French Horn is a practically oriented field focusing on the study and systematic mastery of French horn instructional and elocutionary literature. The instruction develops and perfects the student?s knowledge acquired during previous studies, primarily at conservatories. This applies to the area of methodological approaches as well as to the student?s own interpretive activity. As part of the instruction, it is expected that all students will be significantly involved in the school?s concert activities in chamber ensembles, orchestras and solo performances. The historical repertoire tradition of wind instruments involves small formations composed of the school?s students, who can actively co-create the artistic character and impact of major concerts. Matriculations, graduations, the conferring of honorary doctorates, etc. are accompanied by concert performances and ceremonial music spanning four centuries and all stylistic periods.
Current practice requires a wide scale of styles and genres. Graduates apply their skills in orchestral playing, chamber playing and soloist activity, as well as in pedagogical work in primary and secondary education. Communication and language skills are essential aspects of a graduate?s preparation.
|Applications start||1st November 2017|
|Applications end||30th November 2017|
The basic requirements are instrumental talent, developed musical imagination, refined musical prerequisites, health condition and psychological disposition to study the chosen instrument, knowledge of the instruments literature and general cultural knowledge. Performance from memory in the assigned repertoire is a prerequisite for admission. The entrance examination includes a section on music theory and the history of music which tests knowledge of the development of music, prominent authors and musical compositions, supported by specific knowledge of fundamental works. The section on harmony requires knowledge of the principles of Classical and Romantic harmony as well as the ability to orient oneself in the basic analysis of a musical work. The section on counterpoint requires knowledge of basic concepts (imitation, canon, fugue, double counterpoint, etc.), and the section on musical forms requires a basic overview of individual forms and genres.