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Music Bachelor 2017/2018: Admission Exam Contents

 

Exams Contents and Assessment Criteria

COMPOSITION

1 - Creativity

- Portfolio presentation

- Written test

a) In the written test candidates will write 2 compositions in different period styles selected between Renaissance, Baroque choral, Romantic Lied and XXth century.
b) The portfolio should include 3 original compositions that the candidate considers representative of his or her production.

2 – Interview
3 - Music Theory and Aural Exam 

Assessment Criteria

Creativity
Technique and style - 60%
Form control - 20%
Ability to manage to manage the available time for the written test - 20%

Portfolio
Technique - 25%
Form control - 25%
Polishing and clarity in the instrumental writing - 25%
Craetivity/originality - 25%

Interview
Assessment criteria:
Global evaluation of the interview considering the following elements (classified as unsufficient, sufficient, good, very good):

  • Musical Culture

  • Background preparation

  • Issues related with with the written test and/or the works presented on the portfolio 

 

CHORAL CONDUCTING AND MUSIC EDUCATION

1. Written test

  • Aural identification of intervals and chords (type and position); aural harmonic analysis of harmonic functions and cadence identification;
  • Rhythmic aural test;
  • Melodic aural test;
  • Polyphonic work aural test (score with blank spaces).

2. Oral test

 

  • Choir piece conducting; *
  • Execution of a piano piece chosen by the candidate;
  • Interpretation of a previously studied singing theme, preferably with text; *
  • 2 rhythmic exercise readings  one in regular metric and the other in irregular);
  • 2 singing exercise readings at first sight (one tonal meldy and one dodecaphonic iso-rhythmic series);
  • First sight reading at the piano: simple piano accompaniment of a piece for voice and piano.

* Score available at the Academic Office 8 days before the exam.

Assessment Criteria of the written and oral tests

The classification of the written and oral tests is the result of the arythmetic mean of both tests' numeric results. The written test has the weight of 33% in the final classification, as for the oral has the remaining 67%. Also in these tests, a global evaluation is made of the aural abilities, first sight reading and interpretative skills. 

In the oral test is assessed:
- accuracy and precision, pulse and/or rhythmic structure control;
- melodic precision, vocal quality, intonation, phrasing and interpretative expressive and stylistic skills;
- reading precision and fluidity and tempo stability;
- piano technique, sound quality and interpretation.

 

WINDS ORCHESTRA CONDUCTING

1. Conducting Test

Saint-Säens/ Tafanel – Feuillet d´Album

(available at: http://imslp.org/wiki/Feuillet_d%27album,_Op.81_(Saint-Sa%C3%ABns,_Camille)

2. Interview

3. Music Theory and Aural Exam

Assessment Criteria

Conducting Test

Comunictaion with the orchestra - 60%
Technique and style - 20%
Flexibility and problems resolution - 20%

Interview

Individual interview

Evaluation of the interview:
Global evaluation considering the following aspects:

  • Winds Orchestra Conducting experience

  • Motivations for attending this course

  • Issues related with the performance in the conducting test

JAZZ

Pratical test on the instrument or voice:

  1. major and minor scales (melodic and harmonic) in all keys.
    (drummers will perform exercises as described below)

  2. the candidate will choose 3 themes of contrasting caracter and tempo, to be played solo (melody and improvisation, comping), with play-a-long (Aebersold, band-in-a-box, or other), or with accompaniment (only one player), and in this case, the candidate is responsible for the accompaniment player, assuring punctuality and all the required material for the music performance (instruments, electric cables, etc.) except a piano, drums or amps which are provided by the school. 

  3. first sight reading (ciphered melody with improvisation; drumers will perform rhythmic exercises and/or big band work).

Remarks:

- all candidates should provide scores of the chosen tunes.
- vocalists should choose at least one tune with words and another "instrumental" (with no words). 
- drumers should demonstrate acquaintance with basic skills (single stroke, double stroke, paraddidle single, double and triple), swing (4/4 e 3/4), latin, bossa nova; players should bring drum sticks and brushes.
- guitar and bass players should bring the required electric cables. amplifiers are provided by the school.
- candidates should bring their own play-a-longs (smartphone, mp3, tablet or pc).

Assessment Criteria

The practical test is globally assessed considering the following aspects (classified as unsufficient, sufficient, good and very good):

  • sound quality and intonation;

  • technique (articulation, dexterity, etc.);

  • rhythmic skills;

  • form and harmony awareness; creativity/vocabulary; expressive skills/musicality;

  • sight reading.

 

VOICE

1. Vocal Test

a) 1 aria from Oratoria or Cantata

b) 1 "Lied" or 1 "Mélodie"

c) 1 opera aria

2. Interview

3. Music Theory and Aural Exam

GUITAR AND HARP

GUITAR

1. Practical Test

a) 1 work to choose from the following groups:

GROUP 1

FERNANDO LOPES-GRAÇA - 1 movement from "Partita" for Guitar

GROUP 2

HEITOR VILLA-LOBOS - 1 Etude, from 12 Etudes for Guitar

GROUP 3

FERNANDO SOR - Etude n. 1,5,10 or 11, op.29

GIULIO REGONDI - Etude n. 1, 6 or 8 (Ed. Orphée)

NAPOLEÓN COSTE - Etude n. 4 or 12 (Ed. Schott's)

MAURO GIULIANI - Etude n. 14 op. 51, n. 18 op. 48 or n. 5 op. 111

GROUP 4

EMILIO PUJOL - El Abejorro

JOAQUIM RODRIGO - En los trigales

MANUEL PONCE - Canción, from Sonata III

RICHARD RODNEY BENNETT - 1 Impromptu, from Five Impromptus

Remark: In Groups 3 and 4, the candidate may present, in alternative, works from the same period and of the same degree of difficulty (subject to jury approval).

b) Sight reading

2. Interview

3. Music Theory and Aural Exam

 HARP

1. Practical Test

a) 1 Etude from Bach-Grandjany (with repetitions), Etudes Dor Harp, ed. Carl Fischer

or  1st movement from a Sonata by Naderman, Sept Sonates Progressives, op.92, ed. Lyra Music

b) 1 contrasting work*

* the jury will evaluate the level of difficulty and repertoire relevance

c) Sight Reading

2. Interview

3. Music Theory and Aural Exam

STRINGS (Counterbass; Viola; Violin e Cello)

COUNTERBASS

1. Practical Test

a) 1 Etude

b) 2 movements from Sonata or Concerto

2. Interview

3. Music Theory and Aural Exam

VIOLA

1. Practical Test

a) 1 Etude to choose from the following or with similar or higher level of difficulty:
DONT Op. 37
J. PALASCKO op. 36
KREUTZER 42 Etudes
HOFFEMEISTER 12 Estudos
M. VIEUX “10 Études Nouvelles”
b) J.S.BACH 1 movement from suites for cello or sonatas for violino solo (transc. for viola)
c) 1st movement of one of the following concertos or with similar or higher difficulty:
G. F. HÄNDEL Concerto in b-minor
J.C. BACH Concerto in c-minor
K. STAMITZ Concerto in d-major
F. A. HOFFMEISTER Concerto in d-major
JOSEPH SCHUBERT Concerto in c-major

2. Interview

3. Music Theory and Aural Exam

VIOLIN

1. Practical Test

a) 1 Etude to choose from the following or with similar or higher level of difficulty:

KREUTZER

DONT

PAGANINI

b) J. S. BACH 1 movement from Sonata or Partita para violin solo

c) 1 movement to choose from a classical Concerto

2. Interview

3. Music Theory and Aural Exam

CELLO

1. Proactical Test

a) 1 Etude to choose from:

POPPER Op. 76

POPPER 40 Etudes op. 73

DOTZAUER Book n. 3

DUPORT 21 Etudes

GRUTZMACHER Etudes op. 38 (1st book)

b) J. S. BACH 1 movement to choose from the three first suites for cello solo.

c) 1st movement to choose from the following concertos:

BOCHERINNI Concerto n. 3 in g-major

HAYDN Concerto in c-major

SAINT-SAENS Concerto in a-minor

KLENGEL Concerto n. 3, op. 31, Pièce de concert

KLUGHART Concerto in a-minor, op. 59

LALO Concerto in d-minor

GOLTERMANN Concerton in g.major, op. 65

2. Interview

3. Music Theory and Aural Exam

 

WINDS AND PERCUSSION (Clarinet; Bassoon; Flute; Oboe; Saxophone; French Horn; Trumpet; Trombone; Tuba; Percussion)

CLARINET

1. Practical Test
a) Mandatory piece:  3 Pieces for Clarinet solo by Igor Stravinsky
b) 1 work (or part) of the candidate's free choice with approximately 7 minutes for clarinet and piano
c) Sight Reading

2. Interview

3. Music Theory and Aural Exam

BASSOON

1. Practical Test

a) L. Milde, 1 Etude to choose from Concert Etudes opus 26

b) L. Milde, 1 Etude about scales and arpeggios to choose from opus 24

c) 1 piece of the candidate's free choice

2. Interview

3. Music Theory and Aural Exam

FLUTE

1. Practical Test

a) MOZART - 1st movement (Allegro) until letter D, meas. 149, and 2nd movement (Adagio) until letter G, meas. 27 from the Concerto n. 1, K 313, in g-major

b) one work or (part) of the candidate's free choice with approximately 5 minutes

c) Sight Reading

2. Interview

3. Music Theory and Aural Exam

OBOE

1. Practical Test

a) 2 Etudes, 1 fast and 1 slow, to choose from the 48 Etudes by F. Ferling

b) 1 work of the candidate's free choice

c) Sight Reading

2. Interview

3. Music Theory and Aural Exam

SAXOPHONE

1. Practical Test

a) 1 Etude to choose from the VINGT-HUIT ÉTUDES (sur les modes à transpositions limitées by Olivier Messiaen) by Guy LACOUR, ed. Billaudot

b) 1 Etude to choose from the NOUVELLES ÉTUDES VARIÉES by Jean-Marie LONDEIX, ed. Leduc

c) 1 concerto ou sonata for saxophone of the candidate's free choice

2. Interview

3. Music Theory and Aural Exam

FRENCH HORN

1. Practical Test

a) MOZART - Concerto n. 3

b) 1 work from the XXth century of the candidate's free choice

c) Sight Reading

2. Interview

3. Music Theory and Aural Exam

 TRUMPET

1. Practical Test

a) E. BOZZA - Rustiques

or

ARUTJUNJAN - Concerto

b) 1 work of the candidate's free choice

c) Sight Reading

2. Interview

3. Music Theory and Aural Exam

 TROMBONE

1. Practical Test

- Trombone Tenor

a) Mouvements - Claude Arrieu

b) 1 work of the candidate's free choice

c) Sight Reading

- Trombone Baixo

a) YVONNE DESPORTES - Un Souffle Profond

b) 1 work of the candidate's free choice

c) Sight Reading

2. Interview

3. Music Theory and Aural Exam

TUBA

1. Practical Test

a) - Concerto for bass tuba by R. V. WILLIAMS (I and II movements)

or

Variations in old Style by THOMAS STEVENS

b) 1 work of the candidate's free choice

c) Sight Reading

2. Interview

3. Music Theory and Aural Exam

EUPHONIUM

1. Practical Test

a) Pantomime by PHILIP SPARK

or

Fantasy by GORDON JACOB

b) 1 work of the candidate's free choice

c) Sight Reading

2. Interview

3. Music Theory and Aural Exam

 PERCUSSION

1. Practical Test

a) Timpani:

• To demonstrate aural ability to sing and to tune timpani.

• 1 Etude to choose from Goodman, Delecluse, Peters, Hochrainer, Krüger or similar

b) Snare drums:

 1 Etude to choose from Delécluse, Cirone, Peters, Wilcoxon or similar

• Sight Reading

c) Marimba, Vibraphone and Xylophone:

• Marimba: Etude for 4 drum sticks (Musser, Stout, Burritt, Quartier or similar).

• Vibraphone: Etude 8 and Etudo 18 from Friedman “Vibraphone Technique: Dampening and Pedaling”.

• Xylophone: Sight reading (2 drum sticks).

• All major and minor scales.

d) Orchestral Percussion:

• Orchestral excerpts:

• Peter and the Wolg, Prokofiev (snare drum: from 49 to 51)

• Symphony n. 4, Tchaikovsky (cymbals: IV movement Finale)

• “Porgy and Bess”, Gershwin (xylophone: beginning)

• Abertura Carnaval – Dvorák (tambourine: beginning until letter C)

• Sight Reading (cymbals, tambourine, bass drum, etc).

2. Interview

3. Music Theory and Aural Exam

 

EARLY MUSIC (Harpsichord; Recorder; Baroque Oboe and Traverso)

HARPSICHORD

1. Practical Test

a) Performance of a program with 15 minutes with works from the XVI and XVIII centuries, including 2 contrasting pieces from different periods.

2. Interview

3. Music Theory and Aural Exam

RECORDER

1. Practical Test

a) 1 Etude by F. BRUGGEN or 1 Capriccio by QUANTZ

b) 2 contrasting movements from a Sonata by TELEMANN

c) 1 piece of the candidate's free choice

d) Sight Reading

2. Interview

3. Music Theory and Aural Exam

BAROQUE OBOE

1. Practical Test

a) 2 contrasting movements of a Baroque Sonata

b) 1 solo from an Aria by Bach

2. Interview

3. Music Theory and Aural Exam

Remark: The practical test may be performed on a modern instrument

TRAVERSO

1. Practical Test

a) 2 contrasting movements of a Baroque Sonata

b) 1 Capriccio by Quantz or a Fantasy by Telleman

2. Interview

3. Music Theory and Aural Exam

Remark: The practical test may be performed on a modern instrument

ORGAN

1. Practical Test

a) 1 work from the XVI, XVII or XVIII by an Iberian, Italian or French composer

b) J. S. Bach: 1 Prelude and/or Fugue

c) 1 work from the Romantic or XXth century periods

d) Harmonization of a choral or a melody

or

e) a free improvisation (10 minutes of preparation allowed)

f) Sight Reading

2. Interview

3. Music Theory and Aural Exam

PIANO

1. Practical Test

a) 2 virtuosity Etudes

b) J. S. BACH, 1 Prelude and Fugue from "The Well Tempered Clavier"

c) 1 Sonata by one of the following composers:

HAYDN

MOZART

BEETHOVEN

d) Mandatory work: Humoresque by Francis Poulenc

e) Sight Reading

Remark: All works should be performed by memory with no score

2. Interview

3. Music Theory and Aural Exam

 Remarks:

The jury can stop the candidate's practical test anytime.
1. If the work includes a cadence, the candidate should play it.
2. If required, the piano accompaniment should be provided by the candidate.

PERFORMANCE (Assessment Criteria)

Assessment Criteria

1 - Practical test (instrument/voice)

  • Technique (35%)

  • Text accuracy (35%)

  • Style understanding (15%)

  • Musical interpretation (15%)

2 – Interview

  • Course attending goals (25%)

  • Prior preparation (25%)

  • Program test choices (25%)

  • Artistic activity (ensembles, concerts, recitals, etc) (25%)