| Course Name | Masterpieces in Music History |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| GEAR 203 | Fall/Spring | 3 | 0 | 3 | 4 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Service Course | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | ||||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | The aim of this course is to learn the masterworks of music and to identify the essential differences between them and any ordinary work. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | Through this course masterworks of music and basic information on those works will be presented |
| Related Sustainable Development Goals | |
|
| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Orientation and introduction to the course | Orientation and introduction to the course |
| 2 | Beethoven: Symphony no 5 | Beethoven: Symphony no 5 |
| 3 | Bach toccata and fugue BWV 565, Mozart Symphony no 40 | Bach toccata and fugue BWV 565, Mozart Symphony no 40 |
| 4 | Beethoven Symphony no 7 | Beethoven Symphony no 7 |
| 5 | Dvorak: Symphony no 9 “From the new world” | Dvorak: Symphony no 9 “From the new world” |
| 6 | Grieg: Piano Concerto Grieg: Peer Gynt Suit | Grieg: Piano Concerto Grieg: Peer Gynt Suit |
| 7 | Beethoven: Symphony no 9 | Beethoven: Symphony no 9 |
| 8 | Tchaikovsky: Piano Concerto | Tchaikovsky: Piano Concerto |
| 9 | Mozart Don Giovanni act1 | Mozart Don Giovanni act1 |
| 10 | Mozart Don Giovanni act 2 | Mozart Don Giovanni act 2 |
| 11 | Midterm | |
| 12 | Carl Orff: Carmina Burana | Carl Orff: Carmina Burana |
| 13 | Bach: Coffee Cantata Bach: Concerto for 2 pianos in C major | Bach: Coffee Cantata Bach: Concerto for 2 pianos in C major |
| 14 | Liszt Piano Concerto no 1 Mendelssohn Violin Concerto op 64 | Liszt Piano Concerto no 1 Mendelssohn Violin Concerto op 64 |
| 15 | Student Presentation | |
| 16 | General evaluation |
| Course Notes/Textbooks | Powerpoint Presentation and Personal Archive |
| Suggested Readings/Materials | Sadie, Stanley Grove Music Dictionary |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 15 |
| Presentation / Jury | 1 | 15 |
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 25 |
| Final Exam | 1 | 35 |
| Total |
| Weighting of Semester Activities on the Final Grade | 4 | 65 |
| Weighting of End-of-Semester Activities on the Final Grade | 1 | 35 |
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 3 | 48 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 14 | 2 | 28 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 8 | |
| Presentation / Jury | 1 | 10 | |
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 8 | |
| Final Exams | 1 | 8 | |
| Total | 110 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | |||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | |||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | |||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | |||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | |||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | |||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | |||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | |||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | |||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | |||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | |||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
