Course Description |
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Course Name |
: |
Chamber Music |
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Course Code |
: |
M YÇ 303 |
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Course Type |
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Compulsory |
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Level of Course |
: |
First Cycle |
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Year of Study |
: |
3 |
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Course Semester |
: |
Fall and Spring (32 Weeks) |
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ECTS |
: |
6 |
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Name of Lecturer(s) |
: |
Asst.Prof.Dr. CELİL HAKAN ÇUHADAR Instructor SİBEL AKYÜREK Instructor SERDAR BÜYÜKEDES |
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Learning Outcomes of the Course |
: |
Be able to fulfill Chamber Music Education Programme. Perform selected works technically and musically in the Education Programme. Raise awareness on art ethics and gain professional discipline Do practice in order to learn about the national and international music literature bymaking use of his/her proffessional knowledge Do theoretical studies in order to learn about national and international music literatureby making use of his/her proffesional knowledge Performing works on the ring, ensures that the execution. Gain experience on working collobratively with colleagues. Be able to decipher the musical works technically
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Mode of Delivery |
: |
Face-to-Face |
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Prerequisites and Co-Prerequisites |
: |
None |
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Recommended Optional Programme Components |
: |
None |
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Aim(s) of Course |
: |
Examine the works of chamber music, learn to play together, the development of chamber music repertoire through the ages and the 20th century. to ensure the promotion and interpretation of works of art. |
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Course Contents |
: |
Examine the works of chamber music of the classical period, evaluate the characteristics of the selected works of the repertoire of periodic training. |
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Language of Instruction |
: |
Turkish |
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Work Place |
: |
Chamber music classrooms |
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Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
|
1 |
Overall assessment of the work in the form of the sonata |
Indıvıdual study |
Special Support |
|
2 |
Studying putting the bow and finger number |
Indıvıdual study |
Special Support-Presentation |
|
3 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
4 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
5 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
6 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
7 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
8 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
9 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
10 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
11 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
12 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
13 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
14 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
15 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
16 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
17 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
18 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
19 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
20 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
21 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
22 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
23 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
24 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
25 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
26 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
27 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
28 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
29 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
30 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
31 |
Listening to the first part of the sonata |
Indıvıdual study |
Group work |
|
32/33/34 |
Listening to the first part of the sonata |
Group work |
Evaluation |
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Required Course Resources |
| Resource Type | Resource Name |
| Recommended Course Material(s) |
W. A. MOZART, L. van BEETHOVEN, J. BRAHMS, C. A. DEBUSSY, G. FAURE, C. FRANCK, Sir E. GRIEG, R. SCHUMANN, F. SCHUBERT, P. HİNDEMİTH, D. SCHOSTAKOVİCH, A. HONEGGER, F. MENDELSSOHN, S. PROKOFİEV, S. RAHCMANİNOV, M. RAVEL, K. HORKY, W. de FESCH, H.P LİNDE, J.M. SPERGER, D. MİLHAUD, B. BRITTEN ´s Sonatas
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| |
| Required Course Material(s) | |
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| Contribution of the Course to Key Learning Outcomes |
| # | Key Learning Outcome | Contribution* |
|
1 |
Have the ability to fulfill the requirements of the String Training Programme. |
5 |
|
2 |
Have the ability to perform technical and musical works included in the training program. |
4 |
|
3 |
Improve his/her musical knowledge by performing concerts. |
4 |
|
4 |
Do research to acquire information on national and international music literature. |
0 |
|
5 |
Have the ability to use his/her professional knowledge in order to do research in national and international literature. |
0 |
|
6 |
Have the ability to perform the required works technically. |
4 |
|
7 |
Have the ability to conduct advanced studies in the field. |
2 |
|
8 |
Have the ability to develop a positive attitude towards the String Training Programme. |
3 |
|
9 |
Have the ability to asses and use the advanced knowledge and skills acquired in the field. |
2 |
|
10 |
Have the responsibility of being a national and international an artist. |
3 |
|
11 |
Gain a professional discipline and ethics of art. |
4 |
|
12 |
Have the ability of working collobaratively with his/her colleagues. |
2 |
|
13 |
Use at least one foreign language and follow the recent developments in the field. |
0 |
|
14 |
Have the ability to be able to perform the required works on international platforms. |
5 |
|
15 |
Have the ability to perform the works solo or in a group on the stage. |
5 |
|
16 |
Have the ability to improve himself/herself in social,cultural and sport areas in addition to his/her professional development. |
0 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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