| Key Learning Outcomes | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 |
| English I | | | | | | | | | | | | | | | | | | |
| English II | | | | | | | | | | | | | | | | | | |
| English III | | | | | | | | | | | | | | | | | | |
| English IV | | | | | | | | | | | | | | | | | | |
| English V | | | | | | | | | | | | | | | | | | |
| English VI | | | | | | | | | | | | | | | | | | |
| Tonal Music Theory and Ear Training I | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Tonal Music Theory and Ear Training II | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Maqam Theory and Ear Training I | 3 | 1 | 1 | 1 | 3 | 1 | 2 | 0 | 0 | 3 | 1 | 2 | 3 | 3 | 0 | 0 | 1 | 1 |
| Maqam Theory and Ear Training II | 3 | 1 | 1 | 1 | 3 | 1 | 2 | 0 | 0 | 2 | 0 | 1 | 2 | 2 | 0 | 0 | 1 | 1 |
| Music History I | 0 | 1 | 0 | 0 | 0 | 3 | 2 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Music History II | 0 | 1 | 0 | 0 | 0 | 3 | 2 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Tonal Music Theory and Solmization I | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Tonal Music Theory and Solmization II | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Maqam Theory and Solmization I | 3 | 1 | 1 | 0 | 3 | 0 | 3 | 0 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 |
| Maqam Theory and Solmization II | 3 | 2 | 1 | 1 | 2 | 0 | 1 | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 1 | 0 | 0 |
| Music History III | 0 | 1 | 0 | 0 | 0 | 3 | 2 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Music History IV | 0 | 1 | 0 | 0 | 0 | 3 | 2 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Complementary Instrument I | 0 | 3 | 0 | 3 | 0 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 3 | 0 | 0 |
| Complementary Instrument II | 2 | 2 | 1 | 2 | 1 | 2 | 2 | 0 | 0 | 1 | 0 | 0 | 2 | 0 | 0 | 0 | 1 | 0 |
| Turkish Folk Music Organology | 2 | 2 | 3 | 1 | 0 | 1 | 0 | 2 | 0 | 1 | 0 | 0 | 0 | 1 | 2 | 2 | 1 | 1 |
| Tonal Music Analysis I | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Tonal Music Analysis II | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Maqam Analysis I | 3 | 2 | 1 | 1 | 3 | 2 | 2 | 0 | 0 | 1 | 0 | 0 | 3 | 2 | 0 | 0 | 1 | 1 |
| Maqam Analysis II | 3 | 2 | 1 | 1 | 3 | 2 | 2 | 0 | 0 | 1 | 0 | 0 | 3 | 2 | 0 | 0 | 1 | 1 |
| Complementary Instrument III | 3 | 2 | 2 | 3 | 2 | 3 | 3 | 2 | 0 | 2 | 1 | 0 | 3 | 1 | 1 | 3 | 1 | 2 |
| Complementary Instrument IV | | | | | | | | | | | | | | | | | | |
| Maqam Analysis III | 3 | 2 | 1 | 1 | 3 | 2 | 2 | 0 | 0 | 1 | 0 | 0 | 3 | 2 | 0 | 0 | 1 | 1 |
| Maqam Analysis IV | 3 | 2 | 2 | 1 | 3 | 2 | 3 | 3 | 3 | 3 | 0 | 3 | 3 | 3 | 0 | 0 | 1 | 1 |
| Folk Music Knowledge I | 3 | 1 | 2 | 1 | 3 | 2 | 2 | 2 | 1 | 3 | 1 | 0 | 0 | 2 | 3 | 3 | 2 | 3 |
| Folk Music Knowledge II | 3 | 1 | 3 | 2 | 2 | 2 | 3 | 3 | 2 | 3 | 0 | 0 | 1 | 2 | 3 | 3 | 3 | 3 |
| Field Research and Compilation Techniques | | | | | | | | | | | | | | | | | | |
| Complementary Instrument V | | | | | | | | | | | | | | | | | | |
| Musical Forms I | | | | | | | | | | | | | | | | | | |
| Musical Forms II | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Harmony I | | | | | | | | | | | | | | | | | | |
| Harmony II | 0 | 2 | 0 | 0 | 0 | 1 | 3 | 0 | 3 | 0 | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 0 |
| Instrument I | 2 | 3 | 2 | 3 | 2 | 3 | 3 | 1 | 0 | 1 | 0 | 1 | 3 | 0 | 0 | 0 | 3 | 2 |
| Instrument II | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 1 | 3 | 1 | 1 | 1 | 3 | 0 | 0 | 0 | 3 | 1 |
| Music Ensembles I | 1 | 3 | 1 | 3 | 1 | 3 | 3 | 1 | 0 | 0 | 0 | 0 | 2 | 0 | 0 | 0 | 0 | 0 |
| Music Ensembles II | 1 | 3 | 3 | 3 | 1 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 2 | 1 |
| Secondary Piano I | 1 | 1 | 0 | 1 | 1 | 0 | 1 | 0 | 2 | 0 | 2 | 0 | 0 | 1 | 0 | 0 | 0 | 0 |
| Secondary Piano II | 1 | 1 | 0 | 1 | 1 | 0 | 1 | 0 | 2 | 0 | 2 | 0 | 0 | 1 | 0 | 0 | 0 | 0 |
| Instrument III | 3 | 3 | 2 | 3 | 3 | 3 | 2 | 1 | 0 | 1 | 0 | 0 | 3 | 1 | 0 | 3 | 1 | 1 |
| Instrument IV | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 1 | 1 | 3 | 1 | 0 | 3 | 2 | 1 | 3 | 2 | 2 |
| Music Ensembles III | 0 | 3 | 0 | 3 | 0 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 2 | 0 | 0 | 0 | 0 | 0 |
| Music Ensembles IV | 0 | 2 | 0 | 3 | 0 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 1 | 1 | 2 |
| Tempos in Turkish Music I | 1 | 2 | 0 | 2 | 0 | 0 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Tempos in Turkish Music II | 0 | 2 | 0 | 2 | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Turkish Music Choir I | 0 | 1 | 0 | 2 | 1 | 3 | 3 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 1 | 1 | 0 |
| Turkish Music Choir II | 2 | 1 | 1 | 3 | 1 | 3 | 3 | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 1 | 1 |
| Performance Style and Repertory I | 2 | 2 | 2 | 3 | 2 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 2 | 2 |
| Performance Style and Repertory II | 2 | 2 | 2 | 3 | 2 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 2 | 2 |
| Instrument V | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 0 | 2 | 1 | 0 | 3 | 1 | 1 | 3 | 1 | 2 |
| Instrument VI | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 1 | 2 | 1 | 0 | 3 | 1 | 2 | 3 | 3 | 3 |
| Music Ensembles V | 3 | 2 | 2 | 3 | 3 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 3 | 2 |
| Music Ensembles VI | 3 | 2 | 2 | 3 | 3 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 3 | 2 |
| History of Turkish Music I | 2 | 0 | 3 | 0 | 1 | 1 | 0 | 3 | 0 | 1 | 0 | 0 | 0 | 0 | 1 | 1 | 0 | 3 |
| History of Turkish Music II | 1 | 0 | 3 | 0 | 0 | 1 | 0 | 3 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 1 | 0 | 3 |
| Knowledge of Form in Turkish Music I | 0 | 0 | 1 | 0 | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 2 |
| Knowledge of Form in Turkish Music II | 0 | 1 | 3 | 2 | 1 | 1 | 1 | 1 | 0 | 0 | 0 | 2 | 2 | 1 | 0 | 0 | 3 | 3 |
| Instrument VII | 2 | 3 | 1 | 3 | 2 | 3 | 3 | 0 | 3 | 1 | 1 | 1 | 3 | 0 | 0 | 0 | 3 | 2 |
| Instrument VIII | 3 | 3 | 1 | 3 | 3 | 3 | 3 | 0 | 2 | 1 | 0 | 0 | 3 | 0 | 0 | 0 | 2 | 1 |
| Music Ensembles VII | 3 | 2 | 2 | 3 | 3 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 3 | 2 |
| Music Ensembles VIII | 3 | 2 | 2 | 3 | 3 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 0 | 0 | 3 | 2 |
| Turkish Music Composition Styles I | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 0 | 0 | 1 | 1 | 1 | 0 |
| Turkish Music Composition Styles II | 3 | 1 | 2 | 0 | 3 | 2 | 3 | 0 | 0 | 2 | 1 | 3 | 3 | 3 | 0 | 0 | 3 | 1 |
| Sound Systems in Turkish Music | 2 | 0 | 2 | 0 | 0 | 0 | 0 | 1 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Lyrics Analysis in Turkish Music I | 0 | 0 | 2 | 3 | 1 | 0 | 2 | 0 | 0 | 2 | 0 | 1 | 0 | 1 | 0 | 0 | 1 | 0 |
| Ottoman Turkish I | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Ottoman Turkish II | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
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