Please allow me that, apart from my regrettable ignorance of the Hungarian language, I remain Magyar in my heart and soul from birth to the grave. As a consequence, I earnestly wish to further the progress of Hungarian music.

Liszt to Antal Augusz

Admission requirements for BA and non-degree studies - Composition

Due to the coronavirus emergency situation, entrance examinations and admission requirements are modified in 2020. Please see the red text below for the current admission requirements.

 

Information about the admission examinations and calculation of scores in the admission procedure in 2020 can be found here.

Please note that in case of non-instrumental majors, tuition is only offered in English if there are a minimum of 3 international students admitted in a given year to the same major.

 

Main Subject

1.) Classical composition exercises:

  • 1 minuet
  • 1 baroque rondo (F. Couperin)

2.) Presentation of free composition(s) (candidate presents his/her compositions. The pieces are without any stylistic expectations by the committee)

Please upload the sheet music of the compositions in PDF and MP3 sound format to a given e-mail address. We will send the necessary information to the personal email address of the applicants. The MP3 file may contain a previous recording of the piece, or other digital realization (MIDI realization). In case the piece can be performed on piano, if you can, please record it on piano.

 

Solfege – Music Theory

Oral Exam:

1. Sight-singing of a baroque piece (extract) with solmization (8-10 measures)

2. Sight-singing of a melody of 20th century piece with absolute pitch names (German letters) (8-10 measures)

3. Harmony dictation from recording (5-6 chords), naming all chords by ear

4. Dictation of intervals, triads and seventh-chords, then singing them by ear, as well as naming all chords

5. Analysis of a Viennese classical minuet or a rondo or a piece within a sonata format from sheet music

6. Vocal counterpoint: construction of 1-1 counter phrases on a given cantus firmus in at least two out of the four construction methods (vocal-vocal, halving, quartering, syncopation)

7.  Choral harmonisation

       a) Construction of basso continuo (figured bass) on a given choral melody in the choral harmonisation style of J.S. Bach

       b) Writing of inner parts for a choral melody extract with a given basso continuo

8. Modulation: preparing an outline of a seven-chord modulation with degrees or figured bass

 

Piano as compulsory subject

Secondary piano entrance examination part is cancelled in light of the coronavirus pandemic during the entrance examinations of 2020.

 

Folk Music

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

 

The solfége and music theory and folk music entrance examination parts will be conducted through a Skype call.

 

 

 

 

Admission requirements in 2019

Please note that in case of non-instrumental majors, tuition is only offered in English if there are a minimum of 3 international students admitted in a given year to the same major.

Main Subject

Classical composition exercises (candidate presents the following pieces for the entrance committe):                      

1.) Classical composition exercises:

  • 1 minuet
  • 1 baroque rondo  (F. Couperin)

2.) Presentation of free composition(s)  (candidate presents his/her compositions. The pieces are without any stylistic expectations by the committee)

 

SOLFEGE – MUSIC THEORY

written part:

1. Notation of a two-part baroque (or Viennese classical) piece by ear. The piece will be played 8-10 times. E.g. Back: J. S. Bach: Kunst der Fuge  - 10-15 measures -; notation of the two outer parts of a piece by W. A. Mozart or J. 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 chosen music.

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

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

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

4. Notation of one harmony from the Viennese classicist style time period by dictation – identification of four-part chords with Roman Numerals  and notation of possibly all notes. each note included. 8-15 measures

5. Choral harmonisation in J.S. Bach's style based on a given choral melody.

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

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

For example:

a) A L. von Beethoven or W. A. Mozart symphony extract,

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

c) A B. Bartók, C. Debussy, A. Schönberg, or I. Stravinsky orchestral piece extract

 

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. J.S. 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. A. Schönberg: Pierrot lunaire, a voice or instrumental part of B. Bartók: Cantata profana, an extract of a lied by  A. Berg or A. Webern lied; approx. 6-16 measures

3. Continuo sight reading – e.g. one passage of  a J.S. Bach aria – with continuo as the obligatory instrument; 20-40 beats measures – or performance of a piano arrangement of an opera extract on piano and voice

(e.g. R. Wagner: Parsifal, Tristan und Isolde; B. Bartók: Bluebeard's Castle; C. Debussy: Pelléas et Melisande; B. Britten Opera, opera etc. 10-30 measures depending on the chosen music's character.)

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

5. Harmony dictation on piano – the candidate is playing

6. Playing modulations on piano (between 2 given keys)

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

 

PIANO AS COMPULSORY SUBJECT

  • J.S. Bach: Two pieces from the Three-part inventions or a prelude and fugue from the Woltemperiertes Klavier.
  • A fast movement from a sonata by J. Haydn, W. A. Mozart or L. von Beethoven.
  • Two performance pieces from different time periods by the candidate's own choice – one should be by B. Bartók or his contemporaries.

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

 

FOLK MUSIC

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