AABA, AB, AABC. The art of
Musical platter. New techniques.
Study of jazz phrasing and interpretation, through the reading and performance of passages from the literature for jazz drums and percussion,
taken from themes, solos, orchestral parts, referring to the period of the ’20s and ’30s (from New Orleans to Chicago: Baby Dodds, Zutty Singleton, Ray Bauduc,
Cozy Cole, Big Sid Catlett, Gene Krupa, Buddy Rich) and the be-bop period.
Study of the jazz repertoire, taken from solo and orchestral literature for drums and percussion, referring to the production of the following artists:
Louis Armstrong (Warren “Baby” Dodds), Benny Goodman, (Gene Krupa), Count Basie (Papa Jo Jones), Big Sid Catlett, Duke Ellington (Sonny
Greer, Louis Bellson), Joe Marsala, Artie Shaw, Tommy Dorsey, Nat King Cole, Ella Fitzgerald (Buddy Rich), Lionel Hampton, Ray Bauduc. Analysis
of bebop and comping studio and historical solos by Max Roach and Philly Jo Jones.
Exam syllabus:
Performance of two standard and/or original pieces among the 12 studied during the year with performance and interpretation of the theme and
improvisation.
Only three historians among those studied during the reference year.
Drum studies chosen by the candidate among those studied during the year.
Only Drums on a theme of the candidate’s choice, exposition of the theme and only on the structure of the song.
Performance of a standard piece chosen by the candidate among those studied during the year with performance and interpretation of the
theme and accompaniment.

Music Theory and Ear Training

Course year: 1 – Credits: 6 – Hours: 36 – Group lesson – Assessment form: Exam taken in front of the Commission.

Exam syllabus:

During the course and during the exam, some of the elements listed below will be discussed, chosen and agreed between students and teachers based on the specific needs of the school attended.

In-depth study of the spoken reading of complex rhythmic figurations.
In-depth study of the septiclavium with particular attention to the keys related to the instrument, the vocal register and the transport.
Update on contemporary graphy, with reference to the disciplines characterizing the students’ course of study.
Rhythmic reading and possibly sung at first sight of significant passages taken from the specific repertoire of the disciplines characterizing the students’ course of study.
Melodic dictation difficult to one voice, modulating to all nearby tones.
Harmonic dictation: a) for two voices in polyphonic style b) with triads and inversions

Sung reading of melodies of medium difficulty following dynamic, agogic and phrasing indications.

Extemporaneous analytical recognition, after a short listening, of the main connotative elements (trend, metrics, main themes, instrumentation, etc.) of a vocal or instrumental piece taken from the repertoire ranging from the Baroque to the historical twentieth century 9) In-depth study of general theory.

History and Historiography of Music I

Course year: 1 – Credits: 3 – Hours: 18 – Group lesson – Form of assessment: assessment of suitability.

Verification Program:

Elements of ethnomusicology. Symbology of music. Oriental and Mediterranean civilizations and music in the Greco-Roman classical age. Ecclesiastical monody and Gregorian chant in the first millennium of the Christian era. Theory and notation. Guido d’Arezzo. The tropture and the liturgical drama. Lauda is a sacred representation. Troubadours, troubadours, Minnesänger and profane monody. Polyphony from its origins to the feudal and communal age. French and Italian polyphony in the fourteenth century. Schools in Europe from the fifteenth to the sixteenth century. Religious reforms and music. The great masters from beyond the mountains and Italian from the fifteenth and sixteenth centuries in the age of patronage. The music press. The genres of secular and sacred polyphonic music in the sixteenth century. The madrigal. The theorists of the Renaissance. Monodic singing and concerted style. From intermediates to melodrama.

Basic historiographical-musical concepts related to different historical periods: their study and application to the problems of various periods of the history of music in view of the aesthetic evaluation of individual compositions of the past. Aspects of transcription of the musical text, interpretation, performance practice and organological notes. In-depth study of particular aspects of the discipline through guided listening, analysis, readings and video projections. Knowledge of bibliographic tools and bio-bibliographical encyclopedic repertoires related to the periods covered.

History of Jazz Music I

Course year: 1 – Credits: 6 – Hours: 36 – Group lesson – Form of assessment: assessment of suitability.

Verification Program:

The genesis of American folk;
The roots of jazz: religious folk music, secular folk music, ragtime;
The great figures of spirituals, gospel, blues and ragtime;
Early jazz and its protagonists;
The contribution of musicians of Sicilian origin;
From the New Orleans style to the Swing Era;
The protagonists and the great orchestras of Swing;
The authors of the American songbook;
The great voices of jazz;

The form of verification will be established by the teacher.

Jazz Harmony I

Course year: 1 – Credits: 6 – Hours: 36 – Group lesson – Form of assessment: assessment of suitability.

Program of Study:

Major and minor scale.
Intervals.
Triads: major, minor, diminished, surplus in ground state and in revolt.
Tetrads: major, minor, dominant, semidiminished in the ground state and in the inversion.
Symbology of chords.
Major Scale Harmony: Hierarchies and Relationships Between Major Scale Chords.
Minor scale harmony: hierarchies and relationships between minor scale chords.
Cadences and main harmonic movements in the major and minor keys.
Chord extensions: 9th, 11th, 13th.

Verification Program:

Written test on the topics covered

Ensemble Music for Jazz Ensembles I

Course year: 1 – Credits: 3 – Hours: 15 – Group lesson – Form of assessment: assessment of suitability.

Study Program: Introduction

Jazz musical characteristics and functional elements of creative interaction studied during the three courses:

The tempo: 1) swing (medium, up, fast, medium slow, ballad), in two and in four, two beat and four beat; 2)eveneights (bossa, funk, latin, afro, rumba, cha cha, pop ballade, rock.)
The rhythm: The individual and group swing. The rhythmic phrases, the jazz syncopations, the rhythmic attacks, the caesuras, the rhythmic articulation.
The melody; Half-sentence concept, sentence sentence. Melodic question and answer. Rhythmic theme and melodic theme.
Harmony; The tonality, the most used harmonic passages: V7-I; I-IV, IIm7-V7- IM, The turnaround, in various models, the cadence of deception (IIm-V7- VIm; IIm-V7-IIbM); modulations.
The shape and structure; The blues, the rhythmchange, the 32 bars song, the jazz standard, the atypical forms; the structure Blues, AABA, A1-A2, AABC, AAB, ABCD, etc.
The style; Compositional and language elements of the various jazz styles: Dixieland and New Orleans, Swing, Bop and Hard Bop, Cool, Modale.

The functions and roles of the various accompaniment and soloists instruments in relation to styles.

Compositional elements of jazz literature and jazz interplay: reading-writing and performance:
The intro – literature of historical intros: pedal, turnaround, last 4-8 of the theme, crown on dominant chord, intro solo piano and solo drums, etc.
The Finale – literature of historical endings: Ellington, Basie, pedal, turnaround, 50s Miles (four, bye bye blackbird) etc.
The straight theme, the thematic interpretation, the improvisation, the swing, the 2 and the 4, the double feel and the bouble time, the background, the riff, the shoutchorus, the break, the head chart, the stop chorus, the vamp, the 4-8 trading, the changes of style and tempo.

Program

Knowledge and simple processing of the following elements:

The peculiar characteristics of jazz: rhythm, theme, improvisation, harmony, structure.
Compositional and interplay elements of jazz literature: tempo, swing, chorus, theme, theme songs, trading fours, breaks, structure.
Study of the blues, improvisation.
Reading of parts, rhythmic, melodic, harmonic, structural. Study of themes. Thematic interpretation. The blues scale.
Shoutchorus.
The two beat – the break of 2 and 4 bars. Trading four.
Tempo, rhythm, swing and styles of time in jazz.
The basic trio: study of some swing and eveneights tempos (medium slow up swing, fast, ballad, latin, bossa, funk, samba, rumba, cha cha, beguine, rock, rock ballad etc.).
Concept of double feel and double time, halffeel and half time. Thematic study of historians only.
Exercises and material for improvisation, minor pentatonic scale, major pentatonic, major and minor blues scale, hexatonic dominant pentatonic of dominant.
Intro and amp literature: the dominant pedal, the last 4 bars, the turnaround, the Ellington and Basie-style endings. Study of other historical intros and endings: knowledge, writing and performance.
The Two Beat, the Four Beat. The stop chorus.
Repertoire of the 20s-30s New Orleans, Dixieland, Swing, Modal (Standards, Jazz standards, Modal repertoire, Blues).

Verification Program:

Presentation of a list of six pieces taken from the repertoire studied. Two of the six tracks must contain simple elements of arrangement by the same candidate (intro, coda, structural setting, etc.). with a judgement of suitability and credits conferred by the teacher.

Musical Improvisation Techniques I

Course year: 1 – Credits: 6 – Hours: 36 – Group lesson – Form of assessment: assessment of suitability.

Program of Study:

THEORY AND EXERCISES: Chords, Progressions, Scales, Rhythms.

The Swing Feel, Syncopation in Jazz, Song Form Explained, DevelopingImprovisations, 7th Chords in Jazz, The VariousTypes of 7th Chord, Chordal Extensions, AlteredChords, Building ChordProgressions, More ChordProgressions, The Major Scale Modes, The PentatonicScales, The Blues Scale, The Melodic Minor Modes, The Harmonic Minor Modes, SymmetricalScales, The BeBop Scale, Triads, 7th ChordArpeggios, Choral Extensions, Scales, PermutatingArpeggios&Scales, LydianDominant, Superlocrian, HalfWholeDiminished.

IMPROVISATION TECHNIQUES

Playing “Standards”, “Standards” Exploring the Song, Common Tones, Melody Jazz,

ChromaticPassing Notes, ChromaticApproach Notes, Variation and Repetition, Call and Response, Practice Time: “Standards”, PlayngBallads, Building a Solo, Practice Time:

“Ballads”, Improvising with the BeBop Scale, Enclosures, Using Altered Notes in a Solo, Tritone Substitutions, Quotes, Anticipation, Trading Fours, Using Space, Using Motif, Working with Different Scale, Improvising with Pentatonics, IntervallicPlayng.

Content taken from the repertoires of Dixieland, New Orleans, Swing Era.

Verification Program:

Discussion on the basic rhythmic, melodic and harmonic techniques related to musical improvisation.

Extemporaneous application of the above techniques improvised with one’s own instrument and with relative written test on an easy piece assigned by the teacher.

Technologies and techniques of audio recording and recording

Course year: 1 – Credits: 6 – Hours: 18 – Group lesson – Form of assessment: Exam taken in front of the Commission.

Exam syllabus:

Discussion on a short thesis elaborated by the candidate in which he/she demonstrates the knowledge of the history of audio recording techniques, the classification and description of the main types of microphones, the analysis and use of frequency response graphs and acoustics of the various recording environments, the basic notions on Hard-disk recording systems, the classification and description of the main stereo recording techniques and of the various types of loudspeaker, of analog and digital audio, of the analysis of polar patterns.

Student’s Elective Subject I

Course year: 1 – Credits: 6 – Hours: 30 – Form of assessment: aptitude test* and/or exam (depending on the subject)

Jazz vocal ensemble music

Course year: 1, 2 or 3 – Credits: 6 – Hours of lessons: 30 – Group lesson – Form of assessment: assessment of competence*

Verification Program:

Performance of a program approved by the teacher lasting not less than 10 minutes, including one or more pieces from the repertoire, as long as they are of different styles. The candidate, for the formation of the ensemble group, must make use of students within the Institute who also attend other classes and, in case of impossibility, also of any external collaborators trusted by him and at his own expense.

Elements of percussion instruments

Course year: 1, 2 or 3 – Credits: 6 – Hours of lessons: 30 – Group lesson – Form of assessment: Assessment of suitability* Program:

Rhythmic reading applied with percussion instruments or Body Percussion – Stick Control;
Study and knowledge of the instruments used in the Symphony Orchestra;
Drum
Timpani
Kick drum or bass drum
Cymbals in pairs and Suspended cymbal
Basque Tambourine – Triangle
Toms and Floor toms
Gong,Tam Tam
Percussion Keyboards

The form of verification will be established by the teacher.

Organization of the musical show

Course year: 1, 2 or 3 – Credits: 6 – Hours of lessons: 36 – Group lessons – Form of assessment: assessment of suitability* Program:

The Live Show; Mission, objectives and purposes of a Show; The Stages of the Production of a Show; The S.I.A.E: purposes, obligations, exemptions and safeguards; The E. N.P.A.L.S: purposes, obligations, exemptions and safeguards; Techniques of Communication of the Performing Arts: from paper to web; Artistic Direction, Production Office, Press Office and Marketing Office. Examples of production of a show: from soloist to opera to new languages; Public and Private: funding, partnerships and collaborations; The FUS (Fondo Unico dello Spettacolo); The Lyric and Symphonic Foundations and other Bodies and Institutions; The Public Spectacle in Sicily: Names, Places, Festivals and Institutions.

The course includes collaboration, promotion and assistance for a production of the ISSM “Arturo Toscanini”. The form of verification will be established by the teacher.

Educational activities, including external ones, chosen by the student I

Course year: 1 – Credits: 3 – Form of assessment: assessment of suitability* and/or examination and/or evaluation by the Commission in charge

Declaration for verifications:

By way of example, “educational activities, including external ones chosen by the student”, include external performances, attendance at courses not included in the student’s study plan, participation in competitions, master-classes, seminars, internships, the publication of essays, the recording of performances, and active participation in training, research or artistic production projects.

The evaluation of the elective educational activities carried out by students is carried out by a special Commission, at the end of the candidate’s course of study, on the basis of the documentation and qualifications presented by the candidate.

English Language I

Course year: 1 – Credits: 6 – Hours: 36 – Group lesson – Form of assessment: Exam taken in front of a Commission.

Exam syllabus:

Verification, through tests and/or written questions and/or oral interview, or on the basis of a suitable certification presented, that the level of knowledge of the language acquired by the candidate is equivalent to that internationally called PET (Preliminary English Test).

Second year

Jazz Drums & Percussion II

Course year: 2 – Credits: 9 – Hours: 27 – Individual lesson – Form of assessment: Exam taken in front of the Commission.
Prerequisites: Jazz drums and percussion I
Program of Study:

Be-Bop: The Styles of Kenny Clarke, Max Roach, Art Blakey & Philly Jo Jones.
Contaminations with Caribbean musical culture. Afrocuban grooves.
Studies on rhythmic coordination with reference to the be-bop and post-bop style of progressive difficulty. Forms: AB, AABA, ABCD, Modal etc.
Technical-instrumental insights on accents and advanced polyrhythms.
Study of the jazz repertoire with the vibraphone, referring to the production of the following artists: Milt Jackson, Bobby Hutcherson, Red Norvo, Charlie
Parker, Thelonious Monk, Bud Powell, Miles Davis.
Study of metric modulations and application on drumset.
Technical, rhythmic, melodic and harmonic insights into jazz and new languages with reference to the post-bop culture of the ’60s. The styles of
Elvin Jones, Tony Williams, Roy Haynes, Billy Higgins, Mel Lewis, Ed Blackwell, Jack De Jonhette.
In-depth study of jazz and contemporary phrasing and interpretation, reading and performance of solos and/or excerpts from literature for drums and
percussion, taken from themes, solos, orchestral parts, referring mainly to the production of the 50s and 60s. Linear Phrasing.
Study of the jazz repertoire, taken from the solo literature for drums and percussion, referring to the production of the following artists: Bill Evans,
Herbie Hancock, Miles Davis, John Coltrane, Charles Mingus, Dizzy Gillespie, Charlie Parker, Thelonious Monk, Bud Powell, Clifford Brown,
Sonny Rollins, Miles Davis, Gerry Mulligan, Chet Baker, Art Pepper, Tony Scott, James Peter Giuffre, Lennie Tristano, Lee Konitz, David Brubeck,
Stan Getz, Paul Desmond, John Lewis, Art Blakey, Horace Silver, John Coltrane, Cannonball Adderley, Stan Kenton, Gil Evans, Charlie Mingus,
Bob Brookmeyer.
Study and development of an individual and original stylistic-interpretative code.
Exam syllabus:
Performance of two standard and/or original pieces among the 12 studied during the year with performance and interpretation of the theme and
improvisation.
Only three historians among those studied during the reference year.
Drum studies chosen by the candidate among those studied during the year.
Solo drums on a theme of the candidate’s choice, exposition of the theme and only on the structure of the song.

History and Historiography of Music II

Course year: 2 – Credits: 3 – Hours: 18 – Group lesson – Form of assessment: Exam taken in front of the Commission.

Exam syllabus:

The exam is aimed at verifying the learning of the program carried out. In particular: The work of the seventeenth century. Theory and aesthetics of music in the seventeenth and eighteenth centuries. The work of the eighteenth century. Sacred, instrumental and chamber music of the Baroque age. The Classical Period. The Romantic Period. National schools.

Crisis and search for new languages between the end of the nineteenth century and the First World War. The musical theatre of the twentieth century. Musical currents between the two wars.

The exam will focus on the discussion of a monographic thesis agreed and developed in agreement with the teacher and presented at least 10 days before the exam.

History of Jazz Music II

Course year: 2 – Credits: 6 – Hours: 36 – Group lesson – Form of assessment: Exam taken in front of the Commission.

Exam syllabus:

Be bop: birth, evolution and protagonists;

Jazz in the middle part of the twentieth century: cool, hard bop, free and various drifts;

Between tradition and modernity: thirdstream, rock-jazz, contaminations and actuality; Main musicians, formations and voices of the second half of the twentieth century; European jazz.

Piano for Jazz Instruments and Singing I

Course year: 2 – Credits: 3 – Hours: 10 – Individual lesson – Form of assessment: Assessment of suitability.

Verification Program:

Basic elements of piano technique (posture, weight relief, finger pressure on the key, wrist joint, etc.);

Study of major and minor scales (melodic and harmonic), with hands together and within an octave;

Harmonization, with fundamental-third-seventh or fundamental-seventh-third, of melodies taken from the repertoire of standards;

Study of cadence II-V-I in all keys and of harmonic structures and progressions of various kinds (turnarounds, cycle of fifths, etc…). The form of verification will be established by the teacher.

Jazz Harmony II

Course year: 2 – Credits: 6 – Hours: 36 – Group lesson – Form of assessment: Exam taken in front of the Commission.

Program:

Progression II-V-I major and minor.
Harmonic bonding, movements of the parts.
Functions of the dominant, distinction between altered and unaltered dominant.
Harmonization of basses or harmonic progressions given to tight 3-voice parts.
Harmonize an eight-bar melody.
Harmonization of basses or harmonic progressions given to narrow parts for 4 voices.
Harmonization of basses or harmonic progressions given to 3-voice late parts.
Harmonization of basses or harmonic progressions given to 4-voice side parts.
The modes of the major and minor scale: functional and aesthetic classification of the modes.

Exam

Written test and interview in front of the Commission.
Harmonize an eight-bar melody.

Ensemble Music for Jazz Ensembles II

Course year: 2 – Credits: 6 – Hours: 30 – Group lesson – Form of assessment: Exam taken in front of a Commission.

Program of Study:

Premise

Jazz musical characteristics and functional elements of creative interaction studied during the three courses:

The tempo: 1) swing (medium, up, fast, medium slow, ballad), in two and in four, two beat and four beat;

2)eveneights (bossa, funk, latin, afro, rumba, cha cha, pop ballade, rock.)

The rhythm: The individual and group swing. The rhythmic phrases, the jazz syncopations, the rhythmic attacks, the caesuras, the rhythmic articulation.
The melody; Half-sentence concept, sentence sentence. Melodic question and answer. Rhythmic theme and melodic theme.
Harmony; The tonality, the most used harmonic passages: V7-I; I-IV, IIm7-V7- IM, The turnaround, in various models, the cadence of deception (IIm-V7- VIm; IIm-V7-IIbM); modulations.
The shape and structure; The blues, the rhythmchange, the 32 bars song, the jazz standard, the atypical forms; the structure Blues, AABA, A1-A2, AABC, AAB, ABCD, etc.
The style; Compositional and language elements of the various jazz styles: Dixieland and New Orleans, Swing, Bop and Hard Bop, Cool, Modale.

The functions and roles of the various accompaniment and soloists instruments in relation to styles.

Compositional elements of jazz literature and jazz interplay: reading-writing and performance:
The intro – literature of historical intros: pedal, turnaround, last 4-8 of the theme, crown on dominant chord, intro solo piano and solo drums, etc.
The Finale – literature of historical endings: Ellington, Basie, pedal, turnaround, 50s Miles (four, bye bye blackbird) etc.
The straight theme, the thematic interpretation, the improvisation, the swing, the 2 and the 4, the double feel and the bouble time, the background, the riff, the shoutchorus, the break, the head chart, the stop chorus, the vamp, the 4-8 trading, the changes of style and tempo.

Program:

Knowledge and simple processing of the following elements:

In-depth study of the peculiar characteristics of jazz: rhythm, theme, improvisation, harmony, structure; – Parkerian blues (Billie’s Bounce, Chi Chi, Blues for Alice) bop improvisation; – Study of themes. Thematic interpretation of bop and hard bop.
Reading of parts, rhythmic, melodic, harmonic, structural.
The two beat – the break of 2 and 4 bars. Trading four.
Tempo, rhythm, swing and styles of time in jazz.
The basic trio: in-depth study of some swing and eveneights tempos (medium slow up swing, fast, ballad, latin, bossa, funk, samba, rumba, cha cha, beguine, rock, rock ballad etc.) study of fast tempos and tempo changes (latin-swing).
Development of the executive ability of double feel and double time, half feel and half time. – Thematic study of historians only.
Exercises and material for improvisation, dominant and grade I bop scale. The melodic minor scales, harmonics on the fifth degree, the superlocria scale.
Literature of intros and endings: the dominant pedal, the last 4 measures, the turnaround, the Ellington and Basie endings, bop trunk endings, Miles endings (Four, Bye bye blackbird) comprehension, writing and performance.
Repertoire of the 40s-50s, Bop and Hardbop, Cool. (Standards, jazz standards, historical repertoire of bop & hard bop and cool)

Exam syllabus:

Presentation of a list of six pieces taken from the repertoire studied. Two of the six pieces presented must contain simple elements of arrangement by the candidate himself (intro, coda, structural setting, background, ensemble, etc.).
Performance and interpretation of two pieces contained in the above list.
The candidate will perform a piece of his/her choice and a piece of his/her choice of the commission.

Musical Improvisation Techniques II

Course year: 2 – Credits: 6 – Hours: 36 – Group lesson – Form of assessment: Exam taken in front of the Commission.

Program of Study:

THEORY AND EXERCISES: Chords, Progressions, Scales, Rhythms.

IMPROVISATION TECHNIQUES:

Playing “Standards”, “Standards” Exploring the Song, Common Tones, Melody Jazz, ChromaticPassing Notes, ChromaticApproach Notes, Variation and Repetition, Call and Response, Practice Time: “Standards”, PlayngBallads, Building a Solo, Practice Time: “Ballads”, PlayingBeBop, Improvising with the BeBop Scale, Enclosures, Using Altered Notes in a Solo, Tritone Substitutions, Quotes, Anticipation, Trading Fours, Practice Time: BeBop, Using Motif, Working with Different Scale, Improvising with Pentatonics, IntervallicPlayng, Playing “Inside” and “Outside”, ChordalSuperimposition.

Content taken from the Be-Bop repertoire.

Exam syllabus:

Performance of a piece chosen by the candidate among those required by the program with improvisation.

Performance of a piece chosen by the commission among those obligatory in the program with improvisation. Execution of a single historical, modern and/or contemporaryone agreed in advance with the teacher and transcribed by the candidate.

The exam requires the performance on the instrument, in sync with the original audio track and the extemporaneous analysis.

(The candidate may choose to perform the pieces in solo form or with the help of any accompanists)

Composition and Orchestration for Jazz Ensembles I

Course year: 2 – Credits: 6 – Hours: 36 – Group lesson – Form of assessment: Assessment of suitability Program:

The instruments of the jazz orchestra, characteristics, extension, timbre, peculiarities. Analysis of pieces and orchestrations of the repertoire. The practice of arranging, considerations on formal and structural aspects, the balance between writing and improvisation. Introduction to simple elements of contrapuntal writing.

Transcription and analysis of arrangements for small groups.

Harmonization of a simple 2- and 3-part melody and arrangements for different instruments, considering the original harmonic grid with some possible modifications.

Main conventions and structural elements; Introduction, Coda, Ensemble, Special and Interlude, Background

Verification Program:

Arrangement of a theme (chosen from 3) assigned by the commission; the candidate, within a maximum time of 10 hours, must orchestrate the piece for an ensemble between the quintet (trumpet, tenor and alto sax, piano or guitar, double bass and drums) and the “Big Band” (two alto saxes, two tenor saxes, a baritone sax, four trumpets, four trombones, piano, double bass and drums, possible synth – electronics and strings). The song can include an introduction, theme, and coda. Oral discussion on the work presented.

Student’s Elective Subject II

Course year: 2 – Credits: 6 – Hours: 30 – Form of assessment: aptitude test* and/or exam (depending on the subject)

Jazz vocal ensemble music

Course year: 1, 2 or 3 – Credits: 6 – Hours of lessons: 30 – Group lesson – Form of assessment: assessment of competence*

Verification Program:

Elements of percussion instruments

Course year: 1, 2 or 3 – Credits: 6 – Hours of lessons: 30 – Group lesson – Form of assessment: Assessment of suitability*

Program:

Rhythmic reading applied with percussion instruments or Body Percussion – Stick Control;
Study and knowledge of the instruments used in the Symphony Orchestra;
Drum
Timpani
Kick drum or bass drum
Cymbals in pairs and Suspended cymbal
Basque tambourine
Triangle
Toms and Floor toms
Gong,Tam Tam
Percussion Keyboards

The form of verification will be established by the teacher.

Organization of the musical show

Course year: 1, 2 or 3 – Credits: 6 – Hours: 36 – Group lessons – Form of assessment: aptitude test*

Program:

The course includes collaboration, promotion and assistance for a production of the ISSM “Arturo Toscanini”. The form of verification will be established by the teacher.

Educational activities, including external ones, chosen by the student II

Course year: 2 – Credits: 3 – Form of assessment: assessment of suitability* and/or examination and/or evaluation by the Commission in charge

Declaration for verifications:

English Language II

Course year: 2 – Credits: 6 – Hours: 36 – Group lesson – Form of assessment: Exam taken in front of the Commission.

Prerequisites: English Language I

Verification Program:

Verification, through tests and/or written questions and/or oral interview, or on the basis of appropriate certification presented (exams or English language tests taken at university-level institutes), of the candidate’s acquisition of an in-depth knowledge of the language, which allows the student to independently integrate his/her knowledge of musical vocabulary and terminology, i.e. the acquisition of the level internationally called PET (Preliminary English Test) integrated with a good knowledge of musical vocabulary and terminology.

Third year

Jazz Drums & Percussion III
Course year: 3 – Credits: 12 – Hours: 35 – Individual lesson – Assessment form: Exam taken in front of a Commission.
Prerequisites: Jazz drums and percussion II
Program of Study:

Contaminations: Jazz-Rock, Funk, Fusion, Non-European Cultures.
Drums in Popular Music. The advent of the drum machine and Computer Music.
The fusion style of the following artists: Billy Cobham, Steve Gadd, Peter Erskine, Dave Weckl. New experimental directions: Pierre Favre, Tony Oxley, Paul Lovens, Paul Lytton.
Brazilian Music: Carioca and Bahian cultures, influences on American jazz.
In-depth study of the Even 8th style with reference to the production of the following artists: Pat Metheny, Keith Jarrett, Jan Garbarek, John Surman, Gary Burton, Jack De Jonhette.
The ECM production by Manfred Eicher, an icon of European jazz.
The process of synthesis and the contemporary research of sound. (Bill Stewart, Brian Blade, Chris Dave, Mark Guiliana). Minimalism and the search for new forms of expression.
Technical, rhythmic, melodic, harmonic refinements of jazz and new languages, Big Band, contemporary, bossa, latin, funk and rock, pop, with minus one drums.
In-depth study of jazz and contemporary phrasing and interpretation, reading and performance of phrases and/or passages from literature for drums and percussion, taken from themes, solos, orchestral parts, referring mainly to the production of the 60s, 70s and 80s and contemporary (Hard-Bop, Free Jazz, Fusion, Avantgarde, Contemporary music) for drums.
In-depth study and development of an individual and original stylistic-interpretative code.

Exam:

Performance of two standard and/or original pieces among the 12 studied during the year with execution and interpretation of the theme and improvisation.
Only three historians among those studied during the reference year.
Drum studies chosen by the candidate among those studied during the year.
Solo drums on a theme of the candidate’s choice, exposition of the theme and only on the structure of the song.
Sight reading of a big band part.

Piano for Jazz Instruments and Singing II

Course year: 3 – Credits: 6 – Hours: 20 – Individual lesson – Form of assessment: Exam taken in front of a Commission.

Program: Study of major and minor scales (melodic and harmonic), with hands together and in the space of two octaves.

Harmonization, with voicings “tight” in the left hand (3-5-7-9/7-9-3-5 and variations), of melodies taken from the repertoire of standards. Lateral harmonization of standard pieces.

Harmonization of ballads in “modern stride”.

Exam: Performance of a ballad in “modern stride” and a standard of medium difficulty, harmonized with voicings “tight” to the left hand, or to the side parts. Performance of a major and relative minor scale (melodic and harmonic) requested by the commission.

Sight reading of a harmonic structure, by means of tight voicings (bass in the left hand and tight chord in the right hand).

Jazz Harmony III

Course year: 3 – Credits: 3 – Hours: 18 – Group lesson – Form of assessment: Exam taken in front of the Commission.

Program of Study:

DropChords.
Piano voicings in tight parts for 2,3,4 voices.
Analogies between chords, harmonic substitutions.
Reharmonizations and substitutions in the harmonic progressions of standards and blues.
Harmonic analysis of standards, tonal centers and modulations.
Modulations: analysis and techniques.
Distinction between mode and key.

Exam syllabus:

Written test and interview in front of the Commission.
Harmonize a melody from the jazz repertoire.
Analyze a jazz composition, highlighting its fundamental elements (structure, harmonic and melodic analysis).

Ensemble Music for Jazz Ensembles III

Course year: 3 – Credits: 3 – Hours: 15 – Group lesson – Form of assessment: Exam taken in front of a Commission.

Program of Study:

Knowledge and simple processing of the following elements:

Consolidation of the peculiar characteristics of jazz inherent in the repertoire under study: rhythm, theme, improvisation, harmony, structure;
Reading of the parts, rhythmic, melodic, harmonic, structural reading;
The thematic and improvisational style: hard bop and cool;
Study of themes. Thematic interpretation of bop and hard bop;
The basic trio: consolidation of the rhythmic, harmonic and structural accompaniment of some swing and eveneights tempos (medium slow up swing, fast, ballad, latin, bossa, funk, samba, rumba, cha cha, beguine, rock, rock ballad etc.) study of fast tempos and tempo changes (latin-swing); – Consolidation of the executive capacity of double feel and double time, halffeel and half time; – Thematic study of historians only;
Exercises and material for improvisation, tonal improvisation and modal (chord) improvisation;
Consolidation of the literature of intros and endings: comprehension, writing and performance;
Repertoire of the 50s, Hardbop, Cool. (Standards, jazz standards, historical repertoire of hard bop and cool).

Exam syllabus:

Presentation of a list of six pieces taken from the repertoire studied. Two of the six pieces presented must contain simple elements of arrangement by the candidate himself (intro, coda, structural setting, background, ensemble, etc.).
Performance and interpretation of two pieces contained in the above list.
The candidate will perform a piece of his/her choice and a piece of his/her choice of the commission.

Musical Improvisation Techniques III

Course year: 3 – Credits: 6 – Hours: 36 – Group lesson – Assessment form: Exam taken in front of the Commission. Program of Study:

THEORY AND EXERCISES: Chords, Progressions, Scales, Rhythms.

IMPROVISATION TECHNIQUES:

Playing “Standards”, “Standards” Exploring the Song, Common Tones, Melody Jazz, ChromaticPassing Notes, ChromaticApproach Notes, Variation and Repetition, Call and Response, Practice Time: “Standards”, PlayngBallads, Building a Solo, Practice Time: “Ballads”, PlayingBeBop, Improvising with the BeBop Scale, Enclosures, Using Altered Notes in a Solo, Tritone Substitutions, Quotes, Anticipation, Trading Fours, Practice Time: BeBop, Modal Jazz, Modal Jazz: Exploring the Song, Using Space, Using Motif, Working with Different Scale, Improvising with Pentatonics, IntervallicPlayng, Playing “Inside” and “Outside”, ChordalSuperimposition, Practice Time: Modal Jazz, Bitonality, BitonalChords, Improvising over Bitonal, Coltrane Changes.

Content taken from the Cool Jazz and Hard Bop repertoires.

Exam syllabus:

Performance of a piece chosen by the candidate among those required by the program with improvisation.

Performance of a piece chosen by the commission among those obligatory in the program with improvisation.

Execution of a single historical, modern and/or contemporaryone agreed in advance with the teacher and transcribed by the candidate.

The exam requires the performance on the instrument, in sync with the original audio track and the extemporaneous analysis. (The candidate may choose to perform the pieces in solo form or with the help of any accompanists).

Composition and Orchestration for Jazz Ensembles II

Course year: 3 – Credits: 6 – Hours: 36 – Group lesson – Assessment form: Exam taken in front of the Commission.

Program:

Basic conducting technique;

Study of the concertation of a score and conducting analysis (also at the piano); Practical work in ensembles and big bands (number of hours to be agreed).

Exam syllabus:

Conducting and concerting in a maximum time of 20 minutes of a piece composed or orchestrated and arranged by the student for the ensemble previously agreed with the teacher and/or of a piece from the jazz repertoire/new languages studied and analyzed during the year. The passage on which the student will be examined will be studied by the student at least 7 days before the exam to be taken.

Music Informatics

Course year: 3 – Credits: 6 – Hours: 36 – Group lessons – Assessment form: Exam taken in front of the Commission.

Program of Study:

Fundamentals of acoustics and psychoacoustics.
Analog and digital audio, resolution and sample rate, main compressed and uncompressed audio formats.
Basic equipment functionality for recording, recording, and audio processing.
Fundamentals of the MIDI protocol and how to interface it.
Main software for music editing, their functions and fields of use, with particular reference to hard disk recording.
Manipulating the MIDI and audio signal, knowing and using pro cessation techniques through the use of equalizers, compressors, delays, modulations, reverbs and various plug-ins.

Exam syllabus:

Discussion on an essay agreed with the teacher and prepared by the student on multimedia support, where it is proven to have acquired the knowledge of the topics covered in the Course.

Student’s Elective Subject III

Course year: 3 – Credits: 6 – Hours: 30 – Form of assessment: aptitude test* and/or exam (depending on the subject)

Jazz vocal ensemble music

Course year: 1, 2 or 3 – Credits: 6 – Hours of lessons: 30 – Group lesson – Form of assessment: assessment of competence*

Verification Program:

Elements of percussion instruments

Course year: 1, 2 or 3 – Credits: 6 – Hours of lessons: 30 – Group lesson – Form of assessment: Assessment of suitability*

Program:

– Rhythmic reading applied with percussion instruments or Body Percussion

Stick Grip, Stick control;
Study and knowledge of the instruments used in the Symphony Orchestra;
Drum
Timpani
Kick drum or bass drum
Cymbals in pairs and Suspended cymbal
Basque tambourine
Triangle
Toms and Floor toms
Gong,Tam Tam
Percussion Keyboards

The form of verification will be established by the teacher.

Organization of the musical show

Course year: 1, 2 or 3 – Credits: 6 – Hours: 36 – Group lessons – Form of assessment: aptitude test*

Program:

The course includes collaboration, promotion and assistance for a production of the ISSM “Arturo Toscanini”. The form of verification will be established by the teacher.

It is also allowed to choose any disciplinary field already activated belonging to all the Classical, Jazz and Pop-rock Schools, as long as it is not among the Characterizing Subjects.

Educational activities, including external ones, chosen by the student III

Course year: 3 – Credits: 3 – Form of assessment: assessment of suitability* and/or examination and/or evaluation by the Commission in charge

Declaration for verifications:

The “educational activities, including external ones chosen by the student”, consist of all the activities carried out by the student during the course of time, i.e. by 31 October of the academic year of reference, as long as they are relevant and documented. By way of example, “educational activities, including external ones chosen by the student”, include external performances, attendance at courses not included in the student’s study plan, participation in competitions, master-classes, seminars, internships, the publication of essays, the recording of performances, and active participation in training, research or artistic production projects.

Final exam

Course year: 3 – Credits: 9 – Individual lesson – Assessment form: Exam taken in front of a Commission.

Exam syllabus:

The final exam has the function of highlighting the candidate’s peculiarities that emerged during the three-year period. It can concern any of the subject areas of the School attended, provided that the discipline is active in the current academic year; The program will be at the candidate’s free choice and must not coincide with another program performed entirely in previous exams.

The student, who will have to identify one or more supervisors, is admitted to take the final exam after having accrued all the other credits of his/her training course.

If the final exam concerns a theoretical or theoretical-technical subject, the paper (written thesis, multi-media support, etc.) must be delivered to the Academic Secretariat at least 20 days before the exam, in a number of four copies.

The final exam committee is made up of an odd number of members (at least five). The Commission is chaired by the Director or his delegate, and must include the supervisor, or supervisors, identified for the final examination and by at least one reference teacher of the School attended.

The final grade is expressed in one hundred and tenths, with possible honors.

To be awarded, honours must be accepted unanimously by the Commission.

The assessment of knowledge of a foreign EU language does not affect the final grade.

*At the end of the scheduled teaching hours, the teacher will express the judgment of suitability based on the verification, for each student, of the attendance, of the performance of the theoretical and/or practical work, both collective and individual, of the achievement of the objectives set by the Course.

Recognition in CFA (academic training credits), determined pursuant to and in the manner set out in art. 16 of the Didactic Regulations of the 1st level three-year course, of qualifications of the previous system already acquired

Theory, rhythm and musical perception

recognized upon certification of the achievement of a License in THEORY, SOLFEGGIO AND MUSICAL DICTATION

History and Historiography of Music I

recognized upon certification of the achievement of a Licentiate in MUSICAL HISTORY AND AESTHETICS

History and Historiography of Music II

recognized upon certification of the achievement of a Licentiate in MUSICAL HISTORY AND AESTHETICS

Educational Regulations