Ph.D. Qualifying Exams in Music Theory

When Students Should Take the Qualifying Exams Ph.D. students are required to take the Qualifying Examinations not later than the third long semester after they have completed all coursework and tool examinations for the degree. Any portions of the Qualifying Examination that are not passed must be retaken in the subsequent long semester. If upon a second try there are still portions that have not been passed, they must be retaken in the following long semester. Students may take any portion of the exam no more than three times.

Sample Essays from Past Exams

Here is a sample series of qualifying exam questions / answers written recently by David Huff, Devin Iler, and Ben Graf. Read these documents as a way of orienting yourselves in preparation for upcoming qualifying examinations. You should see these materials as loose guides only and not as perfect, ideal essays. You should also in no way prepare any of the specific areas addressed in the questions; these will (within the given parameters of each portion of the exam) change from semester to semester. Also, in case there are any discrepancies between the form and content of these materials and guidelines that are printed on this website, the guidelines that are printed on this website will govern the qualifying exams that you will take.

Click here to view/download the questions from past exams (PDF - 6MB)

Important Dates for Fall 2014

Friday, September 26 Orientation 3pm to 4pm in MU 321

Monday, October 27 Qualifying Exams in the Green Room

1.1 (Analysis of a work before 1750) from 9:30 to 12:30 1.2 (Analysis of a work after 1750) from 2:30 to 5:30

Wednesday, October 29 Qualifying Exams in the Green Room

2.1 (Repertoire) from 8 to 11 2.2 (Foreign Language) from 1 to 4

Friday, October 31 Qualifying Exams in the Green Room

3.1 (History of Theory) from 8 to 10 3.2 (Pedagogy) from 11 to 1, 3.3. (Terms) from 2 to 4

All exams will be given in the Green Room. For information, email David Schwarz at david.schwarz@unt.edu. All materials will be provided, monitored, collected and printed out by David Schwarz in MU 104.

Students may use their own computers for the exam with internet access disabled. Students will bring new, empty flash drives to the exam and give them after each exam to David Schwarz who will copy, save, and print out the exams. All work must contain page numbers and must be double-spaced.

All material to be graded must be written in the prose of students’ answers and all musical examples must be written on clean, 8 ½ by 11 staff paper (no holes or punches of any sort and no fragments of torn paper will be accepted).

DESCRIPTION The examination consists of three written components (Analysis, History and Methodology). Each component includes 6 hours of examinations subdivided into smaller parts as given below. Each part will be accompanied by specific questions or instructions.

All parts of the qualifying examination will be graded by members of the theory faculty. The grade of “pass” or “fail” will be given as a single grade for each of the three components. An added oral examination may be assigned by the graders for borderline grades on any or all components.

Each sub-section of the three component examinations may be taken a maximum of three times.

1. ANALYSIS Two essays (3 hours each). The student is to write two analytical essays, one on a work composed before 1750, the other on a work written after 1750. For each essay the student chooses one of two complete pieces provided. A piano will be provided, but no recordings.

The student may engage any analytical approaches deemed appropriate and pertinent. Each of the two essays should demonstrate the student’s understanding of the complete work or movement by addressing various issues in relating the component parts to the whole.

2. HISTORY Two essays (3 hours each). 2.1 Repertoire essay: 6 extended score excerpts (complete shorter pieces, and/or an entire formal section of a larger piece) are provided. The student is to select four of these score excerpts. For each of them, the student is to identify and describe specific features of the score excerpt that may be regarded either as characteristic “signature’ gestures of an individual composer or as evidence of a given musical style. Finally, drawing upon these cited features, the student is to surmise a probable date when the work was composed and a possible composer.

2.2 Language document essay. Two excerpts from theoretical texts in a foreign language are provided. The student chooses one and writes an essay on the content and context of the text.

3. METHODOLOGY Three essays (2 hours each). 3.1 History of Theory: the student writes an essay on a given topic/problem/issue in the history of music theory. Some possible topics could be: a theoretical concept, theoretical problems in a specific historical period, the writings of a specific theorist, or specific theoretical terminology.

3.2 Theory Pedagogy: the student is to write an essay on a given topic in theory pedagogy. The topic may be related to a pedagogical concept or a case study of a specific teaching situation.

3.3 A list of ten terms will be given. The student will select five of them in order to describe and contextualize their meanings.

Related or minor fields Please contact your related-field advisor for requirements, dates and rules of the respective exam.

Music Theory

Faculty

Danny Arthurs
Gene Cho
Diego Cubero
Paul Dworak
Frank Heidlberger
Samantha Inman
Timothy Jackson
Justin Lavacek
David Bard-Schwarz
Stephen Slottow
Thomas Sovik

Adjunct Faculty

Jaymee Haefner
Heejung Kang

Retired Faculty

Joan C. Groom
Graham H. Phipps

Teaching Fellows

Benjamin Dobbs
Jeffrey Ensign
Benjamin Graf
Daniel Grantham
Kenny Lovern
Jessica Morel
Jordan Moore
Michael Lance Russell
E. Justin Simone
Jayson Smith
Joseph Turner
William Waldroup


For Current Undergraduate Majors

B.M. Music Theory


Music Theory Graduate Student Handbook

Masters 2-Paper Option

Ph.D. Qualifying Exams in Music Theory

Related Field Possibilities

Thesis and Dissertation Proposal Guidelines