加拿大华人论坛 加拿大百科大家好！请问中国国家教育部认可学历的魁北克地区的音乐学院有哪些？

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大家好！我有移民魁北克的想法，但还没确定。主要是还不了解当地有哪些中国承认学历的音乐学院，主要是想去读硕士。当然还想了解魁北克的助学金或者学生贷款会不会发给音乐学院的学生。有无年龄限制。谢谢大家，请大家帮忙啦！

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沙发！请大家帮帮忙！谢谢！

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魁北克的正规大学都有音乐系(院),以MCGILL大学音乐学院最好,有很多中国留学生在那学习.其中两位中国学生还获得了MCGILL IDOL(2005?) 入学情况和贷款情况请自己查下列网站相关内容. http://www.mcgill.ca/music/

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Graduate admissionsWelcome Prospective Music Student! As you plan for the next step in your education, we would be pleased to assist you in providing further information and/or assistance. Please take a few minutes to create an account on McGill in Mind. Here you can register for tours of the Schulich School of Music, learn about events, request publications, modify your personal profile and receive messages from us concerning exciting developments at the School. Please note that certain materials in our packages are only available in English. (All information is confidential and will be used solely for McGill University recruiting purposes.) McGill in Mind McGill en Tete Information will be sent to you and, in addition, we will be able to contact you concerning exciting developments at the School. Please note that certain materials in our packages are only available in English. (All information is confidential and will be used solely for McGill University recruiting purposes.) All Music Admissions information can be viewed on-line - just follow the links at the left. Once you are ready to apply, if you have any questions about the application process or require any assistance, do not hesitate to contact Patrick O'Neill, Graduate Music Admissions Officer.Note: All material related to your graduate application must be sent to the Music Admissions Office (full address on contact information page).Thank you for your interest in McGill Music! Reisa Lipszyc - Recruitment Officer, Schulich School of MusicTel: 514-398-4991Fax: 514-398-8061E-mail: [email protected] Next: Admissions Office contact

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Audition requirementsEntrance audition requirements (Performance Options) All applicants in conducting, female voices and piano will be required to submit recordings (in the case of conducting, video only) for pre-selection by December 15. Following a review of these recordings, selected applicants will be invited to attend a live audition. No live auditions will be scheduled in conducting, female voices or in piano until an audio recording or video has been received and reviewed. All Performance applicants must prepare an entrance audition of approximately 30-60 minutes of recital material. The prepared program should be brought, in writing, to the audition. Selections will be made by the auditioning panel. The Schulich School of Music will provide accompanists free of charge for the audition time only. Rehearsal costs are the responsibility of the applicant and vary depending on the accompanist. Applicants should contact their accompanist at least 48 hours prior to the audition to arrange rehearsal times, provide music, etc. However, applicants may bring their own accmpanists, if they wish, at their own expense. A tape recording of recital material is acceptable only when distance prevents the applicant from attending an audition in Montreal. If auditioning by tape recording, all tapes submitted must be recent (within six to eight months) and unedited. Taped auditions must be of very good technical quality. An audio tape or good quality VHS video cassette is strongly recommended. Tapes from live performances are particularly welcomed.In the areas of Jazz, Strings, and Voice, video tapes (North American VHS format only, short play) are preferred or required (see below). For all Conducting Options, video tapes are required. D.MUS. APPLICANTS: Tape recordings, if submitted, serve as a preliminary screening. All prospective D.Mus. applicants must perform a live audition. A 30-minute interview will be required. Specific Instrument/Voice Requirements for M.Mus. and D.Mus. Brass (Options: Chamber Music, Orchestral, Solo) Conducting (Options: Choral, Orchestral, Wind Band) Early Music Instruments Early Music Voice Guitar (Options: Chamber Music, Solo) Harp (Options: Chamber Music, Orchestral, Solo) Harpsichord Jazz Organ (Options: Church Music, Solo) Percussion (Options: Chamber Music, Orchestral, Solo) Piano (Options: Accompaniment, Chamber Music, Solo) Strings (Options: Chamber Music, Orchestral, Solo) Voice (Options: Solo, Pedagogy) Voice (Option: Opera Performance) Voice (Option: Vocal Opera Coach) Woodwinds (Options: Chamber Music, Orchestral, Solo) --------------------------------------------------------------------------------Brass (Options: Chamber Music, Orchestral, Solo) Chamber Music:- 60 minutes of recital material (solo and/or chamber music) in various styles Orchestral:- 40 minutes of recital material- 20 minutes of standard orchestral excerpts Solo:- 60 minutes of solo recital material in various styles DMus:- 60 minutes of recital material in various styles TOP OF PAGE --------------------------------------------------------------------------------Conducting (Options: Choral, Orchestral, Wind Band) Please note that Choral conducting will not be accepting applications for September 2007. Orchestral and Wind Band are available. A 15- to 30-minute rehearsal with one of the Faculty's orchestral and/or wind ensembles. Orchestral and wind band applicants will be provided with a repertoire list. Sight-singing and score reading at the keyboard may be given, as well as a short test of the applicant's background knowledge of choral, orchestral or wind band literature. Note: For preliminary consideration, candidates must send video tapes (DVD) prior to December 15th. No live auditions will be scheduled until a video has been received and reviewed. Following a review of these recordings, selected applicants will be invited to attend a live audition. TOP OF PAGE --------------------------------------------------------------------------------Early Music Instruments(Baroque Violin, Viola, Cello, Viola da Gamba, Flute, Recorder, Oboe, Early brass) Sixty minutes of recital material, 20 minutes of which may contain chamber music. The program should include a work by Bach, a French suite or sonata, and an Italian sonata. DMus:Applicants should prepare 60 minutes of recital repertoire. The program should include a work by Bach, a French suite or sonata, and an 18th-century Italian sonata; where appropriate, works from the 17th century should be included as well. TOP OF PAGE --------------------------------------------------------------------------------Early Music Voice (No live auditions will be scheduled in female voices until a tape-recording has been received and reviewed.) Screening Tape Requirements (for female voices): For MMus, 5 contrasting pieces, in four major languages, representing (a) song repertoire AND (b) opera OR oratorio OR both. One piece may be post-1800.For DMus, 7 contrasting pieces, in four major languages, representing (a) song repertoire AND (b) opera OR oratorio OR both. Two pieces may be post-1800. Live or Tape Audition Requirements: The audition is 30 minutes, performed from memory. Two (2) Arias from Opera or Oratorio (1600 - 1800); at least one must be with recitative.One (1) Recitative and Aria from a French or Italian Cantata (c.1750).Five (5) contrasting songs chosen from the Baroque, Renaissance and/or Medieval periods.Four (4) languages required (English, French, German and Italian). At the audition, candidates should provide six typed copies of their program for the audition panel. Copies of the music for the panel are not required. The candidate will select the first two (2) pieces to be performed. Subsequent choices will be made by the panel. Audition should be presented with appropriate period instruments, if possible. If auditioning by tape, both video and audio tapes are required. DMus:Applicants should prepare a balanced 60-minute program, performed from memory, and representing the major musical periods (Baroque, Renaissance, Medieval), contrasting styles (opera, oratorio, cantata, air de cour, songs), and the four (4) major languages (English, French, German, Italian). There should be at least two recitatives and the program should include works from the repertoire on which applicants wish to focus their research projects. At least 24 hours before their scheduled audition time, applicants are requested to submit a copy of their long program and two individual choices of repertoire to be performed to the Chair of the Vocal Area so that an appropriate short program can be chosen. At the audition, this short program will be performed in its entirety as a 'mini-recital', after which, members of the jury may request to hear other selections from the long program. TOP OF PAGE --------------------------------------------------------------------------------Guitar (Options: Chamber Music, Solo) Chamber Music:Applicants must prepare 60 minutes of recital repertoire, 40 minutes of which may contain chamber music and 20 minutes of solo material. The program should include works of contrasting character from at least three different periods. Solo:Applicants must prepare 60 minutes of recital repertoire, 20 minutes of which may contain chamber music, i.e., a guitar concerto with piano accompaniment. The program should include works of contrasting character from at least three different periods. DMus:Applicants must prepare 60 minutes of recital repertoire reflecting the nature of the performance specialization being proposed, e.g., a focus on 20th century music would necessitate a program of contemporary works, an early music specialization would require renaissance and baroque works, etc. TOP OF PAGE --------------------------------------------------------------------------------Harp (Options: Chamber Music, Orchestral, Solo) The audition material should include four works in different styles (one of which should be a 20th century composition) and an étude. Approximate duration: 40 minutes. Sight reading may be given. TOP OF PAGE --------------------------------------------------------------------------------Harpsichord (Options: Early Music, Solo) Sixty minutes of recital repertoire, which should include a major work by J.S. Bach and two Scarlatti sonatas. The remaining pieces should include works by the English Virginalists, 17th-century Italian composers, and the French Clavecinistes. DMus:Applicants should prepare a balanced 60-minute program representing the most important styles of the 17th and 18th centuries. The program should include works from the repertoire on which applicants wish to focus their research projects. TOP OF PAGE --------------------------------------------------------------------------------Jazz [Note: Jazz Drummers should bring their own cymbals.]A live rhythm section will be provided. Applicants must prepare 25-30 tunes from the standard jazz repertoire. The list of tunes may be submitted to the panel at the audition. As a rhythm section will be provided, lead sheets must be supplied so as to avoid harmonic discrepancies. As part of the audition, applicants must perform one of the three (3) original compositions submitted with the application. For taped auditions (video strongly recommended), five pieces of various tempos and styles from the standard jazz repertoire, including a ballad and a rhythm tune, must be performed. In addition, the performance of an original composition is required. A list of 25-30 standard jazz tunes from your performing repertoire and a lead sheet of the original composition must accompany the tape. TOP OF PAGE --------------------------------------------------------------------------------Organ (Options: Church Music, Solo) Sixty minutes of recital repertoire, which should include two contrasting movements of a Bach Trio Sonata or a Trio from the Leipzig collection or Klavierübung III collections as well as a major Prelude and Fugue by J.S. Bach. The remaining repertoire should include pre-Bach, romantic and contemporary selections. DMus:Applicants should prepare sixty minutes of recital repertoire, which should include a major work by J.S. Bach. The remaining repertoire should include pre-Bach, romantic and contemporary selections. The candidate has the right to choose between a mechanical action or electric action instrument. If the candidate so chooses, the audition may be presented on two different instruments. A registration assistant may be used at the mechanical action console, but it is to be assumed that the candidate will do his own registrations at the electric console. TOP OF PAGE --------------------------------------------------------------------------------Percussion (Options: Chamber Music, Orchestral, Solo) Applicants must demonstrate ability on all basic percussion instruments, i.e., timpani, keyboard percussion, snare drum, multiple percussion. Multiple percussion solos can be submitted on tape, even if the applicant is performing a live audition. Chamber Music:- 30 minutes of solo recital repertoire plus 30 minutes of mixed chamber music on tape. Sight reading. List of all chamber music performances in the past year, including repertoire and instrumentation. Orchestral repertoire (percussion):- 30 minutes of solo recital repertoire plus 30 minutes of mixed orchestral excerpts. Sight reading. List of previous orchestra experience, including repertoire. Orchestral repertoire (timpani):- 20 minutes of solo recital repertoire plus 40 minutes of mixed orchestral excerpts for timpani. Sight reading. List of previous orchestra experience, including repertoire. Solo:- 60 minutes of solo recital material in various styles. List of all solo performances in the past year, including repertoire. DMus:Same requirements as M.Mus. TOP OF PAGE --------------------------------------------------------------------------------Piano (Options: Accompaniment, Chamber Music, Solo) (No live auditions will be scheduled in piano until a tape-recording has been received and reviewed.) Screening Tape Requirements: Two contrasting pieces of the applicant's choice. Master's in Chamber Music applicants need to include both solo and chamber music. Live or Tape Audition Requirements: Accompaniment: -- see Vocal Opera Coach Option Chamber Music:- 20 minutes of solo repertoire*- 20 minutes of collaborative repertoire (vocal and/or instrumental)**- sight reading Solo:- 40 minutes of solo recital material* * Audition material must include works chosen from categories a and b, and one or more selections from c, d, e, or f:a) One movement, or more, of a sonata (or a set of variations), from the 18th/early 19th century, e.g., Haydn, Mozart, Beethoven, Schubert.b) One piece from the 19th century, e.g., Mendelssohn, Chopin, Schumann, Liszt, Brahms.c) One piece from the 17th/18th century, e.g., Bach, Scarlatti, Rameau, Handel, Couperin.d) One piece from the end of the 19th/early 20th century, e.g., Fauré, Debussy, Ravel, Albeniz, Schoenberg, Reger, Scriabin, Berg, Rachmaninoff.e) One piece from the 20th century (up to c.1950), e.g., Bartok, Webern, Hindemith, Stravinsky, Prokofieff, Messiaen.f) One piece from the contemporary repertoire, e.g., Stockhausen, Boulez, Berio, Xenakis, Mather, Cherney, Tremblay (memorization for this category is optional). ** Students applying for Accompaniment or Chamber Music options may substitute 40 minutes of solo repertoire if they are unable to bring partners to a live audition. If this option is chosen, a recording of chamber music must also be submitted. The candidate may select the first work to be performed but may be interrupted by the panel for subsequent selections. If auditioning by tape, video or DVD recording in addition to audio recording (preferably CD) is required. DMus:Applicants must prepare one recital program of 45-60 minutes. The panel may choose to hear complete works and/or excerpts. Programs should include a range of styles, genres and periods and should feature music from the repertoire area in which applicants wish to focus their major research and performance. Candidates will also be interviewed about their reseach interests as part of the audition. Candidates applying for the Solo option in Performance should present a solo program. Applicants for the programs in Accompanying or Chamber Music should present programs of appropriate repertoire as well as at least one substantial solo work. (Total time: 45-60 minutes) If possible, they should arrange to bring their own Chamber Music or Accompaniment partners to the audition. If this is not possible, a solo audition as described above, plus submitted recordings of the candidate's chamber music or accompanying performances, will be acceptable. TOP OF PAGE --------------------------------------------------------------------------------Strings (Options: Chamber Music, Orchestral, Solo) Candidates for the Lloyd Carr-Harris String Scholarships should prepare an hour of repertoire, including the repertoire indicated in the audition requirements, and the concerto must be a complete major concerto. Violin:- A major concerto from the 19th or 20th century- 2 movements of an unaccompanied Sonata by J.S. Bach- A Paganini caprice All concertos and unaccompanied Bach to be played from memory. Viola:- One étude by Campagnoli- The prelude and two other contrasting movements of an unaccompanied Suite by J.S. Bach- A fast and a slow movement from a major concerto All concertos and unaccompanied Bach to be played from memory. Cello:- One study by either Servais or Piatti- The prelude and two other contrasting movements of a Suite by J.S. Bach- A fast and a slow movement from any classical, romantic or modern concerto All concertos and unaccompanied Bach to be played from memory. Double Bass (orchestral or solo option only):- One movement from a Suite by J.S. Bach- A concerto- A contemporary work- 4 orchestral excerpts All concertos and unaccompanied Bach to be played from memory. If auditioning by tape, video is required. DMus:Doctoral candidates on all string instruments are asked to present a one-hour program of repertoire from the various musical periods. TOP OF PAGE --------------------------------------------------------------------------------Voice (Options: Solo, Pedagogy) (No live auditions will be scheduled in female voices until a tape-recording has been received and reviewed.) Screening Tape Requirements (for female voices): For MMus, 5 contrasting pieces, in four major languages, representing both operatic and song repertoire.For DMus, 7 contrasting pieces, in four major languages, representing both operatic and song repertoire. Live or Tape Audition Requirements: The audition is 30 minutes, performed from memory. Solo:- 1 Operatic Aria- 1 Recitative and Aria from Opera, Oratorio or Cantata (1600-1800)- 2 contrasting Mélodies Françaises- 2 contrasting Lieder- 1 Song or Aria in a "contemporary" idiom Four (4) languages required (English, French, German and Italian). At the audition, candidates should provide six typed copies of their program for the audition panel. Copies of the music for the panel are not required. The candidate will select the first two (2) pieces to be performed. Subsequent choices will be made by the panel. Pedagogy:Same as above. In addition, there will be an interview and the applicant should be prepared to teach one or two students in a "master class" format. If auditioning by tape, both video and audio tapes are required. DMus:Applicants should prepare a balanced 60-minute program of song repertoire, performed from memory, and representing the major musical periods, contrasting styles, and the four major languages (English, French, German and Italian). In addition, there should be at least one operatic aria, as well as a recitative and aria from Opera, Oratorio or Cantata (1600-1800). At least 24 hours before their scheduled audition time, applicants are requested to submit a copy of their long program and two individual choices of repertoire to be performed to the Chair of the Vocal Area so that an appropriate short program can be chosen. At the audition, this short program will be performed in its entirety as a 'mini-recital', after which, members of the jury may request to hear other selections from the long program. TOP OF PAGE --------------------------------------------------------------------------------Voice (Option: Opera Performance) (No live auditions will be scheduled in female voices until a tape-recording has been received and reviewed.) Screening Tape Requirements (for female voices): For MMus, 5 contrasting pieces, in four major languages, representing both operatic and song repertoire.For DMus, 7 contrasting pieces, in four major languages, representing both operatic and song repertoire. Live or Tape Audition Requirements: The audition is 30 minutes, performed from memory. - 3 Operatic Arias (contrasting styles and moods)- 2 Opera, Oratorio or Cantata Arias (1600-1800)- 1 Song or Aria in a "contemporary" idiom- 1 Song or Aria (from Opera, Oratorio, Operetta or Musical Theatre) of the candidate's own choosing At least two (2) of the arias should include significant recitative. The candidate should be prepared to act out three (3) of the operatic arias (at least one with recitative). Four (4) languages required (English, French, German and Italian). At the audition, candidates should provide six typed copies of their program for the audition panel. Copies of the music for the panel are not required. The candidate will select the first two (2) pieces to be performed. Subsequent choices will be made by the panel. In addition, there will be an interview. Since enrolment in the MMus Opera Performance option is very limited, it is strongly recommended that candidates wishing to audition for that program should also prepare appropriate song repertoire listed in the MMus Voice Solo option, thereby making it possible that they are automatically considered for that program. If auditioning by tape, both video and audio tapes are required. DMus:Applicants should prepare a balanced 60-minute program, performed from memory, and representing the major musical periods, contrasting styles, and the four major languages (English, French, German and Italian). In addition, there should be at least one operatic aria, as well as a recitative and aria from Opera, Oratorio or Cantata (1600-1800). At least 24 hours before their scheduled audition time, applicants are requested to submit a copy of their long program and two individual choices of repertoire to be performed to the Chair of the Vocal Area so that an appropriate short program can be chosen. At the audition, this short program will be performed in its entirety as a 'mini-recital', after which, members of the jury may request to hear other selections from the long program. TOP OF PAGE --------------------------------------------------------------------------------Voice (Option: Vocal Opera Coach) M.Mus. (the audition is 30 minutes):- 1 recitative and aria from the Classical Period operatic repertoire to be played and sung simultaneously by the candidate- 1 aria (with recitative, where appropriate) from the Romantic Period operatic repertoire to be played and sung simultaneously by the candidate- Mozart - Le Nozze di Figaro, Act II Finale- Puccini - La Boheme, Act I, up to entrance of Mimi- Bizet - Carmen, Act II, Quintet- 1 excerpt (5-10 minutes) to be chosen by the candidate from the operas of Samuel Barber, Alban Berg, Banjamin Britten, Leos Janacek, Richard Strauss or Igor Stravinsky- Accompanying a singer (provided by McGill) and sight-reading will be required.- An interview with the panel will follow the audition. D.Mus. (the audition is 45 minutes):- 1 recitative and aria from the Classical Period operatic repertoire to be played and sung simultaneously by the candidate- 1 aria (with recitative, where appropriate) from the Romantic Period operatic repertoire to be played and sung simultaneously by the candidate- Mozart - Le Nozze di Figaro, Act II Finale- Puccini - La Boheme, Act I, up to entrance of Mimi- Bizet - Carmen, Act II, Quintet- Mascagni - Cavalleria Rusticana, Santuzza & Turiddu Duet- Strauss - Der Rosenkavalier, Act I, Scene 1- 1 excerpt (5-10 minutes) to be chosen by the candidate from the operas of Samuel Barber, Alban Berg, Banjamin Britten, Leos Janacek or Igor Stravinsky- Accompanying a singer (provided by McGill) and sight-reading will be required.- An interview with the panel will follow the audition. TOP OF PAGE --------------------------------------------------------------------------------Woodwinds (Options: Chamber Music, Orchestral, Solo) Chamber Music:- 60 minutes of recital material (solo and/or chamber music) in various styles Orchestral:- 40 minutes of recital material- 20 minutes of standard orchestral excerpts Solo:- 60 minutes of solo recital material in various styles DMus:Sixty minutes of recital material in various styles TOP OF PAGE -->

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Placement examsAll students beginning graduate studies in Composition, Music Education, Music Technology, Musicology, and Theory, including graduates of McGill University, are required to take placement examinations in order to determine that their academic preparation in Music is sufficient. On the basis of the results of these examinations, incoming students may be required to take certain remedial courses in Music History and Theory and, depending on their area of specialization, other undergraduate preparatory courses as well. All of these then form an additional part of their program of study.Applicants to Music Education, Music Technology and Musicology must submit copies of calendar course descriptions for all History courses taken elsewhere than at McGill.Students who are notified of their acceptance into graduate studies in Music are encouraged to prepare for the placement examinations by perusing the following general descriptions of the examinations. After a decision has been made on your admissibility to the graduate program, these placement examinations will be mailed to you, along with instructions as to their completion and return. A list of books useful in preparation for the examinations can be found following the descriptions.General DescriptionsComposition[Total duration of COMPOSITION examinations: 10 hours]Theory Part 1 [2 hours]-- analysis of a 19th-century composition with an emphasis on large-scale formal organization, motivic materials, and identification of chromatic harmonies.-- analysis of a 20th-century post-tonal composition with an emphasis on the organization of pitch, rhythm, and texture, and their integration in the overall form.Theory Part 2 [3 hours]-- the addition of three voices to a given melody, in a mid- to late-nineteenth century harmonic idiom, for a total of 14-16 measures -- the opening measures will be given.-- an exercise in three voice modal counterpoint on a cantus firmus (given: CF and opening motivic material)-- tonal counterpoint - a short two-part keyboard invention, based on given material.Theory Part 3 [2 hours]-- orchestration of a given excerpt.History [2 hours]-- write one essay to be chosen from a list of topics, to test knowledge of significant compositions, composers, historical trends, etc., from 1600 to the present.-- identification of musical excerpts (score provided) to test knowledge of historical and stylistic trends.Musicianship [1 hour] (to be administered during the first term)-- sight singing: melodies involving chromaticism and modulations to remote keys (in mixed clefs -- treble, bass, soprano, alto and tenor); complex atonal melodies in treble or bass clef; any sight-singing system may be used.-- dictation: four-part modulating chorale excerpts including all types of 7th and augmented 6th chords (12-16 chords); isolated non-tonal chords; atonal melodies.Music Education[Total duration of MUSIC EDUCATION examinations: 5 hours]Music Education [3 hours]-- essay questions covering historical and contemporary music education philosophies and methodologies, string, brass, woodwind, vocal, orchestra/band techniques and choral conducting, and recent research developments.Music Theory [2 hours]-- analysis of a 19th-century composition with an emphasis on large-scale formal organization, motivic materials, and identification of chromatic harmonies.-- analysis of a 20th-century post-tonal composition with an emphasis on the organization of pitch, rhythm, and texture, and their integration in the overall form.Music Technology[Total duration of MUSIC TECHNOLOGY examinations: 10 hours]Music Technology [8 hours]Part 1 [2 hours]-- Technological aspects (Non exhaustive list: MIDI, AES/EBU, File formats, Musical data delivery over the Internet, Software Environments for Music and Audio Production, Basics of Digital Audio, Number Systems)Part 2 [2 hours]-- Acoustics, Psychoacoustics, and Musical acousticsPart 3 [2 hours]-- Computer Science (C, C++, Algorithms, Data Structures, Operating systems, Real-Time Systems), Computer Science applied to Music (for instance software packages such as Common Lisp Music, Max/MSP, Csound, SuperCollider), Human-Computer Interaction.Part 4 [2 hours]-- Sound Synthesis, Audio Processing, and Basic of Digital Signal Processing.Music History [2 hours]-- one essay question on electronic and computer music as applied to composition and/or sound synthesis/processing.Musicology[Total duration of MUSICOLOGY examination: 3 hours]Theory Part 1 [2 hours]To analyze two out of three compositions:-- a 16th-century imitative composition, with an emphasis on imitative and other contrapuntal techniques, use of cantus firmus, mode, cadences, and text-music relationships, in relation to the overall form.-- analysis of a 19th-century composition with an emphasis on large-scale formal organization, motivic materials, and identification of chromatic harmonies.-- analysis of a 20th-century post-tonal composition with an emphasis on the organization of pitch, rhythm, and texture, and their integration in the overall form.Theory Part 2 [1 hour]-- an exercise in three-voice modal counterpoint on a cantus firmus (given: CF and opening motivic material)OR-- the opening of a three-part invention (subject given) that is to be extended for approximately six measures.Theory[Total duration of THEORY examinations: 6 hours]History [2 hours]-- one short essay question from a list of topics to test knowledge of significant compositions, composers, historical trends, etc., from 1600 to the present.-- identification of musical excerpts (score provided) to test knowledge of historical and stylistic trends.Theory Part 1 [2 hours]-- analysis of a 19th-century composition with an emphasis on large-scale formal organization, motivic materials, and identification of chromatic harmonies.-- analysis of a 20th-century post-tonal composition with an emphasis on the organization of pitch, rhythm, and texture, and their integration in the overall form.Theory Part 2 [2 hours]-- an exercise in three-voice modal counterpoint on a cantus firmus (given: CF and opening motivic material)OR-- a fugal exposition in three-voice tonal counterpoint continuing through the first two measures of the first episode (given: fugal subject).Supplemental Reading ListMusic EducationAbeles, H.F., Hoffer, C. R., & Klotman, R. H. (1994). Foundations of Music Education. (2nd ed.) New York: Schirmer Books.Chosky, L., Abramson, R. M., Gillespie, A. E., & Woods, D. (1986). Teaching Music in the 20th Century. Englewood Cliffs, NJ: Prentice-Hall, Inc.Elliott, David. Music Matters: A New Philosophy of Music Education. Oxford University Press, 1995.Kohut, Dan. Musical Performance ... Learning Theory and Pedagogy.Madsen, C. & Madsen, C. (1978). Experimental Research in Music Education. Raleigh, NC: Contemporary Publishing Company.Mark, M. (1986). Contemporary Music Education. (2nd ed.) New York: Schirmer Books.Merrion (1989). What works: Instructional Strategies for Music Educators. Reston, VA: MENC.Schaeffer, Murray. Creative Music Education.Various journals:Journal of Research in Music EducationBulletin of the Council for Research in Music EducationPsychology of Music.Philosophic Foundations and Developmental Sections in Handbook of Research on Music Teaching and Learning. ed.R. Colwell. Schirmer Publications, 1992.Method books (instrumental, vocal, and elementary).Music TechnologyTechnological aspects:Williams, D. B., & Webster, P. R. (1999). Experiencing Music Technology: Software, Data, and Hardware. (2nd ed.) New York, Schirmer Books.Pohlmann, K. C. (2000). Principles of Digital Audio. (4th ed.) McGraw-Hill.Ballora, M. (2003). Essentials of Music Technology. Upper Saddle River, NJ: Prentice Hall.Acoustics, Psychoacoustics, and Musical acoustics:Roederer, J. G. (1995). The Physics and Psychophysics of Music. (3rd ed.) New York, Heidelberg: Springer Verlag.Hall, D. E. (1980). Musical Acoustics, An introduction. Belmont, CA: Wadsworth Publishing Company. Rossing, T. D., F. R. Moore & P. A Wheeler. (2002). The Science of Sound. 3rd edition. Addison-Wesley. Computer Science and related topics: Brassard G., & Bratley P. (1996). Fundamentals of Algorithmics. Upper Saddle River, NJ: Prentice-Hall. Winkler, T. (1998). Composing Interactive Music. Techniques and Ideas Using Max. Cambridge, MA:The MIT Press. 368 pages. Rowe, R. (2001). Machine Musicianship. Cambridge, MA: The MIT Press. Hardcover, 416 pages.Sound Synthesis, Audio Processing, and Basic of Digital Signal Processing:Roads, C. (1996). Computer Music Tutorial. Cambrigde, MA: The MIT Press. Dodge, C., & Jerse, T. A. (1997). Computer Music: Synthesis, Composition, and Performance. (2nd ed.) New York, Schirmer Books. Music History: Chadabe, J. (1996). Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ, Prentice Hall. Manning, P. (1993). Electronic and Computer Music. Oxford, Oxford University Press. Theory16th-Century Analysis:Mark Everist, ed. Music Before 1600. Models of Musical Analysis. Oxford: Blackwell, 1992.19th-Century Analysis:E. Aldwell and C. Schachter, Harmony and Voice Leading, chaps.23-32.William Caplin. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998.20th-Century Analysis:Joel Lester. Analytic Approaches to Twentieth-Century Music. New York: W.W. Norton, 1989.Joseph N. Straus. Introduction to Post-Tonal Theory. 2nd ed. Upper Saddle River, NJ: Prentice Hall, 2000.Modal Counterpoint:Peter Schubert. Modal Counterpoint, Renaissance Style. New York: Oxford University Press, 1999.Tonal Counterpoint:Robert Gauldin. A Practical Approach to Eighteenth-Century Counterpoint. Englewood Cliffs, NJ: Prentice Hall, 1988.Kent W. Kennan. Counterpoint: Based on Eighteenth-Century Practice. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1999.Music History:Donald Grout and Claude Palisca. A History of Western Music, sixth edition. New York: Norton, 2001;andClaude Palisca. Norton Anthology of Western Music, fourth edition. New York: Norton, 2001.(Other editions are also fine.)Norton and Prentice Hall Music series of music history text books in specific areas.

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非常感谢，我会去好好看看的。：）

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