Undergraduate Music Admissions

Undergraduate Music Admissions

Undergraduate Music Admissions

  • Bachelor of Music in Performance
  • Bachelor of Music in Music Education
  • Bachelor of Music in Composition
  • Bachelor of Music in Jazz Studies
  • Bachelor of Music in Music Therapy (New!)
  • Bachelor of Arts in Music
CLICK HERE for Admissions Requirements for the Following Program:
  • Bachelor of Science in Music Industry (Music Business or Music Technology)

Undergraduate Audition Information

All students applying for admission to the Music Department in all Bachelor of Arts and Bachelor of Music degrees must demonstrate, by audition, an outstanding level of performance on their instrument or voice. Additionally, those applying for Music Therapy must also complete these additional requirements (click here).

All undergraduate students should register online for an audition date. Alternatively, prospective students who live more than 100 miles from campus may choose to submit a video audition (select "Video Submission" when registering).

Audition Dates for Spring 2018 and Fall 2019 admission:

  • Saturday, November 10, 2018
  • Saturday, December 8, 2018
  • Sunday, January 27, 2019
  • Sunday, February 17, 2019
  • Sunday, March 10, 2019

Audition Day Itinerary:

  • 12:30-1:00pm  Registration in Wilson Hall
  • 1:00pm            Welcome Session
  • 1:30pm            Area-Specific Information Sessions with Faculty
  • 2:00pm            Individual Auditions Begin (specific audition times provided during registration)
  • Ongoing           Theory, Sight-Singing, Music Therapy, and Piano Diagnostic Exams

REGISTER NOW!

Once your registration is complete, please allow 2-3 days for your audition confirmation email to arrive. It is recommended that all students appear on campus to audition.

Undergraduate Audition Guidelines by Area:


Bachelor of Science in Music Industry Admissions Requirements (Prof. Mathieu Gendreau)

Students wishing to major in Music Industry (Music Business and Music Technology) must submit an essay to the Department of Music in addition to the Rowan University application. An audition is not required.

In this essay students should address the reasons why they want to pursue a career in the music industry and make note of any activities they have partaken in that are related to the music industry. Examples of such activities can include music productions, playing in a band, promoting concerts, writing for a music blog, presenting on a radio show, DJing, managing social media, etc.

SUBMIT MUSIC INDUSTRY ESSAY HERE


Bachelor of Music in Music Therapy Admissions Requirements (Dr. Andrea Hunt)

Students wishing to major in Music Therapy must audition for an instrumental or vocal studio. Those audition details are listed by instrument/voice elsewhere on this webpage. Additionally, Music Therapy applicants must:

1) Prepare a song to sing while playing either piano or guitar. This may be a pop tune, children’s song, original composition, or selection from a musical. You will be asked to perform this song as a component of your Audition Day.

2) Submit a 1-2 page essay in response to the following prompt: "Why are you interested in pursuing music therapy, and what is one example of how music has helped you with a challenge or problem?" Essays should be sent via email to Dr. Andrea Hunt (hunta@rowan.edu).


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 do not hesitate to contact us.

Trumpet (Dr. Bryan Appleby-Wineberg)

  • The following lists are suggested repertory and are not meant to be cover the entire list of possible audition material. You should play what allows you to sound your best. As a guideline, select two contrasting items from the Etudes/Studies and Solos lists below. We need to hear you perform something fast and something slow (for example: Charlier Etude #2 and Sonata by Kennan Mvt. 1). We would also prefer to hear you perform orchestral excerpts, but they are not required. We look forward to meeting you and hearing you play.
  • Etudes/Studies: Charlier, Bordogni, Any Arban Characteristic Study, Bousquet-36 Celebrated Studies (also appears in the Saint Jacome Method), Goldman- Practical Studies, etc.
  • Solos: Concerti by Haydn, Hummel, Bohme, Arutiunian; Sonatas by Hindemith, Kennan, Stevens, Ewazen; Any works by Bozza (Badinage, Caprice, Rustiques), Goedicke-Concert Etude; Any coronet solo by H. L. Clarke or J.B. Arban. Any All-State High School Solo.
  • Orchestral Excerpts: Composers: Mahler, Starvinsky, Dvorak, Beethoven, Mussorgsky, Ravel, Gershwin, Copland, Shostakovich, etc.

Horn (Prof. Lyndsie Wilson)

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

Trombone (Prof. Richard Linn)

  • 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.

Euphonium (Dr. Amy Schumaker Bliss)

  • 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 (Prof. Brian Brown)

  • 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 (Prof. Denis DiBlasio)

Students applying for admission to the Composition Program (Undergraduate and Graduate) must demonstrate, by audition, 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 techniques of expression. Please submit 3-5 original compositions by one of the following options:

1. Option 1 (preferred): Send recordings of actual performances along with hard copy scores.
2. Option 2: Send hard copy scores with computer-generated audio.
3. Option 3: Send score PDFs with computer-generated audio.
 

GUITAR

Classical Guitar (Prof. Joseph Mayes)

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 may 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 approximately 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 (Prof. Veda Zuponcic)

  • Applicants for the performance track:
    • All major and minor scales and arpeggios (4 octaves, hands together)
    • One movement of a Beethoven (excluding Op.49), Haydn or Mozart Sonata(excluding K.545).
    • A work of advanced difficulty of one BY ONE the following composers: Chopin, Schumann, Brahms, or Liszt.
      • for example, Brahms Rhapsodies, Op. 76; Chopin Grand Valse Brilliant, Op. 18; Schumann Papillons
    • A Bach Prelude and Fugue from Well Tempered Clavier, Books I or II
  • Applicants for all other tracks:
    • All major and minor scales and arpeggios (4 octaves, hands together)
    • One movement of a Beethoven (excluding Op.49), Haydn or Mozart Sonata (excluding K.545).
    • A work of al least early advanced difficulty by one of the following composers: Chopin, Schumann, Brahms, or Liszt.
      • Chopin Waltzes, Schumann Arabesque, 
    • A Bach Prelude and Fugue from The Well Tempered Clavier or a 3-part Invention (Sinfonia)
  • Also required of all Applicants:
    • Letter of Recommendation from private piano teacher.
    • Intended Audition program, submitted to Veda Zuponcic two months before the scheduled audition date.

PERCUSSION

Percussion (Prof. Dean Witten)

For complete percussion audition information, go to Rowan University Percussion web site: http://rowanpercussion.wordpress.com

For information on auditioning for Jazz Drums, please see the audition requirements under the "Jazz and Commercial Music Performance" section of this page.

STRINGS

Violin (Dr. Timothy Schwarz)

For applicants for the Bachelor of Arts degree:

• SCALE - One three octave scale of your choice
• SOLO - Any prepared violin solo piece

For applicants for the Music Education degree:

• SCALE - One three-octave scale of your choice
• ETUDES - One from the following: Kreutzer 42 Studies, or an etude of equivalent difficulty
• SOLO - First movement of a violin concerto, with cadenza if applicable

For applicants for the Bachelor of Music degree:

• SCALE - One major and one minor three octave scale of your choice
• ETUDES - One from the following: Kreutzer 42 Studies, Rode, Gavinies, or an etude of equivalent difficulty
• SOLOS - First movement of a violin concerto from the Classical Period or later, with cadenza if applicable
• One movement of a baroque sonata or partita

 

Viola (Dr. Timothy Schwarz)

For applicants for the Bachelor of Arts degree:

• SCALE - One three octave scale of your choice
• SOLO - Any prepared viola solo piece

For applicants for the Music Education degree:

• SCALE - One three-octave scale of your choice
• ETUDES - One from the following: Kreutzer 42 Studies, or an etude of equivalent difficulty
• SOLO - First movement of a viola concerto, sonata, suite, or solo work of similar difficulty

For applicants for the Bachelor of Music degree:

• SCALE - One major and one minor three octave scale of your choice
• ETUDES - One from the following: Kreutzer 42 Studies, Rode, Gavinies, or an etude of equivalent difficulty
• SOLOS - Two contrasting works from different periods

 

Cello (Prof. Michal Schmidt)

Bachelor of Arts

  • SCALES - Scales in 3 octaves, Major and Melodic Minor, up to three sharps and flats
  • ETUDES - One etude by Klengel, Schroeder, Popper, or an equivalent
  • SOLOS - One solo that shows your best technical and musical ability

Music Education Major

  • SCALES - All Scales in 3 octaves, Major and Melodic Minor
  • ETUDES - One etude by Klengel, Schroeder, Popper, or an equivalent
  • SOLOS - One movement from the Unaccompanied Suites by J.S. Bach, and one solo from the Classical, Romantic, or Contemporary period
Applied Music Major (Performance)
  • SCALES - All scales and arpeggios in 3 octaves, Major and Melodic Minor
  • ETUDES - One etude by Popper, Piatti, or equivalent
  • SOLOS - First movement of a major Classical, Romantic or 20th-Century concerto; Bach, J.S., any of the Unaccompanied Suites (2 contrasting movements)

 

       String Bass (Prof. Douglas Mapp)
  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

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 (Questions? Contact Dr. Joseph Higgins, Director of Bands.)

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 (Dr. Rie Suzuki)

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 scales (Music Education applicants: four sharps and four flats; Performance applicants: all twelve major scales) and chromatic scale 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 (Dr. Adeline Tomasone)

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"

Oboe (Dr. Mark Snyder)

Solos: Choice of Marcello concerto in C Minor, Handel Sonatas I, II, or III, or Hindemith Sonata

Studies: Vade-Mecum or Barrett Book (two prepared exercises)

Major Scales

Demonstrate reed-making ability

Saxophone (Dr. Tim Powell)

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 AND COMMERCIAL MUSIC PERFORMANCE 

JAZZ WINDS, BASS, GUITAR, and PIANO (Prof. Denis DiBlasio)
  1. Play the melody to Charlie Parker's 'Donna Lee'. The person auditioning selects tempo. The song is to be played from beginning to end without stopping. Donna Lee does not have to be memorized.
  2. Play melody and improvise to at least two choruses of Duke Ellington's 'Take the A Train' in concert C. Accompaniment will be provided. 'Take the A Train' does not have to be memorized. The person auditioning selects tempo.
  3. Play selected sight readings.

For Jazz Education majors, audition requirements are the same as the instrumental education requirements.

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

JAZZ DRUMS (Prof. Dan Monaghan)

Applicants to the Jazz Performance major in drums may be asked to demonstrate any the following:

  1. Jazz/swing time at a variety of tempos with both sticks and brushes
  2. Bossa, samba, or mambo
  3. Play one chorus of time over the form of a tune chosen by the applicant from the following list (Transition between brushes and sticks for various sections of the form - to be determined by the audition panel.):
    • Autumn Leaves
    • Lester Leaps In
    • Satin Doll
    • Take The A Train
    • There Is No Greater Love
  4. Trade 4’s or 8’s over the form of a tune from the list
  5. Solo over the form of a tune from the list
  6. Sightread a single line snare drum étude