| Composition I | 3 | 2 | 3 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 3 | 3 | 3 |
| Composition II | 3 | 2 | 3 | 2 | 3 | 2 | 2 | 2 | 3 | 2 | 3 | 2 | 2 | 3 | 3 | 2 | 3 | 2 |
| Historical Composition Methods I | 3 | 2 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 2 | 3 | 2 | 3 |
| Historical Composition Methods II | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 2 | 3 | 2 | 3 | 3 |
| The Musical Language of Stravinsky and Bartók I | 2 | 0 | 3 | 3 | 3 | 3 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
| The Musical Language of Stravinsky and Bartók II | | | | | | | | | | | | | | | | | | |
| World Music I | | | | | | | | | | | | | | | | | | |
| World Music II | | | | | | | | | | | | | | | | | | |
| Sound Design I | | | | | | | | | | | | | | | | | | |
| Sound Design II | | | | | | | | | | | | | | | | | | |
| Applied Solfeggio Pedagogy I | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
| Applied Solfeggio Pedagogy II | 3 | 2 | 3 | 2 | 3 | 2 | 2 | 1 | 2 | 3 | 2 | 3 | 2 | 1 | 2 | 3 | 2 | 1 |
| Seminar | | | | | | | | | | | | | | | | | | |
| Thesis | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
| Thesis | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
| Research in Area of Specialization | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
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