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1.
Written examination in Ear Training (Solfege)
The
following should be identified and written in the
treble and bass clef:
1)
Melodic and harmonic intervals
2)
Triads and their inversions
3)
Seventh-chords and their inversions:
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major-major seventh-chord
minor-minor seventh-chord
major-minor seventh-chord (dominant 7th)
diminished-minor seventh-chord
minor-major seventh chord
augmented-major seventh chord
diminished-diminished seventh-chord |
4)
Identification of time signatures
5)
One-part dictation
6)
Rhythmic dictation
7)
Two-part dictation
8)
Harmonic dictation (including triads,
seventh-chords, and their inversions)
2) Aural
Examination in Ear Training
1)
Sight-singing of a given piece with modulations
2)
Audial memory (the ability to memorize and sing the
following):
a) Short rhythmic phrases
b) Short melodic phrases
c) Intervals
d) Triads and their inversions
e) Seventh-chords and their inversions
f) The singing of scales and modes in solfege
3)
Written Examination in Theory
1)
Scales – construction and identification of scales,
both major and minor (harmonic, melodic and natural)
2)
Modes – construction and identification of modes
(Dorian, Phrygian, Lydian, Mixolydian, and Locrian)
3)
Intervals – construction and identification of
intervals on any given note
4) Triads and
their inversions – construction and identification
of triads and
their inversions
(major, minor, diminished, and augmented)
5)
Seventh-chords and their inversions – construction
and identification of seventh-chords and their
inversions:
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major-minor seventh-chord
minor-minor seventh-chord
major-minor seventh-chord (dominant 7th)
diminished-minor seventh-chord
minor-major seventh chord
augmented-major seventh chord
diminished-diminished seventh-chord |
6)
Transposition
7)
Written continuation of a given melody
8)
Command of rhythmic values
9)
Harmonization of a given soprano and bass using all
chords and triads on every degree
10)
Writing a simple harmonic progression according to a
given
sequence of
degrees
11)
Analyzing a short piece according to guiding
questions
12)
Defining/explaining a selection of basic musical
terminology
Basic musical
terminology
In preparation for
your music studies, you will be expected to have a
good command of some basic musical terms constantly
in use in the various courses offered by The
Buchmann-Mehta School of Music. A part of the
written entrance examination in music theory will
test your knowledge of the terms and notions in
question. In this part of the examination, you will
be requested to define/describe a selection of terms
from a given list. Shortly, a complete list of the
material you need to know will be uploaded to this
website. Please feel free to download this list and
use it for your preparation.
The music
terminology you will be expected to know is divided
into five categories:
1. Definition of
basic terms in music theory, such as: rhythm,
harmony, various
scales/modes etc.
2. Common symbols
and signs used in music notation, such as: various
clefs, fermata, repeat sign etc.
3. A selection of
performance instructions, tempo and dynamic
expressions, articulations and ornaments, such as:
legato, crescendo, allegro, trill etc.
4. Standard music
instruments and formations: various types of
orchestras and choirs and the instruments/voices
they consist of.
5. Common musical
forms, such as: symphoney ,opera etc.
All required explanations and definitions may be found on the Oxford Music Online website at the following Internet address:http://www.oxfordmusiconline.com .
this website is accessible through all computer terminals on the Tel-Aviv University campus.
please access the complete list of terms for the entrance examination through this link.
All aspets of the written examination in Solfage and Theory require a command of reading, singing and writing in both the
treble and bass clef.
4) Listening
Examination (music literature) – written:
In the examination, excerpts of
ten pieces from the following repertoire will be
heard. The applicant will be required to recognize
during the examination:
a)
The name of the work
b)
The name of the composer
c)
The style of the piece
d)
The period
e)
Instrumentation of the piece – vocal, orchestral,
chamber (identifying the instruments)
f)
Form and texture of the work (sonata, rondo, lied,
a-b-a etc.; homophonic, polyphonic etc.)
g)
Obvious elements, which distinguish the piece and
the history of its composition
Listening
repertoire:
1)
Bach - Suite no. 2
in b minor for flute and orchestra
BWV 1067
2)
Bach - Cantata no.
147
3)
Bartok - Concerto for
orchestra (1944)
4)
Beethoven - Piano Concerto no.
5 "Emperor" op. 73
5)
Beethoven - String Quartet op.
59 no. 1 "Razumovsky"
6)
Beethoven - Symphony no. 8 in
F major op. 93
7)
Berg - Violin
concerto
8)
Brahms - A German Requiem
op. 45
9)
Brahms - Symphony no. 4
op. 98 in e minor
10)
Chopin - Piano Concerto
no. 1 in e minor op. 11
11)
Debussy - “L’après
midi d’un faune”
12)
Haydn - Symphony no.
104 in D major
13)
Mahler - Symphony no. 1
in D major
14)
Mendelssohn - Symphony no. 3
“Scotch” op. 56
15)
Mendelssohn - Violin Concerto in e
minor, op. 64
16)
Mozart - Symphony no. 35
in D major "Haffner" K. 385
17)
Mozart - “The Magic
Flute”
18)
Mozart - Great Mass in c
minor K 427
19)
Prokofiev - Symphony no. 1
op. 25 “Classical”
20)
Schönberg
- Pierrot Lunaire (first song)
21)
Schubert - String Quintet in
C major D 956
22)
Schubert - Symphony no. 9
in C major “Great”, D. 944
23)
Schumann
- Symphony no. 1 “Spring” op. 38
24)
Stravinsky - “Rite of Spring”,
ballet (1913)
25)
Wagner - Prelude and
Liebestod from “Tristan
und Isolde”
5) Piano
placement examination (keyboard proficiency)
All candidates, whose major
instrument is not the piano, must prepare three
works from the following repertoire (or works of
similar difficulty):
1) Bach –
Inventions for two voices or symphonies (three
voices)
2) An easy sonata
(first movement or second and third movement) by
Haydn, Mozart or Beethoven.
3) A Romantic work
(19th century), or a work from the 20th
century (example: Mendelssohn – Song without Words,
Schumann – op. 68, Tchaikovsky – op. 39, Kabalevsky
– op. 27, Bartok – Microcosm III, II, Debussy –
Preludes, Scriabin – Preludes)
Students who do not
pass the piano placement examination before
commencing their
studies at the School of Music are required to take
the test until the end of
their first year.
Composition and Conducting candidates:
Until the end of their first year of studies,students will have to take their placement test on the above list.According to achievement the student will either be awarded an "exempt" grade or will have to take lessons in keyboard proficiency. a student,who has taken lessons will be required to take an additional test at the end of the second year if studies.
Lessons in Keyboard proficiency will be given under the auspices of the music school.
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