FORMATIVE DEBT (DEBITO FORMATIVO)

Remedial courses, requirements and deadlines

Admission to Level II (Biennio) programs

 

To be admitted to Level II (Biennio) programs, candidates in possession of either an extra-EU academic title OR another title that is not equivalent to any AFAM academic titles, must take the following qualifying examinations (prove di idoneità):

- Theory, Rhythmics and Music Perception (TRPM)

- Theory and Techniques of Harmony (excluding Jazz and Pop-Rock programs)

- History of Music

For foreign students:

- Italian language

In case of absence from the qualifying examinations, the candidate will be excluded from the list of admissible candidates.

For Level II (Biennio) programs, both the TRPM course and the Theory of Harmony and Analysis course can only be attended by students once any formative debts have been addressed and fulfilled. Additionally, the required cultural subjects can only be attended by students once the Italian language formative debt has been addressed and fulfilled; the same applies to the formative debt in History of Music.

For Level II (Biennio) programs, all formative debts - in TRPM subjects and/or Italian language (at least intermediate level) - must be addressed and fulfilled by September 30 of the FIRST year of admission and attendance at the latest. All remaining formative debts must be addressed and fulfilled by September 30 of the SECOND year of admission and attendance at the latest.

Failure to pass any of the remedial exams leads to the loss of student status (decadenza). Absence from any of the remedial exams also leads to the loss of student status.

RECOGNITION OF CERTIFICATIONS AND EQUIVALENT/EQUIPOLLENT TITLES

For candidates who obtained a Pre-academic certificate (Certificazione finale pre-accademica) in one or more Fundamental subjects (or equivalent/equipollent title from the previous Conservatory system) from an Italian Conservatory, an Istituto musicale pareggiato, or from an approved EU Institution, the exam will only cover the subjects for which the candidate has not provided a certificate.

As for certificates released by non-EU Institutions, the candidate must provide the appropriate documentation in the original language, accompanied by a legal translation into Italian, which must also indicate the program studied for each discipline. The documentation must be sent to the Student Office (Segreteria Didattica) by April 30, 2024, and, if approved, it will allow the exemption from one or more Fundamental subjects in the exam.

ADDITIONAL INFORMATION

For additional assistance, candidates can make use of our tutor service. The tutor’s contact details and office hours information can be found on the Tutor page.

FUNDAMENTAL SUBJECTS EXAMS

SIGHT-READING AND EAR TRAINING

1. melodic dictation: candidates will hear short recorded melodies and they must transcribe the requested elements
2. recognition of triads and intervals (harmonic and/or melodic) performed on the piano
3. rhythmic sight-reading exercise
4. sight-singing exercise (of a written piece)
5. sight-singing exercise in the old clefs (excluding Jazz and Rock-Pop programs)

 

Candidates who obtained a “Licenza di Teoria e Solfeggio” for instrumentalists under the previous Conservatory system are exempt.

HARMONY AND ANALYSIS

Harmony written exam: Basso senza numeri con semplice modulazione ai toni vicini (utilizzo di triadi e di settima di dominate).
Analysis written exam: Analysis of a fugue or of a classical sonata.

Candidates who obtained a “Licenza biennale di Cultura musicale generale” (previous Conservatory system), “Compimento medio di Organo e composizione organistica”, or “Compimento inferiore di Composizione” (previous Conservatory system), are exempt.

HISTORY OF MUSIC

The History of Music written exam will be a multiple-choice questionnaire.

EXAM TOPICS

1) Fundamentals of the History of Music:
a) periodization b) oral tradition/written tradition, handwritten music/written music, monody/polyphony, syllabic style/melismatic style, modality/tonality.
2) Music in Ancient Greece: the concept of ethos, Pythagoras and the relationship between sounds and numbers, the harmony of the spheres, the tragedy.
3) Sacred Christian music, the Gregorian Chant, and Medieval secular singing. The birth of musical notation. Guido d’Arezzo.
4) The birth and development of polyphony in the Notre-Dame School in the 15th Century. Ars nova in France and Italy: Machault and Landini. Franco-Flemish composers in Europe: Dufay, Ockeghem, Desprez.
5) 16th Century: the madrigal and the search for an expressive integration between text and music. Luca Marenzio and Carlo Gesualdo. Sacred music: Palestrina and the Gabrielis. Claudio Monteverdi and the “seconda pratica”. The birth of printed music and the development of instrumental music.
6) The birth of opera and musical dramaturgy: Court opera vs Impresarial opera. Claudio Monteverdi and the Venetian opera. The formal structure of the Italian opera: the libretto in relation to the theatrical action: aria and recitative.
7) French opera: Lully e Rameau’s tragédie lyrique: récit and air.
8) Instrumental music in the 16th Century: the suite. Frescobaldi and the emancipation of instrumental music through the expression of the “affetti”. The development of the Concerto form, from Corelli to Vivaldi.
9) Opera seria and opera buffa in the 18th Century. The Italian opera in the courts beyond the Alps. Wien: Zeno, Metastasio, Calzabigi e Gluck’s reform, Da Ponte and Mozart. The Singspiel.
10) Johann Sebastian Bach, Georg Friedrich Handel, Domenico Scarlatti.
11) The classical style: Haydn, Mozart, and Beethoven.
12) Franz Schubert. The Romantic movement: Robert Schumann, Felix Mendelssohn, Frédéric Chopin, Franz Liszt. The protagonists of the second half of the 19th Century: Brahms, Bruckner, Mahler.
13) 19th Century opera in Italy and Europe: Rossini, Bellini, Donizetti. The formal structure of the opera in the early 19th century: the “solita forma”. Giuseppe Verdi.
14) German opera: Richard Wagner. The “giovine scuola” and Giacomo Puccini.

Bibliography (one chosen by the student)
E e L. SURIAN, Profilo di Storia della musica, Milano, Rugginenti. 2022
G. MONTECCHI, Una storia della musica: artisti e pubblico in Occidente dal Medioevo ai giorni nostri, Milano, BUR, 1998
E. SURIAN, Manuale di Storia della musica, voll. I-III, Milano, Rugginenti, 1991 and reprints.
M. CARROZZO – C. CIMAGALLI, Storia della musica occidentale, voll. I- II, Roma, Armando, 1997- 98 and reprints.
D. DAOLMI-A. MALVANO, Storia della musica, Firenze, Le Monnier università-Paravia, 2019, 2 vol.

The “Licenza biennale di Storia ed estetica musicale” (previous Conservatory system) and the “Certificazione finale pre-accademica di Storia della musica” are considered equivalent/equipollent titles.