1. Main Subject

Classical composition exercises:                      

1 minuet

1 baroque rondo  - Couperin

1 Viennese rondo – slow or fast movement at the choice of the candidate

and

Presentation of free composition(s)

A) SOLFEGE-MUSIC THEORY

a) written part:

1. Notation of a two-part baroque – maybe Viennese classical -  piece by ear. The piece will be played 8-10 times. E.g. Back: Kunst der Fuge  - 10-15 measures -, the two outer parts of a Mozart or Haydn piece  - 1-2 periodes.

2. Notation of a one-part extract of a 20th century piece. The piece will be played 8-10 times; 6-16 measures depending on the music.

E.g.: Stravinsky: Soldier’s Tale, Oedipus rex, Bartók: Cantata profana, Music for Strings, Percussion and Celesta, Schönberg: Pierrot lunaire, Shostakovich: extract from a symphony, string quartet, etc.

3. Notation of an extract by ear by the following composers: Romantic – e.g. Wagner, R. Strauss – or early 20th Century – e.g. Debussy, Ravel – maybe Viennese classicist  - e.g. Mozart or Beethoven quartet. The excerpt will be played 8-10 times.

Minimal requirement: the two outer parts. Also, identification of harmonies and possibly the exact notation of the notes  - 4-12 measures, depending on the character of the music.

4. Notation of two harmonies of Viennese classicist style by dictation – identification of four-part chords with Roman Numerals  and notation of each note included. 8-15 measures

5. Choral harmonisation in Bach’s style based on a given choral melody.

6. Two-part – binary form – counterpoint exercise in Palestrina’s style, on the basis of Jeppesen.

7. Identification of instruments, keys, key signatures on three score pages of different styles

e.g.:         a) A Beethoven or Mozart symphony extract,

b) A Liszt, R. Strauss, or Wagner orchestral extract

c) A Bartók, Debussy, Schönberg, or Stravinsky orchestral piece extract

b) Oral part:

1. Sight reading of a two- or three-part baroque or renaissance piece – singing with piano – possibly by using different keys – e.g. Bach: Kunst der Fuge, Musikalisches Opfer or a piece of similar difficulty. Materials allowed to use: ”Nagy Olivér: Partitúraolvasás”. 10-15 measures

2. Sight reading of a one-part piece from the 20th century – e.g. Schönberg: Pierrot lunaire, a voice or instrumental part of Bartók: Cantata profana, an extract of a Berg or Webern lied; approx. 6-16 measures

3. Continuo sight reading – e.g. one passage of  a Bach aria – with continuo as the obligatory instrument; 20-40 beats – or performance of a piano arrangement of an opera extract on piano and voice – e.g. Wagner: Parsifal, Tristan und Isolde; Bartók: Bluebeard’s Castle; Debussy: Pelléas et Melisande; Britten Opera, etc. 10-30 measures depending on the music’s character.

4. Clapping of a complex rhythm exercise by sight reading – following the model of Messiaen, Bartók, Stockhausen and Boulez. 10-15 measures

5. Harmony dictation on piano – the candidate is playing

6. Playing modulations on piano

7. Sight reading – piano; string quartet and a movement from a symphony for a smaller orchestra  - e.g. Haydn or Mozart string quartet; Haydn symphony, Mascagni: Cavalleria Rusticana  – intermezzo)

        B. PIANO AS COMPULSORY SUBJECT

Bach: Two pieces from the Three-part inventions or a prelude and fugue from the Woltemperiertes Klavier.

A full sonata by Haydn, Mozart or Beethoven.

Two performance pieces – one should be by Bartók or his contemporaries.

(Same as the admission criteria for classical instruments – organ  -, Musicology and Orchestral and Choral Conducting.)

        C. FOLK MUSIC

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