73. Syracuse University

[music composer]

입학 정보	학비및 총비용	교육과정 정보	오디션곡	교수 명단	홈으로
.......................................................................................................................

73. Syracuse University

Syracuse University

Syracuse, NY 13244

(315) 443-1870

1. 입학 정보 ( Adimission Information )

*입학 원서 마감일 ( Admission Dates and Deadlines )

9월 학기 등록 ( Fall Enrollment ) : 12월 15일

* 입학서류 마감과 입학시험일 오디션날짜

An audition is required for all applicants to the School of Music. All students should meet the application deadlines.

Early decision deadline - November 15. Application, financial aid forms and audition should be completed.

Regular decision deadlines:

Application - January 15.

Audition - February 1.

Financial aid forms - February 15.

You may audition before you submit your application.

2. 입학 체크 리스트 ( Application Checklist )

* 입학 지원서 ( Completed and signed application )

* 입학료/ 오디션 전형료 : $ 80 ( Application / Audution fee )

* 오디션 자료 양식 ( Audition information form )

* 추천서 ( Letters of recommendation in sealed envelopes )

* 개인 이력서와 레파토리 리스트 ( Artistic resume and repertorire list )

* 성적 증명서와 졸업 증명서 ( Transcripts or certified translations )

* 개인 에세이 ( Personal essay )

* 오디션 프로그램 ( Audition Program )

* 오디션 테잎 ( Audition tape )

*영어 (English) 외국학생들은 반드시 TOEFL 스코어를 내야함.

3. 2007-2008년도 학기의 총 비용

학비 Full-time tuition (academic year)

Undergraduate tuition and required fees: $20,866

기숙사 비용 + 식대 Room and board (19 meals per week): $8,750

4. 교육과정정보 ( Education Information)

대학 ( Undergradute ) : 학사 학위 ( Bachelor of Music )

대학원 ( Graduate ) : 석사학위 ( Master of Music )

5. 오디션 곡

WOODWINDS

Perform two works of contrasting styles and tempos. Play selected scales and studies upon request.

FLUTE:

All major scales and a chromatic scale played in two consecutive octaves. HANDEL, TELEMANN, BACH Sonatas; MOZART Concertos; Paris Conservatory Solos; HINDEMITH Sonata; MARTINU First Sonata; HONEGGER Danse de la Chevre; DEBUSSY Syrinx.

OBOE:

All major scales and a chromatic scale played in two consecutive octaves. BARLOW Winter's Past; CORELLI-BARBIROLLI Concerto; CIMAROSA-BENJAMIN Concerto; ALBINONI Concerti in D Major or Bb Major; HANSON Pastorale; HINDEMITH Sonata for Oboe and Piano; HANDEL Sonata I, C Minor, Sonata II, G Minor; TELEMANN Sonata in A Minor; MARCELLO Concerto for Oboe in C Minor; FERLING 48 Etudes (two contrasting); MOZART Concerto, K.314, Quartet, K.370.

CLARINET:

All major scales and a chromatic scale played in two consecutive octaves. ROSE Etudes, 32 and 40; HITE Books I and II; MOZART Concerto in A; WEBER Concertos Nos. 1 and 2, Concertino; HINDEMITH Sonata; BRAHMS Sonatas 1 and 2; SAINT-SAENS Sonata; STRAVINSKY Three Pieces for Clarinet Solo.

BASSOON:

All major scales and a chromatic scale played in two consecutive octaves. MOZART Concerto in Bb; HINDEMITH Sonata; WEBER Concerto; TELEMANN Sonata in F; MILDE 25 Studies in Scales and Chords, No. 1; Comparable solos.

BRASS

Perform two works of contrasting styles and tempos. Play selected scales and studies upon request.

HORN:

All major scales and a chromatic scale played in two consecutive octaves. Solos: MOZART Third Concerto, Concerto Rondo; CORELLI Concerto in F; STRAUSS Concerto No. 1 in Eb; DUKAS Villanelle.

TRUMPET:

 All major scales and a chromatic scale played in two consecutive octaves. Etudes: An Arban Characteristic study, Charlier Etude, Bousquet study, or comparable etude demonstrating flexibility, control, and endurance. Solo: A fast and slow movement from one of the following: HAYDN Concerto, HUMMEL Concerto, HINDEMITH Sonata, or KENNAN Sonata. Optional: A demonstration of transposition ability, performance of orchestral excerpts, and minor scales.

TROMBONE and EUPHONIUM:

All major scales and a chromatic scale played in two consecutive octaves. PRYOR Thoughts of Love; SIMONS Atlantic Zephyrs; HANDEL-POWELL Sonata No. 3; BARAT Andante and Allegro; BLAZEVICH Concerto Sketch No. 5.

TUBA: Performance major: Chromatic and major scales. BEVERSDORF Sonata; HINDEMITH Sonata; VAUGHAN-WILLIAMS Tuba Concerto.

Primary instrument: All major scales and a chromatic scale played in two consecutive octaves. BACH-BELL Air and Bouree; BEVERSDORF Sonata; HADDAD Suite; HINDEMITH Sonata; VAUGHAN-WILLIAMS Tuba Concerto.

PERCUSSION

Audition requirements include demonstrating proficiency in three areas of percussion: snare drum, timpani, and mallet keyboards. Drum set and multiple percussion performance is encouraged but optional.

We advise you to prepare at least one solo, etude, or concerto from each area. We also encourage you to demonstrate basic techniques on the accessory instruments-cymbals, tambourine, triangle, and bass drum.

SNARE DRUM: A. CIRONE Etude(s) from Portraits in Rhythm; SCHINSTINE, WILCOXON, BUGGERT, PRATT Rudimental solos; COLGRASS, BENSON Solos; V. FIRTH Etude(s) from The Solo Snare Drummer; Excerpts from orchestral literature.

TIMPANI: D. JONES, J. WILLIAMS, J. BECK, R. MUCZYNSKI Solos; R. HOCHRAINER Etude(s) from Etuden for Timpani; V. FIRTH Etude(s) from The Solo Timpanist; Excerpts from orchestral literature.

MALLET KEYBOARDS: M. GOLDENBERG Etude(s) from the Modern School for Marimba (Xylophone, Vibes); CRESTON, MILHAUD, KURKA, MAYAZUMI Concertos; MUSSER, STOUT Etude(s); BACH, HANDEL, VIVALDI, et al. Transcriptions from Baroque literature; excerpts from orchestral literature.

KEYBOARD

PIANO:

A student auditioning for the piano performance major program should perform from memory three contrasting pieces selected from three of the categories listed below. Other students whose primary instrument is piano should perform from memory two contrasting pieces from the categories below (one of the works must be from category A or B). All students should be prepared to play selected scales and arpeggios; sight reading will be required. Categories:

A) A work by J.S. Bach;

B) One movement of a sonata by Haydn, Mozart, or Beethoven;

C) A Romantic work;

D) A 20th-century work.

Performance major:

J.S. BACH Three-Part Inventions, French Suite in G, Preludes and Fugues from the Well Tempered Clavier; HAYDN Sonatas; MOZART Sonatas; BEETHOVEN Sonatas; SCHUBERT Impromptus; CHOPIN Waltzes, Nocturnes, Polonaise, Preludes, etc.; DEBUSSY Preludes; BARTOK Mikrokosmos, Volume V and VI; KHATCHATURIAN Toccata, etc.

Primary instrument:

BACH Two-Part Inventions; HAYDN Selected Sonatas; MOZART Sonata K. 545; BEETHOVEN Sonatas Op. 49, Nos. 1 and 2, Variations; SCHUBERT Selections from Moments Musicaux, Op. 94; SCHUMANN Album Leaves, Op. 124, Bunte Blatter, Op. 99; CHOPIN Waltzes, Op. 69, Nos. 1 and 2; DEBUSSY Arabesques, Children's Corner; BARTOK Mikrokosmos, Vol. IV; MENDELSSOHN Selected Songs Without Words; KABALEVSKY Sonatina, etc.

ORGAN:

A student auditioning for the organ performance program should perform three contrasting pieces selected from three of the categories listed. One of the works must be from Category A or B. In addition, a hymn and sightreading should be included. Organ applicants are strongly urged to audition on campus. Students able to satisfy the piano major audition requirements may be considered for organ study but must be heard by the organ auditioner. Categories:

A) A work by J.S. Bach;

B) A work from another Baroque period composer;

C) A work from the Classic or Romantic period;

D) A 20th-century work.

Performance major:

FLOR PEETERS Little Organ Book; LILIAN CARPENTER Basic Technique or HAROLD GLEASON Method of Organ Playing; MARCEL DUPRE 79 Chorales, 15 Pieces; J.S. BACH Eight "Little" Preludes and Fugues, Prelude and Fugue in C, S.549, Prelude and Fugue in E minor, S.533 ("Cathedral"), Orgelbuchlein Nos. 1-23; DIETRICH BUXTEHUDE Chorale Preludes, Prelude, Fugue & Variation; REGER Benedictus, Chorale Preludes; easier compositions by contemporary composers; hymns.

Primary instrument:

FLOR PEETERS Little Organ Book; LILIAN CARPENTER Basic Organ Technique or HAROLD GLEASON Method of Organ Playing; MARCEL DUPRE 79 Chorales; J.S. BACH Eight "Little" Preludes and Fugues, Prelude and Fugue in E minor, S.533 ("Cathedral"), Orgelbuchlein; DIETRICH BUXTEHUDE Chorale Preludes, Toccata in F; RHEINBERGER Trios for Organ; HERMANN SCHROEDER Little Preludes and Intermezzi, Six Organ Chorales, hymns.

VOICE

An accompanist will be provided for voice auditions held on campus and at Lubin House at no charge. (You may bring your own accompanist.) Taped accompaniment is not acceptable.

Please bring your music in the key in which you will sing.

If you have not studied privately, please have your high school music teacher, or someone who has observed your musical progress and potential, forward a confidential letter of recommendation before your audition date to Professor Julianna Sabol, Chair, Voice Department, 303 Crouse College, School of Music, College of Visual and Performing Arts, Syracuse University, Syracuse, NY 13244-1010.

Four songs of contrasting styles and historical periods should be prepared and memorized. Your selections should be chosen from a broad cross-section of the Western art and folk traditions. We recommend art songs such as those found in standard anthologies of Italian songs of the 17th and 18th centuries; French and German repertoire of the 19th century; and 20th century art songs by composers such as Barber, Britten, Copland, Duke, and Quilter. An aria from opera or oratorio is acceptable but not mandatory. One song selection must be in English and can be from any historical period of song literature (not musical theater, if you are auditioning for voice performance).

Because the vocal instrument for students auditioning at the freshman level is usually in the elementary stages of growth and development, the particular selections presented in this audition will be critiqued on how well they indicate freedom, pleasantness, naturalness of quality and production technique, range, musical expression‎, and potential.

The distinction between the primary instrument and performance major is based not only on the difficulty of the repertory presented but also on the probable potential of both the singer's instrument and expressive musicianship.

Transfer students at the sophomore and junior levels: Four memorized contrasting songs, one of which must be sung in a foreign language. Opera or oratorio arias may be included.

STRINGS

Perform two works of contrasting styles and tempos. Play selected scales and studies upon request.

VIOLIN

Performance major:

Major and minor scales and arpeggios in three octaves; MAZAS, KREUTZER, et al. Etudes; ACCOLAY, MOZART, NARDINI, STAMITZ, et al. Concerti; HANDEL, MOZART, SCHUBERT Sonatas.

Primary instrument:

Scales up through three positions played in triplets, quadruplets, and with various bowings; SEITZ, SITT, READING, VIVALDI, et al. A student concerto.

VIOLA:

LIFSCHEY Scales and Arpeggios, Book II; PRIMROSE The Art and Practice of Scale Playing on the Viola; DONT-SVENSKI 20 Progressive Exercises; MAZAS-PAGELS Etudes Brilliantes, Op. 36; J.S. BACH Movements from the Six Suites for the Viola Alone (originally violoncello); DOKTOR (Ed.) Solos for the Viola Player; LOCATELLI-DOKTOR Sonata in G Minor; MARAIS Five Old French Dances; MARCELLO Sonata in E Minor; TELEMANN Concerto in G.

CELLO:

All major and minor scales in three octaves. Emphasis on purity of intonation within the hand and shifting. Simple bowing patterns. STUTCHEWSKY Standard etudes from New Collection of Studies for Violoncello, Vol. I; SEVCIK-COLE Changing the Position; BREVAL‎ Sonata in C Major; CORELLI Sonata in D Minor; VIVALDI Six Sonatas.

DOUBLE BASS: Basic fundamentals, posture, left hand position bow arm technique (either French or German bow), and elementary bowings. Turnings by open strings and harmonics in third position. Major scales in two octaves, including shifting ability. BILLE New School for the Double Bass, Book I, 261; SIMANDL New Method for the Double Bass, Book I; STURM 110 Etudes; SIMANDL 30 Etudes; MARCELLO, VIVALDI, CORELLI, SCARLATTI, ECCLES Sonatas; WEINSTEIN Modal Solos; any standard double bass concerto.