1. core subject accordion

• Two movements (slow, fast) by an early baroque or pre-classical composer (e.g. G. Frescobaldi, J.P. Sweelinck, W. Byrd, D. Scarlatti, A. Soler, C. Seixas) and/or one prelude and fugue each from the Well-Tempered Clavier (or a three-part invention) or at least three movements from a French or English suite by J. S. Bach,
• Two stylistically different original compositions (e.g. by K. Olczak, S. Gubaidulina, G. Katzer, N.A. Huber, T. Hosokawa, W. Jacobi, L. Berio, M. Lindberg, A. Kusjakov, J. Torres O. Schmidt, J.M. Sánchez-Verdú, K. Harada , E. Jokinen, C. D. Rosario, A. Nordheim etc.).

2. second instrument:

If piano or freely chosen second instrument:

• Two pieces from different eras, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

• Performance of a polyphonic work by J. S. Bach,
• Performance of an allegro movement of medium difficulty (from a classical sonata),
• Performance of a short romantic work,
• sight-reading.

if vocal performance:

• Two art songs from different eras,
• Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

• Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),
• Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),
• Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),
• Singing or playing (on their own instrument) pre-recorded motivic sequences,
• Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

• Possible questions about note names and register designations,
• Testing the ability to read all clefs,
• Key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory),
• Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

• Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,
• Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),
• Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),
• notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

• Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Transfer of given durations into given time signatures,
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory).
• Notation of overtone/partial tone series,
• realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st core subject examination

Choral conducting:

Rehearsal of a prepared choral piece with a vocal ensemble of the university, optionally H. Schütz: Motet "So fahr ich hin" (Geistliche Chormusik 1648, No. 11) or M. Reger: Nachtlied op. 138, No. 3 or a work with a comparable level of difficulty.

Orchestral conducting:

Conducting and rehearsing with orchestra Mozart Symphony No. 39, K. 543 (1st movement).

2nd piano

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work and performance of a contemporary composition,

sight-reading.

3. oral aural training

Sight-reading of tonal and free-tonal melodies, including text, in all clefs; scansion of given difficult rhythms with simultaneous conducting of the beat; singing of a single part of a Bach chorale with simultaneous piano playing of the other parts; spontaneous improvised addition of a stylistically appropriate second movement to a given tonal first movement (performance: vocal performance or piano playing).

4. practical/oral composition

Basso continuo playing,

Harmonization of a melody on the piano,

Questions from the field of music theory and music history.

5. core subject supplementary examination block

for core subject choral conducting:

Conducting with piano and score playing of a work of a different style period than chosen in 1 a),

Piano reduction of a short section of your own choice from a classical oratorio,

Piano reduction of a smaller section of your own choice from a corresponding work from a later stylistic period (prepared, with vocal marking of the vocal parts),

sight-reading from a classical or romantic choral work with orchestra (piano reduction),

sight-reading of a four-part choral movement (score),

sight-reading of difficult choral parts,

Sufficient knowledge of the relevant choral literature,

Aptitude for elementary vocal training (performance of an easier art song and a Bach

chorale from the Schemelli hymnal).

for core subject orchestral conducting:

Score playing and piano reduction playing (with marking of the singing parts): Mozart from "Le nozze di Figaro" No. 14 trio and prima vista,

sight-reading from a simpler classical symphony (score),

Sufficient knowledge of the relevant repertoire; familiarity with symphonic and operatic works,

Performance of a piece of own choice on own instrument.

6. subjects of the written examination

Written aural training

The dictations of the written aural training examination, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef,

Intervals, simultaneous, in different registers,

Simple melodic phrases (baroque, classical),

Three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

free-tonal melody (e.g. Hindemith, Schönberg).

General music theory in writing

The tasks in general music theory can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations, ability to read all clefs,

key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series;

Questions from the fields of acoustics and tuning theory,

knowledge of instruments,

Knowledge of the works of important composers (including 20th century composers),

playing techniques of instruments.

Written composition

Expression of a figured bass; four-part choral composition to a given melody.

1. core subject EMP

Applicants should demonstrate their natural expression in speaking, singing, moving and making music, their sense of rhythm and their body coordination in a group work lasting several hours. Perceptiveness, responsiveness, creativity, social and performance skills are addressed in the form of impromptu tasks. Leadership qualities and empathy can be developed from a prepared short rehearsal with the competitors.

2nd subsidiary subject

All subsidiary subjects except piano:

The level of demand in the subsidiary subject is slightly lower than in the corresponding degree subject. Further information can be found in the examination requirements for the corresponding core subject.

Subsidiary subject piano:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata) - Performance of a short romantic work,

Performance of a contemporary composition,

sight-reading.

3. oral music theory (only if written examination is not passed)

Oral music theory for a classical subsidiary subject:

Part of ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions on note names and register designations, testing the ability to read all clefs, key signatures and scale determination (modal and major-minor tonal), definitions of musical terms (German, Italian and English), interval definitions, basic knowledge of chord theory (function theory, step theory, basso continuo theory), playing simple cadences in keys up to two accidentals.

Jazz-specific music theory oral for jazz minor

Three- and four-note chords: determine chord qualities,

play tonal melodies,

determine tonal chord sequences,

Clapping/notating rhythms,

Questions from the areas of: Intervals, scales, key signatures, transposition, jazz history.

4. written music theory

For classical subsidiary subject:

The dictations of the ear training part, given at the piano, will include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

For jazz as a subsidiary subject

Part of ear training:

Completion of triads,

ascending scales,

diatonic melodic dictation,

Determination of chord symbols,

Determination of a chord progression,

Notation of rhythms.

General music theory / composition:

Determination of intervals in the two-octave range,

Assigning enharmonically related notes,

Notation of scales: major, natural/harmonic/melodic minor, blues scale,

key signatures for major, natural minor, church keys,

determine scale tetrachords in major and natural minor with chord and step symbols,

notate a typical blues chord progression,

Transpose a melody to create suitable parts for jazz instruments,

Complete bars rhythmically, different time signatures,

Basic knowledge of jazz history.

1st core subject bassoon
Two pieces from different eras, one of them from the classical period.

2. second instrument:

If piano or freely chosen second instrument:

• Two pieces from different eras, sight-reading if necessary.
• Special repertoire for applicants with organ as a core subject:
• Performance of a polyphonic work by J. S. Bach,
• Performance of an allegro movement of medium difficulty (from a classical sonata),
• Performance of a short romantic work,
• sight-reading.

if vocal performance:

• Two art songs from different eras,
• Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

• Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),
• Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),
• Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),
• Singing or playing (on their own instrument) pre-recorded motivic sequences,
• Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

• Possible questions about note names and register designations,
• Testing the ability to read all clefs,
• Key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory),
• Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

• Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,
• Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),
• Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),
• notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

• Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Transfer of given durations into given time signatures,
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory).
• Notation of overtone/partial tone series,
• realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st core subject flute

• A short etude (e.g.: E. Köhler op. 33, Th. Boehm),
• A sonata or fantasia from the Baroque period with or without accompaniment,
• Two movements from a classical or early classical concerto,
• A composition of your choice from another period.

2. second instrument:

If piano or freely chosen second instrument:

• Two pieces from different eras, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

• Performance of a polyphonic work by J. S. Bach,
• Performance of an allegro movement of medium difficulty (from a classical sonata),
• Performance of a short romantic work,
• sight-reading.

if vocal performance:

Two art songs from different eras,

• Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part ear training

• Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),
• Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),
• Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),
• Singing or playing (on their own instrument) pre-recorded motivic sequences,
• Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

• Possible questions about note names and register designations,
• Testing the ability to read all clefs,
• Key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory),
• Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

• Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,
• Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),
• Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),
• notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

• Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Transfer of given durations into given time signatures,
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory).
• Notation of overtone/partial tone series,
• realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

Preselection

• One song in German,
• Two arias from opera and/or oratorio from two different eras (baroque, classical, romantic, modern).

1. core subject vocal performance

• Five pieces from three different eras must be prepared:
• Two art songs, at least one of them German,
• Three arias (at least one from an opera, oratorio or operetta),
• In addition, a German text (poem or a self-selected scene from a dramatic work) must be performed from memory.
• The aria from the oratorio does not have to be performed from memory.
• The aptitude assessment takes place in two rounds.

2. second instrument:

If piano or freely chosen second instrument:

• Two pieces from different eras, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

• Performance of a polyphonic work by J. S. Bach,
• Performance of an allegro movement of medium difficulty (from a classical sonata),
• Performance of a short romantic work,
• sight-reading.

if vocal performance:

• Two art songs from different eras,
• Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part ear training

• Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),
• Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),
• Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),
• Singing or playing (on their own instrument) pre-recorded motivic sequences,
• Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

• Possible questions about note names and register designations,
• Testing the ability to read all clefs,
• Key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory),
• Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

• Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,
• Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),
• Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),
• notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

• Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Transfer of given durations into given time signatures,
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory).
• Notation of overtone/partial tone series,
• realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1. core subject guitar

At least three works from different stylistic periods and genres.

2. second instrument:

If piano or freely chosen second instrument:

• Two pieces from different eras, sight-reading if applicable.

Special repertoire for applicants with organ as a core subject:

• Performance of a polyphonic work by J. S. Bach,
• Performance of an allegro movement of medium difficulty (from a classical sonata),
• Performance of a short romantic work,
• sight-reading.

if vocal performance:

• Two art songs from different eras,
• Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

• Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),
• Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),
• Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),
• Singing or playing (on their own instrument) pre-recorded motivic sequences,
• Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

• Possible questions about note names and register designations,
• Testing the ability to read all clefs,
• Key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory),
• Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

• Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,
• Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),
• Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),
• notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

• Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Transfer of given durations into given time signatures,
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory).
• Notation of overtone/partial tone series,
• realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1. core subject harp
At least three works from different stylistic periods and genres.

2. second instrument:

If piano or freely chosen second instrument:

• Two pieces from different eras, sight-reading if applicable.

Special repertoire for applicants with organ as a core subject:

• Performance of a polyphonic work by J. S. Bach,
• Performance of an allegro movement of medium difficulty (from a classical sonata),
• Performance of a short romantic work,
• sight-reading.

if vocal performance:

• Two art songs from different eras,
• Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

• Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),
• Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),
• Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),
• Singing or playing (on their own instrument) pre-recorded motivic sequences,
• Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

• Possible questions about note names and register designations,
• Testing the ability to read all clefs,
• Key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory),
• Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

• Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,
• Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),
• Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),
• notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

• Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Transfer of given durations into given time signatures,
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory).
• Notation of overtone/partial tone series,
• realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

Two contrasting works (Italian, French, mixed, gallant style),

sight-reading.

It is possible to play part of the entrance examination on "modern" oboe if an initial engagement with historical performance practice is recognizable (e.g. articulation, use of vibrato, ornamentation).

2nd examination on the second instrument

Harpsichord (if the core subject is a melody instrument):

A piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

A work from the 17th century on baroque trumpet (e.g. Fantini, Viviani, Gabrielli, Torelli),

One work from the 18th century on either baroque trumpet or modern trumpet,

sight-reading.

It is possible to play part of the entrance examination on "modern" trumpet if an initial involvement with historical performance practice is evident (e.g. articulation, use of vibrato, ornamentation).

2nd examination on the second instrument

Harpsichord (if the core subject is a melody instrument):

A piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing on note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

At least two contrasting movements (slow and fast) of a concerto or sonata from the High Baroque period,

a work from another period (Early Baroque, Early Classical or Classical),

sight-reading.

2nd examination in the second instrument

Harpsichord (if the core subject is a melody instrument):

A piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

A sonata for violoncello and basso continuo at the level of difficulty of a Vivaldi sonata,

A further work (another sonata with basso continuo or suite movements by J.S. Bach or solo pieces by e.g. Gabrielli,

sight-reading.

It is possible to play part of the entrance examination on a "modern" violoncello if there is evidence of initial engagement with historical performance practice (e.g. articulation, use of vibrato, ornamentation, posture).

2. examination in the second instrument

Harpsichord (if the core subject is a melody instrument):

A piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

Two contrasting movements of a work from the High Baroque period,

one work from another epoch (medieval, early baroque, modern etc.),

sight-reading.

2nd examination in the second instrument

Harpsichord (if the core subject is a melody instrument):

A piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

Harpsichord: Representative works from three different stylistic periods and sight-reading.

Fortepiano: Three representative works from the early classical and classical periods and sight-reading.

2nd examination in the second instrument

Harpsichord (if the core subject is a melody instrument):

One piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

Two movements (slow-fast) of a high baroque sonata,

Two movements from a French suite (e.g. Marais: Pièces de Viole),

A Renaissance or early Baroque diminution or a tablature piece (e.g. T. Hume),

sight-reading.

2nd examination in the second instrument

Harpsichord (if the core subject is a melody instrument):

A piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

Selection of pieces for renaissance lute/baroque lute/theorbo - A mixed program with different lute instruments is desired,

A basso continuo piece (only for theorbo, archlute and baroque lute),

Simple sight-reading from the tablature.

2nd examination in the second instrument

Harpsichord (if the core subject is a melody instrument):

A piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

Two contrasting works (Italian, French, mixed, gallant style),

sight-reading.

It is possible to play part of the entrance examination on a "modern" flute if there is evidence of initial engagement with historical performance practice (e.g. articulation, use of vibrato, ornamentation).

2nd examination on a second instrument

Harpsichord (if the core subject is a melody instrument):

A piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

Selection of pieces for baroque guitar in French and Italian tablature,

One basso continuo piece,

Simple sight-reading from the tablature.

2nd examination in the second instrument

Harpsichord (if the core subject is a melody instrument):

A piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st core subject

At least two contrasting movements (slow and fast) of a concerto or sonata from the High Baroque period,

a work from another period (Early Baroque, Early Classical or Classical),

sight-reading.

2nd examination in the second instrument

Harpsichord (if the core subject is a melody instrument):

A piece from the "Kleine Präludien" or from the "Notenbüchlein für Anna Magdalena Bach" by J. S. Bach,

A Renaissance piece (e.g. The Fitzwilliam Virginal Book Vol. No. 19: Musca-din).

Melody instrument (if the core subject is a keyboard instrument):

Works from different stylistic periods and genres (easy level of difficulty).

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st core subject horn

• An etude by Kopprasch or from Huth's horn school (No. 49 or 50),
• A classical or romantic work (e.g. Mozart: Horn Concerto No. 3 in E flat major or Concerto by Saint-Saëns),
• A contemporary work (e.g. by Hindemith: Horn Sonata, Genzmer: Sonatina, Hummel: Sonatina).

2. second instrument:

If piano or freely chosen second instrument:

• Two pieces from different eras, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

• Performance of a polyphonic work by J. S. Bach,
• Performance of an allegro movement of medium difficulty (from a classical sonata),
• Performance of a short romantic work,
• sight-reading.

if vocal performance:

• Two art songs from different eras,
• Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

• Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),
• Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),
• Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),
• Singing or playing (on their own instrument) pre-recorded motivic sequences,
• Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

• Possible questions about note names and register designations,
• Testing the ability to read all clefs,
• Key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory),
• Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

• Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,
• Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),
• Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),
• notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

• Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Transfer of given durations into given time signatures,
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory).
• Notation of overtone/partial tone series,
• realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st examination in the core subject

Three different pieces from the standard repertoire of jazz and popular music, e.g. a ballad, a blues or medium swing standard, a Latin or a pop/fusion standard (alternatively, an own composition is also possible). An accompanying ensemble will be provided for the performance of the pieces. A performance with "play-along" is not possible,

Performance of a transcription of a jazz-specific solo. The transcription will be performed without accompaniment,

In addition, an etude or a piece from the instrument-specific classical repertoire can be prepared.

2. examination in the second instrument

Examination in the second instrument

For jazz piano (for all core subjects except jazz piano core subject)

Basic knowledge, e.g. a piece from Chick Corea's 'Children's Songs', simple chord accompaniment of a standard, II-V-I sequences.

For classical piano (for jazz piano as a core subject)

An etude or a solo transcription of a standard.

3. Oral examination in jazz-specific music theory (only if the written examination has not been passed)

Three- and four-note chords: determine chord qualities,

play tonal melodies,

determine tonal chord sequences,

Clapping/notating rhythms,

Questions from the areas: Intervals, scales, key signatures, transposition, jazz history.

4. written examination (written exam) in jazz-specific music theory

Part of ear training:

Completion of triads,

ascending scales,

diatonic melodic dictation,

Determination of chord symbols,

Determination of a chord progression,

Notation of rhythms.

General music theory / composition:

Determination of intervals in the two-octave range,

Assigning enharmonically related notes,

Notation of scales: major, natural/harmonic/melodic minor, blues scale,

key signatures for major, natural minor, church keys,

determine scale tetrachords in major and natural minor with chord and step symbols,

notate a typical blues chord progression,

Transpose a melody to create suitable parts for jazz instruments,

Complete bars rhythmically, different time signatures,

Basic knowledge of jazz history.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1. core subject organ

Organ literature performance:

Three moderately difficult works from three different eras,

A chorale prelude of your choice from the "Orgelbüchlein" by J.S. Bach.

Liturgical organ playing:

One prepared partita with 3-4 variations, style optional,

Intonations and song movements unprepared on call. Own harmonization of three hymns, including a New Spiritual Song;

2. piano

An easy classical sonata movement,

A work from the Baroque period in the level of difficulty of the "Inventions" and "Symphonies" by J.S. Bach,

A smaller work from the 20th century, e.g. Bartok, Mikrokosmos.

3. conducting

Preparation of a four-part Bach chorale,

Performance of a song from Bach-Schemelli.

4. aural training orally

Possible topics:

Sight-singing tonal and free-tonal melodies, in different clefs,

Scansion of given difficult rhythms with simultaneous presentation of the meter,

Singing a single part of a Bach chorale with simultaneous piano playing of the other parts,

Spontaneous improvised completion of a given tonal prefix with a stylistically appropriate suffix (performance: vocal performance or piano playing).

5. practical/oral composition

Selection from the following areas:

Basso continuo playing,

Harmonization of a melody,

Sequence and cadenza playing.

6. subjects of the written examination:

Written aural training

The dictations of the written aural training exam, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef,

Intervals, simultaneous, in different registers,

Simple melodic phrases (baroque, classical),

Three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

free-tonal melody (e.g. Hindemith, Schönberg).

General music theory in writing

The tasks in general music theory can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations,

the ability to read all clefs,

key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series;

Questions from the fields of acoustics and tuning theory,

knowledge of instruments,

Knowledge of the works of important composers (including 20th century composers),

playing techniques of instruments.

Written composition

Expression of a figured bass; four-part choral composition to a given melody

1st core subject clarinet

Two pieces from different eras, one of them from the classical period.

2. second instrument:

If piano or freely chosen second instrument:

• Two pieces from different eras, sight-reading if applicable.

Special repertoire for applicants with organ as a core subject:

• Performance of a polyphonic work by J. S. Bach,
• Performance of an allegro movement of medium difficulty (from a classical sonata),
• Performance of a short romantic work,
• sight-reading.

if vocal performance:

• Two art songs from different eras,
• Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part ear training

• Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),
• Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),
• Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),
• Singing or playing (on their own instrument) pre-recorded motivic sequences,
• Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

• Possible questions about note names and register designations,
• Testing the ability to read all clefs,
• Key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory),
• Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

• Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,
• Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),
• Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),
• notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

• Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Transfer of given durations into given time signatures,
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory).
• Notation of overtone/partial tone series,
• realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st core subject piano

A challenging etude by Bartók, Chopin, Czerny, Debussy, Ligeti, Liszt, Rachmaninov or Scriabin,

Prelude and Fugue from the Well-Tempered Clavier by J.S. Bach,

An Allegro first movement of a sonata by Haydn, Mozart or Beethoven,

A romantic piece,

A modern piece (incl. turn of the 19th/20th century).

The prepared works must be performed from memory.

2. second instrument:

If piano or freely chosen second instrument:

Two pieces from different eras, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st core subject double bass

Works from three different eras, including fast and slow movements.

2. second instrument:

If piano or freely chosen second instrument:

• Two pieces from different periods, sight-reading if applicable.

Special repertoire for applicants with organ as a core subject:

• Performance of a polyphonic work by J. S. Bach,
• Performance of an allegro movement of medium difficulty (from a classical sonata),
• Performance of a short romantic work,
• sight-reading.

if vocal performance:

• Two art songs from different eras,
• Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part ear training

• Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),
• Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),
• Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),
• Singing or playing (on their own instrument) pre-recorded motivic sequences,
• Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

• Possible questions about note names and register designations,
• Testing the ability to read all clefs,
• Key signatures and scale determination (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory),
• Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

• Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,
• Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),
• Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),
• notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

• Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),
• Definitions of musical terms (German, Italian and English),
• Transfer of given durations into given time signatures,
• Interval definitions,
• Basic knowledge of chord theory (function theory, step theory, basso continuo theory).
• Notation of overtone/partial tone series,
• realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st core subject oboe

Two pieces from different eras.

2. second instrument:

If piano or freely chosen second instrument:

Two pieces from different eras, sight-reading if applicable.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1. core subject organ

A larger work by pre-Bach composers (e.g. Buxtehude, Bruhns, Lübeck, etc.) or contemporaries of J. S. Bach,

A larger free work by J. S. Bach, a larger chorale arrangement and a chorale prelude from the "Orgelbüchlein",

A moderately difficult work from the Romantic period (e.g. Mendelssohn, Schumann, Reger, Franck, etc.),

A work of medium difficulty from the 20th century (composer must have been born after 1880),

An improvisation (prelude and harmonization based on a hymn) of approx. 5 minutes,

A polyphonic work by J.S. Bach on the piano.

2. second instrument:

If piano or freely chosen second instrument:

Two pieces from different epochs, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

1st core subject trombone

Tenor trombone:

A work from the baroque or pre-classical period (e.g. by Galliard, Marcello, Handel, Wagenseil or Albrechtsberger),

A work from the classical or romantic period (e.g. by Sachse, David, Guilmant, Saint Saëns),

A contemporary work (e.g. by Bozza, Martin, Hindemith, B. Hummel, Serocki).

Bass trombone:

A work from the baroque or pre-classical period (e.g. sonata by Telemann or Galliard),

A work from the Classical or Romantic period (e.g. by E. Sachse: low edition in F major or concerto by David: low edition in B flat major),

A contemporary work (e.g. by McCarty, Lantier, Lebediew or Bozza).

2. second instrument:

If piano or freely chosen second instrument:

Two pieces from different eras, sight-reading if appropriate.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1. core subject saxophone

Three pieces of different styles; the prepared program should include a slow movement.

2. second instrument:

If piano or freely chosen second instrument:

Two pieces from different eras, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1. core subject percussion

One piece lasting approx. 4 minutes from each of the following instrumental areas (minimum requirement difficulty level 4/5):

Snare drum (e.g. Goldenberg, Wagner, Knauer or Fink),

Timpani (e.g. Zegalski Et. 7, Krüger Et. 35 or No. 45 or Bayer),

Mallet: a) marimba, b) vibraphone,

Selection: Drum set or set-up (multiple percussion) solo.

2. second instrument:

If piano or freely chosen second instrument:

Two pieces from different eras, sight-reading if applicable.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1. core subject trumpet

A movement from a classical trumpet concerto (e.g. by Haydn, Hummel or Neruda),

A part or movement from a romantic trumpet work (e.g. Reger: Romanze, Arutjunjan, Böhme, Cords, Porrino),

A part or movement from a contemporary trumpet work (e.g. Hindemith, Francaix, Enesco, B. Hummel),

A short piece on the high trumpet.

2. second instrument:

If piano or freely chosen second instrument:

Two pieces from different eras, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st core subject tuba

An etude (e.g. by Kopprasch, Bordogni (Rochut) or Anthony Plogh),

A work from the Baroque, Classical or Romantic period (e.g. Handel: Concerto for oboe in G minor in transcription for tuba in F minor, or Marcello: Sonata in F major, original for cello or Mozart: Concerto, original for horn or Strauss: Concerto, original for horn),

A contemporary work (e.g. Lebediew: Konuert, Hofmeister Verlag or Hindemith: Sonata, Schott Verlag or B. Hummel: Sonatine, Hofmeister Verlag or Arnold: Fantasy, Faber Verlag or Vaughan-Williams: Concerto, Oxford University Press or Bozza: Concertino, Leduc Verlag, Paris).

2. second instrument:

If piano or freely chosen second instrument:

Two pieces from different eras, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1. core subject viola

Three works from at least two different stylistic periods, including:

One movement from a solo sonata or solo suite,

The first movement from a viola concerto (without orchestral prelude),

One movement from a sonata or a major work for viola and piano.

2. second instrument:

If piano or freely chosen second instrument:

Two pieces from different eras, sight-reading if applicable.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a narrow range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing on note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st core subject violin

A medium to difficult etude or caprice,

Two contrasting movements or Ciaccona from BWV 1004 by J. S. Bach from the sonatas and partitas for solo violin BWV 1001-1006,

A first movement from a classical, romantic or modern violin concerto (without orchestral prelude),

One movement from a contemporary work (composed after 1945),

A slow movement from a classical or romantic violin sonata or a slow recital piece.

Works composed before 1930 must be performed from memory. Sonatas with piano and etudes or caprices are excluded.

2. second instrument:

If piano or freely chosen second instrument:

Two pieces from different eras, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part aural training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

1st core subject violoncello

Three works from at least two different stylistic periods, including:

One movement from a solo sonata or solo suite,

The first movement from a cello concerto (without orchestral prelude),

One movement from a sonata for violoncello and piano.

2nd second instrument:

If piano or freely chosen second instrument:

Two pieces from different epochs, sight-reading if necessary.

Special repertoire for applicants with organ as a core subject:

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

sight-reading.

if vocal performance:

Two art songs from different eras,

Two (unaccompanied) songs.

3. oral music theory (only if the written examination has not been passed):

Part ear training

Clapping or repeating rhythms (declaiming or clapping rhythms from the sheet (conducting the basic beat or marking it with the foot)),

Singing and identifying individual simultaneous intervals - greater than an octave - in a close range (on note names),

Determine triads and tetrachords and their inversions and play them (on their own instrument) (singers: sing along to note names),

Singing or playing (on their own instrument) pre-recorded motivic sequences,

Singing tonal melodies (e.g. individual parts from a chorale) in treble and bass clef on note names from sight.

Part General music theory / composition

Possible questions about note names and register designations,

Testing the ability to read all clefs,

Key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Playing simple cadences in keys up to two accidentals.

4. written music theory

The dictations of the ear training part, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef - Intervals, simultaneous, in different registers,

Notation of three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Notation of four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

notation of simple melodic phrases (baroque, classical).

The tasks in the general music theory / composition section can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations (ability to read all clefs), key signatures and scale identification (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory).

Notation of overtone/partial tone series,

realization of a figured bass.

5. music pedagogy (only for applicants to the artistic-pedagogical degree programme)

In the first part of the 60-minute group examination, vocal and physical expressiveness and rhythmic, metrical and improvisational skills are assessed in practical music exercises (elementary instruments and/or own instrument). In the second part, pedagogical reflection skills are tested.

Pre-selection procedure

Four out of seven of the following own compositional works must be submitted:

A 2-3-part invention or fughette modeled on the inventions and symphonies or the "Kleine Präludien und Fughetten" by Johann Sebastian Bach,

a tricinium in the style of classical vocal polyphony in at least three sections including clauses based on models by Lasso, Othmayr, Palestrina, Sermisy, Certon and contemporaries,

a classical allegro movement (first movement or final movement of a sonata) based on shorter works by Mozart, Diabelli, Kuhlau and contemporaries,

a romantic piano piece modeled on the youth pieces by Schumann, Mendelssohn, Heller, Tchaikovsky and contemporaries,

an arrangement of a jazz standard, e.g. for two wind instruments and rhythm section,

a free-tonal, modal or row-technical piece based on the model of e.g. Schönberg, Debussy, Bartók,

an own composition/arrangement, not bound to a specific genre or style, for any instrumentation.

Subjects of the practical/oral examination

1. core subject

Practical composition

Playing a figured bass in the difficulty of a flute sonata by Handel or the Bach-Schemelli vocal performances on the piano,

Harmonization of a melody on the piano (gospel, romantic song such as "Der König in Thule" or similar),

Playing extended cadenzas and compositional models as well as sequences in different keys on the piano.

Analysis/aural analysis orally

Ad hoc analysis of moderately difficult pieces from the 16th to 19th century, including excerpts from scores of symphonic works, aural recognition of smaller forms and compositional models and standardized harmonic sequences based on excerpts from works.

Oral aural training

sight-singing of tonal and free-tonal melodies, including text (treble, bass and C clef),

Scansion of given medium-heavy rhythms with simultaneous presentation of the meter,

Singing a single part of a Bach chorale with simultaneous piano playing of the other parts,

Spontaneous improvised completion of a given tonal prefix with a stylistically appropriate suffix (vocal performance or piano).

2nd examination in the main instrument and c. Examination in the supplementary instrument

Piano

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work,

Performance of a contemporary composition,

sight-reading.

Other instruments

Performance of a work of medium difficulty from the Baroque, Classical, Romantic and 20th century periods.

3. the subjects of the written examination are

Written composition

Two-part imitation in the style of 16th century vocal polyphony,

Expression of a figured bass,

Four-part choral composition to a given melody in the Bach style,

A sonata exposition in the classical style to a given beginning (approx. eight bars) or a three-part fugue exposition in the style of Bach's time to a given theme.

Form theory and analysis in writing

Shorter works are to be analyzed (e.g. Bach invention, classical piano sonata, Schubert song, etc.).

Written aural training

The dictations of the written aural training exam, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef,

Intervals, simultaneous, in different registers,

simple melodic phrases (baroque, classical),

three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition),

free-tonal melody (e.g. Hindemith, Schönberg).

General music theory in writing

The tasks in general music theory can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations,

the ability to read all clefs,

key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Translation of given durations into given time signatures,

Interval definitions, basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series;

Questions from the fields of acoustics and tuning theory,

knowledge of instruments,

Knowledge of the works of important composers (including 20th century composers),

playing techniques of instruments.

Pre-selection procedure (see § 3 para. 6 QualS)

1 core subject

Short presentation of approx. 15 minutes on an own composition,

Colloquium of approx. 30 minutes.

2 Piano

Performance of a polyphonic work by J. S. Bach,

Performance of an allegro movement of medium difficulty (from a classical sonata),

Performance of a short romantic work and performance of a contemporary composition,

sight-reading

3. oral aural training

Possible topics:

Sight-reading of tonal and free-tonal melodies, in different clefs,

Scansion of given difficult rhythms with simultaneous presentation of the meter,

Singing a single part of a Bach chorale with simultaneous piano playing of the other parts,

Spontaneous improvised completion of a given tonal prefix with a stylistically appropriate suffix (performance: vocal performance or piano playing).

4. practical/oral composition

Selection from the following areas:

Basso continuo playing,

Harmonization of a melody,

Sequence and cadenza playing.

5. subjects of the written examination:

Written aural training

The dictations of the written aural training exam, which are given at the piano, include the following content:

Intervals, successive, from a given note in treble or bass clef,

Intervals, simultaneous, in different registers,

Simple melodic phrases (baroque, classical),

Three-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (major, minor, diminished, augmented and free tonal, e.g. fourth chord or cluster),

Four-part chords in root position and all inversions, played simultaneously and arpeggiated from a given note (all seventh chord forms of traditional composition).

Free-tonal melody (e.g. Hindemith, Schönberg).

General music theory in writing

The tasks in general music theory can cover all subject areas of this subject, including the basics of acoustics and instrumentology, e.g:

Note names and register designations,

the ability to read all clefs,

key signatures and scale determination (modal and major-minor tonal),

Definitions of musical terms (German, Italian and English),

Transfer of given durations into given time signatures,

Interval definitions,

Basic knowledge of chord theory (function theory, step theory, basso continuo theory),

Notation of overtone/partial tone series;

Questions from the fields of acoustics and tuning theory,

knowledge of instruments,

Knowledge of the works of important composers (including 20th century composers),

playing techniques of instruments.

Written composition

Expression of a figured bass; four-part choral composition to a given melody.