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Students transferring into
the UT Tyler Music Department as music majors or music minors should be aware
of the requirements detailed below. For audition requirements,
please see this
page.
Piano Proficiency
Examinations
All incoming transfer music
majors and minors must take the appropriate Piano Proficiency Exam before registering for music
classes at UT Tyler. The exams are administered twice annually, on
the day of
regular registration each long semester. Contact
the Music Department for time and location.
Download
a sample of the Piano Proficiency Exam here (PDF format).
The piano proficiency exam is a
requirement of transfer students who have completed four semesters of piano class or applied piano prior to
attending UT Tyler. It is a skills-based exam that assesses
sight reading, harmonization,
and keyboard harmony (application of music theory) skills. The sample exam
linked above has suggested realizations of all harmonization and keyboard harmony examples.
The test is administered in the piano laboratory. Students have two hours in which to complete it. Students
may take the sections of the test in any order and are allowed to practice each
section except for sight reading.
Music major transfers with less than four semesters of piano, or students who do not wish to take the
exam, must enroll in Harmony and Keyboard classes. Students must
contact Vicki Conway for proper placement within the four-semester Harmony and
Keyboard sequence.
Music minors who have completed two semesters of piano class or applied piano
prior to attending UT Tyler must pass the final exam administered for Harmony and Keyboard II. This exam is given at the same time as the piano
proficiency exam and includes sight reading, harmonization, and keyboard harmony skills appropriate for
two semesters of piano study. Students should contact Vicki Conway for exact requirements and sample levels of difficulty.
Music Theory Proficiency
Examination
All incoming transfer
students must also take the Theory Proficiency Exam. It is
administered at the beginning of each long semester. Contact Alan
Swartz in the Music Department for
the time and location.
The theory exam assesses
knowledge and fluency in the basic harmonic and melodic skills commonly
taught in the four-semester freshman and sophomore theory sequence.
Its purpose is to evaluate students' readiness for upper-division theory
courses that require solid basic skills for success. Skills are isolated approximately by semester of study; a student who
transfers to UT Tyler after only two semesters of theory will not be
tested on the content of the sophomore courses.
There are two important
considerations when reviewing for the exam. The first is
fluency. Timed sections are designed to assess the student's speed
and accuracy in rudiments, such as key signatures, scales, intervals, and
chord spellings. Additionally, the exam is lengthy; a certain fluency will
be needed to complete it in the allotted time. The second
consideration is to understand the underlying reasons and concepts that
shape the theoretical principles of tonal harmony. For example, why
are second inversion triads commonly used only in certain, restricted
ways? Or, why are the fourth and seventh scale degrees the
key-defining tones? Or, how do the augmented sixth chords typically function? Specific questions will
address these principles. No two theory programs will
teach exactly the same approach to these principles; therefore, we are not
seeking a particular "correct" answer in these cases, but rather
evidence that the student has been exposed to and understands the
principles.
Beyond that, the student
should demonstrate capability in standard part-writing procedures, melody
harmonization, figured bass realization, harmonic analysis (including
modulation as applicable), and analysis of forms at the phrase level, as
well as binary and ternary forms. Harmonic
analysis must demonstrate an understanding of harmonic function; it must
not consist merely of labeling chords. For example, a major II chord
in a major key functions as a secondary dominant, and this functional
significance must be reflected by an analysis that shows its dominant
relationship to the V chord. Merely labeling it as a major II
indicates only a spelling and quality change, but does not communicate its
dominant function that tonicizes V.
UT Tyler is aware of the
content and approaches of the commonly used theory texts, and we believe
that students will readily adapt to the exam. To prepare, a student
should review his/her text(s) carefully, making sure to always understand
"why," and should polish rudimental skills as necessary.
The exam covers
common-practice tonal
harmony. There are no twentieth-century requirements.
The upper-division theory
courses which require these proficiencies are listed below. Not all
degree plans require all of these courses.
MUSI 4340: Counterpoint
A composition-based course on modal counterpoint
in the sixteenth-century style. Students should demonstrate ease in
recognition of intervals, both visually and aurally; should have a clear
concept of consonance versus dissonance; should have a clear understanding
of the standard nonharmonic tone devices; should be able to read up to six
parts in open score with musical understanding; should be able to write
effective, well-directed melodies.
MUSI 4342: Form and
Analysis
A course in the analysis of larger forms, larger
harmonic and melodic structures, and basic twentieth-century
techniques. Students must have a clear understanding of basic binary
and ternary forms; must demonstrate fluency in harmonic analysis on a
large scale, particularly concerning key regions and remote modulations;
must have a clear understanding of melodic phrases and larger melodic
formal units; and must be able to recognize cadences and the keys they
define. Literature for
study spans the Baroque to the Twentieth Century, and includes various
genres, requiring basic orchestral score reading abilities and a knowledge
of instrument transpositions.
MUSI 4345: Arranging
A course on the use of orchestral
instruments. Instrument transposition is covered, but students
should have a rudimentary understanding of the process. Necessary
theory skills include the ability to recognize musical structure at the
levels of motive, phrase, and formal unit, as well as being able to
recognize the structure of contrapuntal music. Students must
recognize cadences and their articulation of form, and must have the
ability to work with harmony, including realization of a figured bass and
expansion of a harmonic texture. Scoring is related to the doubling principles taught in
theory courses.
Aural Skills Proficiency
Exam
Also required of incoming
transfers. Administered following the Theory Proficiency Exam.
Students should expect to sight-sing a melody appropriate to their level
of study. For those who have completed Theory IV, the melody will
include functional chromaticism and modulation. Dictation will consist of a
short melodic example and a short harmonic example in four-part chorale
style. Emphasis is placed upon obtaining the progression and the
soprano and bass voices, but the student should strive for all four
voices.
Degree Requirement
Transfer students should be
aware that successful completion of these three proficiency examinations
is a requirement for graduation.
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