A. Music History Examination

The goal of the music history entrance examination is to insure that all entering students have learned enough information from a standard two- or three-semester undergraduate music history survey to begin work at a master's level. The examination is 3 hours long and tests knowledge in the following 6 areas: Music of the Ancient World and Middle Ages; Renaissance; Baroque; Classical; Romantic; and Modern Music.

For each of the 6 sections, students will be given two essay questions from which to choose. You will have approximately 30 minutes to write each essay. The essay questions are designed to let you demonstrate your knowledge of music history in as much detail as possible. You will be expected to know the names of composers, important dates, significant compositions, kinds of pieces written during each period, different styles and forms of music, influences, and other pertinent topics.

The essays must be written in complete sentences format and have introductions and conclusions.

The best way to review for the history examination is to use your old textbook(s), recordings, class notes, and examinations from your undergraduate courses. If you no longer have your undergraduate textbook, you should consult one of the standard music history textbooks and set of scores and recordings. Develop a list of essay questions that you think would be most appropriate for each area and write sample essays. Some textbooks (such as Bonds below) include essay questions at the ends of each chapter.

Standard Music History Textbooks (purchase the most recent edition if you are buying one):

• Bonds. History of Music in Western Culture . Prentice Hall.
• Hanning. Concise History of Western Music . Norton.
• Grout and Palisca. History of Western Musi c. Norton.
• Stolba. Development of Western Music . McCraw Hill.

PLEASE NOTE: Since the music history examination is your only example of writing skills during the test, it is also evaluated to see if you are able to communicate effectively in writing at the graduate level. Students who are deficient will be required to take remedial coursework to correct the deficiency.

Section One: Dictation (1 hour)

• Chord identification
• Tonal melodies
• Modal melodies
• 2-part duets
• SATB: Tonal harmonic dictation (4 voices plus complete harmonic analysis)

Section Two: Written Music Systems: Analysis, Form, Orchestration, and Counterpoint (2 hours)

Part 1: Analysis

Analyze short musical examples

• Tonal harmonic analysis (Roman numeral system, including nonharmonic tones and cadences)
• Modal melodic analysis (identify diatonic mode, nonharmonic tones, and cadence points)
• 12-tone serial analysis
• Jazz chord identification

Part 2: Form & Analysis

From given score examples (most are found in the Burkhart Anthology, 6th edition):

• Identify historical period; cite reasons supporting identification
• Identify overall formal structure (or governing formal techniques, as with a fugue)
• Identify primary sections (e.g., formal A B A divisions, key changes, major cadences)

Part 3: Orchestration

Instrumentation issues:

• Identify ranges of standard instruments and voices (concert pitch and transposed)
• Define standard score expressions

Part 4: Counterpoint

Choose one of two given exercises:

Option 1: 16th-century modal counterpoint

• Complete short canonic 3-voice composition

Option 2: 18th-century tonal counterpoint

• Complete short imitative 3-voice composition (invention)

Study Guide for the Music Systems/Theory Examination

Reviewing your undergraduate course notes and texts will normally serve as adequate preparation for this entrance examination. To supplement your own resources, here is a list of a few texts:

Systems analysis

• Benjamin (et al). Techniques & Materials of Music , 6th ed. Thomson/Schirmer.

Form & Analysis

• Green. Form in Tonal Music , 2nd ed. Wadsworth
• Burkhart. Anthology for Musical Analysis , 6th ed. Wadsworth

Orchestration

• Blatter. Instrumentation/Orchestration . Longman

Counterpoint

• Trythall. Sixteenth Century Counterpoint . Brown & Benchmark
• Trythall. Eighteenth Century Counterpoint . Brown & Benchmark

A. Choral Conducting

Applicants to the choral conducting program should:

• have an undergraduate degree in music that focused on voice, piano, conducting, or music education;
• two semesters of conducting training;
• practical experience as a conductor or teacher;
• superior musicianship skills, including sight-singing, dictation, keyboard facility, score reading, and conducting.

Applicants must submit:

• a repertory list of choral compositions they have studied and performed;
• a repertory list of pieces studied and performed on his or her major instrument(s) with sample programs;
• high quality visual recording (VHS or DVD format) of the applicant conducting either a rehearsal or performance with the candidate's face and hands to the camera (for those applicants who do not regularly conduct a large ensemble, a smaller chamber group may be utilized);
• high quality audio tape or CD of a performance conducted by the applicant.

The Master of Arts in Music in Composition is a program characterized by intense research and practice in contemporary music writing. A clear emphasis is placed on the thorough understanding of the modern music repertory (Western art music tradition).

1. Submit a letter of intent and resume providing information concerning musical training and experience to the Coordinator of the Composition and Electro-Acoustic Music.

2. Submit three letters of recommendation, on letterhead, mailed directly by individuals in authority or supervising capacity familiar with the applicant's work as a composer.

3. Submit a portfolio of original compositions for any instrumental combination with or without electronics [at least two works should include live instruments]. Minimum of three works, including scores and audio CD recordings (no General MIDI mock-ups). Scores must be of highest possible quality.

4. Audition: Prepare to discuss before the composition committee three to five works from the modern repertory. The purpose of the oral presentation is to demonstrate familiarity with a substantial repertory of music. The focus is on the salient features of the works and the applicant's opinions about them. The applicant may choose three works from the list below. The committee may ask for another two (from the same list).

Bartok, Bela

Mikrokosmos 1-5

Music for Strings, Percussion & Celesta

Concerto for Orchestra

Berg, Alban

Violin Concerto

Wozzeck

Lyrische Suite

Berio, Luciano

Circles

Folk Songs

Copland, Aaron

Appalachian Spring

Sonata for Piano

Crumb, George

Ancient Voices of Children

Black Angels

Voice of the Whale

Debussy, Claude

Prelude to the Aternoon of a Faun

Preludes for Piano, Books 1 & 2 (choose one piece)

Pour le piano (For the Piano)

Hindemith, Paul

Ludus Tonalis

Mathis der Maler Symphony (1934)

Ives, Charles

Three Places In New England

Concord Sonata

Ligeti, Giorgi

Chamber Concerto for Thirteen Players

Passacaglia Ungherese

Schoenberg, Arnold

Verklärte Nacht

Pierrot Lunaire

Variations for Orchestra

Stravinsky, Igor

The Rite of Spring

L'Histoire du Soldat

Movement for Piano & Orchestra

Varesse, Edgard

Octandre

Ionization

Poéme electronique

Webern, Anton

Six Pieces for Orchestra

Symphony, Op. 21

5. Applicants in composition and electro-acoustic music should have solid musicianship skills, including sight-singing, dictation, keyboard facility, score reading, and conducting (for conducting their own works and that of other composition students). Composition students are expected to be active performers. This involves participation in one of the university ensembles or as soloists and/or conducting. Also see the section "Additional information for students in composition" at the end of this handbook.

Graduate students in instrumental conducting are expected to:

• have a minimum of 2 years teaching experience or the equivalent;
• possess superior musicianship skills with a mastery of advanced conducting techniques beyond the training level;
• demonstrate familiarity with a substantial repertory of music.

Applicants must submit:

• repertory list of works the applicant has studied, is prepared to conduct, and has previously conducted;
• high quality videotape (VHS or DVD format) of the applicant conducting either a rehearsal or performance with the candidate's face and hands to the camera (for those applicants who do not regularly conduct a large ensemble, a smaller chamber group may be utilized);
• high quality audio tape or CD of a performance conducted by the applicant.

The applicant must also audition and be interviewed by the conducting faculty. The applicant should be prepared to conduct a 10-minute rehearsal with the Wind Ensemble or other appropriate ensemble.

All entering graduate students should be prepared to perform a work from the standard literature that demonstrates musicianship, skill, and proficiency; one etude from a standard study for your instrument; and one orchestral excerpt. Also included should be all major and minor scales, the chromatic scale, and arpeggios in extended ranges appropriate to your instrument.

For information on specific requirements for your instrument, please contact the appropriate instructor found on the Contact Sheet.

Students must:

• audition live or submit a recording on tape, CD, DVD, or video of three selections on your primary instrument: a. "All the Things You Are," b. ballad, and c. selection of your choice;
• submit a curriculum vitae.

For further information, contact the coordinator of Jazz and Improvised Music Studies.

Students must interview with the Coordinator of Music Education and must submit:

• an undergraduate term paper or project on a relevant topic;
• a curriculum vitae;
• a philosophy statement;
• a videotape or DVD of a teaching episode.

Students must submit two undergraduate term papers between 10-30 pp. in length that demonstrate:

• their skills as a researcher;
• their writing ability;
• their ability to think critically and originally.

Students must submit two undergraduate term papers in music analysis between 10-30 pp. in length that demonstrate

• their skills as a researcher;
• their writing ability;
• their ability to think critically and originally.

Students must either perform in person or submit a recording of the following works:

• J.S. Bach: 3 movements from any partita, English Suite, or French Suite;
• complete sonata from the Classical Period;
• large Romantic work (Chopin etudes and Brahms Intermezzi are not accepted);
• contemporary work written after 1950.

All auditions must be performed from memory.

Prepare 5 selections in a variety of styles and languages. If a live audition is impossible, please send a high quality CD or videotape. Include a repertory list of songs and arias performed and a current vitae.

Music 1A/B, 2A/B, 3A/B, 4A/B as determined by the Undergraduate Transfer Placement Examination.

At least two of the following courses:

Music 102: Orchestration

Music 103: Form and Analysis

Music 104: Counterpoint

A. Conditionally classified

Conditionally classified students have deficiencies of some sort that must be removed. If students have failed a portion or all of the music history or theory entrance examinations, they will be required to either take remedial courses to correct the deficiency or retake the exam with a passing grade. Students who have failed to demonstrate graduate level English writing ability will be required to enroll in Music 100W.

Students may remain conditionally classified for a maximum of two semesters.

If a student is accepted with no deficiencies, he or she is considered to be classified.

If a student has deficiencies, when all the deficiencies have been remedied, the student should ask the Graduate Advisor to change their status to full classification, which represents full admission to the program. It is the responsibility of the student to make an appointment with the Graduate Advisor upon finishing all requirements . If a student has enrolled in a class to make up a deficiency, he or she should ask the instructor in writing to email the Graduate Advisor to notify him that the deficiency has been removed. The Graduate Advisor will change your classification with the Graduate School with the form that is included in the Appendix.