- Polyphonic literature from Guillaume de Machaut up to and including the Second Viennese School
- Extensive study and research of the various contrapuntal phenomena and techniques in particular with regard to imitative and canonical writing
- The concepts of modal, tonal and atonal counterpoint
- The study of polyphonic form structures - types, historical context, evolution
- Knowledge of the most important historical and current treatises/manuals concerning polyphonic writing techniques

Fuxian counterpoint (strict counterpoint)
Study of all imitations and various contrapuntal techniques (retrograde, mirror, augmentation... )
Writing exercises of progressive difficulty - use of the contrapuntal phenomena within the grammatical context and general syntax:
- Exercises strict counterpoint (two- and three-voice)
- Three-voice exercises of which two voices proceed canonically using the binary sonata form with coda

Professional mastery of polyphonic writing.

Use of contrapuntal knowledge for an insightful and analytical reading and for an artistic personal interpretation of a score.

Development of style awareness and logical musical thinking.

Sharpening concentration and musical memory.
Stimulating creativity and inventiveness.

Development of musical maturity.

At minor level:

The student acquires additional competences and skills to complement the programme’s learning outcomes.

Classical treatises: Bitsch - Noël-Gallon, Fux, Koechlin, Krenek, Piston, Richter, Schönberg...
Masters from the Dutch school: Desprez, Lassus, Ockegem...
J.S.Bach: Musikalisches Opfer, Goldbergvariationen, two- and three-part inventions...
Polyphonic compositions from all stylistic periods up to and including the Second Viennese School.

to be taken together with Counterpoint.