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Order Of 25 June 1999 Which Establishes The Top Grade Of The Teachings Of Music Curriculum.

Original Language Title: ORDEN de 25 de junio de 1999 por la que se establece el currículo del grado superior de las enseñanzas de Música.

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The normative development of the teachings of special regime of Music in the framework of the Organic Law 1/1990, of October 3, of General Ordination of the Educational System, already concluded in relation to the curriculum of the degrees The primary and the middle of these studies, was started for the higher grade with the approval of Royal Decree 617/1995, of 21 April, determining the basic aspects of its curriculum, establishing and organizing, in addition to the subjects specific to each specialty, others based on the deepening of theoretical-humanistic content which, far from being merely complementary, give this final section of the studies a real character of higher education.

This Order develops for the management of the Ministry of Education and Culture these basic subjects, which, together with others not related to the matters established in the aforementioned Royal Decree, gives rise to a set of of subjects that make up the curriculum of each specialty, which must be completed with those for which the student himself chooses during the course of the studies.

The management of higher-grade teaching than here is the ultimate goal of providing complete practical, theoretical and methodological training to ensure professional qualifications in the fields of education and training. relating to the creation, interpretation, research and teaching. To this end, this Order establishes a part of the overall teaching time so that the centers, in the exercise of their organizational and pedagogical autonomy, determine an offer of electives and free choice by the student who ensure the effectiveness of the training pursued in each field.

In this way, this Order organizes the curriculum of the specialties established in Royal Decree 617/1995, of April 21, determining for all of them, in credits, the global reading burden. It also establishes the number of five courses for the specialties of Composition, Orchestra and Direction of Coro, due to the greater dedication required by the correct deepening of its contents.

In the same way, the limits of permanence, the criteria of promotion and the procedure of evaluation of the different courses are regulated, and the guidelines are established from which the centers will have to develop the completion of the final examination of the career, especially significant at the end of this degree, as its overcoming confers on the student the right to obtain the Higher Degree of Music, equivalent, to all the effects, to the one of Licenciado University.

In order to make it easier for the different sectors of the educational community to know the set of normative aspects that affect this section of the studies, this Order reproduces in its entirety the provisions concerning the proof of access to the higher grade, as well as the award of vacant places, established on a basic basis in Royal Decree 617/1995, of 21 April. The basic guidelines of this test for each specialty specified in the standard answer to a general approach which will be able to assess the knowledge and artistic skills necessary for the correct development of the higher studies, in the case of those applicants who meet the requirements laid down in Article 40.3 of the Organic Law 1/1990 of 3 October, together with the knowledge related to the general musical training of the applicant, without (a) to establish a priori qualifying phases which prevent or hinder the overall assessment of the candidate, for those who do not meet those requirements, as set out in Article 40.4 of the Act.

From these basic guidelines, it is up to the centres, in the exercise of their autonomy, to draw up and disseminate the criteria for such tests, the knowledge of which is necessary for the candidates, given the It is implicit in the fact that the test of access to the higher degree of the teaching of music implies not only the academic requirement whose overcoming allows each student to initiate these studies, but the reference that will be used to the centres dedicated to the teaching of the average grade to correctly set its objectives and design, in I would like to say that I have to say that I do not have the right to do so.

In its virtue, prior to the report of the State School Council, this Ministry has provided:

First. Object of the standard.

1. This Order establishes the curriculum of the higher education level, in accordance with the provisions of Article 4 (3). or of the Organic Law 1/1990, of 3 October, of General Ordination of the Educational System, and integrates the provisions of Royal Decree 617/1995, of 21 April ("Official State Gazette" of 6 June), establishing the basic aspects of the curriculum of the higher grade of the Music teachings and the proof of access to these studies is regulated.

Second. Scope of application.

This Order will be applicable in the territorial area of the Ministry of Education and Culture.

Third. Duration and academic ordination of the teachings.

1. The higher degree of the Music teachings will comprise a single cycle, as provided for in Article 39.1 (c) of Organic Law 1/1990 of 3 October.

2. Likewise, and in accordance with the provisions of Article 1 of Royal Decree 617/1995 of 21 April 1995, the higher grade shall be for four courses in all the specialties listed in the fifth paragraph of this Order, except for in the composition, Direction of Choir and Orchestra, whose duration will be of five courses.

3. The unit of valuation, both global of the specialty and partial of the different subjects and courses of the same ones that integrate the curriculum, will be the credit. Each credit will be equivalent to ten teaching hours, both in theoretical and practical teaching.

Fourth. Title.

Students who exceed the higher degree of the Music teachings will have the right to obtain the Higher Degree of Music, in which they will consist of the subject matter and which will have official character and validity in all the national territory.

Fifth. Specialties.

1. In accordance with the provisions of Article 3 of Royal Decree 617/1995 of 21 April, the specialties that make up the higher degree of the Music teachings are as follows:

1. to Acordeon.

2. to Arpa.

3. to Canto.

4. a Clarinete.

5. a Key.

6. Composition.

7. a Contodo.

8. a Dirección de Coro.

9. to the Orchestra's Directorate.

10. Ethnomusicology.

11. Fagot.

12. Flamenco.

13. Flute crossbar.

14. Peak flute.

15. Guitar.

16. Instruments of pulsed rope of the Renaissance and the Baroque.

17. Instruments of Ancient Music.

18. Instruments of Traditional and Popular Music.

19. Instruments of puis.

20. Jazz.

21. Musicology.

22. Oboe.

23. Organ.

24. Pedagogy.

25. Percussion.

26. Piano.

27. Saxophone.

28. Trompa.

29. Trumpet.

30. Trombone.

31. Tuba.

32. Viola.

33. Viola da gamba.

34. Violin.

35. Cello.

2. The Flamenco specialty will consist of the following two options:

Option a): Flemish guitar.

Option b): Flamecology.

3. The Pedagogy specialty will consist of the following two options:

Option a): Pedagogy of Language and Music Education.

Option b): Pedagogy of the Canto and the instrumental specialties described below:

Accordion, Arpa, Clarinet, Key, Work, Fagot, Crossbar Flute, Pico Flute, Guitar, Pun Instruments, Oboe, Organ, Percussion, Piano, Saxophone, Trompa, Trumpet, Trombone, Tuba, Viola, Viola da gamba, Violin and Cello.

4. For the purposes of Article 16 of Royal Decree 389/1992 of 15 April 1992 laying down minimum requirements for centres providing artistic teaching, the speciality of Ethnomusicology is considered equivalent to that of the Musicology.

Sixth. Objectives of the higher degree of the Music teachings.

The teachings that lead to obtaining the Higher Title of Music will have to provide an artistic formation, both practical and theoretical and methodological, through the deepening of the subjects that make up the chosen speciality, in order to ensure a coherent overall training, at the same time as the degree of qualification required by the professional practice in the fields of creation, interpretation, research and teaching.

Seventh. Training pathways.

In the specialties of Composition, Canto, Piano and Pedagogy of language and music education, the following two courses are established for the last two courses, in order to attend to the different profiles that derive from the professional exercise of the same:

Composition:

(a) General composition; (b) Electroacoustic composition; and (c) Composition with audiovisual media.

Singing:

a) Concert and Oratorio, and b) Lyric Theatre.

Piano:

a) Solista; b) Chamber music with piano, and c) Vocal accompaniment.

Pedagogy of language and music education:

a) Musical language.

b) Music in Secondary Education.

c) Early music education.

Eighth. Types of subjects.

1. The contents of the curriculum of the different specialties shall be arranged by distinguishing between:

(a) Compulsory signs, which are those for which each specialty is determined in this Order, in accordance with the provisions of Articles 6.1 and 6.3 of Royal Decree 617/1995 of 21 April 1995 establishing the basic aspects of the curriculum of the higher degree of music teachings. These subjects are organized according to their nature and their formative purpose, in the following groups:

A: Core knowledge of the specialty.

B: Theoretical-humanistic knowledge.

C: Instrumental or ensemble vocal practice.

D: Miscellaneous knowledge related to the craft.

(b) Optional assignments, freely established by the institutions in the exercise of the pedagogical and organizational autonomy referred to in Article 6.2 of Royal Decree 617/1995, in accordance with their educational availabilities, professional needs and the demand of the students. In no case shall the reading of the subjects be more than 6 credits, not less than 3 credits in the individual instrumental subjects, and 4.5 credits in the remaining ones.

In order for the student to choose between the same the number necessary to complete the credits that are established in each case, these subjects must be included by the centers in the corresponding curricula, indicating the reading of each of them, expressed in appropriations, their duration-which will be at least four-monthly-and a brief description of their contents which, in any case, will be related to the relevant specialty.

c) Free choice of students, in order to the flexible configuration of their curriculum. Its content may be related both to its own specialty and to others, and its number will be determined by the amount of the credits that will be established in each case. The student may choose freely between the relation of subjects taught by the centre itself or by other higher centres of artistic or university teaching with which the appropriate agreement is established. In any case, the following shall be taken into account for that choice:

All subjects classified as individual instrumental teachings in Annex III to this Order are excepted from the free choice.

The admission in quality of free choice in the remaining subjects will be conditional on the existence of vacant places, after the enrolment in the same of the students of the corresponding specialty.

Ninth. Structure of the curriculum.

1. The compulsory subjects of the various specialties of the higher degree of the teaching of music, their teaching load and number of courses, the course or courses in which they must be carried out and, where appropriate, their correspondence with the established subjects In Royal Decree 617/1995 of 21 April 1995, this Order is set out in Annex I.

In order to facilitate the organization of the courses of Coro and Orchestra, which necessarily require the participation of students of different courses, as well as other subjects of set of certain specialties, Only the overall credits to be made by the student, corresponding to the establishment of the criteria for the general organisation of the same, are set out in Annex I.

In the same way, the total number of credits referred to the electives and the subjects of free choice is determined in that annex for each specialty. It is up to the centres, in the exercise of their pedagogical and organisational autonomy, to distribute the number of credits corresponding to these subjects by courses.

2. The descriptors of the content of the compulsory subjects of the different specialities are set out in Annex II to this Order.

10th. Classification of subjects according to the numerical ratio teacher/pupil.

The classification of the subjects of the curriculum of the different specialties in non-instrumental, collective instrumental and individual instrumental as referred to in article 20 of Royal Decree 389/1992, of April 15, laying down the minimum requirements for centres providing artistic teaching, as set out in Annex III to this Order.

Also, the maximum number of teacher/pupil ratio for each subject is set out in the Annex, according to the following criteria:

(a) Non-financial instruments, in which the maximum numerical ratio 1/15 established in Royal Decree 389/1992 is reduced in those cases where the practical nature of the contents of the teachings and the degree of In the case of the case-law, the Commission is not required to do so.

b) Collective instrumental assigns, in which they differ between those relating to choral, symphonic and Cameroonian groupings, for which the numerical ratio teacher/pupil will be determined by the needs of the and those whose nature allows a maximum numerical ratio to be established.

c) Individual instrumental assigns, for which the maximum numerical ratio teacher/pupil is the 1/1 ratio established in the aforementioned Royal Decree.

11th. Assessment and qualifications.

1. For the assessment of the academic performance of pupils in higher music institutions, the following considerations shall be taken into account:

(a) The compulsory subjects of the A group corresponding to the last course of the specialty will require the completion of the final examination of the race with the Court in all the calls that are regulated in the thirteenth section of This Order.

b) The compulsory subjects of the A group corresponding to the previous courses will be evaluated by the teacher of the same in the call of June, and by a Court in September.

c) The compulsory subjects belonging to groups B, C and D, as well as optional subjects and those of free choice, shall be evaluated by the teacher. In the event that the student runs three successive calls without overcoming any of these subjects, the fourth convocation will require the completion of an examination with the Court.

(d) It shall also be necessary to carry out an examination with the Court for the subjects referred to in the preceding paragraphs, in the event that a qualification claim process so requires.

2. The final course qualification of the different subjects referred to in the preceding paragraph shall be entered in the relevant record in the terms of suspense, approved, notable and outstanding, except in the case of compulsory subjects. of the group C of Coro and of Orchestra, in which the rating is entered in the terms of No Superada and Superada.

12th. Career end research work.

For all the specialties it will be obligatory during the last course the realization of a written work of investigation on a topic relative to the own specialty. This theme will be agreed at the beginning of the last course with the teacher or, if appropriate, one of the teachers of one of the subjects corresponding to the core knowledge of the specialty, and will be directed by the professor more to the nature of the same. This work will be valued with a total of 6 credits in all specialties, except those of Musicology, Ethnomusicology and Flemish, in which it will be valued with a total of 10 credits, which in any case will accumulate to those established for each craft in the Annex to this Order.

13th. Final race exam.

The final career examination referred to in point (a) of paragraph 11 (1) of this standard is intended to demonstrate that the student has achieved the ability to perform the artistic, teaching or other work with autonomy. for research defining the contents of the compulsory subjects in group A of the subject matter.

Such an examination will always be assessed by a Court, and the following considerations will be taken into account:

(a) The submission to the final examination will require that the student has previously exceeded all the subjects of the remaining groups within the maximum stay limit set in point 3 of the 15th section of the present standard.

(b) In the case of specialties whose last course consists of more than one group A subject, the failure to exceed one of them shall not, in the following call, result in the repetition of the final examination corresponding to the subjects.

c) It is up to the centres, in the exercise of their pedagogical and organisational autonomy, to establish the structure of the final examination of the different specialties, with one or more tests for each subject, which must be exceeded on the same call.

(d) The rating of each of these tests shall be recorded in a record using a numerical scale of zero to 10 without decimals, with a rating of five points being accurate for exceeding one score.

e) The exceeding of each subject in group A will require that of all the evidence of the record. The rating shall be the arithmetic mean of the score obtained in those tests, and shall be entered in a report using a numerical scale of zero to 10 without decimals.

(f) The final assessment of the final examination shall be the arithmetic mean of the scores for each of the subjects which, if any, are recorded in a report in the terms of suspense, approved, notable and Outstanding. The Court may award Matricula de Honneur to pupils who have obtained an average of nine points or more in the different evidence of the subject or, where appropriate, subjects covered by that examination.

g) In the case of all instrumental specialties, as well as of the Canto, Coro and Orchestra Management, the different practical tests that may be recorded will have a public concert character. The same consideration will be given to the test relating to the Composition Workshop, belonging to that specialty.

14th. Calls.

1. Each academic year will be composed of two calls.

2. The calls referred to in the previous point will be held in June and September, in cases where it is necessary to carry out an examination with the Court in order to overcome the subject.

In all other cases, the first call will take place in February or June, according to the teaching period established for the course of the course, and the second at the date the teacher has, which in no case will be before a month has elapsed since the first call, or after the beginning of the next academic year.

3. In any case, the maximum number of calls for overcoming the different subjects will be four.

4. The calls referred to in this paragraph shall be taken into account in succession, which shall be exhausted in each case even if the student is not present for examination, provided that he has registered. However, the application of the latter case may be the subject of a cancellation of registration in the case of sickness, compliance with compulsory military service or replacement social provision, or other accredited cause which deserves Similar consideration to the centre's judgment.

5. If the student gets the transfer from the academic record to another higher centre, the calls that he has exhausted in the centre of provenance will be computed.

15th. Promotion and permanence.

1. The promotion to the next course, as well as the permanence in the centre, are subject to the overcoming of the compulsory subjects of group A, because they determine the course of the specialty in which the student is registered.

2. In addition, and in accordance with the rules laid down, the promotion to the following course and the stay in the centre are conditional on the exceeding of a number of the other subjects involving at least 60 per 100 of the (i) the appropriations established for the same in each course in the final completion of the curriculum for each major which the centres draw up in the margins of their pedagogical and organisational autonomy and, where appropriate, the whole of the exceeding the previous course.

3. The maximum limit for staying in the centre, however, as set out in the previous paragraph concerning the maximum number of calls, shall be five academic courses for all the specialties, except for those of Composition, Directorate of Coro and Orchestra, where the maximum limit will be six academic courses.

4. Students who have not approved any subject in successive calls for the same academic year due to an unjustified examination may not be able to continue the studies at the centre where they were registered.

sixteenth. Courts.

1. The constitution of the Courts that are required for the conduct of the various examinations and academic acts listed in this Order shall be subject to the following general considerations:

(a) The President shall be appointed by the Director of the Centre, on a proposal from the Head of the Department to which the relevant subject is attached.

(b) The Vocals shall be designated by the Head of the Department to which the relevant subject is attached.

c) The number of members will always be odd, acting as Secretary of the lower-age Vocal.

d) All examinations and academic acts of a practical nature which are chaired by a Court shall be of a public nature.

e) The call for all examinations and academic acts which are chaired by a Court shall be made public with a minimum of fifteen working days in advance.

(f) The qualifications of all tests of a practical nature of the examinations and academic acts which are chaired by a Court shall be made public with immediate effect upon completion.

In the case of tests of a theoretical nature, the qualification shall be made public within a period not exceeding one week after its completion.

seventeenth. Composition of the Courts.

The composition of the Courts to be presided over by each of the academic acts listed in this Order shall be governed by the following specific considerations:

1. Higher grade access test for Music:

According to the provisions of Article 11 of Royal Decree 617/1995 of 21 April, for the evaluation of the test of access to the higher grade of Music, a single Court will be constituted for each specialty.

The Court shall be constituted by an odd number of at least three members belonging to the relevant speciality or, failing that, to related specialities. For the correct assessment of the access test, the Court may have the advice of those teachers of the subjects related to the different exercises it deems appropriate.

2. Final race exam: The Tribunal shall consist of a minimum of five members and shall consist of:

a) A Professor of the subject in the Conservatories of Music or, failing that, of subjects of the group A of the same Department as closely as possible, who will act as president. In no case can the teacher of the student exercise this function.

b) All teachers of the subject subject of the examination, including the teacher of the pupil, who will act as Vocals. In the event that there is only one teacher in the school, at least two more teachers of the group A as closely as possible are attached to the same department.

c) A maximum of four Vocals, representing the different departments of the center. The Department of the examination shall appoint the representatives by a majority.

In the case of specialties whose final examination consists of two subjects, a single Court will be set up for the assessment of both.

3. September call examination in group A subjects: The Court will consist of a minimum of five members and will consist of:

a) A Professor of the subject in the Conservatories of Music or, failing that, of subjects of the group A of the same Department as closely as possible, who will act as president. In no case can the teacher of the student exercise this function.

b) All teachers of the subject subject of the examination, including the teacher of the pupil, who will act as Vocals. Where the number of such teachers is less than four, teachers of subjects in the group A as closely as possible who are attached to the same Department as may be required to reach the Court should be a part of the Court. minimum number of required members.

4. Fourth call for compulsory subjects for groups B, C and D, optional subjects and free choice: The Court will consist of five members and will consist of:

a) A Professor of the subject in the Conservatories of Music or, failing that, of subjects as closely as possible who are attached to the same Department, which will act as President. In no case can the teacher of the student exercise this function.

b) The teacher of the student and three more professors of subjects who belong to the same area of knowledge.

5. Examinations derived from the qualification claims processes presented by the pupils:

(a) In the event that the claim relates to the last call for a subject, and consequently may be the permanence or not of the pupil at the centre, the Court shall consist of five members, without any the teacher of the student can be a part of it, and will be composed of:

a Professor of the subject in the Music Conservatories whose qualification has been the subject of a complaint or, failing that, of subjects as closely as possible that are attached to the same Department, which will act as President.

Four teachers of subjects who belong to the same area of knowledge, who will act as Vocals.

(b) In the case of claims relating to the remaining calls, the Court shall consist of three members, without which the teacher of the pupil may not be a part of the same, and shall consist of:

a Professor of the subject in the Music Conservatories whose qualification has been the subject of a complaint or, failing that, of subjects as closely as possible that are attached to the same Department, which will act as President.

Two teachers of subjects who belong to the same area of knowledge, who will act as Vocals.

Eighteenth. Access test.

1. They will be able to access to the higher degree of the Music teachings who, gathering the academic requirements of being in possession of the title of Bachiller and having approved the studies corresponding to the third cycle of the middle grade, pass the test Article 40 of the Organic Law 1/1990, of 3 October, of General Ordination of the Educational System, and regulated in Article 8 of Royal Decree 617/1995, of 21 April, which allows to verify that the applicant possesses the professional knowledge and skills required to take advantage of the Requested craft.

2. They may also access the higher level of the Music teachings who, without bringing together one or both of the academic requirements referred to in the preceding number, exceed the test set out in Article 8 of the said Royal Decree and, in addition, demonstrate, through the specific exercise provided for in Article 9 of that standard, that they possess both the knowledge and skills of the average grade and the specific skills required to take advantage of the specialty requested.

Nineteenth. Structure of the ordinary access test.

1. The proof of access to the higher grade of the teaching of music regulated in Royal Decree 617/1995 of 21 April, will consist of a single exercise which will comprise the parts which, for each specialty, are determined in the following two points.

2. Non-instrumental specialties:

Composition:

Part a): Interpretation in the main instrument (or voice, in the case of the song), for approximately fifteen minutes, of the works determined by the Tribunal of a relationship previously presented by the candidate.

Part b): Presentation and oral defense of works and works performed by the candidate.

Part c): Realization of a harmonious-counterfactual work.

Part d): Reading at first glance at the piano.

Coro Address and Orchestra Address:

Part a): Interpretation in the main instrument (or voice, in the case of the song), for approximately fifteen minutes, of the works determined by the Tribunal of a relationship previously presented by the candidate.

Part b): Realization of a harmonious-counterfactual work.

Part c): Hearing test.

Part d): Reading at first glance at the piano.

Musicology, Flemish and Ethnomusicology:

Part a): Interpretation in the main instrument (or voice, in the case of the song), for approximately fifteen minutes, of the works determined by the Tribunal of a relationship previously presented by the candidate.

Part b): Analysis of a work or fragment.

Part c): Realization of a harmonious-counterfactual work.

Language and Music Education:

Part a): Interpretation in the main instrument (or voice, in the case of the song), for approximately fifteen minutes, of the works determined by the Tribunal of a relationship previously presented by the candidate.

Part b): Vocal testing, to only and in conjunction.

Part c): Composition of a short, didactic piece on a melody or text proposed by the Tribunal.

Part d): Reading at first glance at the piano.

The relationship of works referred to in part (a) shall include at least four works of medium difficulty, belonging to the most representative styles of the instrument's literature, freely chosen by the candidate. In the case of singing, the relationship shall consist of a minimum of eight works.

For the implementation of parts (b), (c) and (d), the centres shall establish and make public, in good time, guidance on the content and degree of difficulty of each party, in accordance with the characteristics and specificity of each of them.

3. Instrumental specialties:

Accordion, harp, singing, clarinet, bass, fagot, crossbar flute, pico flute, guitar, instruments of pua, oboe, percussion, piano, saxophone, trompa, trumpet, trombone, tuba, viola, viola da gamba, violin, cello, pedagogy related to such instrumental specialties; instruments of traditional and popular music, and instruments of pulsed rope of the Renaissance and the Baroque:

Part a): Interpretation of a program of approximately thirty minutes duration, consisting of works and/or studies of an appropriate difficulty at this level.

Part b): Analysis of a work or fragment proposed by the Court.

Part c): Reading to view.

Key and Organ, and Pedagogy referred to them:

Part a): Interpretation of a program of approximately thirty minutes duration, consisting of works and/or studies of an appropriate difficulty at this level.

Part b): Analysis of a work or fragment, proposed by the Court.

Part c): Improvised accompanying of a melody by means of the realization of a continuum from a low encryption given by the Tribunal.

Flamenco Guitar:

Part a): Interpretation of a program of approximately thirty minutes, which includes works of author or classical of flamenco guitar and touches belonging to any of the genres of flamenco.

Part b): Recognition of the constituent elements of a characteristic genre, from an audition selected by the Court.

Part c): Accompanying of a sing by bulries, by solea or free, and of a dance by solea or by joys, as determined by the Tribunal.

Jazz:

Part a): Interpretation of a program of approximately thirty minutes duration, consisting of works and/or studies of an appropriate difficulty at this level.

Part b): Analysis of a work or fragment proposed by the Court.

Part c): Realization of an improvisation from a harmonic sequence given by the Court.

Ancient Music Instruments:

Part a): Interpretation of a program of approximately thirty minutes duration, consisting of works and/or studies of an appropriate difficulty at this level, either in the instrument itself to be cured, or in an instrument old or modern whose technical characteristics are similar to that.

Part b): Analysis of a work or fragment proposed by the Court.

Part c): Reading to view.

The centres, within the framework of their pedagogical and organisational autonomy, will set and make public the criteria they adopt on the degree of difficulty of the analysis and of the works or studies, the most representative styles and, in where appropriate, the requirement to interpret in memory a part or all of the programme to which the performance of this financial year must be adapted; the criteria shall indicate works which serve as a reference point. The number of works to be interpreted only or with accompanying instruments, in the case of singing and non-polyphonic instruments, shall also be specified.

These criteria will be made public by publishing an information booklet, which must be made available to those interested in applying it at the beginning of each academic year.

Twenty. Structure of the extraordinary access test.

The specific exercise referred to in paragraph 2 of this Order, number 2, which shall not be of a non-eliminatory nature and shall be carried out in advance of the financial year referred to in the preceding paragraph, shall, for reasons of the applicant does not meet one or both of the academic requirements, on:

The realization of a written exercise, of a humanistic nature, that allows to evaluate the intellectual and human maturity of the aspirant, through the use of the language, the understanding of concepts and the ability to relate and to synthesize, in the case of applicants who are not in possession of the title of Bachiller, and/or the realization of a theoretical-practical exercise that allows to evaluate the general musical formation of the applicant in relation to the development of his/her hearing capacity, as well as his knowledge of the theory and history of music, and his degree of understanding and use of the different harmonic resources and procedures, in the case of applicants who have not approved the studies corresponding to the third cycle of the average grade of Music.

Twenty first. Rating of the access test.

1. The access test referred to in the 19th paragraph of this Order shall be classified as zero and 10 points, with the overall value of the different parts which make it up, in accordance with the degree of relationship of each of them with the characteristics of the specialty to be cured, where it is necessary for its exceeding to have obtained a qualification equal to or greater than five points.

In the case of the access test referred to in the second paragraph of the 18th paragraph of this Order, the same rating and valuation criteria shall apply, including the specific financial year set out in the paragraph 20 of this rule.

2. The passing of the test of access entitles, only, to enrol in the academic year for which it has been convened.

Twenty-second. Allotment of places.

1. The test of access to the higher grade of Music will be held in a single annual call, which, in any case, will take place before July 15.

It is up to the centres to specify the timetable for carrying out the exercises of the tests of access to the different specialties, which must be announced at the beginning of the academic year.

In addition, the Higher Conservatories of Music will raise annually, throughout May, the General Directorate of Educational Centers, for definitive approval, the proposal of places available in each specialty, (a) to meet the needs of the various occupational sectors.

2. In the Higher Conservatories of Music, the number of pupils of foreign nationality, excluding nationals of the Member States of the European Union who, for these purposes, will have the same treatment as those of nationality Spain may not exceed 15 per 100 of the total number of seats available in each specialty. In any case, the admission of such students is conditional on the passing of the language test which, for these purposes, will establish the centres.

3. Where the demand for places is higher than the availability of positions of a particular specialty in the centre, the applications of the pupils who are awarded the higher education in the Higher Music Conservatories will be considered as a priority. pass the tests at the center.

4. Only in case of available places, in the upper Conservatories of Music can be awarded to other students who have passed the test in a different upper Conservatory.

5. The Higher Conservatories of Music shall attend to the requests referred to in the preceding numbers according to the qualifications obtained in the access tests in the corresponding specialty.

Additional disposition first. Teaching modality.

The teachings referred to in this Order will be in-person in character, so they will only be in the form of official registration, both in public and private centers.

Additional provision second. Incorporation of students from the curriculum that is extinguished.

1. Students from the curriculum under Decree 2618/1966 who had completed the studies leading to the degree of Professor in accordance with that standard, and wish to continue their studies of the higher grade of the new ordination, shall be subject to proof of access to that degree under the conditions laid down in the 19th paragraph of this Order.

2. Students from the curriculum in accordance with Decree 313/1970, of 29 January, creating the Escuela Superior de Canto de Madrid, which would have completed the studies leading to the Diploma of Opera Singer according to This rule, and wishes to continue its studies of the higher grade of the new order, shall be subject to proof of access to that degree under the conditions laid down in the 19th paragraph of this Order.

3. Students from the curriculum under Decree 2618/1966 who had not completed the studies leading to the title of Professor under that rule, or were not in possession of the Bachiler's Title under the Law Organic 1/1990, of 3 October, or equivalent, and wish to continue their studies of the higher grade of the new ordination, will compete to the test of access to that degree in the conditions foreseen in the twentieth section of the present Order.

4. Students from the curriculum under Decree 313/1970 who had not completed the studies leading to the Diploma of Opera Singer in accordance with that rule, or were not in possession of the title of Bachiller according to The Organic Law 1/1990, of 3 October, or equivalent, and wish to continue its studies of the higher degree of the new ordination, will compete to the test of access to that degree in the conditions foreseen in the twentieth section of the present Order.

5. For these purposes, once the test has been passed, the academic equivalences and the convalidations of subjects between the plans of regulated studies according to the Decrees will be taken into account for the registration in the corresponding specialty. 2618/1966 of 10 September, and 313/1970 of 29 January, and corresponding to the higher level of the new management which is due to be established.

Additional provision third. Conventions for the conduct of the subjects of free choice.

1. In order to enrich the supply of subjects of free choice, as well as to facilitate their realization, the centers will be able to establish agreements with other higher centers, both of artistic and university teaching.

2. Each year, before the registration, the relationship of the higher institutions with which the convention for the conduct of the subjects of free choice would have been established shall be made public.

Additional provision fourth. Evaluation of the teachings.

In order to evaluate the adequacy of the professional needs of the artistic and technical contents of the curriculum of the different specialties, and to adopt the measures that in its case A Commission for the Evaluation of Taught Lessons shall be set up in each institution, at least by the following members:

A representative of the educational administration, who will be its president; two representatives of the center, and two representatives of the professional sector.

The Evaluation Commission will also have the permanent advice of other personalities from the artistic and pedagogical world, institutions or bodies whose advice is considered appropriate.

Additional provision fifth. Change of craft.

1. Students who wish to change from the craft they are pursuing to another other must be subject to the access test established for the latter in the 19th paragraph of this standard. Access to the new speciality will result in the validation of the common subjects already exceeded.

2. Only if the new specialty is that of Pedagogy referred to the homonymous instrumental or vocal specialty to which the student is pursuing, a change of specialty may be carried out without the need to overcome the test of specific access, which, according to the places available in the new specialty, will be effective the academic year following the year in which the student requests it.

If such authorization is granted, the student will be integrated in a course of the new specialty that will not in any case be superior to that of the instrumental specialty in which it was registered, and must be part of the Department of Pedagogy to establish in each case the convalidations of subjects that were necessary, in relation to the previous specialty.

Final disposition first. Legal enablement for the application and interpretation of the standard.

The Directorate-General of Educational Centres is hereby authorised to lay down detailed rules for the application and interpretation of the provisions of this Order.

Final disposition second. Entry into force.

This Order shall enter into force on the day following that of its publication in the "Official State Gazette".

Madrid, 25 June 1999.

RAJOY BREY

Ilmo. Mr Secretary-General for Education and Vocational Training.

ANNEX I

(VIEW IMAGES PAGES 25481 TO 25496)

ANNEX II

Description of the contents of the mandatory subjects corresponding to the curriculum of the higher grade of the musical teachings regulated in this standard

Accompaniment (Flamenco Guitar) -Development of the capacity to apply the knowledge of different dances and flamenco cants in the improvisation of their guitar accompaniment.

Vocal Accompaniment. -Prosmelting in the development of technical and artistic capabilities through knowledge and the study of a wide vocal repertoire of different eras and styles.

Accordion.-(See Main Instrument).

Musical Acoustics. -Fundamentals of physicoacoustics, acoustics of rooms, physiological and psycho-acoustic acoustics.

Study of musical instruments, based on the different historical approaches, both anthropological (mythological considerations on their origin, aesthetic type on the evolution of their physiognomy, etc.) as technical or scientists. Knowledge of the classifications of the most important instruments, taking into account the criteria of the main treaters.

German.-(See Languages).

Analysis. -Study of the musical work from its basic building materials (melodic, rhythmic and harmonic elements, formal structures, textures, timbres, criteria of organization of the material (proportion, coherence, contrast, etc.)], as well as all those criteria that lead, from different points of view, to a habit of reflection for a better understanding of the musical fact as an artistic product:

both stylistic, historical, or sociocultural criteria, and interrelation with other disciplines: information theory, psychoacoustics, semiotics, cognitive psychology and form, etc. Information on the various analytical methods, as regards their speculative fundamentals and technical procedures.

Analysis of Contemporary Music. -Prosmelting in the knowledge of the contemporary musical repertoire, through the hearing and the use of the different analytical methods and criteria, both traditional and generated for his best study and understanding. Knowledge and comparative study of the new graphs used in the contemporary composition, as well as the criteria of sound-visual adequacy that determine them.

Musical Anthropology. -Study of music, both in terms of its conceptualization, as well as its creation, transformation, interpretation and diffusion, in the different social and cultural contexts, and its relationship with its different components (religion, language, media, etc.).

Archivistic and Biblioteconomics. -Knowledge and use of the different techniques of archival, documentation and information. Critical analysis and assessment of the various bibliographic and documentary materials.

Harmony. -Study of the harmonic elements and procedures relative to the tonal system, and evolution of the harmony in the music after it. Written performance of stylistic and free, vocal and instrumental works. Practice in a keyboard instrument of the elements and procedures studied.

Jazz Harmony. -Study of the elements and harmonic procedures of the Jazz and evolution of the same throughout their history. Written production of works. Instrumental practice of the elements and procedures studied. Knowledge and practice of different types of encryption.

Harmonization and Arrangements (Traditional and Popular Music). -Development of theoretical and practical knowledge that allows the treatment of traditional folk songs and dances according to their harmonic peculiarities. Theoretical knowledge of the technical possibilities of traditional and popular instruments, and practice of making arrangements for different sets and instrumental combinations.

Harmonization and Arrangements [Pedagogy, Options a) and b)]. -Realization of educational work for instruments and voices related to the repertoire of the specialty.

Arpa.-(See Main Instrument).

Arrangements (Jazz) -Theoretical knowledge of the technical possibilities and the timbrian resources of the instruments used in the Jazz. Study of the techniques of instrumentation and jazzistic arrangements, and their practical application in the realization of arrangements for the different sets and instrumental combinations.

Flamenco Dance. -Study of the rhythm and quadrature of the number of compasses that has a "letter" for the development of the cante that is required. Study of the compas, structure, characters and expression of each form of flamenco. Knowledge and realization of marking, brushy and plucking with tail coat. Study of the different flamenco dances. Making improvisations within the structures of the flamenco dance.

Band. -Prosmelting in the capabilities related to reading at first sight, understanding and responding to the director's indications, and integration in the whole, through an approach to the band repertoire symphonic.

Psychopedagogical Bases of Special Education. -Dificulties of learning and special educational needs. Developmental disorders and their impact on school learning. The schooling of pupils with sensory, physical and mental impairments. Educational integration of students with difficulties.

Big Band. -Knowledge and practice of the jazzistic repertoire for Big Band. Forms of accompaniment and guidelines for improvisation within a group.

Deepening the aspects of the set interpretation. Development of the capacity to assess the role of the instrument itself within the whole, and to control, not only the function itself, but the overall result.

Singing. -Perfecting artistic, musical and technical abilities, which allow to address the interpretation of the most representative repertoire of the instrument. Knowledge of the interpretative criteria applicable to this repertoire, in accordance with its stylistic evolution.

Gregorian chant. -Synchronous and diachronistic study of the specific Gregorian repertoire and monodic sacrum in general. His theoretical and practical influence on Western musical techniques: writing, modality, melodic and rhythmic typologies, etc.

Clarinet.-(See Main Instrument).

Key.-(See Main Instrument).

Applied Composition. -Development of a basic composition technique that allows for the realization of work of a didactic character for instruments and voices soloists or accompanied, instrumental ensembles, choirs of different voices, etc. Theoretical information about the technical possibilities and the timbrian resources of the different instruments.

Composition of Jazz. -Study, through analysis and hearing, of the Jazz's own constructive and instrumental procedures. Application of said procedures to the composition of parts suitable for the arrangement of pieces of the jazzistic repertoire.

Concertation (Canto). -Study and interpretation of the concert repertoire of opera, oratorio and zarzuela.

Deepening the capabilities related to understanding and responding to the director's indications, integration into the vocal ensemble and its relationship with the accompanying instrumental group.

Concertación (Dirección de Orquesta). -Study and interpretative practice of the vocal and instrumental concertante repertoire (opera, oratorio, zarzuela, concerts for two or more soloists etc.). Technical development and the necessary knowledge for the correct direction of the set of soloists, and the relationship of this one with the orchestra or the accompanying orchestral group.

Concertation of Opera and Zarzuela.-(See Concertation of Canto).

Concertation of Oratorio.-(See Concertation of Canto).

Set. -Prosmelting in the own aspects of the set interpretation. Development of first-view reading and the ability to control, not only the function itself, but the result of the set in pools with and without director. Practice of the repertoire for different sets, both traditional and contemporary, with special emphasis on the latter, according to the corresponding instrumental specialty.

Baroque Set.-(See Set).

Flutes Set.-(View Set).

Pua Instruments Set.-(View Set).

Jazz Set.-(View Set).

percussion Set.-(See Set).

Rebirth Set.-(See Set).

Saxophone Set.-(See Set).

Consort.-(View Set).

I continue. -Practice of the realization of the continuous bass, in works of different epochs and authors. Study of the different systems of encryption and techniques of accompaniment and ornamentation used throughout history.

Conjob.-(See Main Instrument).

Counterpoint. -Study of the counterpoint elements and procedures relating to the tonal system, as well as before and after it. Written performance of stylistic and free, vocal and instrumental works. Instrumental practice of the elements and procedures studied.

Choir. -Interpretation of the usual choral repertoire to capella and orchestra. Development of education and vocal hygiene, and deepening of the skills related to reading at first sight, understanding and response to the director's indications and integration into the whole.

Coro de Camara. -Interpretation of the usual repertoire for chamber choir to capella and orchestra.

Deepening capabilities related to reading at first glance, understanding and responding to director's indications and integration into the set.

Choir of Opera and Zarzuela. -Interpretation of the usual repertoire for opera and zarzuela choir.

Deepening capabilities related to reading at first glance, understanding and responding to director's indications and integration into the set.

Correpetition. -Development of the ability to read and accompany soloists and vocal and instrumental ensembles. Acquisition of a wide vocal and instrumental repertoire of different eras and styles. Practice of the running back in stage vocal music rehearsals.

Flamenco painting. -Knowledge of the structure and variants that constitute the flamenco painting. Practice of improvisation in the different styles, compasses and cants of the flamenco sticks as a basic element of the accompaniment of singing and dancing in the flamenco painting.

String Quartet. -Prosmelting in the aspects of the Cameroonian interpretation. Development of skills related to reading at first sight, understanding and making the necessary gestures for the coordination of the whole and the ability to control, not only the function itself, but the overall result of the through an approach to the repertoire for string quartet.

Educational Dance. -Knowledge and practice of a basic repertoire of children's games and dances of the Spanish, Ibero-American and European folk tradition.

Selection criteria for them. Methodological resources and didactic sequence.

Traditional and Popular Dance. -Practice of a repertoire of traditional and popular dances belonging to the cultural field object of study within the specialty. Knowledge of bibliography, discography and musical material related to traditional dances. Introduction to the choreographic notation.

Historical dances. -Basic knowledge of the choreographic forms and the different styles characteristic of the social dances belonging to the historical period between the thirteenth and eighteenth centuries.

Interrelation of the dance with the music and culture of his time.

Practice of a representative repertoire of the different forms of historical dance and its most characteristic steps: Brandesuite, Faroquer, Simple Contradances, Pavanas, etc.

Didactic of Early Music Education. -The process of musical development in the child. Characteristics of learning at this stage. Historical, anthropological, psychological and social foundations of early musical education and their impact on the integral formation of the child. The different conceptions of early musical education in the 20th century. The motivation and its determining role in the learning process.

The educational value of the game and its didactic treatment.

Objectives and contents of this period. Educational resources and resources.

Didactic of Specialty. -Teaching principles for the development of the own instrumental specialty or Canto. Application of the foundations of the teaching-learning process to specialized teaching. The characteristics of the student and his or her disposition in relation to the instrument. Phases of the teaching-learning of an instrument: development of the technique, of musical understanding and of communicative ability.

Didactic of Music. -Teaching components of the teaching-learning process. Teaching models. The teaching practice and the role of the teacher. The curriculum and the development of curriculum projects. The educational practice in the classroom. Objectives and content of music learning in the field of education, in specialized education and in adult education.

Educational resources and resources. The evaluation of the teaching-learning process.

Didactic of the Chamber Music. -Features of the group work. Systematization of the learning contents of the joint instrumental activity. Objectives and contents of the Cameroonian practice. Systematic and progressive sequencing of their technical and interpretative difficulties. Criteria for selection and practice of the repertoire. Methodological guidelines. Models of the organization of the activity.

Didactic of Music in Secondary Education. -Objectives and contents of the area of Music in Secondary Education. Methodological guidelines for the development of activities in the classroom. Interrelation of the different content blocks: vocal, instrumental, movement and dance, hearing and language.

Educational materials and resources. The evaluation process. After-school activities and didactic concerts.

Didactic of the Chosen Itinerary.-(See Didactic of Musical Language, Didactic of Early Music Education and Didactic of Music in Secondary Education).

Didactic of Musical Language. -The different mechanisms of musical perception. The determining role of memory in the perception of music. The development of the "inner ear" and the musical sensibility through the hearing. Hearing education in the contents of the curriculum. Teaching materials and resources: selection and application criteria in the classroom.

Coral Direction (Pedagogy of the Canto). -Technical foundations of the management in all kinds of compasses.

Practice of basic management gestures. Non-verbal communication exercises. Practice of the direction applied to the different groupings of the repertoire used in the process of teaching and learning of the specialty.

Coral and Instrumental Direction (Pedagogy of Language and Music Education).-(See Coral Direction).

Direction of Coro. -Knowledge of the technique of the direction and practice of the same. Development of communicative capacity through the gesture. Treatment of the different elements that make up the musical discourse from the point of view of the direction of choir, through the analytical study, the hearing and the practice of the usual choral repertoire for the different formations to capella and with instruments.

Orchestra Direction. -Knowledge of the technique of the direction and practice of the same. Development of communicative capacity through the gesture.

Treatment of the different elements that make up the musical discourse from the point of view of the orchestra direction, through the analytical study, the hearing and the practice of the usual orchestral repertoire for the different Cameroonian and symphonic formations.

Direction of the Instrumental Set (Pedagogy of the Instruments).-(See Coral Direction).

Hearing Education. -Perfecting the student's hearing capacity, both in relation to intonation and the recognition of harmonic and non-tonal harmonic and melodic elements, as well as his written transcript, as well as the one of different rhythmic and metric complexities.

Vocal Education (Pedagogy). -Acquisition of a basic vocal technique: breathing, emission and articulation.

Study of a repertoire of songs of different eras and styles. Development of spoken and sung voice as an expressive instrument for its correct educational application.

The School Instrumental Ensemble and its Didactics. -Practical knowledge of the instruments of sheets, membranes and small percussion. Acquisition of a wide repertoire of pieces and teaching materials.

Development of improvisation. Didactic models of methodological activities and resources.

Ensemble.-(View Set).

Lyric Scene. -Study and practice of the usual scenic repertoire. Development of the capabilities of the scenic interpretation and the process of creating the character. Understanding of the principles of action and dramatic conflict.

Musical Aesthetics. -Historical knowledge and critical assessment of the different trends and trends related to aesthetics, in general, and musical aesthetics, in particular, from Antiquity to the present day.

Ethnomusicology. -Sources of traditional and popular music. Knowledge and comparative study of the musical characteristics, styles and genres of different cultures. Relationship between traditional, popular and cultured music. History of research on popular music and presentation of the main lines of research of contemporary ethnomusicology.

Study of music in its social and anthropological context, both in terms of its conceptualization and its creation, transmission, interpretation and dissemination. Musical communication and its sociological importance.

Stylistic Evolution of the Repertoire. -Diachronistic study of the stylistic traits and interpretative criteria of the different eras and authors, in relation to the repertoire of the main instrument.

Fagot.-(See Main Instrument).

Philosophy of Music. -Historical knowledge and critical assessment of the different philosophical trends and trends that have been occupied by art, in general, and music, in particular, from Antiquity to our days.

Flute of Pico.-(See Main Instrument).

Flute-bar.-(See Main Instrument).

Phonetic Applied to the Canto. -Analysis and practical study of the vocal repertoire worked by the student, according to the phonetic and prosodic aspects of the different languages in their relationship with the singing and with the spoken language.

Organistic Musical Forms. -Prosmelting in the theoretical and analytical knowledge of the different forms characteristic of the organistic repertoire.

Poetry-Music Forms. -Study of the various parameters of spoken and poetic language (phonetic, intonation, metric, etc.), and its application in the musical composition. Analysis of poetic and dramatic texts, and comparative study of their use in musical compositions of different authors.

French.-(See Languages).

Historical Sources of the Renacentist and Baroque Interpretation. -Study of the interpretative criteria of the works of the Renaissance and the Baroque, through the documents related to them, of the artistic literature of the time, and from other texts.

Fundamentals of Electroacoustics and Music Informatics. -Theoretical and practical knowledge of the different techniques and procedures of generation and manipulation of sounds through electroacoustic means, as well as the possibilities of computer science applied to the musical composition.

Fundamentals of Ethnomusicology. -Knowledge and comparative study of musical characteristics, styles and genres of different cultures. Relationship between traditional, traditional and cultured musics. In the case of the specialty of Pedagogy, study of its didactic application.

Fundamentals of Flamecology. -History of Flamecology. Flamenco's relationship with traditional, popular and cultured music. Musicological fundamentals of Flamecology. Flamenology and musicology compared. Training of the researcher.

Fundamentals of the Movement Technique. -Physical bases of movement: balance, coordination, center of gravity, musicality of movement etc. Expressive bases of movement: Muscle tonicity and its relation to affective states. Interaction of the elements: Severity, tension, space and time.

Fundamentals of Lumery. -Basic knowledge of the construction of the main components of the instrument. Indications for the solution of problems that may arise in the future professional activity of the student, and which may be remedied by the student.

Fundamentals of Mechanics and Maintenance. -Basic knowledge of the operation and construction of the main components of the instrument.

Indications for the solution of mechanical problems that may arise in the future professional activity of the student, and which may be remedied by the student.

Tuning practice, in the case of those instruments that require frequent revision of the same.

Construction of rods and tabs for the wood-wood instruments that use them.

Fundamentals of Organeria. -Basic knowledge of the operation and construction of the main components of the instrument. Indications for the solution of mechanical problems that may arise in the future professional activity of the student, and which may be remedied by the student.

Metal Group.-(View Set).

Guitar.-(See Main Instrument).

Flamenco Guitar. -Perfecting the artistic, musical and technical capacities that allow the interpretation of the most representative styles and distortions of the traditional and contemporary repertoire of the flamenco guitar. Interpretation of the work of the great teachers.

History of Ethnomusicology. -Prosmelting in the knowledge of the different schools and trends of ethnomusicological research, and of its main representatives.

History of the Flamecology. -Prosmelting in the knowledge of the different schools and trends of the Flemish research, and of its main representatives.

History of Music. -Prosmelting in the knowledge of movements and fundamental trends in the history of music: artistic, cultural and social aspects.

History of Contemporary Music. -Prosmelting in the knowledge of the main composers, schools and trends of contemporary musical creation. A critical study of the aesthetic and stylistic foundations of the same, in relation to the thought and the different cultural manifestations of his time.

History of Jazz Music. -Prosmelting in the knowledge of the evolution of fundamental trends, composers, interpreters and Jazz groups.

Relationship with your cultural environment. Aesthetic and technical principles of the Jazz's main styles.

History of Electroacoustic Music. -Study of the evolutionary development of electroacoustic music.

Deepening the knowledge of the main composers, schools and trends, through the hearing and critical assessment of their works.

History of Music with Audiovisual Media. -Study of the evolutionary development of composite music with the use of different audiovisual media.

Deepening the knowledge of the main composers, schools and trends, through the hearing and critical assessment of their works.

History of the Orchestration. -Study of the evolutionary development of the techniques of instrumentation and orchestration, through the deepening of the works of the main composers, schools and tendencies.

History of Flamenco Art. -Development and evolution of flamenco genres. Deepening the life of the creators and performers of the flamenco singing, touch and dance. Knowledge of Spanish and Spanish-American popular songbooks related to flamenco. Knowledge of the Spanish guitar repertoire and its interrelations with the flamenco guitar. Styles and criteria for the interpretation of the main cantaoras and tocaoras schools according to the times and geographical situations. The flamenco dance: rhythmic aspects; knowledge of the most relevant schools and figures.

The History of the Organ and the Stylistic Evolution of the Repertoire. -Prosmelting in the Hispanic and evolutionary knowledge of the instrument. Diachronistic study of the stylistic traits and interpretative criteria of the different eras and authors, in relation to the repertoire.

Languages. Study of the German, French, English and Italian languages, in their application to the Canto: Prosodic, phonological and phonetic aspects. To deepen the grammatical knowledge that allows to understand the structure of the different languages. Knowledge and analysis of poetic and dramatic texts used in the musical composition throughout history.

improvisation. -improvisation as an expressive medium: General principles for developing creative capacity. Types of improvisation: Free and conditioned.

Forms and styles of improvisation. Analysis of improvised forms. Progressive development of improvisation from musical elements (harmonic-formal structures, melodic, rhythmic, etc.) or extramusials (texts, images, etc.).

Improvisation of Movement and Coreographic Foundations. -Development of creativity through kinesthetic sensitivity. Basic forms of movement. Mime and gesture as expressive means of communication.

improvisation (in the main instrument).-(See improvisation).

Vocal Improvisation.-(see improvisation).

Improvisation and Accompanying. -improvisation as an expressive medium: General principles for developing creative capacity. Types of improvisation:

Free and conditioned. Forms and styles of improvisation.

Analysis of improvised shapes. Progressive development of improvisation from musical elements (harmonic-formal structures, melodic, rhythmic, etc.) or extramusials (texts, images, etc.). Application of improvisation to the practice of accompaniment.

English.-(See Languages).

Instrumentation and Orchestration. -Study of the individual characteristics and possibilities of the different instruments, and of those derived from their combined use within the different Cameroonian and symphonic groupings.

Tecla instrument (as a Group D subject).-Basic principles of the chosen instrument technique. Study of a repertoire that includes works of different eras and styles. Development of the ability to read at first sight, and the understanding of constructive elements and procedures (basic harmonic structures, formal processes, etc.).

Initiation to the realization of the continuous bass.

Main Instrument (except Flamenco Guitar). -Perfecting artistic, musical and technical capabilities, which allow to address the interpretation of the most representative repertoire of the instrument.

Knowledge of the interpretative criteria applicable to this repertoire, according to its stylistic evolution. Where appropriate, study of the repertoire with accompanying instrument.

Symphonic Instrument (as a Group D subject)-Basic principles of the technical of a symphonic instrument. Study of a repertoire that includes works of different eras and styles.

Pulsed String Instruments of the Renaissance and the Baroque.-(See Main Instrument).

Instruments of Ancient Music.-(See Main Instrument).

Traditional and Popular Music Instruments.-(See Main Instrument).

Instruments of Pua.-(See Main Instrument).

Dramatic Interpretation. -Knowledge and development of the internal and external action mechanisms and the process of creating the character. Understanding and practice of the principles of action and dramatic conflict. Improvisation as a methodological procedure for the creation of the character. Style exercises.

Historical Interpretation of Ancient Music. -Theory and practice of ornamentation. Knowledge of the criteria established by the historical review for the interpretation of the works of the historical periods relating to the repertoire of the instrument itself, and application to the interpretation of this repertoire.

Introduction to Composition with Audiovisual Media. -Aesthetic and technical foundations of the composition with the different audiovisual media.

Analysis and auditing-the annotated projection of works of the different genres (cinema, theatre, television, etc.).

A practice of sonorization of images with both alien and own music, through pre-existing recordings and/or conventional or electronically generated media.

Italian.-(See Languages).

Reading and Interpretation of Contemporary Music. -Knowledge of the main composers, schools and trends of contemporary musical creation. Interpretative criteria and aesthetic and stylistic foundations of the same. Knowledge of the new graphs used in the contemporary composition, as well as the criteria of sound-visual adequacy that determine them. Annotated hearing of the most representative repertoire.

Lied. -Prosmelting in the knowledge and study of the leederistic repertoire in its different epochs and variants.

Methodology of the Research of Traditional and Popular Music. -Fundamentals of heuristics, related to the search, definition and localization of the sources of traditional and popular music. Description and use of archival techniques, documentation and information.

Methodology of Ethnomusicological Research. -Panorama of the different lines of research in contemporary ethnomusicology: Methods, conceptions and critique of different theoretical positions.

Knowledge of the different musical traditions of different cultures through the research carried out. Study of music in its social and anthropological context, both in terms of its conceptualization, as well as its creation, transmission, interpretation and dissemination. Relationship between different categories of music: Cult, popular, traditional, exotic, etc.

Methodology of Flemish Research. -Panorama of the different lines of research in contemporary flamenco: Methods, conceptions and critique of different theoretical positions. Study of flamenco in its social and anthropological context, both in terms of its conceptualization and its creation, transmission, interpretation and dissemination.

Methodology of Musicological Research. -Heuristics Foundations, related to the search, definition and localization of the sources of music. Specific study and hermeneutic techniques. Description and use of archival techniques, documentation and information.

Methodology of Pedagogical Research. -Research and innovation. Research Models:

Qualitative and quantitative approaches. Research in the classroom: Methods and techniques for collecting information. Analysis and interpretation of data. Reporting: Application of the reports.

Traditional Movement and Dances. -Development of motor skills through awareness and body awareness (sense of balance, space-time ratio, etc.) and their interrelation with parameters of the sound. Practice of the basic forms of movement: Locomotion, turns, gestures and jumps.

Basic repertoire of traditional and historical dances that have special educational interest for their musical and coreutical quality.

Music of the Chamber. -Prosmelting in the aspects of the Cameroonian interpretation. The development of the reading at first sight, and the ability to control, not only the function itself, but the result of the whole, in groups with and without director. Practice of the Cameroonian repertoire.

Music of Oral Tradition. -Fundamentals of ethnomusicology. Sources of music of oral tradition.

Knowledge and comparative study of the musical characteristics of different cultures. Relationship between traditional, popular, and cultured musics.

Traditional and Popular Spanish Music-Knowledge and study of the most characteristic forms of traditional music. Acquisition of a wide and representative repertoire of different genres and styles. The educational and artistic value of the traditional repertoire as the foundation of school singing. Selection criteria for application in the classroom.

Traditional Music of Other Cultures. -Study of a repertoire of songs and games belonging to non-European countries with special emphasis on African American music. Development of the selection criteria for their didactic application. Ethnic music and its educational value in the classroom.

Notation. -Study of the evolution of musical notation from antiquity to our days, and its interrelation with the development of Western musical language and the different compositional techniques. The old-opaleographic and modern notation. Study of the notation from the purely graphic perspective, and from the musical semiology.

Oboe.-(See Main Instrument).

Organ.-(See Main Instrument).

Organology. -Music acoustics foundations.

Study of musical instruments, based on the different historical approaches, both anthropological (mythological considerations on their origin, aesthetic type on the evolution of their physiognomy, etc.) as technical or scientists. Knowledge of the classifications of the most important instruments, taking into account the criteria of the main treaters.

Orchestra. -Practice in different types of orchestral groupings. Deepening of the skills related to the reading at first sight, the understanding and response to the director's indications, and the integration in the whole, through an approach to the orchestral repertoire.

Percussion.-(See Main Instrument).

Piano (as a subject of Group A).-(See main instrument).

Piano (as a subject of Group D). -Basic principles of the pianistic technique. Study of a repertoire that includes works of different eras and styles.

Development of the ability to read at first sight, and understanding of constructive elements and procedures (basic harmonic structures, formal processes, etc.).

Harmonic-Counterpoint Practice. -Written and instrumental practice of the different harmonic and counterpoint elements and procedures of the western tonal system, as well as before and after it.

Teacher Practices. -Realization of teaching initiation practices at the various levels and modalities of musical education in the educational system.

Observation and weekly participation with a group of students. Seminars on methodological procedures, teaching resources and evaluation of the training process. Knowledge of the school system through the knowledge of a concrete center as an organizational unit in its various dimensions and functions.

Psychology of Education and Development in School Age. -Factors and basic learning processes.

Content and learning processes. Learning and interpersonal relationships in school age. Theory and explanatory models of development. The development of basic skills: Cognitive, affective-emotional, motor and social.

Psychology of Music Perception. -Approximation to the study of the understanding of the musical fact through the psychological mechanisms developed by the different perceptive processes applied in the musical audition. Psychoacoustic fundamentals of musical information.

Quintet de Viento. -Prosmelting in the aspects of the Cameroonian interpretation. The development of the reading at first sight, and the ability to control, not only the function itself, but the result of the whole.

Practice of a repertoire for wood-wood quintet that includes works of different eras and styles.

Reduction of Partitures. -Practice of reducing the keyboard of works of progressive difficulty (from string quartets to works for symphonic orchestra, including vocal and vocal works).

. -Development of the ability to develop works of progressive difficulty, which allows to perfect both the capacity of automatism and speed in the reading of the musical text and the immediate understanding of the sense of its essential elements-formal, harmonic, thematic, etc.-and its interpretation in the instrument as the work is read. Practice of transposition, both written and submitted, to all shades.

Classical Repertoire of the Main Instrument. -Study of a repertoire that includes works of different eras and styles.

Repertory with Accompanying. -Individual study of the main instrument repertoire with the accompanying companion in each case.

Repertoire with accompanying Clavimist. -Study of the instrumental repertoire established in the programmes of the subjects of the A group of the specialties that so require with the original diving accompaniment or performance of the continuous bass.

Repertoire with Accompanying Pianist. -Study of the vocal or instrumental repertoire established in the programs of the subjects of the A group of the specialties that so require with the original pianistic accompaniment, or Reductions in orchestra or instrumental assemblies.

Orchestral Repertoire. -Study of the basic orchestral repertoire of the main instrument, referred to both alone and to tutti passages whose difficulty or special characteristics advise their inclusion in the programming of the teaching.

Orchestral Repertoire with Accompanying. -Study of the orchestral repertoire for the Piano, referred to both solos and passages of Tutti, with the accompaniment of the piano reduction of the orchestra part.

Contemporary Soloist Repertoire. -Prosmelting in the development of technical and artistic capabilities through the knowledge and study of a wide contemporary repertoire. Knowledge, through commented auditions, of the contemporary pianistic literature of the different authors and stylistic tendencies, with special emphasis on the Spanish pianistica creation.

Vocal Repertoire and Stylistic. -Study and acquisition of a wide vocal repertoire that includes works of different eras and styles. To deepen the theoretical and practical knowledge of the stylistic peculiarities of the works.

Ritmica.-The theoretical and practical study of the characteristic and rhythmic aspects of the music of the twentieth century. New graphics and their didactic application.

Jazz rhythm. -Theoretical and practical study of the characteristic and rhythmic aspects of the Jazz: His treatment in different styles.

Saxophone.-(See Main Instrument).

Second Instrument-Basic principles of the instrument of the instrument chosen. Study of a repertoire that includes works of different eras and styles.

Sociology of Education. -Basic concepts of sociology. The education system as a social subsystem.

Historical evolution of the school system. Contemporary theories of education. Sociology of interaction in the classroom. Sociology of the school organization.

Social Determinants of School Performance. Sociology of childhood, adolescence and youth.

Sociology of Music.-Scientific study of the role of music in different societies, and their evolution throughout history, in relation to different religious, utilitarian, pedagogical factors, etc. Methods of sociological research (observation, induction, comparison, statistics) and their relationship with other fields of knowledge.

Tablatura. -Study of the different procedures of musical notation by means of letters, figures and other signs, in which much of the instrumental literature is written. Conventional annotation transcription of the different types of tablets. Reading practice directly from the table.

Composition Workshop. -Application of knowledge acquired in the subjects "Technical of composition", "Electroacoustic composition" or "Composition with audiovisual media": Montage of own works with a group of interpreters, and resolution of the different technical and musical problems that may arise during the working sessions; inclusion, if any, of electroacoustic transformations in real time, using the different possibilities offered by the computer media, as well as sonorization of images with music itself, with or without the use of electroacoustic means.

Body Technique. -Basic body training as an acting instrument: Development of expressive and creative possibilities in relation to stage musical performance.

Composition Technique. -Prosmelting in the study of the different traditional constructive elements and procedures, as well as in the knowledge of the authors ' technique, schools and contemporary trends representative. Practice of all this in the performance of vocal and instrumental stylistic works. Development of a personal language, through the composition of free works.

Composition Technique with Audiovisual Media. -Prosmelting in the study of the different elements and constructive procedures applied to the composition with the different audiovisual media, as well as in the knowledge of the most representative authors, schools and trends. Development of a personal language, through the composition of music for different audiovisual environments.

Technical of the Electroacoustic Composition. -Prosmelting in the study of the different elements and constructive procedures applied to the electroacoustic composition, as well as in the knowledge of the authors ' technique, more representative schools and trends. Hearing and analytical study of the main works of the electroacoustic repertoire. Development of a personal language, through the composition of electroacoustic works, including the electroacoustic treatment of conventional instruments.

Ethnomusicological Editing Techniques. -Information about the application of the different editing techniques as a tool of work for ethnomusicological research, and practice of them.

Breathing and Muscular Control Technique. -Basic principles of anatomy and physiology on the motor and respiratory apparatus. The basic physical qualities and their development in relation to the technical requirements of the instrument. Independence and muscle interrelation. Contracted and controlled detente. The role of breathing control in the production and quality of sound.

Computer Techniques. -Information about the application of different computer techniques, both in the purely musical and as a tool for the research, and practice of the same.

Musical Theory of Flamenco. -Study and analysis of the musical structures that regulate Flamenco Art:

Melody, harmony, rhythm, metrics and shapes. Analysis of the interaction of these elements within the Flamenco musical system. Study of the different styles of Flamenco in all its aspects. Terminology of the Flemish.

Theory and Practice of Jazz improvisation. -improvisation as a means of expression. Features of improvisation in the different jazzistic styles.

Improvisation from musical elements (harmonic-formal structures, melodic, rhythmic, etc.) or extramusials (texts, images, etc.).

Theory and Practice of Flemish improvisation. -Characteristics according to the different styles of flamenco.

Knowledge of the harmonic procedures typical of flamenco, and its application to improvisation.

Formal elements of flamenco music oriented towards improvisation.

Field Work. -Methodology and field work techniques in ethnomusicology: Critical analysis and experience in different modalities. Field work in anthropology and musicological research.

Transcript (Flamenco and Flamenco Guitar). -Foundations for the realization and critical use of transcripts in all its aspects (guitar, singing, dancing, palms and jelly). The live performance and the recordings as first analysis documents of flamenco music.

Transcription (Ethnomusicology, and Traditional and Popular Music Instruments). -Metodologies, objectives and practice of musical transcription: The transcription as a procedure of analysis and understanding of the elements of the musical work. Use, analysis and assessment of bibliographic and documentary materials.

Transcript (Acordeon, Arpa, Instruments of Ancient Music, Instruments of Pua and Viola da Gamba). -Theory and practice of the transcription of composite music for other instruments. Comparative study between the original scores and the transcriptions made, referring to the most representative works of the repertoire.

Transposition. -Application of knowledge related to the development, improvisation and accompaniment to the transport of the repertoire for singing and piano.

Trompa.-(See Main Instrument).

Trumpet.-(See Main Instrument).

Trombone.-(See Main Instrument).

Tuba.-(See Main Instrument).

Viola.-(See Main Instrument).

Viola da gamba.-(See Main Instrument).

Violin.-(See Main Instrument).

Violoncello.-(See Main Instrument).

ANNEX III Classification of subjects for the purposes of the maximum number of teacher/pupil ratio, as provided for in Article 20 of Royal Decree 389/1992 of 15 April 1992 laying down minimum requirements for (a) institutions providing artistic teaching and in the tenth paragraph of this Order individual instrumental Teachings Accompanying Vowel.

Sang.

Correpetition.

Vocal education.

Phonetic applied to the Canto.

Key Instrument (As a Group D subject).

The main instrument for each craft.

Symphonic Instrument (As a Group D subject).

Lied.

Piano (As a Group A subject).

Piano (As a Group D subject).

Classic repertoire of the main instrument (Jazz).

Repertoire with companion.

Repertoire with accompanying diving.

Repertoire with accompanying pianist.

Orchestral Repertoire.

Orchestral repertoire with companion.

Contemporary Solo Repertoire.

Vocal and stylistic repertoire.

Second instrument.

Collective Instrumental Teachings 1. Subjects whose numerical teacher/pupil ratio is determined by the requirements of the vocal or instrumental grouping concerned.

Band.

Big Band.

Concertation.

Concertation of Opera and Zarzuela.

Concertation of Oratorio.

Set.

Baroque Set.

Peak Flutes Set.

A set of puis instruments.

Jazz Set.

percussion Set.

Saxophone Set.

Renaissance set.

Consort.

Choir.

Chamber choir.

Choir of Opera and Zarzuela.

Flamenco table.

String Quartet.

Didactic of chamber music.

The school instrumental set and its didactics.

Ensemble.

Lyric scene.

Group of metals.

Camera music.

Orchestra.

Wind Quintet.

2. Subjects with a maximum teacher/pupil ratio of 1/4:

Accompaniment (flamenco guitar).

Continued.

stylistic evolution of the repertoire.

improvisation.

Improvisation on the main instrument.

Vocal Improvisation.

improvisation and accompaniment.

Historical interpretation of ancient music.

Reduction of scores.

Timing.

Tablature.

Theory and practice of Jazz improvisation.

Theory and practice of flamenco improvisation.

Transposition.

Non-Instrumental Teachings 1. Subjects with a maximum teacher/pupil ratio of 1/4:

Harmony.

Composition of Jazz.

Counterpoint.

Instrumentation and orchestration.

Composition workshop.

Composition technique.

composition technique with audiovisual media.

Technical of the electroacoustic composition.

Breathing and muscle control technique.

2. Subjects with a maximum numerical ratio teacher/pupil of 1/10:

Analysis III, IV, and V.

Jazz Harmony.

Harmonization and fixes.

fixes.

Composition applied.

Coral direction.

Coral and instrumental direction.

Choir address.

Orchestra direction.

The direction of the instrumental set.

Organistic musical forms.

Fundamentals of electroacoustics and musical computing.

Languages.

Dramatic interpretation.

Introduction to the composition with audiovisual media.

Harmonic-counterpoint practice.

Ritmica.

Jazz Ritmica.

Transcript.

3. Subjects with a maximum numerical ratio teacher/pupil of 1/15:

Musical Acoustics.

Analysis of contemporary music.

Analysis I and II.

Musical Anthropology.

Archivistica and biblioteconomics.

flamenco dance.

Psychopedagogical bases of special education.

Gregorian chant.

Educational dance.

Traditional and popular dance.

Historical dances.

Traditional dances.

Didactic of the craft.

Didactic of Music.

Didactic of the chosen itinerary.

Hearing education.

Musical Aesthetics.

Ethnomusicology.

Philosophy of music.

poetry-musical forms.

Historical sources of the Renaissance and Baroque interpretation.

Fundamentals of Ethnomusicology.

Fundamentals of Flamecology.

Fundamentals of the movement technique.

Fundamentals of lumery.

Fundamentals of mechanics and maintenance.

Foundations of organeria.

History of Ethnomusicology.

The history of flamingology.

History of Music.

History of music with audiovisual media.

History of contemporary music.

History of Jazz Music.

History of electroacoustic music.

History of the Orchestration.

History of flamenco art.

The history of the Organ and stylistic evolution of the repertoire.

Improvisation of movement and choreographic fundamentals.

Reading and interpretation of contemporary music.

Methodology of ethnomusicological research.

Methodology of traditional and popular music research.

Methodology of Flemish Research.

Methodology of musicological research.

Methodology of pedagogical research.

Traditional movement and dances.

Music of oral tradition.

Traditional and popular Spanish music.

Traditional music from other cultures.

Notation.

Organology.

Teacher practices.

Psychology of musical perception.

Psychology of Education and Development of School Age.

Sociology of education.

Sociology of music.

Body technique.

Ethnomusicological editing techniques.

Computer Techniques.

Music theory of flamenco.

Field work.