National University of Arts George Enescu IASI
The contents of the Music Theory. Solfeggio. Musical Dictation course taught throughout the three years of study are as follows: 1st year, 1st semester, 28 hours – Course + 14 hours – Seminar · The subject, importance and research directions of musical theory; the role and importance of this discipline in understanding and assimilating the phenomenon of musical creation and performing · The musical sound – a complex phenomenon. The physical, physiological and psychological foundations of music · The major-minor tonal-functional system of Musical Baroque, Classicism and Romanticism. A historical-evolutionary outline. Generative-formative valences of the tonal function: a) harmony; b) melody; c) form; d) rhythm, metrics · These concepts are understanded through analysis and theoretical exercises · The seminar contains also aural drills, and solfeggios written by various authors which aim the development of the student’s musicianship, music understanding and aural skills. · Musical dictations follow closely the contents of the 1st semester, being written for one voice up to three voices, in monody, homophony and polyphony sintax. 1st year, 2nd semester, 14 hours – Course + 14 hours – Seminar · Alterations and chromaticism in the major-minor tonal-functional system. Genesis, evolution · Tonal cadenzas. Typology, functions, morphologic and syntactic values · Diatonic, chromatic and enharmonic modulation. Stylistic considerations · Aural skills exercises along with modulation analysis and dictations. 2nd year, 3rd semester, 14 hours – Course + 14 hours – Seminar · Genesis and evolution of modal systems. Micro- and macrostructural organisation · Ancient modal systems · Modal systems in Christian musical cultural: 1) Byzantine modes (echoes, tones); 2) Gregorian modes · The modes of Renaissance vocal polyphony · Musical rhythm and the modal concept · Ear training exercises meant to develop the differentiation of the tonal system versus the modal system · Modal solffegios and modal dictations on one voice 2nd year, 4th semester, 14 hours – Course + 14 hours – Seminar · Modal systems in Romanian folk music · Rhythm in Romanian folk music · Elements of modal analysis 3rd year, 5th semester, 14 hours – Course + 14 hours – Seminar · Expanding the classical concepts of tonality and mode · Neo-modal (modal-chromatic) systems · The atonal system · Aural drills based on these sound systems. Atonal and neo-modal solffegios. · Short analysis based on XXth century music examples. 3rd year, 6th semester, 14 hours – Course + 14 hours – Seminar · Aspects of rhythmic thinking in musical creation of the 20th century The triad: Rhythm - Meter - Tempo · Specific features of musical dynamics within the different compositional styles of 20th century music · Modern musical semiography. New notation procedures used in contemporary music · Openings for 21st century music Applications (selective): · Questionnaires and tests in the theory of music · Notes, self-study, summaries, reports · Written papers · Observation and verbal assessment · Intonation exercises: intervals, chords. · Rhythm exercises. · Solfeggio and melodic, harmonic and polyphonic dictations · Modal solfeggio and dictation • Melodic, harmonic an polyphonic solfeggio and dictation
1. Basic musical notation skills, understood by reading, writing and understanding specific sound phenomena. 2. Knowledge of theory of intervals; Theory of tonality: scales, modes, chords (3 and 4 elements); Theory of rhythm and Metrics of homogeneous rhythms.
Discipline output 1. The Syllabus of the discipline Music Theory, Solfeggio, Musical Dictation results from the necessity of forming a musician-educator from the perspective of extending the knowledge on composing languages which are at the basis of various musical styles. 2. The issues subject to investigation envisage, on one hand, the systemic approach of a vaste informational field and, on the other hand, revealing the interferences at the level of the vocabulary – syntax – morphology triad. 3. A special place is awarded to the 20th century music in the overall view of the evolution of musical language, considering that this period of creation – with an unprecedented stylistic density in music history – has its own axiologic settlement. 4. The practical aim of this course is provided by the direct, permanent relation with the musical text, by means of solfeggio and musical dictation, complementary techniques of perception and representation of the audible image, an essential endeavour to any musician.

Further information

  • assessment
    Other (Evaluation Grid Document 1st year, 1st and 2nd semester Final evaluation form (E-exam, C-colloquium, LP-practical work) Evaluation forms and methods (percentage expression): - exam - 50 % - applicative activities/practical: seminars - 25 % - formative evaluation tests (test, report, essay, portfolio, project) - 25 % Formative evaluation tools (throughout the semester): [for course and applications/seminars] - Verbal observation and appreciation, evaluation test, oral examination, solfeggio and musical diction tests and exercises (melodic, harmonic, polyphonic) differentiated on structural and formative criteria, synthesis exercises and tests, musical analysis. Final evaluation tools: applied theory questionnaires and tests, verification by practical evaluation forms, first-sight solfeggio and complex and synthesis dictations. )
  • level
  • Completed Semester
    Semesters 1 to 6.
  • How many semesters does the course last?
    6 semesters
  • hours per week
    100 minutes
  • Link of the course
  • Target group of course
    Other (Students from the specialization „Music”)
  • credits
    30 credits per semester.
  • Type of Course
  • Degree Level
  • e-learning-elements
    Youtube and aural training apps, such as Perfect Ear or The Ear Gym.
  • Course
  • students #
    6-15 students
  • Hours per year
    56 hours
    BIBLIOGRAFIE SEMINAR ASIST. UNIV. DR. LUCIAN CHERAN GIULEANU, Victor – Tratat de teoria muzicii, București, Editura Muzicală, 1986 RÎPĂ, Constantin – Teoria superioară a muzicii, vol. I - Sisteme tonale, Cluj-Napoca, Editura MediaMusica, 2001 RÎPĂ, Constantin – Teoria superioară a muzicii, vol. II - Ritmul, Cluj-Napoca, Editura MediaMusica, 2001 TERÉNYI, Ede – Armonia muzicii moderne (1900-1950), Cluj-Napoca, Editura MediaMusica, 2001 STONE, Kurt – Music Notation in the Twentieth Century, a Practical Guidebook, New York, W. W. Norton & Company, 1980 EDLUNG, Lars – Modus Novus, New York, Beekman Books Inc., 1990. DUȚICĂ, Gheorghe – Solfegiu, dicteu, analiză muzicală, Iași, Editura Artes, 2004 DUȚICĂ, Luminița – Teste de solfegiu și dicteu muzical, Iași, Editura Artes, 2010 DUȚICĂ, Luminița – Teoria muzicii în teste și chestionare, Iași, Editura Artes, 2013 BUCESCU, Iulia – Metodă de solfegii, dictări melodice, Iași, C. P. E. Loreley, 1996 BUCESCU, Iulia – Teoria muzicii, îndrumar metodic pentru admiterea în Conservator, Bacău, Editura Corgal Press, 1998 BUCESCU, Iulia și CRĂINICEANU, Dumitru – Teoria muzicii, Metodă de studiu autodidact, Ploiești, Editura LiberArt, 1994 GIULEANU, Victor și IUȘCEANU, Victor – Dicteuri melodice, București, Editura Muzicală Grafoart, 2019 IUȘCEANU, Victor – Solfegii, vol. II și III, București, Editura Muzicală Grafoart, 2013 DUMITRESCU, Ion – 120 de solfegii de grad superior, vol. I și vol. II, București, Editura Muzicală Grafoart, 2012 CHIȚU, Ciprian-Gabriel – 101 de solfegii tonale (ghid de studiu), Iași, Editura Artes, 2017 NEDELCUȚ, Nelida și RÎPĂ, CONSTANTIN – Solfegiu pentru toți, vol. I și II, Oradea, Editura Institutului Biblic „Emanuel”, 1998 ***, Solfegii, Dictee, Teste Teoretice de Teoria Muzicii, Iași, Editura Pim, 2017 TĂNĂSESCU, Andrei – 50 Solfegii modale și seriale, București, Editura Muzicală, 2006 GALLON, Noël – Cours complet de Dictée Musicale, Dictées harmoniques graduées à 2, 3 et 4 parties, Paris, Editions Jobert, 2007 GALLON, Noël - Cours complet de Dictée Musicale, 100 dictées musicales progressives à deux parties : faciles à très difficiles, Paris, Editions Jobert, 1996 MĂZĂREANU, Ion – 200 de Solfegii modale, București, Editura Litera, 1980
  • evaluation grid
  • evaluation grid
    and document


Lucian Cheran

current position

Assistant Professor


National University of Arts George Enescu IASI

Be a part of our european project !

This European project (KA 203 Strategic Partnership) created by Salvatore Gioveni promotes cross-border collaboration in the field of Music Theory through sharing knowledge and transferring pedagogical innovation. It thus responds to a lack of centralised source and framework to deepen reflection by means of cross-disciplinary study at European and international level.

There is a significant wealth of educational practices from one country to another in this sector, especially in terms of harmonic musical notation and analysis. However, HMEI's are facing the nonexistence of a European network for pedagogical staff in Music Theory so far. To improve the situation, the project will among other things develop several intellectual outputs such as Online Platform (IO 1), an EU Bibliography (IO 2), a Repository Courses (IO 3), a Multilingual Glossary (IO 4) and an Exchange Online Learning Platform.

Besides the Conservatoire royal de Bruxelles as leader and manager of the project, the following partner institutions are involved: Music Academy S. Moniuszki Gdańsk (Gdańsk, Poland), F. Liszt Academy of Music Budapest (Budapest, Hungary), Estonian Academy for Music and Theatre (Tallinn, Estonia), HfMTh "Felix Mendelssohn Bartholdy" (Leipzig, Germany).

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