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Auditions & Interviews

Auditions

The following programs require a formal entrance audition:

  • Collaborative Piano & Coaching (MM, DMA)
  • Conducting* (MM, DMA)
  • Instrumental Performance (MM, DMA) 
  • Voice Performance (MM, DMA)

Auditions for Collaborative Piano & Coaching, Instrumental Performance and Voice Performance will take place at the University of Minnesota - Twin Cities campus on the dates outlined below. You will select your audition date on your application to the University of Minnesota, and the date selected is considered confirmed, provided you pass any pre-screening audition required of your program.

*Finalists for the conducting programs will be contacted directly by faculty to arrange an audition time and date upon review of the screening auditions. Please contact the conducting faculty with any questions about conducting audition times/dates.  

Instrumental Performance & Collaborative Piano Audition Dates:
Saturday, January 26, 2019
Saturday, February 2, 2019

Voice Performance Audition Date:
Friday, January 25, 2019 

Auditions will take place between 8:00 am – 8:00 pm with a formal time sent two weeks prior to the audition date.  Due to the high volume of applications, the School of Music cannot consider requests for specific times of day or to reschedule.

Interviews

The following programs require a formal entrance interview:

  • Music Education (MM, PhD)
  • Music Education - Music Therapy Emphasis (PhD)
  • Music Therapy (MA, and MA with Equivalency)
  • Post-Bacc Music Education Licensure Certificate

Interviews for the Music Education (MM), Music Therapy (MA, and MA with Equivalency), and Post-Bacc Music Education Licensure Certificate will take place on the following dates:

  • Saturday, January 26, 2019
  • Saturday, February 2, 2019 

You will select your interview date on your application to the University of Minnesota and may elect to attend the interview in person or via Skype. The date selected on your application is considered confirmed, provided you maintain an active application with the University of Minnesota School of Music. The interview will take place between 8:00 a.m.– 8:00 p.m. on the date selected. Please bring a completed music education/music therapy interview profile to their interview.

Finalists for the Music Education (PhD) or Music Education - Music Therapy Emphasis (PhD) will be contacted directly by faculty to arrange a separate interview.

Finalists of the music theory, composition, and musicology (ethnomusicology) programs may also be contacted by the faculty for an interview at a separate date. Please contact the faculty of the program to which you are applying for further interview details. 

Graduate Audition Repertoire Requirements

Please review the audition requirements below to ensure you are working on the required repertoire and contact the faculty of your instrument/area with any repertoire questions. 

Voice

Voice

Prepare to perform from memory three art songs and one oratorio or opera aria demonstrating your ability in the following languages: English, French, German, and Italian.

The audition committee will choose the compositions that they wish to hear from among your prepared selections. Provided you submit your music two weeks prior to your audition, an accompanist will be provided, and you will be given a brief rehearsal time with the pianist before your audition time.

Copies of musical scores for the accompanist must arrive two weeks prior to your audition in the School of Music Admissions Office. Label each page of your music with your name, audition date, and intended degree program. You should also bring an accompanist ready copy of your pieces with you on your audition day.

Mail to:
Music Admissions
200A Ferguson Hall

2106 Fourth Street South
Minneapolis, MN 55455

OR


Email PDF copies to: musicapply@umn.edu

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Notify the School of Music if you intend to provide your own accompanist at mnmusic@umn.edu.

Low Brass

Low Brass

All audition repertoire must be confirmed via email by the appropriate low brass faculty member at least one month before the audition. All prospective low brass students are encouraged to contact the appropriate faculty member to arrange a lesson in the months prior to the audition. There is no charge for the lesson.

Low Brass Faculty:

Low-brass audition repertoire requirements

MM-Performance (trombone, euphonium, and tuba)
 and DMA-Performance (trombone only) auditions must include the following pieces:

  • Movements or sections from two significant solo works, with at least one composed after 1940. Accompaniment is not required.
  • Three to four standard orchestral excerpts
Woodwinds and High Brass

Woodwind & High Brass Performance

Prepare two major works of a contrasting nature from the standard repertoire. Standard orchestral excerpts will be expected and sight-reading may be included. An accompanist is neither required nor provided.

Strings (violin, viola, cello, double bass)

Strings (violin, viola, cello, double bass)

Prepare and memorize three works. Your works must include the following:

  • a first or last movement of a major Romantic or contemporary concerto
  • a movement of an unaccompanied composition
  • a work of your choice from a musical period not represented by the other two selections

An accompanist is neither required nor provided.

Percussion

Percussion

Be prepared to perform on snare drum (both rudimental and concert styles), mallet instruments (xylophone, marimba, or vibraphone), and timpani. Audition on any other instrument (drum set, hand drums, ethnic percussion, etc.) is encouraged but not required.

You may provide a DVD of any other material you would want the auditioning committee to consider with your application (i.e. multiple-percussion, concerto features, jazz band performances, etc), although this material is not considered a requirement.

Download a list of repertoire.

Piano

Piano MM

Prepare the following repertoire to be performed from memory:

  • a Bach prelude and fugue from The Well-Tempered Clavier or several substantial movements from a Bach suite or partita
  • a complete major sonata by Haydn, Mozart, or Beethoven
  • a representative work from the 19th century*
  • a representative work from the 20th century*

*At least one of these should be technically and interpretively demanding and at least TEN minutes in length.

Sight-reading ability will also be tested.

Piano DMA

Prepare a full recital from which the audition committee may select works to be performed. All works must be memorized. The repertoire must include:

  • a complete major work by Bach or a prelude and fugue from The Well-Tempered Clavier
  • a complete major sonata or set of variations by Haydn, Mozart, or Beethoven
  • a representative work from the 19th* century
  • a representative work from the 20th* century

*At least one of these should be a technically and interpretively demanding major work at least FIFTEEN minutes in length.

Sight reading ability will also be tested.

Collaborative Piano

Collaborative Piano MM

Applicants who pass the screening will be invited to perform a live audition on campus. You will be assigned partners and rehearsal times as part of the live audition process. You must use the partners assigned to you for at least a portion of the audition. The remainder may be done with your assigned partners or with partners of your own choosing.

A personal interview may be conducted by the faculty as part of the audition.

All applicants must bring a copy of their complete collaborative piano repertoire (vocal and instrumental) to their auditions. The repertoire for the live audition is as follows:

  • Any Beethoven violin or cello sonata (first movement)
  • Franck Violin Sonata (second movement) or any outer movement of a Brahms violin, viola, or cello sonata
  • Schubert "Ganymed" (A-flat)
  • Debussy: "Green" from Ariettes oubliees (original key)
  • Sight-reading from instrumental and/or vocal repertoire

For further information, contact Timothy Lovelace.

Collaborative Piano DMA

Applicants who pass this screening will be invited to perform a live audition on campus. You will be assigned partners and rehearsal times as part of the live audition process. You must use the partners assigned to you for at least a portion of the audition. The remainder may be done with assigned partners or with partners of your own choosing.

A personal interview may be conducted by the faculty as part of the audition.

All applicants must bring a copy of their complete collaborative piano repertoire (vocal and instrumental) to their auditions.

DMA candidates may elect to focus on either instrumental or vocal repertoires, or may elect to focus equally on both areas. The repertoire for the live audition, chosen from the list that follows, should reflect the desired focus.

Please select one piece from each of the four areas below:

  1. Any Beethoven Violin or Cello Sonata (first movement)
    or
    Schubert (both) “Erstarrung” (C Minor) and “Ganymed” (A-flat)
  2. Franck Violin Sonata (second movement) or any outer movement of a Brahms Violin, Viola, or Cello Sonata
    or
    Brahms “Botschaft” (D-flat) and Schumann “Du Ring an meinem Finger” (E-flat)
  3. Any movement of a string or wind sonata written after 1890
    or
    (both) Debussy “Green” from Ariettes oubliées (original key) and Barber “St. Ita’s Vision” (high key)
  4. Sight-reading of repertoire suitable to desired area of focus

For further information, contact Timothy Lovelace.

Organ

Organ MM

Prepare a 30-minute program consisting of at least three compositions for organ of contrasting styles and from different historical periods and/or national schools. One of these should be a major work of JS Bach, and at least one must be from the 19th- or 20th-century repertoire.

It is recommended that the prepared compositions be of a level of difficulty commensurate with the applicant’s own level of ability and experience. Memorization is recommended but not required.

In addition, applicants may be asked to play stanzas of a hymn in a style suitable for congregational singing, harmonize on a given hymn tune, improvise, and sight-read a choral score or other open score using one or more C clefs.

A repertoire list must be submitted to the committee at the time of the audition. Download a list of suggested repertoire.

Organ DMA

Prepare a 45-minute program consisting of compositions for organ of contrasting styles and from different historical periods and/or national schools. One work must be a major work of JS Bach, and the audition program must include works representing the 17th-century, as well as the 19th- and 20th-century repertoires.

In addition, the audition repertoire should illustrate the applicant’s ability to perform music that is interpretively as well as technically demanding. Memorization is recommended but not required.

A repertoire list must be submitted to the committee at the time of the audition. Applicants must also submit a sample of their written work (e.g., a research or term paper written for a history or theory course) at the time of their audition.

Harp

Harp MM

Prepare from memory the following:

  • Two contrasting sonatas: i.e., Krumpholz, Dussek, Parry, C.P.E. Bach, Hindemith, Houdy, Tailleferre, Glanville-Hicks, etc.
  • One etude by Bach/Grandjany, Bochsa, Pozzoli or Lariviere
  • One work from the 19th or 20th centuries: i.e., by Faure, Andres, Salzedo, Flagello, etc.
  • Download a list of suggested repertoire.

Harp DMA

All works except orchestral excerpts must be performed from memory:

  • Three contrasting solo works; a concerto, sonata, or other major work, the level of Houdy Sonata, Faure Impromptu, JS Bach/Grandjany Fugue, CPE Bach Sonata, or Britten Suite.
  • Two orchestral excerpts or cadenzas.
  • Candidate must submit a previous degree recital program and a list of previously studied major repertoire.
Guitar

Guitar

Prepare three major contrasting pieces or movements from the following materials or from similar works of comparable level:

  • John Dowland: Fantasies, Dances
  • J.S. Bach: Lute and Cello Suites, Violin Sonatas and Partitas
  • Fernando Sor: Advanced Studies, Variations, Sonatas
  • Francisco Tarrega: Capricho Arabe or Recuerdos de la Alhambra
  • Manuel Ponce: Sonatas
  • Leo Brouwer: Elogio de la Danza, Sonata, El Decameron Negro
  • Works by: Turina, Torroba, Rodrigo, Castelnuovo-Tedesco, Barrios, Jose, Albeniz, Granados, Villa-Lobos, Martin, Berkeley, Britten, Takemitsu

Sight-reading will be included in the audition. Audition length is 30 minutes.

Choral Conducting (MM)

Choral Conducting (MM)

Live auditions by invitation only.  Applicants will be invited to audition based on evaluation of the files, resume, and preliminary screening video submissions.

Orchestral Conducting (MM)

Orchestral Conducting (MM)

This program is not accepting applications for 2019 entrance.

Wind Ensemble/Band Conducting (MM)

Wind Ensemble/Band Conducting (MM)

The MM in wind ensemble/band conducting provides advanced conducting study with an emphasis on conducting gesture, development of unique artistic identity, wind repertoire, and understanding the diverse roles of the conductor.

Live auditions are by invitation only. Applicants will be invited to perform a live audition based on evaluation of the resume and the preliminary screening video.

Conducting (DMA)

Conducting (DMA)

A conducting audition and interview with the appropriate directors of orchestral, wind, and choral studies is required. Live auditions are by invitation only.

Choral Emphasis

Applicants will be invited to audition based on evaluation of the files, resume, and preliminary screening video submissions.

Orchestral Emphasis

Applicants will be invited to audition based on evaluation of the files, resume, and preliminary screening video submissions.

Wind Ensemble/Band Emphasis

Applicants will be invited to audition based on evaluation of the files, resume, and preliminary screening video submissions.

 

Recorded Auditions

It is to your advantage to give a live audition on a formal School of Music audition date at the University of Minnesota - Twin Cities campus. Please consult with the faculty in your desired area of study to determine if it is appropriate for you to submit a recorded audition in lieu of a live audition. While faculty divisions may permit recorded auditions for students with extenuating circumstances who live more than 200 miles from the Twin Cities, the submission of a recorded audition may impact eligibility for admission or funding consideration. 

The guidelines to submit recorded auditions are as follows:

  • Recorded auditions are due at the time of your application.
  • Submit the video via the Digital Uploads section of the University of Minnesota online application.
  • Audition repertoire requirements for your instrument must be followed.
  • Professional quality recording equipment should be used.
  • Recordings must be made within past 12 months. No editing of the video is permitted. Each selection must be performed from beginning to end without amplification in one take and include both video and audio content. 
Questions?  Contact the Music Admissions Office
musicapply@umn.edu | 612-624-2847