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Admissions Requirements

All students wishing to major in music must apply to Rowan University and to the Department of Music. The information listed below is all pertaining to the Department of Music application.

Information regarding admissions to Rowan University can be found here.

Department of Music Audition Information

Students applying for admission to the Music Department must demonstrate, by audition, an outstanding level of performance on their instrument or voice. Undergraduate students must register online for an audition date. Graduate students should contact the Graduate Program Advisor, Prof. Marian Stieber (stieber@rowan.edu) to arrange an audition day.

Undergraduate Audition Dates for Spring '15 and Fall '15 admission:

Sunday, November 9
Sunday, December 7
Sunday, January 18
Saturday, February 7
Sunday, March 1

Register Now!

Once you register for your audition date, please allow 2-3 weeks for your audition confirmation package to arrive by mail from your academic department. It is strongly recommended that all students appear on campus to audition. If you are unable to appear on campus, please contact music@rowan.edu or call 856.256.4651 for additional information.

Graduate Audition Information:

A performance audition or portfolio review is required for admission to the Master of Music program. Audition requirements for each area of specialization can be found below.

An appointment for audition will be scheduled once the candidate’s application is complete. The auditions are scheduled on an individual basis according to the following procedures:
•MM Voice, Instrument, Jazz Studies This audition can be taken during the academic year September through April by appointment
•MM Conducting If a candidate is invited to Phase 2 of the audition process, this audition must be scheduled during the academic year October through April.
•MM Composition The composition portfolio and accompanying materials can be submitted year round.

An audition can be scheduled by contacting Professor Marian Stieber, Academic Advisor stieber@rowan.edu 856-256-4500 x3715

Undergraduate Audition Requirements

Brass (Trumpet, Trombone, French Horn, Euphonium, Baritone, Tuba)
Composition
Guitar
Jazz Studies
Keyboard (Organ, Piano)
Percussion
Strings (Violin, Viola, Cello, Bass, Harp)
Voice
Winds (Bassoon, Clarinet, Flute, Oboe, Saxophone)


Graduate Audition Requirements

Brass (Trumpet, Trombone, French Horn, Euphonium, Baritone, Tuba)
Composition
Conducting (Choral, Orchestral, Winds)
Guitar
Jazz Studies
Keyboard (Organ, Piano)
Percussion
Strings (Violin, Viola, Cello, Bass)
Voice
Winds
(Bassoon, Clarinet, Flute, Oboe, Saxophone)


Undergraduate Audition Requirements

 

BRASS

**The following repertory lists are of suggested audition material. The Brass Faculty does not expect to hear all of these works in an audition. Please pick two or three contrasting pieces or substitute works of similar musical standard and difficulty. If you have further questions please contact us. We can help.

  • Trumpet
  • Studies: Arban-“Characteristic Studies” from Complete Conservatory Method, Bordogni 24 Vocalises, Bousquet-36 Celebrated Studies (also appears in the Saint Jacome Method).

    Solos: Concerti by Haydn, Hummel, or Bohme: Sonatas by Hindemith, Kennan, or Stevens; Works by Bozza- Badinage, Caprice or Rustiques; Any coronet solo by H. L. Clarke or J.B. Arban. Any of the NJ, NY, PA, DE All-State High School Solos.

  • Trombone

    Studies: Rochut-Melodious Etudes, Mantia-Trombone Virtuoso or Blazevich-Clef Studies.

    Solos: Galliard-Sonatas, Berlioz- Recitative and Prayer. Any of the NJ, NY, PA, DE All-State Solos.

  • French Horn
  • Studies:  One or two Etudes from Kopprasch-60 Studies for Horn, Book Solo:  Mozart-Concerto No. 3, Mvt. I AND one contrasting piece of your choice
  • Euphonium and Baritone Horn

    Please prepare one study and one contrasting solo.

    Studies: Rochert-Melodious Etudes-Book I, Tyrrell-40 Progressive Studies for Trombone, or Arban- Characteristic Studies.

    Solos: Barat- Introduction and Dance, Bellstedt- Napoli, De Luca- Beautiful Colorado, Capuzzo-Andante et Rondo (arr. Catelinet), Curnow- Rhapsody for Euphonium, Guilmant- Morceau Symphonique, or similar-level solo.

  • Tuba

    Studies: Rochert-Melodious Etudes-Book I or Tyrrell-40 Advanced Studies (arr. Jacobs).

    Solos: Capuzzi-Andante and Rondo (arr. Catelinet), Marcello-Sonata No. 1 or Sonata No.

COMPOSITION

  • Music Composition

On audition day potential Composition students must take a piano placement test, theory placement test and be interviewed.

Students applying for admission to the Composition Program (Undergraduate and Graduate) must demonstrate, by audition, an outstanding level of proficiency on their instrument or voice.

AUDITION PROCEDURES FOR SUBMITTING WORKS
Works submitted should indicate competence in notation procedure.
Compositional works should demonstrate a variety of performance mediums and a familiarity with contemporary techniques of expression.

1. The best scenario is to receive recordings of actual performances along with hard copy scores.
2. The next best scenario is hard copy scores with mp3 recording.
3. The next best scenario is to email scores with mp3's recording.
4. The next best scenario is send hard copy of scores.
5. The next best scenario is to email scores only.

 

GUITAR

  • Classical Guitar

Demonstrations of scales and arpeggios. If the prepared audition piece does not sufficiently demonstrate these areas, then material from Andres Segovia’s Major & Minor Diatonic Scales, published by Columbia and Mauro Giuliani’s 120 Daily Studies can be used.

Demonstration of music reading ability. (Material will be supplied at the audition)

A memorized piece from the repertoire of the classical guitar, played using the appropriate technique, of about five minutes duration.

 

KEYBOARD

    • Organ

      Studies; One exercise from: Johnson-Instruction for Beginning Organists or Gleason Method of Organ Playing, or Bach- Orgelbuchlein(one Chorale prelude)

      3 Solos: One selection from Bach-Little Fugues and Preludes, or Bach-Prelude and Fugue in E Minor(Cathedral), or Mendelssohn-Sonata Movement, or Vierne-Berceuse of Arabesque (24 pieces in free style) Plus Sight-read a homophonic 4-part passage (8-16 measures).

    • Piano (to be memorized)
    • Applicants for the performance track:

      1. All major and minor scales.
      2. One movement of a Beethoven (excluding Op.49), Haydn or Mozart Sonata(excluding K.545).
      3. A work of advanced difficulty of one BY ONE the following composers: Chopin, Schumann, Brahms, or Liszt.
      4. A Bach Prelude and Fugue from Well Tempered Clavier, Books I or II

      Applicants for all other tracks:

      1. All major and minor scales.
      2. One movement of a Beethoven (excluding Op.49), Haydn or Mozart Sonata (excluding K.545).
      3. A work of al least early advanced difficulty by one of the following composers: Chopin, Schumann, Brahms, or Liszt.
      4. A Bach Prelude and Fugue from The Well Tempered Clavier or a 3-part Invention (Sinfonia) .

PERCUSSION

STRINGS

    • Violin

      For applicants for the Bachelor of Arts degree:

      1. Technique: prepare several major/minor scales in 2 or 3 octaves, with and without vibrato in separate and slurred bow patterns. Students may use scale books by Hrimaly, Flesch, Galamian, etc.
      2. Prepare one etude from study books by Kreutzer, Mazas, Rode, Dont, etc.
      3. Prepare 1or 2 movement from J. S. Bach’s solo violin Sonatas and Partitas, preferably from memory.
      4. Prepare a movement of a concerto from notable composers such as Vivaldi, Bach, Haydn, Mozart, Viotti, DeBeriot, Beethoven, etc.

      For applicants for the Music Education degree:

      1. Technique: prepare all major/minor scales in 3 octaves, with and without vibrato in separate and slurred bow patterns, in quarter notes and eighth notes. Students may use scale books by Hrimaly, Flesch, etc.
      2. Prepare one etude at choice from study books by Kreutzer (Nr. 6-42), Rode, Dont, Gavinies, Wieniawski, Paganini, or equally difficult melodic etudes. The etude should demonstrate proficiency in multiple positions and comfort with complex rhythms and phrasing elements.
      3. Prepare 2 contrasting movements from J. S. Bach’s solo violin Sonatas and Partitas, preferably from memory.
      4. Prepare 1 movement at choice from a standard classical, romantic or modern violin concerto, from a notable composer such as Haydn, Mozart, Beethoven, DeBeriot, Wieuxtemps, Dvorak, Mendelssohn, Sibelius, Barber, Glass, etc., preferably from memory.

      For applicants for the Performance Degree:

      1. Technique: prepare all major and minor scales in 3-4 octaves (at choice), with and without vibrato in separate and slurred bow patterns. Please start slowly in quarter notes and repeat in eight notes. Students may use scale books by Hrimaly, Flesch, etc.
      2. Prepare one etude at choice from study books by Kreutzer, Rode, Dont, Gavinies, Wieniawski, Paganini, or equally difficult melodic etudes. The etude should demonstrate proficiency in multiple positions and comfort with complex rhythms and phrasing elements.
      3. Prepare 2 contrasting movements from J. S. Bach’s solo violin Sonatas and Partitas, preferably from memory.
      4. Mandatory: Prepare 1 movement from a standard classical, romantic or modern violin concerto from a notable composer such as Mozart, Beethoven, DeBeriot ( Nr. 9), Vieuxtemps (Nos. 4 and 5), Viotti, Dvorak, Mendelssohn, Saint-Saens (No. 3), Kabalevsky, Vaughn Williams, Barber, Glass, etc., preferably from memory.
      5. Optional: The student may prepare one extra movement of a sonata from the standard repertoire for either solo or preferably violin and piano, from any period. The work should be from a notable composer, such as Bach, Biber, Vivaldi, Tartini, Pergolesi, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Faure, Franck, Prokofie, Bartok solo or violin and piano sonatas or Rhapsodies, etc. or concert pieces by Mozart, Paganini, Bazzini, Sarasate, Kreisler, Saint Saens, Enescu, etc.
    • Viola

      For applicants for the Bachelor of Arts degree:

      1. Technique: prepare several major/minor scales in 2 or 3 octaves, with or without vibrato in separate and slurred bow patterns, use scale books by: Hrimaly, Flesch, Galamian, Susan Brown, B. Barber, Mogill, M. Kimber, etc.
      2. Prepare one etude at choice from study books by: Doktor, Wohlfahrt, Trott, Whistler, Sitt, Mazas, Kayser, Fiorillo, Rode or Kreutzer, Campagnoli, Fuchs, Rovelli, Hoffmeister, etc.
      3. Prepare 1or 2 movement from J. S. Bach Solo viola Sonatas and Partitas (transcribed from violin), or Suites (transcribed from cello) preferably by memory.
      4. Prepare 1 movement from a standard classical, romantic or modern viola concerto from a notable composer such as: Bach, Telemann, Handel, Dittersdorf, Druckman, etc.

      For applicants for the Music Education degree:

      1. Technique: prepare all major/minor scales in 3 octaves, with or without vibrato in separate and slurred bow patterns, in quarter notes and eight notes, use scale books by Hrimaly, Flesch, Galamian, Susan Brown, B. Barber, Mogill, M. Kimber, etc.
      2. Prepare one etude at choice from study books by: Mazas, Rode, Dont, Wohlfahrt, Trott, Whistler, Sitt, Mazas, Kayser, Fiorillo, Rode, Kreutzer, Campagnoli, Fuchs, Rovelli, Hoffmeister, etc.
      3. Prepare 1 movement from J. S. Bach Solo viola Sonatas and Partitas (transcribed from violin), or Suites (transcribed from cello) preferably by memory.
      4. Prepare 1 movement from a standard classical, romantic or modern viola concerto from a notable composer such as: Bach, Telemann, Dávid, Vanhal, Dittersdorf, Druckman, Handel, Hoffmeister, D major, Stamitz Concerto In D, Op. 1, Martinu Rhapsody-Concerto for Viola, etc.

      For applicants for the Performance Degree:

      1. Technique: prepare all major/minor scales in 3 octaves with or without vibrato in separate and slurred bow patterns, please start slow and repeat double faster in quarter notes and eight notes, use scale books by Hrimaly, Flesch, Galamian, Susan Brown, B. Barber, Mogill, M. Kimber, etc.
      2. Prepare one etude at choice from study books by Kreutzer, Mazas, Rode, Kayser, Fiorillo, Rode, Gavinies, Campagnoli, Fuchs, Rovelli, Hoffmeister. or equally difficult melodic etudes using shifts and a variety of rhythmic and melodic patterns.
      3. Mandatory: Prepare 2 contrastant movements from J. S. Bach Solo viola Sonatas and Partitas (transcribed from violin), or Suites (transcribed from cello) preferably by memory
      4. Mandatory: Prepare 1 solo concerto movement from a standard classical, romantic or modern viola concerto from a notable composer such as: Bach, Telemann, Dávid, Vanhal, Dittersdorf, Druckman, Handel, Hoffmeister, D major, Stamitz Concerto In D, Op. 1, Martinu Rhapsody-Concerto for Viola, etc.
      5. Optional: The student may prepare one extra movement of a sonata from the standard repertoire for either solo or preferably violin and piano, from any period. The work should be from a notable composer, such as: Beethoven, Clarke, Schumann, Brahms, Hindemith, Enescu, Regger, Wieniawsky, Bax, Glazunov, Bruck, etc.
    • Cello

    For applicants for the Bachelor of Arts degree:

    1. Prepare several major/minor scales and arpeggios in 3-4 octaves, separate and slurred, use scale books by Harvey, Iampolsky, Klengel, etc.
    2. Prepare 1 etude at choice from studies by Schroeder, Dotzauer, Kummer, Lee, Klengel, Popper, Piatti, Cole, Starker, etc.
    3. Prepare 1 or 2 movements from a Bach Suite for solo cello
    4. Prepare 1 movement of a standard repertoire cello concerto like: Golterman, C. P. E. Bach, Bocherinni, Haydn, Breval, Davidov, Duport, Franchomme, Grützmacher, Klengel, Lalo, Piatti, Pleyel, Popper, Romberg, Vivaldi, Schumann, Saint-Saens, etc.

    For applicants for the Music Education degree:

    1. Prepare all major/minor scales and arpeggios in 3-4 octaves, separate and slurred. use scale books by Harvey, Iampolsky, Klengel, etc.
    2. Prepare 1 etude at choice from studies by Schroeder, Dotzauer, Kummer, Lee, Klengel, Popper, Piatti, Cole, Starker, etc.
    3. 2 contrastant movements from a Bach Suite for solo cello preferably memorized
    4. 1 movement of a standard repertoire cello concerto like: Golterman, C. P. E. Bach, Bocherinni, Haydn, Breval, Davidov, Duport, Dvorak, Franchomme, Grützmacher, Klengel, Lalo, Piatti, Pleyel, Popper, Romberg, Vivaldi, Schumann, Saint-Saens, Elgar, Honneger, Foote, glazunov, Duport, Brahms Douvle violin cello concerto, Beethoven triple concerto, etc.

    For applicants for the Performance Degree:

    1. Technique: all major/minor scales in 3-4 octaves with or without vibrato in separate and slurred bow patterns, please start slow and repeat double faster in quarter notes and eight notes, use scale books by Harvey, Iampolsky, Klengel, etc.
    2. Prepare: 1 etude at choice from studies by Schroeder, Dotzauer, Kummer, Lee, Klengel, Popper, Piatti, Cole, Starker, etc.
    3. Prepare 2 contrastant movements from a Bach Suite for solo cello preferably by memory
    4. Prepare 1 movement of a standard repertoire cello concerto like: Golterman, C. P. E. Bach, Bocherinni, Haydn, Breval, Davidov, Duport, Dvorak, Franchomme, Grützmacher, Klengel, Lalo, Piatti, Pleyel, Popper, Romberg, Vivaldi, Schumann, Saint-Saens, Elgar, Honneger, Foote, glazunov, Duport, Brahms Double violin & cello concerto, Beethoven triple concerto, etc.
    5. Optional: The student may prepare one extra movement of a sonata from the standard repertoire for either solo or preferably cello and piano, from any period. The work should be from a notable composer, such as: Vivaldi, Telemann, Beethoven, Arensky, Bloch , Cui, Dohnányi, Elgar, Faure, Franck, Marcello-Sonatas, Bocherini Sonatas, MacDowell, Piatti, Popper, Kodály, Popper, Regger, etc.
  • String Bass

      1. Scales: All major and natural minor scales two octaves. Scales should be played with eighth notes at quarter note equals 100 beats per minute playing one, two and four notes per bow.
      2. Studies: 1 etude chosen from the following: Simandl; 30 Etudes, Storch-Hrabe 57 Studies. (Applicant may choose a different etude of similar difficulty such as Bille, Kreutzer, Kayser).
      3. Solos: 2 contrasting movements of a baroque sonata or other solo of similar difficulty such as Vivaldi Sonata #3 in A Minor, Marcello Sonata #5 in C Major, Gardoni Suite in Classical Style.

  • Harp

      1. Etude: Choose one etude from Pozzoli, "Studies of Medium Difficulty" (#5, #7, #10, #11, or #14), or Bach-Grandjany, "Etudes for Harp"
      2. Solos: Choose one of the following: Sonata in C Minor (first movement), by Dussek, Theme and Variations, by Hadyn (arr. Salzedo), Theme and Variations, by Handel, Passacaille, by Handel (arr. Beon), Song in the Night, by Salzedo, First Arabesque, by Debussy, Vers La Source, by Tournier (or substitute a solo from the standard repertoire of equal or greater difficulty)

VOICE

    • Voice

      Applicants for the Bachelor of Music in Vocal Performance must sing three pieces. At least one must be in a foreign language.*

      Applicants for the Bachelor of Music Education-Vocal, Bachelor of Arts, and Music Minor must sing two pieces. At least one must be in a foreign language.*

      *While several opportunities for singing Musical Theater exist within the performance experiences offered at the university, Musical Theatre repertoire is not acceptable for the audition.

      All applicants will be expected to execute the above from memory with poise, good pitch, proper breathing, phrasing, and above all, demonstrate an expressive musicianship. An accompanist is provided for the audition.

WINDS

  • Bassoon

    All Major scales

    Two contrasting etudes from either Milde Concert Studies and/or Weissenborn 50 Advanced Studies

    One of the following solo pieces (or equivalent to the following):
    1. Telemann Sonata in F minor.
    2. Mozart Concerto in Bb major, K 191 ( movements 1 and 2)
    3. Bourdeau Premier Solo

    Sight Reading

  • Clarinet

    Applicants are required to prepare the following (applicants must audition on the B-flat soprano clarinet and/or on the A clarinet if necessary; auditioning on other utility clarinets are not necessary but optional):

    1. Major and minor (harmonic or melodic) scales (Ed. Majors: four sharps and four flats; Performance Majors: all) and chromatic scales in slur and tonguing from memory.
    2. Two contrasting etudes from Rose 32 Etudes or 40 Etudes.
    3. One of the following (or the equivalent to the following):
      1. Mozart Concerto in A major, K. 622 (1st or 3rd mvt; 2nd mvt)
      2. Weber Concertino, Op. 26
    4. Two contrasting orchestral excerpts of the applicant's choice (optional).
    5. Sight-reading
  • Flute
  • Scales:
    Majors up to 7 sharps and 7 flats, 2 octaves (3 octaves on C major )
    Minors: A Minor, and minors up to 3 flats and 3 sharps (2 octaves) , all three forms
    All scales to be played in quarter note =100

    Etudes:
    Two contrasting etudes from Cavally "Melodious and Progressive Studies," Vol. 1, or Andersen "24 Studies" op.33 or equivalent.

    Pieces :
    One Baroque sonata, all movements (example: any sonata by Handel, JS Bach,Vivaldi, Marcello, Vinci, Telemann, Locatelli, Platti, etc.)
    PLUS
    One selection from the following (or equivalent) :
    Mozart "Concerto in G Major"
    Hindemith "Sonate"
    Poulenc "Sonata"
    Chaminade "Concertino"
    Enesco "Cantabile et Presto"
    Faure "Fantasie"

    Questions? Contact Dr. Tomasone, tomasone@rowan.edu

  • Oboe

      1. Solos: Choice of: Marcello concerto in C Minor, Handel Sonatas I, II, or III, Hindemith Sonata
      2. Studies: Vade-Mecum or Barrett Book (two prepared exercises)
      3. Major Scales
      4. Show some reed-making ability


  • Saxophone
  • Major scales in all 12 keys, preferably played on the full range of the saxophone starting on the tonic up to the highest note on the instrument (F or F# above the staff), down to the lowest note on the instrument (B or Bb below the staff), and then up again, ending on the tonic. Tempo should be at least =60M.M. slurred 16th notes.

    Scales may also be played in the All State audition format with a legato tongue. F#, G, A and Ab scales may be played one octave but all others are to be played two octaves. (See minor scales for form). Tempo should be at least =80M.M.

    Minor scales in all 12 keys. All three forms, natural, harmonic and melodic minor are to be played with a legato tongue in the All State format at =60M.M.

    A chromatic scale slurred, played over the full range of the instrument from low Bb to high F or F# and back down to low Bb. Suggested tempo = 60M.M.

    Major Triad Arpeggios slurred in 8th note triplets 1 octave for F#, G and Ab, 2 octaves for all other keys. Suggested tempo =60M.M.

    Any etude from one of the following studies or a study of comparable difficulty: 27 Melodic and Rhythmic Etudes by J. L. Small, 27 Virtuoso Studies by Bassi, 48 Famous Studies by W. Ferling.

    Any solo from New Jersey All State auditions for alto, tenor or baritone saxophone, or any solo from the classical saxophone literature of equal or greater difficulty.

 

JAZZ STUDIES

    • Additional Audition Requirements for those intending to be Jazz Majors or Jazz Education Majors (Jazz Ed; K-12 Certification)

      All applicants for the Jazz Major at Rowan University must:

      1. Play all major, mixolydian and dorian scales ascending and descending.
      2. Improvise to an F blues. Medium swing tempo.
      3. Play Charlie Parker’s Donna Lee. It can be read, but it must be played start to finish without stopping.
      4. Play the melody and improvise to Duke Ellingtons’ Take the “A” Train (in concert C).
      5. Sight read a given piece of music.
      6. Prepare and perform an audition for the classical faculty following the guidelines for the classical audition.

      If you have questions about the jazz portion of the audition, please call Denis DiBlasio, Coordinator of Jazz Studies & Composition, (856) 256-4500, ext. 3528


Graduate Audition Requirements

BRASS

  • Trumpet

      • Solos: Choose two (2) from the following: Haydn Concerto; Telemann Concerto in D; Hummel Concerto; Hindemith Sonata; Kennan Sonata
      • Transposition: Must demonstrate the ability to transpose for trumpet in A, F, Eb, and D
      • Etudes: Choose two (2) contrasting etudes from Arban, Bitsch, Brandt, Charlier,Chavanne, or Reynolds
      • Four (4) standard and contrasting orchestral excerpts (i.e. Ravel, Beethoven, Mahler, Stravinsky, Respighi, Bizet, Mussorgsky, etc).
      • Scales: All Major and Minor scales (3 forms)
      • Arpeggios: Major, minor, and diminished

  • French Horn

      • Concerto: Mvt. 1 from Mozart Horn Concerto No. 2 or No. 4, AND a movement from Strauss Horn Concerto No. 1, No. 2, OR Gliere Horn Concerto
      • A complete sonata of applicant’s choice
      • A Verne Reynolds etude of choice
      • Excerpts: Tchaikovsky Symphony No. 5 (Mvt. II-horn solo); Beethoven
      • Symphony No. 9 (4th horn solo); Rossini La Gazza Ladra (horn solo)
      • AND one (1) excerpt of choice
      • All major and minor scales, 2 octaves with arpeggios

  • Trombone

      • Bordogni/Rochut etude
      • Baroque: Sonata or Concerto
      • 20th Century Concerto
      • Four (4) Orchestral Excerpts

  • Tuba and Euphonium
    • All Major and minor scales
    • Two (2) etudes showing technical and musical excellence
    • One (1) major solo
    • Four (4) standard orchestral excerpts

     

COMPOSITION

  • Music Composition

On audition day potential Composition students must take a piano placement test, theory placement test and be interviewed.

Students applying for admission to the Composition Program (Undergraduate and Graduate) must demonstrate, by audition, an outstanding level of proficiency on their instrument or voice.

AUDITION PROCEDURES FOR SUBMITTING WORKS
Works submitted should indicate competence in notation procedure.
Compositional works should demonstrate a variety of performance mediums and a familiarity with contemporary techniques of expression.

1. The best scenario is to receive recordings of actual performances along with hard copy scores.
2. The next best scenario is hard copy scores with mp3 recording.
3. The next best scenario is to email scores with mp3's recording.
4. The next best scenario is send hard copy of scores.
5. The next best scenario is to email scores only.

 

CONDUCTING

    • Choral

    Preliminary Audition (Send info to Dr. Thomas at thomasc@rowan.edu)

    • Provide a link or multiple links to unlisted YouTube clips which total twenty (20) minutes of conducting and/or rehearsal. Conductor must be seen from the front, framed from head to waist. Ensemble need not be large.
    • Submit a repertoire list of choral works conducted.

    Live Audition

    • Qualified candidates will be invited to rehearse a university choral ensemble as part of their audition. Repertoire materials will be provided by the Director of Choral Activities prior to the audition.
    • Interview with conducting faculty
    • Demonstrate piano/vocal skills
    • Instrumental Conducting: (Wind/Orchestral)

    Preliminary Audition

    • Conducting videotape or DVD: Conductor must be seen from the front, framed from head to waist. Ensemble need not be large. Recording should consist of 3-4 excerpts of contrasting standard repertoire, demonstrating a variety of styles and tempi.
    • Interview with conducting faculty
    • Demonstrate keyboard skills
    • Demonstrate major and minor instrument proficiency
    • Submit a list of works conducted

    Live Audition

    Qualified candidates will be invited to rehearse a university ensemble as part of their audition*.

    Prerequisites for Course of Study in conducting:
    Demonstrated ability in sight singing
    Satisfactory completion of Counterpoint at the Undergraduate level

     

 

GUITAR

  • Classical Guitar

    1. Demonstration of scales and arpeggios. Any etudes or scales systems can be used.
    2. Major and minor scales from all keys will be expected.
    3. Demonstration of music reading ability. (Material will be supplied at the audition and will be commensurate with the Official Examination Repertoire and Studies of the royal Conservatory of Music, Grade 5. (Fredrick Harris Music)
    4. Memorized piece from each of the following eras: Renaissance, Baroque, Classical, Romantic, and 20th Century

JAZZ STUDIES

Jazz Graduate Performance Major Audition Information

Due to the composing and arranging aspect of the Jazz Graduate Performance Major candidates are expected to be familiar with the keyboard.

Play melody and improvise on two (2) Be-Bop line tunes chosen from the following:
◦ Donna Lee
◦ Confirmation
◦ Dig
◦ Ornithology
◦ Joy Spring

Play melody and improvise on two (2) standard tunes chosen from the following:
◦ All the Things You Are
◦ Easy Living
◦ In a Mellow Tone
◦ Invitation
◦ Stella by Starlight
◦ Fly Me to the Moon

• Improvise while sight-reading chord changes
• Must sight-read a given piece of music.

• Keyboard/Guitarists In addition to the above, perform a solo piece of your choice. The performance must include improvisation and chord melody application. ALSO, comp the changes of the selected songs in the following feels: swing, 2, ballad, and bossa nova.

• Bassists
In addition to the above, walk a bass line while sight reading chord changes.
Chosen songs should be played in the following feels: swing, 2, ballad, and bossa nova.
Drummers
Must be prepared to play various styles, including swing, bossa nova, funk, ballad with brushes, swing feel with brushes, jazz waltz, samba etc..
Must play an unaccompanied improvised solo built around a motif.
Must perform trading of twos, fours, and eights in a small group setting using any songs included in the audition core above.
Must sight read big band music.
Must sight read technical studies.

  • Requirements for the Online Master of Music in Jazz Studies for Military Personnel and Military Veterans:

Military personnel and military veterans are required to submit proof of active military service or honorable discharge with their application materials.

Military personnel and military veterans should send an audition video (.mv4, .mov, or .wmv). The candidate should make sure to be clearly identifiable and to demonstrate that he or she is playing the instrument or singing.

The candidate should also send two letters of recommendation. While the official Recommendation Form is required, an actual letter from the recommender is additionally preferred. Military personnel and military veterans should ensure that one of the letters of recommendation is from the candidate's Commanding Officer/Bandmaster, attesting to the candidate's experience and ability in music performance.


KEYBOARD

  • Organ

one (1) work to be memorized

  • Major work from Baroque Era which contains a fugue
  • Major Romantic work by Franck, Mendelssohn, or Guilmant
  • Composition from the 20th Century (Messiaen recommended)
  • Piano

All works to be memorized

  • Prelude and Fugue by J.S. Bach from WTC Books 1 or 2
  • Two (2) etudes chosen from Chopin, Liszt, Rachmaninoff or Scriabin
  • Complete Classical Sonatas by Mozart, Haydn or Beethoven (excepting Op. 49/Op. 14/Op. 2, No. 1/Op. 54/Op. 79)
  • Major Romantic work by Chopin, Brahms, Liszt, Schumann
  • 20th Century Composition


PERCUSSION

Students must demonstrate a solid background on the standard percussion instruments by selecting audition repertoire from the following list of choices. Material listed below is merely a recommendation and other recognized graduate level repertoire will certainly be acceptable for audition.

Marimba/xylophone:

  • StoutMexican Dances; AbeMichior Dream of The Cherry Blossoms;RosauroConcerto for Marimba; BachUnaccompanied Sonatas and Partitasor Cello Suites

Timpani:

  • BeethovenSymphonies 1, 7, and 9; HindemithSymphonicMetamorphosis; StravinskyLe Sacre du Printemps; Elliott Carterselections fromEight Pieces forTimpani.

Snare Drum:

  • Delecluse 12 Etudes; Cirone Portraits in Rhythm; Ravel Bolero; Rimsky-Korsakov Scheherazade and Capricco Espagnol; Prokofiev Lt. Kije; Bartok Concerto for Orchestra.

Cymbals:

  • Crashes at assorted volumes and lengths. Tchaikovsky Symphony # 4 finale and Romeo and Juliet Fantasy Overture

Tambourine:

  • Thumb rolls, shake rolls. Tchaikovsky Trepak from Nutcracker; Dvorak Carnival Overture.


STRINGS

  • Violin
  • Two contrasting movements from an unaccompanied J. S. Bach partita or sonata by memory
  • First movement of Beethoven violin concerto or any other standard romantic, modern or contemporary violin concerto with cadenza preferably by memory.
  • One movement of a standard repertoire violin and piano sonata
  • One solo or accompanied concert piece at choice from the standard romantic, modern or contemporary repertoire by notable composers like Sarasate, Paganini, Kreisler, Ernst, Wieniawsky, Bazzini, Saint-Saëns, Tchaikovsky, Stravinsky, Bartók, Piazzolla, Ysaye, etc. preferably by memory.
  • Viola
  • Two contrasting movements from an unaccompanied J. S. Bach solo cello Suites or violin Sonatas and Partitas, by memory
  • First movement from a standard repertoire viola concerto with cadenza preferable by memory
  • One movement of a standard repertoire viola and piano sonata
  • One solo or accompanied concert piece at choice from the standard romantic, modern or contemporary repertoire by notable composers like Enesco, Glazunov, Hubay, Hindemith, Schuman, Wieuxtemps, Wieniawsky, Clarke, Bax, Amy Beach, Berlioz, Reger, etc.
  • Cello
  • Two contrasting movements from an unaccompanied J. S. Bach solo cello Suites
  • First movement of a standard romantic or contemporary concerto by Lalo, Saint-Saens, or equivalent
  • One movement of a standard repertoire cello and piano sonata
  • One solo or accompanied concert piece at choice from the standard romantic, modern or contemporary repertoire by notable composers like: Tchaikovsky, Stravinsky, Bartók, Piazzolla, Goltermann, Popper, Saint-Saëns, Bloch, Rimsky-Korsakov, Ginastera, Dvorák, Prokofiev, etc.
  • Bass
  • Two (2) movements of a Bach unaccompanied cello suite
  • 1st Mvt. Of Koussevitsky or Dragonetti Concerti or concerto of similar difficulty
  • At least four (4) Orchestral Excerpts including Mahler Symphony No. 1 (2nd
    Mvt.) and Beethoven Symphony No. 9. 4th Movement Recitative.


VOICE

All works to be memorized

  • Three (3) opera arias , one in each of the three major languages of Italian, French and German
  • One Oratorio or Mass aria in any language
  • One (1) Advanced German Lied
  • One (1) Advanced French Chanson
  • One (1) Advanced Art Song in English composed after 1950

Language Proficiency: Demonstrated command of singing in Italian, French, and German.

Candidates should bring to the audition a resume and complete repertoire list


WINDS

  • Bassoon
  • Scales: M, m and arpeggios; Chromatic from low Bb to high E using selected articulations and rhythms from the Oubradous Scales and Daily Exercises,
  • Solos: Repertoire comparable in difficulty to Mozart, Weber, or Vivaldi Concerti,
  • Tansman Sonatine, or Saint-Seans Sonata.
  • Excerpts: Selected from “A Musician’s Guide to Orchestral Audition Repertoire”
  • Etudes: Select two (2) contrasting etudes
  • Clarinet
  • Prepare an audition program of repertoire that includes three complete works from contrasting periods (must include Mozart Clarinet Concerto in A Major, K.622)
  • Etudes: Select two (2) contrasting etudes
  • Excerpts: Select four (4) contrasting orchestral excerpts
  • Sight-reading
  • Flute

one (1) work to be memorized

  • Etudes: Select two (2) contrasting etudes from Anderson, Op. 15 or 30
  • Complete Sonata by J.S. Bach in e minor or b minor
  • Mozart Concerto with cadenzas
  • One virtuoso work such as: Dutilleux Sonatine, Ibert Concerto; Borne Carmen Fantasie
  • Orchestral Excerpts: Select three (3) from the following: Debussy Afternoon of a
  • Faun; Ravel Daphnis et Chloe; Mendelssohn Scherzo from Midsummer’s Night’s
  • Dream; Rossini William Tell Overture; Strauss Till Eulenspiegel; Stravinsky
  • Firebird Suit
  • Oboe
  • Full length solo recital program to include at least three stylistic periods
  • Two (2) contrasting etudes
  • Four (4) Orchestral excerpts of choice
  • Saxophone
  • Pick one (1) Bach Cello Suite (complete)
  • Two (2) contrasting etudes
  • Solo work for Saxophone (i.e. Creston Sonata; Glazunov Concerto for Saxophone; Ibert Concertino da Camera or another equivalent work)