Piano
7M02102 - INSTRUMENTAL EXECUTION SPECIALIZATION "PIANO"
І. COMPREHENSIVE TESTING
1) Foreign language test (optional English, German, French);
2) Тest to determine learning readiness (optional in Kazakh or Russian).
ІІ. CREATIVE EXAMINATIONS
1. CREATIVE EXAM IN SPECIALTY
Creative exam in specialty includes performance of a solo programme and a colloquium.
1. Exam Program:
· Polyphonic composition (XVI-XX centuries);
· The work of the sonata form;
· Piece of virtuoso character.
2. Colloquium (questions on the history and theory of piano)
Colloquium reveals the general cultural level of applicants, their aesthetic views, knowledge of the art of music, knowledge of the main stages and patterns of music history development, knowledge of literature in their specialty, music terminology, understanding of the content, form and stylistic features of the performed works.
ASSESSMENT CRITERIA:
The maximum number of points for creative examination in specialty is 35 points. The minimum score is 9 points.
- 27-35 points (excellent)
The applicant must show vivid musical and performance skills, sense of style, culture of performing intonation.
- 17-26 points (good)
The applicant's performance is meaningfull, the author's text is accurately read, stylistically sustained. But at the same time, the applicant does not demonstrate technical freedom, performance is not distinguished by variety and quality.
- 9-16 points (satisfactorily)
Poor understanding of the stylistics and content of the performed compositions, insufficient knowledge of expressive means of musical intonation (intonation, hearing, phrasing, rhythm).
- 0-8 points (unsatisfactorily)
Lack of endurance, initiative, rhythmic, poor mastery of technical and artistic means of intonation, inconsistency of the program with the necessary level for admission.
CHAMBER ENSEMBLE SPECIALTY
1. CREATIVE PROFESSIONAL EXAMINATION
Playing of the following programs:
The concert program for the specialty «Chamber еnsemble» should include three works of chamber-instrumental repertory of various styles (classical, romantics, impressionism, music of the XX-XXI centuries).
The duration of the performance is 30-40 minutes.
2. COLLOQUIUM
Colloquium for specialty «Chamber еnsemble» determines the general cultural level and erudition of the performer, as well as knowledge related to the history of chamber-instrumental and vocal music, the repertory and specifics of the ensemble performance.
Sample questions for the colloquium:
1. The difference between ensemble performance and solo.
2. Name the authors of the editions of violin sonatas by L. Beethoven.
3. What are the chamber-instrumental works of composers of Kazakhstan.
4. What are the ensemble compositions of the piano trios of J. Brahms.
5. Reflection of the role of great historical figures in art (music, painting, cinema, literature).
6. List composers of the 20th century, authors of music for the string quartet.
7. To whom is Beethoven's “Kreutzer Sonata” dedicated and who was the first performer, and which Russian writer has a work under that title?
8. In what genre did I. Bach not work?
9. What are the famous conductors of our time?
10. What are the opuses and keys of the violin sonatas of J. Brahms.
11. To whom is the piano trio op. 67 D. Shostakovich dedicated? Which instrument is entrusted with?
12. What do you know about O. Messian's piano quartet “At the End of Time”? What wind instrument did O. Messian use in the piano quartet?
13. What period in the development of Russian literature is called the “Silver Age”? Name the representatives.
14. The last chamber work of D. Shostakovich?
15. What is "temperament"?
16. What are the chamber sonatas of P. Hindemith. What tools were they written for?
17. To whom did S. Rachmaninoff dedicate his piano trio?
18. The use of the variation cycle in chamber compositions. Name an example.
19. What were the options for seating in a string quartet?
20. For which instrument was the 2nd sonata in D major S. Prokofiev intended?
21. How many quartets did D. Shostakovich write?
22. What do you know about the history of the department of chamber ensemble and string quartet of KNK im. Kurmangazy?
23. What are the chamber works of F. Chopin.
24. Chamber ensemble as an independent performing discipline. What are the specifics?
25. How many sonatas for violin and piano do Haydn, Mozart and Beethoven have?
26. Strings for stringed instruments.
27. Impressionism in the painting and musical art of the nineteenth century.
28. What is the composition of the “French Six”. What united them?
29. Which Kazakhstan composers turned to the quartet genre?
30. How many piano trios did L. Beethoven write?
ASSESSMENT CRITERIA:
The assessment criteria of performance are determined by the persuasiveness of interpretation, vividness of the creative thinking, understanding of the style, content and form of the performed composition, ensemble skill mastery and artistic freedom.
· 27-35 points (excellent)
Ensemble members have high performing skills. The program is performed confidently, the performance concept is thoughtful. The instrumental part of each performer is an organic part of joint ensemble. The program is quite complex, it has a variety of ensemble tasks. There is a freedom of stage performance, artistry and stability of performance.
· 17-26 points (good)
There are confident performance of the program and competent reading of the author's text. The musicians have the basic principles of the ensemble performance, the artistic tasks of the composition are comprehended. However, the musicians do not have enough ensemble sensitivity, coherence and flexibility in individual episodes, a variety of sound colors. The performance lacks brightness, emotionality, virtuosic freedom. There is no deep personal understanding and conceptualization of music.
· 9-16 points (satisfactorily)
There is an uncertain knowledge of the parts. The collective members have difficulties in the perception of the partner’s part. There are intonational and rhythmic errors. The ensemble does not have the attention of audience. All attention is directed to the reproduction of their own parts. There is a lack of personal conceptualization of music.
· 0-8 points (unsatisfactorily)
The ensemble part is poorly learned. The ensemble members do not know the partners’ parts. Mistakes and stops are made during the program performance. The author’s tempo instructions are not respected. There are a lot of fake sounds, the rhythm is performed inaccurately. The performers did not fulfill the task of independent conceptualization of music.
CONCERTMASTER CLASS SPECIALTY
1. CREATIVE PROFESSIONAL EXAMINATION
Playing of the following programs:
The concert program for the specialty «Concertmaster class» should include five pieces of vocal and instrumental repertory of various styles (classical, romantics, impressionism, music of the XX-XXI centuries).
The duration of the performance is 30-40 minutes.
2. COLLOQUIUM
Colloquium for specialty «Concertmaster class» determines the general cultural level and erudition of the performer, as well as knowledge related to the history of chamber-instrumental and vocal music, the repertory and specifics of the ensemble performance.
Sample questions for the colloquium:
1. What is the difference between a concertmeister and an accompanier.
2. Concertmeister work in the opera house.
3. Concertmaster's work specifics in vocal classes.
4. Concertmaster's work specifics in classes of string instruments.
5. Concertmaster's work specifics in classes of wind instruments.
6. Concertmaster's work specifics in classes of folk instruments.
7. Concertmaster's work specifics in classes of choral conducting.
8. Concertmaster's work specifics in classes of symphonic conducting.
9. Concertmaster's work specifics in classes of choreography.
10. Classification and characteristics of singing voices.
11. Range.
12. Tessitura.
13. Distinction between opera and chamber singing voices.
14. Orthoepy.
15. Equithermal translation.
16. Travesty.
17. Transcribing musical instruments.
18. Terminology of Vocal.
19. Musical terms designating tempo acceleration in a musical piece.
20. Musical terms designating a retardation in a musical pace.
21. Musical terms designating agogical deviations in a musical pace.
22. Interpretation.
23. Rendering.
24. Chronometer.
25. Outstanding accompanists.
26. Famous masters of vocal art.
27. Types of patters in operas.
28. Meaning of overtures and orchestral performances in the opera.
29. Difficulties in performing of pianoforte parts at the claviers of operas and instrumental concerts.
30. Meaning of piano preludize, interludes, postlude in the romances.
ASSESSMENT CRITERIA:
The assessment criteria of performance are determined by the persuasiveness of interpretation, vividness of the creative thinking, understanding of the style, content and form of the performed composition, ensemble skill mastery and artistic freedom.
27-35 (Excellent)
Creative individuality - persuasiveness of performance, brightness of imaginative thinking, stage freedom, artistic temperament, ensemble sensitivity and skill.
Maturity of musical thinking - understanding of the style, content and form of the performed work. Technical freedom, variety of sound production techniques, their compliance with the style, content and form of the work. Organizing the execution process over time. Artistic taste and culture of performance, knowledge of performing traditions.
17-26 (Good)
Competent reading of the author's text, fairly confident execution. The incoming student demonstrates an understanding of concertmaster tasks, but lacks ensemble sensitivity and a variety of sound palette. There is an understanding of the style of the performed works, possession of the stroke culture, expressive sound, but there is not enough technical, performing, emotional freedom.
9-16 (Satisfactory)
The program is performed hesitantly, technically and emotionally constrained. The lack of understanding and disclosure of the artistic content of the work is inexpressive in sound and stroke. A rough idea of the style, form and drama of the performed works. Difficulties in performing concertmaster tasks, errors, and occasional stops.
0-8 (Unsatisfactory)
Poorly learned text, mistakes and stops. Lack of understanding of the artistic content of works, featureless execution; approximate execution of the author's instructions. Lack of understanding of concertmaster tasks.
ІІI. CREATIVE EXAM – ABSTRACT DEFENSE
Requirements for the abstract:
1. The subject and content of the abstract should correspond to the profile of the specialty.
2. The abstract is performed in Kazakh or Russian languages.
3. The volume of the abstract – not less than 15 pages.
4. Information that must be reflected in the abstract:
· relevance and novelty of the topic;
· formulation of the object, subject, purpose and tasks of the work;
· analysis of recent publications and research, the unsolved part of the problem;
· expected result, practical significance of the research;
· a list of sources used with an indication of the output (name, place and year of publication, number of pages).
5. Citation material of the abstract is drawn up in accordance with the standards of scientific works (footnotes indicating the literary source, page numbers are required).
6. Quote material should not exceed 20% of the total text of the abstract.
7. Note examples (if any) are printed as an attachment to the abstract and are not included in the main page of the text of the abstract.
8. The text should be printed at a single interval. Fields: right – 10 mm., left – 30 mm., upper and lower – 20 mm. Page numbering is continuous. Page number is placed on the right at the bottom of the page.
Abstract defense also includes possible issues on the theory, history of music, musical folklore or methods of teaching special subjects related to the chosen research topic.
ASSESSMENT CRITERIA
The maximum number of points for creative examination in abstract defense is 35 points. The minimum score is 9 points.
- 27-35 points (excellent)
The applicant must present an actual problem, demonstrate sufficient erudition, analytical thinking, proficiency in a scientific apparatus, a vision of ways to solve the problem.
- 17-26 points (good)
The applicant formulates the aim and objectives well, logically outlines the main provisions of the study. But at the same time the applicant demonstrates an insufficient knowledge level of the problems of the theory, history and methodology of the issue under consideration.
- 9-16 points (satisfactorily)
Poor understanding of the research problem, insufficient knowledge of written scientific presentation, insufficient validity of the relevance of the work.
- 0-8 points (unsatisfactorily)
The lack of practical significance of the research, a small amount (10 or less pages), poor knowledge of the scientific apparatus, the discrepancy between the topics and the specialty profile.
VIDEO RECORDING SPECIFICATIONS
Video recording should be made non-stop from the beginning to the end of the work. Pauses in recordings between works are allowed. The use of video editing, combining several passages in the performance of one work is not allowed. During the execution of the program, the hands, instrument and face of the performer should be clearly visible.
An amateur format is allowed, subject to all the above requirements. If the video does not meet the technical requirements, the sent video will not be considered.
VIDEO SEND REQUIREMENTS
1. The applicant needs to make a video recording of the program, upload it to the YouTube channel and drop the link with open access to the video to the secretary of entrance exams korlan-07@mail.ru, +77077130434 WhatsApp, not later than 15.07.2020
2. In a letter with a link to the video, the applicant must indicate: name, executable program, department where he enters, a copy of the identity card, contact information (in case of problems with the link or video);
3. In the description of the video, indicate the name and executable program.
For all questions regarding the entrance exam specializing in String Instruments, contact Khalilova Korlan Maratovna+7 707 713 0434