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ENTRANCE
SYSTEM - LEGAL REQUIREMENTS
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24-03-2006
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ENTRANCE
EXAMINATIONS FOR ADMISSION
IN THE LOGSE HIGHER DEGREE 2006-07
Information regarding LOGSE Entrance Examinations in each Speciality for students wanting to take courses at the Conservatoire.
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INTRODUCTION
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This Order sets
the regulations regarding the entrance examination into the higher degree, as
well as the assignment of student places, basically established in the Royal
Decree 617/1995 of 21st April 1995. The basic directives of such examination
for each speciality correspond to a general approach that will enable the evaluation
of the necessary artistic knowledge and abilities for an adequate development
of music higher studies.
Article 18
1. In order to access the higher degree in music studies it will be necessary
-in addition to the academic requirements of having the secondary education
diploma (Título de Bachiller) and having passed the third cycle of the
intermediate degree- to pass the specific examination established by the Organic
Law 1/1990 of 3rd October, Article 40, no. 3, on the General Regulation of the
Education System, regulated by the Royal Decree 617/1995 of 21st April 1995,
Article 8; this examination will prove that the candidate possesses the necessary
professional knowledge and abilities to take the requested speciality with adequate
progress. The contents of this examination must take into account those established
for the Intermediate Degree by the Royal Decree 756/1992 of 26th June and the
Order of 28th August 1992.
2. In addition, access to the higher degree of music studies is granted
to those who, albeit not possessing one or both academic requirements referred
to by the previous paragraph, pass the examination established by Article 8
of the aforementioned Royal Decree, assuming they prove, by means of the specific
test described by Article 9 of the Decree, to be in possession of the knowledge
and abilities inherent to the intermediate degree, as well as the specific abilities
required to take the requested speciality with adequate progress.
The entrance examination will be marked between 0 and 10 points, with a minimum
of 5 points being necessary to pass.
Passing the entrance examination only enables to enrol in the studies for which it has been called.
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SPECIAL
ADMISSIONS
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EXTRAORDINARY
ENTRANCE EXAMINATION (previous)
Art. 20, Order 1754/2001 and Eleventh Regulation, Pronouncement of 06-06-2001
of the Dirección General de Ordenación Académica
Candidates who are not in possession of a Secondary School Diploma (Título de Bachiller or equivalent)
1.
Before the ordinary examination, candidates not possessing a secondary school
degree will have to take a previous humanistic test so as to evaluate their
intellectual maturity by their use of language and their ability to understand,
relate and synthesise concepts.
2. This test, which will precede the ordinary examination, and in
any case will not be qualifying, will be written and last as long as the
Examining Board sees fit; its contents will be the common subjects of the
secondary education curriculum. Students will be offered contents from three
subjects: History, Philosophy and Spanish Language and Literature. The student
must choose two. In each of the selected subjects he/she will be presented
two options, from which one must be taken and explained.
3. The conception and appraisal of this test will be carried out
by Education Inspectors from the aforementioned areas, or by consulting
experts assigned to the Examining Boards at the suggestion of the Education
Inspection Service of the Madrid Dirección del Área Territorial.
EXTRAORDINARY ENTRANCE EXAMINATION (previous)
Art. 20, Order 1754/2001 and Tenth Regulation, Pronouncement of 06-06-2001
of the Dirección General de Ordenación Académica
Candidates who have not finished their Intermediate Degree music studies
1.- Students who have not passed their studies in the third cycle of the Music Intermediate Degree, or who have not finished the studies leading to the Teacher's Degree or the Choral Ensemble Singer's Diploma from the 1966 and 1970 Syllabuses (which are being phased out), and want to continue their studies by entering the Higher Degree of the new system, will have to carry out before the ordinary examination a music schooling test to prove they are sufficiently trained to have favourable prospects in their Higher Degree studies. This general music training will be established in connection with the student's hearing ability, degree of understanding and use of the various harmonic resources and procedures as well as his/her knowledge in the fields of music theory and history.
2.- This test, which precedes the ordinary examination, and which in any case will not be qualifying, will be written and last as long as the Examining Board sees fit. It will have three parts:
- Music history knowledge test, including a textual analysis relating to some general aspect of musical culture.
- Harmony and counterpoint analysis.
- Music hearing and music theory test.
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FOREIGN
STUDENTS
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Students who have taken previous studies outside Spain must submit a validation certificate corresponding to the Secondary School Diploma (Título de Bachiller) and the Intermediate Degree Diploma (Título de Grado Medio) in the relevant music speciality, both of which can be obtained from the Spanish Ministry of Education (Ministerio de Educación: Sección de convalidación de Estudios Extranjeros - Paseo del Prado nº 28 – 28014-Madrid - Tel.: + 34 915 065 600), or an official conditional enrolment authorisation, until the validation is completely accomplished by the Ministry.
In Higher Music Conservatoires, the number of foreign students –excluding those from European Union member states, who have the same treatment as Spanish students for these purposes- cannot exceed 15 percent of the yearly number of places offered in each speciality.
In any case, the entrance of such students is conditional on passing the Spanish language test which will be established by centres for these purposes (Art. 22.2 Order 1754/2001 and Eighth Regulation, Pronouncement 06-06-2001 of the Dirección General de Ordenación Académica).
Passport, visas and Student Card
EU
STUDENTS
Students whose nationality is that of any of the European Union member states
are not required any visa to enter or stay in Spain, nor any kind of permit
to carry out working duties. In any case, if they want to possess a European
Student Card they must request it at the police station of Plaza de la Remonta
(underground station Tetuán, Line 1).
NON-EU
STUDENTS
Students from outside the European Union who are bound to take a course
longer than three months need, in order to regulate their entry in Spain,
a passport in order, along with their respective student visa, which
is processed at the Spanish Consulate in the country of origin.
In
order to obtain this visa, the potential student will be generally asked for:
A proof of admission to a Spanish teaching centre for a course lasting
longer than three months.
In most Consulates, a total or part payment in advance of the registration fee.
The so-called Certificado de residencia (residency certificate), which must specify the place or people who will provide the student with accommodation or assistance in Madrid.
Proof of sufficient financial means to support his/her maintenance in Spain during the study period.
Certain consulates require a medical examination previous to travelling to Spain. Some consulates also require the so-called Certificado de antecedentes penales (criminal record).
This visa enables students to enter Spain under such student status, but it is only valid for 3 months; for this reason, before its expiry date the student must request from the Spanish Police a document called Tarjeta de Estudiante (Student Card), which, besides replacing the student visa originally obtained in the country of origin, provides complete legality to the student’s stay in Spain, as well as granting the right to free movement within the signatory states of the Schengen Agreement (that have not expressed reservations thereto), without needing to process a visa for each specific country.
The Student Card is given for the duration of the course being taken.
Important:
Before travelling, and with the purpose of
processing the Student Card, it is essential for the student to prepare the
following documentation:
4 standard passport photographs
Proof of admission to the Real Conservatorio Superior de Música de Madrid.
Conservatoire registration proof of payment.
Requirements
for obtaining the Student Card once the student is in Spain:
All documents must be in both original and copy.
Application
Form.
Passport in order.
Having entered Spain with the D-series visa, which is specifically issued
for education or research purposes .
4 passport-sized photographs.
Proof of sufficient financial means to cover the stay and return expenses,
bank deposit, bank movement and origin thereof, or grant receipt.
Proof of admission as a student or researcher at the Real Conservatorio
Superior de Música de Madrid, where the main activity is supposed
to be carried out with a timetable implying attendance and a period of no less
than three months.
Private medical insurance (this can be contracted in Madrid at good prices).
Address-evidencing document (tenancy agreement or owner’s document supporting
that the student lives with him/her).
These documents must be submitted to the Provincial Immigration and Documentation Brigade, in Los Madrazo 9 (underground station Sevilla, Line 2).
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FOR
FURTHER INFORMATION REGARDING
click here This link leads to the Home Office (Immigration) |
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ORDINARY
ENTRANCE EXAMINATION
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IMPORTANT FOR INSTRUMENTAL SPECIALITIES:
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The candidate must present the Examining Board at least four works in different
styles.
- Candidates will compulsorily bring their own accompanists for the performance
of pieces requiring them.
- At the moment of starting the entrance examination the candidate will provide
the Examining Board with two photocopies of the works to be performed.
- In each given case, the Examining Board can listen to a part or the whole
of each work.
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CRITERIA
IN THE ASSESSMENT OF THE ORDINARY EXAMINATION
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ASSESSMENT CRITERIA FOR THE LOGSE ENTRANCE EXAMINATIONS FOR ALL SPECIALITIES
1.
Appraisal of student’s command of the technical basics.
2. Appraisal of his/her understanding of the text to be performed.
3. Appraisal of his/her musicality and interpretational maturity.
ASSESSMENT PERCENTAGES FOR THE DIFFERENT PARTS OF THE ORDINARY LOGSE ENTRANCE EXAMINATION, BY DEPARTMENT
WIND
AND PERCUSSION DEPARTMENT
Test A 70%
Test B 20%
Test C 10%
STRING
DEPARTMENT
Test A 70%
Test B 20%
Test C 10%
KEYBOARD
DEPARTMENT
ACCORDION and ORGAN
Test A 70%
Test B 15%
Test C 15%
PIANO
Test A 70%
Test B 10%
Test C 20%
PEDAGOGY OF THE PIANO
Test A 70%
Test B 10%
Test C 20%
DEPARTMENT
OF CONDUCTING, COMPOSITION AND MUSIC THEORY
Test A 10%
Test B 40%
Test C 40%
Test D 10%
PEDAGOGY
DEPARTMENT
Test A 20%
Test B 30%
Test C 20%
Test D 30%
EARLY
MUSIC DEPARTMENT
Test A 60%
Test B 30%
Test C 10%
MUSICOLOGY
DEPARTMENT
Test A 20%
Test B 40%
Test C 40%
These criteria and percentages, which will define the different importance accorded to each part of the ordinary examination, were approved at the meeting of the Board of Departments held on 24th March 2006.
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ACCORDION
SPECIALITY
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A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made up by pieces and/or studies of level-relevant difficulty. While the works suggested by the Centre may be used as a reference, the student may present a different programme of identical or similar level. It will be the Examining Board’s task, in any case, to choose during the test which work(s) from those presented by the student will have to be performed.
Suggested
works:
Musik 1982. Fritz Dobler. Ed. Hohner
Aphorisms. Petr Fiala. Ed. Trio-Förlaget
Mini Suite no. 4 op. 42. Gerhard Wuensch. Ed. Waterloo
Trip to the Moon. Russ Mesina. Ed. Waterloo
B.
ANALYSIS
Analysis of a work or excerpt proposed by the Examining Board.
C.
SIGHT-READING TEST
The Examining Board will provide the necessary time for its preparation.
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HARP SPECIALITY |
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A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made up
by pieces and/or studies of level-relevant difficulty. While the works suggested
by the Centre may be used as a reference, the student may present a different
programme of identical or similar level. It will be the Examining Board’s
task, in any case, to choose during the test which work(s) from those presented
by the student will have to be performed.
Suggested
works and studies:
First movement of a Harp Concerto starting from Mozart (Mozart included).
Fantasy in C minor for solo Harp by L. Spohr
A study by F. Smith.
A study by W. Posse.
B. ANALYSIS
Formal, technical and aesthetic analysis of a Classical sonata or concerto.
C. SIGHT-READING
TEST
Sight-reading of a level-relevant excerpt from the symphonic, opera
and ballet repertoire. The student will be provided with the necessary time
to prepare the test.
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SINGING SPECIALITY |
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The Singing Speciality of the LOGSE Syllabus will not be taught at the Real Conservatorio Superior de Música de Madrid. According to the Orders of 2001 2052/2001 (28th May) and 2139/2001 (1st June) of the Autonomous Education Minister of Madrid, higher music education in the Singing Speciality will become the responsibility of the Higher Singing School of Madrid. To request information about access to this Speciality, please contact the School at: Escuela
Superior de Canto de Madrid. |
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CLARINET
SPECIALITY
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A.
INTERPRETATION
Performance of a programme of approximately thirty minutes, made up by
pieces and/or studies of level-relevant difficulty. While the works suggested
by the Centre may be used as a reference, the student may present a different
programme of similar level. It will be the Examining Board’s task, in any
case, to choose during the test which work(s) from those presented by the
student will have to be performed.
Suggested
works and studies:
Seis estudios resumen from Antonio Romero’s Método (revised by
Julián Menéndez), Part 3, pages 58-68.
Clarinet Concerto no. 1. L. Spohr.
One of C. M. Von Weber’s concerti.
Sonata for clarinet and piano. F. Poulenc.
Three pieces for solo clarinet. I. Stravinsky.
Solo de Concurso. M. Yuste.
Fantasía-Capricho. J. Menéndez.
B.
ANALYSIS
Formal, technical and aesthetic analysis of a music work.
C.
SIGHT-READING TEST
Sight-reading of a level-relevant excerpt. The student will be provided
with the necessary time to prepare the test.
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HARPSICHORD
SPECIALITY
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A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made up by
pieces and/or studies of level-relevant difficulty. While the works suggested
by the Centre may be used as a reference, the student may present a different
programme of similar level. It will be the Examining Board’s task, in
any case, to choose during the test which work(s) from those presented
by the student will have to be performed.
Suggested
works and studies:
Toccata in D minor BWV 913. J. S. Bach.
A French or English Suite. J. S. Bach.
A Prelude and Fugue from ‘The Well-Tempered Clavier’. J. S. Bach.
A Frescobaldi toccata (Book I or II).
A sonata by D. Scarlatti or A. Soler.
A suite by L. Couperin or J. J. Froberger.
B. ANALYSIS
Analysis of a work or excerpt proposed by the Examining Board, e.g.
a Prelude and Fugue from J. S. Bach’s "Well-Tempered Clavier"
(I or II).
C. ACCOMPANIMENT
The accompaniment test will have two parts:
1) Sight-reading of a figured bass proposed by the Examining Board.
2) Performance of a slow and a fast movement from a work for soloist and
basso continuo (such as violin, recorder or flute sonatas by Handel,
Telemann, Corelli etc.). The candidate must provide his/her own soloist.
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COMPOSITION
SPECIALITY
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A.
INTERPRETATION
Performance on the student’s main instrument (or voice, in the case
of Singing students), during approximately fifteen minutes, of the works
chosen by the Examining Board from a list previously presented by the candidate.
The list must include at least four works of medium difficulty belonging
to the most representative styles of the instrument’s literature, freely
chosen by the candidate. In the case of Singing, the list will consist of
a minimum of eight works.
B.
PRESENTATION AND ORAL DEFENCE OF STUDENT’S WORKS
Presentation and oral defence of at least three works or pieces enabling
a sufficient assessment of the student’s knowledge level. If the Examining
Board sees fit, the candidate will be able to present these works or pieces
as recordings (using a cassette or any other audio medium) for the sake
of a better oral defence.
C. HARMONY AND COUNTERPOINT EXERCISE ON A GIVEN THEME
D.
PIANO SIGHT-READING TEST
The Examining Board will assign an adequate preparation time. The conception
of this part of the examination will be so as to not non-pianist candidates
put in a situation of disadvantage.
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DOUBLE BASS SPECIALITY |
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A.
INTERPRETATION
Performance of a programme of approximately thirty minutes, made up
by pieces and/or studies of level-relevant difficulty. While the works suggested
by the Centre may be used as a reference, the student may present a different
programme of identical or similar level. It will be the Examining Board’s
task, in any case, to choose during the test which work(s) from those presented
by the student will have to be performed.
Suggested
works and studies:
A Dittersdorf concerto.
An Ecclés sonata.
F. Simandl: Studies no. 1 (pp. 18 and 19) and no. 9 (pp. 36 and 37 of Part
2).
B.
ANALYSIS
Formal, technical and aesthetic analysis of a Classical sonata or concerto.
C.
SIGHT-READING TEST
Sight-reading of a level-relevant excerpt. The student will be provided
with the necessary time to prepare the test.
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CHOIR AND ORCHESTRA CONDUCTING SPECIALITIES |
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A. INTERPRETATION
Performance on the student’s main instrument (or voice, in the case
of Singing students), during approximately fifteen minutes, of the works
chosen by the Examining Board from a list previously presented by the
candidate. The list must include at least four works of medium difficulty
belonging to the most representative styles of the instrument’s literature,
freely chosen by the candidate. In the case of Singing, the list will
consist of a minimum of eight works.
B. HARMONY AND COUNTERPOINT EXERCISE
C. HEARING TEST (recognition of chords, cadential and modulation processes, structural, formal, rhythmic and aesthetic aspects in the proposed excerpts, etc.)
D. PIANO SIGHT-READING TEST
The Examining Board will provide the necessary time for its preparation. The conception of this part of the examination will be so as to not non-pianist candidates put in a situation of disadvantage.
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BASSOON SPECIALITY |
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B. ANALYSIS
Written aesthetic and formal analysis of a music work or excerpt.
The candidate will have the time established by the Examining Board.
C. SIGHT-READING
TEST
Sight-reading of an excerpt proposed by the Examining Board. The latter will specify the preparation time the candidate will have before his/her performance.
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RECORDER SPECIALITY |
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A.
INTERPRETATION
Performance of a programme of approximately thirty minutes, made up
by pieces and/or studies of level-relevant difficulty. While the works suggested
by the Centre may be used as a reference, the student may present a different
programme of similar level. It will be the Examining Board’s task, in any
case, to choose during the test which work(s) from those presented by the
student will have to be performed.
Suggested
works and studies:
Performance of two of G. Ph. Telemann’s "Fantasias in related keys
for solo treble recorder".
Sonata in A minor for treble recorder and basso continuo. G. F. Händel.
Sonata in D minor for treble recorder and basso continuo. G. Ph. Telemann.
Suite in E minor for treble recorder and basso continuo. J. Hotteterre.
La Follia" Op. 5 no. 6 for treble recorder and basso continuo. A. Corelli.
Sonata in G minor for treble recorder and basso continuo no. 6 from A. Vivaldi’s
Il Pastor Fido.
Partita for solo recorder (in C minor). J. S. Bach.
B.
ANALYSIS
Written aesthetic and formal analysis of a music work or excerpt. The
candidate will have the time established by the Examining Board.
C.
SIGHT-READING TEST
Sight-reading of an excerpt proposed by the Examining Board. The latter
will specify the preparation time the candidate will have before his/her
performance.
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FLUTE SPECIALITY |
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A.
INTERPRETATION
Performance of a programme of approximately thirty minutes, made up
by pieces and/or studies of level-relevant difficulty. While the works suggested
by the Centre may be used as a reference, the student may present a different
programme of similar level. It will be the Examining Board’s task, in any
case, to choose during the test which work(s) from those presented by the
student will have to be performed.
Suggested
works and studies:
Fantasia (for Flute and Piano). G. Fauré.
The student will choose from one of the following:
Three Pieces for Solo Flute. P. O. Ferroud.
Nocturne et Allegro Scherzando. Ph. Gaubert.
Variantes no. 2. J. V. Peñarrocha.
Sonata (solo flute). Ch. Gordon.
Pieza (solo flute). J. Ibert.
Andante Pastoral et Scherzettino. P. Taffanel.
B.
ANALYSIS
Written aesthetic and formal analysis of a music work or excerpt. The
candidate will have the time established by the Examining Board.
C.
SIGHT-READING TEST
Sight-reading of an excerpt proposed by the Examining Board. The latter
will specify the preparation time the candidate will have before his/her
performance.
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GUITAR SPECIALITY |
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A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made up
by pieces and/or studies of level-relevant difficulty. While the works
suggested by the Centre may be used as a reference, the student may
present a different programme of similar level. It will be the Examining
Board’s task, in any case, to choose during the test which work(s) from
those presented by the student will have to be performed.
Suggested
works and studies:
A work from the Baroque period.
Study no. 12 in A major and Study no. 20 in C major from Fernando Sor’s
"20 Studies for Guitar" (rev. Andrés Segovia), or Fernando
Sor’s Studies nos. 20 and 29 (rev. Regino Sainz de la Maza)
A contemporary work.
B. ANALYSIS
Formal, technical and aesthetic analysis of a music work or excerpt.
C. SIGHT-READING
TEST
Sight-reading of a level-relevant excerpt. The student will be provided
with the necessary time to prepare the test.
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RENAISSANCE AND BAROQUE PLUCKED STRING SPECIALITY |
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(Lute and Vihuela)
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made
up by pieces and/or studies of level-relevant difficulty.
B. ANALYSIS
Analysis of a work or excerpt proposed by the Examining Board.
C. SIGHT-READING
TEST
Sight-reading of an excerpt proposed by the Examining Board. The
latter will specify the preparation time the candidate will have before
his/her performance.
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EARLY MUSIC INSTRUMENTS SPECIALITY |
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(Traverso, Baroque Violin and Baroque Violoncello)
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made
up by pieces and/or studies of level-relevant difficulty, either on
the instrument whose study is being applied for or on another one (modern
or not) with similar technical characteristics.
B. ANALYSIS
Formal analysis of a music work or excerpt proposed by the Examining
Board.
C. SIGHT-READING
TEST
Sight-reading of an excerpt proposed by the Examining Board. The
latter will specify the preparation time the candidate will have before
his/her performance.
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MUSICOLOGY SPECIALITY |
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A.
INTERPRETATION
Performance on the student’s main instrument (or voice, in the case
of Singing students), during approximately fifteen minutes, of the works
chosen by the Examining Board from a list previously presented by the candidate.
The list must include at least four works of medium difficulty belonging
to the most representative styles of the instrument’s literature, freely
chosen by the candidate. In the case of Singing, the list will consist of
a minimum of eight works.
B.
ANALYSIS
Formal analysis of a music work or excerpt.
C. HARMONY AND COUNTERPOINT EXERCISE
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OBOE SPECIALITY |
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A.
INTERPRETATION
Performance of a programme of approximately thirty minutes, made up
by pieces and/or studies of level-relevant difficulty. While the works suggested
by the Centre may be used as a reference, the student may present a different
programme of similar level. It will be the Examining Board’s task, in any
case, to choose during the test which work(s) from those presented by the
student will have to be performed.
Suggested
works and studies:
Guillet, 24 Studies: Studies nos. 4, 5 and 7.
Barret: 18 Grand Studies: Studies nos. 2, 4 and 12.
12 Fantasias for Oboe (or Flute) nos. 1- 3. Telemann. Ed. Bärenreiter.
Concerto in F major F. VII no. 2 (ob. and p. reduction). Vivaldi. Ed. Ricordi.
Sonata in F major K. 370 (ob. and p.).Mozart. Ed. Boosey.
Concerto in C major. J. Haydn. Ed. Breitkopf.
Sonata for Oboe and Piano. C. Saint-Saëns.
Fantaisie Pastorale. E. Bozza. Ed. Leduc.
B.
ANALYSIS
Written aesthetic and formal analysis of a music work or excerpt. The
candidate will have the time established by the Examining Board.
C.
SIGHT-READING TEST
Sight-reading of an excerpt proposed by the Examining Board. The latter
will specify the preparation time the candidate will have before his/her
performance.
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ORGAN SPECIALITY |
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A.
INTERPRETATION
Performance of a programme of approximately thirty minutes, made up
by pieces and/or studies of level-relevant difficulty. While the works suggested
by the Centre may be used as a reference, the student may present a different
programme of similar level. It will be the Examining Board’s task, in any
case, to choose during the test which work(s) from those presented by the
student will have to be performed.
Suggested
works and studies:
GROUP ONE
Siete versos de IV tono (Vol. II, p. 20) A. de Cabezón. Ed. Anglés.
Tiento de medio registro de baxo de sexto tono. F. Correa de Arauxo (E.
Kasner, Vol. II, p.42)
Batalla Imperial J. B. Cabanilles. (Ed. Anglés Instituto Catalán
Vol.II, p.102).
Sonata in F major 109 (Rondó) A. Soler. Ed. Samuel Rubio.
GROUP
TWO
Fugue in G minor. J.S. Bach.
Chorale O Lamm Gottes unschuldig. J.S. Bach.
Chorale Wachet auf, ruft uns die Stimme (BWV) J.S. Bach.
GROUP
THREE
Prelude, fugue and variation. César Franck
Toccata from 4th Symphony. C.M. Widor
Chorale no. 1. J. Brahms
Fantasía para un libro de órgano. M. Castillo
B.
ANALYSIS
Analysis of a work or excerpt proposed by the Examining Board –including
analysis of harmony, counterpoint, style, character, adequate registration,
historical context, etc.
C.
IMPROVISED ACCOMPANIMENT TO A MELODY
Improvised accompaniment to a melody by means of a continuo from
a figured bass provided by the Examining Board. The student may use the
complete series of chords of tonal harmony as well as passing notes, grace
notes etc.
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PEDAGOGY OF THE MUSIC LANGUAGE AND EDUCATION SPECIALITY |
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A.
INTERPRETATION
Performance on the student’s main instrument (or voice, in the case
of Singing students), during approximately fifteen minutes, of the works
chosen by the Examining Board from a list previously presented by the candidate.
The list must include at least four works of medium difficulty belonging
to the most representative styles of the instrument’s literature, freely
chosen by the candidate. In the case of Singing, the list will consist of
a minimum of eight works.
B. VOCAL TEST, solo and ensemble.
C. COMPOSITION of a short didactic piece on a melody or text proposed by the Examining Board.
D.
PIANO SIGHT-READING TEST
The Examining Board will assign an adequate preparation time. The conception
of this part of the examination will be so as to not non-pianist candidates
put in a situation of disadvantage. The Examining Board may request
the accompaniment of an intonation lesson, thus enabling the simultaneous
assessment of the student’s vocal and instrumental abilities.
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PERCUSSION SPECIALITY |
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A.
INTERPRETATION
Performance of a programme of approximately thirty minutes, made up by
pieces and/or studies of level-relevant difficulty. While the works suggested
by the Centre may be used as a reference, the student may present a different
programme of similar level. It will be the Examining Board’s task, in
any case, to choose during the test which work(s) from those presented
by the student will have to be performed.
Suggested
works and studies:
3 Danses Païennes. Serge Bauda.
Four Bagatelles. G. Steiner.
Eight Pieces. Eliott Carter.
5 Pieces. Jaque Delecluse
Suite Ancienne. Maurice Jarre.
Myriades. François Dupin.
Quatre Inventions. Michel Cals.
B.
ANALYSIS
Written aesthetic and formal analysis of a music work or excerpt.
The candidate will have the time established by the Examining Board.
C.
SIGHT-READING TEST
Sight-reading of an excerpt proposed by the Examining Board. The latter
will specify the preparation time the candidate will have before his/her
performance.
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PIANO SPECIALITY |
|
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made
up by pieces and/or studies of level-relevant difficulty. While the
works suggested by the Centre may be used as a reference, the student
may present a different programme of similar level. It will be the Examining
Board’s task, in any case, to choose during the test which work(s) from
those presented by the student will have to be performed.
Suggested
works and studies:
J. S. Bach Concierto Italiano
W.A. Mozart Sonata KV 576 en Re M.
L. van Beethoven Sonata nº 8 en Do m.
F. Chopin Scherzo nº 2
M. Ravel Jeux d'eau
C. Debussy Pour le piano
B. ANALYSIS
Analysis of a work or excerpt proposed by the Examining Board from
the repertoire between 1700 and 1930 approximately. The Examining Board
will assess the student’s knowledge of basic aspects of musical forms
and harmony, as well as his/her ability to identify thematic aspects
and potential variations. The degree of difficulty will be equivalent
to that of the theoretical subjects of the LOGSE Intermediate
Degree.
C. SIGHT-READING
TEST
The Examining Board will assess the student’s sufficient ability
to sight-read correctly and fluently an excerpt whose difficulty will
be similar to the repertoire of pieces and studies of the first two
years of the LOGSE Intermediate Degree. The Examining Board will
provide the necessary time for its preparation.
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SAXOPHONE SPECIALITY |
|
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made
up by pieces and/or studies of level-relevant difficulty. While the
works suggested by the Centre may be used as a reference, the student
may present a different programme of similar level. It will be the Examining
Board’s task, in any case, to choose during the test which work(s) from
those presented by the student will have to be performed.
Suggested
works and studies:
Six pièces musicales d’étude. R. Gallois-Montbrun.
Ed. Leduc.
Bisonante. M. Angulo. Ed. M. Mundana.
Saxosas. R. Alis. Ed. Poles.
Suite no. 1. Bach. Ed. Lemoine.
Concerto. A. Glazunov. Ed. Leduc.
Sonata. P. Creston. Ed. Shawveches.
Scaramouche. D. Milhaud. Ed. Salabert.
Sonata. P. Hindemith. Ed. Schott.
B. ANALYSIS
Written aesthetic and formal analysis of a music work or excerpt.
The candidate will have the time established by the Examining Board.
C. SIGHT-READING
TEST
Sight-reading of an excerpt proposed by the Examining Board. The
latter will specify the preparation time the candidate will have before
his/her performance.
|
TROMBONE SPECIALITY |
|
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made
up by pieces and/or studies of level-relevant difficulty. While the
works suggested by the Centre may be used as a reference, the student
may present a different programme of similar level. It will be the Examining
Board’s task, in any case, to choose during the test which work(s) from
those presented by the student will have to be performed.
Suggested
works and studies:
Concertino op. 4. Ferdinand David.
Concerto in F minor. G.F. Handel.
Morceau Sunphonique. Guilmant.
Concertino op. 7. L. E. Larsson.
Sonata. S. Suler.
B.A.C.H. K. Sturzenneger.
Sonatina. K. Serocki.
B. ANALYSIS
Written aesthetic and formal analysis of a music work or excerpt.
The candidate will have the time established by the Examining Board.
C. SIGHT-READING
TEST
Sight-reading of an excerpt proposed by the Examining Board. The
latter will specify the preparation time the candidate will have before
his/her performance.
|
FRENCH HORN SPECIALITY |
|
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made
up by pieces and/or studies of level-relevant difficulty. While the
works suggested by the Centre may be used as a reference, the student
may present a different programme of similar level. It will be the Examining
Board’s task, in any case, to choose during the test which work(s) from
those presented by the student will have to be performed.
Suggested
works and studies:
Study no. 21 from "40 Studies". H. Kling.
Concerto no. 1 in E flat major op. 11. R. Strauss.
Concerto no. 3 in E flat major. W. A. Mozart.
Sonata (1939) for French Horn and Piano. P. Hindemith.
Sonata in F minor. G. Ph. Telemann.
39 Preludes (nos. 12 and 39) J.F. Gallay.
B. ANALYSIS
Written aesthetic and formal analysis of a music work or excerpt.
The candidate will have the time established by the Examining Board.
C. SIGHT-READING
TEST
Sight-reading of an excerpt proposed by the Examining Board. The
latter will specify the preparation time the candidate will have before
his/her performance.
|
TRUMPET SPECIALITY |
|
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made
up by pieces and/or studies of level-relevant difficulty. While the
works suggested by the Centre may be used as a reference, the student
may present a different programme of similar level. It will be the Examining
Board’s task, in any case, to choose during the test which work(s) from
those presented by the student will have to be performed.
Suggested
works and studies:
Studies nos. 3 and 4 from the method. Bach-Michael J. Lisondi for
trumpet in C.
Trumpet Concerto in E flat. J. Haydn.
Trumpet Concerto in E flat. J. N. Hummel.
Trumpet Concerto. Charles Chaynes.
Concerto in F minor. Oskar Böhme.
Study no. 2 from the method "Thirty-six Transcendent Studies".
Theo Charlier.
B. ANALYSIS
Written aesthetic and formal analysis of a music work or excerpt.
The candidate will have the time established by the Examining Board.
C. SIGHT-READING
TEST
Sight-reading of an excerpt proposed by the Examining Board. The
latter will specify the preparation time the candidate will have before
his/her performance.
|
TUBA
SPECIALITY
|
|
A.
INTERPRETATION
Performance of a programme of approximately thirty minutes, made up
by pieces and/or studies of level-relevant difficulty. While the works
suggested by the Centre may be used as a reference, the student may present
a different programme of similar level. It will be the Examining Board’s
task, in any case, to choose during the test which work(s) from those
presented by the student will have to be performed.
Suggested
works and studies:
Tuba
Study no. 2 from Otto Maenz’s "12 Special Studies for Tuba".
Concerto in one movement. A. Lebedev.
Sonata in A minor. B. Marcello.
Effie suite. A. Wilder.
Suite for unaccompanied tuba. W. S. Hartley.
Elegie. A. Khouduyan.
L'os Hispanic. A. Blanquer.
Euphonium
Study no. 1 from Arban’s Characteristic Studies (Complete Trombone
Method).
Sonata in A minor. B. Marcello.
Romance. D. Uber.
La joia catalana. Anonymous.
Sonata for solo euphonium. A. Frackenphol.
Fantasia no. 3. G. Ph. Telemann.
Guamiliana. Mª A. López Artiga.
B.
ANALYSIS
Written aesthetic and formal analysis of a music work or excerpt.
The candidate will have the time established by the Examining Board.
C.
SIGHT-READING TEST
Sight-reading of an excerpt proposed by the Examining Board. The latter
will specify the preparation time the candidate will have before his/her
performance.
|
VIOLA DA GAMBA SPECIALITY |
|
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made
up by pieces and/or studies of level-relevant difficulty. While the
works suggested by the Centre may be used as a reference, the student
may present a different programme of similar level. It will be the Examining
Board’s task, in any case, to choose during the test which work(s) from
those presented by the student will have to be performed.
Suggested
works and studies:
- Aurelio Virgiliano: Ricercata a solo. Ed.: SPES, Florence
1979 (facsimile). London PME 1980 (modern)
- William Corkine: Pavin, Galliard and Almain in "Alfonso Way"
tuning (f-f-h-f-h). Ed.: facs. London
- Henry Butler: Division in G major. Ed. Collected Works, A-R Ed. 1991
- Charles Dollé: Suite in C minor Ed. Minkof, 1979
- Marin Marais: Caprice ou Sonate (4ème Livre).
Ed. Schola Cantorum Basiliensis, Ed.Fuzeau
- Christoph Schaffrath: Sonata in A major for viola da gamba
and obbligato harpsichord. Ed. B&H 1942
B. ANALYSIS
Analysis of a work or excerpt proposed by the Examining Board.
C. SIGHT-READING
TEST
The Examining Board will provide the necessary time for its preparation.
|
VIOLA SPECIALITY |
|
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made up
by pieces and/or studies of level-relevant difficulty. While the works
suggested by the Centre may be used as a reference, the student may
present a different programme of similar level. It will be the Examining
Board’s task, in any case, to choose during the test which work(s) from
those presented by the student will have to be performed.
Suggested
works and studies:
First movement of a Concerto starting from K. Stamitz with a free cadence.
First movement from Sonata in F minor Op. 120. Brahms.
Study no. 1. F. A. Hoffmeister
Capriccio no. 6. Campagnoli.
B. ANALYSIS
Formal, technical and aesthetic analysis of a Classical sonata or concerto.
C. SIGHT-READING
TEST
Sight-reading of a level-relevant excerpt. The student will be provided
with the necessary time to prepare the test.
|
VIOLIN SPECIALITY |
|
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made
up by pieces and/or studies of level-relevant difficulty. While the
works suggested by the Centre may be used as a reference, the student
may present a different programme of similar level. It will be the Examining
Board’s task, in any case, to choose during the test which work(s) from
those presented by the student will have to be performed.
Suggested
works and studies:
First movement from a Violin Concerto starting from Mozart.
Rondo in A major D. 438 for Violin and Orchestra (piano reduction).
F. Schubert.
A Capriccio from Rode’s "24 Capriccios".
A study from Gaviniés’ 24 Études (Matinées).
B. ANALYSIS
Formal, technical and aesthetic analysis of a Classical sonata or
concerto.
C. SIGHT-READING
TEST
Sight-reading of a level-relevant excerpt. The student will be provided
with the necessary time to prepare the test.
|
VIOLONCELLO SPECIALITY |
|
A. INTERPRETATION
Performance of a programme of approximately thirty minutes, made up
by pieces and/or studies of level-relevant difficulty. While the works
suggested by the Centre may be used as a reference, the student may
present a different programme of similar level. It will be the Examining
Board’s task, in any case, to choose during the test which work(s) from
those presented by the student will have to be performed.
Suggested
works and studies:
First movement from Concerto in B flat (cadence included). L. Boccherini,
First movement from Concerto in C major no. 1 (cadence included). J.
Haydn.
Study no. 22 from D. Popper’s Op. 73.
Capriccio no. 8 from Piatti’s Op. 25.
B. ANALYSIS
Formal, technical and aesthetic analysis of a Classical sonata or concerto.
C. SIGHT-READING
TEST
Sight-reading of a level-relevant excerpt. The student will be provided
with the necessary time to prepare the test.
