SPECIALTY: SINGING

For applicants to the “Singing” specialty, it is mandatory to undergo a special medical examination, including a phoniatric (ENT) check-up, to determine suitability for the chosen specialty.

The age limit for applicants is set by the university admissions committee (up to 28 years old).

A preliminary creative selection for applicants in the “Singing” specialty includes the performance of part of a program (2 works of the applicant’s choice).

The competitive examination in the specialty consists of the following sections:

  • Program performance

  • Colloquium

  • Solfeggio and elementary music theory (written and oral)

Entrance Requirements for Music-Theoretical Disciplines

Solfeggio (oral):

  • Singing scales in keys with 1 to 5 accidentals: two types of major and three types of minor, all types of triads (with inversions and resolutions), as well as harmonic progressions including up to six chords

  • Sight-singing a monophonic melody in major or minor, with chromatic (altered) steps, possible modulations to related keys, in simple meters, with various rhythmic difficulties

Harmony (oral):

  • Performing tasks at the piano: playing modulations to closely related keys in the form of a period (an initial harmonic progression may be given to the applicant)

  • Playing tonal and modulating sequences (2–4 chords)

  • Harmonic analysis at sight of works in various styles. The harmonic language should not exceed the following level of complexity: L. Beethoven — sonatas; P.I. Tchaikovsky — “The Seasons”; M.I. Glinka, P.I. Tchaikovsky, S.V. Rachmaninoff

  • Answering questions on the harmony course as related to the above tasks

Music Theory for Applicants (written and oral):

  • Identifying given characteristic intervals and resolving them in keys with up to two accidentals

  • Constructing intervals (diatonic and chromatic) from a given note and determining them in the key

  • Constructing chords (triads, including augmented and diminished, D7 with inversions and resolutions)

  • Transposing monophonic melodies

  • Determining the key of a small musical excerpt

SPECIALIZATION: “INSTRUMENTS OF THE POP ORCHESTRA”

The specialty exam for applicants to the “MIE” department consists of the following sections: program performance, colloquium, solfeggio (written and oral), harmony (written and oral).

PROGRAM PERFORMANCE

The applicant must perform:

  • One or two works from the academic repertoire (a polyphonic work; I or II–III movements of a sonata or concerto; a free-form work)

  • One or two diverse pop or jazz works

COLLOQUIUM

The colloquium reveals the cultural level of applicants, their aesthetic views, erudition in the field of musical art (including pop and jazz); knowledge of the main stages and patterns of music history, knowledge of literature in their specialty, musical terminology, sight-reading skills, understanding of the content, form, and stylistic features of the performed works.

Entrance Requirements for Music-Theoretical Disciplines
(Solfeggio, harmony, music theory — as above)

SPECIALIZATION: POP AND JAZZ SINGING

For applicants to the “Pop and Jazz Singing” specialty, it is mandatory to undergo a special medical examination, including a phoniatric (ENT) check-up to determine suitability for the chosen specialty. The age limit for applicants is set by the university admissions committee (up to 28 years old).

A preliminary creative selection for applicants in “Pop and Jazz Singing” includes the performance of part of a program (2–3 works at the applicant’s discretion).

The competitive examination in the specialty consists of:

  • Program performance

  • Colloquium

  • Solfeggio and elementary music theory or harmony (written and oral)

PROGRAM PERFORMANCE

The applicant must present to the committee:

  • One or two diverse pop and jazz works

  • One work from the academic repertoire, or a folk song (at the applicant’s discretion)

COLLOQUIUM

The structure of the colloquium for applicants to the “MIE” department is based on a number of questions that determine the applicant’s level of professional training:

  • Knowledge of the pop and jazz repertoire

  • Ability to talk about the works performed at the exam and their authors

  • Knowledge of existing performance traditions and the ability to justify their own interpretation

  • Knowledge of the creative work of outstanding singers (domestic and foreign)

  • Knowledge in the field of world culture and types of arts

In addition, the colloquium tests the applicant’s acting ability (imagination, associative, and figurative thinking, etc.)

Entrance Requirements for Music-Theoretical Disciplines

Solfeggio (oral):

  • Singing scales in keys with 1 to 5 accidentals: two types of major and three types of minor, all types of triads (with inversions and resolutions), as well as harmonic progressions including up to six chords

  • Sight-singing a monophonic melody in major or minor, with chromatic (altered) steps, possible modulations to related keys, in simple meters, with various rhythmic difficulties

Harmony (oral):

  • Performing tasks at the piano: playing modulations to closely related keys in the form of a period (an initial harmonic progression may be given to the applicant)

  • Playing tonal and modulating sequences (2–4 chords)

  • Harmonic analysis at sight of works in various styles. The harmonic language should not exceed the following level of complexity: L. Beethoven — sonatas; P.I. Tchaikovsky — “The Seasons”; M.I. Glinka, P.I. Tchaikovsky, S.V. Rachmaninoff

  • Answering questions on the harmony course as related to the above tasks

Music Theory for Applicants (written and oral):

  • Identifying given characteristic intervals and resolving them in keys with up to two accidentals

  • Constructing intervals (diatonic and chromatic) from a given note and determining them in the key

  • Constructing chords (triads, including augmented and diminished, D7 with inversions and resolutions)

  • Transposing monophonic melodies

  • Determining the key of a small musical excerpt

DEPARTMENT OF POP MUSIC ART

The initial formation and development of the department was greatly influenced by the first teachers and well-known musicians: People’s Artists of the Kyrgyz Republic E. Moydunov and A. Ibraev, Honored Workers of Culture of the Kyrgyz Republic R. Sarlykov and B. Kydykbaev, as well as M. Sulaymankulov, V. Danilov, A. Yurtaev, A. Golovin, Honored Worker of Culture of the Kyrgyz Republic E. Musin, People’s Artist of the Kyrgyz Republic S. Karimov.

The department has raised a whole cohort of well-known pop and jazz performers, participants and laureates of domestic and international festivals and competitions: Honored Artists of the Kyrgyz Republic — R. Osmonkulov, A. Isabayev, Yu. Rutskaia, M. Atabekov, G. Kalykova, as well as K. Chokoev, E. Kenzhakulova, E. Kydykbaev, K. Kydykbaev, I. Afanasyev and others.

Graduates of the department work throughout the republic and abroad — in higher and secondary educational institutions, general education schools, schools of arts, music studios, aesthetic centers, and various ensembles. Many combine teaching with performance, appearing on concert stages of the republic, on television and radio, as well as at international and national festivals and competitions.

A tradition of the department is the participation of students and teachers in various concerts, festivals, and competitions, both in Kyrgyzstan and abroad, with programs including works in a wide variety of styles and genres of Kyrgyz and world pop-jazz music.

An important principle of teaching in the department is the development of creative and critical thinking in students, as well as the development of jazz improvisation skills and striving for high professionalism in both vocal and instrumental performance.

Currently, the department consists of 10 staff members. The head of the department is Senior Lecturer V. Chebotareva, Honored Worker of Culture, Associate Professor R. Sarlykov, Honored Artist, Senior Lecturer R. Osmonkulov, Dean of the Faculty Senior Lecturer A. Abdildaev, Senior Lecturer M. Sulaymankulov, Senior Lecturer I. Afanasyev, Senior Lecturer E. Kydykbaev, Lecturer K. Kydykbaev, Lecturer A. Sokolov, and Concertmaster I. Artyushenko.

The methodological basis of the department is made up of educational programs and manuals, which include the best achievements in domestic and foreign performing and teaching art.

In general, given the creative orientation of the department, it is important to note the leading role of continuity in the training of young specialists in the field of pop-jazz music.