Exam contents How to prepare

Classical profile, placement in first semester

Written (60 minutes)

• Music theory: determine intervals and triads (including inversions) in a given score
• Ear training: determine intervals (up to the octave) and triads (including inversions); melodic and bass dictation
• Harmony: Analysis of a brief excerpt and notation of a short passage with given scale degrees 
• Analysis: Brief analysis of an example (with guided questions)

Oral (10 minutes)

• Sing intervals (up to the octave) and triads (including inversions)
• Tonal sight-singing
• Piano: prepared cadenzas and short figured bass example

Examples

• Theory Bachelor Classics written (first semester)
• Theory Bachelor Classics oral (first semester)
• Audios written exam

Classical profile, placement in higher semester

Written (150 minutes, individual with iPod)

• Ear training: three melodic and harmonic dictations of increasing difficulty 
• Harmony: three tasks of increasing difficulty
• Analysis of a movement from the Viennese Classical period in the form of a short text

Oral (30 minutes)

• Atonal and tonal sight-singing of increasing difficulty
• Three rhythm examples (incl. melody with simple pitches) of increasing difficulty
• Three harmonic sequences at the piano of increasing difficulty 

Examples

• Theory Bachelor Classical written (higher semester)
• Theory Bachelor Classical oral (higher semester)
• Audios written exam

Jazz profile

Written

• In the Bachelor Jazz profile, no written examination is conducted

Oral

• Ear training
  • Sing scales (up to the octave)
  • Sing intervals to a given drone note
  • Sing intervals and chords
  • Sight-singing of a II-V-I phrase
• Harmony
  • Determine scales degrees and chords
  • Identify secondary dominants
  • Use roman numerals to analyse harmonic functions
• Rhythm
  • Clap the rhythm of an example in 6/8 time with eight-note pulse in one foot and count to six
  • Vocalise (scat) a ternary example in 4/4 time with quarter-note pulse in one foot, and clap or snap on beats two and four
  • Clap a binary example with eight-note pulse in one foot, and count to four
  • Make the polyrhythm 3 over 2 or 2 over 3 audible by tapping in both hands or between hands and feet. Count to two and then change to three or vice versa
• Example
  • Theory Bachelor Jazz oral Ear training (PDF)
  • Theory Bachelor Jazz oral Rhythm (PDF)

Folk Music profile

There is no separate theory examination for the Bachelor of Arts in Music with Folk Music profile. The first year of study must be spent completing the modules Music Theory Basic I and Music Theory Basic II in the Classical or Jazz profile. Accordingly, the theory examination will take place in one of the two profiles specified at the time of application.

Bachelor of Arts/Music and Movement (all profiles)

Written (30 minutes) (example)

• Transcribe a pop/rock song from audio recording (example) 
• Read and write intervals and triads (in treble and bass clef)
• Transpose a melody
• Notate a cadence (triads of steps the scale degrees I, II, IV, V, VI)

Oral (20 minutes) (example)

• Sight-sing a song (to piano accompaniment)
• Sing, listen to and determine intervals and triads
• Cadence on the piano: a simple bass line (length: 8-12 notes) is provided. Play this bass line with the left hand and add triads with the right hand. The bass note in the left is always the fundamental root of the respective triad
• Sight-reading rhythm

Theoretical aspects in the context of group improvisation

• Improvisation to a song on the main instrument:
  • Prepare scales and simple sequence figures in the appropriate key
  • Variation on the song theme
  • Improvisation with this material to an ensemble accompaniment
• Basic rhythm figures in rhythm circle on percussion instrument
  • Rhythms from the sheet (flipchart)
  • Integrate the same rhythms in a free rhythm improvisation

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Under certain conditions candidates must complete a «theory assessment», the result of which determines their placement in the theory modules of the master’s programmes. Whether the location assessment needs to be completed will be communicated upon admission to the entrance examination.

Theory assessment

• Ear training: two harmonic dictations with secondary dominants and altered chords as well as two-part polyphonic dictation
• Analysis of a movement from the Viennese Classical period
• A link to the website containing the exam papers will be made available on the day of the exam

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Major subject Instrumental/Voice

• Candidates are asked to prepare repertoire pieces/movements from different epochs, one of them from a recent period; specific requirements for each major subject can be found here
• Perform the prepared pieces; the jury will choose which ones
• Sight-read a simple piece
• Exam interview with the jury
• If the candidate wishes the school to provide piano accompaniment, the scores must be submitted as a PDF at least 14 days before the exam (details will be provided with the invitation to the examination). Entries later than this will not be considered.

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Major subject Instrumental/Voice

• The following are to be committed by heart:
  • Carte blanche: One piece of the candidate’s choosing, e.g. own composition / improvisation / standard / original / ...
  • Two standards, or one standard and any blues (see remarks)
• The standards / standard and blues are performed solo with a rhythm section (piano, bass, drums) provided by the school. The «carte blanche» can be played with your own band if required.
• The «carte blanche» piece (reference duration: five minutes) should be used as an opportunity to demonstrate to the jury the candidate’s musical abilities and affinities and can be performed as follows:
  • Solo or self-accompanied (see remarks)
  • With the rhythm section or in a duo/trio with individual members of the trio (in which case, clear lead sheets that can be sight-read must be provided)
  • With self-produced accompaniment on CD, MP3 player or computer (will be connected to the school’s P.A. system)
• Sight-reading a lead sheet: interpretation of the theme, improvisation over the changes, comping (only in the case of rhythm section instruments). No preparation time (for vocal: short preparation time at the piano). Takes place with a rhythm section (piano, double bass, drums) provided by the school
• Sight-read a written out piece. Short preparation time, performance without accompaniment
• Exam interview with the jury

Remarks

• «The Real Book – Volume 1 – Sixth Edition» is considered the reference for the standards. The blues theme is entirely down to the candidate. Subject to prior consultation with the Study Coordinator in Jazz, Roland von Flüe (roland.vonfluee@hslu.ch), other standards are also permissible.
• The selected pieces can be transposed or arranged, in which case, appropriate lead sheets that are easy for the rhythm section to read must be brought to the exam. The selected pieces must be clearly different in tempo and rhythmic groove, e.g. med/up swing, ballad, latin, funk, 3/4, etc.
• Microphone, P.A. system, amplifier and drums are provided.
• Effects devices and loop stations are permitted for the Carte Blanche, but due to technical requirements, they must be registered in advance with the Study Coordinator in Jazz, Roland von Flüe (roland.vonfluee@hslu.ch).

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Major subject Instrumental/Voice

• All instruments except double bass and yodelling: Candidates must learn to perform five pieces (one per dance style), from memory, from the list of instrument-specific  compulsory elective pieces
• Double bass: Canditates must learn to perform two pieces, from memory, fromt the list of instrument-specific compulsory elective pieces; three pieces must be accompanied from a lead sheet
• Yodelling: Canditates learn to perform one slow yodel without lyrics, one fast yodel without lyrics and two yodel songs from the relevant list compulsory elective pieces
• Performance of a selection of rehearsed pieces; they will be accompanied by a band supplied by the HSLU (accordion, piano, bass); the candidate is expected to give the band clear instructions on sequence and tempo
• Performance, from memory, of two selected pieces that showcase the candidate’s musical range and technical skill; the performance may be solo or accompanied by either a pre-recorded track or by the band supplied by the HSLU; in the latter case, the candidate must bring clearly legible lead sheets in the correct key
• Improvised accompaniment with the help of the ensemble supplied by the university, or harmony singing to a simple nature yodel
• Listening to and repeating a melody (instrumental or singing)
• Piano accompaniment of a simple folk music piece (max three # / three b) by ear (without sheet music)
• Solo sight reading / sight singing of a simple piece of folk music / yodel piece
• Examination interview with the jury

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• A dossier with three scores featuring a variety of instrumentations and recordings (if not available: MIDI files as MP3) must be submitted with the application. The compositions should not be older than two years. Based on the submitted scores the examination committee will decide on the invitation to the entrance examination.
• Analysis of a short movement or excerpt from a work (preparation time: 30 minutes)

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• Presentation (duration: 20 minutes) of a formal and harmonic analysis of a first movement from a classical piano sonata. The piece to be analysed will be announced two weeks before the examination.
• Discussion with the jury about the presentation
• Stylistic classification of three short movements or excerpts of works

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Focus Organ

• Organ playing:
  • Prelude of an organ chorale from the organ booklet by J. S. Bach as well as two freely chosen organ works from different epochs.
  • Prelude to an intonation (free or from sheet music) and a four-part movement from the companion book by the Catholic or Protestant Reformed Church Hymnal (with pedal).
  • Simple sight-reading
• Conducting:
  • Tuning (from tuning fork) and conducting of a given choral movement (the sheet music will be sent in advance)
  • Simple prima vista conducting exercises
• Singing:
  • Performance of a chorale from the Catholic or Protestant Reformed Church Hymnal (a cappella)
  • Prima vista performance of a simple song

Focus Conducting 

• Choir rehearsal (duration: 15 minutes):
  • Rehearsal of an easy three- to four-part choral movement (2-3 works will be sent in advance for selection) with the conducting seminar/student choir.
• Conducting:
  • Tuning (from tuning fork) and conducting of a given choral movement (the sheet music will be sent in advance).
  • Simple prima vista conducting exercises
• Singing:
  • Performance of an art song or aria (piano accompaniment will be provided)
  • Performance of a chorale from the Catholic or Protestant Reformed Church Hymnal (a cappella)
  • Prima vista performance of a simple vocal piece
• Piano:
  • Performance of two piano pieces from different epochs (e.g. J. S. Bach: Kleine Präludien und Fughetten, R. Schumann: Album für die Jugend, B. Bartók: For Children)
  • Simple sight-reading
  • Prima-vista score playing on the piano of a four-part choral movement (notation in two systems)

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Main subject conducting:

• Conduct the following works (with piano): J. De Meij: «La Quintessenza» (bars 1-108 and bars 150-183) and J. Mackey: «Aurora Awakes» (bars 1-50)
• Rehearsal with a brass quintet: V. Ewald, Brass Quintet No. 1, Op. 5, 1st movement
• Performance on the piano of a work of the candidate’s choosing
• Exam interview with the jury about the candidate’s prior musical knowledge and professional objectives

Main subject instrumental:

• Three repertoire pieces/movements from different eras must be prepared, one of which should be from a more recent period (main subject percussion: one work for mallet instrument).
• Performance of the prepared pieces; the jury will make a selection
• Sight-reading of a simple piece (main subject trumpet: additional simple transposition)
• Exam interview with the jury
• If the candidate wishes the school to provide piano accompaniment, the scores must be submitted as a PDF at least 14 days before the exam (details will be provided with the invitation to the examination). Entries later than this will not be considered.

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• Principal Subject – Vocal/Instrumental: Performance of three prepared pieces from different eras and styles in the genres Jazz, Classical, or Pop.
• Principal Subject – New Movement Culture: Presentation of a movement solo expressing the body as an instrument or showcasing the musicality of the body (min. 3, max. 5 minutes).
• Vocal Audition (all genres): Performance of a challenging vocal piece. Please use the appropriate Piano Accompaniment Music and Movement form to register for piano accompaniment.
• Secondary Subject – Piano: Performance of a selection of prepared works from two different eras (e.g., J. S. Bach: Little Preludes and Fugues, W. A. Mozart: Sonatinas, R. Schumann: Album for the Young, B. Bartók: For Children, etc.) or simpler standards from two styles on the piano.
• Completion of tasks in the area of movement to assess:
  • Movement and reaction ability
  • Musical-rhythmic sensitivity
  • Body awareness and body consciousness
  • Coordination and movement creativity
  • Social awareness
• Completion of tasks in the area of improvisation:
  • Vocal
  • Instrument (Principal Subject)
  • Rhythmic-percussive
  • Trio improvisation (freely or with brief coordination among participants)
• Examination Interview with the jury (for Principal Subject New Movement Culture: verbal reflection on personal movement experiences and individual motivation for New Movement Culture).

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The examination takes place after successfully passing the main subject and theory examination.

• Presentation of an open improvisation of about 5 to 10 minutes duration, either as a soloist or in a small ensemble. The focus is on the spontaneous creation of music without stylistic guidelines and the ability to create a musical structure from freely selectable sound material
• Short interview with the improvisation team

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The exam takes place after the major subject and theory exam have been passed.

• Two or three own scores and recordings (if not available: MIDI files as MP3) must be submitted with the application. The compositions should not be older than two years. Based on the submitted scores the examination committee decides on the admission to the composition focus.

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The exam takes place after the major subject and theory exam have been passed.

• Choir rehearsal (duration: 15 minutes):
  • Rehearse an easy three- to four-part choral movement (2-3 works will be sent in advance for selection) with the conducting seminar/student choir.
• Singing:
  • Performance of two prepared, stylistically free vocal pieces.
  • Prima vista singing of a light choral part
• Piano performance:
  • Performance of two piano pieces from different epochs (e.g. J. S. Bach: Kleine Prädludien und Fughetten, R. Schumann: Album für die Jugend, B. Bartók: For Children) (not required for piano major)
  • Sight-read a four-part homophonic choral movement (notation in two systems) on the piano
  • Accompaniment of a pop song according to chord symbols, prepared (the sheet music will be sent in advance) and prima vista
• Exam interview with the jury covering the candidate’s previous musical knowledge and professional intentions

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The examination takes place as part of the «carte blanche» during the regular entrance examination in the main subject. Advanced skills in groove-based music and/or in the use of electronic effects, loop stations, etc. are required.

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A personal artistic profile and motivation letter must be submitted with the application. The motivation letter and artistic profile are part of the entrance exam and relevant to the direction of the candidate’s personal curriculum. The choice of artistic profile is free, both stylistically and in terms of orientation, and put his/her own instrument (or singing) at the centre.

• The performance must express the candidate’s artistic profile at a high level. Content, stylistic and instrumentation are freely selectable. 
• Duration of the repertoire to be prepared: 15 minutes
• The presentation can either be made with an ensemble provided by the school (in consultation with the Study Coordinator) or with the candidate’s own musicians. In justified exceptional cases it is also possible to submit a video that is not more than six months old
• Stylistically free solo performance of a prepared piece (duration: 5-10 minutes); effects, a looping device, etc. are permitted; singers can accompany themselves
• Exam interview with the jury
• The quality criteria depend on the artistic profile submitted

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• Preparation of at least three works of the candidate’s choosing from a variety of epochs
• Additional requirement for the main subject trumpet: A sight-reading piece and a simple transposition are part of the examination
• In the audition, the choice of first work is free to the candidate; the other works are decided by the jury
• Duration of the repertoire to be prepared: 30-45 minutes
• Exam interview with the jury
• If the candidate wishes the school to provide piano accompaniment, the scores must be submitted as a PDF at least 14 days before the exam (details will be provided with the invitation to the examination). Entries later than this will not be considered.

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• Candidates are asked to prepare a programme from the following epochs:
  • An aria from an oratorio, and a recitative in German (can be part of the aria but does not have to be)
  • An opera aria or scene
  • Two German Lieder
  • Two Mélodies françaises (Late Romantic/Impressionist)
  • Two Lieder of the candidate’s own choosing
• Candidates can choose the order in which to perform the pieces. After the first piece, the jury can make a selection for the rest of the audition and include a free part of the test, such as an unprepared recitation or improvisation
• Duration of the repertoire to be prepared: up to 40 minutes
• Exam interview with the jury
• If the candidate wishes the school to provide piano accompaniment, the scores must be submitted as a PDF at least 14 days before the exam (details will be provided with the invitation to the examination). Entries later than this will not be considered.

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Please note that the auditions for the Solo Performance Major will be held on a separate examination date.

Instrumental

• Performance of works of above-average difficulty, at least one from memory
• Duration of the repertoire to be prepared: 45-60 minutes
• Exam interview with the jury
• If the candidate wishes the school to provide piano accompaniment, the scores must be submitted as a PDF at least 14 days before the exam (details will be provided with the invitation to the examination). Entries later than this will not be considered.
• Study places in the Solo Performance major are limited.
• It is possible to complete the Solo Performance Major as a third master’s subject; up to two study places are allocated for this per year.

Vocal

• Candidates are asked to prepare a demanding programme from the following epochs:
  • An aria from an oratorio, and a recitative in German (can be part of the aria but does not have to be)
  • An opera aria or scene
  • Two German Lieder
  • Two Mélodies françaises (Late Romantic/Impressionist)
  • Two Lieder of the candidate’s own choosing
• Candidates can choose the order in which to perform the pieces. After the first piece, the jury can make a selection for the rest of the audition and include a free part of the test, such as an unprepared recitation or improvisation
• Duration of the repertoire to be prepared: up to 40 minutes
• Exam interview with the jury
• If the candidate wishes the school to provide piano accompaniment, the scores must be submitted as a PDF at least 14 days before the exam (details will be provided with the invitation to the examination). Entries later than this will not be considered.
• Study places in the Solo Performance major are limited.
• It is possible to complete the Solo Performance Major as a third master’s subject; up to two study places are allocated for this per year.

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• Unless otherwise stated in the PDF document linked below, two freely chosen works from different eras and three orchestral passages from the list given for the respective instrument must be prepared:
  • Strings: violin, viola, cello, double bass
  • Woodwinds: flute, oboe, clarinet, bassoon
  • Brass: horn, trumpet, trombone, tuba
  • drums
  • harp
• Additional requirement for the main subject trumpet: A sight-reading piece and a simple transposition are part of the examination
• Duration of the repertoire to be prepared: 30-45 minutes 
• Exam interview with the jury
• If the candidate wishes the school to provide piano accompaniment, the scores must be submitted as a PDF at least 14 days before the exam (details will be provided with the invitation to the examination). Entries later than this will not be considered.

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This programme is for existing ensembles with extensive experience in playing together only.

• Candidates are asked to prepare several works of their own choosing
• Duration of the repertoire to be prepared: 30-45 minutes
• Exam interview with the jury

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Focus Organ 

• Candidates are asked to prepare three works of their choosing from a variety of epochs
• Sight-reading
• Sing a hymn from the church hymnal
• Exam interview with the jury
• Submission of a repertoire list

Focus Conducting 

• Conducting audition consisting of prepared recitatives, e.g. J. Haydn: «Die Schöpfung» No. 4, 13, 21; F. Mendelssohn: «Paulus» No. 6
• Perform moderately difficult works (prepared) from two epochs on piano or organ
• Sing an art song or aria, plus sight-sing moderately difficult choral parts with fluid changes of parts, e.g. M. Reger: Responsories)
• Exam interview with the jury covering the candidate’s knowledge of the literature (works/styles) and choir experience
• Submission of a repertoire list
• Rehearsal with student choir of two works from different epochs (e.g. motet by G. P. da Palestrina, chorale by J. S. Bach, moderately difficult romantic motet by J. Brahms, F. Mendelssohn, M. Reger or A. Bruckner, lighter 20th century choral piece by H. Distler, W. Burkhard, F. Poulenc or B. Britten); duration: 20 minutes; the pieces to be prepared will be made available

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• Candidates must prepare at least three works, including one representative work from the standard repertoire of the respective instrument, including one work written after 1920 and one written after 1970
• Total duration of the repertoire to be prepared: 30-45 minutes
• Please use the form Klavierbegleitung ICM (ICM piano accompaniment) when registering the piano accompaniment

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The application must be accompanied by a description of ideas for a project that the candidate wishes to realise as part of the degree programme. It should outline the artistic goals and the means by which the project would be realised (direction, lighting, video, audio, props, additional performers, etc.).

• Presentation of works of the candidate’s choosing that testify to his/her artistic versatility
• The works should showcase his/her instrumental/vocal skills and contain, at least in part, interdisciplinary approaches
• Duration of the presentation: 10-20 minutes
• Performance of a compulsory task made available to the candidate at least two weeks before the entrance exam (duration: 5 minutes)
• Ad hoc task to be presented after 15 minutes’ preparation time (duration: 3-5 minutes)
• Exam interview with the jury
• Videos of works may also be shown if their interdisciplinary nature means their live performance appears impracticable (plays, large ensemble, etc.)
• Technical requirements (e.g. projector, PA, etc.) must be notified to erik.borgir@hslu.ch at least two weeks before the exam

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Choral conducting 

• Conducting
  • With choir (20’)
    • Rehearsal of an a cappella piece as well as a choral symphonic work.
      Both works will be communicated prior to the entrance examination.
  • With piano
    • Recitative (e.g., J. Haydn: The Creation No. 21; F. Mendelssohn: St. Paul No. 6; W. A. Mozart: The Magic Flute, Act 1, No. 8)
    • Choral work from the 20th century (e.g., I. Stravinsky: Mass for Wind Instruments and Choir)
      Both works will be communicated prior to the entrance examination.
• Singing
  • Performance of an aria or an art song
  • Prima vista singing of a moderately difficult choir part (e.g., Reger Op. 110, Schönberg Peace on Earth, Bach BWV 226)
• Piano
  • Performance of a freely chosen piece (for candidates without piano as their major) or two freely chosen pieces of medium difficulty, one of which should be from the 20th or 21st century (for candidates with piano as their major)
  • Prima vista score reading of a four-part choral piece at minimum
  • Prima vista playing of a simple piano reduction
• Interview
  • Interview with the jury on topics such as literature, style, and professional objectives

Orchestral conducting

• Instrumental performance
  • For individuals with piano as their primary instrument:
    Performance of two freely chosen works of medium difficulty on the piano, one of which should be from the 20th or 21st century.
  • For individuals whose primary instrument is not the piano:
    Performance of two freely chosen works of medium difficulty on the primary instrument, one of which should be from the 20th or 21st century.
    Performance of one freely chosen work on the piano.
• Prima vista playing (piano):
  • Excerpts from scores (with transposing instruments)
  • Excerpt from a piano reduction or piano work
• Conducting
  • With string quintet:
    One work each from the categories: overture (e.g., from The Impresario by W. A. Mozart and Der Freischütz by C. M. v. Weber), symphony movement (e.g., L. v. Beethoven: Symphony No. 2, 2nd movement; E. Elgar: Serenade for Strings), and recitative (e.g., J. Haydn: The Creation, No. 21). The selected pieces will be communicated prior to the entrance examination.
  • With piano:
    A specified work such as Uf dem anger from Carmina Burana by C. Orff; the selected piece will be communicated prior to the entrance examination.
• Additional possible exam content such as sight-singing, sight-reading rhythm, and ear training.
   

Wind music conducting

• Performance on the piano of a piece of the candidate’s choosing
• Conducting audition with piano of the following works: J. v. d. Roost: «Spartacus» (top to E); P. Wilby: «Paganini Variations» (top to E + L to N)
• Rehearsal with a brass quintet of V. Ewald’s Brass Quintet No. 1 Op. 5, 1st movement
• Exam interview with the jury on the candidate’s professional objectives

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A dossier with three scores featuring a variety of instrumentation and recordings (if not available: MIDI files as MP3) must be submitted with the application for the entrance exam. The compositions should not be older than two years. Based on the submitted scores the examination committee will decide on the invitation to the entrance examination 

• Analysis of two short movements or excerpt from a work (preparation time: 30 minutes)
• Discussion on the submitted compositions as well as the course content and the candidate’s objectives

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At the latest three weeks before the entrance exam, a short description (one A4 page) must be submitted outlining a project combining music and computer science that the candidate wishes to realise within the major studies.

• Candidates with a Bachelor of Arts in Music
  • Examination interview with the jury on the candidate’s project description, expectations of the programme, training content and objectives, and previous knowledge of computer science / IT
• Candidates with no Bachelor of Arts in Music («sur dossier»)
  • Practical and theoretical examination addressing the candidate’s musical orientation
  • Examination interview with the jury on the candidate’s project description, expectations of the programme, training content and objectives, and previous knowledge of music

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A personal artistic profile must be defined, and a letter of motivation must be submitted with the application. The letter of motivation and the definition of the artistic profile are part of the entrance examination and relevant for the design of the personal curriculum. The choice of the artistic profile is free in terms of orientation and includes the student’s own main subject in the centre. 

Major subject Instrumental/Voice

• Prepare a minimum of three works of the candidate’s choosing (for further information, see Master of Arts in Music, Classical or Jazz Performance Major)
• Duration of the repertoire to be prepared: 30-45 minutes
• A short reflection on a possible research project with an artistic reference must be submitted two weeks before the entrance exam
• Examination interview with the jury on the candidate’s major subject as well as on research affinity, understanding of artistic research and expectations and future perspectives

Major subject Composition

• A dossier with three to four scores featuring a variety of instrumentations and recordings (if not available: MIDI files as MP3) must be submitted with the application for the entrance exam. The compositions should not be older than two years
• A short reflection on a possible research project with an artistic reference must be submitted two weeks before the entrance exam
• Examination interview with the jury on the candidate’s major subject as well as on research affinity, understanding of artistic research and expectations and future perspectives

Major subject Conducting

• Videos of public choir, orchestra or brass band concerts conducted by the candidate must be submitted with the application for the entrance examination. The recordings should not be older than two years
• Conducting a string quintet playing four works from different periods; the pieces will be communicated in advance of the entrance exam
• Conducting with piano two pieces from different periods; the works will be communicated in advance of the entrance exam
• A short reflection on a possible research project with an artistic reference must be submitted two weeks before the entrance exam
• Examination interview with the jury on the candidate’s major subject as well as on research affinity, understanding of artistic research and expectations and future perspectives

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Major subject Instrumental

• Preparation of at least three works of the candidate’s choosing from a variety of epochs. In the audition, the choice of first work is down to the candidate; the other works are decided by the jury
• Duration of the repertoire to be prepared: 25-40 minutes
• Exam interview with the jury covering the candidate’s motivation and aptitude in the field of pedagogy, and his/her major subject
• Beforehand, two hospitations must be completed and reflected on using the document «Hospitation/Questionnaire». This document must be submitted with the examination application by the end of February.
• If the candidate wishes the school to provide piano accompaniment, the scores must be submitted as a PDF at least 14 days before the exam (details will be provided with the invitation to the examination). Entries later than this will not be considered.

Major subject Voice

• Candidates are asked to prepare a programme from various epochs, including
  • An aria from an oratorio or cantata and a recitative of the candidate’s choosing
  • An operatic aria
  • Two songs of the candidate’s choosing in different languages
• Candidates can choose the first piece to be auditioned. The jury decides on the presentation of the other works
• Duration of the repertoire to be prepared: 20-40 minutes
• Exam interview with the jury covering the candidate’s motivation and aptitude in the field of pedagogy, and his/her major subject
• Beforehand, two hospitations must be completed and reflected on using the document «Hospitation/Questionnaire». This document must be submitted with the examination application by the end of February.
• If the candidate wishes the school to provide piano accompaniment, the scores must be submitted as a PDF at least 14 days before the exam (details will be provided with the invitation to the examination). Entries later than this will not be considered.

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Major subject Instrumental/Voice

• Performance from memory of at least three pieces from a list of twenty prepared pieces (10 jazz standards and 10 pieces of the candidate’s choosing)
• Sight-read a lead sheet
• Sight-read a written out score.
• Performance from memory of a transcription noted by the candidate
• Minor subject Piano (only where major subject is Voice): solo performance of a prepared piece of the candidate’s choosing, in which melody and improvisation are sung and the accompaniment is played on the piano
• Exam interview with the jury covering the candidate’s motivation and aptitude in the field of pedagogy, and his/her major subject
• Beforehand, two hospitations must be completed and reflected on using the document «Hospitation/Questionnaire». This document must be submitted with the examination application by the end of February.

Remarks

• The performance and sight-reading of a lead sheet are done with a rhythm section (provided by the school)
• To help the rhythm section, the candidate is asked to bring clear, legible lead sheets to the entrance exam for the pieces of the candidate’s choosing or the transposed pieces. Otherwise, the keys, changes and arrangements from the most common Real Books apply
• The transcription must be performed in sync with the original recording
• The score must be made available
• A CD player and connections for a MiniDisk or MP3 player are provided

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Major subject Instrumental/Voice

• Performance by heart of at least three pieces (instrumental) or yodel songs/natural yodels (vocal) from a list of 20 prepared pieces (ten folk music standards and ten self-selected pieces).
• Sight-reading of a lead sheet.
• Sight-reading of a written musical score (e.g., excerpt from an Alpinis arrangement).
• Improvised accompaniment (instrumental) or singing a second part (yodel) for a folk music piece.
• Minor subject piano (all):  Accompanying a folk music standard by ear.
• Minor in piano (only for yodelling majors): Solo performance of a prepared piece of the canditate's own choice, in which the melody is sung/yodelled and the accompaniment is played on the piano.
• Exam interview with the jury covering the candidate’s motivation and aptitude in the field of pedagogy, and his/her major subject.
• Completion of two prior hospitations (details in the document) and filling out of the «Hospitation/Questionnaire» document.

Notes

• The performance and sight-reading of a lead sheet are done with a folk music ensemble (provided by the school).
• To help the folk music ensemble, the canditate is asked to bring clear, legible lead sheets to the entrance exam for the pieces of the candidate's choosing or the transposed pieces.
• A CD player and connections for a MiniDisk or MP3 player are provided.

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The main exam tasks (see also Requirements and exam examples) include:

• Performance on the piano of three short pieces of the candidate’s choosing from different epochs and styles (duration: 10 minutes)
• Sight-read a notated piano accompaniment
• Simultaneously sing and accompany a Lied/song of the candidate’s choosing (simple lead sheet)
• At the piano, sight-read a simple three- to four-part homophonic choral movement
• Sight-sing choral parts of a simple choral movement
• Tune and conduct a choral movement
• Vocal or instrumental improvisation over a chord sequence of the candidate’s choosing
• Vocal performance of two songs of the candidate’s choosing from different epochs and styles (with outside accompaniment)
• Exam interview with the jury covering the candidate’s motivation and aptitude in the field of pedagogy, knowledge of music history and theory, and musical practice
• Please use the form Klavierbegleitung Musikpädagogik Schulmusik II (Music Pedagogy School Music II piano accompaniment) when registering the piano accompaniment

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No later than two weeks before the entrance exam, the candidate must submit one or two style studies as well as a written analysis (approx. 8000 characters) of a self-selected work either from the late 19th or early 20th century or from the Renaissance or Baroque periods.

Written (120 minutes)

Counterpoint:

• Harmonisation of a chorale melody in Bach-style

• Compose a short two-part motet with a given theme 

Ear training:

• Two-part tonal dictation; harmonic dictation with secondary dominants and altered chords

Oral (60 minutes)

Analysis:

• Presentation (duration: 20 minutes) of a formal and harmonic analysis of a first movement from a classical piano sonata followed by question from the jury. The piece to be analysed will announced two weeks before the examination

• Stylistic classification of 4-5 short movements or excerpts of works

Ear training:

• Determination of the interval structure of atonal triads from the piano
• Sight-singing of a song from the 20th century with piano accompaniment

Piano:

• Harmonisation of a given upper voice on the piano (preparation time: 30 minutes)

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