Western Music Theory and Analysis Grade GR (for Western Instrument Students)

Applicants for all programs of the Masters of Arts, Masters of Music, and Doctor of Philosophy, Doctor of Music of Mahidol University College of Music will be required to pass the Western Music Theory and Analysis Grade GR. The Guidelines for these exams includes the following:

A. Contents: 

The T.I.M.E exam for Western Music Theory and Analysis is separated into two sections. The first section covers the music fundamentals and 4-part harmony topics that are taught in the required undergraduate theory courses for Western music performance majors. The second part of the exam covers the topics of musical form and analysis that are taught in an undergraduate Western form and analysis class. 

1. • The Theory is designed to determine applicants’ competence in a variety of theory topics, including the following: 1) voice-leading, 2) functional diatonic  harmony, 3) figured bass, 4) key relationships, 5) modulation, 6) secondary functions, 7) non-chord tone, 8) cadence types, 9) rhythm and meter, 10) sequential progression, 11) mode mixture, 12) chromatic harmony (+6 and N6), & 13) enharmonicism. 

   • Applicants will be required to demonstrate their ability with these materials in brief figured bass excerpts, brief melodic harmonization exercises, brief “fill-in the blank” exercises, and multiple-choice questions.

   • The Analysis is designed to determine the applicant’s competence in the analysis of phrase and form. In order to gauge this, applicants will need to apply a variety of topics from theory (voice-leading, functional diatonic harmony, figured bass, key relationships, modulation, secondary functions, non-chord tone, cadence types, rhythm and meter, sequential progression, mode mixture, chromatic harmony [+6 and N6], enharmonicism, etc.) toward the identification of phrasing and form, including but not limited to: 1) phrase types, 2) period structures, 3) sectional labels, 4) large-scale formal types, 5) elision, 6) phrase overlap, 7) grouping identity and difference, 8) variation, 9) repetition, 10) transition, 11) thematic areas, 12) themes, & 13) motives

   • Applicants will be required to demonstrate their ability with these materials by conducting analysis of short works and applying their analysis to a series of brief “fill-in the blank” exercises and multiple-choice questions.

B. Study Sources:

• Kostka, S. (2004) Tonal harmony: with an introduction to Twentieth-Century music, fifth edition. Boston: McGraw Hill.

• Benward, B. (1997). Music in theory and practice, Vol. 1. Boston: McGraw Hill.

• Spencer, P. & Tempko, P. M. (1988). A practical approach to the study of form in music. Long Grove, Illinois: Waveland Press, Inc.

• Stein, L. (1979). Structure and Style – The Study and Analysis of Musical Forms. Miami: Warner Bros. Publications.

Western Music Theory Grade 3 (for Thai/Oriental Instrument Students)

A. Contents: 

Applicants will need to score 60% or higher on both the T.I.M.E. exam for Western music theory grade 3. The fundamentals of music, including topics in musical pitch, rhythm, scales, key signatures, scale degrees, triads, ornaments, transposition and analysis.

Thai Music Theory, Pre-College Level (Grade PC)

Applicants must be able to explain and answer the following questions:

1. The types of Thai musical instruments, separated into categories of instruments according to characteristics of sound production, meaning plucked, bowed, hit, and blown.  

2. The types of Thai music ensembles, including the history from each era, the evolution, the mixing of ensembles, and the suitability of performance in ceremonies.     

3. The types of Thai music, separated by the characteristics and categories of Thai music.

4. The eras of Thai music, including the evolution since before the Tawarawadee period to the current period.

5. Music Vocabulary, including vocabulary for communication when performing and technical vocabulary of music instruments.

Thai Music Theory, Undergraduate Level (Grade BM)

Applicants must be able to explain and answer the following questions:

1. The types of Thai musical instruments, separated into categories of instruments according to characteristics of sound production, meaning plucked, bowed, hit, and blown.   

2. The types of Thai music ensembles, including the history from each era, the evolution, the mixing of ensembles, and the suitability of performance in ceremonies.     

3. The types and structure of Thai music, separated by the characteristics and categories of Thai music, as well as the sounds of Thai music, the rhythm of Thai music, the melodies of Thai music, the harmony of Thai music, etc.

4. The eras of Thai music, including the evolution since before the Tawarawadee period to the current period.

5. The history and accomplishments of important people in Thai music, including His Majesty The King Rama 2, Phrabat Somdet Phra Buddha Loetla Nabhalai, His Majesty The King Phrabat Somdet Pra Pinklao, and His Majesty The King Rama 7, Phrabat Somdet Phra Poramintharamaha Prajadhipok Phra Pok Klao

6. Music Vocabulary, including vocabulary for communication when performing and technical vocabulary of music instruments.

Musicianship Exam Assessment

The Musicianship exam is separated into the following two sections for assessment:

1. Dictation 60%

2. Sight Reading 40%

Dictation Assessment

• The Dictation exam has a total of 60 points, separated into sections for interval or triad dictation (20 points), rhythmic dictation (20 points), and melodic dictation (20 points).

• The assessment criteria for the interval dictation section includes the examinee correctly filling in the notes (2 points each) and specifying the interval type (2 points each) for 5 intervals, for a total of 20 points.

• The assessment criteria for the triad dictation section includes the examinee correctly filling in 2 notes (1 point each) and specifying the triad type (2 points each). If the triad type is specified correctly but the position is wrong, 1 point will be given back to the examinee. There are 5 triads, for a total of 20 points.

• The assessment criteria for the rhythmic dictation section includes correctly writing notes and rests (1 point each). There is one rhythm played, for a total of 20 points.

• The assessment criteria for the melodic dictation section includes correctly writing the notes (1 point for the correct rhythm and 1 point for the correct pitch). There is one melody played for a total of 20 points.

Marks Used in Grading Exams

• The exam committee will use a red pen when grading the exam papers.

• For the interval dictation section, triad dictation section and the rhythmic dictation section, for every answer that the examinee gets wrong, the committee will use the symbols O, X or / only and will write –1 above the incorrect note.

• For the melodic dictation section, for every answer that the examinee gets wrong, the committee will use the symbols O, X or / only and will write –1 above every note with the incorrect rhythm and –1 above every note with the incorrect pitch.

Sight Reading Assessment

• The Sight Reading exam has a total of 40 points, separated into Sight Clapping (20 points) and Sight Singing (20 points). The duration of Sight Reading exams for grades 1-3 will be approximately 4 minutes and the duration of the exams for grades 4-6 will be approximately 5 minutes. Examinees must perform in both sections during the exam. 

• The assessment criteria for Sight Clapping will be measure the consistency of the rhythm, speed of the tempo, stability in performance, and musicality. Examinees must perform two sections, each for 10 points.

• The assessment criteria for Sight Singing will measure the pitches, the speed of the tempo, the stability of performance, and the musicality. Examinees must perform two sections, each for 10 points.

Criteria for Grade Points in Sight Reading

For giving points and grades, the exam committee will give points individually for each exam, regardless of any learning received in the past and also any learning the examinee may receive in the future.  Also, exam results cannot be used in any way for any exams in the future.  Finally, applicants must accept the exam results and are not able to ask for an exam grade change in every case.

Criteria for Grade Points in Sight Reading

• 10 Points - Excellent The performance is stable, confident, has accuracy in the rhythm and pitches (special for sight singing) the speed of the tempo is stable, there are no mistakes, and the performance is musical.

• 7-9 Points – Good The performance is correct, but maybe has some hesitancy, the tempo is stable, but there are small mistakes in the pitches or accuracy of the rhythm.  

• 4-6 Points – Adequate The tempo is not stable and/or too slow, over half is correct, but there is hesitancy, there are several wrong places, or the examinee might stop and start over.

• 1-3 Points – Not Adequate There is no confidence in performance, the tempo is not consistent and/or too slow, there are a high number of wrong notes, or the examinee is not able to perform until the end.

• 0 Points – Not Pass The examinee cannot perform.