After completing the program, graduate:

• Examines the performance-related and genre-specific characteristics of Georgian musical folklore and traditional liturgical chant;
• Identifies and characterizes Georgian musical dialects (including those found outside the borders of Georgia) and schools of liturgical chant;
• Reviews the historical development stages of the Georgian oral tradition of liturgical chant, as well as the unique Georgian musical notation system;
• Describes the specific features of the traditional Georgian musical language;
• Classifies traditional musical instruments and relates Georgian folk instrumental music to the instrumental cultures of other peoples worldwide;
• Performs instrumental, vocal, and liturgical repertoires from various regions of Georgia, adhering to traditional performance standards;
  Explains the fundamental principles of fieldwork;
• Demonstrates foundational practical and theoretical knowledge of Georgian music theory and traditional choreography;
• Identifies and explains the nature and essence of the Georgian literary language, as well as the historical, social, and cultural conditions that shaped it;
• Identifies and explains issues regarding the periodization of the Georgian literary language, the history of language standardization, and the methods and principles for establishing norms.

After completing the program, graduate:

• Performs songs for men and women from all Georgian musical dialects—incorporating traditional performance norms and improvisation—while transitioning between vocal parts;
• Demonstrates the ornamentation characteristic of East Georgian melodies, as well as various types of *krimanchuli* (yodeling/vocal flourishes);
• Plays and improvises on Georgian folk instruments (such as the *panduri, chonguri, changi, salamuri, chianuri, chuniri, chiboni,* and *gudastviri*), accompanying various vocal parts within a song;
• Examines the ergological (material/construction-related) and musical aspects associated with instrumental culture;
• Transcribes audio samples of vocal and instrumental music into musical notation;
• Performs using improvisation and transitioning between vocal parts—hymns from the East and West Georgian liturgical traditions, including those for Vespers, Matins, and fixed or movable feasts (within the eight-mode system);
• Arranges monophonic liturgical melodies into polyphonic settings, adhering to traditional musical principles of voice alignment;
• Is proficient in the *khutsuri* (ecclesiastical) style of reading/chanting;
  Maintains an expedition journal, compiles research questionnaires, and develops methods for engaging with *ethnophores* (traditional culture bearers).
• Applies various *saperkhulo* (round dance) patterns and simple dance moves in practice;
• Puts acquired knowledge to practical use;
• Processes and analyzes works and terminology presented in various academic styles or registers, and independently researches the necessary materials or information.

In their professional practice, the graduate adheres to ethical principles; collaborates with representatives from various fields of music and the arts, observing the principles of both individual and team work; recognizes the necessity of documenting, preserving, and promoting traditional culture; identifies their own learning needs and independently manages their learning process; and is motivated to continue their education at subsequent levels.