| KMP501-Composition I | 3 | 2 | 3 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 3 | 3 | 3 |
| KMP502-Composition II | 3 | 2 | 3 | 2 | 3 | 2 | 2 | 2 | 3 | 2 | 3 | 2 | 2 | 3 | 3 | 2 | 3 | 2 |
| KMP503-Historical Composition Methods I | 3 | 2 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 2 | 3 | 2 | 3 |
| KMP504-Historical Composition Methods II | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 2 | 3 | 2 | 3 | 3 |
| KMP505-Composers Forum I | 1 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 0 | 2 | 1 | 3 | 3 | 3 | 3 | 3 | 3 |
| KMP506-Composers Forum II | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 2 |
| MÜZ549-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 |
| MÜZ550-The Musical Language of Stravinsky and Bartók II | | | | | | | | | | | | | | | | | | |
| MÜZ551-World Music I | | | | | | | | | | | | | | | | | | |
| MÜZ552-World Music II | | | | | | | | | | | | | | | | | | |
| MÜZ559-Sound Design I | | | | | | | | | | | | | | | | | | |
| MÜZ560-Sound Design II | | | | | | | | | | | | | | | | | | |
| MÜZ565-Applied Solfeggio Pedagogy I | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
| MÜZ566-Applied Solfeggio Pedagogy II | 3 | 2 | 3 | 2 | 3 | 2 | 2 | 1 | 2 | 3 | 2 | 3 | 2 | 1 | 2 | 3 | 2 | 1 |
| SMR500-Seminar | | | | | | | | | | | | | | | | | | |
| TEZ700-Thesis | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
| UZM700-Research in Area of Specialization | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |