The two Hungarians not only played music, they were themselves the music – in every nerve – down to their fingertips.

Adelheid von Schorn on Reményi and Liszt

Admission requirements for BA and non-degree studies - Composition

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.