2000
The piano program provides piano training that complements the process. The work in scales, arpeggios, and progressions is indispensable for studying tonality. The progressions cover cadences and simple modulations and the use of all the degrees and modulations of distant intervals. The sonata form must be present during the entire process, given its importance in the development of tonal music. This program avoids the dilemmas of repertory believing that instructor criteria must be honest relative to the individual development of students and their program levels. The inclusion of free choice in the program permits Latin American contemporary and other types of repertory as long as they are originals for piano. The works must be presented at tempo and in the correct style.
Credits
3
Distribution
-
Instructor
Gutierrez Cruz Juan
The piano program provides piano training that complements the process. The work in scales, arpeggios, and progressions is indispensable for studying tonality. The progressions cover cadences and simple modulations and the use of all the degrees and modulations of distant intervals. The sonata form must be present during the entire process, given its importance in the development of tonal music. This program avoids the dilemmas of repertory believing that instructor criteria must be honest relative to the individual development of students and their program levels. The inclusion of free choice in the program permits Latin American contemporary and other types of repertory as long as they are originals for piano. The works must be presented at tempo and in the correct style.
Credits
3
Distribution
-
Instructor
Sampeña De La Tejera Maria Barbara
The piano program provides piano training that complements the process. The work in scales, arpeggios, and progressions is indispensable for studying tonality. The progressions cover cadences and simple modulations and the use of all the degrees and modulations of distant intervals. The sonata form must be present during the entire process, given its importance in the development of tonal music. This program avoids the dilemmas of repertory believing that instructor criteria must be honest relative to the individual development of students and their program levels. The inclusion of free choice in the program permits Latin American contemporary and other types of repertory as long as they are originals for piano. The works must be presented at tempo and in the correct style.
Credits
3
Distribution
-
Instructor
Sampeña De La Tejera Maria Barbara
This course teaches correct and fluid reading and intonation of melodies with the names of notes, studied and/or sight read, in different keys, in duet, in simple and compound rhythms, while another voice is singing or accompanied with an instrument (piano or guitar), while marking the rhythm. Name, explain, and interpret the notations used to write music. Explain clearly and concisely the theory related to the tonal system. Write dictations of melodies correctly and easily with one, two, and three voices with different rhythms, intervals, and chords. Synchronize tempo both alone and in a group. Use the La and the tonal systems as references for hearing the degrees in a scale, intervals, and chords, tonal functions, melodic structures.
Credits
2
Distribution
-
Instructor
Baracaldo Ramirez Omar
Rhythmic development: non-traditional rhythmic structures, synchronization, stabilization, and control of the tempo. melodic reading and dictation: Intonation of melodies with one voice, two voices, with piano accompaniment in the keys of G, F on the fourth and third line, and C on the third, first, fourth, and second line, with intervals without tonal reference. Recognition and writing of melodies with one and two voices with the noted characteristics, intervals using an octave, series of intervals, non-tonal chords.
Credits
2
Distribution
-
Modulation in the first degree with tonal proximity. Levels of tonal modulation. Modulation signs to first degrees tones with tonal proximity. Major and minor system in modulation. Chromatic and modulating sequences. The Neapolitan Cadence. Modulation to second degree tones with tonal proximity. Modulation to distant tones.
Credits
3
Distribution
-
Instructor
Garcia Moncada Jorge
This course gives a more in-depth treatment to the elements of functional tonal theory, through written exercises, analysis of works, and study of specific procedures in their context, starting with the nineteenth century. Study of relevant harmonization techniques in the composition of the twentieth century.
Credits
3
Distribution
-
The central purpose of this course is for the student to explore musical construction based on horizontality, in other words, the melody and the things related to melody for managing several voices, considering, of course, formal construction from a harmonic concept (Bach). The student will gather the knowledge and develop sufficient skills for melodic construction with two voices. The course will deal comprehensively with several aspects that come together in composition, although apparently they do not agree on the topic of the offbeat, such as ways to build meter, simple binary and ternary forms, logical bases for the consideration of harmonic ties and incidence of the same in the melodic management.
Credits
3
Distribution
-
Instructor
Torres Lopez Rondy
The central purpose of this course is for students to examine linear and melodic musical concepts, under the parameters for creation and for relationships between elements, so basic to music, and under the lens of tonality and form, in order to help the student properly structure and order his own musical thinking.
Credits
3
Distribution
-
Development of thinking for musical construction based on melodies for the constructive management of three voices, through the composition of fugues, an imitative genre par excellence. The course will give comprehensive treatment to composition, applied to the goal of creating fugues with 3 voices. General characteristics of a fugue. The incidence of the harmony and the tonal projection in the structure. The themes, the subject, and the countersubject. Voices and entries. Dux and Comes, real answer, tonal answer. Guidelines for managing the three voices. Composition of themes with countersubjects in invertible counterpoint. The stretto, possibilities and alternatives. Composition of themes apt for stretto.
Credits
3
Distribution
-
Instructor
Cubides Greiffestein Manuel
The course will give comprehensive treatment to composition, applied to the goal of creating fugues in 4 voices. Voices and entries. Dux and Comes, real answer, tonal answer. Guidelines for managing the four voices. Managing three voice sequences, cadence, and possible connections between sections. Analysis of simple fugues for 4 voices.
Credits
3
Distribution
-
Form and genre. Tension and release in the elements that form a piece. The musical form as design and tonal structure of a composition. Phrase: harmonic structure, cadences. Melodic structure: subdivisions (semi-phrase or sub phrase). The motif, constructive element. Development and augmentation of the phrase. Chain, group, period. Motif-theme relations. Harmonic structure. Resources for joining phrases. Analysis method for brief groupings. Micro and macro analysis. Parts of a form: criteria for division. Compositions of 1, 2, 3 and more parts. Ternary forms. Compound forms. Binary forms. Continuous, local, simple, baroque, circular. Criteria for differentiation between binary and ternary forms. Variation (form and principle of compositions). Continuous variations (over a cantus firmus) and sectional variations (theme with variations).
Credits
3
Distribution
-
Compound binary and ternary forms. "Operatic" and binary Arias. Overture and slow movements. Da capo aria. Variants on the internal structure in section As. The Rondo. Precedents, structure, tonal schemes. Simple classic rondo. Sonata form I. Precedents, baroque sonatas. Tonal schemes. The Exposition. Themes or groups? Types of bridges. Sonata form II. Development section. Materials, procedures, resources. The Recapitulation. Sonata form in works for piano, quartets, and symphonic works. Rondo-Sonata. Classical and romantic works. Baroque concerts: Concert for instrumental soloists and Concerto Grosso. Sectional and tonal treatment. Counterpoint resources. Classic concert: forms of the first and third movement. Movement. Other counterpoint instrumental forms. typical forms and others in the music of the twentieth century. Arch and wedge forms. Golden section.
Credits
3
Distribution
-
Considering that direct practice with the Choir is what most contributes to students’ experience and their comprehensive training as directors, all the planning around their education, even independent of levels, revolves around this group. Thus, Choir Practice 4 corresponds to the third level for this exercise in the Syllabus of Choir Direction.
Credits
2
Distribution
-
Instructor
Cubides Greiffestein Manuel
This course teaches the student general conducting techniques and in particular, their application to choir directing. The student will acquire basic knowledge of conducting, and practicing, planning, and organizing choral activity. The student will also develop the gestural skills that will help him or her perform as a conductor.
Credits
3
Distribution
-
Main track of the major for obtaining a degree of Musician Choir Director. Analysis of repertoires and works, development of programs, application of rehearsal techniques, vocal technique, sight reading, direction of programs selected by levels, complexity of repertoires. Conceptual framework of choral and choral-instrumental musical creation. Taking advantage of resources and their limitations. Structuring of works.
Credits
5
Distribution
-
Main track of the major for obtaining a degree of Musician Choir Director. Analysis of repertoires and works, development of programs, application of rehearsal techniques, vocal technique, sight reading, direction of programs selected by levels, complexity of repertoires. Conceptual framework of choral and choral-instrumental musical creation. Taking advantage of resources and their limitations. Structuring of works.
Credits
5
Distribution
-
A line of complementary courses for students with an instrument concentration. Practical activities with repertory specialized in wind instruments, strings, chamber music, Colombian music, and popular musical genres.
Credits
3
Distribution
-
A line of complementary courses for students with an instrument concentration. Practical activities with repertory specialized in wind instruments, strings, chamber music, Colombian music, and popular musical genres.
Credits
3
Distribution
-
Instructor
Carbonell Reyes Antonio
A line of complementary courses for students with an instrument concentration. Practical activities with repertory specialized in wind instruments, strings, chamber music, Colombian music, and popular musical genres.
Credits
3
Distribution
-
Instructor
Tartabull Agramonte Juan
A line of complementary courses for students with an instrument concentration. Practical activities with repertory specialized in wind instruments, strings, chamber music, Colombian music, and popular musical genres.
Credits
3
Distribution
-
Instructor
Silva Valencia Andres
This is the main line of the concentration to obtain a degree as an instrumental musician. The professional training program in an instrument is based on a systematic evaluation of both the technical and artistic quality of repertory. The program’s coherence is determined by a clear educational orientation and musical development. The professor assigns repertory in line with the student’s level of skill and technical and musical knowledge. The repertory is then evaluated according to objective results obtained in recitals before a panel of judges. It is a fundamental part of the academic training process for instrumentalists.
Credits
5
Distribution
-
This is the main line of the concentration to obtain a degree as an instrumental musician. The professional training program in an instrument is based on a systematic evaluation of both the technical and artistic quality of repertory. The program’s coherence is determined by a clear educational orientation and musical development. The professor assigns repertory in line with the student’s level of skill and technical and musical knowledge. The repertory is then evaluated according to objective results obtained in recitals before a panel of judges. It is a fundamental part of the academic training process for instrumentalists.
Credits
5
Distribution
-
Instructor
Silva Valencia Andres
This is the main line of the concentration to obtain a degree as an instrumental musician. The professional training program in an instrument is based on a systematic evaluation of both the technical and artistic quality of repertory. The program’s coherence is determined by a clear educational orientation and musical development. The professor assigns repertory in line with the student’s level of skill and technical and musical knowledge. The repertory is then evaluated according to objective results obtained in recitals before a panel of judges. It is a fundamental part of the academic training process for instrumentalists.
Credits
5
Distribution
-
Instructor
Ojeda Tomas
This is the main line of the concentration to obtain a degree as an instrumental musician. The professional training program in an instrument is based on a systematic evaluation of both the technical and artistic quality of repertory. The program’s coherence is determined by a clear educational orientation and musical development. The professor assigns repertory in line with the student’s level of skill and technical and musical knowledge. The repertory is then evaluated according to objective results obtained in recitals before a panel of judges. It is a fundamental part of the academic training process for instrumentalists.
Credits
5
Distribution
-
Instructor
Kolbe Gustav
Distribution
-
Credits
4
Distribution
-
Credits
4
Distribution
-
Credits
4
Distribution
-
Distribution
-
Credits
3
Distribution
-
This course studies composition languages and techniques of the twentieth century, in terms of both theory and practice, taking into account the basic structural forms corresponding to this workshop. Each concept will be put into practice and developed through individual musical creations, with 4 required works during the semester, as follows: Piece in a "Lied Bipartito" form (binary form) for voice and piano (keyboard instrument), Piece in a "Lied Tripartito" form for woodwinds and piano (keyboard instrument), One piece in a Rondo form for 3 woodwinds, One piece in the form of a Theme with Variations for 5 instruments, chosen freely (woodwind quintet, 4 instruments and a voice or piano, etc.)
Credits
3
Distribution
-
Instructor
Marulanda Lopez Juan
This course continues the application of composition language and techniques to twentieth century compositions begun in Workshop I, in terms of both theory and practice, taking into account the basic structural forms corresponding to this workshop. Each concept will be put into practice and developed through individual musical creations, with 4 required works during the semester, as follows: One prelude for a keyboard instrument. One piece in movements in sonata form for violin and piano. One piece in the form of a minuet and a trio (scherzo and trio) for a string quartet. One Suite with 3 or 4 movements for dance (inspired by baroque forms) for a woodwind quintet.
Credits
3
Distribution
-
These courses give the student knowledge and practice needed for the technical management of timbric combinations and balance necessary for composition and musical notations.
Credits
3
Distribution
-
Instructor
Leon Rengifo Luis
These courses give the student knowledge and practice needed for the technical management of timbric combinations and balance necessary for composition and musical notations.
Credits
3
Distribution
-
This is the main line of the concentration to obtain a degree as an composer-musician. It teaches the application of techniques for acoustic and/or electroacoustic media (depending on the student’s preference) to work with different forms. The conceptual framework for musical creation. The study and use of musical elements in musical compositions. Taking advantage of resources and their limitations. Structuring works. Choice of the musical system for the language.
Credits
5
Distribution
-
Instructor
Peñalta Caceres Catalina
This is the main line of the concentration to obtain a degree as an composer-musician. It teaches the application of techniques for acoustic and/or electroacoustic media (depending on the student’s preference) to work with different forms. The conceptual framework for musical creation. The study and use of musical elements in musical compositions. Taking advantage of resources and their limitations. Structuring works. Choice of the musical system for the language.
Credits
5
Distribution
-
Distribution
-
Credits
2
Distribution
-
Credits
2
Distribution
-
Credits
3
Distribution
-
Credits
3
Distribution
-
The Musical Software course will help students develop certain basic abilities based on knowledge and handling of a MIDI station made up of a computer, a synthesizer, and the software necessary for using certain specific musical applications. One of the course’s objectives, then, is to introduce the student to the logic and functioning of a MIDI and Audio system that will allow him to face and solve problems that could come up in any type of workstation regardless of the configuration or the software used to make MIDI sequences or digital audio editing.
Credits
2
Distribution
-
Instructor
Prieto Garcia Daniel
This course examines the different roles inside a live sound company. It gives knowledge about and practice handling the basic equipment used in sound systems for shows. Electrical feed sources. Signal lines. Elements for packaging racks, Pigtail Bags. Microphone bases. Dynamic processors. Mixing consoles and monitors. Temporal processors. Analysis equipment. Frequency dividers (Crossovers), Amplifiers. Speaker systems. Introduction to live mixing.
Credits
3
Distribution
-
Instructor
Tarquino Fernandez Javier
Introduction to the basic concepts of sound waves. Study of the basics of circuit theory and electric devices. Electronic components. Installation and interconnection of audio equipment to studio applications, live sound, and fixed installations. Units of measure, notation, and decibels. Sound waves. Circuits and electric devices. Electronic devices. Line power and ground systems. Interconnection. Cables, connectors, and wiring.
Credits
3
Distribution
-
Instructor
Espitia Hurtado Juan
Tuning of comparison skills in frequencies used in acoustic instruments, in random voices and noises. Different frequencies discrimination. Level changes in tones, in speech and music by estimating the limits in frequency bands in both music and voice. Irregularities in the frequency answer and its effect in music and speech by judging the sound quality in simple and complex sounds, detecting the distortion (what it is and how it sounds) The effects of the reverberation in speech and music. Noise-signal relation. Voice coloration (how it sounds and what causes it).
Credits
2
Distribution
-
Sound tests on live shows. Mixes during the show. Acoustic considerations. Delay systems. Multiple systems, Arena Fills, Center Fills, Balcony Fills.
Credits
3
Distribution
-
Instructor
Tarquino Fernandez Javier
Utilization of different elements taking part on audio recordings. Microphones, console, multi-track. Effects processors. Equalizers. Detailed description of the positioning of the microphones. Stereo-recording techniques, recording practices in concerts.
Credits
3
Distribution
-
Instructor
Zorro Rodriguez Marcela
Different types of equipment used in the sound industry. Develop the capability to operation and design systems and solutions for live sound and recording. Research on practical applications of equipment based on its design. Introduction to Audio Systems. Microphones. Speakers. Amplifiers. Signal processors. Consoles. Application design.
Credits
3
Distribution
-
Instructor
Espitia Hurtado Juan
The course on Music Software introduces the student within the handling of a MIDI station made by a computer a synthesizer and software necessary to conduct certain music functions. Furthermore, it introduces the student to the functioning and the logic of a MIDI and Audio system that will enable him/her to solve any problem that may arise in any work station, no matter what configuration or software is used to conduct MIDI sequences or digital audio editions.
Credits
2
Distribution
-
Instructor
Correa Ulloa Daniel
Credits
3
Distribution
-
Credits
3
Distribution
-
Credits
3
Distribution
-
Credits
3
Distribution
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The subject Music analysis is a course where the students are taught the main techniques of analysis applicable to different genres of western tonal, modal and atonal music. These techniques include analysis on audio and written materials (by consulting the scores) and they go over several music styles from medieval to 20th century music.
Credits
5
Distribution
-
This subject corresponds to the second level of Musical Analysis in the Musical Theory syllabus. The course encompasses aspects such as: Study and practice of research techniques. Study of musical analytic techniques. Application of techniques to different repertoires. Preparation of documents and essays. Study and analysis of specialized bibliography.
Credits
5
Distribution
-
Instructor
Torres Lopez Rondy
Credits
2
Distribution
-
Credits
2
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Credits
2
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Credits
2
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Credits
2
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Credits
4
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Credits
4
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Credits
4
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Credits
4
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Credits
2
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Credits
1
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1
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Credits
1
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Credits
1
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Credits
1
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Credits
2
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Credits
3
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Credits
3
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Credits
3
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Credits
3
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Credits
5
Distribution
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