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Graduate Incoming Students

Once you have been accepted to Temple and the Boyer College of Music and Dance and paid your tuition deposit, please send an e-mail to the Boyer College to update your new Philadelphia contact information.  Please include your new Philadelphia address and cellphone number.

2012-13 Exam Schedule

Diagnostic Testing for Music Therapy Students

Diagnostic Testing for Incoming Doctoral (Music) Students


Master of Music**

Diagnostic examinations are required for ALL entering Master of Music students (excluding Music Therapy students) in Harmony, Counterpoint, Aural Theory, and Music History.  The exams may be taken in one day or split over three days. The exam schedule can be found here.

Registration for Diagnostic Testing for Incoming Masters (Music) Students

• Music Education majors take an additional one-hour examination in Music Education.
• Keyboard Majors take an additional two-hour examination in Keyboard Literature.
• Music Therapy Diagnostic Examinations take an additional examination.

Please re-read your admission letter, especially the “Special Notes” section on page 2, regarding any entrance deficiencies.  If there are courses you need to complete, they should completed by the end of the first year of study.  Begin taking any necessary remedial coursework in the Fall semester.  Research in Music - It is best for you to complete this course (required for all except Music Therapy and Music Education students) in your first year of study.

**Please note: Boyer College Graduate Handbook: “(Master’s) students may not take final qualifying examinations nor perform graduation recitals until all diagnostic examinations have been successfully completed” (9). 



Graduate Master of Music Diagnostic Examination in Aural Theory
The examination lasts approximately forty minutes and consists of a written portion in which students are asked to identify intervals and chords, to write out a harmonic dictation, and to write out a melodic dictation (played by instruments).

Graduate Master of Music Diagnostic Examination in Harmony
The examination lasts one hour and is in three parts.

1. Realization of a figured bass in either four-part chorale or keyboard style. Provide a Roman numeral analysis under the bass line.
2. Provide a Roman numeral analysis of a four-part chorale style excerpt. Circle and label all non-chord tones.
3. When presented with a brief melody and accompaniment, provide a Roman numeral analysis, bracket and label the cadences, and label the phrase structure.

The Harmony Diagnostic covers both diatonic and chromatic harmony, including applied chords (i.e. secondary dominants), the Neapolitan sixth chord, and augmented sixth chords.

Graduate Master of Music Diagnostic Examination in Counterpoint
The Counterpoint Diagnostic Examination for Master's degree students is in three parts.

1. Identification of contrapuntal techniques (e.g. canon, stretto, inversion, diminution).

2. Analysis of a fugal exposition, indicating each statement of the subject and answer (real or tonal). Indicate any statements of a countersubject.

3. Two-part writing: select one out of three possibilities (either a species exercise, free counterpoint, or canon).

Graduate Master of Music Diagnostic Examination in Music History
The examination lasts one hour and contains objective questions (multiple choice and/or true/false) covering musical works, composers, forms, styles, terms, and instruments from 1450 to the present. A few sample questions are:

  1. The basso continuo came into use in about which year?
    (a) 1500 (b) 1600 (c) 1650 (d) 1700
  2. Who composed Das Lied von der Erde (The Song of the Earth)?
    (a) Mahler (b) Bruckner (c) Brahms (d) Schumann
  3. Which of the following instruments would not be found in the score of a symphony by Haydn?
    (a) horn (b) oboe (c) timpani (d) trombone (e) trumpet.

         Graduate Master of Music Therapy Diagnostic Examinations
         A diagnostic examination in voice, piano, and guitar is required for all students entering the master's degree program in music therapy. The examination covers two broad areas of competence: the ability to sing and play by memory a large repertoire of songs from the 

         standard, popular, traditional, folk, rock or country literature; and the ability to sight-sing and sight-harmonize songs from a fake book.

        For the examination, students are asked to bring in a list of at least 12 songs which they are prepared to sing and play by memory. The examiners will then select one or more songs to be sung and played on the piano, and one or more to be sung and played on the guitar. In

        the next portion of the examination, students are asked to sight-sing and sight-harmonize tunes from a fake book, using piano and guitar as accompaniments.

        If a student has not studied piano, guitar and/or voice, or if the student is not prepared to play popular music or use a fake book, s/he may waive any or all portions of the examination and opt to take the appropriate remedial course(s). This is not unusual. Most students    

        entering the program need instruction or practice in one or more of these areas. Students are therefore encouraged to view these as merely placement examinations.

        Depending on each student's background and competence, as demonstrated on the examination, students may be placed in the following remedial courses:

        Voice 1211 and/or 2211 (1 credit each)
        Functional Voice 3631 and 3632 (1 credit each)
        Guitar 1658 and/or 1659 (1 credit each)
        Functional Guitar 3635 and/or 3636 (1 credit each)
        Jazz Piano 2105, 2406, 3105, and/or 3406 (1 credit each)
        Functional Piano Skills 3633
        Credits earned in required remedial courses may not apply toward the master's degree.

        All students must present themselves for the diagnostic examinations at the designated time shown; otherwise, permission to register for the first semester of study will not be granted. Students who wish to waive any portion of the examination by taking the remedial courses

        are still required to present themselves for the scheduled diagnostic examination, unless they send written notification to the music therapy faculty stating their intent to waive all portions of the examination. When students waive all portions of the examination, they will be

        required to take all remedial coursework without any further opportunity for taking or retaking the examination. Diagnostics are scheduled prior to the beginning of each semester or in conjunction with the intensive courses. However, advisement and registration take place

        before or at the beginning of each semester (not during the intensive days). Students will be notified of the dates of diagnostic examinations.


Doctoral Entrance Examination

Doctoral Entrance Examinations are required for D.M.A. in Performance, Composition, and Ph.D. in Music Education only.  Examinations are to be taken over a period of two consecutive days and may not be split between different administration dates. The exam schedule can be found here.

Doctoral students must take these examinations prior to or during the first semester of doctoral matriculation.  To maintain registration, all entrance examinations must be passed by the completion of 24 credits toward the degree.  Students will not be permitted to register beyond the second semester until the examinations have been passed.

Doctoral students in Performance, Composition, and Music Education take the following written examinations: Harmony (1 hour), Counterpoint (2 hours), Form and Analysis (2 hours), and Music History (2 hours).

Music Therapy majors take examinations in Functional Music and Writing Proficiency.  Music Therapy students must also present evidence of previous studies in music history and theory.  Music Therapy students should contact Dr. Darlene Brooks for further information.

***Please note Additional Requirements:

D.M.A. Performance Majors must take an additional 2-hour examination in the literature and pedagogy of their instrument (Major Field Exam).  By arrangement with the department chairman, they must also perform a one-hour diagnostic admission recital before a faculty jury at the conclusion of the first term of study.  This recital consists of a full program and may include the performance of a new composition, selected by the department and given to the student 48 hours before the recital.

Ph.D. Music Education Majors must take an additional 2-hour examination in Music Education (Major Field Exam).  Additionally, they will be asked to demonstrate performance proficiency on their primary instrument as well as basic keyboard and vocal skills.  Music Education majors should refer to the online Graduate Bulletin for further details.

D.M.A. Composition Majors must take an additional 2-hour examination in analysis/score reduction, and history/stylistic analysis (Major Field Exam).  They must also pass a performance examination and/or a skill evaluation in electronic/computer synthesis.  Composition majors should refer to the online Graduate Bulletin for further details.


       Doctoral Entrance Examination in Harmony
       This is a one-hour examination. You will be given a melody and be asked to harmonize it in four-voice chorale style and to figure out the harmonies. Chromatic and altered chords may be necessary where the melody suggests.

       Doctoral Entrance Examination in Major Field
       This is a two-hour examination covering topics in your major field within the doctoral program. You shouldconsult the music section of the Graduate School Bulletin and also check with your department chair for any review sheets that may be available to study.

       Doctoral Entrance Examination in Counterpoint
       This is a two-hour examination.

       Part I: Fugal Exposition (writing)
       You are given the bass voice of a fugal exposition in 3 voices. Complete the other 2 voices of the exposition, leading to a cadence. Be careful in choosing a Tonal or a Real answer.

       Part II: Contrapuntal Techniques (analysis)
       State or summarize the contrapuntal technique(s) present in four excerpts.

       Part III: Canon (writing)
       Complete the lower voice of a two-part canon, continuing the pattern set by that voice. (The top voice and first measure of the lower voice are given)

       Recommended text to review for exam: Kent Kennan, Counterpoint especially chapters:
       3-6 (2-voice writing)
       8 (canon and special devices)
       9 (invertible counterpoint)
       10 (motivic development)
       11 (3-voice writing)
       13 (writing answers/tonal vs. real)
       15 (fugal expositions)

       Doctoral Entrance Examination in Form and Analysis

      This is a two hour examination.

       You will be provided with the full score of a work that is complete in itself (eg overture) or a movement of awork (eg symphony, concerto). This work will be chosen from the symphonic literature of the 18th and 19th centuries, specifically Haydn through Brahms.    

       Recommended works for study include the “London” symphonies of Haydn, the last six symphonies and piano concertos of Mozart,Mozart overtures, the Beethoven piano concertos, the first five Beethoven symphonies, and the fifth and eighth symphonies of Schubert. Along 

       with a full score, you will be given a series of questions about the work to answer on the material provided (ie the score and the answer sheet). You will have two hours to study the work and answer the questions.

       After studying the work you are given, you will be asked to identify the overall form (eg binary, ternary, sonata-allegro, rondo, sonata-rondo, variations) and answer particular questions about aspects of the form. For example, you should be able to name particular parts of the

       form (eg rondo, theme, exposition, development, transition, variation #1, etc.) and answer specific questions such as:

       1. What keys and tonalities occur in the development section?
       2. How many distinct sections can be perceived in the development section, and what melodic material(s) from the exposition is used, and in what way(s)?
       3. Where are there transitions in this form?
       4. What differences occur between the exposition and recapitulation in this particular piece?
       5. What is the form of the rondo theme itself?
       6. How is the theme treated in the first two variations of the form?

       You should be prepared to present your answers in as succinct a format as possible. Often a diagrammatic presentation is the clearest, most direct way to answer. For example, the overall form of a work (with its supporting keys) could be shown as follows:

       Ternary form:

       meas. 1-36
       C major

       meas. 37-55
       G major, E minor, A minor

       A with coda
       meas. 55-100
       C major

       Other important information (the form of the A section, particular parts of the B section) could even be arranged beneath each area should they be requested.

       You will also be expected to analyze a given section of music harmonically, measure by measure, ie to indicate the key(s) and the chords (in Roman numerals with figured bass symbols). This question is most likely to be asked about a section in which the harmony is in flux 

      (transition, development, etc).

       Recommended Study Texts:
       Fontaine, Paul Basic Formal Structures in Music (1967)
       An uncomplicated, direct presentation of basic phrase structures and forms (Binary, Ternary, Sonata, Allegro, Rondo, Variations, etc). Will be available in most libraries.

       Green, Douglas Form in Tonal Music (1965)
       A more detailed study of the common formal structures in music; works well as a follow-up to the Fontaine. Will be available in most libraries.

       Computer Materials:
       You may find it helpful to investigate the following CD-ROM materials in the listening library.

       Schubert: The “Trout” Quintet
       Beethoven: Symphony #9

      Doctoral Entrance Examination in Music History

      This is a two hour examination.

       Part I: Essays on composers. 30 minutes
       General survey of their musical styles and contributions, with references to specific works. Major composers from Palestrina to Stravinsky.

       Part II: Three essays on musical styles and genres. 50 minutes
       From the middle ages to the contemporary period.

       1. Describe the characteristics of a specific styles, such as classic.
       2. Discuss a style within a period, such as expressionism.
       3. Discuss a specific genre, such as 17th century opera, 19th century keyboard music and 16th century sacred music.

       Part III: Short Answers. 20 minutes

       Definitions or descriptions of six musical forms, terms or instruments. Examples:

       1. Musica ficta
       2. Medieval motet
       3. Baroque keyboard suite
       4. Viola da gamba
       5. Dodecaphony

       Part IV: Identification for ten of the following. 10 minutes

       Name the composer of a specific work or the author of a famous treatise. Though many of the works are more obscure than those normally selected for this part of the test, the index in Grout’s A History of Western Music can be helpful.

       1. “Haffner” Symphony
       2. Ionisation
       3. Gradus ad Parnassum