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Admission requirements for BA and non-degree studies - Composition

Admission requirements are the same for in person and online applicants unless indicated otherwise.
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 (Composition) - for applicants for the online entrance examination

Main Subject

The candidate presents the following pieces to the Entrance Examination Committee.                  

1.) Classical composition exercises:

  • 1 minuet with trio (in the style of J. Haydn or W.A. Mozart)
  • 1 baroque rondo  (F. Couperin) (in the style of F. Couperin)

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

 

GENERAL ADMISSION REQUIREMENTS - ONLY FOR FULL-TIME BA STUDIES

SOLFEGE, MUSIC THEORY (Composition) - for applicants for the online entrance examination

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.: 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 periods.

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, and key signatures on three score pages of different styles.

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

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: 2 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.
  • 2 performance pieces (one should be by a Hungarian composer – Bartók or one of his contemporaries).

 

FOLK MUSIC

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