Music Performance
Program Code: 130201 Duration:4 years
Educational Objectives:
This program, leveragingdisciplinary strengths and resource platforms, is oriented toward practicalability development and is committed to cultivating high-level musicperformance talents with both moral integrity and artistic excellence,outstanding technical skills, and a profound sense of national responsibility.Through systematic training in professional skills and extensive stagepractice, students will comprehensively master the core techniques and artisticexpression of music performance. The training process emphasizes enhancingstudents' overall musical literacy while strengthening their teamwork and stagecontrol abilities. Through diversified training paths such as concerts,professional competitions, and the application of modern music technologies,students will acquire exceptional artistic expression, solid practicalcapabilities, and outstanding social service abilities, ultimately becomingwell-rounded music professionals with both artistic accomplishment andprofessional expertise.
Training Goals 1: Professional Skills and Artistic Expression; Tocultivate students with excellent vocal or instrumental performance skills anda systematic understanding of the styles of classic Chinese and Western musicworks, enabling them to perform solo, chamber, concerto, and ensemblerepertoire. Through masterclasses, international exchanges, and high-levelartistic practices, students will enhance their stage performance and develop apersonal artistic style.
Training Goals 2: Cultural Literacy; Relyingon interdisciplinary advantages, the program deepens students’ academicabilities in music theory, music history, and aesthetics, fostering a strongunderstanding of musical culture and an academic spirit of exploration.Students are encouraged to broaden their cultural perspectives and enrich thedepth and breadth of artistic expression.
Training Goals 3: Innovation Ability; Theprogram emphasizes cultivating innovative thinking and personalized expressionin the field of performance. It focuses on the integration of traditionaltechniques with modern artistic concepts. Through systematic training, studentswill be able to fluently adapt to various musical styles and develop a uniqueartistic voice.
Training Goals 4: Practical Ability; Emphasisis placed on cultivating professional competence and a sense of socialresponsibility. Students will develop comprehensive abilities in musiceducation, arts management, and cultural communication. They are encouraged toparticipate in practical music projects, professional competitions, andindustry performances to comprehensively enhance their stage performance andartistic innovation capabilities. The goal is to train high-level performerswho can play significant roles in professional ensembles, universities, andcultural institutions.
GraduationRequirements:
1. Musical Knowledge: Students must understandand uphold professional ethics and standards in music practice, fulfill theirobligations, and establish a scientific worldview and correct values. Theyshould be able to apply foundational and specialized musical knowledge to solvecomplex musical problems, achieving an organic integration of knowledge andpractice.
2. Problem Analysis: Students shouldproficiently use fundamental music knowledge and analytical methods tosystematically and objectively interpret and analyze musical works, phenomena,and history. They must also consider the sustainability needs of music projectsand works to form effective analytical conclusions.
3.Design/Develop Solutions: Students shouldpossess analytical and creative thinking skills to conduct academic researchand integrate theory with practice. They should be able to design and developsolutions to complex musical problems, construct innovative processes that meetspecific needs, and evaluate feasibility from artistic and socio-culturalperspectives.
4. Professional Performance Techniques andResearch Ability: Students must master core instrumental techniques(intonation, rhythm, tone control), accurately interpret representative worksfrom different historical periods, and tackle technically demanding passages.They should also possess abilities in composition or practical application,using music theory to scientifically analyze works and complete performance andinterpretation tasks.
5. Use of Modern Tools: Based on principlesfrom music history, literature, and aesthetics, students must be able toresearch musical issues with logical rigor and accurate written expression.They should be capable of developing, selecting, and applying appropriatetechnologies, resources, and modern information tools to address complexissues, while understanding their limitations.
6. Music and Sustainable Development:Students should reasonably use computer and multimedia music technologies toanalyze and solve problems in music theory, acoustics, and media communication.When addressing complex topics, they must evaluate the impact of musicpractices on economic and social sustainability based on professional knowledgeand fulfill relevant responsibilities.
7. Music Ethics and Professional Standards:Students must analyze and evaluate musical phenomena, works, and literaturebased on professional knowledge, positively influencing social and culturaldevelopment. With a sense of national service and public welfare, and equippedwith humanistic qualities and social responsibility, they should understand andpractice music ethics and adhere to professional norms, laws, andresponsibilities in their practice.
8. Individual and Team Work: Individually,students should be capable of analyzing music-related artistic and culturalissues and addressing topics in music culture, technology, communication, andinnovation with creative thinking. In team settings, under multidisciplinarycontexts, they should flexibly assume roles as individuals, members, orleaders, enhancing performance through collaboration.
9. Stage Performance and CommunicationSkills: Students will develop professional stage performance abilities,mastering techniques in body language and musical expression. Through regularperformances, they will gain experience and build strong teamwork skills, beingable to undertake roles such as technical guidance or theoretical analysis indiverse music groups.
10. Project Management: Students mustcommunicate musical topics effectively and credibly with academia and thepublic. They should improve the quality of their writing and presentationskills and strengthen foreign language proficiency to facilitate internationalexchange and cooperation.
11. Lifelong Learning: Students are expectedto develop the awareness and ability for independent learning, lifelonglearning, and critical thinking. They must adapt to contemporary informationprocessing and learning methods to continually update their knowledge andensure continuous personal and professional development.
Matrix of the Relationship BetweenProgram Objectives and Graduation Requirements
Training Goals Graduation Requirements | Training Goals 1 | Training Goals 2 | Training Goals 3 | Training Goals 4 |
Graduation Requirements 1 | ● |
|
|
|
Graduation Requirements 2 | ● |
|
|
|
Graduation Requirements 3 |
| ● | ● |
|
Graduation Requirements 4 | ● |
|
|
|
Graduation Requirements 5 | ● | ● |
|
|
Graduation Requirements 6 |
| ● | ● |
|
Graduation Requirements 7 |
| ● |
| ● |
Graduation Requirements 8 |
|
| ● | ● |
Graduation Requirements 9 |
|
|
| ● |
Graduation Requirements 10 |
|
|
| ● |
Graduation Requirements 11 |
|
| ● | ● |
Program Overview: (within 500 characters)
The Music Performanceprogram, established in 2002, is designated as a National First-ClassUndergraduate Program. It offers three concentrations: Vocal Performance,Instrumental Performance, and Keyboard Performance. The program boasts a teamof highly qualified faculty with strong teaching and performing capabilities.Among the current faculty, three hold doctoral degrees and twelve hold master’sdegrees. Their alma maters include top institutions such as the CentralConservatory of Music, Shanghai Conservatory of Music, China Conservatory ofMusic, Xi’an Conservatory of Music, Royal Academy of Music (UK), University ofCincinnati College-Conservatory of Music (CCM), Cologne University of Music,and Northwestern University (USA).
The program benefits fromnationally certified experimental teaching platforms, including theIntegrated Experimental Teaching Center for Humanities at SouthChina University of Technology, and the Instrumental Training Base forSchool Art Education certified by the Guangdong Provincial Department of Education.Students participate in university-affiliated performance ensembles such as theSCUT Youth Symphony Orchestra, Symphonic Wind Ensemble, Chamber Orchestra, andArt School Choir—all of which have received awards in national student artcompetitions. The chamber ensemble’s original work Time and Space of Qin andYue was funded by the National Arts Fund’s small-scale production project.
The program emphasizesinternational academic exchange and maintains strong partnerships with overseasinstitutions such as the Yale School of Music and the University of North TexasCollege of Music. It has also established a student exchange agreement withWesleyan College (USA).
Since its inception, theMusic Performance program has continuously advanced the development of ahigh-quality talent cultivation system. Adhering to its goal of trainingwell-rounded, professionally skilled music performers, it emphasizes stageexperience and practical application to create a performance-driven,practice-integrated training model.
Program Features (within 100 characters)
Fully utilizes theacademic and educational resources of a comprehensive university (includinginternational master programs). While focusing on professional courses, it alsoincorporates cultural and theoretical studies, emphasizing ability cultivationalongside knowledge and personal development. The program fosters well-rounded,practically skilled professionals through integrated classroom teaching andartistic practice.
Degree Awarded: Bachelor of Arts(Music)
Core Courses
Vocal Track: VocalPerformance, Ensemble Singing, Choral Singing, Introduction to Acting
Instrumental Track:Instrumental Performance, Symphony Orchestra Training & Performance,Chamber Music
Keyboard Track:Instrumental Performance, Piano Duo Performance, Chamber Music
Specialized Courses
Freshman Seminar:Symphony Orchestra Training & Performance (I), Choral Singing (I)
Topical Seminar: MusicWriting Styles
Cutting-Edge Course:Music Composition & Arrangement, Symphony Orchestra Training &Performance
Interdisciplinary Course:Piano Improvisation and Accompaniment
IntegratedUndergraduate–Graduate Course: Choral Rehearsal
SharedUndergraduate–Graduate Course: Opera Rehearsal
School–EnterpriseCollaboration Course: Cantonese Opera Singing & Movement Techniques
Innovative PracticeCourse: Stage Performance Practice, Theory and Innovation of Artistic Practice(“Three Ones” course)
Labor Education Course:Graduation Internship
Program Profile:
Music Performance program,first enrolled students in 2002, is a national first-class undergraduateprofessional construction point. It is divided into vocal performance,instrumental performance, and keyboard performance. Among the group of teacherswho are excellent in morality and teaching style with both abilities to teachand perform, there are 3 doctoral degree holders and 12 master's degreeholders. These teachers are all graduated from top professional colleges athome and abroad, such as the Central Conservatory of Music, ShanghaiConservatory of Music, China Conservatory of Music, Xi'an Conservatory ofMusic, Royal Academy of Music (RAM), University of CincinnatiCollege-Conservatory of Music (CCM), Hochschule für Musik Köln, NorthwesternUniversity, etc.
Music Performance programhas a national experimental teaching demonstration center South ChinaUniversity of Technology Comprehensive Experimental Teaching Center for LiberalArts issued by the Ministry of Education; Instrumental MusicTraining Base for school arts education activities issued by theDepartment of Education of Guangdong Province; The South China University ofTechnology Youth Symphony Orchestra, Symphonic Wind Band, Chamber Orchestra,and the School of Arts Choir, that integrate teaching and practice, and havewon awards in College Student Arts Showcase Competitions for many times; Theoriginal chamber music Qin Yue Time and Space performed by thechamber orchestra was funded by the National Arts Foundation for SmallRepertoire.
The program focuses onstrengthening foreign academic exchanges, maintains fine cooperative relationswith foreign universities such as Yale University School of Music andUniversity of North Texas School of Music, and signs student exchange programagreements with Wesleyan College.
Since its establishment,the music performance program has solidly promoted the construction of ahigh-quality talent training system, adhering to the training goal ofcultivating composite professional music performance talents, and through alarge number of stage practices, in order to achieve the talent training modeof combining performance with practice, promoting learning with performing, andcombining performing and teaching.
Program Features:
The program makes fulluse of the many learning resources and educational resources of our comprehensiveuniversity (overseas famous teacher programs, etc.), and takes into account thestudy of cultural theory courses while studying specialized courses. Formedprofessional characteristics with ability training as the core and equalemphasis on knowledge, ability, and quality. The comprehensive quality ofstudents can be well improved, relying on professional characteristics andadvantages. Through the integration of classroom teaching and artisticpractice, professional application-oriented talents with high comprehensivequality and excellent professional basic skills are cultivated.
Degree Conferred: Bachelor of Fine Arts
Core Courses:
Vocal: Vocal Performance,Ensemble, Choir, Performance Fundamental, Vocal Literature.
Instrumental: InstrumentalPerformance, Orchestral Training and Performance, Chamber Music.
Keyboard: KeyboardPerformance, Piano Duo Performance, Piano Improvisational Accompaniment, PianoLiterature, Piano Pedagogy, Chamber Music.
Featured Courses:
Freshmen Seminar:Fundamentals of Chinese and Foreign Orchestration, Choir (I)
Special Topics: Writingabout Music
Subject Frontier Courses:Music Composition and Arrangement, Orchestral Training and Performance
InterdisciplinaryCourses: Piano Improvisational Accompaniment
Baccalaureate-Master’sIntegrated Courses: Choir Rehearsal
Baccalaureate-Master’sSharing Courses: Opera Rehearsal
Cooperative Courses withEnterprises: The Singing and Figure of Cantonese Opera
Innovative Practice:Stage Performance Practice, Theory and Innovation in Artistic Practice (“ThreeOnes” Course)
Education on TheHard-Working Spirit: Graduation Internship1. Registration Form of Curriculum Credits
1.1 Credits Registration Form
Course Category | Requirement | Credits | Academic Hours | Remarks | |||||||
General Basic Courses | Compulsory | 27.0 | 552 |
| |||||||
General Education | 10.0 | 160 |
| ||||||||
Specialty Basic Courses | Compulsory | 57.0 | 944 |
| |||||||
Elective Courses | Elective | 20.0 | 320 |
| |||||||
Total | 114.0 | 1976 |
| ||||||||
Practice Training (Weeks) | Compulsory | 36.0 | 36 weeks |
| |||||||
Credits Required for Graduation | 114+36=150 | ||||||||||
Suggested Credits for Each Semester | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | |||
20.5 | 18.5 | 19.5 | 18 | 16 | 14 | 16 | 16 | ||||
Remarks: Upongraduation, students must complete the credits specified in the professionalteaching plan and obtain 5 credits for humanities education and 4 credits forinnovation ability cultivation in the second classroom.
1.2 CategoryRegistration Form
Academic Hours | Credits | ||||||||||
Total | Include | Include | Total | Include | Include | Include | |||||
Compulsory | Elective | Theory Course | Lab | Compulsory | Elective | Practice-Concentrated Training | Theory Course Credits | Lab | Innovation and Entrepreneurship Education | ||
1976 | 1496 | 480 | 1390 | 586 | 150 | 120 | 30 | 36 | 106 | 12 | 2 |
Note:1.General education courses are counted under electives;
2.Experimental teaching includes experiments, internships, and other activitieslisted in the Professional Teaching Plan Table.;
3.Credits for innovation and entrepreneurship education: Courses listed in thetraining plan and recognized by the departmental teaching advisory committee,including practice-integrated courses, innovation practice courses,entrepreneurship education courses, etc;
4.Required class hours + Elective class hours = Total class hours;Theoreticalteaching hours + Experimental teaching hours = Total class hours;Required credits+ Elective credits = Total credits; Concentrated practical teaching credits +Theoretical teaching credits + Experimental teaching credits = Total credits.
2. CoursesSchedule
Course Category | Course No. | Course Title | C/E | Total Curriculum Hours | Credits | Semester | ||||
Class Hours | Theoretical Class Hours | Lab Hours | Practice Hours | Others | ||||||
General Basic Courses | 031101761 | The Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era | C | 48 | 36 |
|
| 12 | 3.0 | 1 |
031101661 | Ethics and Rule of Law | C | 40 | 36 |
|
| 4 | 2.5 | 2 | |
031101371 | Skeleton of Chinese Modern History | C | 40 | 36 |
|
| 4 | 2.5 | 3 | |
031101522 | Fundamentals of Marxism Principle | C | 40 | 36 |
|
| 4 | 2.5 | 3 | |
031101424 | Thought of Mao ZeDong and Theory of Socialism with Chinese Characteristics | C | 40 | 36 |
|
| 4 | 2.5 | 4 | |
031101331 | Analysis of the Situation and Policy | C | 64 | 64 |
|
|
| 2.0 | 1-8 | |
044103681 | College English (I) | C | 32 | 32 |
|
|
| 3.0 | 1 | |
044103691 | College English (II) | C | 32 | 32 |
|
|
| 3.0 | 2 | |
084101171 | Introduction to Artificial Intelligence (Liberal Arts) | C | 36 | 24 |
|
| 12 | 0 | 1 | |
052100332 | Physical Education (I) | C | 36 |
|
|
| 36 | 1.0 | 1 | |
052100012 | Physical Education (II) | C | 36 |
|
|
| 36 | 1.0 | 2 | |
052100842 | Physical Education (III) | C | 36 |
|
|
| 36 | 1.0 | 3 | |
052100062 | Physical Education (IV) | C | 36 |
|
|
| 36 | 1.0 | 4 | |
006100112 | Military Principle | C | 36 | 18 |
|
| 18 | 2.0 | 2 | |
| Humanities, Social Science | General Education Courses | 96 | 96 |
|
|
| 6.0 |
| |
| Science and Technology | 64 | 64 |
|
|
| 4.0 |
| ||
Total | 712 | 510 |
|
| 202 | 37.0 |
| |||
Remarks: Other hours can be computer and practicalhours.
2. CoursesSchedule
Course Category | Course No. | Course Title | C/E | Total Curriculum Hours | Credits | Semester | ||||
Class Hours | Theoretical Class Hours | Lab Hours | Practice Hours | Other Hours | ||||||
Specialty Basic Courses | 072100511 | Fundamental Music Theory | C | 32 | 32 |
|
|
| 2.0 | 1 |
072107971 | Solfeggio (I) | C | 32 | 32 |
|
|
| 2.0 | 1 | |
072107941 | Solfeggio (II) | C | 32 | 32 |
|
|
| 2.0 | 2 | |
072108151 | Solfeggio (Ⅲ) | C | 32 | 32 |
|
|
| 2.0 | 3 | |
072107991 | Solfeggio (IV) | C | 32 | 32 |
|
|
| 2.0 | 4 | |
072107021 | Piano (I) | C | 8 | 8 |
|
|
| 0.5 | 1 | |
072101191 | Piano (II) | C | 8 | 8 |
|
|
| 0.5 | 2 | |
072103101 | History of Chinese Music (I) | C | 32 | 32 |
|
|
| 2.0 | 1 | |
072102591 | History of Chinese Music (II) | C | 32 | 32 |
|
|
| 2.0 | 2 | |
072107391 | Introduction of Chinese Traditional Music (I) | C | 32 | 32 |
|
|
| 2.0 | 1 | |
072107401 | Introduction of Chinese Traditional Music (II) | C | 32 | 32 |
|
|
| 2.0 | 2 | |
072100121 | Harmony (I) | C | 32 | 32 |
|
|
| 2.0 | 2 | |
072103191 | Harmony (II) | C | 32 | 32 |
|
|
| 2.0 | 3 | |
072102191 | Form and Composition Analysis (I) | C | 32 | 32 |
|
|
| 2.0 | 3 | |
072100441 | Form and Composition Analysis (II) | C | 32 | 32 |
|
|
| 2.0 | 4 | |
072100061 | History of Western Music (I) | C | 32 | 32 |
|
|
| 2.0 | 5 | |
072100431 | History of Western Music (II) | C | 32 | 32 |
|
|
| 2.0 | 6 | |
072100171 | Writing about Music | C | 32 | 32 |
|
|
| 2.0 | 6 | |
Total | C | 528 | 528 |
|
|
| 33.0 |
| ||
Vocal | ||||||||||
072107371 | Vocal Performance (I) | C | 16 | 16 |
|
|
| 1.0 | 1 | |
072101991 | Vocal Performance (II) | C | 16 | 16 |
|
|
| 1.0 | 2 | |
072104171 | Vocal Performance (III) | C | 16 | 16 |
|
|
| 1.0 | 3 | |
072105761 | Vocal Performance (IV) | C | 16 | 16 |
|
|
| 1.0 | 4 | |
072107321 | Vocal Performance (V) | C | 16 | 16 |
|
|
| 1.0 | 5 | |
072104541 | Vocal Performance (VI) | C | 16 | 16 |
|
|
| 1.0 | 6 | |
072101221 | Vocal Performance (VII) | C | 16 | 16 |
|
|
| 1.0 | 7 | |
072104521 | Vocal Performance (VIII) | C | 16 | 16 |
|
|
| 1.0 | 8 | |
072103092 | Choir (I) | C | 32 | 32 |
|
|
| 2.0 | 1 | |
072101452 | Choir (II) | C | 32 | 32 |
|
|
| 2.0 | 2 | |
072103081 | Body Shaping (I) | C | 32 |
|
|
| 32 | 1.0 | 3 | |
072102161 | Body Shaping (II) | C | 32 |
|
|
| 32 | 1.0 | 4 | |
072104611 | Italian Phonics | C | 32 | 32 |
|
|
| 2.0 | 1 | |
072103151 | German and French Phonics | C | 32 | 32 |
|
|
| 2.0 | 2 | |
072107421 | Orthoepy and Text | C | 32 | 32 |
|
|
| 2.0 | 3 | |
072104001 | Ensemble | C | 32 | 32 |
|
|
| 2.0 | 4 | |
072104182 | Opera Rehearsal | C | 32 | 32 |
|
|
| 2.0 | 6 | |
Total | C | 416 | 352 |
|
| 64 | 24.0 |
| ||
Instrumental | ||||||||||
072102971 | Instrumental Performance (I) | C | 16 | 16 |
|
|
| 1.0 | 1 | |
072105751 | Instrumental Performance (II) | C | 16 | 16 |
|
|
| 1.0 | 2 | |
072107141 | Instrumental Performance (III) | C | 16 | 16 |
|
|
| 1.0 | 3 | |
072104531 | Instrumental Performance (IV) | C | 16 | 16 |
|
|
| 1.0 | 4 | |
072107241 | Instrumental Performance (V) | C | 16 | 16 |
|
|
| 1.0 | 5 | |
072101981 | Instrumental Performance (VI) | C | 16 | 16 |
|
|
| 1.0 | 6 | |
072105151 | Instrumental Performance (VII) | C | 16 | 16 |
|
|
| 1.0 | 7 | |
072103801 | Instrumental Performance (VIII) | C | 16 | 16 |
|
|
| 1.0 | 8 | |
072103941 | Chamber Music (I) | C | 32 | 32 |
|
|
| 2.0 | 1 | |
072102151 | Chamber Music (II) | C | 32 | 32 |
|
|
| 2.0 | 2 | |
072102402 | Chamber Music (III) | C | 32 | 32 |
|
|
| 2.0 | 3 | |
072101161 | Chamber Music (IV) | C | 32 | 32 |
|
|
| 2.0 | 4 | |
072101761 | Chamber Music (V) | C | 32 | 32 |
|
|
| 2.0 | 5 | |
072103632 | Orchestral Training and Performance (I) | C | 32 |
|
|
| 32 | 1.0 | 1 | |
072102971 | Orchestral Training and Performance (II) | C | 32 |
|
|
| 32 | 1.0 | 2 | |
072104351 | Orchestral Training and Performance (III) | C | 32 |
|
|
| 32 | 1.0 | 3 | |
072105071 | Orchestral Training and Performance (IV) | C | 32 |
|
|
| 32 | 1.0 | 4 | |
072105701 | Orchestral Training and Performance (V) | C | 32 |
|
|
| 32 | 1.0 | 5 | |
072101961 | Orchestral Training and Performance (VI) | C | 32 |
|
|
| 32 | 1.0 | 6 | |
Total | C | 480 | 288 |
|
| 192 | 24.0 |
| ||
Keyboard | ||||||||||
072102971 | Instrumental Performance (I) | C | 16 | 16 |
|
|
| 1.0 | 1 | |
072105751 | Instrumental Performance (II) | C | 16 | 16 |
|
|
| 1.0 | 2 | |
072107141 | Instrumental Performance (III) | C | 16 | 16 |
|
|
| 1.0 | 3 | |
072104531 | Instrumental Performance (IV) | C | 16 | 16 |
|
|
| 1.0 | 4 | |
072107241 | Instrumental Performance (V) | C | 16 | 16 |
|
|
| 1.0 | 5 | |
072101981 | Instrumental Performance (VI) | C | 16 | 16 |
|
|
| 1.0 | 6 | |
072105151 | Instrumental Performance (VII) | C | 16 | 16 |
|
|
| 1.0 | 7 | |
072103801 | Instrumental Performance (VIII) | C | 16 | 16 |
|
|
| 1.0 | 8 | |
072103941 | Chamber Music (I) | C | 32 | 32 |
|
|
| 2.0 | 1 | |
072102151 | Chamber Music (II) | C | 32 | 32 |
|
|
| 2.0 | 2 | |
072105161 | Piano Duo Performance (I) | C | 32 | 32 |
|
|
| 2.0 | 2 | |
072106291 | Piano Duo Performance (II) | C | 32 | 32 |
|
|
| 2.0 | 3 | |
072105781 | Piano Duo Performance (III) | C | 32 | 32 |
|
|
| 2.0 | 4 | |
072101931 | Piano Improvisational Accompaniment (I) | C | 32 | 32 |
|
|
| 2.0 | 5 | |
072102871 | Piano Improvisational Accompaniment (II) | C | 32 | 32 |
|
|
| 2.0 | 6 | |
072108321 | Collaborative Piano (I) | C | 32 | 32 |
|
|
| 2.0 | 5 | |
Total | C | 384 | 384 |
|
|
| 24.0 |
| ||
Elective Courses | 072105931 | Aesthetics of Music | E | 32 | 32 |
|
|
| 2.0 | 4 |
072103031 | Introduction to Arts | E | 32 | 32 |
|
|
| 2.0 | 5 | |
072107881 | Fundamentals of Computer Music | E | 32 | 32 |
|
|
| 2.0 | 5 | |
072102891 | Artistic Practice of Recording | E | 32 | 32 |
|
|
| 2.0 | 5 | |
072108181 | Music Composition and Arrangement | E | 32 | 32 |
|
|
| 2.0 | 6 | |
072107902 | Theory and Innovation in Artistic Practice | E | 32 |
|
|
| 64 | 2.0 | 7 | |
020100051 | Innovation Research Training | E | 32 |
|
|
|
| 2.0 | 7 | |
020100041 | Innovation Research Practice (I) | E | 32 |
|
|
|
| 2.0 | 7 | |
020100031 | Innovation Research Practice (II) | E | 32 |
|
|
|
| 2.0 | 7 | |
020100061 | Entrepreneurial Practice | E | 32 |
|
|
|
| 2.0 | 7 | |
Total | minimum elective course credits required: 10 | |||||||||
Vocal | ||||||||||
072102951 | Choir Rehearsal (I) | E | 64 |
|
|
| 64 | 2.0 | 5 | |
072106321 | Choir Rehearsal (II) | E | 64 |
|
|
| 64 | 2.0 | 6 | |
072105211 | Choir Rehearsal (III) | E | 64 |
|
|
| 64 | 2.0 | 7 | |
072107951 | Piano Improvisational Accompaniment | E | 32 | 32 |
|
|
| 2.0 | 5 | |
072107671 | The Singing and Figure of Cantonese Opera | E | 64 |
|
|
| 64 | 2.0 | 5 | |
072102491 | Fundamentals of Conducting | E | 32 | 32 |
|
|
| 2.0 | 6 | |
Total | minimum elective course credits required: 10 | |||||||||
Instrumental | ||||||||||
072102471 | Chamber Music (VI) | E | 32 | 32 |
|
|
| 2.0 | 6 | |
072101721 | Chamber Music (VII) | E | 32 | 32 |
|
|
| 2.0 | 7 | |
072105731 | Chamber Music (VIII) | E | 32 | 32 |
|
|
| 2.0 | 8 | |
072102881 | Orchestral Training and Performance (VII) | E | 64 |
|
|
| 64 | 2.0 | 7 | |
072103871 | Orchestral Training and Performance (VIII) | E | 64 |
|
|
| 64 | 2.0 | 8 | |
072108291 | Musical Terminology in Practice | E | 32 | 32 |
|
|
| 2.0 | 6 | |
Total | minimum elective course credits required: 10 | |||||||||
Keyboard | ||||||||||
072102402 | Chamber Music (III) | E | 64 |
|
|
| 64 | 2.0 | 3 | |
072101161 | Chamber Music (IV) | E | 64 |
|
|
| 64 | 2.0 | 4 | |
072101761 | Chamber Music (V) | E | 64 |
|
|
| 64 | 2.0 | 5 | |
072108331 | Collaborative Piano (II) | E | 32 | 32 |
|
|
| 2.0 | 6 | |
072102491 | Basic Conducting Techniques | E | 32 | 32 |
|
|
| 2.0 | 6 | |
072108291 | Musical Terminology in Practice | E | 32 | 32 |
|
|
| 2.0 | 6 | |
Total | minimum elective course credits required: 10 | |||||||||
Remarks: Other hours can be computer and practicalhours.
Students apply for conversion into certain creditsfor professional elective courses (Innovation and Entrepreneurship Courses suchas innovation Research Training, Innovation Research Practice I, InnovationResearch Practice II, Entrepreneurial Practice and other Innovation andEntrepreneurship Courses) according to their own scientific research trainingprojects, discipline competitions, published papers, obtained patents andindependent entrepreneurship. Each student applies for a total of no more than4 credits for major elective courses. Projects and competitions approved by theschool as elective credits will no longer receive innovation creditscorresponding to the second class.
3. Practice-Concentrated Training
Course No | Course Title | C/E | Total Curriculum Hours | Credits | Semester | |
Practice | Lecture | |||||
006100151 | Military Training | C | 2 weeks |
| 2.0 | 1 |
031101551 | Marxism Theory and Practice | C | 2 weeks |
| 2.0 | 3 |
072103312 | Stage Performance Practice (I) | C | 1 week |
| 1.0 | 2 |
072101051 | Stage Performance Practice (II) | C | 1 week |
| 1.0 | 3 |
072100792 | Stage Performance Practice (III) | C | 1 week |
| 1.0 | 4 |
072102842 | Stage Performance Practice (IV) | C | 1 week |
| 1.0 | 5 |
072101792 | Stage Performance Practice (V) | C | 1 week |
| 1.0 | 6 |
072102962 | Stage Performance Practice (VI) | C | 1 week |
| 1.0 | 7 |
072101921 | Stage Performance Practice (VII) | C | 1 week |
| 1.0 | 8 |
072100543 | Graduation Internship | C | 10 weeks |
| 10.0 | 7 |
072101624 | Graduation Project (Thesis) | C | 10weeks |
| 10.0 | 7-8 |
072100811 | Graduation Recital | C | 5 weeks |
| 5.0 | 8 |
Total | C | 31 weeks |
| 36.0 |
| |
4.Relation Matrix between Curriculum System and Student Outcomes
No. | Course Title | Music Performance Major Student Outcomes | ||||||||||
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | ||
1 | Ethics and Rule of Law |
|
|
|
|
|
| ● | ● |
|
|
|
2 | The Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era |
|
|
|
|
|
| ● |
|
| ● | ● |
3 | Skeleton of Chinese Modern History |
|
|
|
|
|
| ● |
|
| ● | ● |
4 | Thought of Mao ZeDong and Theory of Socialism with Chinese Characteristics |
|
|
|
|
|
| ● |
|
| ● | ● |
5 | Fundamentals of Marxism Principle |
|
|
|
|
|
| ● |
|
| ● | ● |
6 | Analysis of the Situation and Policy |
|
|
|
|
|
| ● |
|
| ● | ● |
7 | College English (I) |
|
|
|
| ● |
|
|
|
|
|
|
8 | College English (II) |
|
|
|
| ● |
|
|
|
|
|
|
9 | Introduction to Artificial Intelligence (Liberal Arts) |
|
|
|
| ● |
| ● |
|
|
| ● |
10 | Physical Education (I) |
|
|
|
|
|
|
|
|
|
| ● |
11 | Physical Education (II) |
|
|
|
|
|
|
|
|
|
| ● |
12 | Physical Education (III) |
|
|
|
|
|
|
|
|
|
| ● |
13 | Physical Education (IV) |
|
|
|
|
|
|
|
|
|
| ● |
14 | Military Principle |
|
|
|
|
|
| ● |
|
|
|
|
15 | Fundamental Music Theory | ● | ● |
|
|
|
|
|
|
|
|
|
16 | Solfeggio (I) | ● | ● |
|
|
|
|
|
|
|
|
|
17 | Solfeggio (II) | ● | ● |
|
|
|
|
|
|
|
|
|
18 | Solfeggio (III) | ● | ● |
|
|
|
|
|
|
|
|
|
19 | Solfeggio (IV) | ● | ● |
|
|
|
|
|
|
|
|
|
20 | Piano (I) |
|
|
|
|
|
|
|
|
|
|
|
21 | Piano (II) |
|
|
|
|
|
|
|
|
|
|
|
22 | Harmony (I) | ● | ● |
| ● |
|
|
|
|
|
|
|
23 | Harmony (II) | ● | ● |
| ● |
|
|
|
|
|
|
|
24 | History of Chinese Music (I) | ● |
|
| ● |
| ● |
|
|
|
|
|
25 | History of Chinese Music (II) | ● |
|
| ● |
| ● |
|
|
|
|
|
26 | Introduction to Chinese Traditional Music (I) | ● |
|
| ● |
| ● |
|
|
|
|
|
27 | Introduction to Chinese Traditional Music (II) | ● |
|
| ● |
| ● |
|
|
|
|
|
28 | Form and Composition Analysis (I) | ● | ● |
| ● |
|
|
|
|
|
|
|
29 | Form and Composition Analysis (II) | ● | ● |
| ● |
|
|
|
|
|
|
|
30 | History of Western Music (I) | ● |
|
| ● |
| ● |
|
|
|
|
|
31 | History of Western Music (II) | ● |
|
| ● |
| ● |
|
|
|
|
|
32 | Writing about Music |
| ● |
| ● |
|
| ● |
|
|
|
|
33 | Vocal Performance (I) | ● |
|
| ● |
|
|
|
|
|
|
|
34 | Vocal Performance (II) | ● |
|
| ● |
|
|
|
|
|
|
|
35 | Vocal Performance (III) | ● |
|
| ● |
|
|
|
|
|
|
|
36 | Vocal Performance (IV) | ● |
|
| ● |
|
|
|
|
|
|
|
37 | Vocal Performance (V) | ● |
|
| ● |
|
|
|
|
|
|
|
38 | Vocal Performance (VI) | ● |
|
| ● |
|
|
|
|
|
|
|
39 | Vocal Performance (VII) | ● |
|
| ● |
|
|
|
|
|
|
|
40 | Vocal Performance (VIII) | ● |
|
| ● |
|
|
|
|
|
|
|
41 | Body Shaping (I) | ● | ● |
|
|
|
|
| ● | ● |
|
|
42 | Body Shaping (II) | ● | ● |
|
|
|
|
| ● | ● |
|
|
43 | Italian Phonics | ● |
|
| ● |
|
|
|
| ● |
|
|
44 | German and French Phonics | ● |
|
| ● |
|
|
|
| ● |
|
|
45 | Orthoepy and Text |
| ● |
| ● |
|
|
|
|
|
|
|
46 | Choir (I) | ● | ● |
|
|
|
|
| ● | ● |
|
|
47 | Choir (II) | ● | ● |
|
|
|
|
| ● | ● |
|
|
48 | Opera Rehearsal |
|
|
| ● |
|
|
|
| ● |
|
|
49 | Ensemble |
|
|
| ● |
|
|
|
| ● |
|
|
50 | Instrumental Performance (I) | ● |
|
| ● |
|
|
|
|
|
|
|
51 | Instrumental Performance (II) | ● |
|
| ● |
|
|
|
|
|
|
|
52 | Instrumental Performance (III) | ● |
|
| ● |
|
|
|
|
|
|
|
53 | Instrumental Performance (IV) | ● |
|
| ● |
|
|
|
|
|
|
|
54 | Instrumental Performance (V) | ● |
|
| ● |
|
|
|
|
|
|
|
55 | Instrumental Performance (VI) | ● |
|
| ● |
|
|
|
|
|
|
|
56 | Instrumental Performance (VII) | ● |
|
| ● |
|
|
|
|
|
|
|
57 | Instrumental Performance (VIII) | ● |
|
| ● |
|
|
|
|
|
|
|
58 | Chamber Music (I) |
|
|
| ● |
|
|
|
| ● |
|
|
59 | Chamber Music (II) |
|
|
| ● |
|
|
|
| ● |
|
|
60 | Chamber Music (III) |
|
|
| ● |
|
|
|
| ● |
|
|
61 | Chamber Music (IV) |
|
|
| ● |
|
|
|
| ● |
|
|
62 | Chamber Music (V) |
|
|
| ● |
|
|
|
| ● |
|
|
63 | Orchestral Training and Performance (I) |
|
|
| ● |
|
|
|
| ● |
|
|
64 | Orchestral Training and Performance (II) |
|
|
| ● |
|
|
|
| ● |
|
|
65 | Orchestral Training and Performance (III) |
|
|
| ● |
|
|
|
| ● |
|
|
66 | Orchestral Training and Performance (IV) |
|
|
| ● |
|
|
|
| ● |
|
|
67 | Orchestral Training and Performance (V) |
|
|
| ● |
|
|
|
| ● |
|
|
68 | Orchestral Training and Performance (VI) |
|
|
| ● |
|
|
|
| ● |
|
|
69 | Instrumental Performance (I) | ● |
|
| ● |
|
|
|
|
|
|
|
70 | Instrumental Performance (II) | ● |
|
| ● |
|
|
|
|
|
|
|
71 | Instrumental Performance (III) | ● |
|
| ● |
|
|
|
|
|
|
|
72 | Instrumental Performance (IV) | ● |
|
| ● |
|
|
|
|
|
|
|
73 | Instrumental Performance (V) | ● |
|
| ● |
|
|
|
|
|
|
|
74 | Instrumental Performance (VI) | ● |
|
| ● |
|
|
|
|
|
|
|
75 | Instrumental Performance (VII) | ● |
|
| ● |
|
|
|
|
|
|
|
76 | Instrumental Performance (VIII) | ● |
|
| ● |
|
|
|
|
|
|
|
77 | Chamber Music (I) |
|
|
| ● |
|
|
|
| ● |
|
|
78 | Chamber Music (II) |
|
|
| ● |
|
|
|
| ● |
|
|
79 | Piano Duo Performance (I) | ● |
|
|
|
|
|
|
| ● |
|
|
80 | Piano Duo Performance (II) | ● |
|
|
|
|
|
|
| ● |
|
|
81 | Piano Duo Performance (III) | ● |
|
|
|
|
|
|
| ● |
|
|
82 | Piano Improvisational Accompaniment (I) | ● |
|
|
|
|
|
|
| ● |
|
|
83 | Piano Improvisational Accompaniment (II) | ● |
|
|
|
|
|
|
| ● |
|
|
84 | Collaborative Piano (I) |
| ● |
|
|
|
|
| ● | ● |
|
|
85 | Aesthetics of Music |
| ● |
| ● |
|
| ● |
|
|
|
|
86 | Introduction to Arts |
| ● |
| ● |
|
| ● |
|
|
|
|
87 | Fundamentals of Computer Music |
|
|
|
| ● | ● |
|
|
|
|
|
88 | Artistic Practice of Recording |
|
|
|
|
| ● |
|
|
|
|
|
89 | Music Composition and Arrangement |
|
| ● |
|
|
|
|
|
|
|
|
90 | Theory and Innovation in Artistic Practice |
|
|
|
|
|
|
| ● | ● | ● |
|
91 | Innovation Research Training |
|
|
|
|
|
|
| ● | ● | ● |
|
92 | Innovation Research Practice (I) |
|
|
|
|
|
|
| ● | ● | ● |
|
93 | Innovation Research Practice (II) |
|
|
|
|
|
|
| ● | ● | ● |
|
94 | Entrepreneurial Practice |
|
|
|
|
|
|
| ● | ● | ● |
|
95 | Choir Rehearsal (I) |
| ● |
|
|
|
|
| ● | ● |
|
|
96 | Choir Rehearsal (II) |
| ● |
|
|
|
|
| ● | ● |
|
|
97 | Choir Rehearsal (III) |
| ● |
|
|
|
|
| ● | ● |
|
|
98 | The Singing and Figure of Cantonese Opera | ● |
|
|
|
|
| ● |
|
|
|
|
99 | Piano Improvisational Accompaniment | ● |
|
| ● |
|
|
|
|
|
|
|
100 | Fundamentals of Conducting | ● | ● |
|
|
|
|
| ● | ● |
|
|
101 | Chamber Music (VI) |
|
|
| ● |
|
|
|
| ● |
|
|
102 | Chamber Music (VII) |
|
|
| ● |
|
|
|
| ● |
|
|
103 | Chamber Music (VIII) |
|
|
| ● |
|
|
|
| ● |
|
|
104 | Orchestral Training and Performance (VII) |
|
|
| ● |
|
|
|
| ● |
|
|
105 | Orchestral Training and Performance (VIII) |
|
|
| ● |
|
|
|
| ● |
|
|
106 | History of European String Music | ● |
|
| ● |
| ● |
|
|
|
|
|
107 | Chamber Music (III) |
|
|
| ● |
|
|
|
| ● |
|
|
108 | Chamber Music (IV) |
|
|
| ● |
|
|
|
| ● |
|
|
109 | Chamber Music (V) |
|
|
| ● |
|
|
|
| ● |
|
|
110 | Collaborative Piano (II) |
| ● |
|
|
|
|
| ● | ● |
|
|
111 | Military Training |
|
|
|
|
|
| ● |
|
|
| ● |
112 | Marxism Theory and Practice |
|
|
|
|
|
| ● |
|
| ● | ● |
113 | Stage Performance Practice (I) | ● |
|
| ● |
|
|
|
|
|
|
|
114 | Stage Performance Practice (II) | ● |
|
| ● |
|
|
|
|
|
|
|
115 | Stage Performance Practice (III) | ● |
|
| ● |
|
|
|
|
|
|
|
116 | Stage Performance Practice (IV) | ● |
|
| ● |
|
|
|
|
|
|
|
117 | Stage Performance Practice (V) | ● |
|
| ● |
|
|
|
|
|
|
|
118 | Stage Performance Practice (VI) | ● |
|
| ● |
|
|
|
|
|
|
|
119 | Stage Performance Practice (VII) | ● |
|
| ● |
|
|
|
|
|
|
|
120 | Graduation Internship |
|
|
| ● |
|
| ● | ● | ● |
| ● |
121 | Graduation Project (Thesis) |
| ● | ● |
|
| ● | ● |
|
| ● | ● |
122 | Graduation Recital |
|
|
| ● |
|
|
|
| ● |
| ● |
5. “Second Classroom” Activities
“Second Classroom” Activities consists of two components: HumanitiesQuality Education and Innovation Ability Cultivation.
1.Basic Requirements of Humanities Quality Education
Besides gaining course credits listed in one’s subject teachingcurriculum, a student is required to participate in extracurricular activitiesof Humanities Quality Education based on one’s interest, acquiring no less than7 credits. The advanced undergraduates must complete one of courses ofHumanities Quality Education which has seventy-two class hours (it isequivalent to one credit which belongs to Humanities Quality Education Creditof Extracurricular Class) offered by the College Physical Education TeachingGroup. Mental Health Education for College Students (2 credits) is opened invirtual third semester which belongs to Humanities Quality Education Credit ofExtracurricular Class.
2. Basic Requirements of Innovative Ability Cultivation
Besides gaining course credits listed in one’s subject teachingcurriculum, a student is required to participate in any one of the followingactivities: National Undergraduate Training Programs for Innovation andEntrepreneurship, Guangdong Undergraduate Training Programs for Innovation andEntrepreneurship, Student Research Program (SRP), One-Hundred-Steps InnovativeProgram, or any other extracurricular activities of Innovative AbilityCultivation that last a certain period of time (e.g. subject contests, academiclectures), acquiring no less than four credits.


