Professional Documents
Culture Documents
Kandidatniv
Komposition 180 hp
Masterniv
Komposition 120 hp
Komposition Diplom 120 hp
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2-7
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10-13
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18-19
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vningsprov
Komposition 180 hp, kandidatniv
Antagningsprovets utformning
Fr att f en god bild av dig som skande, testar vi dina kunskaper med hjlp av
nedanstende prov. Resultaten av dessa prov visar ocks vilka moment som behver
repeteras under utbildningen.
De fljande sidorna innehller exempel p hur provuppgifterna kan se ut och ungefr
vilken svrighetsgrad och omfattning som gller. Det r vr ambition att kunna
erbjuda alla skande tillgng till piano vid huvudprovet, satslraprovet och
musiklraprovet. Dessa tre prov delas ut samtidigt vid uppropet och sedan disponerar
du totalt 7 timmar fr dessa prov. Du som sker till bde Komposition och Arr/Komp,
klassisk gr kompositionsprovet men med tillgg av sjlva huvudprovet i arrangering
(motsvarande punkt 1) och dessutom tilldelas du mer provtid n 7 timmar.
Huvudprov
1
Kompositionsanalys (partiturfrlaga frn tidigt 1900-tal)
2a-b Kontrapunkt (vlj mellan Palestrina- och Bachkontrapunkt)
3
Instrumentation (instrumentera en klaverfrlaga frn tidigt 1900-tal)
Satslraprov
Analys med funktionsbeteckningar
Harmonisering med ackordbeteckningar
Bas-/motstmma
Fyrstmmig sats
Musiklraprov
Notation i olika klaver
Tonarter
Skalor
Intervall
Transponering
Ackord
Rytmvrden
Skriftligt gehrsprov (75 min)
flera musikexempel spelas upp. Exemplen skall kompletteras melodiskt,
harmoniskt och rytmiskt. Dessutom frekommer avvikelser frn notbilden och
dessa skall korrigeras
Intervju med pianospel (20 min)
du fr tillflle att bertta om dig sjlv, om din syn p musiken och yrkesrollen. Du
ges ocks mjlighet att diskutera huvudprovet samt bertta om dina
arbetsprover och ditt komponerande
pianospel (fritt valt stycke)
1 - Komposition - Kandidatniv
Analys av klassisk 1900-talsfrlaga i partiturform
Gr en analys av fljande partituravsnitt. Notera sdant som du anser viktigt och som
beskriver musiken i avsnittet, t.ex. harmonik, instrumentation, rytmik, melodik och
gestik och vilken betydelse det kan ha fr formen. Analysen och iakttagelserna skriver
du ner p fljande sidor. Om du anser att din skriftliga analys behver kompletteras s
kan du anvnda bifogat notpapper fr egna notexempel, t.ex. harmonisk reducering.
Vid intervjutillfllet kan juryn komma att stlla ngra frgor kring denna uppgift och du
har ocks mjlighet att p eget initiativ kommentera den vid intervjutillfllet.
---------Analyse some score pages - late twentieth century. Analyse the music and describe
important things about harmony, instrumentation, rhythmic structures, melodic lines and
form. Write down your observations on the following pages, in words as in music examples.
You have the possibility to discuss your analysis at the interview.
Largo e tranquillo
1
Violin I
Violin II
Viola
I
Violoncello
II
Double Bass
Vln. I
Vln. II
Vla.
I
Vc.
II
D. B.
&C
> >
.. R ..
2
r
& C # ..
>
>
f
>
B C .
f p f
? C #
p
? C #
p
? C #
p
#
& #
#
& #
B ##
? ##
? ##
? ##
q = 54
> # >
..
R
3
4
> # >
R
r
r
# .. # # ..
>
> >
>
. > . >
p f
p f
#
#
3
2 w.
32 ww ..
(F )
## 4
2
## 4
2
- - #
poco
poco
poco
poco
poco
poco
# n
n
a
12
non div.
- - -
42 w
p
- - - n
11
- .
42
w
p
# # 42
sul sol
ben cantabile
n # # 42
# F
10
## 4
2
n #
# # 42
- # F
42
w
p
32
42
n
#
- -
w
p
3
4
n
2
2
.
- #
p
- 4
32
2
p
3
2
p
F
n #
> p
F
- #
p
F
#
#
poco cresc.
non div.
poco cresc.
w.
w.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
.
.
p
#
& #
13
Vln. I
B ##
Vla.
Vc.
? # # n -
II
Vln. I
Vln. II
Vc.
? ##
II
Vln. II
Vla.
I
Vc.
II
D. B.
&
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Vln. I
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D. B.
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15
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17
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19
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23
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ben marc.
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etc. simile
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# #
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D. B.
#
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Vln. II
. .
14
n
n
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w>
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20
#
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simile
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24
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1 - Komposition, notexempel
OBS!
Gr endast
2a eller 2b!
&C
1
2a - Kontrapunkt - Kandidatniv
Imitation, 1500-talspolyfoni,
Palestrinakontrapunkt
Pbrja med utgngspunkt frn vidstende tema, en 3-stmmig imititation i
1500-talets vokalpolyfona stil. Du r fri att sjlv avgra i vilken stmma
temapresentationen skall brja. Du fr grna skriva imitationen i "klaverutdrag",
men d mste du markera ev. stmkorsningar! Vljer du klaverversionen, s
utnyttja de tv versta notraderna och erstt altklaven med en basklav. Efter
tredje insatsen s skall du avsluta med en kadens i exemplets modus.
---------Continue the counterpoint in the style of the given example. The result must
show a musical whole. Use the following page to motivate your solution.
&
B
?
5
&
B
?
9
&
B
?
vningsprov i Komposition, kandidat- och masterniv
Musikhgskolan i Malm, september 2013
OBS!
Gr endast
2a eller 2b!
2b - Kontrapunkt - Kandidatniv
Fugaexposition, barock,
Bachkontrapunkt
Skriv med utgngspunkt frn vidstende tema, en 3-stmmig fugaexposition. Du
r fri att sjlv avgra i vilken stmma temapresentationen skall brja. Du behver
inte slutfra frloppet efter det att tredje insatsen presenterats i sin helhet.
---------Continue the counterpoint in the style of the given example. The result must show
a musical whole. Use the following page to motivate your solution.
j
2
j
&b 4
&b
?b
&b
?b
11
&b
?b
3 - Instrumentation - Kandidatniv
Instrumentation av klassisk 1900-talsfrlaga i klaverform
Ge noga akt p all information i notbilden och variera instrumentationen
utifrn detta.
du fr grna utnyttja alla instrumenten, men det r inget krav. Notera de
transponerande instrumenten klingande
fri oktavering av alla stmmor, men utver detta s fr du inte lgga till
ngra nya noter till notbilden
anvnd grna alternerande instrument i trblset. Ange i s fall detta tydligt!
strkstmmorna r koriskt besatta och bildar allts en strkorkester.
Fritt val av slagverksinstrument. Motivera grna din instrumentering!
---------Instrumentation of a pianopiece - late twentieth century. Pay attention
to all information in the score and vary the instrumentation accordingly.
you may use all the instruments but it is no demand
notate the transposed instruments as they sound
free use of octaves
you are free to make changes in the music, but you have to explain them on
the following page
there is only one player in every part. That means that there is just
one violin, one cello and so on...
free use of percussion instruments in the percussion part. Make clear which
instruments the percussion player uses and when the changes occur
motivate your solution
Mssig bewegt
## 3
#
n
n
.
n
& 4
? ## 3
4
4
&
##
? ##
p
#
j
.. b b n n # . n # # #
.
.
accel. - - -
..
rit. - - -
b #
n
#
a tempo
n
R
> r
>
#
n . n n n bb b n bn. .. # b # n n n # n # # #. n n n . n >
b
# # .. n .. # .. n n J n n n n
n n .. # # n
J
n
accel. e cresc. - - - stringendo - - f - - - n n
b n n
molto rit. b b b b
# . n
n n b
#
10
11
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Kl. 1
Kl. 2
(Bb)
Fa. 1
Fa. 2
Ho. 1
Ho. 2
(F)
Slgv.
Harpa
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
#
& # 43
#
& # 43
..
..
#
& # 43
..
? ## 3
4
..
43
..
43
..
#
& # 43
..
&
? ## 3
4
..
#
& # 43
..
#
& # 43
..
B # # 43
..
? ## 3
4
..
? # # 43
..
12
4
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Kl. 1
Kl. 2
(Bb)
Fa. 1
Fa. 2
Ho. 1
Ho. 2
(F)
#
& #
#
& #
#
& #
? ##
&
Slgv.
#
& #
Harpa
Vl. 1
Vl. 2
Vla.
Vc.
Kb.
? ##
#
& #
#
& #
B ##
? ##
? ##
vningsprov i Komposition, kandidat- och masterniv
Musikhgskolan i Malm, september 2013
13
SATSLRA - Kandidatniv
1. FUNKTIONSBETECKNINGAR
2. HARMONISERING
Gr en harmonisering som noteras med ackordbeteckningar
(Dm, G7/D osv.) ovanfr notbilden, dr det frutom grundlgen
grna kan frekomma ackord i omvndningar (takt 5-12).
3. BASSTMMA
Skriv en melodisk basstmma med utgngspunkt frn de givna
ackorden eller utifrn de tillgg/frndringar av ackorden du tycker passar (takt 13-16). Frndringar och tillgg mste skrivas ut!
4. FYRSTMMIGHET
Komplettera (med hjlp av de givna ackorden) basstmman med tre
stmmor i takt 17-20 s att satsen
antingen
fungerar som bakgrund till en tnkt melodi,
eller
bildar en sjlvstndig fyrstmmig sats dr versta
stmman utgr melodin.
5. MOTSTMMA
Skriv en ver- eller understmma (dock ej basstmma), som
passar till ackord och melodi (takt 21-24).
14
j
& c w ..
j j
w
?# c
.
#
. b
#
J
G-dur:
& J
# j
&
J
J
G
H7
Em
Am H H7
A7
D
# G j C6
j
&
13
sus
?#
17
&
Em
? # .
E7
Am
#
& J .
21
&
Am H7
Em
H7
Em A7
E7
15
Am
Dsus D
D7sus D7 G
&
16
Piano
Viola
4a
TRANSPONERA
&
ACKORD
? b 43 .
& b 43
D/C
&
4b
3
Gm6/B
b A7 # 5
Dm maj
1b
4
Ange tonnamn och oktavlge (t.ex. ess2 = tvstrukna ess) fr de tv bastonerna i takt 6.
ACKORD
Skriv i rutorna vilka intervall som frekommer mellan tonerna i violastmman i takterna 2 - 4. Ange
med bokstav och siffra (t.ex. S3, 4 etc.).
B b 43
INTERVALL
1a
MUSIKLRA - Kandidatniv
C7
C7
F
.
3
j
.
J
j .
& b 4 j .
Vals
C7
B
Notering:
rytm
Avvikelse/korrigering:
tonhjd
3
&b 4
3
j
& b 4 j . # n
1
C7
eqq q .
5
C7
eq
C7
h.
F
q
F
Notering:
ackord
C
Uppgift A: (Avsnittet spelas tv gnger). Markera en melodisk avvikelse genom att gra en ring kring den
avvikande tonen. Notera den spelade tonen p notsystemet ovanfr.
Uppgift B: (Avsnittet spelas fyra gnger). Notera melodistmmans rytm i takt 6.
Uppgift C: (Stycket spelas tre gnger). Skriv i rutan det ackord som spelas i takt 4.
Du kan frbereda dig fr det skriftliga gehrsprovet bl.a. genom att teckna ner rytm, melodi och ackord ur
(band-)inspelade musikavsnitt frn olika repertoaromrden.
17
vningsprov
Komposition 120 hp, masterniv
Antagningsprovets utformning
Fr att f en god bild av dig som skande, testar vi dina kunskaper med hjlp av nedanstende
prov. Resultaten av dessa prov visar ocks vilka moment som behver repeteras under
utbildningen.
Fr dig som sker till Komposition masterniv, finns inga vningsprov som exakt visar hur
huvudprovets uppgifter r konstruerade, d dessa provuppgifter r snarlika de som finns p
kandidatniv. Med ledning av texten nedan s kan du ltt se vad som krvs vid
antagningsproven till Komposition masterniv genom att titta p vningsprovet fr
kandidatutbildningen p sidorna 8-9, 14-15 och 16. Det r vr ambition att kunna erbjuda alla
skande tillgng till piano vid huvudprovet. Du disponerar totalt 7 timmar fr detta prov.
There are no written master test examples as they are similar to the bachelor ones, except for
the musical style which is free-tonal (late 20th century) on master level. The tests described
below give you a good idea about the requirements as they correspond to the bachelor tests at
page 8-9, 14-15 and 16. It's our ambition to offer all the applicants the use of piano during the
written tests. In all, 7 hours will be for you disposal for the written tests.
Huvudprov (7 timmar)
1
2
3
18
19
vningsprov
Komposition Diplom 120 hp, masterniv
Antagningsprovets utformning
Du som kallats till antagningsprov i Komposition Diplom masterniv, anses ha s
goda kunskaper att inget skriftligt prov behver gras om inte juryn beslutar
annorlunda. I s fall fr du i god tid veta frutsttningarna. Juryn har vid
antagningstillfllet redan tagit stllning till dina insnda arbetsprover och kommer vid
provtillfllet endast att ha en intervju med dig (30 minuter) dr du har tillflle att
bertta om dig sjlv och din syn p musiken och yrkesrollen. Du ges ocks mjlighet
att bertta om dina arbetsprover och ditt komponerande.
No written tests required. Only an interview, as the jury already has taken part of
your compositions and recordings. You'll be asked about your approach to music and
your thoughts about beeing a professional composer. We'll also discuss your
compositions and your composition techniques.
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Egna anteckningar
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vningsprov i Komposition, kandidat- och masterniv
Musikhgskolan i Malm, september 2013
21
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vningsprov i Komposition, kandidat- och masterniv
Musikhgskolan i Malm, september 2013
22
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vningsprov i Komposition, kandidat- och masterniv
Musikhgskolan i Malm, september 2013
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vningsprov i Komposition, kandidat- och masterniv
Musikhgskolan i Malm, september 2013
24