NEW: Since 2024, you can choose between two different variants of the musical-artistic examination part, an instrumental-practical audition (variant A) and a media-music-practical presentation (variant B)! Please indicate this in your application documents. Further information on the two examination options can be found below.

Variant A: Audition/audition

In the first part of the examination, you should play or sing a total of three pieces of your choice (10 minutes in total), including at least one piece on a harmony instrument (e.g. piano or guitar) and at least one vocal performance in a style of your choice. You are also welcome to use this part of the examination to demonstrate your musical versatility.

Following the audition, you will be given easy sight-reading or sight-singing tasks and ear training exercises (e.g. intervals, triads).

Variant B: Practical media music presentation

Duration of the presentation: 8-10 min.

Within this time you must

- present one of the music productions submitted in advance

- make the production process comprehensible to the commission

- play a harmony instrument

- sing at least one piece

The university will not provide an accompanist. You can therefore either bring someone to accompany you, accompany yourself, use a playback or perform unaccompanied.

Selection of three productions to be submitted in advance:

For the presentation, you can present music productions from all musical styles and genres. The submitted productions should represent a stylistic range.

The duration of the individual productions should be orientated towards a length of 1:00 - 1:30 minutes. These can also be excerpts from longer ends of projects; however, they should be sufficiently meaningful.

As an alternative to presenting a music production, you have the option of a live electronic performance, e.g. DJing, live sampling, live coding, controller-supported live performance, electro-acoustic live performance or similar. Please indicate this on the application form.

Note on the presentation process:
The aim is to present the production and illustrate the production process.

The selection of the means used for this is up to you. Possible options include

- a screen recording, which can be used to follow the production live as it progresses

- the projection of the project file in the DAW itself

- Screenshots of relevant parameter settings

- the individual tracks of the project

- It is crucial that the presentation makes it possible to understand how you arrived at the submitted result, that the commission can recognise the individual components of the production and that individual work steps of the production process become clear.

Variant A:

Following the artistic presentation and sight-reading, you should demonstrate skills in the areas of rhythm, melody and harmony by reproducing simple music-related models and structures under guidance. These skills can be demonstrated in the following exercises, among others: Tapping out rhythms, singing tone qualities of a chord / scale (root, third), singing/playing short melody excerpts and reacting to changes in harmony.

Variant B:

If you have shown a media music production(s) and/or media-supported live performance, this part of the examination should demonstrate sound technology knowledge, e.g. in the areas of acoustic fundamentals, sound design and stylistics.

You will be played a one-minute excerpt from a pre-selected production to which you will be asked to react. Firstly, the commission can openly ask which production aspects are relevant in the case of the example played. In addition, you can ask, for example:

- What sounds does the production consist of and how would you describe them?

- How would you categorise the production stylistically? Why?

- How many and what different parts do you recognise in the production?

- The questions are based on the practices you have chosen (e.g. producing, DJing, live performance). Possible topics include music production in a DAW (frequency staggering, routing, dynamic processing), sound design (use of filters, effects, sample processing options), DJing (techniques, styles).

The aim is to determine your knowledge in the field of media music production beyond the production / live performance you have shown.

We would like to get to know you in an interview (both Variant A and Variant B). We are interested in your approach to music, your expertise and your music-related passions, views and goals.

Possible questions could be, for example:

• Why did you select the pieces for your programme? What do you particularly like, what touches you, what captivates you?
• Categorise the pieces historically and explain the stylistic characteristics of the works you have performed.
• Are you also familiar with music from other genres?
• What music do you like to listen to and why?
• Which concerts have you attended? What impressions did you take away from them?
• Questions about your own biography (e.g. teaching experience, participation in festivals, courses, ensembles...)
• What expectations do you have of this degree programme?

Reading:

For beginners in general:

• Kühn, Clemens: Lexikon Musiklehre. A reference, reading and workbook, Bärenreiter Verlag, 2016
• Hempel, Christoph: New General Music Theory, Mainz: Schott, 1997
• Schaper, Heinz-Christian: Musiklehre Compact. Schott Music, 1985
  (with exercise books. very basic)
• Zettler, RichardABC der Musiklehre, Musikverlag Rundel, 1979
• www.musikkunde.info

Practising (basics):

• YouTube channel of "Ear Training/Gehörbildung" (triads and quavers, melody dictations)
• https://www.teoria.com/en/exercises/ (Exercises on various areas of ear training can be put together yourself)
• Kühn, Clemens: Aural training in self-study. Bärenreiter Verlag 2002 (practical ideas for practising with the piano/instrument)

Reading/practising (jazz, pop):

• Sikora, FrankDie Neue Jazzharmonielehre: Verstehen-Hören-Spielen, Schott Musik, 5th edition 2012 (standard work)
• Haunschild, FrankThe New Harmony Theory Vol. I and II
• Busch, Sigi: Harmonic Basics: Jazz & Pop. Textbook with mp3-CD, Advance Music 2015

Reading/practising (classical music):

• eartraining-online.de (Mannheim University of Music, can also be used by external students; various levels can be trained)
• Leigh, JohnOrlando - A multimedia aural training programme. (3 volumes, very clear and a good introduction to the music of the Renaissance, Baroque and Viennese Classical periods; unfortunately only for (older...) Windows computers).

Applications for the musical and artistic aptitude test can only be made via our online application tool You must upload your application documents between 23 June 2026 and 10 July 2026 (for the examination date on 10 August 2026).

If you have any questions or concerns, please contact Silja Stegemeier () or Karola Gebauer ().

Please note!

It is not necessary to submit the sheet music from which you intend to perform.

Regardless of your application for the musical and artistic aptitude test, you must apply directly to the Admissions office for a place on the course. Therefore , please DO NOT send us your A-level certificate or any equivalent document proving your eligibility for higher education. These documents will be required by the Admissions office at a later stage.

If you have already studied for at least two semesters on a dual-subject Bachelor’s degree programme including music at another university or conservatoire, or if you hold a degree programme in an artistic or scientific-artistic subject, you may be exempted from the aptitude assessment. Please enclose an informal proposal with your application, accompanied by the relevant supporting documents.