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Entrance for assistantship programmes

Rules of admission for assistantship programmes of Moscow State Institute of Music named after A.G. Schnittke

1. The present Rules are laid out in conformity with Federal Law of the Russian Federation “On higher and postgraduate professional education” of 22 August 1996 No.125, Regulation on receiving postgraduate professional education in the form of assistantship (approved by Order of the Ministry of Culture of the Russian Federation of 13 December 2011 No. 113), Sample principal educational programmes of higher education for students of the form of assistantship.
2. Admission to the Institute for assistantship programmes is effected on a competitive basis.
3. Citizens have guaranteed access on a competitive basis to postgraduate professional education in the form of assistantship in educational establishments within the principal professional educational programmes of postgraduate professional education in creative majors and federal state requirements established for them, if the citizen is receiving this type of education for the first time.
4. Admission of foreign citizens to educational establishments of higher professional education for assistantship programmes is effected in conformity with international treaties maintained by the Russian Federation and intergovernmental agreements maintained by the Russian Federation, and also as established by paragraph 2 Article 29 of Federal Law “On higher and postgraduate professional education” (with educational fees paid by persons and (or) entities).
5. Admission of persons without citizenship to educational establishments of higher professional education for assistantship programmes in conformity with paragraph 6 Article 11 of Federal Law “On higher and postgraduate professional education” is effected as established by the federal executive body authorized by The Government of the Russian Federation.
6. Training within assistantship programmes in Moscow State Institute of Music named after A.G. Schnittke in conformity with the license is effected in full-time form in the following majors:

  • 53.09.01 Art of instrumental performance (according to types);
  • 53.09.02 Art of vocal performance (according to types);
  • 53.09.05 Art of conducting (according to types).

7. Admission of applications for assistantship programmes shall be effected from 19 June to 10 July (applications are submitted in person).

8. The application for assistantship programmes shall be addressed to the Head of the educational establishment and accompanied by the following documents:

  • Copies of diploma (with all coming attachments) of a Specialist or a Master attesting to completion of higher professional education (for persons who received education abroad including citizens of CIS members – a copy of a foreign state document confirming the level of education recognized on the territory of the Russian Federation in conformity with laws and regulations of the Russian Federation as well as in circumstances stipulated by the laws and regulations of the Russian Federation, a copy of a certificate of recognition of a foreign state document on the territory of the Russian Federation).
  • A list of creative works (performed works, staged performances, roles, films), documental evidence of taking part in exhibitions, festivals, competitions, other creative events, as well as other creative and (or) pedagogical activity, if the applicant can present the creative works mentioned and provide documents attesting to the activities mentioned.
  • Copies of the document proving the applicant’s identity.

9. To carry out admissions to the Institute for assistantship programmes an admission committee is set up. The chairman of the committee is the Rector of the Institute or his Deputy. The admission committee examines the documents of the applicants.

10. The employer must give a leave without pay of 15 calendar days to the workers admitted to entrance examinations in conformity to Article 173 of Labour Code of the Russian Federation.

For persons admitted to entrance examinations consultations shall be held.

11. Entrance examinations shall be held from 12 July to 24 July.

To hold entrance examinations subject examinations and review committees are set up and approved by the Rector.

12. Applicants for assistantship programmes shall take the following examinations:

  • An entrance examination corresponding to the profile of the principal professional programme of postgraduate higher education in the field of major (hereinafter related to as major-oriented entrance examination);
  • An entrance examination in philosophy;
  • An entrance examination in a foreign language.

A major-oriented entrance examination takes place before entrance examination in philosophy and in a foreign language and is held in two stages: performing (presentation) of a creative programme (project) and an interview (colloquium).

A 100-grade scale shall be used to assess the knowledge of the applicant. Each entrance examination is assessed separately. The minimum grade for each entrance examination is 75.

13. The requirements for the content and volume of entrance examinations correspond to the level of requirements for graduates who have mastered principal programmes of higher education in the field of musical art on the level of a Specialist’s or Master’s degree.

14. Persons who withdrew their documents after the end of application period or received a grade lower than the established minimum grade at entrance examinations (practical entrance examinations) are eliminated from competition.

15. Entrance examinations can be taken again not earlier than in a year, according to the standard procedure.

16. On the basis of the results of the entrance examinations the admission committee takes a decision concerning the applicant’s enrollment for assistantship programmes.

17. In case of equality of grades received at the entrance examinations priority shall be given to the applicant who has the highest grade in the major entrance examination.

18. On the day of announcing the results of entrance examinations (in conformity with Paragraph 2.5 of Regulation on receiving postgraduate professional education in the form of assistantship) the Institute shall publish on the official site and the information stand lists of applicants who have obtained grades not lower than the minimum grade fixed by the educational establishment. The lists shall contain information on the sum of grades obtained in all entrance examinations for each applicant.

19. Applicant’s enrollment for assistantship programmes is effected on the basis of the order of the Head of the educational establishment seven days after the announcement of results (but not later than two weeks before the beginning of studies).

20. Special aspects of holding entrance examinations for physically challenged persons.

20.1  Given the specialized types of education within assistantship programmes physical challenges of the applicant must not be related to aural abilities and musculoskeletal system involved in performance.

20.2  The material and technical environment provided by the Institute for entrance examinations must ensure unimpeded access of applicants to rooms, lavatories and other premises according to the information mentioned in the application addressed to the Chairman of the admission committee.

For those applying for 53.09.01 Art of instrumental performance “Solo piano performance” the Institute shall hold the following entrance examinations:

  • Major - performance of a programme (40-45 minutes long)
  • Major - theoretical part (answering questions on major-related topics covered by higher education programs)
  • Philosophy;
  • Foreign language.

Approximate requirements for practical entrance examinations:
The program performed by the applicant must include works of different styles, epochs, genres - one from each section mentioned for each major. Overall duration of the program submitted in the application is 40-45 minutes.

Criteria of assessment:

The committee assesses the performance based on the following criteria of assessing the degree of excellence of a concert performer:

  1. Creative individuality – convincing interpretation, brightness of creative thinking, stage confidence, will and endurance, artistic temperament;
  2. Maturity of musical thinking – understanding of style, content and form of the work being performed;
  3. Virtuoso freedom, diversity of means of articulation and pedaling, their correspondence to the style, content and form of the work, the acoustics of the hall, features of the instrument;
  4. Organization of performance in terms of time; expressivity of rhythm, will, understanding of principles of agogics;
  5. Creative taste and culture of performance, knowledge of performance traditions;
  6. Accuracy of reading and performing the score;
  7. The committee has the right to choose separate parts of the work for audition and interrupt the performance.

The program must include works of different styles with a mandatory classic or baroque work. The duration is 40-45 minutes. If the applicant performs a concerto, they must arrange for a performer of the orchestra part.

Theoretical part – Colloquium.

An interview on the following topics:

  1. Creative work of the composers whose works are included into the entrance program of the applicant.
  2. Piano repertoire in the context of the world`s culture.
  3. Russian piano school.
  4. The history of piano art. Modern performers: recordings, concerts.

For those applying for 53.09.01 Art of instrumental performance “Solo performance on string instruments” the Institute shall hold the following entrance examinations:

Approximate requirements for practical entrance examinations:
The program performed by the applicant must include works of different styles, epochs, genres - one from each section mentioned for each major. Overall duration of the program submitted in the application is 40-45 minutes.

Criteria of assessment:

The committee assesses the performance based on the following criteria of assessing the degree of excellence of a concert performer:

  1. Creative individuality – convincing interpretation, brightness of creative thinking, stage confidence, will and endurance, artistic temperament;
  2. Maturity of musical thinking – understanding of style, content and form of the work being performed;
  3. Virtuoso freedom, diversity of means of articulation and pedaling, their correspondence to the style, content and form of the work, the acoustics of the hall, features of the instrument;
  4. Organization of performance in terms of time; expressivity of rhythm, will, understanding of principles of agogics;
  5. Creative taste and culture of performance, knowledge of performance traditions;
  6. Accuracy of reading and performing the score;
  7. The committee has the right to choose separate parts of the work for audition and interrupt the performance.

Requirements for the major-oriented entrance exam:

Violin:

  1. J. S. Bach: Adagio and Fugue from sonata for violin solo g-moll (BWV 1001); Grave and Fugue from sonata for violin solo a-moll (BWV 1003); Adagio and Fugue from sonata for violin solo C-dur (BWV 1005); Chaconne from Partita d-moll (BWV 1004).
  2. N.Paganini one of the caprices ор. 1.
  3. W.A. Mozart First movement of a concerto with a cadenza: № 3 G-dur; № 4 D-dur; № 5 A-dur.
  4. Concerto (I or II-III movements) of composers of the 19-20 centuries (in Spanish Symphony by E. Lalo – I or IV-V movements, в Concerto by D. Schostakovich № 1 – I-II or III-IV movements, in Concerto by S. Prokofiev № 1 – I-II or II-III movements, in Concerto by B. Bartok № 1 – both movements. One- movement concertos including concertos by A.Glazunov and A. Vietan No.5 are performed as a whole.

Viola:

  1.     Caprice by F. Hoffmeister or I. Palashko;
  2.     Concerto by K. Stamitz or F. Hoffmeister (First movement with a cadenza);
  3.     Two parts of a suite by J. S. Bach, M. Reger or P.Hindemith (solo);
  4.     First movement of Concerto by W. Walton, B. Bartok or P.Hindemith.

Cello:

  1. J. S. Bach Two parts (including Prelude) from suites № 3, № 4, № 5 or № 6.
  2. First movement or other movements of Concertos by J.Haydn (D-dur ot C-dur), R. Schumann, A. Dvořák, D. Schostakovich № 1 or №2, E. Elgar, D. Millaud, N. Myaskovsky, A. Khachaturyan, S.Prokofiev (Symphony-Concerto) or Variations on a rococo theme by P. Tchaikovsky.
  3. Concert piece up to 10 minutes long.

Double bass (one work from each of the groups):

Concerto:

  1.     J. Baptist Wanhal Concerto in E♭ major
  2.     G. Bottesini Gran Concerto in F♯ minor, Concerto No. 1 in B minor
  3.     S. Koussevitsky Concerto in F♯ minor, Op. 3
  4.     F.Proto Carmen-suite.
  5.     J. S. Bach Suites for cello solo № 1, № 2, № 3 (3-4 parts).
  6.     H. Fryba Suite in ancient style (3-4 parts).
  7.     Nino Rota Divertimento Concertante for double bass and orchestra
  8.     E. Tubin Concerto
  9.     A. Eshpay Concerto

A virtuoso work:

  1. G. Bottesini (Fantasia sulla "La Sonnambula" di Bellini, Fantasia sulla Lucia di Lammermoor, Capriccio Bravuro, Variazione sulla "Nel cor più non mi sento", Introduzione e Gavotta, Tarantella)
  2. I. Franchi Introduzione e Tarantella
  3. R. Glier Tarantella or Scherzo.


 

A modern work for double bass solo:

  1. J. Francaix Theme and variations.
  2. Teppo Hauta-Aho (Cadence, Eric`s Ballad)
  3. J. Zbinden. Hommage a J.S. Bach
  4. W. Jentzsch Sonata solo
  5. D. Ellis. Sonata solo op.42
  6. Yu. Levitin Sonata
  7. E. Tabakov Motives

A double bass solo from a symphony or opera:

  1. L. Beethoven. Recitative from symphony No.9
  2. D. Verdi (Otello, Rigoletto)
  3. D.R. Rogal-Levitsky “Listiana” (Liebesträume)
  4. B. Britten Variation of double bass from “Guide to the orchestra”
  5. G. Berlioz (March to the Scaffold, 4th movement of Symphonie fantastique)
  6. S. Prokofiew (Romeo and Juliet)
  7. M. Mussorgsky – M.Ravel (“Pictures from an exhibition”: Two Jews Rich, and Poor)

Theoretical part – Colloquium

The colloquium is held after the major examination. The aim of the colloquium is to assess the applicant’s knowledge of musical literature in the major field, his or her outlook. Questions are formulated by members of the admission committee on the basis of the programme performed by the applicant at the entrance examination.

For those applying for 53.09.01 Art of instrumental performance “Solo performance on wind instruments” the Institute shall hold the following entrance examinations:

Approximate requirements for practical entrance examinations:
The program performed by the applicant must include works of different styles, epochs, genres - one from each section mentioned for each major. Overall duration of the program submitted in the application is 40-45 minutes.

Requirements for a major-oriented entrance exam:

Flute

  1. A virtuoso piece (up to 10 minutes long). Approximate level: A. Jolivet - Chant de Linos, H. Dutilleux Sonatina,  . A. Casella. Siciliane et Bourlesqem, V.N. Tsybin. Concert allegro.
  2. One or two movements of a concerto.  Approximate level: W.A. Mozart Concerto G major (2nd and 3rd movements), W.A. Mozart Concerto D major (1st movement), J. Ibert Concerto (2nd and 3rd movements), B. Romberg Concerto (1st movement).
  3. A miniature or a piece of up to 4-5 minutes long. Approximate level: C. Saint-Saens Romance, N.A.Rimsky-Korsakov "Flight of the Bumblebee". C. Debussy Syrinx, H. Honegger Danse de la chevre.

Oboe

18th century:

  1. J. S. Bach Sonata for oboe and clavier g-moll BWM 1030b.
  2. A. Vivaldi Sonata for oboe basso continuo c-moll RV53.
  3. W. A. Mozart Sonata for oboe and orchestra C-dur KV314.
  4. I. Hummel Adagio and variations for oboe and orchestra op.102.

19th century:

  1. R. Schumann Three Romances for oboe and piano op.94.
  2. R. Schumann Adagio and Allegro for oboe and piano op.70.
  3. A. Ponchielli Capriccio  for oboe and piano.
  4. B. Molique Concertino for oboe and orchestra.
  5. J. W. Kalliwoda Concertino for oboe and orchestra.
  6. A. Pasculli  Concerto on the motives of La favorita by Donizetti for oboe and piano.
  7. A. Pasculli  Concerto on the motives of Vespri Siciliani by Verdi for oboe and piano.

20th century:

  1. C. Saint-Saens Sonata for oboe and piano op.166.
  2. F. Poulenc Sonata for oboe and piano (1962).
  3. H. Dutilleux Sonata for oboe and piano (1947).
  4. P. Sancan Sonatina for oboe and piano
  5. D. Millaud Sonatina for oboe and piano
  6. P.Hindemith Sonata for oboe and piano (1938).
  7. A. Dorati Duo concertante for oboe and piano.
  8. R. Strauss Concerto for oboe and orchestra (1945).
  9. B. Martinu Concerto for oboe and orchestra.
  10. F.Hidas  Concerto for oboe and orchestra
  11. J. Ibert Symphony-Concerto for oboe and orchestra.
  12. A. Eshpay Concerto for oboe and orchestra.
  13. B. Savelyev Concerto for oboe and orchestra.
  14. L. Knipper Concert-suite for oboe, string quintet and percussion.
  15. B. Britten Six metamorphoses after Ovid for oboe solo.
  16. J. Sclvestrini Six etudes for oboe solo.
  17. A. Dorati Five pieces for oboe solo.
  18. L. Berio Sequenza VII for oboe solo.

Clarinet

Concertos for clarinet and orchestra:

  1. K. Stamitz Concerto No. 1 F-dur, No.3 Es-dur
  2. W.A. Mozart Clarinet Concerto, K.622
  3. C. M. Weber Concerto No. 1 f-moll; No.2 Es-dur, Concertino Es-dur
  4. L. Spor Clarinet Concerto No.1, c minor, No.2 Es major, No.3 f minor, No. 4 e minor
  5. B. Tchaikovsky Concerto (string orchestra)
  6. K. Nielsen Concerto op.57
  7. H. Tomasi Concerto
  8. J. Francaix Concerto
  9. A. Copland Concerto
  10. L. Knipper Concerto (dedicated to R.O. Bagdasaryan)
  11. P. Hindemith Clarinet Concerto

Sonatas for clarinet:

  1. Johannes Brahms Clarinet  Sonata F-major, Op.120 Clarinet  Sonata Es major, Op.120
  2. A. Grechaninov Sonata F minor
  3. Paul Hindemith Clarinet Sonata
  4. Max Reger Clarinet Sonatas № 1,2
  5. C. Saint-Saëns Sonata for Clarinet and Piano Es major
  6. F. Poulenc Sonata
  7. A. Honegger Sonatina
  8. M. Weinberg Sonata
  9. E. Denisov Sonata for clarinet and piano (dedicated to E. Brunner).

Original virtuoso pieces for clarinet and piano:

  1. C. M. Weber Grand concert duet op.48 Es major
  2. A. Berg Four pieces
  3. K. Mostras – Etude on the Theme by N. Rimsky-Korsakov
  4. A. Gedike Nocturne and Etude
  5. R. Schumann Three fantasy pieces.
  6. P. Tchaikovsky Pezzo capriccioso (transcribed by A.L. Schtark)
  7. A. Messager. Solo de concours for clarinet and piano
  8. J. Francaix Theme and Variations for clarinet and piano
  9. C. Debussy Rhapsody for clarinet and orchestra (transcription for clarinet and piano)

Works for clarinet solo:

  1. B. Artemov Sonata No.1 (dedicated to R.O. Bagdasaryan), Sonata No. 2 (dedicated to L.N. Michailov)
  2. T. Olah Sonata solo
  3. L. Berio Sequenza for clarinet and piano
  4. F. Donatoni “Claire”
  5. I. Stravinsky Three pieces solo
  6. K. Stockhausen “in freundshaft” for Cl.solo

Bassoon

Concertos for bassoon:

  1. A. Vivaldi Concerto e-moll.
  2. J. K. Bach Concerto B-dur.
  3. W.A. Mozart Concerto B-dur.
  4. C. M. Weber Concerto op. 75.
  5. K. Stamiz Concerto F-dur.
  6. A. Kozeluch Concerto C-dur.
  7. V. Bruns Concerto No.2.
  8. I. Pauer Concerto.
  9. M. Spisak Concerto.
  10. M. Bitsch  Concertino.
  11. A. Tomasi Concerto
  12. H. Joliver Concerto
  13. J. Francaix. Concerto.

Sonatas for bassoon:

  1. I. F. Fasch Sonata for bassoon and basso continuo.
  2. G. F. Telemann Sonata f-moll.
  3. F. Schubert Sonata for bassoon and piano 1st movement (Arpegione).
  4. C. Saint-Saëns Sonata for bassoon and piano.
  5. E. Podgayz Sonata for bassoon and piano.
  6. L. Sluka Sonata for bassoon and piano.
  7. J.P. Dubois Sonatina-tango.
  8. M. Weinberg Sonata solo.
  9. S. Weiner Sonata solo op.32.
  10. Yu. Kasparov Sonata Invenale Solo.
  11. E. Denisov Sonata solo.
  12. Yu. Levitin Sonata for bassoon and piano

Pieces:

    I. Kostlan Concert etudes (1-4).
    E. Denisov 5 etudes solo.
    M. Arnold Fantasy op. 86.
    L. Šesták 5 virtuoso inventions.
    S. Pavlenko 4 pieces for bassoon and piano.
    S. Weiner Sonata for bassoon and piano, op. 36.
    E. Boutry Interference for bassoon and piano.
    A. Bernaud Hallucinations for bassoon and piano.

Trumpet

Concerto for trumpet:

    A. Arutyunyan (with a cadenza by T. Dokshizer).
    O.  Böhme Concerto e-moll op. 18.
    S. Vasilenko Concerto c0moll op. 113.
    J. Haydn Concerto Es-dur (with a cadenza).
    J. Hummel Concerto E-dur or Es-dur.
    M. Weinberg Concerto op.94.
    A. Gedike. Concerto (with a cadenza).
    H. Joliver Concerto No. 2.
    J. Neruda Concerto Es-dur.

10.  V. Peskin Concerto No.1 c-moll.

11.  E. Tamberg Concerto op. 42.

12.  B. Zimmerman Concerto “Nobody knows the trouble I see”.

Works for trumpet piccolo:

    J. Fasch Concerto D-dur.
    L. Mozart Concerto D-dur.
    G. Tartini Concerto D-dur.
    G. Telemann Concerto D-dur.
    G. Torelli. Sonata D-dur, Concerto D-dur.
    J. Hertel Concerto No.1 Es-dur.
    G. Stölzel Concerto D-dur.

Pieces:

    V. Agafonnikov Sonata.
    M. Bitsch Variations on a Scarlatto theme.
    V. Brandt Concert piece No 1 op. 11, No 2 op.12.
    A. Desenclos Incantation, thrène et danse.
    J. Zbinden Concertino op.16.
    K. Kennan Sonata.
    V. Persiketti Parable XIV for Trumpet Solo op. 127.
    J. Ruff Sonatina.
    T. Smirnova Sonata-ballada.

10.  G. Sutermeister Concert Gavotte.

11.  P. Hindemith Sonata.

12.  E. Eveisen Postcards for trumpet solo.

French horn

    One of concertos for French horn and orchestra: G. F. Telemann, F. Rosetti Concerto d-moll, K. Forster Concerto No. 1, No. 2, W. A. Mozart Concerto No. 4 (cadenza by V. Polekh ot V. Buyanovsky). J. Haydn Concerto No.1, R. Strauss Concerto No. 2, E. Pauer, A. Gedike, R. Glier (cadenza by V. Polekh ot V. Buyanovsky) , A. Eshpay.
    A virtuoso piece by a Russian, Soviet or foreign composer.

Trombone

    A classical work of the baroque period (a transcription is accepted).
    A work of a large form of the Romantic period.
    A piece by a Russian or Soviet composer.

Tuba

    One or two movements of a sonata (or sonatinas) for tuba by the following authors: Plog, Castérède, Link, Kladnitsky (1st movement), Chapentier (prelude and allegro), Rakov, Hindemith, Rekhin. Accepted is the performance of transcriptions for tuba of classical sonatas (whole or in parts): Marchello (C-dur, a-moll, F-dur), Corelli (d-moll), Caporalle (d-moll), Ariosti, Boni, Senaillé and others.
    One movement of a concerto for tuba of the following authors: Lebedev (No.1, No.2. Concert allegro), Kikta, Arutyunyan, Gregson, Strukov (Fantasy on Rimsky-Korsakov’s themes), Williams, Eshpay, B;azhevich (No 2, 4, 5, 6, 7), Nesterov.

Theoretical part – Colloquium

The colloquium is held after the major examination. The aim of the colloquium is to assess the applicant’s knowledge of musical literature in the major field, his or her outlook. Questions are formulated by members of the admission committee on the basis of the programme performed by the applicant at the entrance examination.

For those applying for 53.09.01 Art of instrumental performance “Solo performance on string plucked instruments” the Institute shall hold the following entrance examinations:

    Major - performance of a programme (35-40 minutes long)
    Major - theoretical part (answering questions on major-related topics covered by higher education programs)
    Philosophy ;
    Foreign language.

Approximate requirements for practical entrance examinations:
The program performed by the applicant must include works of different styles, epochs, genres - one from each section mentioned for each major. Overall duration of the program submitted in the application is 35-40 minutes. The applicant must perform works of different epochs: a virtuoso work of the Romantic period or by a foreign composer of the 20th century, a work by a Russian composer, an original work of a large form (excluding fantasies and transcriptions of folk themes), a work written on the basis of folk themes.

Criteria of assessment:

The committee assesses the performance based on the following criteria of assessing the degree of excellence of a concert performer:

    Creative individuality – convincing interpretation, brightness of creative thinking, stage confidence, will and endurance, artistic temperament;
    Maturity of musical thinking – understanding of style, content and form of the work being performed;
    Virtuoso freedom, diversity of means of articulation and pedaling, their correspondence to the style, content and form of the work, the acoustics of the hall, features of the instrument;
    Organization of performance in terms of time; expressivity of rhythm, will, understanding of principles of agogics;
     Creative taste and culture of performance, knowledge of performance traditions;
    Accuracy of reading and performing the score;
    The committee has the right to choose separate parts of the work for audition and interrupt the performance.

Requirements for a major-oriented entrance exam:

The program must include works of different styles. The duration is 35-40 minutes. If the applicant performs a concerto, they must arrange for a performer of the orchestra part.

Theoretical part – Colloquium

The colloquium is held on the following topics:

    Creative work of the composers whose works are included into the entrance program of the applicant.
    The repertoire of string plucked instruments in the context of the world`s culture.
    Russian plucked instruments in folklore and academic art.
    Russian and foreign professional music education on folk instruments.
    Modern performers: recordings, concerts.

For those applying for 53.09.02 Art of vocal performance “Academic singing” the Institute shall hold the following entrance examinations:

    Major - performance of a programme (40-45 minutes long);
    Major - theoretical part (answering questions on major-related topics covered by higher education programs);
    Philosophy;
    Foreign language.

Approximate requirements for practical entrance examinations:
The program performed by the applicant must include works of different styles, epochs, genres - one from each section mentioned for each major. Overall duration of the program submitted in the application is 40-45 minutes. The applicant must perform works of different epochs. For example, if the applicant chooses a baroque work from the first section, a work of traditional style or avant-garde style should be chosen.

Criteria of assessment:

The committee assesses the performance based on the following criteria of assessing the degree of excellence of a concert performer:

    Creative individuality – convincing interpretation, brightness of creative thinking, stage confidence, will and endurance, artistic temperament;
    Maturity of musical thinking – understanding of style, content and form of the work being performed;
    Virtuoso freedom, diversity of means of articulation and pedaling, their correspondence to the style, content and form of the work, the acoustics of the hall, features of the instrument;
    Organization of performance in terms of time; expressivity of rhythm, will, understanding of principles of agogics;
     Creative taste and culture of performance, knowledge of performance traditions;
    Accuracy of reading and performing the score;
    The committee has the right to choose separate parts of the work for audition and interrupt the performance.

Requirements for a major-oriented entrance exam

The programme must include works from the list suggested:

    An ancient aria;
    A considerable aria by a Russian composer;
    A considerable aria by a foreign composer;
    An aria by a Russian composer of the 20-21th century ;
    A melody by a Russian composer;
    A melody by a foreign composer;
    A melody or song by a Russian composer of the 20-21th century;
    A folk song.

Theoretical part – Colloquium

The colloquium is held after the major examination. The aim of the colloquium is to assess the applicant’s knowledge of musical literature in the major field, his or her outlook. Questions are formulated by members of the admission committee on the basis of the programme performed by the applicant at the entrance examination.

For those applying for 53.09.05 Art of conducting “Conducting an academic choir” the Institute holds the following entrance examinations:

    Major – conducting illustrated by piano;
    Major - theoretical part (answering questions on major-related topics covered by higher education programs);
    Philosophy;
    Foreign language.

Approximate requirements for practical entrance examinations:
The program performed by the applicant must include works of different styles, epochs, genres - one from each section mentioned for each major. Overall duration of the program submitted in the application is 40-45 minutes. The applicant must perform works of different epochs. For example, if the applicant chooses a baroque work from the first section, a work of traditional style or avant-garde style should be chosen.

For an applicant for this type of postgraduate programmes it is mandatory to have professional performing experience of working with a children’s choir, an amateur choir or a professional choir.

Criteria of assessment:

The committee assesses the performance based on the following criteria of assessing the degree of excellence of a concert performer:

    Creative individuality – convincing interpretation, brightness of creative thinking, stage confidence, will and endurance, artistic temperament;
    Maturity of musical thinking – understanding of style, content and form of the work being performed;
    Virtuoso freedom, diversity of means of articulation and pedaling, their correspondence to the style, content and form of the work, the acoustics of the hall, features of the instrument;
    Organization of performance in terms of time; expressivity of rhythm, will, understanding of principles of agogics;
     Creative taste and culture of performance, knowledge of performance traditions;
    Accuracy of reading and performing the score;
    The committee has the right to choose separate parts of the work for audition and interrupt the performance.

Requirements for a major-oriented entrance exam:

1 Round:

The programme must contain one work from each of the sections:

    A choral cycle a cappella by a Russian or foreign composer of the 20th-21st century (performing on the piano and conducting at the choice of the committee);
    A fragment of a composition of a larger form (cantata, oratorio or opera scene) by a Russian or foreign composer of the 20th century (accepted are separate parts no shorter than 20 minutes).

2 Round:

Working with a choir (15-20 minutes) on a work a cappella from the ones suggested by the committee, for example: Denisov – Choir Cycle “Coming of Spring”, Shchedrin – Stanzas from “Eugene Onegin”, Rachmaninov - All-Night Vigil , Dvorak – “Songs of Nature”, Prokofiev – Semen Kotko (II act), Taneev – Ioann Damaskin, Rachmaninov – Spring.

Theoretical Part – Colloquium on the basis of bibliography.

Bibliography on choir art

Compulsory literature:

    Асафьев Б. В. О хоровом искусстве. М., 1980.
    Виноградов К. П. Работа над дикцией в хоре. М., 1967.
    Гинзбург Л. М. Дирижёрское исполнительство. М., 1975.
    Дмитревский Г. А. Хороведение и управление хором. М., 1957.
    Дмитриев Л. Основы вокальной методики. М., 1968.
    Егоров А. Теория и практика работы с хором. М., 1951.
    Зверева С. Александр Кастальский. М., 1999.
    Ильин В. Очерки истории русской хоровой культуры. М., 1982.
    Краснощёков В. И. Вопросы хороведения. М., 1969.

10.  Локшин Д. Л. Замечательные русские хоры и их дирижёры. М., 1963.

11.  Малько Н. А. Основы техники дирижирования. М., 1965.

12.  Мусин И. А. Язык дирижёрского жеста. М., 2006.

13.  Памяти А. В. Свешникова. Статьи. Воспоминания. Сост. С. С. Калинин.

14.  Памяти Н. М. Данилина. Письма, воспоминания, документы. Сост. А. Наумов.

15.  Пигров К. К. Руководство хором. М., 1964.

16.  Птица К. Б. О музыке и музыкантах. Сост. Б. Тевлин, Л. Ермакова.

17.  Птица К. Б. Очерки по технике дирижирования. М., 1948.

18.  Работа в хоре. Сборник статей. М., 1960. См. статьи Попова С., Хазанова А., Мухина В., Птицы К., Пономарькова И.

19.  Рождественская Г. Д., Тевлин Б. Г. Кафедра хорового дирижирования // Московская консерватория 1866 — 1966.

20.  Русская духовная музыка в документах и материалах. В 4-х тт.: «Синодальный хор и училище церковного пения». Сост. С. Зверева, А. Наумов, М. Рахманова. Изд. Языки славянской культуры.

21.  Семенюк В. Заметки о хоровой фактуре // Хоровая фактура. М., 2008.

22.  Скребков С. С. Русская хоровая музыка XVII — начала XVIII века. М., 1969.

23.  Соколов В. Г. Работа с хором. М., 1967.

24.  Хайкин Б. Э. Беседы о дирижёрском ремесле. М., 1984.

25.  Хоровое искусство. Вып. 1, 2. М.-Л., 1971.

26.  Чесноков П. Г. Хор и управление им. М., 1961.

27.  Шуман Р. Жизненные правила для музыкантов // О музыке и музыкантах. М., 1979.

Recommended literature:

    Ансерме Э. Беседы о музыке. Л., 1975.
    Борис Тевлин. Хоровые пути. Ред.-сост. В.С. Ценова. М., 2001.
    Браудо И. Артикуляция. М., 1973.
    Голованов Н. С. Литературное наследие. Переписка, воспоминания современников.
    Левидов И. Развитие голоса певца и профессиональные болезни голосового аппарата. Л., 1933.
    Мюнш Ш. Я — дирижёр. М., 1960.
    Онеггер А. О музыкальном искусстве. Л., 1985.
    Пазовский А. М. Записки дирижёра. М., 1959.
    Римский-Корсаков Н. А. Летопись моей музыкальной жизни. М., 2004.

10.  Рождественский Г. Н. Дирижёрская аппликатура. Л.,1974.

11.  Тенета-Бартенева Л. Лебедев Константин Михайлович. М., 2002.

12.  Тугаринов Е. Великий русский регент В. С. Орлов. М., 2004.

 

Requirements for an entrance exam in philosophy:

At the examination in philosophy the applicant must display deep knowledge in the following fundamental areas of science:

Subject of philosophy. The essence of philosophy, its role in the history of the world’s culture; main stages of the evolution of philosophy.

Being. The issue of being; essential philosophy categories: substance, space, time, movement, matter.

Conscience. The structure of conscience; correspondence of levels of the conscious and the subconscious, category of spirituality.

Cognition. Features of cognition as a form of reflecting objective reality (in scientific, religious and cultural aspects).

Society and Personality. Interpreting models of Society and Personality from the perspective of materialism, existentialism, idealism and other philosophic theories.

Society and Nature. Conflicts between Society and Nature; bringing the relationship to harmony as a way of resolving conflicts; exploring noosphere as a way of resolving global environmental issues.

Requirements for an entrance exam in a foreign language:

A written translation of a text of 1500 signs long from a foreign language into Russian on a major-related topic (with the help of a dictionary). Time for preparation – 45 minutes.

Summarising in the Russian language of a foreign text of 1500 signs long on a major-related topic (with the help of a dictionary). Time for preparation – 30 minutes.

Rendering the content of the text in a foreign language on a major-related topic. Text length – 1500 signs approximately. Time for preparation – 30 minutes (without the help of a dictionary).

A conversation in a foreign language on topics: biography, the major chosen, scientific interests, topical cultural events, etc.


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