Admission requirements for BA and part time studies

 

 Piano

 

1. J.S. Bach: One prelude and fugue - from  the Wohltemperiertes Klavier series

 

2. One complete classical sonata

 

3. One significant romantic piece

 

4. One 20th century piece

 

5. One virtuosic etude

 

 

 

 

GENERAL ADMISSION REQUIREMENTS - ONLY FOR FULL-TIME BA STUDIES

 

A. 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.

 

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). 

 

Oral examination

 

1. Playing (on the keyboard) of four-part harmonic progressions in closed position with appropriate voice-leading.

2. Continuo playing: playing an excerpt from a figured bass line

3. 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.

4. Sight-singing of a tonal melody in unison.

5. Sight-reading of the piano accompaniment score of a tonal song

6. Recognition and singing of intervals, triads and seventh-chords on a given pitch.

 

 

 

B. FOLK MUSIC

 

Informal conversation about the folk music of the candidate's country.

  
Bartók presented an austere, forbidding front to the world and even in those years, when he was still in his mid-forties, his reputation was daunting. Although he had received little official recognition and was widely regarded as a raving radical, we music students knew exactly how important he was, and we revered him. We were fully aware that there was an authentic genious teaching at our Academy. (Sir Georg Solti)