Audition and Interview Requirements by Department, Instrument, and Degree: Office of Admissions & Financial Aid: IU School of Music

Office of Admissions

Information For:

Audition and Interview Requirements by Department, Instrument, and Degree

Ballet
Brass
Compositon
Computer Music Composition
Conducting (choral, instrumental, and wind)
Early Music
Guitar
Harp
Jazz Studies
Music Education

Musicology
Music Theory
Opera Studies
Organ
Percussion
Piano
Recording Arts
Strings
String Instrument Technology
Voice
Woodwinds

Ballet

Bachelor of Science in Music (B.S.)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

A ballet audition consists of taking an entire class in ballet technique; females are required to take the class on pointe. On audition day, prospective students are required to submit a resume and two 8x10 photos: one in first arabesque and one headshot. Female auditioners should wear pink tights and male auditioners should wear a t-shirt and tights. Prepared solo variations and letters of recommendation are not required. Video auditions are accepted only when a live audition is not feasible. Please contact the Ballet Department for video audition requests.

The Jacobs School of Music offers three additional audition dates to coincide with major ballet performances. Applicants wishing to schedule an audition on any audition date should contact the Ballet Department at (812) 855-6787 or ballet@indiana.edu and must submit the required Jacobs School of Music application to the Office of Music Admissions by December 1, 2007.

Additional Audition Dates (for Ballet only):

October 5, 2007

November 30, 2007

March 22, 2008

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Brass*

*Auditions are available on the Saturday of audition weekends only.

Bachelor of Music (B.M.)
Bachelor of Music Education (B.M.E.)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

Trumpet

B.M. applicants should prepare:

Two octaves of all major scales (slurred and articulated);

One technical and one lyrical etude selected from: Arban's Complete Conservatory Method; Berdiev, 17 Studies; Brandt, 34 Studies; Caffarelli, 100 Melodic Studies in Transposition; Concone-Shoemaker, Legato Etudes; Goldman, Practical Studies; or a comparable etude of applicant's choice; and

One solo, selected from: concertos by Albinoni, Arutunian, Haydn, Hummel, Tartini, Telemann, and Vivaldi; sonatas by Hindemith, Kennan, or Stevens; one-movement works by Bozza, Clarke, or Goedicke; or any work of comparable difficulty.

B.M.E., B.S.O.F., B.M. Jazz Studies, and B.M. Composition applicants should prepare:

Two-octave major scales (through four sharps and flats);

One lyrical and one technical etude selected from: Getchell-Hovey, Practical Studies for Cornet and Trumpet, First and Second Books; Concone-Shoemaker, Legato Etudes; Goldman, Practical Studies; Hering, 40 Progressive Etudes; Kopprasch, 60 Selected Studies; or comparable etude of applicant's choice;

and a solo from the following: Barat, Andante et Scherzo; Clarke, Carnival of Venice; Handel, Aria con variazioni; Kennan, Sonata (one movement only); Ropartz, Andante and Allegro; or comparable solo of applicant's choice.

Horn

All undergraduate applicants should prepare:

Candidates should be able to demonstrate major scales up to 4 sharps and flats, covering two or more octaves as possible.

Exposition of a Mozart or Strauss concerto or equivalent solo from the candidate's current repertoire. BM degree candidates should prepare 4 contrasting orchestral excerpts. BME degree candidates should prepare an etude.

Candidate may also be asked to demonstrate sight-reading abilities.

Tenor Trombone

All undergraduate applicants should prepare:

Candidate should be able to demonstrate major scales up to 4 sharps and flats, covering two or more octaves as possible.

5-8 minutes of contrasting selections from the candidate's current repertoire of solos, etudes and/or excerpts.

Candidates may also be asked to demonstrate sight-reading abilities.

Bass Trombone

All undergraduate applicants should prepare:

Candidate should be able to demonstrate major scales up to 4 sharps and flats, covering two or more octaves as possible.

5-8 minutes of contrasting selections from the candidate's current repertoire of solos, etudes and/or excerpts.

Candidates may also be asked to demonstrate sight-reading abilities.

Euphonium

All undergraduate applicants should prepare:

A melodious etude (to demonstrate good sound, solid intonation, and musicianship);

A study (to demonstrate technical facility);

All major scales; and

Any solo of your choice. Applicants will also be asked to demonstrate sight-reading ability. Recommended etudes: Arban's Complete Conservatory Method for trumpet or trombone; Blazevich, 70 Studies; Bordogni/Rochut, Melodious Etudes for the Trombone, vol. 1; Kopprasch, 60 Selected Studies; and Tyrell, Advanced Etudes for Trombone. Recommended solos: Capuzzi, Andante and Rondo; Clarke, The Bride of the Waves; Guilmant, Morceau symphonique for trombone; Handel, Aria con variazioni for trumpet; Philip Sparke, Pantomime; and Donald White, Lyric Suite.

Tuba

All undergraduate freshman applicants should prepare:

A melodious etude (to demonstrate good sound, solid intonation, and musicianship);

A study (to demonstrate technical facility);

A solo and two orchestral excerpts of your choice

All major scales; and

Applicants will also be asked to demonstrate sight-reading ability.

Recommended freshman etudes: Arban, Complete Method for the Tuba, ed. Young; Blazevich, 70 Studies; Bordogni/Jacobs, Complete Vocalises for Tuba; Kopprasch/Young, 60 Studies for tuba; Phil Snedecor, Low Etudes;Tyrell Advanced Etudes for BB Flat bass.

Recommended freshman solos: Bruce Broughton, Sonata; Jean-Michel Defaye, Suite; Hindemith, Sonata; Paul Holmes, Lento; Jan Koetsier, Sonatina; Vincent Persichetti, Serenade No. 12 for Unaccompanied Tuba; Halsey Stevens, Sonatina; Alec Wilder, Effie Suite; Gregson Concerto; Vaughan Williams, Concerto.

Recommended Orchestra Excerpts: Prelude to DIe Meistersinger von Nurnberg by Richard Wagner; The Ride of the Valkyries by Richard Wagner; The Damnation of faust by Hector Berlioz; Symphony No. 5 by Serge Prokofiev; Symphony No. 1 by Gustav Mahler

All transfer applicants: Should be able to demonstrate at the advanced level. Prepare a melodious stude (to demonstrate good sound, solid intonation, and muscianship), a study (to demonstrate your technical facility), several of the major orchestral excerpts and a solo of your choice.

Master of Music (M.M.)
Doctor of Music (D.M.) in Music Literature and Performance
Doctor of Music (D.M.) in Music Literature and Pedagogy

Trumpet

M.M. and D.M. applicants should prepare:

One lyrical and one technical etude selected from: Bitsch, 20 études (Leduc); Charlier, 36 études transcendantes (Leduc); Smith, Top Tones for the Trumpeter (Carl Fischer); Vannetelbosch, 20 études mélodiques et techniques (Leduc); Vizzutti, Advanced Etudes (Brass Press); or comparable etudes of applicant's choice;

One concerto by Chaynes, Haydn, Hummel, Tomasi, or a work of comparable demands; and

Excerpts selected from: opening to Mahler, Symphony No. 5; opening to Schumann, Symphony No. 2; solos from Strauss tone poems; solos in works by Beethoven, Brahms, Mussorgsky, Prokofiev, Ravel, Respighi, Rimsky-Korsakov, Stravinsky, Wagner, etc.

Horn

All graduate applicants should prepare:

Candidate should be able to demonstrate all major and minor scales, covering two or more octaves as possible.

Exposition of a Mozart or Strauss concerto or equivalent solo from the candidate's current repertoire, and six contrasting orchestral excerpts.

Candidate may also be asked to demonstrate sight-reading ability.

Doctoral applicants should expect a 20-25 minute audition/interview with a wider range of solo pieces and orchestral excerpts.

Tenor Trombone

All graduate applicants should prepare:

Candidate should be able to demonstrate all major and minor scales, covering two or more octaves as possible.

5-8 minutes of contrasting selections from the candidate's current repertoire of solos, etudes and/or excerpts.

Candidate may also be asked to demonstrate sight-reading ability.

Doctoral applicants should expect a 20-25 minute audition/interview.

Bass Trombone

All graduate applicants should prepare:

Candidate should be able to demonstrate all major and minor scales, covering two or more octaves as possible.

5-8 minutes of contrasting selections from the candidate's current repertoire of solos, etudes and/or excerpts.

Candidate may also be asked to demonstrate sight-reading ability.

Doctoral applicants should expect a 20-25 minute audition/interview.

Euphonium

All graduate applicants should prepare:

A melodious etude (to demonstrate good sound, solid intonation, and musicianship) and a study (to demonstrate technical facility), selected from such collections as Arban's Conservatory Method; Marcel Bitsch, 20 études pour trompette; Bordogni/Rochut, Melodious Etudes for the Trombone (down an octave); Charlier, 36 études transcendantes pour trompette; and Clarke's Technical Studies for the Cornet;

All scales;

Several of the major band excerpts; and

A solo of your choice, such as Jan Bach, Concert Variations; James Curnow, Symphonic Variants; Joseph Horovitz, Concerto; Simone Mantia, All Those Endearing Young Charms; Ponchielli, Concerto; Walter Ross, Capriccio furioso; and Alec Wilder, Sonata.

Applicants will also be asked to demonstrate sight-reading ability.

Tuba

All graduate applicants should be able to demonstrate both the CC and F (or Eb) tubas at the advanced level. DM applicants should be able to perform at the professional level.

Prepare: Two contrasting solos and several of the major orchestral excerpts;

Recommended Solo List:

Sonata (Concerto) by Bruce Broughton (Masters Music Publications)

Sonatine by Jacques Casterede (Alphonse Leduc)

Sonate fur Tuba & Klavier by Zoltan Gardonyi (Edition Walahll)

Sonata by Paul Hindemith (European American-Schott)

Sonata for (F) Tuba and Piano, Op. 34 by Trygve Madsen (Musikk-Huset A/S)

Sonata for Tuba and Piano by Alec Wilder (Mentor Music)

Concertino by Eugene Bozza (Alphonse Leduc)

Three Miniatures by Anthony Plog (Editions BIM)

Tuba Concerto by Martin Ellerby (Maecenas Music, Ltd.)

Concerto for Tuba or Bass Trombone by Eric Ewazen (Southern Music Company)

Concerto for Tuba and Strings by Arild Plau (Ovation)

Concerto for Tuba and Orchestra by John Williams (Hal Leonard Corporation)

Three Furies by James Grant (Grantwood Music Press)

Alarum by Edward Gregson (Intrada Music Publishing)

Encounters II by William Kraft (MCA Music/Editions BIM)

Midnight Realities by Morgan Powell (Brass Music, Ltd)

Salve Venere, Salve Marte by John Stevens (Editions BIM)

Recommended Orchestral Excerpt List:

Prelude to Die Meistersinger von Nurnberg by Richard Wagner

The Ride of the Valkyries by Richard Wagner

Benvenuto Cellini by Hector Berlioz

Rehearsal #15 through the third measure of rehearsal #17

Rehearsal #18 through the fifth measure of rehearsal #19

The Damnation of Faust by Hector Berlioz

Symphonie Fantastique by Hector Berlioz

Symphony No. 2 by Johannes Brahms

Mvt. IV: Rehearsal "O" to the end

Symphony No. 7 by Anton Bruckner

Mvt. IV: Rehearsal "P" to rehearsal "S"

Symphonic Metamorphoses by Paul Hindemith

Mvt. II: Turandot, Scherzo: complete

Symphony No. 1 by Gustav Mahler

Mvt. III: complete

Symphony No. 2 by Gustav Mahler

Mvt. V: Chorale, From the second measure of rehearsal #10 through rehearsal #11

Symphony No. 5 by Gustav Mahler

Part II. Mvt. 3: Scherzo, from the sixteenth measure of rehearsal #15 through rehearsal #17

Symphony No. 5 by Serge Prokofiev

Mvt. I: complete

Romeo and Juliet, Suite No. 2 by Serge Prokofiev

Mvt. V: From the fourth measure of rehearsal #49 through rehearsal #51

Fountains of Rome by O. Respighi

Sensamaya by Silvestre Revueltas

Rehearsal #2 to rehearsal #11

Rehearsal #33 to rehearsal #41

Symphony No. 8 by Dimitri Shostakovich

Scherzo

Ein Heldenleben by Richard Strauss

Till Eulenspiegel by Richard Strauss

From rehearsal #13 to two measures before rehearsal #14

From rehearsal #25 to seven measures before rehearsal #26

From three measures before rehearsal #37 to four measures before

Petrouchka by Igor Stravinsky

Peasant with Bear: From rehearsal #189 through rehearsal #191

Masqueraders: From rehearsal #240 through three measure before rehearsal #242

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Choral Conducting

Master of Music (M.M.)
Doctor of Music (D.M.)

An audition will be scheduled with one of the Jacobs School of Music choral ensembles on the Friday morning of each audition weekend. The applicant will conduct a work chosen from the repertoire listed below. The piece must be rehearsed and performed in the original language.

The applicant will be expected to show advanced musicianship, knowledge of the voice, and exemplary choral rehearsal techniques. The audition will last approximately 15 minutes. Scores will be provided for the chorus; applicants should bring their own full score. Prior to the audition with the choral ensemble, a conducting hearing with piano will be held with the choral faculty including the conducting of the following: 1) Benjamin Britten: "Let nimrod the mighty hunter" from Rejoice in the Lamb (Boosey and Hawkes) 2) Recitative conducting. Should be prepared from full score. Any edition. Candidate should be able to sing the recitative as well as conduct it.

a. Masters candidates-Handel: Recitative: "Thus saith the Lord, the Lord of Hosts" from Messiah.

b. Doctoral candidates-Haydn: Recitative: "Gleich öffnet sich die Erde Schoss" ("Straight opening her fertile womb") from Die Schöpfung (The Creation)-either German or English.

An interview with members of the faculty will consist of an informal discussion of music history and choral literature. The applicant may be asked to demonstrate her or his ability in sight singing, keyboard skills, score-reading, transposition, and analysis. The applicant will be expected to give an oral analysis of the audition piece and be able to sing any part of the work. In addition, written diagnostic examination will also be administered to all applicants to determine the depth of their musical knowledge and interests, current research skills, analysis skills, etc. (Note that this examination is not in lieu of the graduate entrance examinations.) Choral conducting applicants with strong music theory skills are encouraged to schedule an interview for a music theory assistantship with the Office of Music Admissions. (Please read the important qualifying information regarding music theory AI auditions on pages 14-15. Note that this examination is not in lieu of the graduate entrance examinations.)

All applicants to the choral conducting program must audition in person. The Choral Department does not admit students based on videotapes or audio recordings sent with applications to the Jacobs School of Music. Because of the expense and complexity of international travel, the faculty of the department will review videotapes sent by international applicants only, in order to recommend whether such applicants should proceed with making arrangements for an in-person audition.

Notify the Choral Office [(812) 855-0427] of your choice of audition piece two weeks before your audition date. Select from the following: Bach, Cantata Christ lag in Todesbanden, BWV 4 (Carus Verlag); Bach, Cantata Wachet auf, ruft uns die Stimme, BWV 140 (Carus Verlag); Bach, Motet Jesu, meine Freude (Bärenreiter); Beethoven, Mass in C Major, Op. 86 (Breitkopf); Brahms, Ein deutsches Requiem (excluding Movement IV) (Peters); Debussy, Trois chansons (Durand); Handel, Messiah, ed. Watkins-Shaw (Novello); Haydn, Mass in D Minor, "Lord Nelson," ed. Robbins Landon (Schott); Hindemith, Six chansons (Schott); Josquin, Ave Maria . . . Virgo serena (à 4), ed. Greenberg (Associated); Lassus, Bon jour mon coeur (à 4) (Salabert); Monteverdi, Ecco mormorar l'onde (Madrigals, Book II), ed. Malipiero (Universal); Mozart, Mass in C Minor, K. 427, ed. Robbins Landon (Peters); Mozart, Requiem, K. 626, completed by Süssmayr (Bärenreiter); Palestrina, Missa Papae Marcelli (Novello); Palestrina, Sicut cervus, ed. Thomas Dunn (E.C. Schirmer); Schütz, Die mit Tränen säen (Bärenreiter); Stravinsky, Mass (Boosey & Hawkes); Stravinsky, Symphony of Psalms (Boosey & Hawkes); and Verdi, Ave Maria from Quattro pezzi sacri (Franco Colombo).

Instrumental Conducting

Master of Music (M.M.)
Doctor of Music (D.M.)

The instrumental conducting audition and interview will not occur during any of the regularly scheduled audition weekends. Invited applicants will be informed of a date in writing.

Applicants must submit a videotape of a performance or rehearsal that displays their conducting proficiency. A limited number of persons will then be invited to a personal audition and will conduct one of the Jacobs School of Music orchestras. Tapes must be submitted by December 1, 2007. Invited applicants should prepare the following pieces for the personal conducting audition:

Wolfgang Amadeus Mozart: Le Nozze di Figaro. "Hai gia vinta la causa" (The Counts Aria #17). Take the following cut: begin at the beginning, play up to allegro assai. Play 18 bars of allegro assai and cut 30 bars.
Aaron Copland: Appalachian Spring, rehearsal #11 to rehearsal #16 and rehearsal #31 to rehearsal #44.
Johannes Brahms: Second Symphony, 1st movement from the beginning to the end of the exposition.

Wind Conducting

Master of Music (M.M.)
Doctor of Music (D.M.)

The wind conducting audition and interview are not held during the regularly scheduled audition weekends. Applicants are required to submit a DVD or videotape, including at least 20 minutes of rehearsal, which displays their conducting/rehearsal proficiency. Videos must be submitted by December 1, 2007 and may also include performance footage, but must include the rehearsal time.

After faculty review, a limited number of applicants will be invited to perform a live audition and interview; to be scheduled by the wind conducting faculty prior to April 1. Invited applicants will be informed of the date in writing. Potential applicants are urged to look over the wind conducting degree requirements and descriptions on the Jacobs School of Music website. For additional information regarding application procedure and typical audition repertoire, please contact the Department of Bands/Wind Conducting for information by calling (812) 855 1372.

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Composition

Bachelor of Music (B.M.)

Applicants should submit: (1) a portfolio of two to four compositions; (2) a chronological list of completed compositions, including date, instrumentation, duration,, and any performances. Recordings of performances are recommended; if possible, these should be compiled on one CD with the track list indicated on the CD case.

Application materials must be received by December 1 for all undergraduate students who would like priority consideration for financial assistance and who are planning to enter the Jacobs School of Music in the following September. After a review of the submitted scores and recordings by the composition faculty, a limited number of applicants will be invited to interview on the Bloomington campus during audition weekends. This interview is mandatory for financial aid consideration. Those invited to interview should be prepared for a brief ear-training examination (identification of intervals, triads, etc.). Undergraduate admission also requires a classical audition on an instrument or voice. Please follow the audition requirements under your chosen instrument.

Master of Music (M.M.)
Doctor of Music (D.M.)

Applicants should submit: (1) a portfolio to four to six compositions representing a variety of forms and media; (2) a chronological list of completed compositions, including date of composition, instrumentations, duration, and any performances; (3) if possible, recordings or pereformances, preferably compiled on one CD with the track list indicated on the CD case.

Application materials must be received by December 1 for all graduate students who would like priority consideration for financial assistance and who are planning to enter the Jacobs School of Music in the following September. After a review of submitted scores and recordings by the composition faculty, a limited number of applicants will be invited to interview on the Bloomington campus during audition weekends. This interview is mandatory for financial aid consideration. Those invited to interview should be prepared for a brief ear-training examination (identification of intervals, triads, etc.).

Applicants with strong music theory skills are encourages to schedule an interview for a music theory assistantship with the Office of Music Admissions. Please read the important qualifying information regarding music theory AI auditions for more details.

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Computer Music Composition

Master of Computer Music Composition (M.M.)

Applicants must submit a portfolio of electronic and/or acoustic compositions (scores/recordings) and a complete list of compositions and dates. Where possible, recordings should be compiled on one CD with the track list and durations indicated on the case. Surround works should be submitted on DVD-A. Video works should be submitted on DVD-V. As is the case in the other degree programs described above, those students invited to interview should be prepared for a brief ear-training exam (identification of intervals, triads, etc.). Applicants with strong music theory skills are encouraged to schedule an interview for a music theory assistantship with the Office of Music Admissions. Please read the important qualifying information regarding music theory AI auditions for more details.

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Early Music

Bachelor of Music (B.M.), Early Instrument or Voice
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

All programs require an audition. Because the early music field is so wide, it is not possible to give repertoire lists for every instrument, but the following guidelines should be helpful. Students should prepare a minimum of 15 minutes of music (composed before 1800), which should demonstrate contrasting styles.

At least one piece should be accompanied. A harpsichordist will be available with instruments pitched at both A415 and A440. All pieces requiring accompaniment should be performed in the original key. The use of original notation is welcomed but not required. Although we evaluate the extent of a student's knowledge of early music, we look primarily for a demonstration of musical talent and potential for development of historical performance practice awareness. A list of the audition repertoire chosen should be sent to the Early Music Institute (EMI) office one month before the audition.

Harpsichord, Fortepiano, Lute, Theorbo, or other approved instruments

All applicants must prepare three pieces in different styles (e.g., improvisatory genres such as unmeasured seventeenth-century preludes; movements from dance suites; fugal writing; sonata movements).

Strings

All applicants must prepare repertoire of their choice representing at least three different national schools: English, French, Italian, and German. At least one piece should be accompanied.

Recorder

Undergraduate applicants should prepare: (1) Jacob van Eyck, Prins Roberts Masco for soprano recorder solo; Handel, Sonata in C Major for alto recorder and basso continuo; one work of your own choice; scales up to four accidentals.

Voice

All applicants must prepare four songs, at least one in a language other than English or Latin, from contrasting periods. Suitable repertoire may be found in Carol McClintock, ed., The Solo Song (Norton, 1973); Anthony Rooley, ed., The Penguin Book of Early Music (Penguin Books, 1980); and Marocco and Sandon, eds., Medieval Music, The Oxford Anthology of Music (Oxford, 1977). Arias from baroque opera and oratorio are also encouraged. Some editions of music (e.g. Bach arias accompanied by orchestra in vocal score with piano reduction) may not be suitable for harpsichord accompaniment. Students are therefore advised to submit copies of their repertoire well in advance of their chosen audition date in case an alternative edition is needed.

All other instruments

Please follow the guidelines above. If you are unsure about repertoire, contact the EMI office well in advance of the audition date at (812) 855-4088 or at emi@indiana.edu.

M.M. Early Music, Instrumental or Vocal
M.M. Recorder Pedagogy
D.M. Early Music, Instrument or Vocal
D.M. Operation of Early Music Programs

Graduate applicants should adhere to the undergraduate requirements above, with the following additions/exceptions:

Harpsichord, Fortepiano, Lute, Theorbo, or other approved instruments

In addition to the undergraduate requirements, graduate applicants must also accompany one prepared seventeenth-century song employing figured bass (e.g., Caccini, Lawes); you will be given the music 30 minutes before the audition.

Recorder

Graduate applicants should prepare:

Jacob van Eyck, Pavane Lacrimae for soprano recorder solo;
One Telemann Fantasia for alto recorder solo;
Philidor, Suite in G minor;
One work of your own choice; and (5) all scales.

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Guitar

Bachelor of Music (B.M.)
Bachelor of Music Education (B.M.E.)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

Undergraduate applicants must submit a screening tape demonstrating their guitar performance abilitie before a personal audition will be scheduled. Screening recordings must be received no later than December 1. Follow the appropriate audition repertoire requirements listed below. You will be notified if you are to be invited for a personal interview.

Students working toward an undergraduate degree in the Jacobs School of Music must use classical guitar as the principal performance medium. It is not possible to use rock, folk, or jazz guitar as the principal performance medium for any music degree. Students with interests in these areas may, however, take courses in jazz improvisation, jazz arranging, jazz composition, jazz pedagogy, jazz history, rock and roll history, and folk music.

B.M. guitar applicants should prepare:

J. S. Bach, Prelude from Cello Suite No. 1; Fernando Sor, one study of Nos. 11-20; Hector Villa-Lobos, Prelude No. 4 and Study No. 1; or a work of similar difficulty.

B.M.E., B.S.O.F., and B.M. Composition applicants should prepare:

J. S. Bach, Prelude from Cello Suite No. 1; Fernando Sor, one study of Nos. 11-20; Hector Villa-Lobos, Prelude No. 4; or a work of similar difficulty.

Master of Music (M.M.)
Doctor of Music (D.M.)

All graduate applicants must submit an audiocassette or videocassette before a personal interview will be scheduled. Screening recordings must be received no later than December 1. Recordingss should be approximately 30-40 minutes in length. All applicants must perform works from all of the following three groups:

Group 1: (approximately 8-10 minutes)
Two contrasting movements by J. S. Bach chosen from suites, sonatas, or partitas for lute, cello, violin, or flute, including Prelude, Fugue, and Allegro for lute, BWV 998.

Group 2: (approximately 8-12 minutes)
One selection from the following: Mauro Giuliani, Variations, op. 38; Grande Ouverture, op. 61; Variations, op. 105; Variations, op. 107; Sei grandi variazioni, op. 112; Le Rossiniane, opp. 119-124; Giulianate, op. 148; Gran sonata eroica, op. 150; Nicolò Paganini, Grand Sonata in A, arr. for guitar solo; Fernando Sor, Introduction and variations on a theme by Mozart, op. 9; Grand solo, op. 14; Sonata, op. 15b; Grande sonate, op. 22; Deuxième grande sonate, op. 25; Introduction and Variations, op. 26; Introduction and Variations, op. 28; Septième fantaisie et variations brillantes, op. 30; Fantaisie sur un air favori ecossaise, op. 40; Fantaisie élégiaque, op. 59.

Group 3: (approximately 8-15 minutes)
Two works by different composers selected from: Antón Garcia Abril, Evocaciones, Sonata del pórtico; Isaac Albéniz, Asturias, Cadiz, Córdoba, Granada, Malagueña, Mallorca, Rumore de la caleta, Sevilla, Torre Bermeja; Vicente Asencio, Collectici intim, Suite valenciana; Richard Rodney Bennett, Impromptus; Lennox Berkeley, Sonatina, Theme and Variations; Benjamin Britten, Nocturnal; Leo Brouwer, El decameron negro, Elogio de la danza, Hika, Sonata; Mario Castelnuovo-Tedesco, Capriccio diabólico, Sonata, Tarantella; Stephen Dodgson, Fantasy-Divisions, Partita; John W. Duarte, Americana; Roland Dyens, Libra sonatine, Saudade no. 3; Manuel de Falla, Homenaje para Le tombeau de Debussy; Angelo Gilardino, Studi di virtuosità e di trascendenza, Tenebrae factae sunt; Alberto Ginastera, Sonata; Enrique Granados, Danzas españolos, 5-11, La maja de Goya; Hans Werner Henze, 3 tientos; Frank Martin, Quatre pièces brèves; Federico Mompou, Suite compostelana; Federico Moreno Torroba, Castillos de España, Nocturno, Pièces caractéristiques, Sonatina, Suite castellana; Juan Orrego Salas, Esquinas; Goffredo Petrassi, Suoni notturni; Astor Piazzolla, Four Pieces; Manuel Ponce, Sonata clásica, Sonata mexicana, Sonata romántica, Sonata III, Sonatina meridional, Thème varié et finale, Variations sur "Folia de España" et fugue; Joaquín Rodrigo, En los trigales, Invocation et danse, Sonata a la española, Tres piezas españolas; Antonio Ruiz Pipo, Cancion y danza no. 1; Toru Takemitsu, All in Twilight, Folios; Alexandre Tansman, Cavatina; Joaquín Turina, Fandanguillo, Hommage à Tarrega, Sevillana, Sonata; Heitor Villa-Lobos, Chôros No. 1, 12 Etudes, 5 Preludes, Suite populaire brésiliene; William Walton, Five Bagatelles.

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Harp

Bachelor of Music (B.M.)
Bachelor of Music Education (B.M.E.)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

Undergraduate applicants should prepare any two of the following works, choosing contrasting styles: Bach-Grandjany, any etude; Bochsa Advanced Etudes #1 or 10, Handel, Concerto in B flat, first movement, Lariviere Etude #1 (scales), Pierne Impromptu-Caprice, or Handel Tema con variazioni; Naderman, any sonata; Saint-Saëns, Fantaisie; Salzedo, Chanson dans la nuit (Song in the Night); Tournier, Etude de concert: Au matin or Vers la source dans le bois. Sight-reading is required. Accompaniment is not required.

Master of Music (M.M.)
Doctor of Music (D.M.)

Graduate applicants should prepare any two of the following: B.Britten-Suite for harp; Debussy, Danse sacrée et danse profane; Fauré, Impromptu; Ginastera-Concerto for harp and orchestra; Grandjany, Fantaisie sur un thème de J. Haydn, Rhapsodie; Hindemith, Sonata; Ravel, Introduction et Allegro; Roussel, Impromptu; Salzedo, Variations sur un thème dans le style ancien; Spohr, Fantasie. Sonatas by Tailleferre, Houdy or Flagello.

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Jazz Studies

Bachelor of Music (B.M.)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

B.M. and B.S.O.F. applicants in jazz studies must perform a classical audition as well as a jazz audition and an interview. Please note, Saxophonists will be required to play jazz in their classical saxophone audition in addition to their jazz audition with the jazz faculty. These should be scheduled through the Office of Music Admissions.

Students should prepare major scales, whole tone, diminished and ascending melodic minor scales, and be able to improvise on a bebop or standard tune such as All the Things You Are, Groovin' High, Half Nelson, or Stella by Starlight.

Undergraduate degrees in jazz studies are offered in the following instruments: Acoustic Bass, Piano, Percussion, Saxophone, Trombone, Trumpet, and Tuba. Woodwind and string auditions are at the discretion of the Jazz Studies Department.

Please consult the classical audition requirements for each instrument listed by department (Brass, Woodwind, Percussion, etc.) to prepare for your required classical audition.

Master of Music (M.M.)

Graduate applicants should:

Prepare major, ascending melodic minor, whole tone, and diminished scales;
Be able to improvise on a bebop tune, a standard tune, and a contemporary tune such as Body and Soul, Donna Lee, Giant Steps, Moment's Notice, Seven Steps to Heaven, or The Song is You; and
Sight-read changes.
Please note, all Saxophonists will perform two jazz auditions. One for the jazz faculty and one for the saxophone faculty.

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Music Education

Bachelor of Music in Education (B.M.E.)

Undergraduate admission is based on a successful audition in the student's performing instrument or voice category, and an in-person interview with the music education faculty. The interview will consist of an on-site essay, questions concerning your musical and extracurricular activities, and a general assessment of your musical skills.

Master of Music Education (M.M.E.)
Master of Science in Music Education with Certification (M.S.)
Doctor of Music Education (D.M.E.)
Doctor of Philosophy in Music Education (Ph.D.)

In addition to the materials required on the Graduate Application, applicants for the MME, DME or PhD should submit GRE General Test Scores. Applicants for the MS degree do not need the GRE; instead they must submit Praxis I scores. Applicants for all music education graduate degrees must provide an entrance essay, a video recording which demonstrates teaching and performance proficiency (website, HTML, or DVD acceptable), and complete a music education interview. Applicants wishing to be considered for Associate Instructorships or other financial aid must interview in person.

Applicants are asked to write an essay of three to five pages. The purpose of this essay is to assess your ability to organize your thoughts and to express them clearly in writing. Please describe in the essay your previous background in music and music education, with particular emphasis on your teaching experience. Include in your essay a discussion of what you hope to accomplish in your graduate study and your long-term career goals. Students applying for the D.M.E or Ph.D. degree programs should also discuss potential research interests. Your essay must be submitted with your application.

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Music Theory

Master of Music (M.M.)
Master of Music in Music Theory and Master of Library Science from the School of Library and Information Science (M.M. /M.L.S.)
Doctor of Philosophy (Ph.D.)

Applicants for the M.M. in music theory must hold a bachelor’s degree in music. Applicants for the Ph.D. in music theory must normally have received a master’s degree or taken substantial graduate coursework in music theory. Students with outstanding credentials may apply directly from a bachelor’s degree.

In addition to the materials required on the General Graduate Application, music theory applicants should also submit GRE General Test scores and an appropriate writing sample. For prospective master’s students, this is typically a major analytical paper from an upper-level undergraduate class (eight pages or more). Prospective doctoral students may submit an extensive analytical paper (at least 20 pages), two shorter contrasting theoretical or analytic papers, a master’s thesis, or large similar project. Prior to being invited to campus for an interview, applicants should have a completed application on file, including all supporting materials. Applicants who are invited for an on-campus interview will meet with the chair of the department and other members of the faculty and must also complete an audition for an associate instructorship (see below). These interviews and auditions are scheduled during audition weekends through the Office of Music Admissions.

Audition and Interview for Associate Instructorship in Music Theory

Associate Instructors in music theory gain valuable teaching experience in our undergraduate courses in music theory and literature and in aural skills. The audition includes an evaluation of the applicant’s skills (in material from written courses-harmony, formal analysis, elements of music such as melody and counterpoint, musical style, and music literature, especially works from 1700 to the present; and musical skills-sight singing and rhythm reading, dictation, and keyboard facility), a discussion of any prior teaching experience, and an evaluation of the applicant’s ability to explain musical materials clearly and correctly. Anyone applying for an Associate Instructor position in music theory should review the qualifying information on this web page before signing up for an audition: http://theory.music.indiana.edu/ai.

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Musicology

Master of Arts in Musicology (M.A.)
Master of Arts in Musicology and Master of Library Science from the School of Library and Information Science (M.A./ M.L.S.)
Doctor of Philosophy (Ph.D.)

The faculty requests that all musicology applicants schedule their interviews for the January or February interview weekend. After a review of your application materials, the department will determine whether an interview is to be offered.

In addition to the materials required on the general graduate application, applicants should submit GRE General Test scores and a typed formal research paper or thesis on an analytical or historical subject.

The Musicology Department now offers the option of direct entry to the Ph.D. program for highly qualified students who have completed B.A. or B.M. degrees.

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Opera Studies

Master of Science in Stage Direction for Opera (M.S.)

Applicants must have an undergraduate degree or the equivalent, preferably with a major in theater or music, and must submit a resume of creative activities in theater and/or opera, a statement of career goals that should include both short- and long-term objectives, and a brief statement of personal aesthetics. An interview is helpful but not required. Applicants should have, at minimum, a reading knowledge of Italian and either French or German. Please contact the Opera Studies Department at (812) 855-8357 with specific questions or for more detailed information.

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Organ

Bachelor of Music (B.M.)
Bachelor of Music Education (B.M.E.)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

Undergraduate applicants should prepare at least two works for the organ audition. You will also be asked to sight-read a hymn.

Master of Music (M.M.)
Doctor of Music (D.M.)

Graduate applicants will audition in person during one of the scheduled audition dates. Applicants should prepare three works of contrasting style for the audition. The ability to sight-read a trio texture is examined, as well as the ability to sight-read a hymn.

Inquiries for specific information should be directed to the departmental chair, Larry Smith, at smithl@indiana.edu. Specific information regarding degree programs, course descriptions and organ specifications can be found on the organ page via links from the Jacobs School of Music homepage.

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Percussion

All applicants shall provide 4 copies of their audition repertoire to the audition committee. All instruments will be provided by the percussion department. Available percussion instruments include:

Set of five Yamaha timpani

Set of four Light Mark XI (Dresden-Style) timpani

5-octave Marimba (either Marimba One or Malletech

Pearl Philharmonic Snare Drums: 6.5" x 14" and 5" x 14"

Yamaha xylophone (rosewood)

Yamaha vibraphone (gold bars)

Deagan roundtop glockenspiel

Drum set: 4 piece (20" bass) with crash and ride cymbals

If any additional equipment is needed (multiple percussion, piano, sound system, etc.), please notify the chair of the department, Steve Houghton, at (812) 856-3674, at least one week prior to the audition date. Candidates must bring their own sticks/mallets and are encouraged to bring their own small instruments.

Bachelor of Music (B.M.)
Bachelor of Music Education (B.M.E.)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

Undergraduate applicants are expected to audition on snare drum, marimba and timpani. Applicants for the jazz concentration must complete the drum-set audition instead of the timpani requirement. A jazz vibraphone solo or etude is also strongly encouraged.

Snare Drum (undergraduate)

Demonstrate rudiments and rolls ay various dynamics.

One solo or etude from Delecluse, Albright, Cirone, Peters, Goldenberg, or equivalent.

Sight-reading

Marimba (undergraduate)

All major and minor scales, two octaves

One movement or solo/etude (memorized) from Peters, Stout, Abe J.S. Bach, Creston, Musser, Rosauro, or equivalent.

Sight-reading

Timpani (undergraduate)

Rolls and general strokes at various dynamics.

Basic knowledge of intervals and tuning; a short solo or etude;3-4 timpani preferred (Goodman, Vic Firth, Peters, Delecluse, Schinstine, or equivalent).

Drum Set/Jazz Vibes (undergraduate)

There are three stages to the drum set (Jazz Major) audition: prepared piece, demonstration of styles, and sight-reading. The prepared piece should be a complete big band chart, transcription, or published solo. Demonstration of time and soloing in the following styles: medium swing, up-tempo swing, rock, bossa nova, and samba (play-along tracks will be provided). Sight-reading will be required for the drum set audition. A jazz vibraphone solo or etude is strongly encouraged.

Master of Music (M.M.)
Doctor of Music (D.M.)

A Delecluse snare drum etude of your choice.

An advanced-level marimba solo (memorized) suitable for a senior recital.

An advanced-level timpani solo or advanced etude.

Sight-reading on snare drum, timpani, and marimba will also be requested.

Orchestral Excerpts

Timpani

Beethoven: Symphony No.9, Mvmt. I, measures 16-35; Mvmt. IV, 7 measure after

letter T to the end

Bartok: Concerto for Orchestra, Mvmt IV, measures 42-50

Snare Drum

Prokofiev: Lt. Kije, Mvmt. I, rehearsal 1-1 to measure before rehearsal 2

Rimsky-Korsakov: Scherazade, Mvmt. III, Letter D-E, Mvmt. IV, 4 measure before Letter N to 18 measures after Letter N

Xylophone

Gershwin: Porgy and Bess (opening measures)

Copland: Appalachian SPring, 5 measures after rehearsal 48 to 4 measures after

rehearsal 49

Glockenspiel

Dukas: Sorcerer's Apprentice, rehearsal 17 to 4 measures after rehearsal 19; rehearsal 22 to rehearsal 24

Drum set/Jazz Vibes

Solo (in consideration of an Associate Instructor position with a focus in this area).

Doctor of Music (D.M.)

A Delecluse snare drum etude of your choice.

An advanced-level marimba solo (memorized) suitable for a masters degree recital (first movement of a concerto, etc.).

An advanced-level timpani solo suitable for a a masters degree recital (one movement) or advanced etude.

Sight-reading on snare drum, timpani, and marimba will also be requested.

Orchestral Excerpts

Timpani

Beethoven: Symphony No.9, Mvmt. I, measures 16-35, Mvmt. IV, 7 measure after

letter T to the end

Bartok: Concerto for Orchestra, Mvmt IV, measures 42-50

One additional excerpt of the candidate's choice

Snare Drum

Prokofiev: Lt. Kije, Mvmt. I, rehearsal 1-1 to measure before rehearsal 2

Rimsky-Korsakov: Scherazade, Mvmt. III, Letter D-E; Mvmt. IV, 4 measure before Letter N to 18 measures after Letter N

One additional excerpt of the candidate's choice

Xylophone

Gershwin: Porgy and Bess (opening measures)

Copland: Appalachian SPring, 5 measures after rehearsal 48 to 4 measures after

rehearsal 49

One additional excerpt of the candidate's choice

Glockenspiel

Dukas: Sorcerer's Apprentice, rehearsal 17 to 4 measures after rehearsal 19; rehearsal 22 to rehearsal 24

One additional excerpt of the candidate's choice

Drum set/Jazz Vibes

Solo (in consideration of an Associate Instructor position with a focus in this area).

Sight-reading

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Piano

Bachelor of Music (B.M.)
Bachelor of Music Education (B.M.E.)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

B.M. applicants should prepare: (1) one Prelude and Fugue from J.S. Bach, Well-Tempered Clavier; (2) one complete Beethoven Sonata (except Op. 49, Nos. 1 and 2 and Op. 79); (3) a romantic work demonstrating considerable technical accomplishment; and (4) a twentieth or twenty-first-century work of the applicant’s choice. All pieces must be presented from memory. Applicants must also submit a complete repertoire of works performed or studied at the time of application to Indiana University Jacobs School of Music.

All B.M.E., B.M. Composition, B.M. Jazz Studies, and B.S.O.F. applicants should prepare: (1) one Prelude and Fugue from J.S. Bach, Well-Tempered Clavier; (2) any first movement of a Sonata by Beethoven, Haydn, or Mozart; and (3) a short work from the nineteenth or twentieth century. All pieces must be presented from memory. Applicants must also submit a complete repertoire of works performed or studied at the time of application to Indiana University Jacobs School of Music.

Master of Music (M.M.)
Doctor of Music (D.M.)

All graduate applicants should prepare from memory three major contrasting works from different styles and periods. Any sonata presented should be presented in its entirety. Master of Music and Performer Diploma applicants who are admitted on the basis of a taped audition will be required to perform one piece of their choice during the first week of the semester. Applicants must also submit a complete repertoire of works performed or studied at the time of application to Indiana University Jacobs School of Music.

Doctor of Music auditions in piano are granted only after the faculty has reviewed screening CDs. CDs should be received by the Office of Music Admissions no later than January 10, 2008. The CD repertoire should be of substantial scope and length, and the CD should be accompanied by a complete list of repertoire ever learned by the applicant (solo, chamber, and concerto), a written personal statement about the applicant's goals for the degree, and an endorsement from the applicant's most recent piano teacher.

Doctoral applicants whose screening CDs are selected for an in-person audition will perform for the faculty on February 25 or 26, 2008. The committee will choose one-half hour of music from a one-hour long recital program. The program may include pieces submitted as part of the screening process. In addition, applicants will be interviewed by members of the department regarding the program and repertoire list.

In addition, applicants will be interviewed by members of the department regarding the program and the repertoire list.

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Recording Arts

Associate of Science in Recording Arts (A.S.)
Bachelor of Science in Recording Arts (B.S.)

Applicants for the Recording Arts program must complete the Music Audition/Interview application and submit the following portfolio materials by the December 1, 2007 deadline: Recording Arts applicant questionnaire, portfolio of artistic and creative work, two letters of recommendation, and an essay and a copy of your transcript. A musical audition is not required for admission. A limited number of students will be invited for an on-campus interview. Interviews are scheduled during audition weekends through the Office of Music Admissions. For further information you may contact the Recording Arts Office at the following telephone number: (812)855-1087 or e-mail audio@indiana.edu.

Recording Arts Application:

Questionnaire

Describe your musical education and skills.
Describe your technical and audio skills and experience.
Describe your computer skills and experience.
What are your musical likes and dislikes?
What are your goals for entering the Recording Arts program?
What are your career goals?
Why have you chosen Indiana University?

Portfolio

The portfolio can include any of your artistic, creative, and technical work. Some examples might be CDs you have recorded, produced, or played on as a musician; musical repertoire; web design; computer programming; visual arts, film or video; electronics projects; etc. Submissions may be on CD, DVD, photographs, URLs, and print materials. Please include a complete description of your portfolio materials.

3. Two letters of recommendation from teachers or musical instructors.

        4. Essay

              Write a paper of 3-5 pages on one of the following topics:

Choose an artist or recording and discuss its significance to you as a musician.

Choose a piece of equipment or technological innovation and discuss its impact on

audio production and the entertainment industry.

Choose a film or videogame and discuss its use of sound and how it enhances the storyline.

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String Intrument Technology

Associate of Science, String Instrument Technology (A.S.)

Applicants for the A.S. in string instrument technology must obtain the permission of the program director in addition to being admitted by the Jacobs School of Music Admission Committee. The program director, Thomas Sparks, may be reached at (812) 855-7565 or thsparks@indiana.edu.

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Strings

Bachelor of Music (B.M.)
Bachelor of Music Education (B.M.E)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

Violin

Along with the application to the Jacobs School of Music, all applicants in violin must submit a screening recording to the Office of Music Admissions. These recordings will be heard on a rolling basis, as they are received. Screening recordings must be received no later than December 1, 2007. We encourage you to apply as early as possible and cannot guarantee that recordings which arrive after the December 1 deadline will be heard by committee or considered for advancement in the admission process.

To be considered for an on-campus audition, label your recording “screening”. If you are unable to come to campus for any of our audition weekends, please label your recording “final audition”.

Applicants should prepare the following, either for the screening recording, final recording, or on-campus audition:

The first movement of a standard major concerto with cadenza (if it has one), or second and third movements of a standard major concerto; and
Two movements of an unaccompanied partita or sonata by J.S. Bach. All pieces must be presented from memory.

Viola

Applicants should prepare the following, either for a recording or on-campus audition: Two contrasting pieces. Transfer students should prepare two movements of a solo Bach work and a solo of their choice.

Violoncello

Applicants should prepare the following, either for a recording or on-campus audition:

Two contrasting pieces. Transfer students should prepare two movements of a solo Bach work and a solo fo their choice.

Double Bass

Applicants should prepare the following, either for a recording or on-campus audition:

Two works from the standard solo literature contrasting in both tempo and style;and
Two standard excerpts representing two different composers selected from the following list: Mozart: Symphony No. 35, 1st or 4th movements; Mozart: Symphony No. 39, 1st or 4th movements; Mozart: Symphony No. 40, 1st or 4th movements; Beethoven: Symphony No. 5, 3rd movement; Beethoven: Symphony No. 7, 1st movement; Beethoven: Symphony No. 9, last movement (not the Recitative or Ode to Joy theme, however); Brahms: Symphony No. 1, 1st or 4th movements; Brahms: Symphony No. 2, 1st or 4th movements; Strauss: Don Juan; Strauss; Ein Heldenleben.

Master of Music (M.M.)
Performer Diploma (P.D.)
Doctor of Music (D.M.)

Doctor of Music (D.M.) applicants for the D.M. degree in violin, viola, violoncello and double bass must submit a screening recording for consideration for a full department audition. This audition will be by invitation only and only after a review of the screening recording. Auditions should be arranged through the string department chair, Lawrence Hurst, at hurst@indiana.edu. Screening recordings must be received no later than December 1, 2007. The Jacobs School of Music does not supply pianists for doctoral entrance auditions; however, the chair can supply names of competent pianists who will charge a fee for their service.

Applicants should prepare the following, either for the screening recording, final recording, or on-campus audition:

Violin

M.M. and P.D. applicants should prepare the following, either for a recording or on-campus audition:

Two contrasting movements from a Bach solo sonata or partita;
An entire major concerto; and
A Paganini caprice or some other type of virtuoso display piece. All pieces must be presented from memory.

D.M. applicants must present the same as above but also a sonata with piano, if possible. This must be done either for the screening tape or on-campus audition.

Viola

M.M. and P.D. applicants should prepare the following, either for a recording, screening recording, or on-campus audition:

Excerpts from a recital program, including no fewer than three works.

D.M. applicants should prepare the following, either for a recording, screening recording, or on-campus audition: Excerpts from a recital program, including no fewer than three works.

Violoncello

M.M. and P.D. applicants should prepare the following, either for a recording or on-campus audition:

Two contrasting movements from a Bach solo suite and a sonata with piano;
A major concerto.

D.M. applicants should prepare the following, either for a screening recording or on-campus audition:

Two contrasting movements from a Bach solo suite;
A sonata with piano; and
A major concerto.

Double Bass

M.M. and P.D. applicants should prepare, either for a screening recording or on-campus audition:

Two works from the standard solo literature that are contrasting in tempo and style;
A movement from a major concerto;
Three standard excerpts representing three different composers selected from the following list: Mozart: Symphony No. 35, 1st or 4th movements; Mozart: Symphony No. 39, 1st or 4th movements; Mozart: Symphony No. 40, 1st or 4th movements; Beethoven: Symphony No. 5, 3rd movement; Beethoven: Symphony No. 7, 1st movement; Beethoven: Symphony No. 9, last movement (not the Recitative or Ode to Joy theme, however); Brahms: Symphony No. 1, 1st or 4th movements; Brahms: Symphony No. 2, 1st or 4th movements; Strauss: Dan Juan; Strauss; Ein Heldenleben.

D.M. applicants should prepare, either for a screening recording or on-campus audition:

One complete sonata,
One complete standard concerto, and
Two works from the standard solo literature. At least one work should be performed from memory.

Recordings

All recordings must be CD (the preferred format), VHS, DVD, or audiocassette. Mini disks and open reel tapes are not acceptable. Label the recording clearly with your name and the degree you are seeking. All violinists must label their recording “screening” if they wish to be considered for an on-campus audition. Be certain that the recording is of high quality, and check to see that it is playable before sending it. Your recording should be produced without any artificial enhancement such as echo or electronic reverb. If you are unable to come to campus for any of our audition weekends, please label your recording “final audition.” All D.M. applicants should label their recording “screening recording.”

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String Instrument Technology

Associate of Science, String Instrument Technology (A.S.)

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Voice

Along with the application to the Jacobs School of Music, all applicants in voice must submit a screening recording to the Office of Music Admissions. This recording must be postmarked no later than December 1, 2007. Recordings will be reviewed by a committee from the Voice Department during the week after the deadline. We encourage you to apply as early as possible and cannot guarantee that recordings which arrive after the December 1 deadline will be heard by committee or considered for advancement in the admission process.

We encourage you to produce your recording well in advance of the deadline, because illness and emergency at the last moment could result in a late submission.

Recordings must be CD (the preferred format), VHS or audiocassette. Label the recording clearly with your name, voice type and the degree that you are seeking. Be certain that the recording is of high quality, and check to see that it is playable before sending it. Your recording should be produced without any artificial enhancement such as echo or electronic reverb.

At the beginning of the recording, please state your name, degree objective and (if you are an undergraduate) whether you are a freshman or transfer from another school.

For the on-campus audition, you may change your repertoire from the screening recording, provided that you observe the requirements for your chosen degree. An accompanist will be provided.

Repertoire Requirements

Bachelor of Music (B.M.)
Bachelor of Music Education (B.M.E)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

Applicants should prepare:

One art song in English;
One art song in a language other than English; and
One selection of the applicant's choice.

Master of Music (M.M.)

M.M. Applicants should prepare the following:

One German lied;
One French mélodie;
Two arias, at least one of which is from an opera; and
One art song in English. At least two selections will be heard.

Performer Diploma (P.D.)

In the voice department, this degree is considered to be at the post-masters level. Applicants must perform at a technical and artistic level which is at least equal to that of individuals who have completed a M.M. in vocal performance.

The applicant should prepare the same repertoire as the MM plus another two selections of the applicant’s choice.These additional selections may both be operatic arias. In the on-campus audition at least two selections will be heard.

Doctor of Music (D.M.)

D.M. applicants should prepare eight memorized contrasting selections, two in each of the following languages: French, German, Italian, and English. Selections must include at least one, but no more than two, operatic arias. At least four selections will be heard.

Applicants for the P.D. or D.M. degree must bring 10 copies of their audition repertoire to hand out to the committee at their audition.

International Students must achieve a passing TOEFL score before they can be admitted to the Jacobs School of Music and to be considered for possible scholarship. Please click here to find the TOEFL requirements for the degree you are seeking. It is a great advantage to arrive at your audition with a passing grade.

Recordings

All recordings must be CD (the preferred format), VHS, DVD, or audiocassette. Mini disks and open reel tapes are not acceptable. Label the recording clearly with your name and the degree you are seeking. Be certain that the recording is of high quality, and check to see if it is playable before sending it. Your recording should be produced without any artificial enhancement. If you are unable to come to campus for any of our audition weekends, please label your recording “final audition.”

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Woodwinds

Bachelor of Music (B.M.)
Bachelor of Music Education (B.M.E.)
Bachelor of Science in Music and an Outside Field (B.S.O.F.)

Undergraduate applicants may be asked to demonstrate sight-reading ability. Applicants should have their instruments assembled and be ready to play at the time of audition. It may be impossible to hear all the music prepared for an audition.

In this case, representative samples or sections of the audition pieces will be heard. Piano accompaniment is not required for auditions unless otherwise indicated.

Flute

Applicants should prepare all movements of a C. P. E. Bach sonata, a J. S. Bach sonata, or a Mozart concerto, and one work in a contrasting style.

Oboe

Applicants should prepare:

Two contrasting etudes from Barret, A Complete Method for the Oboe, or Ferling, 48 Famous Studies;
Two contrasting movements from a major concerto or a sonata by Bach, Handel, Telemann, or Vivaldi;
One movement of a standard major concerto of the applicant's choice;
Three orchestral excerpts; and
All major and minor scales. If submitting a final audition tape in lieu of an in person audition, please prepare the following required scales:
- E-flat Major-quarters, eights, and sixteenths (at approx. quarter=60)
- E-flat Major-sixteenths (at approx. quarter=80-100)
- E-Major-sixteenths (at approx. quarter=80-100)
- F-sharp melodic minor-eights and sixteenths (at approx. quarter=80-100)
- B harmonic minor-eights and sixteenths (at approx. quarter=80-100)
  All scales are slurred two octaves
  No metronome is needed

Clarinet

B.M. applicants should prepare:

Major and minor (harmonic, melodic) scales through 7 sharps and flats;
One slow etude;
One fast etude; and
Two contrasting solos from the standard repertoire.

B.M.E and B.S.O.F. applicants should prepare:

All major and minor (harmonic, melodic) scales through four sharps and flats;
One slow etude;
One fast etude; and
One solo from the standard repertoire.

B.M.E. and B.S.O.F. students may audition on B-flat soprano or bass clarinet.

Bassoon

Applicants should prepare one etude or solo bassoon piece and one work of their choice. Representative major and minor scales may also be requested.

Saxophone

Applicants may audition on soprano, alto, tenor or baritone saxophone. All applicants should prepare the chromatic scale, all major and minor (harmonic, melodic) scales, and triad arpeggios (major and minor) full range.

B.M. applicants should prepare one lyrical and one technical etude and one selection from the standard repertoire (such as a work by Creston, Glazounov, Heiden, Ibert, Maurice, etc.).

B.M. Jazz, B.M.E. and B.S.O.F. applicants should prepare two contrasting movements (lyrical and technical) from standard works. An etude may be substituted for one of the movements. B.M. Jazz applicants will also sight read jazz and improvise on a blues and a standard tune.

Master of Music (M.M.)

Flute

Applicants should prepare:

One of the following: a sonata by J. S. Bach (E major, E minor, B minor, A major; Partita in A minor), a sonata by C. P. E. Bach (Hamburg Sonata or Solo in A minor), Mozart, Concerto in G major;
One substantial twentieth-century concerto or sonata;
One work of the applicant's choice in a contrasting style from the above; and
Three contrasting orchestral excerpts.

Oboe

Applicants should prepare:

Two contrasting etudes from Barret, Grand Etudes from A Complete Method for the Oboe, or Ferling, 48 Famous Studies;
One complete major concerto or sonata by Bach, Handel, Telemann, or Vivaldi;
One complete major post-Baroque concerto (such as Martinu, Mozart, Strauss, or Vaughan Williams); and
Four orchestral excerpts: Beethoven, Symphony No. 3; Brahms, Violin Concerto; Rossini, La scala di seta; and Strauss, Don Juan.

Clarinet

Applicants should prepare:

All major and minor (harmonic, melodic) scales through seven sharps and flats;
Three contrasting solos from the standard repertoire; and
Three contrasting orchestral excerpts.

Bassoon

All applicants should prepare:

One baroque solo;
A Mozart concerto;
A twentieth-century piece;
And three major orchestral excerpts, two of which should be Ravel, Bolero, and Mozart, Overture to Marriage of Figaro.

Saxophone

All applicants should prepare:

The chromatic scale, and all major, minor (harmonic, melodic), diminished, and whole tone scales, and arpeggios (major, minor, augmented, and diminished-seventh) full range.
At least three major works of contrasting style, including at least one selection from the standard repertoire (such as a work by Creston, Glazounov, Heiden, Ibert, Maurice, etc.).

Doctor of Music (D.M.)

Doctor of Music applicants must submit a prescreening recording (compact disc) to be considered for a live audition. Recordings must be received in the Office of Music Admissions by the December 1, 2007 application deadline. Auditions will be by invitation only. Audition dates for invited students will be arranged at the time of the invitation. As part of the 30 minute audition, students are expected to perform with piano selected movements totaling 15 minutes from two contrasting works. A list of pianists available for hire will be provided. Requested repertoire is as follows:

Flute

Applicants should prepare:

One of the following: a sonata by J. S. Bach (E major, E minor, B minor, A major; Partita in A minor), a sonata by C. P. E. Bach (Hamburg Sonata or Solo in A minor), Mozart, Concerto in G major;
One substantial twentieth-century concerto or sonata;
One work of the applicant's choice in a contrasting style from the above; and
Three contrasting orchestral excerpts.

Oboe

Applicants should prepare:

Two contrasting etudes from Barret, Grand Etudes from A Complete Method for the Oboe, or Ferling, 48 Famous Studies;
One complete major concerto or sonata by Bach, Handel, Telemann, or Vivaldi;
One complete major post-Baroque concerto (such as Martinu, Mozart, Strauss, or Vaughan Williams); and
Four orchestral excerpts: Beethoven, Symphony No. 3; Brahms, Violin Concerto; Rossini, La scala di seta; and Strauss, Don Juan.

Clarinet

Applicants should prepare:

All major and minor (harmonic, melodic) scales through seven sharps and flats;
Three contrasting solos from the standard repertoire; and
Three contrasting orchestral excerpts.

Bassoon

All applicants should prepare:

One baroque solo;
A Mozart concerto;
A twentieth-century piece;
And three major orchestral excerpts, two of which should be Ravel, Bolero, and Mozart, Overture to Marriage of Figaro.

Saxophone

All applicants should prepare:

The chromatic scale, and all major, minor (harmonic, melodic), diminished, and whole tone scales, and arpeggios (major, minor, augmented, and diminished-seventh) full range.
At least three major works of contrasting style, including at least one selection from the standard repertoire (such as a work by Creston, Glazounov, Heiden, Ibert, Maurice, etc.).

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Multiple Woodwinds

For the three-instrument degree:

M.M. and D.M. applicants will audition separately on their primary instrument and two secondary instruments. Please consult the audition requirements for each individual instrument. Applicants must demonstrate an artistic performance level on the major instrument and on each of the other instruments to be included in their degree.

For the five-instrument degree:

M.M. and D.M. applicants will audition separately on their primary instrument and two secondary instruments. Please consult the audition requirements for each individual instrument. Follow the M.M. /D.M. guidelines for the primary instrument and the B.M.E. guidelines for the secondary instruments. Applicants must demonstrate an artistic performance level on one instrument and proficiency at the entering undergraduate concentration level on two secondary instruments.

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