Bachelor’s Degree in Singing – Study Plans and Educational Regulations

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Section A – General Data Management

School	SINGING SCHOOL
Department	DEPARTMENT OF SINGING AND MUSICAL THEATRE
A1 – Name of the course of study	First Level Academic Diploma Course in SINGING

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	Ensemble interpretative disciplines	COMI/01 – Choral Exercises	Choral Formation 1	3	18/57 32%	Obligatory	Theoretical-practical/collective	Suitability
Base	Theoretical-analytical-practical disciplines	COTP/01 – Harmony Theory and Analysis	Theories and Techniques of Harmony 1	3	18/57 32%	Obligatory	Theoretical-practical/collective	Suitability
Base	Theoretical-analytical-practical disciplines	COTP/03 – Piano Practice and Reading	Piano Practice – and Reading 1	3	10/65 15%	Obligatory	Ensemble/Group	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	Interpretative disciplines	CODI/23 – Singing	Performance Practices and Repertoire 1	15	30/345 9%	Obligatory	Individual	Examination
Featuring	Ensemble interpretative disciplines	COMI/03 – Chamber music	Chamber Music 1	3	15/60 25%	Obligatory	Ensemble/Group	Examination
Featuring	Disciplines related to musical stage representation	CORS/01 – Theory and Technique of Stage Interpretation	Theory and Technique of Stage Interpretation 1	3	18/57 32%	Obligatory	Theoretical-practical/collective	Examination
Related	Related and supplementary activities	CODD/07 – Techniques of body awareness and expression	Techniques of expression and body awareness	3	18/57 32%	Obligatory	Theoretical-practical/collective	Suitability
Related	Related and supplementary activities	CODM/01 – Bibliography and Music Librarianship	Tools and methods of bibliographic research	6	18/132 14%	Obligatory	Ensemble/Group	Examination
Further training activities	Further training activities	COCM/03 – Strategy, progect, organization and management of show	EVENTS AND/OR CULTURAL AND LIVE ENTERTAINMENT PRODUCTS MANAGEMENT	6	18/132 14%	Obligatory	Ensemble/Group	Suitability
Foreign language	Knowledge of a foreign language	CODL/02 – Community Foreign Language	Community foreign language 1	6	36/114 32%	Obligatory	Theoretical-practical/collective	Suitability
Second year cfa: 60
Base	Musicological disciplines	CODM/04 – History of Music	History and Historiography of Music 2	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Base	Ensemble interpretative disciplines	COMI/01 – Choral Exercises	Choral Formation 2	3	18/57 32%	Obligatory	Theoretical-practical/collective	Suitability
Base	Theoretical-analytical-practical disciplines	COTP/01 – Harmony Theory and Analysis	Theories and Techniques of Harmony 2	3	18/57 32%	Obligatory	Theoretical-practical/collective	Examination
Base	Theoretical-analytical-practical disciplines	COTP/03 – Piano Practice and Reading	Piano Practice – and Reading 2	3	10/65 15%	Obligatory	Ensemble/Group	Suitability
Featuring	Interpretative disciplines	CODI/23 – Singing	Treaties and methods	3	15/60 25%	Obligatory	Ensemble/Group	Examination
Featuring	Interpretative disciplines	CODI/23 – Singing	Performance practices and repertoires 2	15	30/345 9%	Obligatory	Individual	Examination
Featuring	Musicological disciplines	CODM/07 – Poetry for music and musical dramaturgy	Forms of Poetry for Music	6	36/114 32%	Obligatory	Theoretical-practical/collective	Examination
Featuring	Ensemble interpretative disciplines	COMI/03 – Chamber music	Chamber Music 2	3	15/60 25%	Obligatory	Ensemble/Group	Examination
Featuring	Disciplines related to musical stage representation	CORS/01 – Theory and Technique of Stage Interpretation	Theory and Technique of Stage Interpretation 2	3	18/57 32%	Obligatory	Theoretical-practical/collective	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	Suitability
Third year cfa: 60
Base	Musicological disciplines	CODM/04 – History of Music	History of musical forms and repertoires	3	18/57 32%	Obligatory	Theoretical-practical/collective	Examination
Base	Ensemble interpretative disciplines	COMI/01 – Choral Exercises	Choral Formation 3	3	18/57 32%	Obligatory	Theoretical-practical/collective	Suitability
Featuring	Interpretative disciplines	CODI/23 – Singing	Performance practices and repertoires 3	12	35/265 13%	Obligatory	Individual	Examination
Featuring	Interpretative disciplines	CODI/23 – Singing	Fundamentals of the history of vocality	3	15/60 25%	Obligatory	Ensemble/Group	Examination
Featuring	Interpretative disciplines	CODI/23 – Singing	Vocal Literature	3	15/60 25%	Obligatory	Ensemble/Group	Examination
Featuring	Interpretative disciplines	CODI/25 – Piano accompaniment	Practice of the vocal repertoire	3	18/57 32%	Obligatory	Theoretical-practical/collective	Examination
Featuring	Disciplines related to musical stage representation	CORS/01 – Theory and Technique of Stage Interpretation	Theory and Technique of Stage Interpretation 3	3	18/57 32%	Obligatory	Theoretical-practical/collective	Examination
Student Choice	Student’s own choice			6		Obligatory
Student Choice	Student’s own choice			6		Obligatory
Further training activities	Further training activities	COME/05 – Musical informatics	Music Informatics	6	18/132 14%	Obligatory	Ensemble/Group	Suitability
Further training activities	Further training activities	XXX – Other training activities	2	3	15/60 25%	Obligatory		Examination
Final exam	Final exam			9		Obligatory	Individual	Examination

Constitution

Activity	Total CFAs	Subject area	SAD	Total CFAs	CFA first year	CFA second year	CFA third year
Basic Activity	39	Musicological disciplines Ensemble interpretative disciplines Theoretical-analytical-practical disciplines Theoretical-analytical-practical disciplines Theoretical-analytical-practical disciplines	CODM/04 – History of Music COMI/01 – Choral Exercises COTP/01 – Harmony Theory and Analysis COTP/03 – Piano Practice and Reading COTP/06 – Theory, rhythm and musical perception	12 9 6 6 6	3 3 3 3 6	6 3 3 3 0	3 3 0 0 0
Core activities	75	Interpretative disciplines Interpretative disciplines Musicological disciplines Ensemble interpretative disciplines Disciplines related to musical stage representation	CODI/23 – Singing CODI/25 – Piano accompaniment CODM/07 – Poetry for music and musical dramaturgy COMI/03 – Chamber music CORS/01 – Theory and Technique of Stage Interpretation	51 3 6 6 9	15 0 0 3 3	18 0 6 3 3	18 3 0 0 3
Related and Integrative Activities	9	Related and supplementary activities Related and supplementary activities	CODD/07 – Techniques of body awareness and expression CODM/01 – Bibliography and Music Librarianship	3 6	3 6	0 0	0 0
Student’s own choice	18	Student’s own choice	–	18	0	6	12
Further training activities	18	Further training activities Further training activities Further training activities	COCM/03 – Strategy, progect, organization and management of show COME/05 – Musical informatics XXX – Other training activities	6 6 6	6 0 0	0 0 3	0 6 3
Knowledge of a foreign language	12	Knowledge of a foreign language	CODL/02 – Community Foreign Language	12	6	6	0
Final exam	9	Final exam	–	9	0	0	9
Total	180				60	60	60

Section C

C1 – Learning objectives
After completing the degree programme, graduates of First Level in Singing will 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; the aural perceptive and memorisation skills as well as the acquisition of specific and cross-sectional knowledge pertaining to the various compositional, analytical, and structural aspects of music; emotional and postural control techniques. By the end of the Three-Year BA program, students should have acquired a thorough knowledge of the general stylistic, historical and aesthetic aspects as well as those related to their specific address. 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 may relate to any of the disciplinary areas of the School attended, provided that the discipline is active in the current academic year; the program will be of the candidate’s free choice and must not coincide with any other program performed entirely in previous examinations. Student, who must identify one or more lecturers as speakers, is admitted to take the final examination after having accrued all the other credits of his or her course of study. If the final examination concerns a theoretical or theoretical-technical subject, the paper (written thesis, multi-media support, etc…) must be submitted to the Teaching Secretariat at least 20 days before the examination, in 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 or her delegate, and must include the lecturer/speakers, or lecturers, identified for the Examination and at least one reference lecturer from the School attended. The final grade shall be expressed in one hundredth of a second, with honors if applicable. The final grade may not be less than the weighted average, related to one hundredths , of the grades obtained in the entire course, with the following distribution: a) basic educational activities 10% b) characterizing educational activities 70% c) related or supplementary educational activities 10% d) educational activities chosen by the student 10% The weighted average of the grades may be integrated by the Commission for a score not exceeding 10/110. Honors, to be awarded, must be unanimously accepted by the Commission. Verification of proficiency in an EU foreign language does not affect the final grade.
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: – Singing for the operatic repertoire – Singing for the chamber repertoire – Singing in chamber choral ensembles – Singing in symphonic choral ensembles – Singing in opera choral ensembles.
C4 – Knowledge and understanding
Graduates acquire technical skills and musical, cultural, and interpretive competencies related to Opera Singing necessary to address, with full awareness of related performance practices, the different repertoires of the various eras up to the present day.
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.

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Curriculum for the Bachelor’s Degree

Music School of Singing – CODI/23

General Statement
The area concerns the acquisition of the technical skills and musical, cultural and interpretive competencies related to Opera Singing necessary to deal, with full awareness of related performance practices, with the different repertoires of the various eras up to the present day.
It also delves into the performance and interpretative aspects related to vocality in solo, ensemble, and orchestral concert activities.
For the purpose of a complete training of the singer, disciplines referring to the history of vocality, poetry for music and musical dramaturgy, fundamental techniques of piano accompaniment and stage interpretation as well as methodological knowledge referring to the didactics of bel canto are also included in the field.
There is also a focus on relevant treatises and repertoire concerning specific historical periods.

Training Objectives.
The three-year 1st level course replaces, integrates and transforms the upper period of the School’s previgent training course in force on the date of approval of Law 508/99, linking with the basic training activity of music studies and modifying the terminal part of it consistently with an articulation of the courses that allows the achievement of a degree not inferior to that of the previgent.
The three-year high school related to this School aims to ensure critical awareness by ensuring adequate mastery of methodologies and techniques within a path aimed at the acquisition of specific disciplinary and professional skills, which will allow access to the world of work with an adequate preparation to carry out with competence and professionalism most of the activities pertaining to the studies completed, in line with European standards.
The three-year course transforms the basic and characterizing teachings of the traditional course, expanding and updating them, and represents a way of integrating the educational offerings, with the addition of multiple theoretical-practical and laboratory disciplines.
The three-year course provides for: attendance, examinations and the awarding of the title reserved for enrolled students only; replacement of examinations and barriers, including previous ones, provided for in the old system with other examinations or forms of evaluation consistent with a unified articulation of the three-year period, which improves the traditional level of preparation; the introduction of a system of credits and educational debts modeled on those provided for in the university system; and the holding of a final exam at the end of all examinations.
The course structure and examination programs may be subject to subsequent critical revisions and possible updates as a result of legislative and regulatory innovations that have taken place since the approval of the teaching regulations. After completing the degree programme, graduates of First Level in Singing 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; the aural perceptive and memorisation skills as well as the acquisition of specific and cross-sectional knowledge pertaining to the various compositional, analytical, and structural aspects of music; Specific care should be devoted to the acquisition of appropriate postural and emotional control techniques. By the end of the Three-Year BA program, students should have acquired a thorough knowledge of the general stylistic, historical and aesthetic aspects as well as those related to their specific address. 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
Professional Profile and Employment Opportunities
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 students employment opportunities in the following fields

Singing for opera repertoire

• Singing for chamber repertoire
• Singing in chamber choir formations
• Singing in symphonic choir formations
• Singing in opera choir formations

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.
Presentation of a program with a total duration of at least 15 minutes including at least one aria from the operatic repertoire and at least one piece from the chamber repertoire (lied, mélodie, romance). The committee reserves the right to discontinue the test at any time.
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) Assessment by oral interview of basic musical skills in Elements of Harmony and Analysis and History of Music.

MUSICAL, GENERAL AND MOTIVATIONAL INTERVIEW
Note: The Committee has the authority, for evaluation purposes, to select a part of the presented program and to re-listen and/or interrupt
the performance.
Exempted from the test are no. 5 aspirants already in possession of the relevant licenses obtained at the Institutions of Higher Musical Education referred to in Law 508/99.

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First year

Performance practice and repertories I

Course year: 1 – Credits: 15 – Hours: 30 – Individual lesson – Assessment form: exam taken in front of the Commission.

Exam syllabus:

1. Performance of a classical vocalization drawn at random from four presented by the candidate, preferably chosen from the following collections: F. Abt, Practical Singing Tutor (for all voices) op. 474 – G. Concone op. 9, op.10,12,17 – H. Panofka, 24 vocalizations op.81 for all voices – H. Panofka, 12 artist’s vocalizations op86 for soprano or mezzo-soprano – C. Seidler “The Art of Singing” – G. Aprile, 36 exercises for soprano – M. Marchesi, 24 vocalizations op.3 – G. B. Lamperti, Six Solfeggi and Six Vocalizations for all voices – M. Bordogni, 36 vocalizations in the modern style – S. Mercadante, Studi di canto Ed. Curci 11526- S. Mercadante, 12 melodies part I, I and II° book – G. Nava, Solfeggi for bass part I – V. Ricci, L’antica scuola italiana di canto, first series. 50 solfeggi for soprano, mezzo-soprano or tenor – V. Ricci, L’antica scuola italiana di canto, second series: 50 solfeggi for alto or basso – Ricci, L’antica scuola italiana di canto, terza serie: 45 solfeggi per il medium della voce – V. Ricci, L’antica scuola italiana di canto, quarta serie, parte I, 30 solfeggi for soprano or tenor – F. P. Tosti, Altri 25 solfeggi per l’apprendimento del canto, Ricordi 138156, dal n°42 – L. Lablache 12 vocalizzi per voce di basso, ed. 12566-B.Marchisio, solfeggi della scuola classica napoletana per mezzosoprano, Ed. Ricordi, Milano Porpora, 25 vocalizzi, ed. Remember. – Rossini “Vocalizzi” – Lutgen “The Art of Speed”

2. Performance of a piece taken from an oratorio, mass or cantata, sacred or profane, taken from the repertoire up to the eighteenth century, chosen by the Commission from among two presented by the candidate;

3. Performance of an Opera aria* taken from the repertoire up to the eighteenth century chosen by the Commission from among two presented by the candidate;

4. Performance of a chamber aria from the repertoire for voice and piano chosen by the Commission from among two presented by the candidate;

5. Sight reading of an easy piece in Italian for voice and piano chosen by the Commission.

*For pieces from the operatic repertoire, the performance in the original language/key and from memory is required.

Choral Formation I

Course year: 1 – Credits: 3 – Lecture hours: 30 – Laboratory – Form of verification: proficiency test* .

Program:

Study of polyphonic compositions for 3 and 4 voices taken from the sacred and profane repertoire of the Renaissance and Baroque.

Textual analysis and study of vocal technique. Exercises for the correct intonation of melodic and harmonic intervals, consonants and dissonants. Refinement of harmonic sensitivity and development of auditory skills through choral practice. At the end of the 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 set educational objectives.

The form of verification will be established by the teacher.

Piano Practice and Reading I

Course Year: 1 – CFA: 3 – Lessons: 10 – Group lesson – Form of assessment: Assessment

Program:

(a) a major and relative minor scale for a straight motion to an eighth chosen by the Commission from among three presented by the candidate; (b) two studies chosen by the Commission from among four by at least two different authors (Beyer, Pozzoli, Czerny, etc.);

c) a piece chosen by the Commission from among three by at least two composers other than Bach to his contemporaries.

The form of verification will be established by the teacher.

Theories and Techniques of Harmony I

Course year: 1 – Credits: 3 – Hours: 18 – Group lesson – Assessment form: assessment

Program:

Written harmonization for four voices of a short bass assigned by the commission containing modulations to neighboring tones, sevenths and passing notes. Duration of the test: 2 hours.

The form of verification will be established by the teacher.

History and Historiography of Music I

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

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.

The form of verification will be established by the teacher.

Ear training

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

1) In-depth study of the spoken reading of complex rhythmic figurations.

2) In-depth study of the septiclavium with particular attention to the keys related to the instrument, the vocal register and the transport. 3) Updating on contemporary graphy, with reference to the disciplines characterizing the students’ course of study. 4) 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.

5) Melodic dictation difficult to one voice, modulating to all nearby tones.

6) Harmonic dictation: a) for two voices in polyphonic style b) with triads and inversions.

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

8) 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.

Theory and Technique of Stage Interpretation I

Course year: 1 – CFA: 3 – Lessons: 18 – Group lesson – Form of assessment: exam taken in front of the Commission.

Exam syllabus:

1. Performance of a duet, trio or ensemble scene taken from the Repertoire of Italian Musical Theatre of the Eighteenth Century;

2. Analysis and recitation of two spoken passages belonging to the eighteenth-century theatrical repertoire;

3. Interview on a theoretical text concerning the theory of stage interpretation agreed with the teacher during the course;

4. Interview on one or more topics covered.

Chamber Music I

Course year: 1 – Credits: 3 – Hours: 15 – Group lesson – Form of assessment: exam taken in front of the Commission

Exam syllabus:

Performance of a program approved by the teacher with a duration of not less than 10 minutes, including one or more pieces from the chamber music repertoire as long as they are from different historical periods. The execution of the program can be integrated by means of a multimedia thesis (production of an audio or audiovisual recording) agreed with the teacher and delivered to the Teaching Office within ten days before the exam. This integration must be considered optional, in addition to the time required for the exam.

The candidate, for the formation of the chamber music 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.

Techniques of expression and body awareness

Course year: 1 – Credits: 3 – Hours: 18 – Group lesson – Form of assessment: assessment of competence*

Program:

Bodily presentation of a piece of music by demonstrating that you are in tune with the music, discovering it, understanding it, translating its rhythms and melodies through movement, listening, voice, improvisation. Demonstrate the link between the musical language and the fundamental rhythms of the body itself (weight, counterweight, momentum, suspension, fall, stop, etc.) and how the voice allows you to penetrate the heart of the phrasing, to physically unite sound and body. Demonstrate knowledge of the fundamental techniques related to proprioception, posture, motor control as well as the main methodologies as well as those for relaxation and passive or partially passive methods.

The form of verification will be established by the teacher.

Tools and methods of bibliographic research

Course year: 1 – Credits: 6 – Hours: 18 – Group lesson – Assessment form: exam taken in front of a commission

Exam syllabus:

The candidate will have to demonstrate the knowledge and ability to consult the Repertories (Rilm, Rism, etc.), dictionaries and bibliographic catalogues as well as the multimedia tools available today for research. They will also have to write a short historiographical thesis (complete with bibliography) on a topic agreed with the teacher and describe during the exam the bibliographic research path carried out for the drafting.

Musical show management I

Course year: 1 – Credits: 6 – Hours: 18 – Group lesson – Assessment form: Assessment

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.

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.

English Language I

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

Program:

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

Performance Practice and Repertoires II

Course year: 2 – Credits: 15 – Hours: 30 – Individual lesson – Form of assessment: exam taken in front of the Commission.

Prerequisites: Canto I

Exam syllabus:

1. Performance of a classical vocalization drawn at random among five presented by the candidate chosen from those used in the course listed in Practice 1.

2. Performance of an aria from an oratorio, mass or cantata, from the sacred or profane repertoire, chosen by the Commission from among four presented by the candidate.

3. Performance of an opera aria*, taken from the repertoire up to the nineteenth century, chosen by the Commission from among three presented by the candidate. 4. Performance of a chamber piece from the repertoire for voice and piano chosen by the Commission from among three presented by the candidate. 5. Sight reading of a piece in Italian for voice and piano chosen by the Commission.

*For pieces of the operatic repertoire, it is required to perform in the original language/key and from memory.

Piano Practice and Reading II

Course Year: 2 – CFA: 3 – Hours: 10 – Group lesson – Form of assessment: exam taken in front of a commission

Exam syllabus:

(a) a major and relative minor scale for two-octave straight motion chosen by the Commission from among three presented by the candidate; (b) three studies chosen by the Commission from among five by at least three different authors (Duvernoy, Bertini, Heller, etc.);

c) two pieces chosen by the Commission from among four by at least two different composers of the romantic repertoire.

Choral Formation II

Course year: 2 – Credits: 3 – Hours: 30 – Laboratory – Assessment form : Assessment of suitability*

Program:

Study of polyphonic compositions for 3 and 4 voices taken from the repertoire from early music to the present day.

The form of verification will be established by the teacher.

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 program: 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.

Theories and Techniques of Harmony II

Course year: 2 – 3 credits – Hours: 18 – Group lesson – Form of assessment: exam taken in front of a commission Prerequisites: Theories and techniques of harmony I

Exam syllabus:

1 – Written realization, in the form of a simple or figurative Choral, of a modulation to a close tone with a return to the starting tone proposed by the Commission. The modulation will be inscribed within a double period and the written will be intended to demonstrate the mastery of the essential theoretical notions of classical tonal harmony (in particular of the main cadential formulas, of the principles that regulate the use of secondary dominants and modal variants especially of subdominant harmony, modulations to neighboring tones with return to the starting tone). Total duration of the test: 3 (three) hours.

2 – Extemporaneous implementation, in writing and on a proposal from the Commission, of a modulation to a distant tone.

3 – Interview that, taking inspiration from the previous exams, will address in depth all the subject covered during the course with particular reference to the Functional Theory of Classical Tonal Harmony.

Theory and Technique of Stage Interpretation II

Course year: 2 – CFA: 3 – Lessons: 18 – Group lesson – Form of assessment: exam taken in front of the Commission.

Exam syllabus:

1. Performance of a duet, trio or ensemble scene taken from the Repertoire of Italian, German or French musical theater of the nineteenth century chosen by the Commission between two presented by the candidate;

2. Analysis and recitation of two spoken pieces belonging to the nineteenth-century theatrical repertoire chosen by the Commission from among four presented by the candidate;

3. Interview on a theoretical text concerning the theory of stage interpretation, with particular reference to the exegesis of the characters, agreed with the teacher during the course;

4. Interview on one or more topics covered.

Treaties and methods

Course year: 2 – Credits: 3 – Hours: 15 – Group lesson – Form of assessment: exam taken in front of a Commission.

Exam syllabus:

Discussion of a short thesis written by the candidate in which he/she demonstrates his/her bibliographic knowledge of treatises and methods from the eighteenth century to the present day. A particular text chosen by the candidate will be given the character of a monographic investigation, the contents of which will have to be highlighted, proposing reflections on their validity from a technical, historiographical and didactic point of view.

Chamber Music II

Course year: 2 – Credits: 3 – Hours: 15 – Group lesson – Form of assessment: exam taken in front of a commission Prerequisites: Chamber Music I

Exam syllabus:

Performance of a program approved by the teacher, lasting not less than 15 minutes and including one or more pieces from the chamber music repertoire as long as they are from different historical periods, which is different from the one presented for the exam of “Chamber Music I”. The execution of the program can be integrated by means of a multimedia thesis (production of an audio or audiovisual recording) agreed with the teacher and delivered to the Teaching Office within ten days before the exam. This integration must be considered optional, in addition to the time required for the exam.

The candidate, for the formation of the chamber music 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.

Forms of Poetry for Music

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

Exam syllabus:

Written paper, to be submitted at least ten days before the exam, focused on one of the topics covered during the course previously agreed with the teacher. The exam will also consist of an oral dissertation on the work carried out, as well as on the general themes of the study program, in particular: peculiar poetic traits and elements of Italian metrics and versification; most relevant forms of Italian, French and German poetry interpreted by singing, investigating the complex relationship of expressive interaction with musical art based on the specificity of the respective metrical, rhetorical and communicative systems.

Organization of the musical show II

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

Program: 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 exam includes a discussion on the topics studied.

Subject chosen by the student I (see among the activities activated annually)

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

Other educational activities, including external ones, chosen by the student (Concerts, seminars, workshops, etc.) Course year: 2 – Credits: 3 – Assessment form: 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.

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 II

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

Prerequisites: English Language I

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 institutions), 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

Performance Practice and Repertoires III

Course year: 3 – Credits: 12 – Hours: 35 – Individual lesson – Form of assessment: exam taken in front of a Commission. Prerequisites: Canto II

Exam syllabus:

1. Performance of a classical vocalization, drawn at random among four presented by the candidate, preferably chosen from the collections used in the examination of performance practice and repertoires I;

2.Performance of a modern vocalization drawn by lot out of three presented by the candidate chosen preferably from the following collections: AA.VV. Coll. Ed. Ricordi , Vocalizations in the modern style (I and II series) for each vocal register- AA.VV. Coll. Ed. CURCI Antologia di vocalizzi (fasc. I, II, III, IV) for each vocal register-F. Cilea, 3 vocalizzi da concerto, Milan, ed. Ricordi-Vocalises-Etudes ed. Leduc.

3. Performance of an opera aria* from the repertoire up to the nineteenth century chosen by the Commission from among five

submitted by the candidate; If a recitative precedes the piece and a cabaletta follows it, the performance is mandatory.

4. Performance of an opera aria from the twentieth-century repertoire chosen by the Commission from among two presented by the candidate;

5. Performance of a Lied or Chanson, Chamber Aria in Italian or in the other European languages of the repertoire of the 19th and 20th centuries, chosen by the Commission from among three presented by the candidate;

6. Performance of an operatic piece chosen by the Commission and assigned to the candidate two hours before the exam. No memory execution is required.

*For pieces of the operatic repertoire, it is required to perform in the original language/key and from memory.

History of musical forms and repertoires

Course year: 3 – CFA: 3 – Hours: 18 – group lesson – Form of assessment: exam taken in front of the Commission.

Exam syllabus:

Written paper, to be presented ten days before the exam, focused on one of the topics covered during the course previously agreed with the teacher. The exam will also consist of an oral dissertation on the work carried out, as well as on the general themes and on the essential knowledge of sources, addresses and methodologies concerning the historical periods and aesthetic conceptions of Western music; the areas of use and consumption; Cultured and popular music: genres, forms, languages, notations and evolutions, instruments.

Choral Formation III

Course year: 3 – Credits: 3 – Hours: 30 – Laboratory – Assessment form : Assessment of suitability*

Program:

Study of polyphonic compositions for 3 and 4 voices taken from the repertoire from early music to the present day.

The form of verification will be established by the teacher.

Fundamental techniques of piano accompaniment

Course year: 3 – CFA: 3 – Hours: 18 – group lesson – Form of assessment: exam taken in front of the Commission

Exam syllabus:

Execution of:

a) two pieces chosen by the Commission from among four by at least two composers other than Bach to his contemporaries;

b) sight-reading of an easy passage;

c) transposition of a melody, one tone above and one tone below.

Vocal Literature

Course year: 3 – CFA: 3 – Lessons: 15 – Group lesson – Form of assessment: exam taken in front of the Commission.

Exam syllabus:

Performance of two pairs of compositions in different languages agreed with the teacher, one on the same Italian poetry and one on the same German or French poetry, preceded by a brief presentation of the main affinities or differences of interpretation of the same text given by the chosen composers. The exam will reveal the skills acquired in the analysis and comparison of texts and music of important compositions of the Italian, German and French literary and / or poetic repertoire with particular reference to the same fragments used in different languages by different composers.

Fundamentals of the history of vocality

Course year: 3 – CFA: 3 – Lessons: 15 – Group lesson – Form of assessment: exam taken in front of the Commission.

Exam syllabus:

Written paper, to be submitted at least ten days before the exam focused on one of the topics covered during the course and previously agreed with the teacher. The exam will consist of the dissertation of the paper and on the general program of study: the various cultures of art vocality in the West and in non-European cultures; the sources of the history of singing; elements of phonology, phonetics and physiology of phonation; Critical study of the relationship between singing and words, techniques, aesthetics, and ideologies concerning singing.

Theory and Technique of Stage Interpretation III

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

Exam syllabus:

1. Performance of a large ensemble scene taken from the Repertoire of Italian, German or French musical theater of the nineteenth or twentieth century chosen by the Commission among four presented by the candidate;

2. Analysis and recitation of two spoken pieces belonging to the twentieth-century theatrical repertoire chosen by the Commission from among four presented by the candidate;

3. Interview on two opera librettos, with particular reference to the exegesis of the characters, agreed with the teacher during the course; 4. Illustration of the salient points of an Opera libretto assigned by the Commission two hours before the examination; 5. Interview on one or more topics covered.

Musical informatics and other educational activities (see among the activities activated annually)

Course year: 3 – Credits: 12 – Total hours of lessons: 36 – Group lessons – Form of assessment: assessment of competence*

Music Informatics (Mandatory)

Course year: 3 – Credits: 6 – Hours: 18 – Group lesson – Form of assessment: assessment of competence*

Verification Program:

Verification, through multimedia support, of the skills acquired in the fields of music word processing and programming for audio and music applications.

Subject’s own choice (see the activities activated annually)

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

Other educational activities, including external ones, chosen by the student II (Concerts, seminars, workshops, etc.)

Course year: 3 – Credits: 3 – Assessment form: 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, provided that 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.

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.

Final exam

Course year: 3 – Credits: 9 – One-to-one 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 Test and by at least one reference teacher of the School attended.

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

The weighted average of the marks may be supplemented by the Commission for a score not exceeding 10/110.

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.

Among the activities activated annually, in addition to Musical Informatics, the following may also be included:

Analysis of musical literature for a cappella vocal ensembles

Course year: 2 or 3 – Credits: 3 – Hours of lessons: 15 – Group lesson – Form of assessment: assessment of competence*

Written paper in which the candidate will present the analysis of two short compositions for a cappella choir agreed with the teacher. The analysis, which can also be carried out in a predominantly schematic form, will in any case be aimed at highlighting how, in the compositions, constitutes the form and substantiates the characteristics of the musical writing of classical vocal polyphony

Analysis of compositional forms

Course year: 3 – Credits: 3 – Hours: 18 – Group lesson – Form of assessment: exam taken in front of the Commission. Prerequisites: Theories and techniques of harmony.

Exam syllabus:

1 – Written analysis – on a possible series of questions proposed by the examining committee – of a composition belonging to the musical literature of the period ranging from Baroque to Romanticism of a length approximately equal to a sonata tempo. The piece can be in any of the typical forms of the aforementioned period and must have characteristics that allow relevant observations regarding the musical processes that underlie its form. The analysis must include considerations regarding everything within the piece in question, which can be identified as a generator of “musical meaning and/or form”.

The paper can be carried out mainly in a schematic form that contemplates the possible use of annotations on the score. Total duration of the rehearsal: 4 (four) hours after providing the score and listening to the piece in question.

2 – Interview that, starting from the realization of the first exam, will also address all the subject covered during the course, with particular reference to:

– The dances in the Suites and their construction principles

– The Escape

– The phraseological articulation of the Classical period

– The principle of binary symmetry

– The principle of ternary symmetry

– Cyclicality: the Rondo

– The minuet in its evolution

– The sonata forms: the allegro di sonata, the rondo-sonata, the mixed forms

– Contrapuntal forms

– Music and verbal text: the Lied

Insights into the role of the other operating classes of Music Analysis (melody, texture, rhythm) in the processes of musical form generation.

Fundamentals of Composition

Course year: 2 or 3 – Credits: 3 – Hours: 18 – Group lesson – Form of assessment: exam taken in front of the Commission Prerequisites: Theories and techniques of harmony.

Exam syllabus:

Discussion of two short papers written during the course, one for piano, in small sonata-form (first movement of sonatina) or in the form of binary dance, and one for solo instrument (or voice, as vocalization or with literary text) and piano, in ternary form A-B-A’. The papers must be delivered to the Academic Secretariat at least fifteen days before the date set for the exam.

Vocal ensemble music

Course year: 2 or 3 – Credits: 3 – Hours of lessons: 15 – Group lesson – Form of assessment: assessment of competence*

Verification Program:

Performance of a program approved by the teacher with a duration of not less than 10 minutes, including one or more pieces of repertoire as long as they are two compositions from different historical periods. The candidate, for the formation of the chamber music group, will have to 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.

Technologies and techniques of audio recording and recording

Course year: 2 or 3 – Credits: 6 – Hours of lessons: 18 – Group lesson – Form of assessment: assessment of suitability.

Verification Program:

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.

Elements of percussion instruments

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

Program:

– Rhythmic reading applied with percussion instruments or Body Percussion

– Stick control handle;

– Study and knowledge of the instruments used in the Symphony Orchestra;

–Drum

–Timpani

– Kick drum or bass drum

– Pair cymbals and Wall-hung cymbal

– Basque tambourine

–Triangle

– Toms and Floor toms

– Gong,Tam Tam

– Percussion keyboards

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.

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

Ear training

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

Theory and Technique of Stage Interpretation I

recognized upon certification of the achievement of a SCENIC ART License

Piano Practice and Reading I

recognized upon certification of the achievement of the lower Comp. of READING THE SCORE

COMPLEMENTARY PIANO License

License of COMPLEMENTARY ORGAN AND GREGORIAN CHANT

Lower Comp. of ORGAN AND ORGAN COMPOSITION

Lower comp. of MAIN PIANO

Piano Practice and Reading II

recognized upon certification of the achievement of Lower Comp. of ORGAN AND ORGAN COMPOSITION

Lower comp. of MAIN PIANO

Average Comp. of SCORE READING

Choral training

recognized upon certification of fulfilment of attendance obligations in CHORAL EXERCISES

Chamber Music I

recognized upon certification of fulfilment of the obligations of two-year attendance in CHAMBER MUSIC

Chamber Music II

recognized upon certification of fulfilment of the obligations of three-year attendance in CHAMBER MUSIC

Enforcement Practices and Repertoires I

recognized upon certification of the achievement of Comp. inferiore di CANTO singers branch and didactic branch

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

Theories and Techniques of Harmony

recognized upon certification of the achievement of a License of COMPLEMENTARY HARMONY

Comp. Lower COMPOSITION

Diploma in ORGAN AND ORGAN COMPOSITION

Analysis of compositional forms

recognized upon certification of the achievement of a License of COMPLEMENTARY HARMONY

Average comp. of COMPOSITION

Fundamentals of Composition

recognized upon certification of the achievement of Comp. inferiore di COMPOSITION

Diploma in ORGAN AND ORGAN COMPOSITION

Forms of Poetry for Music

recognized upon certification of the achievement of a Licentiate in POETIC AND DRAMATIC LITERATURE