• good aural skills
• classical harmony studies
• playing the piano at least on a medium level
1. MAIN SUBJECTS
1.1. Orchestra conducting:
Johannes Brahms: Variations on a Haydn theme, op. 56a
1.2. Choir conducting:
Reneissance
• J. Bennet: Weep o mine eyes (Invitation to madrigals 2, Stainer and Bell, London)
• T. Morley: Springtime mantles every bough (Invitation to madrigals 1, Stainer and Bell, London)
Romanticism
• F. Mendelssohn: Die Primel, Op. 48/2. (Edition Peters)
• F. Mendelssohn: Neujahrslied, Op. 88/1. (Edition Peters)
20th century
• Kodály Zoltán: Köszöntő (mixed choir)
• Bartók Béla: Héjja, héjja, karahéjja
The candidate must have an indepth knowledge of the pieces from memory. The candidated will conduct and, if necessary, correct and rehearse with the choir present at the audition – one piece from each of the above styles.
2. SINGING:
• Presentation of two art songs or folk song arrangements with piano accompaniment of contrasting character and style with piano accompaniment - from memory.
The university will provide the piano accompanist, but the candidate may also bring one.
3. SCORE READING:
Presentation of 2 or 3-part examples from „Olivér Nagy: Partitúraolvasás, partitúrajáték” – knowing the alto and tenor keys is necessary.
4. SOLFEGE, MUSIC THEORY
General requirements: in-depth understanding of the theory of classical harmony (diatonic and chromatic triads and seventh-chords). Writing and playing of four-part harmonic progressions in closed position with appropriate voice-leading (see rules of keyboard harmony); knowledge of Baroque and Viennese classical forms and genres.
4.1 Written examination
1. Dictation of a short chorale excerpt by J. S. Bach. Expectations: notation of the outer parts (soprano and bass); indication of the harmonic progression with figures above or below the bass line (figured bass)
2. Writing out, in close voicing, of a four-part harmonic progression (Roman and Arabic numerals of keyboard harmony are used)
3. Dictation of a tonal two-part musical excerpt.
4. Dictation of an atonal twentieth-century musical excerpt.
5. Dictation of a two- three- and four-part harmonic progression series (ca. 10 intervals, triads or seventh chords).
6. Dictation of the rhythm of an atonal musical excerpt (ca. 6 measures).
4.2 Oral examination
1. Playing (on the keyboard) of four-part harmonic progressions in closed position with appropriate voice-leading.
2. Assessment of the applicant’s knowledge of form on the basis of a detailed formal analysis of the musical pieces performed at the instrumental audition. Extra copies of the scores have to be provided by the applicant.
3. Sight-singing of a tonal melody in unison.
4. Recognition and singing of intervals, triads and seventh-chords on a given pitch.
5. PIANO AS COMPULSORY SUBJECT
• Bach: 2 piefces from the Three-part Inventions, or a prelude of fugue from the Wohltemperiertes Klavier,
• A full sonata by Haydn, Mozart or Beethoven,
• Two solo pieces – one has to be by Bartók or by his comtemporaries
6. FOLK MUSIC
Informal conversation about the folk music of the candidate's country.
