Key Learning Outcomes | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 |
Instrument Techniques and Repertoire I | 1 | 2 | 0 | 1 | 2 | 2 | 3 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 2 | 2 | 3 | 2 | 3 | 1 | 1 | 2 | 3 | 1 | 1 |
Instrument Technique and Repertoire II | | | | | | | | | | | | | | | | | | | | | | | | | |
Advanced Piano Literature I | | | | | | | | | | | | | | | | | | | | | | | | | |
Advanced Piano Literature II | | | | | | | | | | | | | | | | | | | | | | | | | |
Seminar | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 3 |
The Analysis of Musical Texts | 3 | 3 | 3 | 2 | 1 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 3 | 1 | 2 | 1 | 1 | 2 | 2 | 3 | 3 | 3 | 3 |
Aesthetic of Music | | | | | | | | | | | | | | | | | | | | | | | | | |
Applied Piano Duo&Four Hands Repertoire I | 3 | 1 | 1 | 3 | 0 | 2 | 1 | 0 | 2 | 2 | 0 | 2 | 1 | 3 | 1 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 2 | 0 | 0 |
Applied Piano Duo&Four Hands Repertoire II | 3 | 1 | 1 | 3 | 0 | 2 | 1 | 0 | 2 | 2 | 0 | 2 | 1 | 3 | 1 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 2 | 0 | 0 |
20th Century Chamber Music Repertory I | 1 | 1 | 1 | 0 | 0 | 3 | 1 | 0 | 3 | 3 | 1 | 3 | 2 | 3 | 3 | 0 | 1 | 1 | 2 | 1 | 0 | 0 | 3 | 1 | 2 |
20th Century Chamber Music Repertory II | 1 | 1 | 1 | 0 | 0 | 3 | 1 | 0 | 3 | 3 | 1 | 3 | 2 | 3 | 3 | 0 | 1 | 1 | 2 | 1 | 0 | 0 | 3 | 1 | 2 |
Baroque Music Repertoire I | | | | | | | | | | | | | | | | | | | | | | | | | |
Baroque Music Repertoire II | | | | | | | | | | | | | | | | | | | | | | | | | |
European Music in The First Quarter Of The 20th Century | 1 | 0 | 1 | 0 | 0 | 1 | 2 | 1 | 1 | 3 | 1 | 3 | 2 | 3 | 2 | 0 | 1 | 1 | 1 | 1 | 0 | 0 | 1 | 1 | 2 |
Chamber Music Repertoire I | | | | | | | | | | | | | | | | | | | | | | | | | |
Chamber Music Repertoire II | 3 | 1 | 1 | 3 | 0 | 2 | 1 | 0 | 2 | 2 | 0 | 2 | 1 | 3 | 1 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 2 | 0 | 0 |
The Musical Language of Stravinsky and Bartók I | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 1 | 2 | 1 | 3 | 0 | 1 | 3 | 1 |
The Musical Language of Stravinsky and Bartók II | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 1 | 2 | 1 | 3 | 0 | 1 | 3 | 3 |
World Music I | 3 | 2 | 3 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 1 | 0 | 3 | 2 | 2 | 0 | 3 | 0 | 2 | 0 | 0 | 0 | 3 | 2 | 3 |
World Music II | 3 | 2 | 3 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 1 | 0 | 3 | 2 | 2 | 0 | 3 | 0 | 2 | 0 | 0 | 0 | 3 | 2 | 3 |
History of the Piano Interpretes I | | | | | | | | | | | | | | | | | | | | | | | | | |
History of the Piano Interpretes II | | | | | | | | | | | | | | | | | | | | | | | | | |
20th Century Guitar Music I | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
20th Century Guitar Music II | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
Sound Design I | 3 | 3 | 1 | 2 | 2 | 1 | 1 | 0 | 0 | 0 | 1 | 3 | 2 | 1 | 2 | 2 | 1 | 1 | 3 | 0 | 2 | 3 | 1 | 2 | 0 |
Sound Design II | 3 | 3 | 1 | 2 | 2 | 1 | 1 | 0 | 0 | 0 | 1 | 3 | 2 | 1 | 2 | 2 | 1 | 1 | 3 | 0 | 2 | 3 | 1 | 2 | 0 |
Extended Performance Techniques I | 3 | 2 | 1 | 1 | 1 | 2 | 1 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 1 | 2 | 2 | 2 | 1 | 1 | 0 | 3 | 0 | 1 |
Extended Performance Techniques II | 3 | 2 | 1 | 1 | 1 | 2 | 1 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 1 | 2 | 2 | 2 | 1 | 1 | 0 | 3 | 0 | 1 |
Thesis | | | | | | | | | | | | | | | | | | | | | | | | | |
Thesis | | | | | | | | | | | | | | | | | | | | | | | | | |
Research in Area of Specialization | | | | | | | | | | | | | | | | | | | | | | | | | |