Musicology
THE PROGRAM
of the creative examination
Educational program
«6B02114 – MUSICOLOGY»
I. CREATIVE EXAM IN THE SPECIALTY
The oral examination in musical literature (by tickets) includes three forms of assessment of applicants' knowledge:
1. Oral answers on the program of the discipline «Musical literature». The ticket includes 3 questions on Kazakh, Western European, Russian-Soviet musical literature.
One of the ticket questions for applicants to musicology is a critical analysis of a work by a Russian, Kazakh or foreign composer (parts of an opera, symphony, sonata, concert, suite or play). Other questions of the ticket suggest a detailed description of the composer's work, or works where it is necessary to determine their historical significance in the context of national or world musical culture.
Questions on Kazakh musical literature
1. Song culture of the Kazakh people.
2.Vocal lyrics of Abai.
3.Ahan Seri. Creative look.
4. Instrumental music of the Kazakh people.
5. Kurmangazy – a classic of Kazakh dombra music.
6.Tattimbet and traditions of kyui shertpe.
7.A. Zhubanov. Creative look.
8.A. Zhubanov. L. Hamidi. The image of Abai in the opera «Abai».
9. M. Tulebaev. Opera «Birzhan and Sarah». Aitys scene.
10. E. Brusilovsky. Creative look.
11.K. Kuzhamyarov. First Symphony.
12. K. Musin. Symphonic poem «On Jailau».
13. S. Mukhamedzhanov. Oratorio «Voice of Ages».
14. G. Zhubanova. Symphony «Giger».
15. E. Rakhmadiev. Opera «Alpamys».
Questions on foreign musical literature
1. J.S. Bach. Creative appearance.
2. K. Gluck. Opera «Orpheus».
3. J. Haydn. Symphony No. 103.
4. W. Mozart. Symphony No. 40.
5. Piano sonatas by L. Beethoven.
6. Romanticism in music.
7.F. Schubert. «Beautiful miller».
8. R. Schumann. Carnival.
9. G. Berlioz. «Fantastic Symphony».
10. F. Chopin. Piano Preludes.
11. F. List. Hungarian Rhapsodies.
12. D. Verdi. The image of Violetta in the opera «La Traviata».
13.J. Bizet. The image of Carmen in the opera «Carmen».
14. Impressionism in music.
15.K. Orff. «Carmina Burana».
Questions on Russian-Soviet musical literature
1.M. Glinka. «Kamarinskaya».
2.A.Dargomyzhsky. Creative look.
3. M. Balakirev. Creative look.
4.Mussorgsky. The image of Boris in the opera «Boris Godunov».
5.A.Borodin. The image of Igor in the opera «Prince Igor».
6.N.Rimsky-Korsakov. Folk ritual scenes in the opera «The Snow Maiden».
7. P. Tchaikovsky. Symphony No. 4.
8.S.Rakhmaninov. Concerto for piano and orchestra No. 2.
9.A.Scriabin. «Divine Poem»
10. I. Stravinsky. Creative look.
11.N.Myaskovsky. 21 symphonies.
12. S. Prokofiev. Seventh Symphony.
13. D. Shostakovich. Symphony No. 5.
14. Symphonism by D. Shostakovich.
15. A. Khachaturian. Concerto for violin and orchestra.
2. Playing musical fragments on the piano. This type of knowledge assessment requires a demonstration of playing or singing (with accompaniment) at least 30, for applicants-ethnomusicologists - at least 20 fragments from the works of Western European, Russian, Kazakh composers (optional).
The fragment must be logically complete, have the form of a minimum period or couplet (song).
3. Musical quiz, including 20 examples from foreign, Russian, Kazakh literature. The main goal is to determine the degree of knowledge of the musical material of the course of musical literature and the level of musical training of applicants.
TECHNICAL REQUIREMENTS FOR THE LIST OF MUSICAL PIECES:
1. The list of musical fragments must be submitted in electronic and printed format: computer set in Microsoft Word format, font - Times New Roman, size - 14, line spacing - single, all margins - 2 cm, width alignment.
2. The surname and initials of the applicant and the code of the specialty are indicated on the title page.
Evaluation criteria
I creative exam
in the specialty for applicants
36-50 Excellent:
– showing excellent knowledge of the musical material of the quiz and when performing musical fragments (themes); clear and confident oral response, developed speech; excellent knowledge of the creativity of composers, musical works; good orientation in the stylistic specifics of historical epochs.
21-35 Good:
– showing good knowledge of the musical material of the quiz and when performing musical fragments (themes); clear and confident oral response, developed speech; small gaps in the knowledge of the creativity of composers, musical works; sufficient orientation in the stylistic specifics of historical epochs.
5-20 Satisfactory:
– showing average knowledge of the musical material of the quiz and when performing musical fragments (themes); uncertain oral response, insufficiently developed speech; fragmentary knowledge of the creativity of composers, musical works; approximate orientation in the stylistic specifics of historical epochs.
0-4 Unsatisfactory:
– significant mistakes in the music quiz and in the performance of musical fragments (themes); significant gaps in knowledge, undeveloped speech; poor knowledge of the creativity of composers, musical works.
ІІ. CREATIVE EXAM
IN MUSIC-THEORETICAL DISCIPLINES
The comprehensive music theory exam includes an oral answer on harmony and a written work on solfeggio.
Harmony – orally by tickets: the play of sequences (tonal or modulating); gradual modulations, into distant tonalities and sudden (back, through the enharmonism of the reduced introductory seventh chord, dominant seventh chord, through the VI and II low stages); harmonic analysis (the entrant must determine the form of the work, the structure of the period, characterize cadences, tonal plan, analyze the function of each chord).
Solfeggio – written: a 3-voice dictation of a harmonic warehouse, in the form of a period (8, 12 bars) containing alterations, chromaticism, deviations and modulation in the key of diatonic or chromatic affinity.
Evaluation criteria
II creative exam
in the specialty for applicants
36-50 Excellent:
– absolutely correct dictation recording; in-depth knowledge of the topics of the theoretical course of harmony; precise definition of functions in harmonic analysis; fluency in the skill of playing modulation and sequences.
21-35 Good:
– the presence of insignificant pitch and rhythmic errors in dictation; good knowledge of the topics of the theoretical course of harmony; good command of the skill of playing modulation and sequences.
5-20 Satisfactory:
– significant mistakes in writing dictation; average knowledge of the topics of the theoretical course of harmony; inaccurate definition of functions in harmonic analysis; insufficient skills and abilities of playing modulations and constructing sequences.
0-4 Unsatisfactory:
– lack of dictation writing skills, playing modulations and sequences; low level of knowledge of the topics of the theoretical course of harmony.