Keyboards

repare at least 15 minutes of music, two or three pieces of contrasting styles, preferably memorized. Also review and be prepared to play any scales or other technical material you have studied. You will also be asked to sight-read some unfamiliar piano scores.

Please contact either Irina Voro or Jacob Coleman with any questions you may have.

General Requirements

Admittance

1. Required Audition with primary faculty. Applicants should show a high and consistent level of artistry as well as a background indicating considerable performing experience. Preliminary audition by tape/CD/DVD with a recent recording of a recital is suggested but not required. Repertoire for the live audition should be representative of Baroque, Classical, Romantic and 20th/21st Century music. A complete sonata must be included as well as a virtuoso piece. In some cases (upon approval by the piano faculty) applicants out of country may audition by DVD/video tape.
2. Required Entrance Exam in music history and theory.
3. Repertoire list consisting of solo, chamber, and concerto works which have been

Performed prior to admittance into the DMA program.

1. Three letters of recommendation should be submitted attesting to proven and

Potential success in the field of piano performance.

1. Admission by vote of Graduate Committee based upon audition, entrance exam, and admission portfolio.

Concentration Area Requirements: Piano

Language Requirement: No language requirement. Dissertation Requirement, Option 1

1. Minimum of Three Recitals
2. Two Recitals (60 minutes of music in length, from memory (when applicable). Repertoire will be determined with the approval of the candidate’s DMA Committee.
3. Lecture Recital. The topic will be determined with the approval of the candidate’s DMA committee.
4. Monograph Project:
5. A 75-page minimum document, excluding footnotes and bibliography.
6. Project will demonstrate candidate’s ability to conduct research and write on a scholarly topic; usually, but not mandated, to be related to the Lecture recital topic.

Dissertation Requirement, Option 2

1. Minimum of Five Recitals
   1. Four Recitals (50-60 minutes of music in length, from memory when applicable). One of these recitals could be a chamber music recital. With the permission of the committee and the major teacher, it is possible to substitute a solo recital with concerto performance with orchestra. Repertoire will be determined with the approval of the candidate’s DMA Committee.
   2. Lecture Recital. The topic will be determined with the approval of the candidate’s DMA committee.
2. Monograph Project:
   1. A document of 25 pages in length, excluding footnotes and bibliography.
   2. Project will demonstrate candidate’s ability to conduct research and write on a scholarly topic; usually related to the Lecture recital topic.

DMA Committee members

1. Two members of the Performance Division (including principal instructor), one member from the Musicology, Theory, or Music Education Divisions, one outside member.
2. Students who choose an optional minor in Music Theory, Musicology, or Music Education must choose Performance Option 1 and add a member from the minor area to the DMA Committee.

Qualifying Exams

1. Part I consists of a three hour common written exam in music history and a three hour written exam in music theory.
2. Part II will consist of a six hour written exam in the area of concentration. c. Part III will consist of an Oral Exam of two hours maximum, following satisfactory completion of Part I and II, as described above.

GREAT ORGAN Manual II
Geigen Principal 16
Principal 8’
Bordon 8’
Harmonic Flute 8’
Octave 4’
Flachflote 4’
Super Octave 2’
Mixture IV
Schorf Ill
Cornet lll-V
Kontra Trompete 16’
Trompete 8 ‘

CHOIR ORGAN Manual IV
Principal 8’
Holzflote 8’
Flauto Dolce Celeste 8’ (II)
Spizflote 4’
Nazard 2-2/3’
Gemshorn 2’
Mixture lll-V 
Corno di Bassetto 8’
Tremelo

POSITIV ORGAN  Manual I
Quintaton 16
Principal 8’
Holzgedeckt 8’
Octave 4’
Spillflote 4’
Nasal 2-2/3
Principal 2’
Terz 1-3/5’
Quint 1-1/3
Sifflte 1’
Zimbel lll-V
Dulzian 16’
Krummhorn 8’
Tremelo

SWELL ORGAN Manual III
Rohrbass 16’
Rohrflote 8’
Gambe 8’
Celeste 8’
Principal 4’
WaIdlflote 4’
Schwarzflote 2’
Sesquialtera lI
Plein Jeu Ill-V
Basson16’
Trompette 8’
Hautbois 8’
Vox Humana 8’
Clairon 4’
Tremelo

BOMBARDE ORGAN Manual V
Bombarde16’
Trompette Harmonique 8’
Clairon Harmonique 4’
Fourniture IV-Vl

PEDAL ORGAN
Subbass 32’
Principal 16
Geigen Principal 16’(Gt)
Subbass 16
Quintaton 16’ (Pos)
Rohrbass 16 (Sw)
Geigen Quint 10-2/3’ (Gt)
Rohrbass Quint 10-2/3’ (Sw)
Qctave 8’
Spiztlote 8’
Rohrflote 8’ (Sw)
Choralbass 4’
Nachthorn 4’
Nachthorn 2’ (ext)
Mixture IlI
Scharf IlI
Grand Cornet IV
Kontra Posaune 32’ (ext)
Posaune 16’
Basson 16’ (Sw)
Dulzian 16’ (Pos)
Trumpet 8’
Hautbois 8’ (Sw)
Trumpet 4’ (ext)
Hautbois 4’ (ext)
Dulzian 4’ (ext)

GREAT ORGAN–Man.II
Quintadena 16’
Principal 8’
Spillflote 8’
Octave 4’
Rohrflote 4’
Doublette 2’
Sifflote 1’
Rauschquinte II
Mixture IV
Trumpet 8”
Chimes

POSITIVE ORGAN-Man. I
Copula 8’
Quintadena 8’
Spitzflote 4’
Nazard 2-2/3’
Principal 2’
Tierce 1-3/5’
Scharff III
Cromorne 8’

SWELL ORGAN-Man. III
Flute A’cheminee 8’
Gamba 8’
Voix Celeste 8”
Octave Geigen 4’
Gemshorn4’
Blockflote 2’
Sesquialtera II
Larigot 1-1/3
Fagot 8”
Schalmey 4’
Tremolo

PEDAL ORGAN
Contrabass 16’
Sub Bass 16’
Quintadena 16’ (Gt)
Grossquinte 10-2/3’
Octave 8’
Gedackt 8’
Choralbass 4’
Nachthorn 2’
Mixture III
Posaune 16’
Trumpet 8’
Bassoon 8’
Oboe Clarion 4’

Man.I
Gedekt 8
Prestant 4
Octaaf 2

Man.II
Gedekt 8 (duplex)
Fluit 4
Larigot 1-1/3
Terts 1-3/5

Pedal
Gedekt 8
Quintadeen 4

Couplers
I+II
P+I
P+II