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Franz Gute Nacht! O 5 Voice and Piano R. Giuliani Etudes, No. Giuliani Sonate Brilliant Op. Giuliani Six Variations for Guitar Op. Giuliani Opus 50 No. Giuliani 18 Progressive Lessons, No. Giuliani 16 Studies for the Guitar Op. Giuliani 16 Studies for the Guitar: 4 Op. Giuliani 16 Studies for the Guitar: No. Giuliani Divertissements, No. Giuliani 24 Studies for the Guitar, No. Giuliani Serenade op. Voice and Piano L. Gottschalk The Dying Swan Op. Grieg Ases Tod O 46, No.

Grieg Troldtog March of the Dwarfs Op. Grieg Hjemkomst Op. Handel No! Handel Sonata II, from Op. Handel Sonata XI, from Op. Soprano, 2 Violins, Basso Continuo G. Haydn String Quartet in B-flat major Op. Haydn String Quartet in E-flat major Op. Haydn String Quartet in D major Op. Haydn String Quartet in G major Op. Haydn String Quartet in D minor Op. Haydn String Quartet in C major Op. Haydn Air Raphael Hob. March by Rossini. Classical Guitar F.

Russian Air. Andante by Beethoven. The Last Rose of Summer. French Air. Un Noel. Le Petit Tambour. Polish National Air. German Air. Russian Hymn.


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John Anderson, My Jo. Tyrolian Air. Danish Air. Cherubini's Air. Polish Hymn. Kelvin Grove. Podolian Air. Fra Tante Angoscie. Au Clair De la Lune. Dutch Air. Portuguese Hymn.

Adagio for Solo Piano in B Minor, Op. 3, No. 1: Metamorfosi

Air by Gelinek. Pyrenese Melody.

Polish Air. Scotch Air. Pleyel's Hymn. Auld Lang Syne. Vive Henri Quatre. Air from the Ballet of Nina. Post Horn Waltz. Old German Air. Swedish Air. Rule Britannia. An Alexis. Je Suis Lindor. March by Gallenberg. Rousseau's Dream. Chanson Des Marseillois. Old Saxon Air. Sul Margine D'un Rio. Venetian Air.

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Care Pupille By Blangini. Classical Guitar C. Ippolitov-Ivanov Divine Liturgy of St. John Chrysostom Op.

“Carnevale de Venezia” for violin and piano

Janequin Le Chant des Oyseaux Attaignant ? Choir J. Knjze Six Progressive Studies: No. Knjze Twelve Monferrine: No. Kopprasch 60 Studies for Low Horn Op. Kuhnau Uns ist ein Kind geboren: 2.

List of works by Max Bruch

Kuhnau Uns ist ein Kind geboren: 4. Kuhnau Uns ist ein Kind geboren: 8. Liszt Consolation, S. Marcello Ciaccona Op. Classical Guitar W. Classical Guitar E. Mendelssohn-Bartholdy Scherzo in E minor Op. Mendelssohn-Bartholdy Ein Sommernachtstraum - No. Mendelssohn-Bartholdy Lieder ohne Worte, Op. Mendelssohn-Bartholdy Vespergesang Op. Mertz Guitar-Skole no.

Listen – Yuja Wang | Piano

Voice P. Non vedete voi donna il mio tormento? Mozart Fugue fragment Anh. Mozart Symphony nr. Mozart Divertimento in Bb Major K. Mozart Symphony No. Mozart Andante in C Major K. Mozart String Quartet KV. Mozart Horn Quintet, K. Mozart Mozart Horn Concerto No. Mozart Horn Concerto No. Mozart 12 Duets No. Mozart Clarinet Quintet KV. Naujalis Caligaverunt Op. Naujalis Popule Meus Op.

Naujalis Vexilla Regis Prodeunt Op. Neithardt Des Sommers letzte Rose Op. Neithardt Rule Britannia Op. Piano N. Paganini Sonata No. Violin, Cello R. Papezik Recuerdos Op. Peace St. Pejacsevich Gondellied Op. Powlwheel 3. Rachmaninoff Prelude in C minor Op. Rachmaninoff Prelude Op. Reddings 1. Proper attention will be given to rhythm, intonation, sound, and phrasing.

The student is expected to own a quality instrument and mouthpiece, a metronome, a tuner, a recording device, and a mirror, and should use these tools in daily practice. Literature will focus on studies and etudes. Emphasis at this level is centered on consistency of correct fundamentals and development of more technical facility. Emphasis at this level is on artistic performance, consistency, and more technical and musical facility. All the above items Blazhevich: 70 Etudes for Tuba, Vol. Programmes, signed by major study teachers, should be submitted to the Head of Department for approval at least four weeks before the assessment.

Emphasis at this level is on technical and musical refinement, and individuality. Literature will continue to focus on advanced studies and etudes as well as solos and excerpts. Emphasis at this level is on developing tuba fundamentals such as breathing, playing position, embouchure, and articulation, particularly how it applies to the contrabass CC tuba. The student is expected to own a quality mouthpiece chosen in consultation with the tuba instructor , a metronome, a tuner, a recording device, and should use these tools in daily practice.

Literature in the first semester will focus on studies, etudes, and orchestral excerpts with an emphasis on ensemble playing. Literature in the second semester will focus on solo repertoire. Study of the F-bass tuba will also be introduced as well as techniques on how to balance study and practice between contrabass CC , and bass F tuba playing. In addition to heightened awareness in large ensemble playing, students are expected to be significantly involved in the chamber music program.

Emphasis at this level is on the development of an artistic persona, as well as further development of technical and musical fluency on both bass F and contrabass CC tubas. The second semester will focus on the refinement of the junior recital, including advanced techniques on solo recital performance practice. Balanced Etude practice between CC and F tubas. The student will be given the tools needed for independent artistic development and will be encouraged to pursue their individual artistry, in solo, chamber, and orchestral contexts.

Particular concentration should be given to preparation of the senior recital, and towards audition preparation for professional orchestral auditions and graduate degree programs. In the first semester, the student should also begin planning and preparation for their senior recital.

The second semester will focus on the refinement of the senior recital, including advanced techniques on solo recital performance. Students are evaluated on individual and ensemble skills in all principal areas of percussion keyboard, snare drum, and timpani. The fundamental skills of intonation, ensemble sensitivity, proper utilization of the metronome, multi-tasking, sight-reading, stroke, sound production, and physical approach to the different instruments are all established or refined.

In the first two years, harp performance majors must perform a jury for the departmental faculty at the end of each academic year as prescribed below. All works are to be performed from memory with the exception of certain contemporary works which may be performed from score with written permission from the harp faculty.

All major and minor scales All major and minor arpeggios Etudes and Studies. A minute assessment to include technique as above and representative portions, as directed by the jury, of:. An assessment of minutes to include technique as above and representative portions, as directed by the jury, of.

A recital of minutes of solo harp music and a one movement of standard harp concerto to be performed as at a concert. Programmes, signed by major study teachers, should be submitted to the Head of Department for approval at least four weeks before the recital. A recital of minutes of solo harp music and a one movement of standard harp concerto, which should not exceed 60 minutes including an intermission. BMus and MMus composition students are required to compose 2 works each semester under the supervision of their studio teachers. During their studies, students are expected to compose for instrumentations ranging from solos to large ensembles, including orchestra.

They should explore the various compositional approaches found in contemporary music but also use their semesterly projects as a means to discover and explore their own compositional interests. Students are encouraged to incorporate traditional, folk and other instruments and ensembles available in the region, as well as computer music and live electronics in their compositions. In consultation with their studio teacher, students determine which instrumentations they will address each semester. Major study involves additional requirements including attendance at weekly composition seminars and other composition-focused events, musicianship skills training, and the Annual Reflection.

Instructors may also assign readings, analyses, journal writing, etc. These will form part of your weekly assessment grade. This document is available from the programme directly. Composition students are expected to have at least one performance or presentation, in case of installation pieces or other electroacoustic media not involving live performance of their composed works each semester, except for the 1st year students in their first semester. There are a number of opportunities organized by the programme each year.

Students are encouraged to take advantage of these. Students should consult their major study teacher, mentor, or the Assistant Dean of Composition and Contemporary Music to determine an suitable performance opportunity noon recital, SoundBites, etc. At the end of each semester, students are required to submit a portfolio of their works for jury grading. All portfolios are to be submitted to the Conservatory Academic Affairs Office.

Late submissions will incur a penalty of half a letter grade per day. Guidelines for submitting the composition portfolio are listed below. Students must follow the guidelines below when submitting their portfolios at the end of each semester for evaluation. If there are further questions concerning the submission of the portfolio, please direct them to your studio teacher.

The assessment weighting for Year 4 is as follows:. Students in many majors complete a capstone project in the final year of their degree programme that acts as a culminating learning activity. It is an opportunity for students to further the trajectory of interests developed during their studio studies and related compositional activities undertaken at the Conservatory in their first three years.

The specific format, content, and nature of the FYP are open. It could include a portfolio of original compositions, a single large-scale work, a sound or multimedia installation, or another composition-related project. The project should consist of a minimum of 25 minutes of music.

It must be original material and not include work that has been previously assessed. Students should develop their FYP in close consultation with their studio teacher. Students propose their Final Year Projects to the composition department, which must approved it. Since proposals may require some revisions, it is important that students follow the FYP proposal deadline.

If there are any required revisions, the student will be advised on nature of the necessary revisions and informed of a revision deadline. We aim to have approval for all FYPs by end of the semester in which it is submitted so that students can begin working on their FYP during the semester holidays May-July. The FYP is not an additional project on top of other semesterly major study requirements. Through your weekly lessons, you will receive mentoring on the compositions during their development as well as preparation for your presentation, review of portfolio, etc. Student should recognize that the FYP has a few components.

In addition to completing the composition s , each composition must be performed and recorded. Finally, at the end of the academic year, the student offers a public presentation on the compositions in the FYP. The Final Year Project is a requirement for graduation. In addition, students are required to attain a minimum of a C grade in their Final Year Project to pass.

Students who fail to attain the minimum grade must reschedule their FYP for the following semester. You should develop your FYP in consultation with your major study teacher. Your FYP proposal should be specific. It should address the following:. It will most likely be sensible to put each of these parts of your proposal in a separate paragraph. In AY that date is 20 February All works in an FYP must receive performances by the end of the final semester of study. Performances can take place on conservatory events, such as noon recitals, SoundBites, OpusNovus concerts, and the annual senior composition recital.

If these events do not fit the nature of the project, students are encouraged to create events that do. Regardless of where performances take place, they must be recorded. A high-quality audio or video recording of each work is required as part of the FYP portfolio. The presentation should provide relevant analysis of the FYP works as well as clearly demonstrate the relationship between technical approaches and artistic goals. Students will be notified by the Academic Affairs Office on the time and date of the presentation.

There will be a departmental Jury at the end of the second semester where the student will be expected to perform memorized 10 — 15 minutes of music selected from the semester 2 repertoire list. During year 1 students are expected to focus on repertoire in Italian and English. The repertoire must be approved by the voice faculty and be of the appropriate level of difficulty for this year. There will be a departmental Jury at the end of the second semester where the student will be expected to perform memorized 15 — 20 minutes of music selected from the semester 2 repertoire list.

During year 2 students are expected to focus on repertoire in Italian, English and either German or French. Repertoire selected must be approved by the voice faculty and must be of a level which demonstrates significant technical and musical skills representative of Year 3 voice majors. Presented at the end of the Senior year, students will be required to perform a full- length recital 45 — 55 minutes of music in a wide variety of styles and in languages including Italian, English, German and French. Repertoire selected must be approved by the voice faculty and must be of a level which demonstrates significant technical and musical skills representative of Year 4 voice majors.

Main Menu. I'm looking for product Any. Super Search. Yong Siew Toh Conservatory of Music. Semester Two: Self-learned Work In addition to the Junior Recital, third year piano students are also required to prepare a short piece without the assistance of the major Teacher or any other instructor. Fourth Year Piano Semester Two: Senior Recital A public recital of minutes of solo piano music, which should not exceed 60 minutes including an optional but not more than 10 minutes intermission.

Fourth Year Violin. Transcriptions for 2 pianos. Brahms, Concerto for Violin and Cello, Op. Brahms, Piano Quartet No. Brahms, Clarinet Trio, Op. Gounod, Faust Ballet music for Orchestra [???? Mozart, Rondo from Serenade No. Mozart, Sinfonia concertante in E-flat major, K. Mozart, Quintet in E-flat major, K. Rachmaninoff, The Bells, Op. Strauss R. Strauss J. Rachmaninoff, "The Dream", Op.

Transcriptions for 6 hands, one piano. Taki, Flower [March 26th, ] - Not availabe for now. Transcriptions for violin and piano. Chopin, Impromptu, Op. I, No. II, No. Brahms, Intermezzo Op. Brahms, 4th movement from String Quintet No. Brahms, No. Chopin, Etude opus posth.

Chopin, Nocturne, Op.