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Jazz Music Certificate

First Year

Instrumental Customer I

Instrumental Customer II

Music History I

Music History II

Rhythmic Training I

Jazz Ear Training I

Jazz Theory I

Choir I

Musical Internship I (Easy Sight Reading)

Folks Music I

Teaching Practice II (Hospitieren and Methodic im zentr.künstl.Fach)Block)

Culture Customer for not high school graduates

Music early education (Theory and Practice)

Second Year

Music History III

Music History IV

Morphology and Structural Analysis I

Rhythmic Training II

Jazz Ear Training II

Jazz Theory II

Arrangement

Acoustic

Choir II

Musical Internship II (Score, Choir Conducting)

Folks Music II

Teaching Practice II (Hospitieren and Methodic im zentr.künstl.Fach) Block

Music Education I (Theory and Practice)

Third Year

Morphology and Structural Analysis II

Improvisation I

Stage Band

Ensemble for Brass 

Musical Internship II (Score, Choir Conducting)

Teaching Practice II (Hospitieren and Methodic im zentr.künstl.Fach) Block

Music Education I (Theory and Practice)

Forth Year

 

Improvisation II

Soloist Ensemble

Live Performance

Big Band

Music Education II - Block

Methodic and Didactic des zentralen künstl.Fach) - Block

Methodic and Didactic des Schwerpunktstudiums - Block

Job Information for Musicians - Block

Accompanist in a main subject

                                                                10. Syllabi of supplementary subjects:

 

 

                                                                                Composition Internship I:

 

(only for composition students) Practical application of the didactic material in sentence 1. Simple song sets, small piano pieces, instrumental duets, simple choral settings.

 

                                                                                Composition internship II

 

The skills and knowledge learned in Sentence II are practical. There is something here more difficult song sets, slightly larger piano compositions (for example Fantasia, Impromtus, etc.) to write pictures independently. There are also some difficult choral movements to write. Guide to your own Improvisation.

 

                                                                                Composition Internship III

 

Application of contrapuntal sentence techniques in connection with the hitherto learned in the homophonic sentence Skills. Composing inventions, canons, minor contrapuntal choral and instrumental movements. Ad libitum: Learning these typesetting techniques in the field of sound series composition theory or that of P. Hindemith.

 

 

                                                                               Composition Internship IV:

 

Application of the knowledge and skills learned in counterpoint I and II as well as in the homophonic sentence. Composition of difficult choral movements in a contrapuntal manner, four-part canon, three-parted Invention, fugue, contrapuntal forms of variation and chain imitation techniques. Writing a sonatina. ad libitum: application of sound series composition theory or the theory of P. Hindemith. Methodology of Scientific Work: Instruction in the working techniques of scientific work at the university level, suggestions for a Application of the learned material in a smaller written work on a music theory problem. Copyright. General bass play and improvisation: Learning the bassoon play by hand from the textbook Grabner or other. Instructions for free improvisation sation on the basis of general bass play exercises. "Friday" improvisation over a given subject or theme. Improvisation over a given sound sequence. Introduction to the modern age: Historical and music-theoretical backgrounds for the emergence of the "modern age". Tonality problem, consonant Dissonance problem, modern compositional theories (Hauer, Schoenberg, Hindemith, sound series theory, serial Theory, aleatorics, electronic music, etc.) - Literature: Friedrich Herzfeld "Musica nova" and Martin Vogel, Schoenberg and Schoenberg and the episodes, Neumann, the Klangreihenkompositionslehre by Othmar Steinbauer et al)

 

 

                                                                              Composition Internship V:

 

Deepening of the compositional techniques learned in the main course. This may be in the field of harmony and of the counterpoint in the sense of traditional theory, but also in the field of modern Composition theories. However, all three twelve-tone composition theories are at least to explain and also to try out practically. Making a suite, a great sonata or a chamber music composition, Furthermore, a larger choral work. Orchestra Instrument I and II: The composition student has one instrument per semester (string, woodwind, brass and brass) Percussion instrument) in order to learn its basics and the most important game problems. (Covers on the vintages V and VI) Instrumentation I: Classes are based on the instrumentation theory of Berlioz-Strauss and newer textbooks. In the area This training is from string quartet to string orchestra and woodwind alone and in combination with String instruments to develop the sentence techniques. Improvisation I: There are playing techniques on the piano for a free improvisation to work out, for the time being by the traditional Sentence theory is assumed. However, modern typesetting techniques can also be used. 2 Score Match I: On the basis of chamber music scores is the play of light string trios and quartets as well as of To learn woodwind chamber music sets.

 

                                                                               Composition Internship VI:

 

Development of compositions with great form. Addressing the theory of P. Hindemiths. Acquisition of knowledge in the field of Avandtgarde typesetting techniques. Preparation of a joint exposure in four voices and one Stretto. Instruction in the tone set (Hindemith): On the basis of the textbook by P. Hindemith is his consideration of the sentence technique in independent experiments implement. This happens in smaller compositional forms. Score Match II: These are difficult scores with transposing instruments in the field of woodwind and brass by increase. For example, Beethoven's 7th Symphony. Twelve-Tone Theory Schoenberg and Avandtgarde: You have to get to know composition techniques and try to apply them.

 

                                                                             GENERAL MUSIC TEACHING:

 

Musical fundamentals of musical notation, various clefs (treble clef, bass clef, c Key), the time signatures, all the Italian terms used in the field of music. construction of the scales (major, minor, church scale, pentatonic, whole scale, chromatic scale), Sign, circle of fifths, intervals, ornamentation, simple cadence, simple melody, simple diatonic modulation. - Textbook: W. Bloch or others.

 

                                                                                           ACOUSTICS:

 

Acoustic characteristics of instrument engineering; modern electronic instruments. Lehrwerk: Brüderlin: Acoustics for musicians. (Magnetophone, microphone construction principles and applications.) Record, CD, computer-aided music recording technique CHOIR SINGING I: Light choral literature of Viennese classical music or pre-classical and folk music. easy Voice training exercises. CHORUS SING II III: More difficult choral settings from early Romantic, Baroque and Renaissance. Light modern choral literature.

 

                                                                                INTRODUCTION TO MODERN:

 

Historical and music-theoretical backgrounds for the emergence of the "modern age". Tonality problem, consonant Dissonance problem, modern compositional theories (Hauer, Schoenberg, Hindemith, sound series theory, serial Theory, aleatorics, electronic music, etc.) - Literature: Friedrich Herzfeld "Musica nova" and Martin Vogel, Schoenberg and Schoenberg and the episodes, Neumann, the Klangreihenkompositionslehre by Othmar Steinbauer FORMOLOGY AND

 

                                                                                      STRUCTURE ANALYSIS I:

 

Simple song and dance forms, mottoes, motif, sequence, theme, figure, gait, movement, period, etc., Rondo forms, Variations, sonata form, canon, suite, invention. Literature examples. Analysis of several works by aforementioned area.

 

                                                                     FORMOLOGY AND STRUCTURE ANALYSIS II:

 

Symphonic forms, symphonic poetry, fugue, freer forms, large-scale mold making Composers of the XIX. and XX. Jhts. Mold problems in "modern" music.

 

                                                                                      VOCATIONAL TRAINING I:

 

Course contents: Recognition of pitches and sharpening of the accuracy of hearing, recognition of pure intervals (Octave, quint, fourth), as well as big and small seconds, thirds, sixths, sevenths and tritons, intervals, Major and minor triads as well as diminished and excessive triads or four-notes. Simple rhythmic Periods, notation dictates one and two-part.

 

                                                                                        VOCATIONAL TRAINING II:

 

Recognition of all intervals, even beyond the octave range, recognize the various seventh chords, altered chords; more complex rhythmic periods, dissonance recognition, singing more difficult modern 3 melodies; Notendiktate from the aforementioned subject area. Explanation of intonation problems (various Mood systems - examples for this).

 

                                                                                                   HEARING III:

 

Recognition of dissonant chords, listening to twelve-tone rows, polyphonic note dictates, more complicated ones Recognize and write down modulations, learn to recognize and note down complicated rhythmic periods. Recognize and write down examples from the literature.

 

                                                                                            HISTORY OF THE JAZZ:

 

In this complementary subject special attention is paid to the development of jazz literature from the roots to the dedicated to modern times.

 

                                                                                         INSTRUMENT CERTIFICATE I:

 

Stringed instruments and woodwind instruments; their essential characteristics (type, timbre, range, Playing techniques, etc.), references to acoustic characteristics of the instrument construction techniques; Listening examples from the Literature and in the context of visual instruction; History of today's orchestral instruments

 

                                                                                             INSTRUMENT CARD II:

 

Brass and percussion instruments, keyboard instruments (piano, organ and accordion): the essential Characteristics (type / tone color range, playing techniques, etc.) of the individual instruments; the singing voice (Pitch, roll fan, care of the singing voice, mutation and others)

 

                                                                                                     ITALIAN I and II:

 

The singer is prepared by learning the Italian language for Italian literature. CHAMBER MUSIC I - III: Learning and taking care of the artistic ensemble playing.

 

                                                                                                 CONTRACT I (IGP only):

 

Unison sentence, two - part movement with Cantus firmus technique in different variants. Three- harmonious counterpoint. Also in different variants. Textbook: Tittel Gradus ad Parnassum. Counterpoint in the sense of J.S. Bach. Canon, Invention, Passacaglia.

 

                                                                                    CORPORATION IN ITS OWN MAIN BOX:

 

In this subject, the student is instructed in the art of the corpus of one or more artists.

 

                                                                                              CULTURAL CUSTOMER:

 

(only for "non-citizens") Development of occidental culture in ancient Greece and in the Roman Empire under special Consideration of the arts and their roots in the Afro-Asian region. The development of Romanesque and Gothic with the appropriate treatment their effects in the field of various arts. The Correlation with the different political and state-building conditions

 

                                                                                      TEACHING PRACTICE I (IGP only):

 

By studying in the main artistic subject, the student becomes familiar with the teaching methodology future teaching activity slowly introduced.

 

                                                                                     TEACHING PRACTICE II (IGP only):

 

Continuation of the curriculum as in Teaching Practice I.

 

                                                         METHODOLOGY AND DIDACTICS OF SCIENTIFIC ACTIVITY (IGP only):

 

Instruction in the working techniques of scientific work at the university level, suggestions for a Application of the learned material in a smaller written work on a music theory problem. Copyright.

 

                                                                                               MUSIC HISTORY I and II:

 

History of music and music theory from the beginning to the 15th century; Development of music in China, Mesopotamia, Egypt, Israel and Greece. Development of the chorale in Europe; Emergence of Polyphony, Oranum; the big schools (Dutch, Italian, French and Spanish).

 

                                                                                               MUSIC HISTORY III and IV:

 

History of music from the 15th century to modern times. Development of music theory in this period. Developments of music outside Central Europe.

 

                                                                                       4 MUSICAL INTERNSHIP I (IGP only):

 

On the basis of the "easy score game", the student is prepared for the future direction of an ensemble.

 

                                                                                 MUSICAL INTERVENTION II u. III (IGP only):

 

Working with ensembles, conducting, rehearsing own works with singers or instrumentalists.

 

                                                                                         MUSIC EDUCATION I (IGP only):

 

Introduction to Psychology, Principles of Developmental Psychology, Character Types, Learning Psychology, Motivation, talent, intelligence, music psychology.

 

                                                                                         MUSIC EDUCATION II (IGP only):

 

Educational psychology, didactics, general methodology of teaching, the teacher: pupil - relationship, Group dynamics, music education.

 

                                                                                        MUSIC EDUCATION III (IGP only):

 

Applied methodology, applied pedagogy. - Preparation of the examination material of the main subject from the point of view of the object together with the respective main subject teacher

 

 

                                                                                                    ORCHESTRA I - III:

 

Within the 2.-4. By learning and taking care of the orchestra playing, the student becomes a student in instructed in this artistic work.

 

                                                                                                 RHYTHMIC TRAINING I:

 

Clapping of all possible meters, whereby the tempo is "counted" verbally loud; 2 to 7 strokes in a timed manner understand and grasp correctly; further recognize the connection between 3/4 and 6/8 and in his to master different emphases; polyrhythmic exercises of 2/4 and quarter triplets on top of each other recognize and master; All learned rhythmic exercises are also sung with "Scatsilben", where the pace is "snipped" with your fingers or "knocked" at the table.

 

                                                                                                RHYTHMIC TRAINING I I:

 

Continuation in complicated polyrhythmics; Introduction and care in all sorts of jazz rhythms (swing, rock, Latin), so-called "early notes (values)" etc.

 

                                                                                                         SENTENCE I:

 

Melody formation, simple two-part movement, simple three-part movement, simple and extended cadence with Next steps. The use of three, four and five sounds. Functions and uses of the Dominant seventh chord, sub-dominant use, use of non-chord notes (pass notes, Change notes and advances), thoroughbass.

 

                                                                                                         SENTENCY II:

 

Modulations (diatonic, enharmonic and chromatic) use of chords from the Whole tone series or derived from the pentatonic or can be formed. Harmonization of given Bass or given melody. Use of non-chordal tones in the modulation or the "Altered" chords. Practical application experiments of the students.

 

                                                                    THEORY OF ELEMENTARY MUSIC EDUCATION (IGP only):

 

Methods of Early Musical Education: The Orff School and Other Methods. interacting with children at the age of 4 - 7 years. Solving the problems of singing-learning, rhythmic movement and improvisation. Elimination of motor disturbances. First ear training and formation of a sound idea. Basic features of Notation. Recognition of melodies. Reflection on the psychological basics. Continuation of the application of the theoretical knowledge learned in the 1st and 2nd year and of the acquired knowledge in the context of practical lessons. Improvisation of a rhythmic work with Children. Ear training with children. Singing exercises with children.

 

 

                                                                                          VOLKSMUSIKKUNDE I (IGP only):

 

Development of folk music in Europe, special focus of those in the Austrian cultural area. Examples from the literature; Form treasure of folk music. Special features of the folk song, hints to simple Instrumental music.

 

                                                                       VOLKSMUSIKKUNDE II and History of Folk Music (IGP only):

 

Inclusion of non-European folk music. More precise knowledge of folk music in Austria. historic Development of folk music with a focus on Europe. 5

 

                                                                      CONTENTS OF MUSIC EDUCATION MUSIC EDUCATION I

 

Introduction to Psychology, Principles of Developmental Psychology, Character Types, Learning Psychology, Motivation, talent, intelligence, music psychology.

 

                                                                                                   MUSIC EDUCATION II

 

Educational psychology, didactics, general methodology of teaching, the teacher: pupil - relationship, Group dynamics, music education.

 

                                                                                                   MUSIC EDUCATION III

 

Applied methodology, applied pedagogy. - Elaboration of the written work, the conclusion of Represents music education.