A demanding program is to be prepared, which includes both original works and suitable transcriptions for accordion solo.

Works of different genres from the stylistic areas that are appropriate for the instrument and the requirements of a master's programme must be prepared. A total program of approx. 30 minutes must be prepared.

1. conducting

Conducting a prepared work with piano, e.g. Gustav Holst: Suites in E flat and F, Henk van Lijnschooten: Tricky Metrics from "Three caprices for Band", Steven Reineke: Fate of the Gods.

Conducting one-part conducting exercises, e.g. from Jo Conjaerts: Taktierübungen, Pierre Kuipers: The Art of Conducting.

2. playing piano reductions

Playing an easier particell from a wind orchestra work on the piano*, e.g. Pavel Staněk: St Thomas-Choral, Kees Vlak: Two Movements, Jacob de Haan, Oregon.

* If the applicant does not have sufficient piano playing skills, an oral score analysis must be

oral score analysis.

3. rehearsal work with a mixed wind ensemble

The part material and two additional scores must be brought along

A small ensemble, possibly supplemented by piano, will be provided.

Applicants are expected to play along themselves.

The selection procedure in the core subject takes place either in choral conducting or orchestral conducting or accompaniment.

A) Coaching

1st core subject:

Performance of the piano reduction of a given opera scene (Viennese classical or European opera of the 19th/20th century) with vocal marking of the vocal parts (prepared).

2nd core subject supplementary examination block:

Accompanying two given arias with singer(s) from the university on the piano. Rehearsal of one of the two arias with singer(s) from the university from the piano (prepared),

• Sight-reading of the piano score of a moderately difficult opera or operetta aria with singer(s) from the university,
• sight-reading of the piano score of an excerpt from the music theater or oratorio repertoire (without marking the vocal parts) after conducting,
• Performance of two self-chosen pieces / movements from the solo piano repertoire of different styles
• (e.g. first movement of a classical sonata),
• Colloquium on the special demands of the course and the profession of theater accompanist and on the applicant's willingness to dedicate him/herself to this activity.

The works to be prepared for the examination in the core subject and for the supplementary examination block

will be communicated to the applicant approximately two weeks before the examination date.

B) Orchestral conducting

1. core subject:

Conducting and rehearsing with orchestra Mozart Symphony No. 39, KV 543 (1st movement), additionally listening to and intoning a wind/string section during the examination; discussion about the conducted/performed work.

2nd core supplementary examination block:

• Conducting with piano: Claude Debussy: Prélude à l'après-midi d'un faune,
• Score playing:* prepared works (see above) and prima vista,
• Piano reduction (with marking of the vocal parts):*Wolfgang Amadeus Mozart From 'Le nozze di Figaro' KV 492 Finale I or II and prima vista,

*If the applicant does not have sufficient piano playing skills, an oral score analysis and a rehearsal with an ensemble of the university would be required.

• Performance of a self-chosen piece /vocal or instrumental,
• a four-part polyphonic choral movement of your own choice.

C) Choral conducting:

1st core subject:

Rehearsal with a vocal ensemble of the university: a polyphonic choral movement of at least four voices of own choice, in the level of difficulty of e.g. Johannes Brahms op.104; discussion about the conducted/performed work.

2nd core examination block:

• Conducting with piano: Three choral works from different eras must be prepared. The examination board selects which of these will be conducted during the examination,
• Score playing: The work prepared for the choir rehearsal (see above) and the three choral works chosen for conducting with piano must be prepared. The examination board will choose which of these will be played during the examination. Sight-reading of a choral score on the piano,
• Piano performance (with marking of the vocal parts): a prepared movement or scene from a classical or romantic oratorio/mass/cantata of the candidate's choice, a movement selected by the examination board prima vista,
• Performance of a self-chosen vocal piece,
• sight-singing of a demanding choral part.

Two representative works of bassoon literature must be prepared.

• A sonata/fantasy from the Baroque period,
• A concerto by W. A. Mozart, 1st and 2nd movements with cadenzas,
• A work of virtuoso character,
• A composition of the 20th/21st century (after 1945).

There is one direction to choose

Opera:

• Seven pieces from three different eras and three different languages must be prepared by heart:
• A German art song,
• Four opera arias (including one by W.A. Mozart),
• An opera recitative (in combination with an aria or individually),
• A self-selected scene from a dramatic work in German with a duration of at least 3 minutes (to be prepared by heart).
• An acting improvisation may also be performed with the candidate as part of the examination.

Concert:

• Seven pieces from three different eras and three different languages must be prepared.
• Three art songs, at least one of which must be in German,
• Three arias from a concerto or oratorio, including at least one aria by J.S. Bach,
• One recitative from a German oratorio.

Representative works from different stylistic periods and genres.

Representative works from different stylistic periods and genres.

A program with a level of difficulty appropriate to the Master's degree must be prepared.

Concert with own band. The repertoire played should clearly demonstrate the candidate's artistic orientation and musical profile.

A chamber music program consisting of chamber music works representative of the core subject and stylistically different from several epochs. Individual movements are also possible.

1. playing organ literature

• Present a literature list of the most important works worked on so far,
• List of four larger works (17th century to present), one of which is a Romantic work in a completed registration,
• sight-reading.

2. core subject organ improvisation

• A prepared partita in five movements with different c.f. positions,
• Ad hoc tasks.

3. oral aural training:

Prima vista vocal performance of different style epochs, prima vista playing of rhythms. Singing choral parts while playing the other parts at the same time (e.g. Bach chorale).

4. choral conducting

Rehearsal with a vocal ensemble of the university.

Three epochs, incl. Mozart clarinet concerto.

A work from each of the following stylistic periods must be prepared:

• Baroque
• Viennese Classicism
• Romanticism
• Turn of the 19th/20th century or classical modernism
• Modernism (composed after 1960)

The works, with the exception of the modern piece, must be performed from memory.

Representative works from three different stylistic periods, including fast and slow movements.

A representative program of art songs by various composers, epochs and styles is to be prepared, including

• a representative proportion in German,
• at least one free-tonal song from the 20th/21st century (excluding late Romantics such as Strauss and Pfitzner),
• at least one song in a language other than German.

Two pieces from different eras.

Representative works from different stylistic periods and genres

A program with a level of difficulty appropriate to the Master's degree must be prepared.

• Representative works from different stylistic periods and genres.

1. Instruments - One work from the following areas:
   1. snare drum
   2. Timpani (timpani)
   3. marimba
   4. vibraphone
   5. Set-up (multiple percussion) or drumset solo
   6. Percussion or marimba concert/concerto (with piano accompaniment) and/or chamber music; orchestral studies: are optional

Repertoire examples for percussion:

• Drum Suite Fink (Zimmermann Verlag)
• Sonata I-II-III Fink (Simrock)
• "The Challenge" Riedhammer (Zimmermann)
• American Suite Gauthreaux (Meredith/FL, USA)
• Prime Masson (Iceland Music Info)
• Timpani Etude No. 45 Krüger
• Scenes for timpani Joaquim (Zimmermann)
• 8-Pieces for timpani E.Carter (Assoc. Press, NY/London)
• Raga No.1 for solo timpani W.Cahn (Wimbledon, CA/USA)
• 2-Pieces for unaccompanied timpani R.McCormick (Studio-4, CA/USA)
• Repertoire by e.g. Musser, Keiko Abe, Ney Rosauro, Zivkovich, Gordon Stout,
• Tanaka, Eric Sammut, Miki, Miyoshi or Fissinger
• Vibraphone repertoire by e.g. Mark Glentworth, N. Rosauro or David Friedman
• a) "Orion M.42" Reginald Smith-Brindle (Edition Peters, Frankfurt)
• "Stri/oking" Lehmann (Gravis/Bad Schwalb)
• Rounds for percussion M.Redel (Bote&Bock, Berlin) Rebondss Xenakis (Salabert/Paris) or percussion repertoire by: B.Hummel, N.Rosauro, E.Kopetzki
• b) "Get-Hip" Sponsel (Zimmermann Verlag)
• a) Concerto (e.g. Creston, Milhaud, Jolivet, Rosauro, Hummel,
• Hovhaness, Zivkovich or Koppel)
• b) Duo repertoire for percussion and piano or percussion or other instrument(s)

Works of your own choice may also be performed if they meet the requirements.

A program with a level of difficulty appropriate to the Master's degree must be prepared.

A program with a level of difficulty appropriate to the Master's degree must be prepared.

Representative works from different stylistic periods and genres.

• From the sonatas and partitas for solo violin BWV 1001-1006: Adagio or Grave and Fuga from BWV 1001, or BWV 1003, or BWV 1005, or Ciaccona from BWV 1004, or 4 movements from BWV 1002, or 3 movements from BWV 1006.
• A fast movement of a violin concerto from the Romantic or Modern period or a fast movementof Beethoven's Concerto in D major op.61 (without orchestral prelude),
• One work, in the case of multi-movement compositions one movement of a work of free choice.
• First movement of a violin concerto by W. A. Mozart (with cadenza).

• 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.