Ects Information Package PDF

The I. J.
Paderewski Academy of Music

in Pozna
ECTS
Information package
0
Contents 1
The European Credit Transfer System (ECTS) 2
The I.J. Paderewski Academy of Music in Pozna 3
Education system at the Academy 4

Faculties, majors, specializations 5
Artistic and research activities 6
International Cooperation 7
Partner institutions 8
Academy premises and facilities 10
Accommodation
Faculty of Composition, Conducting, Theory of Music and Eurhythmics 11

Introduction
Course description
ECTS-credits 25
Faculty of Instruments 31
Introduction
Course description
ECTS-credits 42
Faculty of Vocal Performance and Acting 66

Introduction
Course description
ECTS-credits 73
Faculty of Choir Conducting, Music Education and Church Music 75

Introduction
Course description
ECTS-credits 87
Faculty of Bowed Instruments, Harp, Guitar and Violin-Making 89

Introduction
Course description
ECTS-credits 95
1
EUROPEAN CREDIT TRANSFER SYSTEM
ECTS (European The standard developed by the European Comission functions within the SOCRATES/ERASMUS
Credit Transfer community education programe. It facilitates the recognition of studies abroad by a home institution
System) and makes the cooperation between the European Union institutions easier. A student can study at
the partner institution abroad for a period from three up to twelve months. SOCRATES/ERASMUS
scholarship can be granted once only and first-year students are not eligible. During their stay
at the partner institutions, students keep all their scholarships awarded to them by their home institutions.
Documents listed below are the basis ensuring the proper functioning of institutional exchange:
DOCUMENTS
Information package Aimed at students and teachers of partner institutions. It covers the organization and structure of studies,
facilities, health care, insurance and administrative procedures. The most important part consists of
the detailed description of subjects offered by a given faculty (specialization) and corresponding
ECTS-credits. Subjects with ECTS-credits are those which are an integral part of studies (Physical education ,
language courses, and partly Pedagogical Unit are excluded). In case of subjects without credits, the grades
are copied.
Learning Agreement The document is prepared before students start their studies abroad and it covers planned study programme
and ECTS-credits that will be awarded for the course completion. The agreement is valid for the three partieswho
are obliged to sign it: a home institution, a partner institution and a student (often the transcript of records
describing students achievement at the home institution must be attached).
Transcript of Records All subjects (series of classes) completed by a student abroad must be described here together with
the corresponding ECTS-credits. The transcript of records is issued by the receiving institution. The home
institution recognizes the credits awarded to a student at other institutions credits awarded for completed
subjects (series of classes) are replaced by points that would have been received at the home institution
during the comparable period of studies.
ECTS-credits ECTS-credits are numerical value allocated to the course units. They specify a students workload required
to complete a course (lectures, classes, individual work, exams etc.). This is a relative value.
60 ECTS-credits represent the full workload of an academic year, and 30 ECTS-credits a semester.
A student should obtain an adequate number of ECTS-credits to complet a semester (year) of studies.
The ECTS system does not eliminate grades which are used to evaluate a student.
Indicative scale of ECTS-credits*

Points at
ECTS
the Academy Definition
grade
in Pozna
25 A EXCELLENT Excellent performance with only minor mistakes.
21-24 B VERY GOOD Above the average standard but with some mistakes.
16-20 C GOOD Generally good work but with many noticeable mistakes.
14-15 D SATISFACTORY Satisfactory, but with significant defects.
11-13 E SUFFICIENT Performance meets the minimal requirements.
10 F, FX FAIL Credits will be awarded when a student revises everything thoroughly.
Grading is considered individually.
2
AKADEMIA MUZYCZNA IM. I. J. PADEREWSKIEGO W POZNANIU
AUTHORITIES
RECTOR
Prof. AM dr Halina Lorkowska
VICE-RECTOR FOR ARTISTIC AFFAIRS, RESEARCH AND INTERNATIONAL

COOPERATION
Prof. AM Janusz Stalmierski
VICE-RECTOR FOR STUDENT AFFAIRS AND EDUCATION

ad. dr hab. Krzysztof Przybyowicz
***
The history of the Academy goes back to 1920 when the State Academy and School of Music
was established. In 1922 its name was changed to the State Music Conservatory. In 1947 it
became the State Higher School of Music, and since 1981 it has been known as
the I.J. Paderewski Academy of Music in Pozna. Since the very beginning we have prided
ourselves on teaching staff - outstanding characters of the Polish music circles. Since
September 2012 the Academy has been run by Rector Prof. AM dr Halina Lorkowska. The
Academy offers education at five faculties. We are one out of nine Music
Academies/Universities and the only one which offers violin-making specialization.
Since the moment the Academy gained its own concert hall Aula Nova (9.10.2006),
the number of artistic events hasve increased a lot. Besides its basic role as an educational
institution, the Academy has become a cultural centre and now it is one of the most important
points on the music map of Pozna. Aula Nova offers to young performers various artistic
opportunities of presentation Pozna music lovers can choose among: symphonic, chamber,
choir, composition and vocal concerts as well as recitals. The concert cycles have been
popular for many years: Mondays at the Academy, Vocal Thursdays, Organ Wednesdays,
Early Music Thursdays, Strings at the Academy, Masterpieces of Chamber Music, Teachers
and their Choirs, From Students to Students, Creaspirations, Wired Music, Summer Townhall
Concerts, etc. In the last five years we have organized about 600 concerts students and
teachers presented varied repertoire, from the early music to the literature of the 21st century.
The Academy aims at the highest level of teaching, attractive music events, promotion of its
artistic potential and inspiration for creative activities we cooperate effectively with the
T.Szeligowski Pozna Philharmonic, the H.Wieniawski Music Society, the S.Moniuszko
Grand Theatre, Music Theatre, Polski Theatre, Cultural Centre Zamek and Estrada
Poznaska. Thanks to the signed agreements the Academy have participated in organization
of many important festivals, such as Pozna Music Spring, Nostalgia Festival, International
MALTA Festival, Made in Chcago Festival, Pozna Baroque Festival.
3
Education system at the Academy
Students at the Academy learn at five faculties:
Faculty of Composition, Conducting, Theory of Music and Eurhythmics

which includes: Composition and Theory of Music Department, Symphonic and
Opera Conducting Department, Eurhythmics and PianoImprovisation Department,
Theory of Music Unit, Electroacoustic Music Studio, Psychology of Music
Laboratorio
Faculty of Instruments which includes: Piano, Harpsichord and Organ
Department, Wind Instruments and Accordion Department, Percussion Department
(the only one in Poland), Jazz and Entertainment Music Unit, Historical
Instruments Unit
Faculty of Vocal Performance and Acting which includes: Vocal Studies
Department, Songs and Chamber Vocal Music Unit, Opera Music Unit
Faculty of Choir Conducting, Music Education and Church Music which
inludes: Choir Department, Music Education Department, Church Music Unit
Faculty of Bowed Instruments, Harp, Guitar and Violin-Making which
includes: Bowed Instruments, Harp and Guitar Department
First-cycle studies (three-year studies with the B.A degree), and second-
cycle studies (two-year studies with M.A. degree) are both full-time and part-
time.
Grading scale
Grading is based on the following scale:
excellent 25 points 5++

very good 24 points 5+
23 points 5
22 points 5-
21 points 5- -
good 20 points 4++
19 points 4+
18 points 4
17 points 4-
16 points 4- -
satisfactory 15 points 3++
14 points 3+
13 points 3
12 points 3-
11 points 3- -
fail 10 points 2
4
Faculties, majors and specializations at the Academy
FACULTY MAJOR SPECIALIZATION SYSTEM OF

STUDIES
composition and theory of full-time studies
COMPOSITION, music COMPOSITION 3-year first-cycle
CONDUCTING, 2- year second-cycle
THEORY OF MUSIC THEORY OF MUSIC
AND
EURHYTHMICS
EURHYTHMICS
conducting symphonic conducting full-time studies
3-year first-cycle
symphonic and opera conducting full-time studies
2- year second-cycle
piano, harpsichord, organ, accordion, full-time studies
INSTRUMENTS INSTRUMENTAL flute, oboe, clarinet, basoon, saxophone, i niestacjonarne
STUDIES horn, trumpet, trombone, tuba, 3-year first-cycle
percussion 2- year second-cycle
instrument playing in jazz and full-time studies
entertainment music: and part-time studies
piano, saxophone, trumpet, trombone, 3-year first-cycle
double bass, bass guitar, guitar, 2- year second-cycle
percussion
composition and arrangement
jazz vocal studies
historical instruments: baroque violin, full-time studies

baroque cello, viola da gamba, violone, 3-year first-cycle
vienna double bass, lute, traverso flute, 2- year second-cycle
baroque oboe, baroque basoon, natural
trumpet, natural horn
solo singing full-time studies
VOCAL VOCAL STUDIES 3-year first-cycle
PERFORMANCE 2- year second-cycle
AND ACTING
music education, choir conducting, full-time studies
CHOIR ARTISTIC EDUCATION church music and part-time studies
CONDUCTING, IN MUSIC ART 3-year first-cycle
MUSIC EDUCATION
AND CHURCH music education, choir conducting, full-time studies
MUSIC church music, and part-time studies
wind orchestra conducting 2- year second-cycle
violin, viola, cello, double bass, harp, full-time studies
BOWED INSTRUMENTAL guitar, lute and part-time studies
INSTRUMENTS, STUDIES 3-year first-cycle
HARP, GUITAR AND 2- year second-cycle
VIOLIN-MAKING artistic violin-making full-time studies
3-year first-cycle
2- year second-cycle
5
Artistic and research activities
The Academy of Music is actively engaged in various artistic activities. For Pozna music
lovers the Academy offers symphonic, chamber, choral, composition and vocal evenings, as well
as recitals which take place at the Academy or other concert halls in the city. Students can also
participate in artistic events in Pozna, in Poland and abroad. Artistic, research an organizational
activities of studens and teachers are supported by the Foundation of the I.J. Paderewski
Academy of Music.
The Academy of Music in Pozna is also an important centre on the map of national and
international music competitions. We organize or co-organize the following competitions:
International Piano Competition Halina Czarny Stefaska in memoriam in Pozna,
International H. Wieniawski Violin Competition in Pozna,
International Chamber Music Festival Qarto Mondi,
International Flute Festival,
International Composers Forum in Pozna,
Academic Organ Competition Romuald Sroczyski in memoriam in Pozna,
Academic Harpsichord Competition,
National Zdzisaw Jahnke Violin Competition in Pozna,
National Eugenia Umiska Young Violinists Competition in Pozna,
National Wodzimierz Kamiski Violin-Making Competition in Pozna,
National Dezyderiusz Danczowski Cello Competition in Pozna,
National Adam Bronisaw Ciechaski Double Bass Competition in Pozna,
National Jan Rakowski Viola Competition in Pozna,
National Choir Conductors Competition,
International Composition Competition to celebrate the 90th anniversary of the Academy of
Music in Pozna,
Harpsichord Composition Competition.
Research and teaching activities are also undertaken by interfaculty units:

1. Interfaculty Chamber Music Department mentors the teaching staff and organises
educational process of chamber ensembles teaching, stimulates students and teachers
towards artistic activities in chamber music at the the Academy and beyond, looks after
students preparing for chamber music competitions; heads: prof. Bogumi Nowicki, prof.
Bartosz Brya.
2. Interfaculty Ear Training Unit mentors the teaching staff and organises educational
process, takes care of reasearch and consults in ear training issues; head: ad. dr Anna
Kdzierska.
3. Study Centre for pedagogy granting teaching qualifications; head: prof. Anna
Organiszczak.
4. Study Centre for Physical Education organises classes of aerobics, yoga, bodybuilding,
football, swimming; head: st. wyk. Anna Rychlewska.
5. Study Centre for Foreign Languages offers classes of English and German; head: st.
wyk. Donata ukowska.
6. Symphonic Orchestra of the Academy of Music; artistic director: prof. AM dr hab. Marcin
Sompoliski
7. Choir of the Academy of Music; artistic director: prof. AM dr hab. Magdalena Wdowicka-
Mackiewicz
6
International cooperation
With Erasmus University Charter, the I.J.Paderewski Academy of Music in

Pozna exchanges students and teaching staff with the partner institutions in
Europe in Erasmus programme.
At the moment our Academy has bilateral agreements with 88 partner
institutions from 23 countries. We choose partners on the basis of the artistic level
of the institutions to ensure the highest music inspirations to our students and
teachers. The number of mobile activities is increasing year by year. Students go
abroad to study there and we host foreign teachers with their masterclasses,
individual lessons and lectures. The employees of our institution can go abroad
both in order to teach and to train/ observe classes. Thanks to the Erasmus
Extended University Charter, the Academy cooperates with the foreign cultural
institutions : orchestras, theatres, artistic agencies, philharmonics and violin-
making workshops which offer training to our students.
The I.J.Paderewski Academy of Music is a member of Association
Europeenne des Conservatoires, Academies de Musique et Musikhochschulen.
Every year our Academy appears in the top ten of the institutions best fulfilling the
mobility in the Erasmus programme (there are 280 AEC member institutions from
55 countries).
Our representatives participate in congresses and artistic projects resulting
from the membership in the Association of Baltic Academies of Music.
The Academy hosts many national events: concerts, competitions,
conferences, forums and festivals.
In jazz music we cooperate with foreign partners to create the European Jazz
School.
7
PARTNER INSTITUTIONS AND THEIR ERASMUS CODES
THE I.J. PADEREWSKI ACADEMY OF MUSIC IN POZNA PL POZNAN06
COUNTRY NAME OF THE INSTITUTION ERASMUS CODE
AUSTRIA 1 Universitt fr Musik und darstellende Kunst Wien A WIEN08

2 Universitt fr Musik und darstellende Kunst Graz A GRAZ03
3 Joseph Haydn Konservatorium, Eisenstadt A EISENST05
4 Vorarlberger Landeskonservatorium A FELDKIR03
BELGIUM 5 Lemmensinstituut Leuven B BRUSSEL43

6 Conservatoire Royal de Mons B MONS05
7 University College Ghent / Hogeschool Gent B GENT25
CZECH 8 Akademie Muzickych Umeni V Praze CZ PRAHA04

REPUBLIC
9 Ostravsk Universita CZ OSTRAVA02
10 Janackova akademie muzickych umeni v Brne CZ BRNO03
DENMARK 11 Syddansk Musikkonservatorium& Skuespillerskole DK ODENSE22

12 Det Kongelige Danske Musikkonservatorium Kopenhaga DK KOBENHA09
ESTONIA 13 Eesti Muusikakadeemia Tallin EE TALLIN03
FRANCE 14 Conservatoire National de Rgion Rennes F RENNES39

15 Conservatoire a rayonnement regional de Lyon F LYON106
16 Conservatorire de Strasbourg F STRASBO51
GERMANY 17 Hochschule fr Musik und Theater Hannover D HANNOVE04

18 Hochschule fr Musik Wrzburg D WURZBUR02
19 Hochschule fr Musik Kln D KOELN03
20 Hochschule fr Musik Carl Maria von Weber Dresden D DRESDEN05
21 Musikhochschule Lbeck D LUBECK02
22 Hochschule fr Musik und Theater Felix Mendelssohn Bartholdy Leipzig D LEIPZIG05
23 Hochschule fr Musik und Theater Rostock D ROSTOCK02
24 Hochschule fr Musik Karlsruhe D KARLSRU03
25 Hochschule fr Musik und Theater Hamburg D HAMBURG05
26 Hochschule fr Musik und darstellende Kunst Frankfurt am Main D FRANKFU02
27 Universitt der Knste Berlin D BERLIN03
28 Staatliche Hochschule fr Musik und Darstellende Kunst Stuttgart D STUTTGA03
29 Johannes Gutenberg-Universitt - Mainz D MAINZ01
30 Folkwang Universitt der Knste - Essen D ESSEN02
31 Staatliche Hochschule fr Musik und Darstellende Kunst Mannheim D MANNHEI02
HOLLAND 32 Hogeschool Zuyd Conservatorium Maastricht NL HEERLEN14

Hogeschool van Beeldende Kunsten, Muziek en Dans, Den Haag NL S-GRAVE05
IRELAND 33 Royal Irish Academy of Music - Dublin IRL DUBLIN22
ISLAND 34 Listahskli slands , Reykjavk IS REYKJAV06
ITALY 35 Conservatorio di Musica "Santa Cecilia" di Roma I ROMA09

36 Conservatorio di Musica E.F. Dall Abaco Verona I VERONA02
37 Conservatorio di Musica "G. B. Martini" di Bologna I BOLOGNA04
38 Conservatorio Luisa D'Annunzio, Pescara I PESCARA01
39 Conservatorio di Musica di Perugia I PERUGIA03
40 Conservatoio Statale di Musica "G. Rossini" Pesaro I PESARO01
41 Conservatoriodi Musica G.F.Ghedinidi Cuneo I CUNEO01
42 Conservatorio di Musica "Niccol Piccinni", Bari I BARI03
43 Conservatorio Antonio Vivaldi Alessandria I ALESSAN01
44 I stituto Superiore di Studi Musicali "G.Donizetti"Bergamo I BERGAMO03
8
45 LIstituto Superiore di Studi Musicali V. Bellini Caltanissetta I CALTANI01
46 Conservatorio Statale G.P. Da Palestrina Cagliari I CAGLIAR02
47 Conservatorio di Musica "Nino Rota" - Monopoli I MONOPOL02
48 Conservatorio "Tito Schipa" -Lecce I LECCE03
49 Conservatorio di Musica "Luigi Cherubini" Firenze I FIRENZE04
50 Il conservatorio di Musica L. Refice Frosinone I FROSINO02
51 Istituto Superiore di Studi Musicali-Conservatorio"G.Cantelli"di Novara I NOVARA01
52 Istituto Superiore di Studi Musicali P. Mascagni Livorno I LIVORNO01
53 Istituto Superiore di Studi Musicali "Franco Vittadini" - Pavia I PAVIA02
54 Conservatorio di Musica Ottorino Respighi di Latina I LATINA02
55 Conservatoio Statale di Musica J.Tomadini di Udine I UDINE02
56 Conservatorio di Musica N.Paganini -Genova I GENOVA02
57 Conservatorio Musicale Statale V.Bellini Palermo I PALERMO04
58 Istituto Superiore di Studi Musicali G. Briccialdi di Terni I TERNI01
59 Conservatorio di musica San Pietro a Majella di Napoli I NAPOLI 07
60 Istituto Superiore di Studi Musicali Rinaldo Franci di Siena I SIENA04
61 Conservatorio di Musica Lorenzo Perosi di Campobasso I CAMPOBA03
62 Conservatorio G.Verdi di Milano I MILANO09
63 Conservatorio Statale di Musica "Cesare Pollini" - Padova I PADOVA02
LITHUANIA 64 Lietuvos muzikos ir teatro akademija LT VILNIUS05
LATVIA 65 Jazepa Vitola Latvijas Muzikas Akademija Riga LV RIGA05
NORWAY 66 Hogskolen i Agder Kristiansand N KRISTIA01

67 Grieg Academy University of Bergen N BERGEN01
PORTUGAL 68 Escola Superior de Msica e das Artes do Espectculo do Porto P PORTO05
RUMUNIA 69 Academia de Muzic Gheorghe Dima Cluj-Napoca RO CLUJNAP02

70 Universitatea de Arte George Enescu Iai RO IASI01
SLOVENIA 71 Academy of Music Ljubljana SI LJUBLJA01
SLOVAKIA 72 Akademia Umeni v Banskiej Bystrici SK BANSKA02

73 Katolicka Univerzita V Ruzomberku SK RUZOMBE01
SPAIN 74 Conservatorio Superior de Msica"Eduardo Martnez Torner"de Oviedo E OVIEDO03

75 Conservatorio Superior de Msica "Manuel Massotti Littel" de Murcia E MURCIA02
76 Conservatiori Superior de Musica de les Illes Balears E PALMA27
77 Conservatorio superior de Musica de Canarias E TENERIF05
78 Real Conservatorio Superior de Msica de Madrid E MADRID27
79 Centro Superior de Musica del Pais Vasco, Musikene San Sebastian E SANSEBAB01
80 Conservatorio Superior de Msica Salvador Segu de Castelln E CASTELL13
SWITZERLAND 81 Hochschule der Knste Bern CH BERN11

82 Hochschule Luzern - Muzik CH LUZERN14
83 Haute Ecole de Musique de Geneve CH DELEMON02
SWEDEN 84 Kungliga Musikhgskolan I Stockholm S STOCKHO11

85 Lund University, Malmo Academy of Music S LUND01
TURKEY 86 Anadolu Universitesi Eskisehir TR ESKISEH01

87 Istanbul Teknik Universitesi TR ISTANBU04
UNITED 88 Guildhall School of Music and Drama in London UK LONDON081

KINGDOM
9
Premises and facilities
The Academy is located in w. Marcin 87, in the centre of Pozna, close to the
A.Mickiewicz Square. The building consists of three parts. The old builing is a
post-German Evangelical House taken over in 1945. The new building has a very
modern shape but its beautiful faade corresponds to the old wing. In September
2006, a new concert hall was opened. Aula Nova, built according to European
standards, can seat 540 people. The Academy has many classrooms and
representative halls, chamber and theatre rooms, a specialized Main Library with
rich sources, a Recording Studio, a Listening Studio, a computer laboratorio, a
professional Publishing House and Computer Music Studio with the professional
equipment to create and record music. The new buildings of the Academy are
disabled-friendly. In the main building there is a canteen and a music shop.
Accommodation
The Academy of Music owns aStudent Hostel ( Dom Studencki) in the city centre
Dom Akademicki Akademii Muzycznej im. I . J. Paderewskiego

ul. Wroniecka 19/20, 61-763 Pozna
Another Student Hostel that cooperates with our Academy is:
Dom Akademicki Akademii Wychowania Fizycznego

ul. w. Rocha 9, 61-142 Pozna
Monthly fee for a place in a Student Hostel is about 650 z.
10
Faculty of Composition, Conducting, Theory of Music and Eurhythmics
Dean prof. AM dr hab. Hanna Kostrzewska

Deputy dean ad. dr Kinga Ceynowa
Head of the Composition and Theory of Music Department prof. Zbigniew Kozub
Head of the Conducting Department prof. Warcisaw Kunc
Head of the Eurhythmics Department prof. Magorzata Berent-Kupsik
Head of the Theory Unit prof. AM dr Janina Tatarska
The faculty offers:

full-time first-cycle studies (3-year Bachelor studies)
full-time second-cycle studies (2-year Master studies)
Majors
composition and theory of music specializations:
composition
theory of music
eurhythmics
conducting specialization:
symphonic conducting (first-cycle studies)
symphonic and opera conducting (second-cycle studies)
BA studies
post-graduate studies
COMPOSITION
The education aim is to offer a thorough development to a young creator-composer

by providing solid and comprehensive development of composition abilities and skills.
Diploma work consists of two parts: writing a bigger composition for symphonic
orchestra or a bigger vocal-instrumental work, and a written thesis on the topic of
composition work. A graduate receives a degree of Master of Arts in composition..
THEORY OF MUSIC
The education aim is to provide a graduate with comprehensive knowledge and

practical skills necessary for a teacher of theoretical music subjects at primary and
secondary music schools. A graduate of this specialization is also prepared for individual
research in theory of music and for a work as a journalist and a music critic, as well as an
organizer and an animator of a music life.
Master thesis should concentrate on theory of music: music work, its analysis and
interpretation, strategies of composition work, aesthethic values, setting a work in athe
cultural context.
A graduate receives a degree of Master of Arts in theory of music.
11
EURYTHMICS
The education aim is to prepare for a work of an eurhythmics teacher in

kindergardens, primary and secondary schools, higher education institutions (pedagogical
studies), ballet schools, artistic schools for actors and singers and amateur institutions.
As far as rhythmic therapy is concerned, it prepares for leading rhythmic classes in
preventive medicine, therapy and physical rehabilitation.
Diploma work consists of two parts. A student needs to prepare music choreography
for two pieces and present them at a concert, as well as write a thesis on a subject of
eurhyrhythmic or rhythmic therapy.
A graduate receives a degree of Master of Arts in eurhythmics.
SUMPHONIC AND OPERA CONDUCING
The education aim is to teach conducting skills necessary for leading chamber,
symphonic and vocal-instrumental and opera ensembles and to present repertoire of
different periods and genres.
Diploma work consists of two parts. A student needs to prepare and conduct a
concert which includes full symphonic programme and to write a thesis on a subject of
interpretation or performance.
A graduate receives a degree of Master of Arts in symphonic conducting.
Structure of the Faculty
COMPOSITION AND THEORY OF MUSIC DEPARTMENT

The main aims are:
initiating research
mentoring and supervision over individual research of faculty staff
organising student and teacher composition concerts
care of the equipment and facilities of the Faculty.
THEORY OF MUSIC UNIT
The Unit does research connected with composers of the 20th and 21st century,
including many artists of Pozna and Wielkopolska. It organizes International Research
Conferences Musica practica, musica theoretica and national methodological and
research conferences. The Unit is also interested in teaching issues and quality of
teaching.
EURHYTHMICS AND PIANO IMPROVISATION DEPARTMENT
As a part of research activities, the Department staff participate in conferences and

scholarly sessions dealing with rhythmics, dance, choreography and rhythmic therapy
issues (movement classes for autistic children, children with cochlear implants or with
12
physical disabilities) As a part of artistic activities, the Department organizes concerts (in
Poland and abroad) that presents movement compositions of music works of different
periods and piano improvisations.
Facilities
The Faculty has seven classrooms (including one for movement class for the eurhythmic
specialization), an electroacoustic music studio, and a student computer lab.
COURSE DESCRIPTIONS*
C COMPOSITION, Con CONDUCTING, T THEORY OF MUSIC,

E EURHYTHMICS
BASICS OF COMPOSITION (C) first-cycle

6 semesters, 2 hours a week
TYPE: individual
LECTURERS: prof. AM dr hab. Zbigniew Kozub, prof. AM dr hab. Janusz
Stalmierski, ad. dr Monika Kdziora, ad. dr Artur Kroschel,
ASSESSMENT: semester I-VI exam,
Introduction to basic composition issues rules for shaping music form and selection of
instruments, development of creative attitude of a student towards various issues of a
music work. Individual work on pieces for chamber music, instrumental, vocal-
instrumental and choir ensembles.
COMPOSITION (C) second-cycle

TYPE: individual
LECTURERS: prof. AM dr hab. Zbigniew Kozub, prof. Lidia Rydlewicz-Zieliska,
prof. AM dr hab. Janusz Stalmierski
ASSESSMENT: semester I-IV exam, IV diploma exam, diploma thesis exam
Composing different forms of chamber and symphonic music and possibility to mix them
with computer music. Developing interest towards film and theatre music. Comprehensive
preparation of a student for individual creative work.
CONDUCTING (Con)
6 semesters, 2 hours a week , first-cycle
4 semesters 2 hours a week, second-cycle
TYPE: individual and group (practice with orchestra)
LECTURERS: Prof. AM dr hab. Warcisaw Kunc prof. Jerzy Salwarowski, Prof. AM dr hab.
Jerzy Kosek, Prof. AM dr hab. Marcin Sompoliski
ASSESSMENT: semester I-VI exam, first-cycle
semester I-IV exam, second-cycle
Learning how to lead an orchestra with proper score reading and elements of orchestral
pedagogy.
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OPERA CONDUCTING (Con) second-cycle
4 semesters, semester I-II 1 hour a week, semester III-IV 2 hours a week
TYPE: individual
LECTURERS: prof. AM dr hab. Warcisaw Kunc, prof. Antoni Gref
ASSESSMENT: semester I-IV exam
Learning opera literature. Development of specific skills of an opera conductor.
Preparation for conducting soloists, choir and orchestra.
HISTORY OF MUSIC THEORY (T) second-cycle

TYPE: group
LECTURERS: as. mgr Julia Gobiowska
ASSESSMENT: semester I - test, semester II exam
History of notation from the ancient Greece, through the Middle Ages and Renaissance
(alphabetical, neume, mensural, tablature) to the score printing (since the 16th century)
and attempts to reform the notation system of the 19th and 20th centuries. Development of
musical systems: Greek, modal, solmisation, tonal (functional) and musical temperament.
EURHYTHMICS (E)
6 semesters, 2 hours a week , first-cycle
3 semesters 2 hours a week, second-cycle
TYPE: group
LECTURERS: ad. dr Kinga Ceynowa, ad. dr Agnieszka Chenczke- -Orowska, as. Magorzata
Rociszowska, as. Joanna Lange, as. Anna Kokociska
ASSESSMENT: semester I-VI exam first-cycle
semester I-III exam second-cycle
Development of practical skills and broadening the knowledge of Emil Jaques-Dalcrozes
method. Systematization of Dalcrozes musical and movement exercises and their
implementation in traditional and modern aspects.
MOVEMENT COMPOSITION OF MUSIC PIECES (E) first-cycle

CHOREOGRAPHY OF MUSIC (E) second-cycle
6 semesters, 2 hours a week,
TYPE: group
LECTURERS: prof. Magorzata Berent-Kupsik, ad. dr Kinga Ceynowa
ASSESSMENT: semester I, III, V credit, semester II test, semester VI exam.
Learning the rules of movement creation in space taking into account the agreement of
space and music forms and dependence of movement expression on the emotional content
of music.
EAR TRAINING (C, Con, T, E) first-cycle

5 semesters, 2 hours a week (C, Con),
4 semesters, 2 hours a week (T),
2 semesters, 2 hours a week (E)
TYPE: group
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LECTURERS: st. wyk. mgr Jerzy Zieleniak, st. wyk. mgr Maria wikliska, Ad. dr Anna
Kdzierska, mgr Lidia Kieroczyk, as. mgr Bogna Baraska, as. mgr Katarzyna
Taborowska-Kaszuba, as. mgr Agnieszka Zdrojek-Suchodolska, mgr Alina Kubik
ASSESSMENT: semester I-IV credit, semester V exam (K, D),
semester I-III credit, semester IV exam(T), semester I-II test (R).
Developing inborn aural predispositions (harmonic and melodic hearing), a sense of
rhythm, memory and musical imagination. Working on vocal sight-reading, aural analysis
and writing down music sounds.
TECHNICAL BASICS OF INSTRUMENTATION

2 semesters, 1 hour a week
TYPE: group
LECTURERS: ad. dr Monika Stefaniak
ASSESSMENT: semester I test, II exam
Creating the basics for practical use of orchestra apparatus both in a creative process
(composers) and analytical (conductors, theoreticians). Introducing the historical process
of developing the orchestra apparatus in connection with the development and
improvement of music instruments.
SCORE READING (C, Con, T) first-cycle

4 semesters, 0,5 hour a week (C, T); 3 years, 1 hour a week (Con)
TYPE: individual
LECTURERS: prof. AM dr hab. Warcisaw Kunc, Ad. dr Monika Stefaniak, Ad. dr
Przemysaw Neumann, wyk. mgr Aleksander Gref
ASSESSMENT: semester I credit, II test, III credit,
IV exam (C, T)
semester I, III, V credit, II, IV, VI exam (Con)
Sight-reading, exercises in old clefs, transposition, selective score reading. Special
consideration of symphonic literature.
COUNTERPOINT (C, Con, T, E) first-cycle

4 semesters, 2 hours a week (C, Con, T)
TYPE: group
LECTURERS: ad. dr Monika Kdziora, st. wyk. mgr Jerzy Zieleniak
ASSESSMENT: semester I-III test, semester IV exam (C, Con,T)
semester I test, semester II exam (E)
Mastering of the polyphonic technique issues and forms polyphonic music connected with
it. Ability to use multi-vocal structures in ones own composition works.
ANALYSIS OF MUSICAL FORMS (C, Con, T, E) first-cycle

2 semesters, 2 hours a week ( E)
TYPE: group
LECTURERS: st. wyk. Janusz Kempiski, dr Ewa Rzanna - Szczepaniak
ASSESSMENT: semester I - V test (C, Con, T)
15
semester I - II test (E)
Learning the literature dealing with different forms of analysis. Analysis of selected forms
and genres in their historical development.
COMPOSITION TECHNIQUES of the 20th and 21st century (C, Con, T, E) first-
cycle
TYPE: group
LECTURERS: ad. dr Monika Kdziora, ad. dr Artur Kroschel
ASSESSMENT: semester I i III test, semester II, IV exam (C, Con, T)
semester I test, semester II, exam (E)
Technical and aesthetic issues of contemporary music from Claude Debussys pieces to
modern works.
INSTRUMENTATION (C, Con, T) first-cycle

3 years, 0,5 hours a week (C); 2 years, 0,5 hours a week (Con), 2 semesters, 0,5 hours a
week (T)
TYPE: individual
LECTURERS: prof. AM dr hab. Jerzy Kosek, prof. AM dr hab. Warcisaw Kunc, Ad. dr
Monika Kdziora Ad. dr Artur Kroschel, mgr Alina Kubik
ASSESSMENT: semester I-V credit, semester VI exam (C); semester III-IV credit,
semester V exam (Con, T)
Analysis of a piece piano structure on the basis of main melody, harmonic vertical line
and bass line. Practical instrumentation for different orchestral ensembles. Individual
programme adjusted to students skills.
HARMONY (C, Con, T, E) first-cycle

TYPE: group
LECTURERS: as. mgr Bogna Baraska
ASSESSMENT: semester I credit, semester II exam
Broadening the knowledge of functional harmony with special emphasis on extended
tonality, non-diatonic modulation and vocal figuration. Emphasis on the proper use of
terminology and aural recognition of sounds.
HARMONIC ANALYSIS (C, Con, T) first-cycle

TYPE: group
LECTURERS: prof. AM dr hab. Zbigniew Kozub
ASSESSMENT: semester III credit, semester IV exam
Learning selected harmonic systems and their analysis according to Hugo Riemann,
Herman Erpf , Paul Hindermith et al.
COMPUTER SCORE EDITION (C, Con, T) first-cycle

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TYPE: group
LECTURERS: st. wyk. mgr Jerzy Zieleniak
ASSESSMENT: semester I and II- credit
Software for score and text edition and practical exercises.
PROPEDEUTICS OF COMPUTER MUSIC (C, T) first-cycle

TYPE: group
LECTURERS: st. wyk. Jerzy Zieleniak
ASSESSMENT: semester I-II credit
Basic information on acoustics and electroacoustics. Digital recording and processing of
sound. Equipment and software used in a computer music studio.
CHOIR (C, Con, T)

2 semesters, 4 hours a week, first-cycle
2 semesters, 4 hours a week, second-cycle
TYPE: group
LECTURERS: Magdalena Wdowicka, Marek Gandecki
ASSESSMENT: semester I-II credit
Performing pieces of Polish and foreign choral and vocal-instrumental literature. First
performances of works by Pozna composers.
HISTORICAL DANCE (E) second-cycle

TYPE: group
LECTURERS: mgr Leszek Rembowski
ASSESSMENT: semester I-II test, semester III exam
Learning original dance arrangements from source readings as well as stylized forms.
Studying the development and performance technique, space composition, dance music
forms and clothes throughout the centuries (15th to 19th century).
FOLK DANCE (E) first-cycle

TYPE: group
LECTURERS: wyk. mgr Krystyna Frckowiak
ASSESSMENT: semester III- IV test
Learning Polish folk dances and folk dances characteristic for different regions of Poland.
MOVEMENT TECHNIQUE (E) first-cycle

4 semesters, 2 hours a week first-cycle
3 semesters, 2 hours a week second-cycle
TYPE: group
LECTURERS: ad. dr Kinga Ceynowa, ad. dr Agnieszka Chenczke-Orowska, as. Magorzata
Rociszewska
ASSESSMENT: semester III-V test, semester VI exam first-cycle
semester I-II test, semester III exam second-cycle
17
Development of muscle tensing and relaxation, awareness and aesthetics of movement.
EURHYTHMIC GROUP (E) first-cycle AND second-cycle

2 semesters , 2 hours a week first-cycle
4 semesters, 2 hours a week second-cycle
TYPE: group
LECTURERS: prof. Magorzata Berent-Kupsik, ad. dr Kinga Ceynowa, ad. dr Agnieszka
Chenczke Orowska, as. Magorzata Rociszewska, as. Joanna Lange,
as. Anna Kokociska,
ASSESSMENT: semester V, VI - test first-cycle
semester I, IV - test second-cycle
Preparation of music work choreography by diploma students and teachers of the
Eurhythmic Unit.
PIANO IMPROVISATION (E) first-cycle i second-cycle

6 semesters, 1 hour a week first-cycle
2 semesters, 1 hour a week second-cycle
TYPE: individual
LECTURERS: prof. Antoni Gref, ad. dr Kinga Ceynowa, ad. dr Agnieszka Chenczke-
Orowska, st. wyk. Maria wikliska, ad. dr Anna Kdzierska, as. Joanna Lange,
as. Anna Kokociska, wyk. mgr Emilia Pankowiak
ASSESSMENT: semester I-VI exam first-cycle
semester I-II exam second-cycle
Creating individual performance concepts using the knowledge of harmony, musical
forms analysis and composition techniques. Issues of Emil Jaques-Dalcrozes method.
AESTHETICS OF MUSIC (C, Con, T)

1 year (every second year), 2 hours a week
TYPE: group III and IV year together
LECTURERS: ad. dr Hanna Kostrzewska
ASSESSMENT: semester V or VII credit, semester VI or VIII exam
Aesthetic and musical concepts in historical persepective, value in a music work, the
concept of expression, semiological aspect of music, metamusical culture,
postmodernism, poetics of an open work.
COMPUTER SCORE AND TEXT EDITION (C, Con, T)

1 year, 1 hour a week
TYPE: group
LECTURERS: wyk. Jerzy Zieleniak
ASSESSMENT: semester VII i VIII credit
Software for score and text edition and practical exercises.
PROPEDEUTICS OF COMPUTER MUSIC (Con, T, E)

1 year, 1 hour a week (Con, T); 1 semester, 2 hours a week (E)
TYPE: group
18
ASSESSMENT: semester III-IV credit (Con, T); semester VII credit (E)
Basic information on acoustics and electroacoustics. Digital recording and processing of
sound. Equipment and software used in a computer music studio.
ELECTRONIC MUSIC STUDIO (Con, T)

1 year, 1 hour a week
TYPE: group
LECTURERS: ad. second-cycle Lidia Zieliska
ASSESSMENT: semester V credit, semester VI exam
Music and sound experiments of the 20th century. Technology of electroacoustic music
from the sine tone generators to biofeedback, notation of electroacoustic music, human
voice and its electronic transformations experiments. New tendencies soundscape,
audio-art and other extra-musical genres.
VOICE EMISSION (C, Con, T, E) first-cycle i second-cycle

2 semesters, 2 hours a week (C, Con, T) second-cycle
2 semesters 0,5 hours a week (E) first-cycle
TYPE: group (C, Con, T); individual (E)
LECTURERS: prof. Grayna Fliciska Panfil, prof. AM dr hab. Iwona Kowalkowska
ASSESSMENT: semester I-II test
Mastering basic vocal techniques. Chamber singing practice (duets, trios, quartets
chamber ensembles)
DICTION AND ELEMENTS OF STAGE MOVEMENT (C, Con, T) second-cycle

1 semester, 2 hours a week
TYPE: group
LECTURERS: st. wyk. Zbigniew Grochal
ASSESSMENT: semester II test
Verbal and non-verbal communication and expression as the forms of artistic statement.
Modern rhetorical methods.
ELECTROACOUSTIC COMPOSITION (C)

TYPE: individual
LECTURERS: prof. Lidia Zieliska
ASSESSMENT: semester I test, II exam
Compositon organization of electronic sounds, processed sounds and samples. Having
gained knowledge and technological practice during other classes (Computer music
technologies, Sound design and others), students include those skills into their creative
process. There is special emphasis on a difference between composition rules and
psychoacoustic perception in the case of using electronic media and on the highest
possible aesthetic and technical quality.
19
SONOLOGY (C, T) second-cycle
1 semester, 2 hours a week
TYPE: group
LECTURERS: prof. Lidia Zieliska
ASSESSMENT: semester I exam
Aims:
- aural ability analysis of sounds, their technical quality, qualification
of their emotional and semantic functions
- working on individual criteria for aesthetic and artistic assessment
- ability to associate musical phenomena with other arts as well as
social and psychological circumstances
- deepened awareness of operating sounds in autonomic music and any
other kinds of sound
- knowledge of psychological rules of audio and audiovisual reception
COMPUTER MUSIC TECHNOLOGIES AND ELEMENTS OF ACOUSTICS (C)

second-cycle
TYPE: group
LECTURERS: ad. dr Rafa Zapaa
ASSESSMENT: semester I and II test
Theoretical knowledge and practical skills used in work with computers or sound
electronic equipment.
A student should know how to implement composition tools (equipment and
software) in the registration, analysis, synthesis, edition, processing and
composition of sound.
SOUND DESIGN (C) second-cycle

TYPE: individual
ASSESSMENT: semester I i II test
Sound design is a specialised art of creating (desiging) new sounds. The class aims
at theoretical basics and practical skills in creating and processing composition
material: computerized creation of sounds, sound effects, acoustic spaces (through
practical exercises on film soundtracks, web animations etc.).
LIVE ELECTRONICS PROGRAMMING AND CREATIVE PROJECTS (C)

second-cycle
TYPE: group
ASSESSMENT: semester II credit, III test
The aim is to broaden the meaning of composer to include sound art. The class
consists in practice, planning and creating artistic works: live electronics, sound
20
installations, sound sculptures, soundscape, compositions in radio and virtual
space. The necessary tool is computer programming software: PureData,
Max/MSP.
21
FACULTY OF COMPOSITION, CONDUCTING
THEORY OF MUSIC AND EURHYTHMICS
FIRST-CYCLE
Composition
Year I Year II Year III
No. Course Type Semester I Semester II Semester III Semester IV Semester V Semester VI
a b c a b c a b c a b d a b c a b c
1. Basics of composition i 30 E 10 30 E 10 30 E 10 30 E 10 30 E 10 30 E 10
2. Technical basics of instrumentation group 15 K 1 15 E 2
3. Score reading i 7,5 Z 1 7,5 K 1 7,5 Z 1 7,5 E 2
4. Improvisation and practical harmony i 7,5 Z 1 7,5 E 1 7,5 Z 1 7,5 E 1
5. Instrumentation i 7,5 Z 0,5 7,5 Z 0,5 7,5 Z 0,5 7,5 Z 0.5 7,5 Z 0,5 7,5 E 0,5
Composition techniques of the 20th
6. group 30 K 1 30 E 1 K E
and 21st centuries 30 1 30 2
7. Harmonic analysis group 30 K 1 30 E 2
8. Computer score edition group 15 Z 0,5 15 Z 1
Propedeutics of electroacoustic
9. group 30 K 1
music
10. Propedeutics of computer music group 15 Z 1 15 Z 1
11. Propedeutics of conducting group 30 Z 1 30 E 2
12. Polish music group 30 K 2 30 K 2
13. Music literature group 30 K 1 30 E 2 30 K 2 30 E 2 15 K 1 15 E 2
14. History of world music group 15 K 1 15 K 1 15 K 1 15 K 2
15. Analysis of musical forms group 30 K 1.5 30 K 1,5 30 K 1,5 30 K 1,5 30 K 1,5
16. Ear training group 30 K 1 30 K 1 30 K 1 30 K 1 30 E 1
17. Choir/ Orchestra group 60 Z 1 60 Z 1
18. Counterpoint group 30 K 1 30 K 1 30 K 1 30 E 1
19. Harmony group 30 K 1 30 E 2
20. Physical education group 30 Z 1 30 Z 1
22
Conducting
a b c a b c a b c a b c a b c a b c
1. Conducting i 30 E 10 30 E 10 30 E 10 30 E 10 30 E 10 30 E 10
Technical basics of
2. 15 K 1 15 E 2
instrumentation group
3. Score reading i 15 K 2 15 E 2 15 K 2 15 E 2 15 K 2 15 E 2
Improvisation and
4. 7,5 Z 1 7,5 E 1 7,5 Z 1 7,5 K 1
practical harmony i
5. Instrumentation i 7,5 Z 0,5 7,5 K 0,5 7,5 Z 0,5 7,5 E 0,5
Composition techniques
6. of the 20th and 21st 30 K 1 30 E 1 K E
centuries group 30 1 30 2
Propedeutics of
9. 30 K 1
computer music group
11. Music literature group 30 K 1 30 E 2 30 K 2 30 E 2 15 K 1 15 E 2
13. Analysis of musical forms group 30 K 1,5 30 K 1,5 30 K 1,5 30 K 1,5 30 K 1,5
14. Ear training group 30 K 1 30 K 1 30 K 1 30 K 1 30 E 1
16. Counterpoint gr 30 K 1 30 K 1 30 K 1 30 E 1
23
Theory of music

a b c a b c a b c a b c a b c a B c
1. Technical basics of instrumentation group 15 K 1 15 E 2
2. Score reading i 7,5 Z 1 7,5 K 1 7,5 Z 1 7,5 E 2
3. Improvisation and practical harmony i 7,5 Z 1 7,5 E 1 7,5 Z 1 7,5 E 1
4. Instrumentation i 7,5 Z 1 7,5 K 1
5. Theory of music seminar group 30 Z 10 30 E 10 30 Z 10 30 E 10
Composition techniques of the 20th
6. 30 K 1 30 E 1 K E
and 21st century group 30 1 30 2
Propedeutics of electroacoustic
9. 30 K 1
music group
10. Propedeutics of computer music group 15 Z 1 15 Z 1
11. Propedeutics of conducting group 30 Z 1 30 E 2
13. Music literature group 30 K 1 30 E 2 30 K 2 30 E 2 15 K 1 15 K 2
15. Analysis of musical forms group 30 K 1.5 30 K 1,5 30 K 1,5 30 K 1,5 30 K 1,5
16. Ear training group 30 K 0,5 30 K 0,5 30 K 0,5 30 E 0,5
18. Counterpoint gr 30 K 1 30 K 1 30 K 1 30 E 1
24
Eurhythmics
a b c a b c a b c a b d a b c a b c
1. Eurhythmics group 30 E 6 30 E 7 30 E 6 30 E 7 30 E 7 30 E 7
Movement composition of musical
2. group 30 Z 1 30 K 2 30 Z 1 30 K 2 30 Z 1 30 E 2
pieces
3. Piano improvisation i 15 E 2 15 E 2 15 E 2 15 E 2 15 E 2 15 E 2
4. Classical dance techniques group 30 Z 1 30 K 1
5. Movement technique group 30 Z 1 30 K 1 30 Z 1 30 K 1
6. Facial expressions and stage group 30 Z 1

movements
Emil Jaques Dalcrozes method
7. 30 K 1
proseminar
8. Folk dance group 30 K 1 30 K 1
9. Eurhythmic group group 30 K 1 30 K 1
10. Practical harmony group 15 K 0,5 15 K 0,5 15 K 0,5 15 K 0,5
12. Analysis of musical forms group 30 K 1,5 30 K 1,5
13. Ear training group 30 K 1 30 K 1
14. Choir/ Orchestra/ Eurhythmics group group 30 K 0,5 30 K 0,5 30 K 0,5 30 K 0,5
15. Counterpoint gr 30 K 1 30 E 1
17. Dalcroze = solfege 30 K 1
18. Physical education folk dance group 30 K 2 30 K 2
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SECOND-CYCLE
Composition
Year I Year II
No. Course Type Semester I Semester II Semester III Semester IV
a b c a b c a b c a b c
1. Composition i 30 E 8 30 E 8 30 Z 10 30 E 10
2. Ethnomusicology group 30 K 1 30 E 2
3. Electroacoustic composition i 15 K 2 15 E 2
Analysis and interpretation of the 20th and 21st
4. group 30 K 2 30 E 3
century music
5. Jazz and entertainment music group 30 K 2 30 E 3
Computer music technologies with the elements
6. group 15 K 1 15 K 1
of acoustics
7. Sound design i 15 K 2 15 K 3
Live electronics programming and artistic
8. group 15 Z 1 15 K 2
projects
9. Theatre and film music group 30 E 4
10. Diction and elements of stage movement group 30 K 2
11. Sonology group 30 E 3
12. Voice emission group 30 K 1 30 K 1
13. Choir group 60 Z 3 60 Z 3
New improvisation practice theory and artistic
14. projects group 30 E 2
26
Conducting
Year I Year II
1. Conducting i 30 E 8 30 E 8 30 E 9 30 E 10
2. Opera conducting i 15 E 2 15 E 2 30 E 2 30 E 2
3. History of interpretation group 15 K 1 15 E 1
4. Score reading group 15 K 1 15 E 1
5. The art of acompaniment i 15 Z 1 15 K 1
6. Orchestra practice group 15 Z 1
7. Choir practice group 15 Z 1
8. Opera practice group 15 Z 1
11. Percussion i 7,5 Z 0,5 7,5 Z 0,5
12. Choir 60 Z 3 60 Z 3
13. Aesthetics of music group 30 K 1 30 E 2
15. group E
projects 30 2
16. Composition techniques group 15 K 1 15 E 2
17. Propedeutics of composition i 15 Z 2 15 K 2
27
Theory of music
Year I Year II
1. Ethnomusicology group 30 K 1 30 E 2
2. Theory of music history group 30 K 3 30 E 4
Analysis and interpretation of the 20th and 21st group
3. K 2 E
century music 30 30 3
5. Propedeutics of composition i 7,5 Z 2 7,5 K 2
6. Theatre and film music group 30 E 4
8. Sonology group 30 E 3
10. Aesthetics of music group 30 K 1 30 E 2
11. Psychology of music group 30 E 1
12. group E
projects 30 2
13. Choir 6 Z 3 60 Z 3
14. M.A. seminar i 30 Z 10 30 E 10
28
Eurhythmics
Year I Year II
a b c a b c a b c a b d
1. Eurhythmics group 30 E 5 30 E 7 30 E 6
2. Choreography of music group 30 Z 4 30 K 4
3. Piano improvisation i 15 E 3 15 E 3
Piano improvisation with elements of jazz and
4. i 15 K 1 15 E 2
entertainment music
5. Movement technique group 30 K 1 30 K 1 30 E 1
6. Historical dance group 30 K 1 30 K 1 30 K 1
7. Modern dance group 30 K 1 30 K 1 30 K 1
8. Choir/ Orchestra/ Eurhythmic group group 30 Z 0,5 30 Z 0,5 30 Z 0,5 30 Z 0,5
Analysis and interpretation of
9. group 30 K 2 30 E 3
the 20th and 21st century
10. History of culture group 30 Z 1 30 Z 1
29
FACULTY OF INSTRUMENTS
Dean Prof. Alicja Kledzik
Deputy Deans prof. AM dr hab. Teresa Adamowicz-Kaszuba
st. wyk. dr Wojciech Olszewski
Head of the Wind Instruments and Accordion Department: prof. Roman
Gry
Deputy Head of the Wind Instruments and Accordrion Department:
prof. AM Pawe Drobnik
Head of the Percussion Department: prof. Marian Rapczewski
Head of the Piano, Harpsichord and Organ Department:
prof. Andrzej Tatarski
Head of the Historical Instruments Unit: ad. Maria Banaszkiewicz-Brya
acting Head of Jazz and Entertainment Music: mgr Zbigniew Wrombel
Faculty ECTS coordinators:
prof. AM dr hab. Teresa Adamowicz-Kaszuba
st. wyk. dr Wojciech Olszewski
The Faculty offers:

full-time and part-time studies, first-cycle (3-year Bachelor studies)
full-time and part-time studies, second-cycle (2-year Master studies)
There are no part-time studies in the specialization of jazz and
entertainment music.
Major: instrumental studies
Specializations:
piano, harpsichord, organ, accordion, flute, traverso flute, oboe, baroque
oboe, clarinet, bassoon, baroque bassoon, saxophone, horn, natural horn,
trumpet, natural trumpet, trombone, tuba, percussion
education for virtuoso and chamber playing,
preparation for work in an orchestra,
providing skills of management and culture (music) promotion
instrument playing in jazz and entertainment music: piano, saxophone,
trumpet, trombone, double bass, bass guitar, guitar, percussion
composition and arrangement
jazz vocal studies
historical instruments: baroque violin, baroque cello, vila da gamba,
violone, Vienna double bass, lute, traverse flute, baroque oboe, baroque
bassoon, natural trumpet, natural horn
30
COURSE DESCRIPTION
MAIN INSTRUMENTS
LECTURERS:
PIANO - prof. zw. Alicja Kledzik, prof. Waldemar Andrzejewski, prof. zw.
Bogumi Nowicki, prof. Anna Organiszczak, prof. zw. Andrzej Tatarski, ad. dr
Joanna Marcinkowska, ad. dr hab. Maciej Pabich, as. dr Magorzata Sajna-
Mataczyska, ad. dr Jerzy Stryjniak,
ad. dr Piotr Szychowski, as. Krzysztof Dys, as. mgr Przemysaw Witek, as. mgr
Piotr ukowski
ORGAN - prof. AM Sawomir Kamiski, prof. AM Elbieta Wiechowicz-
Karolak,
as. Jakub Pankowiak, as. mgr Jarosaw Tarnawski
HARPSICHORD - ad. Maria Banaszkiewicz-Brya, as. Natalia Hyak
BASOON as. Arkadiusz Adamczyk, st. wyk. Krzysztof Zabocki
CLARINET prof. AM Pawe Drobnik, prof. Zdzisaw Nowak
TRUMPET Prof. Roman Gry
OBOE Prof. AM Tomasz Gubaski, prof. zw. Mieczysaw Koczorowski, as.
ukasz Krzemiski
TROMBONE ad. dr Maciej akomy, ins. Maciej Koodziejski
FLUTE prof. Andrzej gowski, ad. dr hab. Ewa Murawska, as. Ewa
Mizerska
HORN as. Pawe Marciniak, as. Krzysztof Stencel
NATURAL HORN - as. Krzysztof Stencel
TUBA as. Piotr Rulewicz, mgr Jerzy Grabowski
SAXOPHONE - as. Magdalena Jakubska-Szymiec, as. Rafa Rachwa,as.
Paulina Wasylkw
PERCUSSION - prof. AM Maria Anders, prof. zw. Marian Rapczewski, prof.
nadzw. Jacek Wota, as. mgr Piotr Sokowicz, as. mgr Piotr Szulc
ACCORDION - prof. Teresa Adamowicz-Kaszuba, prof. Jerzy Kaszuba
BAROQUE OBOE mgr Marek Niewiedzia
NATURAL TRUMPET wyk. Johann Plietzsch
VIOLA DA GAMBA mgr Kazimierz Pyzik
BAROQUE CELLO wyk. Jarosaw Thiel
HISTORICAL BASOON Tomasz Wesoowski
BAROQUE VIOLIN mgr Mikoaj Zgka
TRAVERSO FLUTE wyk. Karolina Zych
Practical learning of instrument literature. Students get performance qualifications in

solo playing.
31
MAIN INSTRUMENT - JAZZ
LECTURERS: dr hab. Krzysztof Przybyowicz, dr Wojciech Olszewski, dr Maciej
Fortuna, mgr Piotr Wrombel, mgr Zbigniew Wrombel, mgr Jarosaw Wachowiak, mgr
Maciej Kociski, mgr Konrad Zemler, mgr Piotr Bany
Practical learning of instrument literature in jazz music. Students get performance
qualifications in solo playing.
VOCAL JAZZ
LECTURER: dr Janusz Szrom
Practical learning of vocal jazz literature. Students get solo performance qualifications.
MAIN INSTRUMENT CLASSICAL MUSIC (for the instrumentalists of Jazz and

Entertainment Music Unit)
LECTURERS:
TRUMPET - mgr Marek Galubiski
GUITAR - mgr Bartomiej Marusik
SAXOPHONE - as. Rafa Rachwa
PIANO - ad. dr Maciej Pabich, as. mgr Krzysztof Dys
PERCUSSION prof. Maria Anders
Practical learning of classical music literature for jazz instrumentalists.
CHAMBER MUSIC
LECTURERS: prof. zw. Alicja Kledzik, prof. zw. Marian Rapczewski, prof. zw.
Bogumi Nowicki, prof. AM Sawomir Kamiski, prof. Teresa Adamowicz-
Kaszuba, prof. AM Tomasz Gubaski, prof. AM Bogdana Janikowska, prof.
AM Elbieta Wiechowicz-Karolak, prof. AM Bogusaw Rottermund, ad. Maria
Banaszkiewicz-Brya, ad. dr Joanna Marcinkowska, ad. dr Piotr Szychowski, ad.
dr Jerzy Stryjniak, doc. Jerzy Pelc, as. ukasz Krzemiski, as. Pawe Marciniak,
as. mgr Piotr Szulc, as. dr Magorzata Sajna-Mataczyska, as. Krzysztof Stencel,
as. Jakub Pankowiak, as. Jarosaw Tarnowski, as. Przemysaw Witek, as. mgr
Piotr ukowski, st. wyk. Krzysztof Zabocki, wyk. Karolina Zych, wyk.
Johann Plietzsch, mgr Henryk Kasperczyk, mgr Piotr Bany, mgr Maciej
Kociski, mgr Kazimierz Pyzik, mgr Mikoaj Zgka
Learning the skills of group playing and sensitivity to group sound. Solving
interpretation problems, Preparation and participation in concerts.
CHAMBER MUSIC JAZZ ENSEMBLES

LECTURERS: dr Maciej Fortuna, mgr Zbigniew Wrombel, mgr Piotr Bany, mgr Maciej
Kociski
Learning the skills of group playing and sensitivity to group sound in jazz style.
Solving interpretation problems, preparation and participation in concerts.
32
CHAMBER MUSIC VOCAL ENSEMBLES
(for pianists of Jazz and Entertainment Music Unit)
LECTURERS: dr Maciej Fortuna, mgr Zbigniew Wrombel, mgr Piotr Bany, mgr Maciej
Kociski
Learning the skills of group playing and sensitivity to group sound in jazz style with
special emphasis on accompaniment for singers. Solving interpretation problems,
Preparation and participation in concerts.
VOCAL ENSEMBLS (for vocalists of Jazz and Entertainment Music Unit)

LECTURERS: ad. dr Katarzyna Stroiska-Sierant
Learning the skills of group playing and sensitivity to group sound in jazz style.
Solving interpretation problems, Preparation and participation in concerts.
VOICE EMISSION (for vocalists of Jazz and Entertainment Music Unit)

LECTURERS: prof. Grayna Fliciska-Panfil, prof. AM dr hab. Maja Urbanek-
Jaworowicz,
ad. dr Barbara Mdra-Bednarek, ad. dr Magorzata Woltman-ebrowska, wyk.
Jaromir Trafankowski
Shaping of vocal apparatus and vocal technique.
DICTION AND RECITATION (dla wokalistw Zakadu Jazzu i M. E.)

LECTURERS: prof. Zbigniew Grochal
Correction of speech impediments and practice in poetry and prose declamation.
STAGE MOVEMENT (dla wokalistw Zakadu Jazzu i M. E.)

LECTURERS: Leszek Rembowski
Correction of stature, learning stage behavior and dance.
ACCOMPANIMENT TRAINING AND SIGHT-READING

LECTURERS: prof. AM Bogdana Janikowska, ad. dr Piotr Szychowski, ad. dr Laura
Sobolewska, as. dr Magorzata Sajna-Mataczyska, st. wyk. Weronika Firlej-Kubasik;
Accompanying soloists of different specializations: string, woodwind and brass
instruments, vocal performance. Proper preparation and performance of piano parts in
instrumental and vocal pieces. Practice of sigh-reading of pieces for piano and
orchestral scores.
ACCOMPANIMENT TRAINING AND SIGHT-READING (Jazz and

Entertainment Music Unit.)
Accompanying soloists in jazz style and related gengres. Proper preparation and
performance of piano parts in instrumenta and vocal pieces. Practice of sight-reading of
pieces for piano and orchestral scores.
33
HARPSICHORD (for organists)
LECTURERS: wyk. Dagmara Kapczyska
Learning the specifics of harpsichord its distinctness, but also common features with
organ. Opportunity of basso continuo realization on harpsichord which greatly
enhances chamber music experience of organists.
LITURGY (for organists)

LECTURERS: as. Jakub Pankowiak
Liturgical improvisation.
COUNTERPOINT WITH FUGUE (for organists)

LECTURERS: ad. dr Monika Kdziora, st. wyk. Jerzy Zieleniak
Polyphonic techniques from the Renaissance to the 20th century. Practice in individual
counterpoint genres. Theoretial assumptions and realization of the Baroque fugue form.
BASSO CONTINUO (for organists and harpsichordists)

LECTURERS: prof. AM Sawomir Kamiski, as. Natalia Hyak
Practice in realization of basso continou on the basis of the 18th century scores.
Mastering sight-reading of basso continuo part for the chamber pieces of German,
Italian and French Baroque.
IMPROVISATION (for organists)

LECTURERS: mgr Rajmund Pietrzak
Creating simple melodical and rhythmic motifs as a basic polyphonic structure and
their implementation in 2- and 3-voice free style exercises or with cantus firmus.
COUNTERPOINT (for Composition and Arrangement specialization)

Practical mastering of polyphonic technique and related forms of polyphonic music.
Ability to use multi-vocal structure in ones own composition works.
ORGAN (for harpsichordists)

LECTURERS: as. Jakub Pankowiak
Mastering basic elements of organ playing technique with special emphasis on pedal
playing and the basics of proper articulation. Realization of basso continuo on organ
and harpsichord.
INSTRUMENTAL STUDIES WITH THE BASICS OF INSTRUMENTATION

(Jazz and Entertainment Music Unit)
LECTURERS: dr Wojciech Olszewski
Learning the possibilities of instruments and rules of notation as the elements of
instrumentation and arrangement technique in jazz music and related genres.
34
WORK WITH A PIANIST
LECTURERS: wyk. Tomasz Soniak, as. mgr Przemysaw Witek, wyk. dr Joanna
Balewska, Mateusz Dobrowolski, wyk. Barbara Habdas, Mateusz Kowalski,
Natalia Kuriata, Patrycja Wywrot, st. wyk. R. Witczak-Pabich, wyk. Marek
Lipiec, Grzegorz Rudny,
wyk. Maria Rutkowska, wyk. Piotr wito, wyk. Hanna Tarchaa, Zbigniew
Waszak, st. wyk. Micha Francuz, as. Natalia Hyak wyk. Dagmara
Kapczyska
Preparation of students current assignments for their main instrument courses.
PRACTICE INACCOMPANIMENT CLASS

LECTURERS: prof. AM Bogdana Janikowska, ad. dr Laura Sobolewska, ad. dr Piotr
Szychowski,
as. dr Magorzata Sajna-Mataczyska, st. wyk. Weronika Firlej-Kubasik
Active help of instrumentalists students of string and wind classes in
accompaniment training of piano students.
ANALYSIS OF JAZZ STANDARDS

LECTURERS: dr Patryk Piasiewicz
Structure of jazz pieces, formal structure in different styles of this gengre and its
influence on interpretation.
PERFORMANCE ISSUES OF IMPROVISED MUSIC

Practical analysis of interpretation possibilities of improvised jazz solos and its
methods of realization.
PERCUSSION SET (for percussionists)

LECTURERS: as. Cezary Konrad, mgr Marek Jakubowski
Playing individual instruments of jazz set and broadening comprehensive knowledge
about playing in different jazz styles. Classes with the use of piano, recordings and
rhythmic section.
BASICS OF ARRANGEMENT
Basics of arrangement technique in jazz music and assiociated genres.
PROPEDEUTICS OF COMPUTER MUSIC

LECTURERS: prof. Lidia Zieliska, st. wyk. Jerzy Zieleniak
Basic knowledge of acoustics and electroacoustics. Digital recording and sound
processing. Equipment and software used in a computer music studio.
35
BASICS OF ACCORDION ARRANGEMENS TRANSCRIPTIONS (for
accrordionists)
LECTURERS: prof. Teresa Adamowicz-Kaszuba
Development and mastering of instrumentation of musical material for specific
technical abilities of accordion.
ORCHESTRA
LECTURERS: prof. Marcin Sompoliski, ad. dr Przemysaw Neumann
Developing and perfecting practical working skills in various instrumental
arrangements under conductors direction. Students learn main instrumental repertoire
of European music.
ORCHESTRA STUDIES AND SIGHT-READING

LECTURERS: prof. AM Tomasz Gubaski, st. wyk. Stanisaw Kwapisz, prof.
Andrzej gowski, as. Pawe Marciniak, as. Piotr Rulewicz, st. wyk. Krzysztof
Zabocki, prof. nadzw. Jacek Wota, wyk. Jarosaw Thiel
Students learn extensive orchestral material: symphonic, opera and ballet (depending
on their specialization). Work on technical and interpretational part of a piece.
Learning selected solo parts of the symphonic literature.
ORCHESTRA STUDIES AND SIGHT-READING (Jazz and Entertainment Music

Unit)
Larning jazz scores for different instrument arrangements. Work on technical and
interpretation part of a piece. Learning selected solo parts of jazz literature and related
genres.
BIG BAND
Learning a variety of arrangments for jazz big band. Work on technical and
interpretational part of a piece. Learning selected pieces of jazz literature.
CHOIR
LECTURERS: prof. AM dr hab. Magdalena Wdowicka-Mackiewicz, prof. AM dr hab.
Marek Gandecki, wyk. Maciej Grosz, as. mgr Marianna Majchrzak
BAROQUE ORCHESTRA (historical instruments)

LECTURERS: wyk. Jarosaw Thiel
Peforming Baroque pieces.
36
RENAISSANCE ENSEMBLES (historical instruments)
LECTURERS: mgr Henryk Kasperczak
Performing Renaissance pieces.
SPECIALIST LITERATURE
LECTURERS: as. Jakub Pankowiak, as. Natalia Hyak, prof. AM Tomasz
Gubaski, st. wyk. Stanisaw Kwapisz, prof. Andrzej gowski, as. Pawe
Marciniak, as. Maciej Koodziejski, as. Piotr Rulewicz, st. wyk. Krzysztof
Zabocki, prof. AM Maria Anders,
mgr Henryk Kasperczak, as. Magdalena Jakubska-Szymiec
Learning solo and chamber literature for the main instrument in a general (historical)
and detailed (analytical) aspect. Developing skills of recognizing lilterature of different
literary styles.
HISTORY OF MUSIC AND LITERATURE

LECTURERS: ad. dr Mikoaj Rykowski, as. Maria Majewska
Extending knowledge of music history of Antiquity, the Middle Ages, Renaissance,
Classicism and Romanticism. Historical synthesis deal with the issues of different
periods, compositons, important pieces, development of genres and musical forms.
Development of musical styles as well as other issues: instruments, musical notation,
music institutions and music reception.
HISTORY OF JAZZ MUSIC AND LITERATURE

LECTURERS: mgr Zbigniew Wrombel
Extending the knowledge of jazz music history, key elements in the development of
musical forms and the style of this genre. Learning jazz literature from recordings or
any other audiovisual sources.
LITERATURE OF CONTEMPORARY POPULAR MUSIC (Jazz and

LECTURERS: mgr Zbigniew Wrombel
Learning, analysis and interpretation of contemporary entertainment music literature
from recordings or any other audiovisual sources.
ANALYSIS OF JAZZ SCORES

LECTURERS: ad. dr Wojciech Olszewski, st. wyk. dr Patryk Piasiewicz
Structure of jazz pieces, arrangement structure in different styles of this genre,
observation of scores and other materials.
ANALYSIS OF A MUSIC WORK

LECTURERS: ad. dr Monika Kdziora, as. Julia Gobiowska
Structure of musical pieces: prelude, fantasy, ballad, rhapsody, fugue, symphonic
poem. Classification and systematization of structural phenomena necessary for the
37
proper interpretation of performed pieces. The selection of form depends on students
needs.
COMPOSITION AND ARRANGEMENT (Jazz and Entertainment Music Unit)

LECTURERS: dr Wojciech Olszewski, dr Krzesimir Dbski
Development and mastering of musical arrangement for different instrument and vocal
ensembles in jazz and related genres the use of the recent technologies, computer
software, etc.
CONTEMPORARY COMPOSITION TECHNIQUES

LECTURERS: ad. dr Monika Kdziora, ad. dr Artur Kroschel
Technical and aesthetic issues of contemporary music from Claude Debussy to the
modern pieces.
RHYTHMIC EXERCISES
LECTURERS: mgr Piotr Szulc
Developing skills of free realizaton of rhythmic with the emphasis on independence of
arms and legs, and the development of rhythmic imagination.
BASICS OF IMPROVISATION (Jazz and Entertainment Music Unit)

LECTURERS: dr Maciej Fortuna
Learning and mastering of techniques necessary for jazz improvisation.
HARMONY (Jazz and Entertainment Music Unit)

Extending the knowledge of functional harmony with the special emphasis on trends in
contemporary jazz music, especially trends in modern education in jazz music.
MAIN INSTRUMENT (for specialization: Composition and arrangement in Jazz and

Fortuna, mgr Maciej Kociski, mgr Zbigniew Wrombel, mgr Piotr Wrombel, mgr
Jarosaw Wachowiak, mgr Konrad Zemler, mgr Piotr Bany.
Practical learning of instrument literature in jazz music and related genres. Students
receive performance qualifications in solo playing.
EXTRA INSTRUMENT (for pianists at specialization: Composition and arrangement

in Jazz and Entertainment Music)
Fortuna, mgr Maciej Kociski, mgr Zbigniew Wrombel, mgr Piotr Wrombel, mgr
Jarosaw Wachowiak, mgr Konrad Zemler, mgr Piotr Bany.
Practical learning of possibilities of different instrument and their practical
implementation in jazz music and related genres.
38
PIANO-OBLIGATORY (Jazz and Entertainment Music Unit, exc.pianists)
LECTURERS: dr Wojciech Olszewski, mgr Piotr Wrombel, mgr Piotr Biaas
Practical development of piano playing. The level depends on the previous preparation
of a student.
HARMONY WITH ELEMENTS OF IMPROVISATION

LECTURERS: as. Katarzyna Taborowska-Kaszuba
Modern look at the harmony rules, its interpretation, symbolic notation, and the basics
of ones own improvised musical structures of different styles, including jazz music
and related genres.
PROPEDEUTICS OF CONTEMPORARY MUSIC

LECTURERS: ad. dr Artur Kroschel
Technical and aesthetic issues in contemporary music
PERFORMANCE ISSUES OF EARLY MUSIC

LECTURERS: mgr Henryk Kasperczak
Technical and aesthethic issues of early music in an interpretational aspect.
GEORGIAN CHANT - PRACTICE

LECTURERS: prof. dr Andrzej Filaber, ks. dr Mariusz Biakowski
Practical learning of performance possibilites in Gregorian Chant.
EAR TRAINING
LECTURERS: as. Bogna Baraska, st. wyk. Maria wikliska, ad. dr Anna Kdzierska,
as. Katarzyna Taborowska-Kaszuba, as. Agnieszka Zdrojek-Suchodolska, st. wyk.
Jerzy Zieleniak
Developing music skills through harmonic and melodic ear training, training of
rhythmic sense, sensitivity to the tones, music memory and imagination. Developing
the ability of analysis and recording of sound, melodic, harmonic and rhythmic
phenomena. Working on vocal sight-reading.
HISTORY OF CULTURE
LECTURERS: prof. Andrzej Kempiski
Students learn about the history of European culture (including Polish culture) as a
background for the development of art, mainly music (from the Proto-Indo-European
society till modern times).
PHILOSOPHY PROBLEMS AND SCHOOLS

LECTURERS: prof. Wodzimierz Kaczocha
Issues of neothomistic ontology, existentialialism, phenomenology; philosophical
anthropology of neoliberalism, neothomism and existentialism; catholic social
39
philosophy and the rules of social science; concepts of Poppers open and closed
society and Fukuyamas end of hisotry; critical social theory of Horkheimer and
Habermas; ethical doctrines Catholicism, utilitarianism, emotivism,
desconstructionism postmodern philosophy.
AESTHETICS
LECTURERS: prof. Hanna Kostrzewska
Philosophical musical issues, aesthetic and musical concepts in historical perspective,
heterenomous and autonomous values of music, semiological aspect of music.
CONSTRUCTIONS AND THE RULES OF INSTRUMENT TUNING

LECTURERS: prof. zw. Mieczysaw Koczorowski, Waldemar Gawiejnowicz,
Bartosz Bardziski, Ryszard Kowalczyk, Ryszard Janusz, Marta Sikora,
Zbigniew Wajdzik
Basic knowledge of musical instruments construction. Preparation for maintainance
and tuning of instruments.
PHYSICAL EDUCATON
LECTURERS: st. wyk. Anna Rychlewska, wyk. Barbara Machyna
Correction of stature, exercises facilitating physical development.
40
Faculty of Instruments
first-cycle
Piano

1
1. Main instrument i 30 E 30 E 10 30 E 10 30 E 10 30 E 10 30 E 19
0
2. Chamber music group 30 E 4 30 E 4 30 E 4 30 E 4
Accompaniment training with sight-
3. i 15 Z 1,5 15 E 2 15 Z 1,5 15 E 2
reading
4. Choir group 60 Z 3 60 Z 3 60 Z 3 60 Z 3
5. Specialist literature group 30 Z 1 30 E 2 30 Z 1 30 E 2
6. History of music and literature group 30 Z 1 30 E 2
7. Music literature of the 20th century group 30 Z 1 30 E 2
8. Analysis of a musical work group 30 Z 1 30 E 2
Harmony with elements of
9. group 30 Z 1 30 E 2 30 Z 1 30 E 2
improvisation
10
Ear training group 30 K 2 30 E 2
.
11
History of culture group 30 Z 1 30 E 2 30 Z 1 30 E 2
.
12
Physical education group 30 Z 1 30 Z 1
.
41
ORGAN

1. Main instrument i 30 E 10 30 E 10 30 E 10 30 E 10 30 E 10 30 E 19
3. Choir group 60 Z 3 60 Z 3 60 Z 3 60 Z 3
4. Harpsichord i 15 Z 1 15 E 2
5. Liturgy 15 Z 1 15 E 2
5. Specialist literature group 30 Z 1 30 E 2
History of music and
6. group 30 Z 1 30 E 2
literature
Literature of the 20th
7. group 30 Z 1 30 E 2
century
8. group 30 Z 1 30 E 2
Analysis of a musical work
9. Counterpoint with fugue group 30 Z 1 30 E 2 30 Z 1 30 E 2
10. Basso continuo group 30 Z 1 30 E 2
11. Improvisation group 15 Z 1 15 E 2
12. Harmony group 30 Z 1 30 E 2
10. Ear training group 30 K 2 30 E 2
11. History of culture group 30 Z 1 30 E 2 30 Z 1 30 E 2
42
Harpsichord

1
1. Main instrument i 30 E 10 30 E 10 30 E 10 30 E 10 30 E 10 30 E
9
2. Organ i 15 Z 1 15 E 2
4. Choir group 60 Z 3 60 Z 3 60 Z 3 60 Z 3
Music literature of the 20th
7. group 30 Z 1 30 E 2
century
9. Basso continuo group 15 Z 1 15 E 2 15 Z 1 15 E 2
Harmony with improvisation
10. group 30 Z 1 30 E 2 30 Z 1 30 E 2
elements
43
WIND INSTRUMENTS (excluding saxophone)

3 1
1. Main instrument i E 10 30 E 10 30 E 10 30 E 10 30 E 10 30 E
0 9
1
3. Work with a pianist i Z 0,5 15 Z 0,5 15 Z 0,5 15 Z 0,5 30 Z 1 30 Z 1
5
4. Practice in accompaniment class i 15 Z 0,5 15 Z 0,5
9
5. Orchestra group Z 4 90 K 4 90 Z 4 90 K 4 90 Z 4 90 K 4
0
6. Orchestra studies and sight-reading group 30 Z 1 30 E 2
10 3
Analysis of a musical work group Z 1 30 E 2
. 0
11 Harmony with improvisation
group 30 Z 1 30 E 2
. elements
12 3
Ear training group K 2 30 E 2
. 0
13 3
History of culture group Z 1 30 E 2 30 Z 1 30 E 2
. 0
14 3
Physical education group Z 1 30 Z 1
. 0
44
SAXOPHONE

3 1
1. Main instrument i E 10 30 E 10 30 E 10 30 E 10 30 E 10 30 E
0 9
1
3. Work with a pianist i Z 0,5 15 Z 0,5 15 Z 0,5 15 Z 0,5 30 Z 1 30 Z 1
5
4. Practice in accompaniment class i 15 Z 0,5 15 Z 0,5
5. Big Band group 60 E 2 60 E 2 60 E 2 60 E 2
3
10. Analysis of a musical work group Z 1 30 E 2
0
11. group 30 Z 1 30 E 2
elements
3
12. Ear training group K 2 30 E 2 30 Z 1 30 E 2
0
3
13. History of culture group Z 1 30 E 2 30 Z 1 30 E 2
0
3
14. Physical education group Z 1 30 Z 1
0
45
PERCUSSION

0, 0, 0, 0, 0, 0,
3. Work with a pianist i 15 Z 15 Z 15 Z 15 Z 15 Z 15 Z
5 5 5 5 5 5
0, 0,
4. Percussion set i 15 Z 15 E 1 15 Z 15 E 1
5 5
5. Orchestra group 60 Z 3 60 K 3 60 Z 3 60 K 3 60 Z 3 60 K 3
11. group 30 Z 1 30 E 2
elements
46
ACCORDION
Sposb Year I Year II Year III

No. Course realizacji Semester I Semester II Semester III Semester IV Semester V Semester VI
zaj a b c a b c a b c a b c a b c a b c
1
1. Main instrument i 30 E 10 30 E 10 30 E 10 30 E 10 30 E 10 30 E
9
Basics of accordion transcription and arrangement
3. group 30 Z 2 30 E 3
4. Choir group 60 Z 3 60 Z 3 60 Z 3 60 Z 3
9. Harmony with improvisation elements group 30 Z 1 30 E 2 30 Z 1 30 E 2
47
COMPOSITION AND ARRANGEMENT

1. Composition and arrangement i 30 E 10 30 E 10 30 E 10 30 E 10 30 E 10 30 E 19
2. Main instrument i 30 E 2 30 E 2 30 E 2 30 E 2
3. Piano obligatory/ Extra instrument i 15 Z 0,5 15 K 1
gr
4. Chamber music jazz bands 30 E 4 30 E 4 30 E 4 30 E 4
oup
gr
5. Big band 60 Z 2 60 K 3 60 Z 2 60 E 3
oup
Instrumental studies with the gr
6. 30 Z 1 30 Z 1
basics of instrumentation oup
gr
7. 30 Z 1 30 E 2
History of jazz music and literature oup
gr
8. 30 Z 1 30 E 2
Analysis of jazz scores oup
Contemporary composition gr
9. 30 Z 1 30 E 2
techniques oup
gr
10. 15 Z 0,5 15 Z 0,5 15 Z 0,5 15 Z 0,5
Rhythmic exercises oup
gr
11. Basics of improvisation 15 Z 1 15 Z 1 15 Z 1 15 E 1
oup
gr
12. Harmony 30 Z 1 30 E 2 30 Z 1 30 E 2
oup
gr
13. Counterpoint 30 Z 1 30 E 2 30 Z 1 30 E 2
oup
gr
14. Ear training 30 K 2 30 E 2
oup
gr
15. History of culture 30 Z 1 30 E 2 30 Z 1 30 E 2
oup
gr
16. Physical education 30 Z 1 30 Z 1
oup
48
JAZZ INSTRUMENTS (EXCLUCING PIANO)
3 3 3 1 3 1
1. Main instrument i 30 E 10 30 E 10 E 10 E 10 E E
0 0 0 0 0 9
2. Main instrument classical music i 15 Z 1 15 Z 1
1 1
3. Piano obligatory i 15 Z 1 15 Z 1 Z 1 Z 1
5 5
3 3 3 3
4. Chamber music jazz bands group 30 Z 4 30 Z 4 E 4 E 4 E 4 E 4
0 0 0 0
6 6 6 6
5. Big band group 60 Z 2 60 K 3 Z 2 K 3 Z 2 E 3
0 0 0 0
6. Orchestra studies with sight-reading group 30 K 1 30 K 2
3 3
7. History of jazz music and literature group Z 1 E 2
0 0
3 3
8. group Z 1 E 2
Literature of contemporary popular music 0 0
1 1
9. Rhythmic exercises group 15 Z 0,5 15 Z 0,5 Z 0,5 Z 0,5
5 5
1 1
10. Basics of improvisation group 15 Z 1 15 Z 1 Z 1 E 1
5 5
3 3
11. Harmony group 30 Z 1 30 E 2 Z 1 E 2
0 0
3 3
13. History of culture group 30 Z 1 30 E 2 Z 1 E 2
0 0
49
JAZZ PIANO

2. Main instrument classical music i 15 Z 1 15 Z 1
3. Chamber music vocal ensembles group 30 E 4 30 E 4 30 E 4 30 E 4 30 E 4 30 E 4
4. Big band group 60 K 2 60 K 3 60 Z 2 60 E 3
Accompaniment training and
6. i 15 Z 1 15 Z 1 15 Z 1
sight-reading
7. History of jazz music and literature group 30 Z 1 30 E 2
8. Literature of contemporary popular music group 30 Z 1 30 E 2
9. Rhythmic exercises group 15 Z 0,5 15 Z 0,5 15 Z 0,5 15 Z 0,5
10. Basics of improvisation group 15 Z 1 15 Z 1 15 Z 1 15 E 1
11. Harmony group 30 Z 1 30 E 2 30 Z 1 30 E 2
50
VOCAL JAZZ
1. Vocal jazz i 30 E 10 30 E 10 30 E 10 30 E 10 30 E 10 30 E 19
2. Vocal ensembles group 30 E 3 30 E 3 30 E 3 30 E 3
3. Voice emission group 15 E 1 15 E 1 15 E 1 15 E 1 15 E 1 15 E 1
4. Piano obligatory i 15 Z 1 15 Z 1 15 Z 1 15 Z 1
5. Chamber music jazz bands group 30 E 4 30 E 4 30 E 4 30 E 4 30 E 4 30 E 4
6. History of jazz music and literature group 30 Z 1 30 E 2
7. Diction and recitation group 30 Z 1 30 K 2 30 Z 1 30 E 2
8. Literature of contemporary popular music group 30 Z 1 30 E 2
9. English lyric poetry group 30 Z 1 30 Z 1
10. Stage movement group 30 Z 1 30 E 2 30 Z 1 30 E 2
11. Rhythmic exercises group 15 Z 0,5 15 Z 0,5 15 Z 0,5 15 Z 0,5
12. Basics of improvisation group 15 Z 1 15 Z 1 15 Z 1 15 E 1
13. Harmony group 30 Z 1 30 E 2 30 Z 1 30 E 2
51
HISTORICAL INSTRUMENTS
3. Work with an accompanist i 15 Z 0,5 15 Z 0,5 15 Z 0,5 15 Z 0,5 15 Z 0,5 15 Z 0,5
4. Baroque orchestra group 15 Z 2 15 K 2 15 Z 2 15 K 2 15 Z 2 15 K 2
5. Renaissance ensembles group 15 E 2 15 E 2
11. group 30 Z 1 30 E. 2 30 Z 1 30 E 2
elements
52
SECOND-CYCLE
PIANO
Year I Year II
3
1. Main instrument i 30 E 10 30 E 10 E 14 30 E 26
0
2. Chamber music group 30 E 5 30 E 5
3. Accompaniment training and sight-reading i 15 Z 1,5 15 E 2
4. Harmony with improvisation elements group 30 Z 1 30 E 2
6. Philosopy - problems and schools group 30 Z 1 30 E 2
7. Aesthetics group 30 E 2
8. Propedeutics of contemporary music group 30 Z 1 30 E 2
9. Performance issues of early music group 30 Z 1 30 E 2
10. Budowa z zasadami strojenia instrumentw group 15 Z 0,5
53
ORGAN
Year I Year II
1 3 1 3 2
1. Main instrument i 30 E 10 30 E E E
0 0 2 0 4
3. Gregorian chant practice 30 Z 1 30 Z 2
6. Philosophy - problems and schools group 30 Z 1 30 E 2
10 1 1
Rules of construction and maintainance of organ group Z 1 E 1
. 5 5
54
HARPSICHORD
Year I Year II
1. Main instrument i 30 E 10 30 E 10 30 E 12 30 E 24
3. Historical performance practice group 15 Z 1 15 E 2
4. Historical musical treatises group 15 Z 0,5 15 E 1
5. Improvisation 30 Z 1 30 E 2
6. Basso continuo 15 Z 0,5 15 E 1 15 Z 0,5 15 E 1
8. Philosophy - problems and schools group 30 Z 1 30 E 2
10
Propedeutics of contemporary music group 30 Z 1 30 E 2
.
11
Performance issues of early music group 30 Z 1 30 E 2
.
12
Budowa z zasadami strojenia instrumentw group 15 Z 0,5
.
55
WIND INSTRUMENTS (EXCLUDING SAXOPHONE)
Year I Year II
3 3 3 1 3 2
1. Main instrument i E 10 E 10 E E
0 0 0 2 0 4
3 3
2. Chamber music group E 5 E 5
0 0
3 3 3 3
3. Work with a pianist i Z 1 Z 1 Z 1 Z 1
0 0 0 0
1 0, 1 0,
4. Practice in accompaniment class i Z Z
5 5 5 5
3 3
5. Orchestra studies group Z. 1 E 2
0 0
9 9
6. Orchestra group Z 4 K 4
0 0
3 3
7. Harmony with improvisation elements group Z 1 E 2
0 0
3 3
8. Specialist literature group Z 1 E 2
0 0
3 3
9. Philosophy- problems and schools group Z 1 E 2
0 0
3
10. Aesthetics group E 2
0
3 3
11. Propedeutics of contemporary music group Z 1 E 2
0 0
3 3
12. Performance issues of early music group Z 1 E 2
0 0
1 0,
13. Instrument construction and the tuning rules group Z
5 5
56
SAXOPHONE
Year I Year II
3 1 3 1 3 1 3 2
1. Main instrument i E E E E
0 0 0 0 0 2 0 4
3 3
0 0
3 3 3 3
3. Work with a pianist i Z 1 Z 1 Z 1 Z 1
0 0 0 0
1 0 1 0
4. Practice in accompaniment class i Z Z
5 ,5 5 ,5
6 6
5. Big Band group E 3 E 3
0 0
3 3
0 0
3 3
0 0
3 3
0 0
3
0
3 3
0 0
3 3
0 0
1 0
12. Constructions and the rules of tuning instruments group Z
5 ,5
57
PERCUSSION
Year I Year II
3 1 3 1 3 1 3 2
0 0 0 0 0 2 0 4
3 3
0 0
1 0 1 0 1 0 1 0
3. Work with a pianist i Z Z Z Z
5 ,5 5 ,5 5 ,5 5 ,5
6 6
4. Orchestra group Z 3 K 3
0 0
3 3
5. Orchestra studies with sight-reading group Z 1 E 2
0 0
3 3
0 0
3 3
0 0
3 3
0 0
3
0
10 3 3
Propedeutics of contemporary music group Z 1 E 2
. 0 0
11 3 3
Performance issues of early music group Z 1 E 2
. 0 0
58
ACCORDION
Year I Year II
3 1 3 1 3 1 3 2
0 0 0 0 0 4 0 6
3 3
0 0
3 3
0 0
3 3
0 0
3 3
0 0
3
0
3 3
0 0
3 3
0 0
3
9. Construction and maintainance of accordion group Z 1
0
59
COMPOSITION AND ARRANGEMENT
Year I Year II
3 1 3 1 3 1 3 2
1. Composition and arrangement i E E E E
0 0 0 0 0 2 0 4
3 3
2. Basic instrument i E 3 E 3
0 0
3 3
3. Chamber music jazz bands group E 4 E 4
0 0
6 6
4. Big band group E 3 E 3
0 0
3 3
5. Arrangement in stage technique group Z 1 E 2
0 0
3 3
6. Propedeutics of computer music group Z 1 E 2
0 0
3 3 3
7. Studio of illustration music group Z 1 K 1 E 2
0 0 0
3 3
0 0
3
0
10 3 3
. 0 0
11 3 3
Performance issues of early music group Z. 0 E 0
. 0 0
60
JAZZ INSTRUMENTS (EXCLUDING PIANO)
Year I Year II
3 1 3 1 3 1 3 2
0 0 0 0 0 2 0 4
3 3 3 3
2. Chamber music group E 4 E 4 E 4 E 4
0 0 0 0
6 6 6 6
3. Big band group E 3 E 3 E 3 E 3
0 0 0 0
3 3
4. Analysis of jazz standards group Z 1 E 2
0 0
3 3
5. Performance issues of improvised music group Z 1 E 2
0 0
3 3
6. Basics of arrangment group Z 1 E 2
0 0
3 3
0 0
3
0
3 3
0 0
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JAZZ PIANO
Year I Year II
3 1 3 1 3 1 3 2
0 0 0 0 0 2 0 4
3 3 3 3
2. Chamber music jazz bands group E 4 E 4 E 4 E 4
0 0 0 0
6 6 6
3. Big band group E 3 E 3 E 3
0 0 0
4. Accompaniment training i
1 1
5. Accompaniment in a vocal class group Z 1 E 2
5 5
3 3
6. Basics of arrangement group Z 1 E 2
0 0
3 3
0 0
3 3
0 0
3 3
0 0
10 3
Aesthetics group E 2
. 0
11 3 3
. 0 0
62
VOCAL JAZZ
Year I Year II
3 1 3 1 3 1 3 2
1. Vocal jazz i E E E E
0 0 0 0 0 2 0 4
3 3
2. Chamber music jazz bands group E 4 E 4
0 0
1 1 1 1
3. Voice emission group Z 1 E 1 E 1 E 1
5 5 5 5
6 6 6
4. Big band group E 3 E 3 E 3
0 0 0
1 1
5. Work with an accompanying ensemble group Z 1 E 2
5 5
3 3
0 0
3 3
0 0
3 3
8. Basics of arrangement group Z 1 E 2
0 0
3 3
0 0
10 3
Aesthetics group E 2
. 0
11 3 3
. 0 0
63
HISTORICAL INSTRUMENTS
Year I Year II
1 3 1 3 1 3 2
1. Main instrument i 30 E E E E
0 0 0 0 2 0 4
3
2. Chamber music group 30 E 5 E 5
0
3 3 3
3. Work with an accompanist i 30 Z 1 Z 1 Z 1 Z 1
0 0 0
1 1 1
4. Baroque orchestra group 15 Z 1 K 2 Z 1 K 2
5 5 5
3
5. Historical improvisationwith elements of diminution 30 Z 1 E 2
0
3
6. Specialist literature 30 Z 1 E 2
0
3
7. Philosophy- problems and schools group 30 Z 1 E 2
0
3
0
3
9. Propedeutics of contemporary music group 30 Z 1 E 2
0
10 3
Performance issues of early music group 30 Z 1 E 2
. 0
11 0
Budowa z zasadami strojenia instrumentw group 15 Z
. ,5
i individual class
group group class
a number of hours in a semester
b assessment (E exam, K test, Z credit)
c ECTS-credits
64
65
FACULTY OF VOCAL PERFORMANCE AND ACTING
Dean prof. dr hab. Wojciech Maciejowski

Deputy dean wyk. Szymon Musio
Head of the Vocal Department prof. Grayna Fliciska-Panfil
Head of the Songs and Chamber Vocal Music Unit prof. zw. Izabela
Grska-Krasiel
Head of Opera Music Unit dr hab. Andrzej Ogrkiewicz prof. AM
Faculty ECTS coordinator wyk. Szymon Musio

Akademia Muzyczna w Poznaniu, room 209
e-mail: smusiol@interia.pl
Major
vocal studies (excluding: alto tenor)
VOCAL STUDIES 3+2 (first-cycle + second-cycle)

The Faculty of Vocal Performance and Acting offers vocal and acting studies where
students are prepared for solo work in music theatres. In solo singing classes they learn
and perfrom opera, oratorio and cantata and song repertoire.
Apart from music classes, there are acting and movement classes which end with the
performance exam at the end of the third year.
Every year students prepare two opera performances which are also played outside the
Academy and they are very popular with audience and critics.
Students of the Faculty of Vocal Performance and Acting need to attend 2-year
pedagogical course it gives them opportunity of the future teaching jobs. The course
of Marketing and animation of culture gives the graduates skills in management and
promotion of culture (music).
The Bachelor exam consists of a practical part in the form of a half-recital and a
theoretical part that checks the knowledge of practical and theoretical issues of vocal
studies.
The Master exam consists of two recitals. The first one includes a cycle of songs or a
selection of songs of one composers as well as arias from old Italian arias, through the
Baroque till the present day. The second recital includes various in style arias from
Mozart to the present day. The theoretical part consists in a thesis exam. A graduate
receives a title of Master of Arts in vocal studies.
66
STRUCTURE OF THE FACULTY
Vocal Department
Vocal Department mentors the Faculty work. It organises national interpretation
masterclasses of oratorio and cantata music and opera music. It coorganises the
K.Kurpiski Competition in Woszakowice.
The Faculty staff deals also with the issues of vocal pedagogy and organizes student
opera performances.
Facilities
The Faculty owns nine classrooms, and a theatre room for acting and movement class.
Concerts and student performances take place in Sala Kameralna (Chamber Hall), Aula
Akademii (Academy Hall) or Aula Nova
COURSE DESCRIPTION
Specialised training
SOLO SINGING
TYPE: individual
LECTURERS: prof. Grayna Fliciska-Panfil, prof. dr hab. Antonina Kowtunow, prof. dr
hab Wojciech Maciejowski, dr ha. Anna Jeremus-Lewandowska prof. AM, dr hab.
Iwona Kowalkowska prof. AM, dr hab. Maja Urbanek-Jaworowicz prof. AM, dr hab.
Andrzej Ogrkiewicz prof. AM, ad. dr hab. Marek Modzierz, ad. dr Jarosaw Brk,
ad. dr Iwona Hossa-Derewecka, ad. dr Joanna Kozowska-Szczepaniak, ad. dr Barbara
Kubiak, ad. dr Barbara Mdra-Bednarek, ad. dr Magorzata Woltmann-ebrowska, ad.
dr Tomasz Zagrski, st. wyk. Jerzy Mechliski, as. Marzena Michaowska, as.
Bartomiej Szczeszek, wyk. Jaromir Trafankowski
Development of vocal apparatus and vocal technique. Interpretation of performance
styles of different periods.
WORK WITH AN ACCOMPANIST

2 hours a week
TYPE: individual
LECTURERS: prof. zw. Izabela Grska-Krasiel, ad. dr Laura Sobolewska,
st. wyk. Joanna Zaremba, wyk. Justyna Chsy-Parda, wyk. Szymon Musio, wyk.
Micha Karasiewicz, wyk. Paulina Rychlewska, wyk. Joanna Sipowicz, wyk. Olena
Skrok, wyk. Alicja Tarczykowska.
Work on students current repertoire of the solo singing class.
67
OPERA ENSEMBLES
8 hours a week
TYPE: group
LECTURERS: ad. dr Przemysaw Neumann, st. wyk. Maciej Wieloch, st. wyk.
Katarzyna Kdzierska, wyk. Krzysztof Szaniecki, as. Marzena Michaowska
Music and acting preparation. Preparation of an opera performance.
OPERA PARTS
1,5 hours a week
TYPE: individual
LECTURERS: st. wyk. Katarzyna Kdzierska, st. wyk. Wanda Marzec, wyk. Olga
Lemko.
Working on opera, oratorio and cantata parts with the piano accompaniment.
IMPROVISATION AND RECITATIVES

2 hours a week
TYPE: group
LECTURERS: as. Marzena Michaowska
Performance practice and ways recitatives realization.
GERMAN VOCAL LYRIC POETRY

2 hours a week
TYPE: individual
LECTURERS: prof. Karola Theill
Practical implementation of German language in the vocal works of German
composers.
VOCAL ENSEMBLES - IMPROVISATION

2 hours a week
TYPE: group
LECTURERS: ad. dr Przemysaw Neumann, wyk. Milena Antoniewicz
Introduction to vocal literature and performance practice of the Renaissance and
Baroque.
OPERA WORKSHOP
2 hours a week
TYPE: group
LECTURERS: dr hab. Andrzej Ogrkiewicz prof. AM, st. wyk. Katarzyna Kdzierska,
wyk. Agnieszka Nagrka
BASICS OF ACTING
4 hours a week, 2 year 2 hours a week
TYPE: group
68
LECTURERS: st. wyk. Pawe Hadyski
Basic elements of acting.
ROLE PREPARATION
1 hour a week, 3 year 3 hours a week
TYPE: group
LECTURERS: dr Zbigniew Grochal prof. AM
ASSESSMENT: semester III-V credit, semester VI exam
Preparation of a theatrical performance in costumes and make-up.
DICTION AND RECITATION

3 hours a week, 2 year 2 hours a week
TYPE: group
LECTURERS: dr Zbigniew Grochal prof. AM
Correction of speech impediments and learning how to recite poetry and prose.
STAGE MOVEMENT DANCE

2 hours a week
TYPE: group
LECTURERS: wyk. Leszek Rembowski
Correction of stature, learning stage behavior and dance.
RHYTHMICS
2 hours a week
TYPE: group
LECTURERS: st. wyk. Teresa Nowak
Mastering the sense of rhythm, awarenes of body movements, development of
imagination, elements of pantomime.
ANATOMY AND PHYSIOLOGY OF VOICE

1 hour a week
TYPE: group
LECTURERS: dr Jacek Krany
Basic knowledge of the anatomy and physiology of vocal apparatus.
Basic training
IMPROVISATION AND VOCAL SCORE READING

2 hours a week
TYPE: group
LECTURERS: wyk. Agnieszka Nagrka
Development of fluent vocal sight-reading.
69
EAR TRAINING
2 hours a week
TYPE: group
LECTURERS: st. wyk. Wiesawa ok-Warchalewska
Training of harmonic and melodic hearing and music memory. Practical implementatio
and revision of knowledge of harmony and musical rules.
PIANO - GENERAL
1 hour a week
TYPE: individual
LECTURERS: ad. (kw. first-cycle) Ewa Rubinowska, st. wyk. Boena Biaecka,
st. wyk. Stanisaw Dycha
Level depends on a students preparation from the basic level to the level of piano
graduates of music secondary schools.
MUSIC STUDIES
1 hour a week
TYPE: group
LECTURERS: as. Julia Gobiowska
Basic knowledge and musical terminology.
HARMONY
2 hours a week
TYPE: group
LECTURERS: mgr Bogna Baraska
Basic knowledge of functional harmony. Aural recognition of sound phenomena.
MUSICAL FORMS
2 hours a week
TYPE: group
LECTURERS: ad. dr Monika Kdziora
Analysis of a musical work i harmonic structure.
HISTORY OF MUSIC AND VOCAL LITERATURE

2 hours a week
TYPE: group
LECTURERS: dr Mikoaj Rykowski
Selected issues of music history from the Antiquity till modern times. Styles in music.
Leading representatives of vocal literature.
VOCAL LITERATURE
2 hours a week
70
TYPE: group
LECTURERS: st.wyk. Janusz Kempiski
Detailed knowledge of opera literature, song literature and cantata and oratorio
literature.
MUSCIAL ILLUSTRATIONS
1 hour a week
TYPE: individual
LECTURERS: st. wyk. Weronika Firlej-Kubasik, ad. dr Laura Sobolewska, ad. dr
Magorzata Sajna-Mataczyska
Work on basic elements of cooperation between a vocalist an a pianist.
General training
HISTORY OF MUSIC THEATRE

1 hour a week
TYPE: group
LECTURERS: dr Maciej Straburzyski
Basic theoretical and historical issues of opera and music drama in the aspect of
general drama theory with the special emphasis on opera and drama literature from the
Baroque to the present day.
ITALIAN LANGUAGE
4 hours a week
TYPE: group
LECTURERS: st. wyk. Agnieszka Brojek
Basics of grammar, phonetics and vocabulary. The most important lexical units.
Language use in vocal performance.
PROPEDEUTICS OF GERMAN VOCAL LYRICAL POETRY

2 hours a week
TYPE: group
LECTURERS:
Introduction to the practical implementation of German language in vocal works of
German composers.
RUSSIAN LYRICAL POETRY

2 hours a week
TYPE: group
LECTURERS: wyk. Olga Lemko
Practical use of Russian language in vocal works of Russian composers.
71
FRENCH LYRICAL POETRY
1,5 hours a week
TYPE: group
LECTURERS: prof. Karola Theill, ad. dr Laura Sobolewska
Practical use of French language in vocal works of French composers.
72
FACULTY OF VOCAL PERFORMANCE AND SINGING
FIRST-CYCLE STUDIES
a b c a b c a b c a B C a b c a b c
1 Solo singing i 30 E 4 30 E 4 30 E 4 30 E 4 30 E 4 30 Z 5,5
Work with an
2 i 30 K 3 30 K 3 30 K 3 30 K 3 30 K 4 30 K 4
accompanist
Vocal ensembles -
3 group 30 Z 2 30 E 2
improvisation
4 Opera workshop group 30 Z 3,5 30 E 4
5 Basics of acting group 60 Z 3 60 E 3 30 Z 1,5 30 E 1,5
6 Role preparation group 15 Z 1 15 Z 1 45 Z 4 45 E 4,5
7 Diction and recitation group 45 Z 2,5 45 K 2,5 30 Z 1,5 30 E 1,5
Stage movement
8 group 30 Z 1 30 Z 1 30 Z 1 30 Z 1
dance
9 Rhythmics group 30 Z 1 30 Z 1
Anatomy and physiology
10 group 15 Z 1 15 E 1
of voice
Improvisation and vocal
11 group 30 Z 2 30 E 2
sight-reading
12 Ear training group 30 K 2 30 E 2 30 K 2 30 E 2 30 K 3 30 E 3
13 Piano - general i 15 K 1,5 15 K 1,5 15 K 1 15 E 1
14 Music studies group 15 Z 1 15 E 1
15 Harmony group 30 E 1,5 30 E 1,5
16 Musical forms group 30 Z 3 30 E 3
History of music and
17 group 30 Z 2 30 E 2 30 Z 2 30 E 2 30 Z 3 30 E 3
vocal literature
18 Italian language group 60 Z 4 60 K 4 60 Z 4 60 E 4
Propedeutics of German
19 group 30 Z 1,5
vocal lyrical poetry
73
Russian vocal lyrical
20 group 30 Z 3
poetry
French vocal lyrical
21 group 22,5 Z 3
poetry
SECOND-CYCLE STUDIES
Year I Year II
1 Solo singing i 30 E 4 30 E 4 30 Z 9 30 Z 11
Work with an
2 i 30 K 3 30 K 3 30 K 6 30 K 6
accompanist
grou
3 Opera ensembles 120 Z 5 120 E 5 120 Z 7 120 E 7
p
4 Opera parts i 22,5 E 2 22,5 E 2 22,5 E 2 22,5 E 3
Improvisation and grou
5 30 Z 1,5
recitatives p
German vocal lyrical grou
6 30 Z 1,5
poetry p
grou
7 Vocal literature 30 Z 2 30 E 3
p
9 Musical illustrations i 15 Z 0,5
History of music
grou
10 theatre (lectures every 15 Z 1 15 Z 1
p
second year)
grou
11 Italian language 15 K 1,5 30 E 2
p
74
75
FACULTY OF BOWED INSTRUMENTS, HARP, GUITAR AND
VIOLIN-MAKING
Dean prof. Andrzej apa

Deputy dean dr Krzysztof Sowiski
Deans office Magdalena Kaek
room 109
phone: +48 61 8568933
e-mail: mkalek@amuz.edu.pl
Head of Bowed Instruments, Harp and Guitar Department prof. Mariusz

Derewecki
Head of Artistic Violin-Making Department prof. Honorata Stalmierska
Faculty ECTS coordinator: dr Krzysztof Sowiski
Major, specializations
Major:
instrumental studies
Specializations:
instrument playing: violin, viola, cello, double bass, harp, guitar
violin-making
Types of studies
full-time studies: 3-year first-cycle (BA studies) and 2-year second-cycle

(MA studies)
part-time studies: 3-year first-cycle (BA studies), 2-year second-cycle
(MA studies)
The aim of the Faculty is to prepare instrumentalists for virtuoso concert playing and
for chamber and orchestra playing, as well as to prepare teachers of music schools.
Graduates also gain the skills in marketing and the animation of culture.
The Faculty of Instruments in the only one in Poland that offers studies in artistic
violin-making (construction and maintainance of string instruments).
Graduates of the first-cycle studies receive Bachelor of Arts diploma, graduates of the
second-cycle studies receive Master of Arts diploma.
76
Structure of the Faculty
BOWED INSTRUMENTS DEPARTMENT

Its main aims include:
supervision over the proper educational process in the following areas: violin, viola,
cello, double bass, guitar, harp
stumulating the artistic activities of students at the Academy and supervision of
students who prepare for national and international music competitions
research work related to programming the educational proces in the primary and
secondary music schools through the participation in different kinds of consultations,
workshops and masterclasses
research work related to the curriculum at the higher education institutions of music,
and programme preparation for music competitions
organisation of music competitions in bowed instruments: National Z.Jahnke Violin
Competition, National J.Rakowski Viola Competition, National D.Danczowski Cello
Competition and National A.B.Ciechaski Double Bass Competition
organisation of annual masterclasses led by outstanding Polish and foreign teachers
supervision over young reasearch and teaching staff
cooperation with other academic institutions in Poland and abroad.
VIOLIN-MAKING DEPARTMENT
Its aims include:
supervisiton over the proper educational process
initiative in research of instrument acoustics, history of violin-making, construction
and varnishing issues and maintainance problems
responsibility for equipment in violin-making workshops at the Academy
organisation of National W.Kamiski Violin-Making Competition
participation in content-related preparation of International H.Wieniawski Violin-
Making Competition in Pozna
participation in the organisation of national and international violin-making seminars.
COURSE DESCRIPTION
MAIN SUBJECT (violin, viola, cello, double bass, harp, guitar, violin-making)
LECTURERS: violin prof. Bartosz Brya, prof. Marcin Baranowski, prof. Micha
Grabarczyk, prof. Janusz Purzycki, prof. Mariusz Derewecki, dr hab. Dorota
Kwieciska-Erenz, dr hab. Jakub Haufa, dr hab. Ewelina Pachucka-Mazurek, dr
77
Jarosaw onierczyk, mgr Aleksandra Brya, mgr Micha Brya, mgr Agata
Szymczewska; viola dr hab. Marcin Murawski, dr hab. Lech Baaban, dr Ewa
Guzowska, dr Izabela Mrozek; cello prof. Stanisaw Pokorski, dr Maciej Mazurek, dr
Tomasz Lisiecki, dr Eugeniusz Zboralski; kontrabas prof. Piotr Czerwiski, dr
Szymon Guzowski; gitara prof. Piotr Zaleski, dr ukasz Kuropaczewski, as. Tomasz
Kandulski; harp as. Paulina Porazinska, violin-making prof. Antoni Krupa, prof.
Andrzej apa, prof. Honorata Stalmierska, mgr Jan Mazurek, mgr Marcin Krupa.
Practical learning of instrument literature. Students get performance qualifications in
solo playing.
CHAMBER MUSIC
LECTURERS: prof. Arnold Dabrowski, dr hab. Jakub Haufa, dr hab. Dorota Kwieciska-
Erenz, dr hab. Marcin Murawski, dr hab. Ewelina Pachucka-Mazurek, dr Grayna
Czerwiska, dr Hanna Holeksa, dr Szymon Guzowski, dr ukasz Kuropaczewski, dr
Marcin Sikorski, dr Eugeniusz Zboralski, mgr Aleksandra Brya, mgr Micha Brya,
mgr Tomasz Kandulski, mgr Paulina Porazinska, mgr Joanna Zathey-Wjciska
Learning the skills of group playing and the sensitivity to group sound. Solving
interpretation problems. Preparation and participation in concerts.
WORK WITH A PIANIST

LECTURERS: prof. Arnold Dabrowski, dr Grayna Czerwiska, dr Barbara
Dmochowska, dr Hanna Holeksa, dr Maria Koszewska-Wajdzik, dr Marlena
Lewandowska, dr Piotr Niewiedzia, dr Marcin Sikorski, dr Krzysztof Sowiski, dr
Anna Starzec, mgr Patrycja Wachowicz, mgr Joanna Zathey-Wjciska.
Preparation of a students current assignments for their main instrument class.
ORCHESTRA
LECTURERS: prof. Jerzy Salwarowski, prof. Marcin Sompoliski, dr Przemysaw
Neumann.
Developing and perfecting practical working skills in various instrumental
arrangements under conductors direction. Students learn main instrumental repertoire
of European music.
CHOIR (guitar, violin-making)

LECTURERS: prof. Marek Gandecki, prof. Magdalena Wdowicka-Mackiewicz.
ORCHESTRA STUDIES (violin, viola, cello, double bass, harp)

LECTURERS: violin prof. Janusz Purzycki, dr hab. Jakub Haufa, mgr Wojciech
Broek; viola dr hab. Marcin Murawski, dr Izabela Mrozek; cello dr Eugeniusz
Zboralski, mgr Agnieszka Brojek; double bass dr Szymon Guzowski; harp mgr
Paulina Porazinska.
78
Students learn extensive orchestral material: symphonic, opera and ballet (depending
on their specialization). Work on technical and interpretation part of a piece. Learning
selected solo parts of the symphonic literature.
SPECIALIST LITERATURE (skrzypce, altwka, wiolonczela, kontrabas, gitara,

harfa)
LECTURERS: violin prof. Janusz Purzycki; viola dr hab.Marcin Murawski; cello
mgr Agnieszka Brojek; kontrabas dr Szymon Guzowski; guitar prof. Piotr Zaleski,
dr ukasz Kuropaczewski; harp mgr Paulina Porazinska.
Learning solo and chamber literature for the main instrument in a general (historical)
and detailed (analytical) aspect. Developing skills of recognizing literature of different
literary styles.
HISTORY OF MUSIC AND LITERATURE

Extending knowledge of music history of the Antiquity, the Middle Ages, Renaissance,
classicim and romanticism. Historical synthesis deal with the issues of different
periods, compositons, important pieces, development of genres and musical forms.
Development of musical styles as well as other issues: instruments, musical notation,
music institutions and music reception.
MUSIC LITERATURE OF THE 20TH CENTURY

LECTURERS: prof. dr Halina Lorkowska
Development of music through the 20th century. Broading the historical and musical
knowledge by learning of the associations of music with other artistic areas and the
social life.
ANALYSIS OF MUSICAL WORKS

LECTURERS: dr Monika Kdziora
Structure of musical pieces: prelude, fantasy, ballad, rhapsody, fugue, symphonic
poem. Classification and systematization of structural phenomena necessary for the
proper interpretation of performed pieces. The selection of form depends on students
needs.
HARMONY WITH ELEMENTS OF IMPROVISATION

LECTURERS: mgr Katarzyna Taborowska-Kaszuba
Broadening the knowledge of functional harmony with special emphasis on extended
tonality, non-diatonic modulation and vocal figuration. Emphasis on the proper use of
terminology and aural recognition of sounds.
EAR TRAINING
LECTURERS: mgr Bogna Baraska, mgr Agnieszka Zdrojek-Suchodolska,
mgr Katarzyna Taborowska-Kaszuba.
79
Developing aural skills through the training of harmonic and melodic hearing, sense of
rhythm, sensitivity to the sound tone, memory and musical imagination. Learning the
analysis and recording of sound, melodic, harmonic and rhythmic phenomena. Working
on vocal sight-reading, aural analysis and writing down music sounds.
PHYSICAL EDUCATION
LECTURERS: mgr Anna Rychlewska
Stature correction, exercises for students physical development.
DESIGNIN AND MODELING (violin-making)

LECTURERS: mgr Wiesawa Brach-Przyby
Designing, modeling and construction of decorative elements of historical instruments
taking into consideration styles of different periods, when they were constructed.
Practice in special designing and colouring.
MAINTAINANCE (violin-making)
LECTURERS: prof. Andrzej apa
Preparation for maintainance work of instruments. Theoretical and practical aspect of a
luthiers conservation work including documentation.
HISTORY OF LUTHIERY (violin-making)

LECTURERS: prof. Andrzej apa, prof. Honorata Stalmierska, mgr Jan Mazurek,
Issues of methodology of violin-making work analysis and the analysis of artistic
activities of the most important representatives of European luthiery schools from the
Renaissance to the present day.
ACOUSTICS IN LUTHIERY (violin-making)

LECTURERS: prof. dr hab. Ewa Skrodzka
Extending the knowledge of acoustics and physics. Learning the skills of implementing
the knowledge into practice in order to get the best sound of instruments which are
built or restored. Practice in measure technique of electroacoustics.
ANALYSIS OF VIBRATIONS AND SOUNDS (violin-making)

LECTURERS: prof. dr hab. Ewa Skrodzka
The theory and practice of acoustic signal analysis. Elements of linear dynamics.
Theory and practice of modal analysis.
BASICS OF INSTRUMENTOLOGY (violin-making)

History of musical instruments. Discussed issues are shown in European and non-
European perspective. Historical methods of classification take into account not only
acoustic aspect but also performance practice.
80
ANALYSIS OF A LUTHIERS PIECE (violin-making)
LECTURERS: mgr Jan Mazurek
Basic rules for creating an instrument model and its analysis.
81
FACULTY OF BOWED INSTRUMENTS,
HARP, GUITAR AND VIOLING-MAKING
FIRST-CYCLE
Violin, viola, cello, double bass

No.
Course Type Semester I Semester II Semester III Semester IV Semester V Semester VI
3. Work with a pianist i 15 Z 0,5 15 Z 0,5 15 Z 0,5 15 Z 0,5 30 Z 1 30 Z 1
5. Orchestra studies and sight-reading group 30 Z 1 30 Z 1 30 Z 1 30 E 2
6. Specialist literature group 15 Z 0,5 15 E 1
11. Ear training group 30 K 2 30 E 2 30 K 2 30 E 2
82
Harp, guitar
No.
3. Work with a pianist i 15 Z 0,5 15 Z 1
5. Choir group 60 Z 2 60 Z 2 60 Z 2 60 Z 2
6. Orchestra studies and sight-reading group 15 Z 0,5 15 Z 0,5 15 Z 0,5 15 E 1
7. Specialist literature group 30 E 2
12. Ear training group 30 K 2 30 E 2 30 K 2 30 E 2
83
Violin-making

godz. zal. ECTS godz. zal. ECTS godz. zal. ECTS godz. zal. ECTS godz. zal. ECTS godz. zal. ECTS
Main subject i 30 EK 10 30 EK 10 30 EK 10 30 EK 10 30 EK 10 30 EK 19
Instrument playing i 15 Z 1 15 E 2 15 Z 1 15 E 2 15 Z 1 15 E 2
Work with a pianist i 15 Z 0,5
Choir group 60 Z 2 60 Z 2
Workshop practice group 30 Z 1 30 Z 1 30 Z 1 30 Z 1 30 Z 1 30 Z 1
Maintainance (luthiery) group 30 Z 2 30 E 4 30 Z 2 30 E 4
Designing and modeling group 30 Z 2 30 K 2 30 Z 2 30 E 2
History of luthiery and
group 30 Z 1 30 E 2 15 Z 0,5 15 E 1 15 Z 0,5 15 E 1
specialist literature
History of music and literature group 30 Z 1 30 E 2
Music literature of the 20th
group 30 Z 1 30 E 2
century
Analysis of a luthiers work group 30 Z 1 30 E 2
Acoustics of violin-making group 30 Z 1 30 E 2
Analysis of vibrations and
group 30 E 2 30 Z 2
sounds
Basics of instrumentology group 15 Z 0,5 15 E 1
Ear training group 30 K 2 30 E 2
84
SECOND-CYCLE
Violin, viola, cello, double bass
Year I Year II
1. Main instrument i 30 E 10 30 E 10 30 Z 17 30 Z 23
3. Work with a pianist i 30 Z 1 30 Z 1 30 Z 1 30 Z 1
5. Orchestra group 90 Z 4 90 K 4
7. Specialist literature group 15 Z 0,5 15 E 1
10. Rules of construction, tuning and maintainance of
group 15 Z 0,5
instruments
85
Harp, Guitar
Year I Year II
No. Semester I Semester II Semester III Semester IV
Course Type
a b c a b a b c a b c
c
1. 1 E 1 1 2
Main instrument i 30 EK 30 30 Z 30 Z
0 K 0 7 3
2. E
Chamber music group 30 EK 5 30 5
K
3. 0,
Work with a pianist i 15 Z 15 Z 1
5
5. Orchestra group 90 Z 4 90 K 4
6. Choir group 60 Z 2 60 Z 2
8. 0,
Specialist literature group 15 Z 15 E 1
5
11. Rules of construction, tuning 0,
group 15 Z
and maintainance of instruments 5
86
Violin-making
Year I Year II
Sposb
No. Course realizacji Semester I Semester II Semester III Semester IV
zaj a b c a b c a b c a b c
E E
1. Main subject i 30 10 30 10 30 Z 17 30 Z 23
K K
2. Chamber music group 15 Z 1 15 E 2
3. Maintainance (luthiery) group 30 Z 2 30 E 4
4. Designing and modeling group 30 Z 1 30 E 2
5. Analysis of vibrations and sounds group 30 Z 1 30 E 2
6. Choir group 60 Z 2 60 K 2
0,
7. Specialist literature group 15 Z 15 E 1
5
87

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The I. J.

Paderewski Academy of Music

The European Credit Transfer System (ECTS) 2

The I.J. Paderewski Academy of Music in Pozna 3

Education system at the Academy 4

Faculty of Composition, Conducting, Theory of Music and Eurhythmics 11

Faculty of Vocal Performance and Acting 66

Faculty of Choir Conducting, Music Education and Church Music 75

Faculty of Bowed Instruments, Harp, Guitar and Violin-Making 89

Indicative scale of ECTS-credits*

Grading is considered individually.

VICE-RECTOR FOR ARTISTIC AFFAIRS, RESEARCH AND INTERNATIONAL

VICE-RECTOR FOR STUDENT AFFAIRS AND EDUCATION

Faculty of Composition, Conducting, Theory of Music and Eurhythmics

excellent 25 points 5++

FACULTY MAJOR SPECIALIZATION SYSTEM OF

historical instruments: baroque violin, full-time studies

Research and teaching activities are also undertaken by interfaculty units:

With Erasmus University Charter, the I.J.Paderewski Academy of Music in

COUNTRY NAME OF THE INSTITUTION ERASMUS CODE

AUSTRIA 1 Universitt fr Musik und darstellende Kunst Wien A WIEN08

BELGIUM 5 Lemmensinstituut Leuven B BRUSSEL43

CZECH 8 Akademie Muzickych Umeni V Praze CZ PRAHA04

DENMARK 11 Syddansk Musikkonservatorium& Skuespillerskole DK ODENSE22

ESTONIA 13 Eesti Muusikakadeemia Tallin EE TALLIN03

FRANCE 14 Conservatoire National de Rgion Rennes F RENNES39

GERMANY 17 Hochschule fr Musik und Theater Hannover D HANNOVE04

HOLLAND 32 Hogeschool Zuyd Conservatorium Maastricht NL HEERLEN14

IRELAND 33 Royal Irish Academy of Music - Dublin IRL DUBLIN22

ISLAND 34 Listahskli slands , Reykjavk IS REYKJAV06

ITALY 35 Conservatorio di Musica "Santa Cecilia" di Roma I ROMA09

LITHUANIA 64 Lietuvos muzikos ir teatro akademija LT VILNIUS05

LATVIA 65 Jazepa Vitola Latvijas Muzikas Akademija Riga LV RIGA05

NORWAY 66 Hogskolen i Agder Kristiansand N KRISTIA01

PORTUGAL 68 Escola Superior de Msica e das Artes do Espectculo do Porto P PORTO05

RUMUNIA 69 Academia de Muzic Gheorghe Dima Cluj-Napoca RO CLUJNAP02

SLOVENIA 71 Academy of Music Ljubljana SI LJUBLJA01

SLOVAKIA 72 Akademia Umeni v Banskiej Bystrici SK BANSKA02

SPAIN 74 Conservatorio Superior de Msica"Eduardo Martnez Torner"de Oviedo E OVIEDO03

SWITZERLAND 81 Hochschule der Knste Bern CH BERN11

SWEDEN 84 Kungliga Musikhgskolan I Stockholm S STOCKHO11

TURKEY 86 Anadolu Universitesi Eskisehir TR ESKISEH01

UNITED 88 Guildhall School of Music and Drama in London UK LONDON081

Dom Akademicki Akademii Muzycznej im. I . J. Paderewskiego

Another Student Hostel that cooperates with our Academy is:

Dom Akademicki Akademii Wychowania Fizycznego

Monthly fee for a place in a Student Hostel is about 650 z.

Dean prof. AM dr hab. Hanna Kostrzewska

The faculty offers:

The education aim is to offer a thorough development to a young creator-composer

The education aim is to provide a graduate with comprehensive knowledge and

The education aim is to prepare for a work of an eurhythmics teacher in

SUMPHONIC AND OPERA CONDUCING

Structure of the Faculty

COMPOSITION AND THEORY OF MUSIC DEPARTMENT

THEORY OF MUSIC UNIT

EURHYTHMICS AND PIANO IMPROVISATION DEPARTMENT

As a part of research activities, the Department staff participate in conferences and

C COMPOSITION, Con CONDUCTING, T THEORY OF MUSIC,

BASICS OF COMPOSITION (C) first-cycle

COMPOSITION (C) second-cycle

HISTORY OF MUSIC THEORY (T) second-cycle

MOVEMENT COMPOSITION OF MUSIC PIECES (E) first-cycle