Qualifying Examination

The Qualifying Examination is normally taken at the beginning of the second semester of the second year. For Ethnomusicology doctoral candidates, the mini portfolio is submitted at the end of the first year of study. You must pass the qualifying examination in order to continue study in the doctoral program.

Before taking the Qualifying Examination, the student must have passed the entire Diagnostic Examination, one foreign language examination, as well as have cleared any Incompletes. The Qualifying Examination ordinarily is administered by a committee of three members of the Graduate Faculty appointed by the Director of Graduate Studies (DGS).

The purpose of the Qualifying Exam is to test the depth and breadth of your knowledge in a variety of repertories from different historical periods. Sample examinations are available in the Music Graduate Studies Office (Room 109).

Exam Categories

The Qualifying Exam in Composition has four categories that will be examined in written essays as well as in an oral exam. The four categories are as follows:

1. Category A: Make yourself an expert on one composer of your choice from any historical period or cultural background. By "expert," we mean that you will:

  • be familiar with the majority of the composer's catalog, and have a detailed knowledge of at least five representative compositions;
  • be familiar with the most important writings about this composer (e.g., six to ten articles and biographical materials which include theoretical and cultural/historical approaches to the subject);
  • be knowledgeable about other artists whose work informs the work of this composer. You will be asked to give a presentation on your research during an oral examination (see Examination below).

2. Category B: Select three other composers to study in considerable detail, though not as extensively as the composer in category A. For each composer in this category, we will expect you to have studied at least three scholarly articles and at least two representative works. Your work on these three composers may grow out of your research on the composer described in the previous category, but this is not strictly necessary.

3. Category C: Propose six other composers from contrasting historical periods and familiarize yourself with their principal compositions (see Timetable below). You should be familiar with one or two important scholarly writings about each of these composers. The Qualifying Exam Committee will require particular composers for this category for all composition students taking the exam.

4. Submit a portfolio of the compositions you have written while at Duke, including scores and any recordings of performances of these works. Prepare a written statement about your work, addressing specific pieces you have composed at Duke. Discuss how you hope your work will evolve in your remaining time at Duke (e.g., future projects, musical / technical issues to be addressed, etc.). A separate portfolio should be prepared for each member of the Composition Committee (typically three copies).

Guidelines for Portfolio of Compositions: Your Composition portfolio needs to include a major chamber work of fifteen minutes in duration as well as two or three shorter works. These works should demonstrate a professional level of ability in compositional craft and clear expressive intent. The scores must meet professional standards of presentation, that is, they should include a title page, instrumentation, performance notes, and any other relevant information. All scores should be carefully edited, neatly printed, and bound. One copy of each work in the portfolio should be presented to each member of the exam committee before the end of the third semester. Upon approval of the portfolio by the committee the scores will be returned to the student.

In categories A, B and C, a "composer" may be defined flexibly. You may choose to study a musical repertory which does not rely on notation, or in which the border between composer and performer is not clear (e.g., popular music, improvisation, non-western musical traditions, etc.)

Timetable

Given the scope of the exam, students should begin to work on the preceding four categories immediately upon matriculation. Here is the timetable:

  1. During the first semester, make preliminary decisions about which composers you will research.
  2. By January 30 of the second semester, submit a list of composers and repertory for each category for review by the Composition Exam Committee, which will review your list. Between the end of Spring Break and the end of the academic year, the DGS Assistant will schedule a meeting time for you to meet with the Composition Committee to finalize the list for the exam. To ensure equal treatment for all students, the Exam Committee will select particular works or composers for Category C that will be shared by all students taking the exam.
  3. By December 1 of the third semester, submit your composition portfolio to the members of the Composition Committee.

Qualifying Examination

The qualifying exam has two parts:

  1. Seven short essays on score or sound examples from categories B and C or closely related works provided by the Exam Committee.
  • You will have one day (eight hours) to write these essays.
  • You may use practice room pianos but no library resources while you write.
  • After you turn in your essays, spend the intervening week preparing to amend or clarify the points you were trying to make.
  1. At least one week after the written exam, you will meet with the Committee for an oral examination.

During this meeting you will answer questions on your essays as well as give a half-hour presentation on some aspect of your principal composer's work (category A). This presentation should be appropriate for a professional gathering of interested scholars and musicians (i.e., students and faculty at a job interview). Your talk should bring together analytical, stylistic, and cultural/historical issues that are related to the specific topic.

We will be evaluating both the content as well as the organization of your presentation. You are expected to use the week between the written and oral exams to address any weaknesses or inaccuracies in your short essays. The committee will also expect that you are familiar enough with the excerpts to be able to play them on the piano.

The Qualifying Examination for the doctoral program in Ethnomusicology consists of a mini portfolio made up of the three best term papers (one of which must be an ethnomusicology paper) from seminars taken in the first year, in combination with the results of the required two-course social/critical theory sequence. This examination determines acceptance into the second year.

The mini portfolio must be submitted to the ethnomusicology faculty no later than three weeks after the last day of spring graduate courses.

The qualifying exam for Musicology includes three parts. For Parts 1 and 2, exam candidates will be permitted to use a computer to prepare written essay answers. No online resources are to be consulted during the 8 hour exam period. Exam candidates will be required to submit a signed statement confirming that they have written the exam without consulting online resources.

Part 1:

Written examination on a series of seven out of ten unidentified documents (musical scores, text, illustrative material, or sound document) without the aid of library resources. (8 hours)

Part 2:

Four essays without access to library or online resources. The topics (subject to change) will be chosen in four distinct areas:

  1. music before 1650;
  2. music from 1650 to 1850;
  3. music after 1850;
  4. ethnomusicology, jazz, popular music, and general methodology.

There may be a choice of topics within each area; some topics will be related to recently offered courses. (8 hours)

Essays should be double spaced and printed on one side of the paper to facilitate copying.

Part 3:

An oral examination on the history of music (including discussion of Parts 1 and 2 of the exam).

In addition the student will be expected to present a prepared Analysis of a brief composition, the score of which will be provided after the completion of the written exam. During the oral exam, students may not consult notes in response to questions about the Part 1 and 2 answers. The Analysis should be organized as an aural presentation, as for a classroom or seminar; students may use prepared illustrative materials (e.g. charts, diagrams), but will be expected to speak from brief notes only, rather than deliver a written-out academic paper.

It is expected that students will use the time between the written and oral exams to study up on any weak spots encountered in the written portions. (2 hours)