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Requirements for Pre-screening/Portfolios & Auditions/Interviews

Audition & Interview Dates

Every applicant must demonstrate, by an audition, portfolio, and/or interview, sufficient ability and potential to successfully pursue one of the degree programs of the school. We strongly recommend that applicants to music programs audition or interview in Ann Arbor.

Audition & interview dates for all undergraduate programs are listed here.

 

Requirements for Pre-screening, Portfolio, and Auditions/Interviews

The audition/interview requirements are unique to each area of study and the menus below list all of the requirements for the program to which you are applying, including what you need to upload in your Artistic Profile if your program includes pre-screening or a portfolio. Pre-screening and audition requirements are the same for non-performance majors unless otherwise notated.

Pre-screening Requirements

This program does not pre-screen at this time. Please be sure to fill out the required portions of the Artistic Profile but you do not need to upload recordings unless you are doing a Recorded Audition.

In-Person Audition Requirements

Prepare one or two movements from a standard concerto, sonata, or other major work for bassoon. In addition, please prepare two contrasting etudes equivalent in difficulty to the Concert Studeies by Ludwig Milde.

Pre-Screening Requirements

Please upload the following items:

  • One movement of a standard concerto
  • One movement of solo Bach or an etude (Popper, Duport, Piatti, etc.)

In-Person Audition Requirements

Prepare an etude representing your current level of technical development, two contrasting movements from one of the Bach unaccompanied suites, and an allegro movement from the standard cello concerto literature.

Both the Bach and the concerto should be played from memory.

Pre-Screening Requirements

Please submit video recordings of at least two contrasting pieces. (Total duration: 5–15 minutes; single movements of larger works are acceptable)

In-Person Audition Requirements

Prepare two compositions of your choice from the basic repertoire representing different styles. In the case of compositions with several movements, it may not be necessary to play the complete work. In addition, please prepare two etudes showing legato style and articulation.

Portfolio Requirements

All composition applicants must upload up to seven scores of your musical compositions with recordings of each work. All musical styles are welcome, though the departmental curriculum is geared toward composing for classical instruments and ensembles.

Pre-Screening Requirements

Please refer to the pre-screening requirements for your instrument or voice.

All materials must be uploaded by December 1.

Interview & Audition Requirements

After a preliminary review of electronic portfolios, a selected number of applicants will be invited for on-campus interviews and auditions. All invited applicants will be scheduled to perform an audition on their principal instrument or voice, and to complete a piano placement examination. The piano placement examination will include sight-reading, harmonization and transposition, scales and arpeggios, and chord progressions.

Though we strongly recommend coming to campus for an in-person interview, applicants living over 300 miles away are eligible to submit a recorded principal audition and to conduct their interview via Skype.

The interview component will focus on your portfolio materials. Please bring copies of your scores to help facilitate the conversation.

Pre-screening Requirements

All Dance applicants must upload a set of five video recordings as outlined below in addition to submitting a U-M application. To be considered for either the November or December in-person audition, these materials must be submitted by October 15. The submission deadline for consideration for January or February in-person auditions is December 1.

Because of the volume of Dance auditions in a season, candidates should apply early in the fall of the senior year. Audition dates fill quickly, and applicants who wait until late November to apply may find their options quite limited. Do not make travel reservations until you receive an email confirming a specific audition date, as we cannot guarantee any date in advance of confirmation.

The Department of Dance is committed to recruiting a diverse group of individuals. Some applicants may be more balletically or modern-trained than others or may have improvisational and/or choreographic strengths. Through the parameters of the instructional video, we encourage you to showcase yourself in your area of expertise.

If your completed Common Application with the U-M Member Questions and video pre-screening recordings are submitted and uploaded by October 15, you will receive an in-person audition decision by November 15 (earlier notices will be sent for those invited for the November audition). Later video submissions, through December 1, will receive a decision by early January.

Performance Requirements, Video

To advance to an in-person audition, submit five short videos following these specifications and as demonstrated in the instructional video.

  • Introduction—Clearly state your full, hometown, the title of your solo, the music title and artist, and who recommended you to our program, if anyone. (upload one 15- to 30-second video)
  • Exercise 1: Ballet—Choose ONE of the ballet combinations (traveling tendu with pirouette, adagio, petit allegro, or grand allegro) as demonstrated in the video. Show ONE side only.(upload video – 1 minute maximum)
  • Exercise 2: Modern—Choose ONE of the traveling combinations as demonstrated in the video. Show ONE side only. (upload video – 1 minute maximum)
  • Exercise 3: Choice—Choose EITHER one additional ballet OR one modern combination of your choice. (upload video – 1 minute maximum)
  • Solo—Perform a contemporary solo; do NOT perform a ballet or pointe work solo. (upload ONE 1-minute video)
Written Requirements
  • Resumé—With your videos, upload a copy of your one-page résumé, which includes training and experience you have had in dance, music or theatre.
  • Photograph—Upload a recent photograph of yourself, headshot preferred.
Video Preparation Suggestions
  • Wear appropriate dance attire that will show clean lines: leotard and tights or unitard (for both male/female applicants)
  • Your entire body should be in view at all times. Refrain from close-ups.
  • Music may be live or recorded, or exercises may be executed in silence.
  • You must be barefoot for your solo; you may wear ballet slippers or socks for the ballet portion of your video

The faculty understands that making an audition video adds an extra challenge to the application process. Please know that you will not be evaluated on the quality of the video recording itself. The goal is simple, clean articulation of your movement so that your work can be seen and evaluated by the faculty.

  • Your TOTAL video time should be no more than four minutes.
  • When uploading video recordings, separate, labeled tracks are preferred and will upload faster.
  • Do not submit a multi-camera, highly technical studio video.
  • Each exercise should be performed without editing of any kind. Applicants with edited video will be disqualified.

In-Person Audition Requirements

All in-person auditions are by invitation only and take place in Ann Arbor.

All Dance applicants must submit the set of five video recordings described above. Following review of these and all other application materials, successful candidates will be invited to attend an in-person audition/interview in Ann Arbor. The on-site audition will include the following requirements:

  • Prepare a two-minute solo in a contemporary dance idiom. The solo should be appropriately titled and the accompaniment clearly acknowledged. Please avoid classical repertory and pointe work.
  • Participate in ballet and modern technique classes as well as an improvisation session.
  • Completion of a short interview with Dance faculty or staff.

Each audition day begins with an introduction to the Department and a tour of our facility. Parents are encouraged to attend these sessions but may not observe the audition.

Pre-Screening Requirements

Please upload the following items:

  • One movement of a standard concerto
  • One movement of solo Bach

In-Person Audition Requirements

Prepare an etude representing your current level of technical development, a movement from a standard concerto, a contrasting work or movement of a work of your choice, and a few minutes of excerpts from standard orchestral repertoire.

One of the solo works or movements should be played from memory.

Pre-screening Requirements

This program does not pre-screen at this time. Please be sure to fill out the required portions of the Artistic Profile but you do not need to upload recordings unless you are doing a Recorded Audition.

In-Person Audition Requirements

Prepare 10–15 minutes of solo or etude literature representing your highest level of proficiency. Memorization is not required. Additionally, you may be asked to sight-read and play two-octave major and chromatic scales from memory.

Pre-Screening Requirements

Please submit video recordings of the following:

  1. B Major scale (2 octaves, not extended)
  2. Any Minor scale of your choice (2 octaves, not extended)
  3. Two contrasting pieces: Single movements of larger works are acceptable. Accompaniment is preferred if the piece has accompaniment.

Applicants who have attended the MPulse Flute Institute in the past two years are exempt. Please contact our auditions coordinator, to inquire about receiving a pre-screening waiver.

In-person Audition Requirements

Prepare three compositions from the standard solo flute repertoire. Please include a movement of a concerto as one of your selections. You may perform one movement from a composition with multiple movements or an advanced etude. Representative audition repertoire include Mozart concerti, Paris Conservatoire pieces, 20th century compositions, and French, German, or English Baroque sonatas.

In addition, please prepare two orchestral excerpts that represent your highest level of proficiency.

Memorization of all major, minor, and chromatic scales is assumed and may be assessed at the audition. Memorization of solo literature and orchestral excerpts is not required. Competitive undergraduate applicants typically have a minimum of five years of private study and significant ensemble experience.

Pre-screening Requirements

This program does not pre-screen at this time. Please be sure to fill out the required portions of the Artistic Profile but you do not need to upload recordings unless you are doing a Recorded Audition.

In-person Audition Requirements

Prepare 20 minutes of solo/etude/excerpt literature representing different styles and your highest level of proficiency. In addition, sight-reading and two-octave major and minor scales may be assessed at the audition.

Multiple tonguing, lip trills, hand stopping, and transposition may be required in the sight-reading material. Memorization is expected for scales only.

Pre-screening Requirements

This program does not pre-screen at this time. Please be sure to fill out the required portions of the Artistic Profile but you do not need to upload recordings unless you are doing a Recorded Audition.

In-Person Audition Requirements

Prepare ALL of the following:

  1. Four octaves of ascending and descending arpeggios in two keys, alternating hands
  2. Four octaves of a scale in one key, hands together
  3. One etude
  4. Two substantial works of contrasting style and/or time period.

All solo literature must be performed from memory.

Pre-screening Requirements

This program does not pre-screen at this time unless you are applying for the BFA in Jazz & Contemporary Improvisation degree and your classical instrument requires pre-screening. Please be sure to fill out the required portions of the Artistic Profile but you do not need to upload recordings unless you are doing a Recorded Audition.

In-Person Audition Requirements

All applicants will demonstrate their skills in mainstream jazz according to the guidelines below. Applicants with original compositions, or who are involved in creative areas that may not fall within the categories listed, are strongly encouraged to present their work at the audition.

Improvising Skills

All applicants (except drummers; see separate requirements) should prepare an F blues and B-flat rhythm changes tune of their choice. In addition, select one piece from each of the following three categories:

Category 1 (medium or up-tempo standard)

  • All the Things You Are
  • There Will Never Be Another You
  • Autumn Leaves

Category 2 (ballad)

  • Body and Soul
  • Lover Man
  • In a Sentimental Mood

Category 3 (modal)

  • Impressions
  • So What

Category 4 (optional)

  • Original composition (please bring music)
  • Free Improvisation
  • Contemporary Styles (Folk, World Music, Pop)

Other compositions in these categories can be performed, but it is recommended that a lead sheet be provided. It is unlikely that selections from all categories will be heard, therefore applicants should prioritize according to their strengths.

Additional Instructions
  • It is highly recommended that all selections be memorized, including tune melodies and chord changes.
  • All applicants will be asked to perform the melodies and improvise over the progressions for each piece they select.
  • Auditionees may also be asked to sight read a melodic line or chord changes

Special Instructions for Guitar, Piano, and Bass

  • Guitarist should prepare a chord melody.
  • Pianists and guitarists will be asked to comp changes.
  • Bassists will be asked to walk the bass lines in addition to soloing and performing melodies.
  • Bassists should prepare the melody to the ballad they choose and perform it arco if possible.

Accompaniment will be provided at the audition.

Drum set players will be asked to demonstrate proficiency in the following areas:

Drummers will be expected to play all the tunes listed in categories 1-3 including blues and rhythm changes.  Accompaniment will be provided (piano or guitar, and bass). Please be prepared to demonstrate other styles.

Applicants will also be asked to do simple hand/foot timing and coordination exercises, as well as some sight-reading. Performance of scales or melodies of jazz tunes on any mallet keyboard instrument such as vibraphone, marimba or piano is encouraged.

Drummers are welcome to perform pieces outside the areas listed above, including but not limited to multiple percussion, snare drum and electronic pieces.

Recorded Audition Requirements

Applicants uploading a recorded audition must demonstrate improvisational skills on their recorded audition.

Classical Audition

A classical audition is ONLY required for students applying for the BFA in Jazz and Contemporary Improvisation AND the BMA degree. List both classical and jazz repertoire in your audition repertoire, as well as on your comprehensive repertoire list. The classical audition will be played for the appropriate instrumental performance faculty, following the standard audition parameters.

Degrees Available to Guitar Applicants

There are two jazz degree options for guitarists: the BFA in Jazz Studies and the in BFA Jazz and Contemplative Studies. Because we do not offer classical guitar, Jazz and Contemporary Improvisation and the BMA are not available to guitarists.

Jazz Voice Applicants

We do not offer a program of study in jazz voice. Students in other programs, such as Voice Performance, are able to perform with jazz combos and ensembles by audition.

All applicants are required to create a Artistic Profile to demonstrate artistic preparation for their program of study, including any required pre-screening. Auditions are by appointment and will be scheduled after a successful review of your complete application materials.

Video Interview Requirement

In your Artistic Profile, upload a video in which you answer these three questions:

  1. Why do you want to be a music teacher?
  2. What experience do you have teaching others, or working in any capacity with groups of young people?
  3. How would you describe yourself as a teacher or a leader?

Video Preparation Guidelines

The faculty know that making a video adds an extra challenge to the application process. The main goal is simple clarity so that we may get to know you. With this in mind, try to follow these guidelines when preparing your video:

  • Dress as you would for an in-person audition or interview.
  • Think about your answers to the questions in advance, but do not write an essay and read it to the camera. Talk to us, just like you would in a conversation with a teacher.
  • Begin your video by introducing yourself with your name, primary instrument or voice type, your hometown and the high school that you attend, and the degree program for which you are applying.
  • Your video should be no more than five minutes.
  • Do not submit a multi-camera, highly technical, edited studio video.

Pre-screening Requirements

Please follow the pre-screening policies of your instrument or voice area.

In-person Audition Requirements

Choral Music Education

Prepare to audition in both piano and voice. You will declare either piano or voice as your principal, with the other as a secondary instrument. An information session with the Music Education Department will also be scheduled on your audition day.

Piano Principal:

  • For the piano audition, prepare a work of J. S. Bach, a movement of a classical sonata and a romantic or contemporary work of your choice. Memorization is preferred. Sight-reading, harmonization, and transposition skills will be tested in order to determine your keyboard placement.
  • For the voice audition, prepare two memorized songs. An accompanist will be provided when auditioning in Ann Arbor. If you have no private voice teacher, ask your school or religious choir director for assistance in preparing for the audition. Aural skills may also be assessed; auditionees will hear several short phrases played at the keyboard and be asked to sing them.

Voice Principal:

  • For the voice audition, prepare two memorized songs in any language. An accompanist will be provided when auditioning in Ann Arbor. Aural skills may also be assessed; auditionees will hear several short phrases played at the keyboard and be asked to sing them.
  • For the piano audition sight-reading, harmonization, and transposition skills will be tested in order to determine your keyboard placement.

Instrumental Music Education

Applicants must complete a performance audition following the specific requirements listed below. Applicants whose principal instrument is piano will also be required to demonstrate proficiency on a band or orchestral instrument, sufficient to fulfill the curriculum’s instrumental ensemble requirement. Indicate both piano and this second instrument on the application.

An information session with the Music Education Department will also be scheduled on your audition day.

Principal Instruments

  • Organ
  • Piano
  • Strings—Cello, Double Bass, Harp, Viola, Violin
  • Winds and Percussion—Bassoon, Clarinet, Euphonium, Flute, French Horn, Oboe, Percussion, Saxophone, Trombone, Trumpet, Tuba
  • Voice

Applicants should have an extensive background in performance or composition, college coursework in music theory with no grades less than a “B,” and a background in a keyboard instrument. Freshman applicants without college credits in music theory should not apply as a Music Theory major. Current School of Music, Theatre & Dance students should apply after completing the music theory core curriculum.

Students must complete these requirements in addition to an audition on a principal instrument or voice following the guidelines listed below.

All applicants should submit two or three examples of English writing and one of either of the following: an original composition or a musical analysis. Send these written materials to the School of Music, Theatre & Dance Office of Admissions at least four (4) weeks before the desired audition date.

The audition day will include individual appointments for a keyboard harmony exam, a theory exam on part-writing and analysis, and an audition on your principal instrument or voice.

Audition Schedule and Application Deadline Dates

Principal Instruments

  • Organ
  • Piano
  • Strings
    • Cello
    • Double Bass
    • Guitar
    • Harp
    • Viola
    • Violin
  • Winds and Percussion
    • Bassoon
    • Clarinet
    • Euphonium
    • Flute
    • French Horn
    • Oboe
    • Percussion
    • Saxophone
    • Trombone
    • Trumpet
    • Tuba
  • Voice

Pre-Application Preparation

Freshmen

Freshman applicants should have training and experience in musical theatre techniques and production. The ability to read music fluently and training in ballet are assets. A “B” average (3.0 GPA) or better with good college prep courses and SAT or ACT test results (with Writing) are required.

Transfer Students

Transfer applicants must have the prerequisites of a 3.0 collegiate GPA or better, have recent ballet training and college coursework (or its formal equivalent) in voice, piano and music theory. If invited to audition, transfer applicants must audition in Ann Arbor, rather than in Chicago.

Pre-Screening Requirements

If your completed Common Application and Artistic Profile are submitted and uploaded by October 15, you will receive an in-person audition decision by November 15. Later submissions, through December 1*, will receive a decision by December 23.

Resumé Upload a pdf of your full resumé, which includes any training and experience you have had in music, theatre, and dance, as well as academic honors, work experience, and community service.

Photograph Upload a recent photograph of yourself, headshot preferred.

Video Requirements

Acting–upload 2

Prepare two short, contrasting monologues from plays. The monologues must be memorized and should be performed in the context of the entire play. The monologues should be no longer than 90 seconds each.

Voice–upload 2

Prepare two musical theatre songs of at least 32-bars each with a 2-4-bar piano introduction. Both songs must be memorized, and one should be written before 1965. Sing with recorded or live accompaniment, not a cappella.

Dance–upload 1 or 2

The Department is committed to finding a diverse group of individuals. Some of you may be singer/actors who move well and some may be competitive dancers who sing and act well. The movement/dance portion of your audition should reflect who you are as a performer. We will accept a wide array of presentations that demonstrate your abilities.

1. Required for all applicants: present a 30-60 second clip of yourself moving/dancing. Your full body should be in view at all times. You may choose a cut from a musical or a dance performance in which you participated, or record something original. Any style is acceptable: musical theatre, ballet, jazz, tap, hip-hop, etc.  Wear appropriate dance attire that will show clean line.

2. Optional, for applicants with dance training: execute a set of plies, tendues, grand battements, and pirouettes. Straightforward, simple exercises are preferred. (side view is best)

Dance music may be live or recorded.

Video Preparation Suggestions

The faculty realizes that making an audition video adds an extra challenge to the application process. Please know that you will not be evaluated on the quality of the video recording itself. It is not necessary to submit a multi-camera, highly technical studio video. The main goal is simple clarity so that your work can be seen.

  • Dress as you would for an in-person audition.
  • Avoid extreme close-ups and be sure to include full-body shots.
  • Try to balance the volume of the piano with your singing, but do not sing with a microphone or extra amplification.
  • Say your name and the name of the song, monologue or dance before you begin each section.
  • When uploading video recordings, separate tracks upload best and are preferred.

In-Person Audition Requirements

Those invited to the in-person auditions will be asked to follow these requirements:

In-person Written Requirements
  1. Resumé: Bring to the audition 2 copies of your one page theatrical resumé. Include all training and experience you have had in music, theatre and dance. Staple each resumé to a recent 8″x 10″ photograph of yourself.
  2. Brief Personal Statement: Bring a short essay describing an artistic event that was memorable and/or influential to you personally (this does not need to be an event in which you participated). This is a different essay from the ones required for the university’s application and should be no longer than two printed pages.
In-person Performance Requirements

Acting

Prepare two short, contrasting monologues from plays. Neither may exceed 90 seconds. Each monologue must be memorized and should be performed in the context of the entire play. The emphasis is on simple reality. Applicants may present one or both monologues, and the faculty panel will determine which will be presented.

  • Monologue Suggestions:
    • Choose monologues that are appropriate for your age and experience, avoiding pieces that may be inappropriate because of language or situation. It is best to select monologues from plays, as opposed to special material written for monologue books. Be able to discuss the play as a whole.
    • Do not choose from historic styles, such as Shakespeare, and verse or poetry. Avoid dialects.

Voice

Prepare two selections of musical theatre repertoire that contrast in style and decade of composition. Each cut may be up to 32 bars each, but should not exceed 60 seconds in length and must be memorized. In addition, please have the full version of your audition songs as well as any other performance-ready musical theatre or pop repertoire.

An accompanist (usually a faculty member) will be provided. You may not sing with your own accompanist, a cappella, or with recorded accompaniment.

  • Vocal audition tips:
    • Do not try to sing too high or too loudly. Volume and range can be explored separately if the faculty have questions.
    • We recommend working with a skilled accompanist at home before you begin your college auditions, making sure that all elements of your printed music are presented clearly and correctly.
    • Do not use a chair or props in the vocal audition.
  • Suggestions for choosing music:
    • Even though a 32-bar song is very short, do as much as you can to give the song a progression. Choose songs with which you can communicate a specific situation in a clear context with an objective (goal). Make the situation as honest and specific as possible. What happens or changes as the song proceeds?
    • Select material that is suitable for your age and experience.
    • Choose songs which fit comfortably within your range so that you can present yourself at your best vocally. If you are using a transposition of a song, be sure that you have correctly printed the melody, lyrics, and accompaniment in the new key.
  • Suggestions for preparing your music:
    • Your music should be in a binder or taped without page turns.
    • Include a 2-bar or 4-bar introduction for each song and mark it clearly in the music, making sure that the introduction leads clearly and naturally to your entrance. The measures of introduction do not count in the 32-bars you will be singing. Write the title of the song at the top of the page, along with the time signature.

Dance

All applicants will participate in a dance class emphasizing ballet technique and including a short combination from a musical. The faculty will evaluate your technique, incorporation of choreographic intent, performance vitality, acting/communication skills, and potential for growth.

  • Preparation Suggestions:
    • Apparel: Women should wear character or jazz shoes (and can bring ballet slippers), leotards, tights and/ or dance skirts. Men should wear jazz shoes (and can bring ballet slippers), tights, jazz pants, t-shirts or shorts, and a dance belt.
      • If you do not own dance attire, appropriate athletic clothing can be substituted.
    • While most auditioning students have danced to various degrees in productions, the specific skills acquired in ballet training are invaluable preparation for this portion of the audition.
    • Start warming up as soon as you come into the room.

Audition Day recommendations

  • At the beginning of every audition day faculty members and MT majors speak to the applicants as a group, discussing the Musical Theatre Department and answering questions. Parents are encouraged to attend these sessions, but may not observe the auditions.
  • An audition is similar to a job interview, in terms of apparel. We suggest that applicants practice and prepare in the shoes they plan to wear.
  • Auditioning can sometimes be stressful, and though we do as much as possible to put applicants at ease, be sure to choose songs and monologues with which you can be comfortable in all situations. Get as much experience as possible in rehearsing and performing the songs with a skilled accompanist before any of your college auditions. It is also helpful to rehearse all of your material in different sizes of venues, from small rooms to large theatre stages. That way, whatever the circumstances you encounter at each school you will feel comfortable and can easily adapt.

Students must complete these requirements in addition to an audition on a principal instrument or voice following the guidelines listed below.

All applicants should submit two or three examples of English academic writing in the Artistic Profile. The topic may be music or any other area of interest.

Principal Instruments

  • Organ
  • Piano
  • Strings
    • Cello
    • Double Bass
    • Guitar
    • Harp
    • Viola
    • Violin
  • Winds and Percussion
    • Bassoon
    • Clarinet
    • Euphonium
    • Flute
    • French Horn
    • Oboe
    • Percussion
    • Saxophone
    • Trombone
    • Trumpet
    • Tuba
  • Voice

Pre-Screening Requirements

This program does not pre-screen at this time. Please be sure to fill out the required portions of the Artistic Profile but you do not need to upload recordings unless you are doing a Recorded Audition.

In-Person Audition Requirements

Prepare approximately 20 minutes of major solo literature including music from the Baroque and 20th century periods. In addition, please prepare two orchestral excerpts of your choice. Knowledge of all major and minor scales is assumed, and sight-reading will be assessed.

Pre-screening Requirements

This program does not pre-screen at this time. Please be sure to fill out the required portions of the Artistic Profile but you do not need to upload recordings unless you are doing a Recorded Audition.

In-Person Audition Requirements

Prepare fifteen to twenty minutes of organ literature you have thoroughly studied. Include a work of J. S. Bach and a romantic or contemporary composition. Choose pieces that you and your teacher agree are within your present musical and technical grasp. Memorization is neither required nor discouraged. You will have an opportunity to become acquainted with the organ you will be playing before your audition.

In certain cases, a student may be admitted who has had no organ study but does have a strong background in piano. In such individual cases, a full piano audition is permitted instead of an organ audition.

Every Performing Arts Technology degree requires the submission of a portfolio by December 1, and subsequent interview with the Performing Arts Technology faculty.

Portfolio Requirements

Applicants are required to submit a portfolio consisting of the following five items. For items 2–5, please provide a paragraph that briefly describes the equipment and techniques used, your motivation for the work, and the file name of the corresponding media. All sound files must be uncompressed stereo audio 16-bit resolution with a sampling rate of 44.1 kHz (CD quality).

  1. A short essay (300 words maximum) that addresses the following question:
    • How will your participation in the PAT program prepare you to make future contributions to the field of performing arts technology?
  2. A recording of you performing on a traditional acoustic instrument or voice, preferably with other instruments;
  3. A remix, arrangement, interpretation, or cover version of ONE of the following pieces:
    • Björk – “Hunter”
    • Terry Riley – “In C”
    • Joni Mitchell – “Chelsea Morning”
    • Stevie Wonder – “I Wish”
  4.  & 5. Pick TWO additional items from the following list:
    • A recording of an original composition (two to five minutes long) for any combination of electronic and/or acoustic instruments and digital sounds. If the composition has a notated score, please include it. Applicants may include two contrasting compositions to fulfill items 4 and 5;
    • A stereo mix of a high-quality recording that you have engineered. The recording should be produced primarily from microphone signals. This item will be evaluated based on the recording, mixing, and production quality;
    • An original video (up to five minutes in length) – such as a music video, live concert, animation, short film, video installation;
    • Visual art such as photography, painting, digital art, or drawing;
    • Original sound design, composition, or recording for visual media;
    • Documentation (video, audio, and/or still images) of a performance with electronic music hardware or an interactive system of your own design.

Additional Requirements for the BM in Music & Technology

The Bachelor of Music in Music and Technology also requires an audition. Please see the audition requirements listed under your specific instrument or voice entry.

Additional Requirements for the BS in Sound Engineering

The Bachelor of Science in Sound Engineering has higher academic requirements for admission than other SMTD degrees. We require at least a 3.5 GPA in high school academic courses, and either an SAT math sub score of 630 or better, or an ACT math sub score of 28 or better. It is also important that students have:

  • extensive coursework in mathematics, preferably through at least pre-calculus
  • extensive coursework in natural science, with demonstrated aptitude
  • experience with music theory and ear training
  • high level proficiency on an acoustic instrument
  • some experience with sound reinforcement and multitrack recording

Interview Requirements

After a preliminary review of portfolios, a select number of applicants will be invited for on-campus interviews. This will consist of a 15-minute interview with several of the Performing Arts Technology faculty. Interviewees are asked to bring a laptop computer or a flash drive with their portfolio materials so that the faculty may discuss what was submitted. Applicants who live 300+ miles from Ann Arbor may interview with the faculty via Skype or FaceTime.

Pre-screening and audition requirements are the same for performance and non-performance majors. Non-performance majors must also fulfill the requirements of their primary area.

Pre-Screening Requirements

Please upload five unedited video recordings of the following. It is important to submit high-quality videos free of audio clipping or distortion. Test camera/mic placement so your playing and most importantly, your sound, is fully and accurately represented. Frame the video so that your hands can be clearly seen and review the quality of the recording prior to submitting your work.

  1. Spoken Introduction: Please introduce yourself, tell us where you are from, and what repertoire you will be performing for your pre-screening video. Next, tell us what degree program you are interested in (music education, performance, etc.), and why you are interested in the percussion program at U-M.
    (Total length: 2–3 minutes)
  2. Snare Drum Solo or Etude (concert or rudimental—no orchestral excerpts)
  3. Two-Mallet Solo or Etude (no orchestral excerpts)
  4. Four-Mallet Solo or Etude
  5. Timpani Solo or Etude: No solos from Elliot Carter’s Eight Pieces for Four Timpani. Please include video of yourself tuning the timpani prior to beginning to play.

In-person Audition Requirements

Please prepare the following selections:

  1. Concert Snare Drum Solo or Etude
    Delecluse, Cirone, Goldenberg, Peters, or equivalent
  2. Rudimental Snare Drum Solo or Etude
    Pratt, Wilcoxon, Tompkins, Markovitch, or equivalent
  3. Two-Mallet Keyboard Solo, Transcription, or Etude
    J.S. Bach: Sonatas & Partitas for Solo Violin, Suite for Solo Cello, Hatch: Furioso & Valse, Abe: Prism, G.H. Green/Breuer: Xylophone Rags, Goldenberg Etudes, or equivalent
  4. Four-Mallet Keyboard Solo, Transcription, or Etude
    Smadbeck: Rhythm Song, Abe: Frogs, Dream of the Cherry Blossoms, Michi, Stout: Two Mexican Dances, Sammut: Rotations, Libertango, or equivalent
  5. Timpani Solo or Etude
    Firth, Hochrainer, Peters, Carroll, Delecluse or equivalent
    No solos from Elliot Carter’s 8 pieces for solo timpani. Timpani tuning and sight-reading will also be evaluated

Orchestral excerpts may be included in your live audition, but are not required. Memorization of repertoire is neither required nor discouraged.

Advice on Choosing Audition Repertoire

When selecting music for an audition, make sure the repertoire you select fully represents your technical facility and your musical abilities as a percussionist. We are looking for students who can demonstrate a clear musical direction, excellent quality and depth of tone, commitment to your interpretation, and a clear command over the given material. If you choose a piece that may be considered an “advanced” level solo/etude, but you do not demonstrate clear control of technique, tone and musical direction as well as on a piece which may be considered “easier” you are risking not fully representing your musical abilities. When selecting your audition repertoire, it is best to discuss appropriate audition repertoire with the individual instructor(s) who know you best and select pieces which will best represent your musical abilities.

Recorded Audition Policy for Percussion

A recorded audition will only be considered in unusual circumstances for which an in-person audition in Ann Arbor is extremely difficult or not possible—international travel, for example. If you cannot make the trip to Ann Arbor, please email Professor Gramley (jgramley@umich.edu) and Professor Ovalle (ovalle@umich.edu) for permission to audition with a set of recordings. If your application and pre-screening videos have passed their initial evaluation, the faculty will consider your request.

Pre-screening Requirements

Applicants to the Bachelor of Music and Bachelor of Musical Arts in Piano must upload by December 1 an unedited recording of at least three contrasting pieces for preliminary examination before an audition will be scheduled. Movements of larger works are acceptable. Upon an affirmative evaluation, an in-person audition may be scheduled.

Non-performance majors do not need to upload pre-screening recordings.

Piano Performance (BM and BMA)

For the audition, prepare:

  1. a baroque work by a composer such as Bach, Handel, or Scarlatti with a minimum playing time of five minutes, no repeats. Any prelude and fugue from the Well-Tempered Clavier is acceptable
  2. a complete classical sonata
  3. a romantic work
  4. an impressionistic or 20th-Century work
  5. an etude of virtuosity

Memorization is required.

Applicants must meet all repertoire requirements listed above. Failure to prepare the full audition program will eliminate you from consideration.

Recorded auditions must be uploaded using the link above.

Applicants to the Bachelor of Music in Performance with Teacher Certification (Curriculum B) will also be scheduled for an information session with faculty from the Department of Music Education.

Piano Principal (Requirements for pianists applying to degrees other than performance)

Prepare:

  1. a baroque work
  2. a quick tempo movement of a classical sonata
  3. 19th- or 20th-Century solo of your choice

Memorization is preferred.

Teacher Request and Contact Policies, and Admissions/Scholarship Decisions

At the audition, you will be asked to fill out a Teacher Request Form, which will indicate to the piano department which teacher(s) you are interested in studying with if you are admitted to the School of Music, Theatre & Dance. This is an important form, but it is not given to the piano faculty until after your audition, to avoid preferential adjudication. It has no bearing at all on your acceptance to the School, and is used only for contact and administrative purposes after your audition.

Before auditioning, the Piano Department encourages each prospective student to feel free to contact anyone on the faculty for answers to questions about auditions, study at Michigan, or anything else that may be related to your interest in the School of Music, Theatre & Dance. After your audition, primary contact from the Piano Department will be with the teacher listed as first choice on your form, unless that teacher has given permission to second or third choices to contact you. This is simply for clarity and efficiency of communication. You may continue to initiate contact with any member of the faculty you wish, and may change your first choice designation after your audition, but the department will ask you to be very clear about your preferences so we can determine studio assignments as soon as possible, according to which professor has space for which students in the coming year.

Admission to SMTD is based upon evaluation of your application as a whole, and also your audition evaluations. Admissions decisions are made by the school’s Office of Admissions and are generally announced in late February/early March.

All auditionees are considered for School scholarships (provided they audition before the final date of consideration; please see Scholarships/Financial Aid for updated information) with decisions being made and sent to applicants by early April. Admitted students may receive several letters from different offices at the U-M concerning scholarships and need-based grants and loans; be sure to be in contact with the School of Music, Theatre & Dance Admissions Office concerning your total award package.

Pre-screening Requirements

Upload unedited video recordings of at least two contrasting pieces. Single movements of larger works are acceptable. Total duration should be 5–15 minutes.

In-Person Audition Requirements

Prepare 15 minutes of alto saxophone solo literature representing your highest proficiency. Suggested literature includes the Sonata by Creston, Concertino da Camera by Ibert, Concerto by Glazunov, and Prelude, Cadence et Finale by Desenclos.

In addition, please prepare two Ferling Etudes (one slow and one that displays your technical skills).

You will also be assessed on all twelve major scales (full range B-flat to F-sharp 3) and on major thirds in all keys (full range-varied articulations). Be prepared to demonstrate your altissimo skills, overtones, and/or altissimo scales. Tuning response will also be tested.

Jazz improvisation skills are welcomed and, if you have significant jazz experience, you are encouraged to request a separate audition with our Jazz & Improvisation Studies faculty. Indicate your request for a supplementary jazz audition on the application or by contacting our Auditions Coordinator (music.auditions@umich.edu).

Writing Requirements

Prepare the writings below in typed, single-spaced format, and upload to your Artistic Profile.

  1. Write a one-page personal statement explaining your personal and professional goals and how a multidisciplinary theatre degree like BTA would aid you in achieving them.
  2. Write a two-page critical essay reviewing a play you have read or have seen performed.  Discuss the play in terms of any of the following: character development, major themes, political context, mise-en-scène.
  3. Using one of the three poems below as a creative catalyst, write a two-page narrative featuring the narrator as the “main character”.

Museum
Wislawa Szymborska

Here are plates but no appetite.
And wedding rings, but the requited love
has been gone now for some three hundred years.

Here’s a fan—where is the maiden’s blush?
Here are swords—where is the ire?
Not will the lute sound at the twilight hour.

Since eternity was out of stock,
ten thousand aging things have been amassed instead.
The moss-grown guard in golden slumber
props his mustache on Exhibit Number…

Eight. Metals, clay and feathers celebrate
their silent triumphs over dates.
Only some Egyptian flapper’s silly hairpin giggles.

The crown has outlasted the head.
The hand has lost out to the glove.
The right shoe has defeated the foot.

As for me, I am still alive, you see.
The battle with my dress still rages on.
It struggles, foolish thing, so stubbornly!
Determined to keep living when I’m gone!

 

Exposed on the Cliffs of the Heart

Rainer Maria Rilke

Exposed on the cliffs of the heart.  Look, how tiny down

there,

look:  the last village of words and, higher,

(but how tiny) still one last

farmhouse of feeling.  Can you see it?

Exposed on the cliffs of the heart.  Stoneground

under your hands.  Even here, though,

something can bloom; on a silent cliff-edge

an unknowing plant blooms, singing, into the air.

But the one who knows?  Ah, he began to know

and is quiet now, exposed on the cliffs of the heart.

While, with their full awareness,

many sure-footed mountain animals pass

or linger.  And the great sheltered birds flies, slowly

Circling, around the peak’s pure denial.—But

without a shelter, here on the cliffs of the heart.

 


Expect Nothing
Alice Walker

Expect nothing. Live frugally
on surprise.
Become a stranger
To need of pity
Or, if compassion be freely
given out
Take only enough
Stop short of urge to plead
Then purge away the need.

Wish for nothing larger
Than your own small heart
Or greater than a star;
Tame wild disappointment
With caress
Unmoved and cold
Make of it a parka
For your soul.

Discover the reason why
So tiny human midget
Exists at all.
So scared unwise
But expect nothing. Live frugally
on surprise.

The application review is a three-step process:

  1. The Admissions Office will screen your application for academic eligibility.  The review will include an examination of your transcript(s), letters of recommendation, and ACT or SAT scores.
  2. If your application passes the initial academic review, the BTA faculty advisor will read your writing samples and make an assesment of the quality of your work.
  3. The School of Music, Theatre & Dance Admissions Office will make the final determination regarding admission. A letter will be sent to you as soon as that decision has been made.

Is an audition required for the BTA program?
No. The BTA is not a performance or technical training program. It is designed for students who want to pursue careers such as theatre management or teaching.

Application Requirements

  • Applicants must have completed the Common Application, created an Artistic Profile, and been invited for an audition. Auditions are conducted at the University of Michigan campus in Ann Arbor, and in New York City, Chicago, and Los Angeles. At each audition session, there is an opportunity to learn more about the program and for parents and prospective students to ask questions.
  • Resumé and photo:  Upload a resumé to your Artistic Profile that includes previous theatre experience and training, and dance or music background, and roles performed. Include a photo with a good likeness of yourself.
  • “Why Acting?” video: In your Artistic Profile, upload a 60-90 second face-to-the-camera video in which you answer the question “Why do you want to pursue a career in acting?” so that we may get to know you. Do not submit a multi-camera, highly technical, edited studio video.
  • Monologue (optional): If you have a video of a prepared monologue, we encourage you to upload it to your Artistic Profile. Please note that this is not a prescreen.

Audition Requirements

  • Resumé and photo:  Bring a typed resumé that includes previous theatre experience and training, and dance or music background, roles performed. Bring a photo with a good likeness of yourself.
  • Brief personal statement: Bring a short essay describing reasons for choosing performance training at Michigan and a theatre career. This may include goals, professional ambitions, and ideas about the field itself. It should not be more than two double-spaced typed pages.
  • Performance: Prepare and memorize two contrasting monologues from plays, not to exceed a combined total of four minutes. These selections, which must be from a published work, may be from comedies or dramas of any period, and we would welcome one of the pieces to be classical. Try to incorporate some physical movement in at least one of the selections. Be prepared for the evaluators to ask you to do an adjustment or to have a conversation about the piece you have chosen. Additionally, you may be asked to perform a third piece if you have one prepared.
  • Improvisation: Applicants who audition in Ann Arbor will attend an improvisation/movement workshop. Applicants who audition at one of the unified auditions will not have an improvisation/movement workshop.

Audition Tips

  1. Arrive early and be on time for your scheduled audition.
  2. Warm up physically and vocally before the audition. Be relaxed and focused as much as possible.
  3. Wear neat clothing which you feel shows you to an honest advantage. Avoid constrictive or excessively stylish clothing.
  4. The audition will take place in a medium-to-large neutral space. Chairs are available.
  5. Choose material with which you feel comfortable, and is appropriate to your own age and experience. Avoid excessively stylized pieces, dialects, extreme physicality, and props.
  6. Remember that an audition should demonstrate both your talent and your potential.
  7. Be simple, direct, and honest. Avoid lengthy explanations or apologies.
  8. Remember that the faculty want you to be successful.

Applicants must have completed the Common Application, created an Artistic Profile, and been invited for an interview. Interviews are conducted at the University of Michigan campus in Ann Arbor, and in New York City, Chicago, and Los Angeles. At each interview session, there is an opportunity to learn more about the program and for parents and prospective students to ask questions.

Interview Components

1. Résumé and photo: Bring a typed résumé that includes previous theatre experience and training. Bring a photo with a good likeness of yourself.

2. Brief personal statement: Bring a short essay describing reasons for choosing directing training at Michigan and a theatre career.  This may include goals, professional ambitions, and ideas about the field itselfIt should not be more than two double-spaced typed pages.

3. Documentation: Bring any notebooks, playbills, reviews, photographs that may give a fuller picture of your theatre experience. Bring at least one letter of recommendation from a theatre teacher or professional who has worked with you.

It is especially important that the items above are clearly and articulately presented.

Interview

Be prepared for a short conversation with the interviewer.  This will include a discussion of your previous theatre work, and your goals.  It is important to be relaxed, honest, direct, and yourself.

Applicants attending the Ann Arbor interviews will also be required to participate in a short voice and an improvisation workshop along with acting applicants.

Applicants attending the regional interviews may also be required to have a follow-up telephone interview with the Head of Directing.

Applicants must have completed the Common Application, an Artistic Profile, and been invited for an interview. Interviews are conducted at the University of Michigan campus in Ann Arbor. At each interview session, there is an opportunity to learn more about the program and for parents and prospective students to ask questions.

Application Requirements

  • Personal Statement: Upload a short essay describing reasons for choosing a career in theatre and training at Michigan. This may include goals, professional ambitions, and ideas about the field itself. It should not be more than two double-spaced typed pages.
  • Portfolio: Since the BFA is a comprehensive design and production degree, your portfolio should include examples of all of your visually creative pursuits as well as any stage management work, i.e., drawing, painting, photography, doodles, graphics, crafts, theatrical design in any area – include preparation materials as well as photos of outcome, anything that demonstrates your creative self.

Interview

  • Interview: Be prepared for a short conversation with the Design & Production faculty. Be ready to discuss the materials in your portfolio, your previous creative work, shows on which you’ve worked, the kind of performing arts you enjoy and why, and performing arts that you have seen or studied. It is important to be relaxed, honest, direct and yourself. If applicable, bring one or two stage management production books that show your organizational strategies, blocking, cueing, communications from rehearsal or performance to others on the team.

Prospective students will spend one day on campus (see below for date options) for:

  1. an audition in the Department of Theatre and Drama,
  2. a portfolio review in the School of Art & Design, and
  3. an interview with the Interarts Performance faculty.

Written requirements

  • Resume and photo: Bring to the audition a typed resume that includes your previous theatre experience and training. Include any dance or music background, in addition to roles performed. Bring a photo with a good likeness.
  • Brief personal statement: Bring to the interview a short essay (no longer than two double-spaced pages) describing reasons for choosing the Interarts program. This may include goals, professional ambitions, and ideas about the field itself.

Performance Requirements

  • Performance: Since Interarts focuses on the creation of new work, please prepare an original 2-3 minute performance piece. It could be movement, performance art, music, puppetry, multimedia, monologue, spoken word or any combination. If it’s not possible to present live, we can view or listen to a recorded piece.  Visual elements such as props, costumes or representations of them would also be acceptable.
  • Workshops: Participate in improvisation/movement and voice workshops.
  • Improvisation:  The interviewer may request some, but not all, of the following tasks be rendered with specific guidelines or conditions. Listen to the instructions and try to fulfill them.

              *Discuss briefly the plays and characters of your audition pieces.

    *Perform a simple physical task without words.

    * Re-do one of your audition pieces with a different set of goals and conditions

    *Ask the interviewer some questions relating to the Theatre program.

  • Interview: Applicants will also interview with Interarts faculty.  Be prepared to discuss your experience in both Art and Theatre, and your reasons for choosing this degree. You will be asked to present a short (2-4 minutes) performance piece which demonstrates your own area of performance skill or interest (puppetry, dance, animal impersonations, martial art, etc…), and you may be asked to improvise a short biographical monologue. e.g. “What I like/dislike about riding bicycles.”

Art & Design Portfolio Guidelines

www.art-design.umich.edu

Include 15 to 20 items representing work completed both in and outside of art classes. Work in a digital format must be stand-alone work that does not require installation of your software on a School of Art & Design computer. Video work must be original video work or documentation of performance art, not documentation of static work such as painting and sculpture.

Include representative work in a variety of media to indicate your range of experiences. Include only your best work, work that demonstrates media skills as well as evidence of creativity, imagination, and risk-taking. Every portfolio varies; however, the following are expected in a competitive portfolio:

  • Drawings from direct observation. If you have in the past copied from photographs or other flat copy, you can improve your portfolio with drawings from observation. Include a sketchbook or individual sketches along with finished drawings.
  • Include works that convey your strengths and interests in other 2-D media (for example: fibers, painting, photography, printmaking, and mixed media), 3-D media (for example: ceramics, metalwork, sculpture and installations), electronic media (for example: computer, video, sound, and audio).
  • Performance, conceptual or other work not easy to categorize.

Pre-screening Requirements

This program does not pre-screen at this time. Please be sure to fill out the required portions of the Artistic Profile but you do not need to upload recordings unless you are doing a Recorded Audition.

In-Person Audition Requirements

Prepare 15 minutes of contrasting solo and/or etude literature that represents your highest level of proficiency. Memorization is not required. In addition, you may be asked to sight-read and to play two-octave major scales from memory.

Pre-Screening Requirements

Please submit video recordings of the following:

  1. Vassily Brant, Orchestral Etudes: Etude #1
  2. Ottorino Respighi, Pines of Rome: Mvt II — Off-stage trumpet solo

In-Person Audition Requirements

Prepare 20 minutes of the standard solo recital literature for trumpet representing your highest level of proficiency. Memorization is not required.

Additionally, please prepare a selection of excerpts from the orchestral repertoire representing your highest level of proficiency. Memorization is not required.

You may be asked to sight-read and to play two-octave major, minor, and chromatic scales from memory.

Pre-screening Requirements

This program does not pre-screen at this time. Please be sure to fill out the required portions of the Artistic Profile but you do not need to upload recordings unless you are doing a Recorded Audition.

In-Person Audition Requirements

Prepare 10–15 minutes of solo or etude literature and/or orchestral excerpts representing your highest level of proficiency. Memorization is not required.

You may be asked to sight-read and to play two-octave major and chromatic scales from memory.

Pre-Screening Requirements

Please upload the following items:

  • One movement of a standard concerto
  • One movement of solo Bach

In-Person Audition Requirements

Prepare an etude representing your current level of technical development; two contrasting movements of a Bach sonata, partita, or unaccompanied suite; and a movement from the standard viola concerto literature (no Telemann).

Both the Bach and the concerto should be played from memory.

Pre-Screening Requirements

Please upload the following items:

  • One movement of a standard concerto
  • One movement of solo Bach

In-Person Audition Requirements

Prepare the first movement of a concerto (including cadenza if one is written), two contrasting movements of a Bach sonata or partita, and one caprice chosen from:

  • Paganini Caprices, op. 1
  • Wieniawski Caprices, op. 18
  • Wieniawski Ecole Moderne, op. 10
  • Dont Etudes, op. 35

All solo literature must be performed from memory. Sight-reading may be assessed at the audition.

Pre-screening Requirements

This program does not pre-screen at this time. Please be sure to fill out the required portions of the Artistic Profile but you do not need to upload recordings unless you are doing a Recorded Audition.

In-Person Audition Requirements

Voice Performance

Applicants are required to prepare four memorized selections. Of those four selections, one must be in English and one must be in a foreign language. Operatic literature is not expected; do not choose the most advanced voice literature for your audition. Aural skills may also be assessed at Ann Arbor auditions; auditionees will hear several short phrases played at the keyboard and be asked to sing them. An accompanist will be provided when auditioning in Ann Arbor.

Voice Principal

For singers applying to degrees other than performance, applicants must sing from memory two contrasting pieces. Aural skills may also be assessed at Ann Arbor auditions; auditionees will hear several short phrases played at the keyboard and be asked to sing them. If you have had no private voice training, ask your school or religious choir director for assistance in preparing for the audition. An accompanist will be provided when auditioning in Ann Arbor.

Recorded Auditions

For recorded auditions, the Voice Department recommends using an iPhone, smartphone, or similar recording device to create recordings, with a recommended microphone placement of 4’–8′ from the singer.

Additional Audition/Interview Information

Most auditions take place on campus in Ann Arbor. If this is not possible for you, regional auditions and recorded auditions may be alternate methods of completing the audition/interview process. Please visit the audition dates page to see specific dates and locations available for your program.

  • Ann Arbor: all programs hold auditions on campus in Ann Arbor. All Dance applicants must audition in Ann Arbor.
  • Regional: Regional auditions are available for Theatre and Musical Theatre programs only. A subset of our faculty travels to review the regional auditions for Theatre and Musical Theatre programs. Theatre participates in the New York, Chicago, and Los Angeles unified auditions. Musical Theatre only participates in the Chicago unified auditions.
  • Recorded Auditions: For many (but not all) of our Music programs, recorded auditions are also a possibility. The repertoire requirements for recorded auditions are the same as for in-person auditions. Recorded auditions are not available for Theatre, Musical, Theatre, or Dance.
  • Skype/Facetime Interviews: For CompositionPerforming Arts Technology, and Theatre Design & Production, it is possible to do your interview with the faculty via Skype or FaceTime.

Send audition repertoire changes via email to our Auditions Coordinator (music.auditions@umich.edu) before the week of your audition date so that these changes will be reflected in the materials that the faculty review at your audition. Otherwise, you may simply announce your repertoire changes at your audition.

Depending on your program, your audition could last anywhere from ten minutes to a full day. You may audition for a panel of faculty or for an individual faculty member.

Here are a few tips about in-person auditions:

  • Dress appropriately, similar to what you would wear for a job interview.
  • Take the opportunity to meet our current students and observe rehearsals while you are here.
  • Attend one of the information sessions we offer, where we will answer any of your questions about the admissions process, financial aid, and what happens next.
  • Check our Performances & Events Calendar to see if a performance fits with your travel schedule.
  • Plan to be available the whole day for your audition.
  • Focus on your performance and telling us about yourself.

Auditioning students will not be asked to take written placement exams. Applicants to the Choral Music Education programs will be required to complete a short piano placement examination on their audition day. All other placement tests (e.g. music theory) are administered at summer orientation or during the first week of class.