Pre-screenings, Auditions and Interviews

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

Please note: Submission of Musical Theatre pre-screening materials will not be considered for the Acting program. Separate pre-screening submissions, following the instructions for each program, must be submitted if applying for both Acting and Musical Theatre.

• Two contrasting monologues from full-length plays in two separate files. Choices may be contemporary or classical in any combination. Please choose roles in your own maturity and emotional range, and from material with which you are familiar and comfortable. The audition must be memorized and uploaded in two separate files with a separate slate for each stating your name, character, play and playwright. Each separate monologue may not exceed two and a half minutes. One video should be shot in close-up (head and shoulders) and the other should show full body.
• Wild card video: A 60-90 second video sharing ANYTHING you want – a special skill, an interesting story about yourself, a passion speech, an instrument you play, or the answer to the question: “Why do you want to pursue a career in acting?” This will help us learn what makes you unique and what you want us to know about you.
• Headshot/Resume

• Perform two contrasting monologues, either contemporary or classical in any combination. These may be the same as your pre-screen choices, or they may be new and different. Each monologue should be no longer than two and a half minutes and within your natural age range. Be sure to read the entire play so you can demonstrate an understanding of the character and situation. You may use hand props.
• One additional monologue (may be asked)

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before January 2 in order to be considered for admissions and invited for an interview.

• Professional Resume
• Headshot

Applicants who pass the application review process will be notified and asked to select an interview date. Interviews are held on January 13-14 and January 20-21.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• A solo variation from the standard, classical repertoire (women en pointe)
• This video should include a short introduction of the dancer stating their name, classical variation, the studio/academy/training program currently attending, and answering the following questions:
  • Why dance as a major?
  • Why CCM specifically?
• Variations may be performed in practice clothes or costume either in the studio or on stage. Performance tapes are acceptable but should clearly show the applicant only and be a clear, moderately close video. The video should not be at a distance, fuzzy, or grainy.
• A full-length photo with the applicant dressed in regular ballet classroom attire, posed in 1st arabesque en l’air (women en pointe).
• Ballet technique video recorded En Face. All combinations on side 1 or 2, not both.
  • At Barre: Short Plié w/Tondu combination, Short Developé Fondu combination
  • At Center: Adagio OR Petite Allegro (choose your strength)

• A traditional classical ballet barre and center followed by several pointe work combinations (for women only)
• Dancers will then take the modern dance component, which consists of movement combinations demonstrating the ability to perform floor work and various rhythmic and spatially oriented structures. Improvisation may be a component of the modern portion of the audition process.
• Female dancers should wear ballet slippers, pointe shoes and have footed tights that can be rolled up to ankle or calf-length for the modern component of the audition. Traditional attire (black leotard and pink or skin colored tights).
• Male dancers should wear socks and ballet slippers as well as tights that can be rolled up to accommodate the modern dance component of the audition. Traditional attire (black tights and white t-shirt).

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• A solo work for bassoon
• An etude by Milde, Weissenborn, or the equivalent.
• Two standard orchestral excerpts

• All major and minor scales and arpeggios 
• Two contrasting solo selections 
• Two orchestral excerpts (minimum)

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Selections from two contrasting solo works
• Three of the following standard excerpts:
  • Beethoven Symphony No. 4
  • Tchaikovsky Symphony No. 4
  • Scheherazade
  • Rite of Spring
  • Marriage of Figaro overture

Selections which represent current performance capabilities from a variety of musical styles and periods (orchestral excerpts are highly recommended).

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Mozart Clarinet Concerto: First movement exposition (or similar movement from a major concerto or sonata)
• Two contrasting etudes from C. Rose: 32 Etudes

• Two contrasting etudes from C. Rose: 32 Etudes
• Mozart Clarinet Concerto: First movement exposition (or similar movement from a major concerto or sonata)
• Orchestral excerpts:
  • Mendelssohn: Scherzo from A Midsummer Night’s Dream, beginning to letter B

  • Beethoven: Symphony 6, First movement measures 474-492 and Second movement measures 68-77
• Sight reading


Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Mozart: Clarinet Concerto, first movement exposition (beginning-m. 154)
• Stravinsky: Three Pieces, second movement only

• Two solo pieces of your choice
  
• Mozart: Clarinet Concerto, K. 622, first and second movements
  
• Orchestral excerpts: 
  
  • Mendelssohn: Scherzo from A Midsummer Night's Dream, beginning to letter B
    
  • Beethoven: Symphony 6, First movement measures 474- 492 and Second movement measures 68-77
    
  • Beethoven: Symphony 8, Menuetto (Trio), measures 48-78
    
• Sight reading

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Mozart: Clarinet Concerto, first movement exposition (beginning-m. 154)
• Stravinsky: Three Pieces, second movement only

• Mozart: Clarinet Concerto, K. 622 (entire piece)
• 20th or 21st-century unaccompanied work for solo clarinet 
• First three pages of the Copland Concerto (through the end of the Cadenza) 
 
• Orchestral excerpts: 
 
  • Mendelssohn: Scherzo from A Midsummer Night's Dream, beginning to letter B
 
  • Beethoven: Symphony 8, Menuetto (Trio), measures 48-78
  • Kodály: Dances of Gálanta

    • Measures 31- 65
  • Ravel: Daphnis and Chloe Suite No. 2
    • Excerpt 1 . 2 measures after figure 155 through 3 measures after figure 157
    • Excerpt 2. 3 measures after figure 212 to end 
• Sight reading

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• A piece by Dowland, Bach, Sor, Tárrega, Brouwer or Dyens
• A piece of the performer's choice

• A piece by Dowland, Bach, Sor, Tárrega, Brouwer or Dyens
• A piece of the performer's choice
• Sight reading

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• A 25-minute program of music, including selections from at least four of the following style periods: Renaissance, Baroque, Classical, Romantic, 20th century or 21st century. 
• Repertoire sheet showing how the above requirements have been met

• A 25-minute program of music, including selections from at least four of the following style periods: Renaissance, Baroque, Classical, Romantic and Contemporary. 
• Repertoire sheet showing how the above requirements have been met

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 14 in order to be considered for admissions. In person auditions are held on January 28 and February 11, 2023.

Collaborative piano applicants must submit the following:

• A solo piano selection (5’ -8’ in length) - performed on a grand piano.
• One movement from a Sonata for piano and either a wind or string instrument.
• Two art songs, one of which must be by Schubert.
• One opera aria
• It is understood that all of these selections will be performed with appropriate partners.

• Horn Concerto by Glière – first movement.
• Sonata for Cello and Piano in G minor, op 19 by Rachmaninoff – first movement.
• Mozart – Count’s recit. and aria “Hai già vinta… Vedrò mentr’io sospiro” from Le nozze di Figaro
• Schumann - op 39 Liederkreis (Eichendorff) “Waldesgespräch” – high key
• Debussy – Ariettes oubliées – “C’est l’extase langoureuse” – original key
• Copland – Twelve poems of Emily Dickinson - “Heart, we will forget him”

All collaborative piano applicants will have two sight-reading tests:

1. Sight-reading a piano part from a collaborative work that you have not played
2. Play and sing, or add the vocal line to the piano part of a song you will receive at the audition.

Open to all pianists, no pre-screening required.

• Play something you know well
• Sight read material from the musical theatre repertoire
• Knowledge and experience in musical theatre repertoire is mandatory.
  
• Please email Professor Mark Gibson if you have any questions about the musical theatre accompanying assistantship.

See AD Opera Coaching for more information about pre-screening and live audition requirements.

Instrumental studio GA:

• One movement from a Sonata for piano and either a wind or string instrument.

Vocal Studio GA:

• Two art songs, one of which must be by Schubert. The second song should be in another language.
• One standard opera aria in any language

In addition, applicants for the studio accompanist assistantship must email Professor Kenneth Griffiths at griffikr@ucmail.uc.edu the following:

• a professional resume or CV
• a personal statement indicating your interest in collaborating with other musicians.
• and a complete repertoire list (vocal, instrumental, or both)

• If auditioning for an Instrumental Assistantship – prepare both the Glière and Rachmaninoff movements from the list above.
• If auditioning for a Vocal Studio Assistantship – prepare all the vocal repertoire listed above.
• If auditioning for both assistantships, ALL REPERTOIRE must be prepared.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admission and invited for an audition.

When submitting your pre-screening materials, you will have the option to self-select yourself for additional consideration to the Music – BA degree in the case that you do not pass the pre-screening/final audition round.

• At least three recorded examples of the applicant’s original compositions, songs, etc.
  • Any style will be accepted - Classical, Jazz, Rock/Pop, Gospel, R&B, Contemporary, Computer Generated, Film or Media composition. 
  • The recordings may be from live performances, studio or computer generated (sequenced, MIDI, playback exported from Notation software).
  • Recorded examples should be accompanied by documentation in one of the following formats: scores, lead sheets, chord charts or chord charts with lyrics. 
    • The scores or lead sheets should clearly show the notated rhythm, pitches, and chords, if applicable. 
    • The scores should be readable by actual performers. 
    • Please Note: If you are working in a computer-generated music platform such as Logic, Ableton, Pro Tools, etc. -- simply printing a computer-produced print out from the session for the submission is not generally acceptable. However, the score or lead sheets are not as crucial to your acceptance as the music. Many students only have a rudimentary understating of how to use notation software at this stage in their development.
• Contact information for two references; with at least one who can address the applicant’s specific musical qualifications for success in the program.
• The applicant needs to submit an essay discussing their musical background in composing, songwriting, performing, and audio recording, along with their career goals.

• Applicants will play their songs live or with backing tracks, or for some tracks, film scoring, media music, or electronic music, they will play the track and we will discuss the music and the production.
• The committee will still want to hear the student perform on an instrument (as each student will take applied lessons at CCM for two years).
  • It can be chords, scales, an etude, or a melody, or something else. It helps us access their level of musicality on an instrument. This is not a performance degree, so the level of each student does vary in this area.

• Applicants should have a major instrument for audition purposes; vocalists and non-traditional instruments are encouraged to apply. All instruments are considered.
• Although this degree includes music production, editing, business and studio technical training, it is important to note that this is a music degree, not a degree in music technology, music industry, audio or recording. Successful CMP applicants are expected to have significant musical training and study.
• Students receive admission to the program based on their songwriting and/or composition abilities, academic potential, passion for music, and career outlook. The program is divided into three areas – writing (songwriting/film scoring/composition), recording technology, and entrepreneurship. However, it is the writing that is an absolute to entering the program. Every student in CMP has multiple songwriting and film scoring classes. In addition to the Bachelor of Music degree, students receive a Minor in Entrepreneurship.
• CMP Students have a laptop and software requirement – MacBook Air or MacBook Pro running Logic Pro. In addition, other software applications and sample libraries will be required.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an interview.

BM Applicants Only: When submitting your pre-screening materials, you will have the option to self-select yourself for additional consideration to the Music – BA degree in the case that you do not pass the pre-screening/final audition round.

• Portfolio of three original works:
  • Undergraduate applicants: a recording of at least one of the submitted works (live recordings are preferred where possible)
  • Graduate applicants: recordings of at least two of the submitted works (live recordings are preferred where possible)
  • All applicants: documentation of the submitted works should include scores (in the case of works with instruments or voice) or alternate format (in the case of purely electronic music)
• All applicants should submit a list of works composed
• For applicants with electronic music experience, please submit a statement listing software used, a description of how it was used, and genres of interest.

Interviewees will be asked to discuss their background and interests, and demonstrate their musical knowledge.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

Note: Your video should be from the ensemble perspective, not from behind the conductor.

• Choral 
  • Conducting/Teaching: Submit a 20–30-minute video that demonstrates your conducting and rehearsal. Include at least one complete piece. Note: The camera angle should be focused from the ensemble perspective, so your face and gestures are visible.
  • Keyboard: Demonstrate your musicianship by submitting an example of a solo piece where you feel most comfortable and musical.
  • Vocal: Submit a video of your solo vocal abilities. This can be any song, aria, lieder, etc. of your choosing. Consider demonstrating your musical ability, use of language, and intonation skills.
  • 2 letters of recommendation 
  • DMA applicants must submit an essay.
• Orchestral – Video recording (no more than 15 minutes) of at least two contrasting works in performance/rehearsal; either excerpts thereof or in their entirety (may include one rehearsal video)
• Wind
  • Two video recordings of rehearsals (15 min each, maximum)
  • Two video recordings of performances (15 min each, maximum)
  • 2 letters of recommendation 
  • DMA applicants must submit an essay.

Applicants who pass the pre-screening will be invited to campus for an interview, conducting audition, and skills exam. Details of the audition will be sent to the appropriate applicants in early January.

Applicants who pass the pre-screening will be invited to campus for an interview, conducting audition, and skills exam. Details of the audition will be sent to the appropriate applicants in early January.

The in-person audition will consist of:

• Conducting two works (one large ensemble, one chamber) which will be determined at the time of invitation
• A 30-minute aural skills diagnostic exam
• Complete a diagnostic wind literature exam
• Interview with the faculty
• One-hour lesson with Professor Holzman

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Two contrasting works from the standard solo repertoire. Where appropriately substantial, two contrasting movements from two different works are also acceptable. Works MUST contrast in era, style, and/or tempo. Works may be, but are not limited to: concertos, sonatas, suites, unaccompanied works, variations showpieces, etc.
• Two standard orchestral excerpts of your choice

• Two contrasting works from the standard solo repertoire. Where appropriately substantial, two contrasting movements from two different works are also acceptable. Works MUST contrast in era, style, and/or tempo. Works may be, but are not limited to: concertos, sonatas, suites, unaccompanied works, variations showpieces, etc.
• Three standard orchestral excerpts of your choice

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• One movement from the J. S. Bach Solo Violoncello Suites 
• First movement of a concerto of your choice, with cadenzas where appropriate. Concerto may be composed by, but not limited to Bottesini, Dittersdorf, Koussevitzsky or Vanhal. 
• Three contrasting standard orchestral excerpts. Excerpts must contrast in era, style and tempo

• Two contrasting movements from the J. S. Bach Solo Violoncello Suites.
• First movement of a concerto of your choice, with cadenzas where appropriate.
• One additional work or movement that best represents your playing.
• Three contrasting standard orchestral excerpts. Excerpts must contrast in era, style, and tempo.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Two contrasting movements from the J. S. Bach Solo Violoncello Suites.
• First movement of a concerto of your choice, with cadenzas where appropriate.
• One additional work or movement that best represents your playing.
• Three contrasting standard orchestral excerpts. Excerpts must contrast in era, style, and tempo.

• Two contrasting movements from the J. S. Bach Solo Violoncello Suites.
• First movement of a concerto of your choice, with cadenzas where appropriate.
• One additional work or movement that best represents your playing.
• Three contrasting standard orchestral excerpts. Excerpts must contrast in era, style, and tempo.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

Please refer to the admission requirements for both music education and your performance instrument. You will be required to complete the pre-screening and audition requirements for your specific instrument to be considered for admission as either a Double Major in Music Education/Performance or a Music Education major.

Do not submit pre-screening for both music education and double major (music education and performance). Select either double major (you will select your performance instrument on the application) OR music education (you will select your concentration instrument on the application).

Please review the audition requirements for your specific instrument. Additionally, all applicants will interview with the Music Education faculty.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Etude: Bordogni/Rochut Melodious Etudes, Etude #9
• Etude: Arban/Bowman Complete Conservatory Method, Characteristic Study No. 1, measures 1–24 only.
• Solo: James Curnow Rhapsody for Euphonium (no piano required)
• Upload a current, one-page resume

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Etude: Bordogni/Rochut Melodious Etudes, Etude #57
• Etude: Arban/Bowman Complete Conservatory Method, Characteristic Study No. 8
• Solo: David Gillingham Blue Lake Fantasies, movements 1, 2 and 3 only
• Upload a current, one-page resume

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Mozart: Exposition of first and second movements of the Concerto in G or D Major
• Contrasting piece of the candidate’s choice
• Orchestral excerpts – pick three from the following: 
  • Beethoven: “Eroica” Symphony, last movement, measures 172-200
  • Beethoven: Leonore Overture No. 3, measures 328-360
  • Brahms: Symphony No. 4, last movement, measures 93-105
  • Debussy: Afternoon of a Faun, measures 1-4 
  • Mendelssohn: Scherzo from A Midsummer Night’s Dream, two measures before P to the end

• One etude showing the applicant’s level of technical and musical ability
• Two major solo works of contrasting styles plus a Mozart concerto. At least one of these three solo pieces must be performed from memory in its entirety.
• Two standard orchestral excerpts

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Mozart: Exposition of first and second movements of the Concerto in G or D Major
• Contrasting piece of the candidate’s choice
• Orchestral excerpts – pick three from the following:
  
  • Beethoven: “Eroica” Symphony, last movement, measures 172-200
  • Beethoven: Leonore Overture No. 3, measures 328-360 
  • Brahms: Symphony No. 4, last movement, measures 93-105 
  • Debussy: Afternoon of a Faun, measures 1-4 
  • Mendelssohn: Scherzo from A Midsummer Night’s Dream, two measures before P to the end.

• Applicants for graduate programs must perform a Mozart concerto, a 20th-century concerto and two additional major solo works of contrasting styles. One of the four pieces must be played from memory in its entirety. 
• Four standard orchestral excerpts

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Two solos of contrasting stylistic periods of the applicant’s choice (preferably by memory) from standard harp repertoire
• Two orchestral excerpts of the applicant’s choice

• Two solos of contrasting stylistic periods of the applicant’s choice (preferably by memory) from standard harp repertoire
• Sight reading
• Two orchestral excerpts of the applicant’s choice

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Two solos of contrasting stylistic periods of the applicant’s choice (preferably by memory).  
  • One solo could be a movement of a concerto such as Mozart’s Concerto for Flute and Harp, Debussy’s Danses, Ravel’s Introduction and Allegro or another concerto of comparable difficulty (flute and/or piano accompaniment not necessary)
• Two standard orchestral excerpts
  

• Two solos of contrasting stylistic periods of the applicant’s choice (preferably by memory)
• A movement of a concerto such as Mozart’s Concerto for Flute and Harp, Debussy’s Danses, Ravel’s Introduction and Allegro or another concerto of comparable difficulty (flute and/or piano accompaniment not necessary)
• Sight reading
• Two standard orchestral excerpts

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Two solos of contrasting stylistic periods of the applicant’s choice (preferably by memory).
• One movement of a concerto such as Mozart’s Concerto for Flute and Harp, Debussy’s Danses, Ravel’s Introduction and Allegro or another concerto of comparable difficulty (flute and/or piano accompaniment not necessary)
• Two standard orchestral excerpts
• A contemporary work from the 20th or 21st century

• Two solos of contrasting stylistic periods of the applicant’s choice (preferably by memory).
• One movement of a concerto such as Mozart’s Concerto for Flute and Harp, Debussy’s Danses, Ravel’s Introduction and Allegro or another concerto of comparable difficulty (flute and/or piano accompaniment not necessary)
  Two standard orchestral excerpts
• A contemporary work from the 20th or 21st century
• Sight Reading

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Prepare two contrasting pieces from the standard harpsichord repertoire that demonstrate the applicant’s technical and musical skills.
  • Selections should represent contrasting chronological and national schools: English, French, Italian, German, Iberian, etc. 
• Memorization is not required.
• For undergraduate applicants with a strong piano background who wish to major in harpsichord, one of the two pieces may be a piano selection from the standard repertoire.

• Same repertoire requirements as the pre-screening audition.
• The audition will have a short sight-reading exercise.
• Candidates will also have a brief interview.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an interview.

• Prepare three contrasting pieces from the standard harpsichord repertoire that demonstrate the applicant’s technical and musical skills.
  • Repertoire selections should represent contrasting chronological and national schools: English, French, Italian, German, Iberian, etc.
• Memorization is not required.

Selected applicants will interview with the faculty on January 23rd

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• J.F. Gallay: Etude No. 7 from 12 Etudes for Second Horn, Op. 57 
  
• W. A. Mozart: First movement of Concerto No. 2 or 4, OR R. Strauss: First movement of Concerto No. 1

• First movement of a Mozart or Strauss concerto, or solo of comparable difficulty from the standard repertoire
  
• Two etudes in contrasting styles by Kopprasch, Gallay or Maxime-Alphonse (Book II–IV)
  
• All major scales
• Pick ONE of the following options:
  • Tchaikovsky: Symphony No. 5, mvt. 2, horn 1
  • Mendelssohn: A Midsummer Night’s Dream, nocturne, horn 1 AND Strauss Till Eulenspiegel, opening calls, horn 1
  • Beethoven: Symphony No. 3, scherzo trio, horn 2

• Two etudes in contrasting styles by Kopprasch, Gallay or Maxime-Alphonse (Book II–IV)
  
• All major scales
• Pick ONE of the following options:
  • Glière, Intermezzo
  • Glazunov, Reverie
  • Solo of comparable difficulty

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• W. A. Mozart: First movement of Concerto No. 2 or 4 OR R. Strauss: First movement of Concerto No. 1
  
• R. Strauss: Till Eulenspiegels Lustige Streiche, opening calls, horn 1
  
• G. Mahler: Symphony No. 5, scherzo, horn obbligato, 8 measures after rehearsal No. 10-11

• A complete major solo work from the standard repertoire 
• Five orchestral excerpts from the standard repertoire which must include:
  
  • Tchaikovsky: Symphony No. 5, mvt. 2, horn 1 
  • Strauss: Till Eulenspiegel, opening calls, horn 1 
  • Mahler: Symphony No. 5, scherzo, horn obbligato, 8 measures after rehearsal No. 10-11

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• W. A. Mozart: First movement of Concerto No. 2 or 4 OR R. Strauss: First movement of Concerto No. 1
  
• R. Strauss: Till Eulenspiegels Lustige Streiche, opening calls, horn 1
  
• G. Mahler: Symphony No. 5, scherzo, horn obbligato, 8 measures after rehearsal No. 10-11

• Two complete major solo works from the standard repertoire of contrasting stylistic periods
  
• Ten orchestral excerpts from the standard repertoire which must include:
  
  • Shostakovich: Symphony No. 5, mvt. 1, low tutti passage 
  • Wagner: Siegfried’s Rhine Journey, short call, horn 1 
  • Strauss: Ein Heldenleben, opening passage, horn 1
    
  • Tchaikovsky: Symphony No. 5, mvt. 2, horn 1 
  • Strauss: Till Eulenspiegel, opening calls, horn 1 
  • Mahler: Symphony No. 5, scherzo, horn obbligato, 8 measures after rehearsal No. 10-11

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• W. A. Mozart: First movement of Concerto No. 2 or 4 OR R. Strauss: First movement of Concerto No. 1
  
• R. Strauss: Till Eulenspiegels Lustige Streiche, opening calls, horn 1
  
• G. Mahler: Symphony No. 5, scherzo, horn obbligato, 8 measures after rehearsal No. 10-11

• Two complete major solo works from the standard repertoire of contrasting stylistic periods, and one solo for unaccompanied horn from the 20th or 21st centuries.
• Twelve orchestral excerpts from the standard repertoire which must include:
  • Beethoven: Symphony No. 7, mvt. 1, exposition call, horn 1 
  • Strauss: Don Quixote, variation VII, horn 4
    
  • Ravel: Pavane for a Dead Princess, horn 1
    
  • Shostakovich: Symphony No. 5, mvt. 1, low tutti passage 
  • Wagner: Siegfried’s Rhine Journey, short call, horn 1 
  • Strauss: Ein Heldenleben, opening passage, horn 1
    
  • Tchaikovsky: Symphony No. 5, mvt. 2, horn 1 
  • Strauss: Till Eulenspiegel, opening calls, horn 1 
  • Mahler: Symphony No. 5, scherzo, horn obbligato, 8 measures after rehearsal #10-11

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• At least two tunes of contrasting styles and tempos from the standard jazz repertoire such as “Autumn Leaves,” “Satin Doll,” “All the Things You Are,” “Blue Bossa,” “Meditation,” “I Can’t Get Started” or “Now’s the Time.” The melody should be stated in a convincing jazz style followed by improvised choruses
• A short “classical” solo (optional for guitarists and drummers)
• Major (All 12 keys) and Harmonic Minor scales (All 12 keys) and Arpeggios (Major and Minor), 2 octaves when possible
  
• Jazz Voice 3 tunes, contrasting styles such as a ballad, a medium or up tempo (could be Latin/bossa) and an American Songbook standard (medium swing).
  • Scales and arpeggios: 
    • all major, and harmonic minor keys 
    • arpeggios/chords: major7, minor7, dominant7

• At least two tunes of contrasting styles and tempos from the standard jazz repertoire such as “Autumn Leaves,” “Satin Doll,” “All the Things You Are,” “Blue Bossa,” “Meditation,”
• “I Can’t Get Started” or “Now’s the Time.” The melody should be stated in a convincing jazz style followed by improvised choruses.
• A short “classical” solo (optional for guitarists and drummers)
• Major (All 12 keys) and Harmonic Minor scales (All 12 keys) and Arpeggios (Major and Minor), 2 octaves when possible
• For the live audition, some of the same material from the prescreening round may be used, but at least one selection must be different from the prescreening selections

Those who perform on instruments other than saxophone, trumpet, trombone, piano, guitar, bass, drums, jazz violin, voice and vibes should contact Professor Scott Belck (belcksb@ucmail.uc.edu) about special jazz audition procedures before completing the application.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• At least three tunes of contrasting styles and tempos from the standard jazz repertoire such as “Stella by Starlight,” “Dolphin Dance,” “Giant Steps” or “Anthropology”
• Major (All 12 keys) and Harmonic Minor scales (All 12 keys) and Arpeggios (Major and Minor), 2 octaves when possible
  
• Jazz Voice: 3 tunes, contrasting styles such as a ballad, a medium or up tempo (could be Latin/bossa) and an American Songbook standard (medium swing).
  • Scales and arpeggios: 
    • scales: major, bebop major, bebop dominant, diminished  
    • arpeggios/chords: major7, minor7, dominant7, and fully diminished.  

• At least three tunes of contrasting styles and tempos from the standard jazz repertoire such as “Stella by Starlight,” “Dolphin Dance,” “Giant Steps” or “Anthropology”
• Major (All 12 keys) and Harmonic Minor scales (All 12 keys) and Arpeggios (Major and Minor), 2 octaves when possible
• Jazz Voice: 3 tunes, contrasting styles such as a ballad, a medium or up tempo (could be Latin/bossa) and an American Songbook standard (medium swing).
• Scales and arpeggios:
• scales: major, bebop major, bebop dominant, diminished 
• arpeggios/chords: major7, minor7, dominant7, and fully diminished.
• For the live audition, some of the same material from the prescreening round may be used, but at least one selection must be different from the prescreening selections

Those who perform on instruments other than saxophone, trumpet, trombone, piano, guitar, bass, drums, jazz violin, voice and vibes should contact Professor Scott Belck (belcksb@ucmail.uc.edu) about special jazz audition procedures before completing the application.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before March 3 (first-year applicants) or July 3 (transfer applicants and current UC students) in order to be considered for admissions.

Please note: you must submit your UC Common application (and supplemental materials) by December 1 to be considered for UC scholarships.

• Video Introduction (no longer than two minutes) addressing the following:
  • What is it specifically about the Media Production program at CCM that interests you?
  • Why you are passionate about producing stories through electronic media?
  • What qualities do you possess, beyond a GPA and standardized test score, that you believe will make you successful in our program and as a future media professional?
  • Which curricular track within Media Production (film/tv production, multimedia production, or broadcast media production) interests you the most? Why? 
• Attach links to media content (video, audio, web or writing examples) that represent current engagement with media storytelling and production.

• There is no final audition/interview for this program, all admittance decisions will be made from the pre-screening round.
• We encourage you to visit the Media Production website and familiarize yourself with the curriculum before you apply.
• If the division needs more information in order to complete the decision-making process, you may be asked to interview.
• Please note that there is a computer requirement for accepted students.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 (first-year applicants) or March 3 (transfer and current UC students) in order to be considered for admissions and invited for an interview.

Please note: you must submit your UC Common application (and supplemental materials) by December 1 to be considered for UC scholarships.

• 300-word essay describing how what the BA in Music offers would further your musical interests and future career goals.
  
• 500 word writing sample on any topic
• Upload contact information for one reference 
• Evidence of your creative process, which may include an audio or video recording of a performance, a score or musical composition, or an essay on a musical subject

Applicants may be required to interview for the BA Music Program. Topics addressed in the interview will ordinarily cover the applicant’s musical background, training, aptitude, and career aspirations. Applicants should also be prepared to discuss their application materials, as well as their interests outside of music. During the interview, applicants will have the opportunity to ask questions about the program. They will not need to prepare a performance.

The Bachelor of Arts in Music degree at CCM is a liberal arts degree that provides students with flexible pathways for the study of music as a cultural and artistic practice. Ample electives allow for a breadth of approaches to music studies, and more than half of the coursework allows students to explore courses outside of music, with possibilities for double-majors, minors, certificate programs and pre-med or pre-law coursework. Because of the liberal arts focus of this degree, students primarily interested in studying performance should apply to a bachelor of music degree in their chosen performance area instead. Private lessons in a performance area are encouraged within this program; however, if an applicant wants to study at the secondary or concentration level, the applicant will need to be admitted by faculty in the applied performance area in addition to the BA-Music program.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

Please review the pre-screening requirements for your specific concentration instrument or area. All Music Education majors must have a concentration instrument/area and are required to submit pre-screening for that instrument/area in order to be considered for admission.

Applicants audition for concentration status in their applied performance area and are interviewed by music education faculty to determine their admission to this program. Applicants are reviewed by both the applied and the music education faculties. Applicants should refer to their specific instruments for pre-screening requirements.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Submission of a best-piece writing sample
• References accompanying the application must contain an evaluation of the applicant’s teaching ability
• Professional resume and teaching philosophy must be submitted if you wish to be considered for an assistantship. 
• Evidence of the applicant’s musicianship or teaching is also required via submitted video

• A bachelor’s degree in music education from an accredited U.S. institution and licensure to teach music in the U.S. public schools is required for admission for the master of music in music education. 
• Three years prior teaching experience 
• If possible, an in-person interview will be held with Music Education faculty to determine interest and criteria for the program; no performance audition is required

Information about the interview will be sent to those who pass the application review process.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before June 1 in order to be considered for admissions.

A bachelor’s degree in music education from an accredited U.S. institution and licensure to teach music in the U.S. public schools is required for admission for the 3-summer master of music in music education.

• Submission of a best-piece writing sample
• References accompanying the application must contain an evaluation of the applicant’s teaching ability
• Professional resume and teaching philosophy
• Evidence of the applicant’s musicianship or teaching is also required via submitted video

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Submit a research paper on a subject related to musicology or ethnomusicology 
• Professional resume  
• CV or Bio
• Video Essay (information about the video essay is provided below)

As part of your pre-screening, we will be requesting that you upload a video essay. In your pre-recorded video essay, you should make sure to address each of the following questions. We ask that your video recording not exceed 10 minutes in length.

1. How would you define Ethno/Musicology* as a field of study?
2. What motivates you to pursue graduate studies in this field?
3. What type of experience do you have with academic writing?
   1. What experience have you had with writing research papers?
   2. What experience have you had with musical analysis?
   3. How would you assess your strengths and weaknesses in scholarly writing?
4. What is your background in the humanities? Have you completed coursework in fields outside of music? For example, history, literature, anthropology, etc.?
5. Do you have a background in a language other than English? If so, what is your level of proficiency in this language (or languages)?
6. What are your long-term career goals?
7. Why have you chosen to apply to CCM?
8. Is there anything else that you would like to share with the committee with respect to your past accomplishments and future goals?

1. How would you define Ethno/Musicology* as a field of study?
2. What motivates you to pursue advanced studies in this field?
   
3. What special interests do you have in the music field? Who are some scholars that have been influential to your own work thus far?
4. What type of experience do you have with academic writing?
   1. What experience have you had with writing research papers?
   2. What experience have you had with musical analysis?
   3. How would you assess your strengths and weaknesses in scholarly writing? How do you plan to develop your skills as an academic writer and researcher during your graduate studies at CCM?
5. Do you have a background in critical theory, or other disciplinary paradigms across the humanities, for example, history, literature, anthropology, etc.?
6. Do you have a background in a language other than English? If so, what is your level of proficiency in this language (or languages)?
7. What are your long-term career goals?
8. Why have you chosen to apply to CCM?
9. Is there anything else that you would like to share with the committee with respect to your past accomplishments and future goals in the field?
   

• Please note that the prerequisite for the PhD in music (musicology emphasis) is a master’s degree in ethnomusicology, musicology, music history or music theory. Upon completion of the master's degree, qualified students may be invited to proceed directly into the PhD program on an accelerated timetable.

Applicants will be invited to interview at a time to be determined.

• Applicants who wish to be considered for a teaching assistantship must give a brief teaching demonstration and have a conversation with the faculty. Detailed information on the expectations, subject matter and format of the teaching demonstration will be provided. Please contact Professor Matthew Peattie if you have any questions. 

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

Please note: If you are not invited to audition for the Musical Theatre program your materials will not be reviewed by the Acting program unless you have also submitted a pre-screening application for Acting. Separate pre-screening submissions, following the instructions for each program, must be submitted if you wish to be considered for both Acting and Musical Theatre.

• Upload headshot and resume
  
• Each piece should be filmed/uploaded as a separate piece of media. No continuous videos. Applicants are encouraged to use standard technology/recording devices that are available to them (i.e. smartphones, tablets, etc).
• There should not be a separate introduction or “slate” video. Instead, “slates” are to appear at the beginning of each piece and included as part of the time allotment.
  • The proper slate for a song is to share your name, the song title, and show in which it appears.
  • The proper slate for a monologue is to share your name, the title of the play, and the playwright.
• Songs: Applicants should prepare two contrasting pieces. One song should be a ballad and one song should be an uptempo so as to contrast style. Each song file should be 60-90 seconds (This time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds). Applicants must sing to musical accompaniment, which could include live or pre-recorded accompaniment. No “a cappella” singing (meaning singing without music). Songs should be filmed in a ¾ shot which means the top of the head to the knees should be visible in the frame. CCM requires Option A from the Musical Theatre Common Pre-Screen:
  • One song should be written before 1970. This song can be either the “uptempo” or the “ballad” (applicant’s choice).
  • One song should be written after 1970 and contrast the style of the first.
• Monologue: Monologues must be from a published play. Monologues cannot be from musicals, television shows, or movies. Each monologue file should be 60-90 seconds in length (this time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds). CCM requires Option A from the Musical Theatre Common Pre-Screen:
  • One (1) contemporary monologue (written after 1900), 60-90 seconds in length
  • The contemporary monologue should be filmed in a “close-up” shot which means the top of the head to the chest should be visible in the frame.
• Dance: All dance media should be filmed in a “full body” shot taking care to keep the student’s entire body in the frame at all times. Applicants do not need to slate in any dance media. Regardless of which style of dance you execute, the choreography and the movement should be story-driven and connected to the music where the applicant is dancing with a sense of purpose. CCM requires the Dance Option from the Musical Theatre Common Pre-Screen (and does not require the Ballet Option):
  • 30-60 seconds of dance in whatever dance discipline you feel most confident. This may include, but is not limited to jazz, ballet, tap, modern, cultural dance styles, hip hop, lyrical, or contemporary.
  • Please do not submit “barre work”.
  • Please use steps, movement, and physical vocabulary that you are familiar with and can execute well.
  • Dance media can be self-choreographed, but must be a solo video of you. This can include a show, competition, or other performance so long as you are clearly featured on your own.
  • All choreography must be performed to music; please no “a cappella” dance media.
• Optional Wild Card: The Wild Card media is not required. Submissions should be no more than 60 seconds. Applicants do not need to slate in any wild card media. This media can be ANYTHING you want - a special skill, an interesting story about yourself, a passion speech, an instrument you play, etc. “What do you want us to know about you?” and “What makes you unique?”
  

• Dance: Audition will be a combination from a current Broadway musical in the jazz idiom. Applicants should dress in basic dance wear. Women may wear character or jazz shoes or ballet slippers, with leotards, tights, dance skirts or non-bulky warm-up wear. Men should wear jazz or ballet shoes, tights, jazz pants, t-shirts or shorts. Sneakers are not recommended. 
• Vocal: Prepare two contrasting selections from the Broadway repertoire, one ballad and one “up-tempo” number. Neither selection should be longer than 32 measures (longer auditions will be stopped). Numbers with multiple verses or repetitions should be cut with this limitation in mind. Selections should be appropriate to the age of the performer. 
• Acting: Prepare a monologue from a contemporary play. Monologues may be comic or dramatic and should not exceed one minute in length (longer auditions will be stopped). Please choose age appropriate material.

• See "Audition Best Practices" for additional advice. Due to the large number of musical theatre applicants, faculty or admissions staff will not be able to provide critiques of the auditions.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• At least two contrasting sonata or concerto selections 
• At least one etude of Barret or Ferling 
• Three orchestral excerpts 

• William Grant Still: Incantation and Dance
• At least two contrasting sonata or concerto selections 
• At least one etude of Barret or Ferling 
• Three orchestral excerpts 
• The same material that was used for pre-screening may be used for the audition

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• One movement of a major concerto and a contrasting solo oboe piece or a movement of a sonata
• 3 excerpts
  

• Any Major Concerto, plus contrasting Sonata, or Solo oboe piece
• Incantation and Dance - William Grant Still
• Two contrasting Etudes, Barret or Ferling
• Three Orchestral Excerpts

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Prepare two contrasting pieces from the standard organ literature that demonstrate the applicant’s technical and musical skills. One selection must be from the 17th or 18th century, and the other from the 19th, 20th or 21st century. 
• Memorization is not required.
• For undergraduate applicants with a strong piano background who wish to major in organ, one of the two pieces may be a piano selection from the standard repertoire.

• Same repertoire requirements as the pre-screening audition.
• The audition will have a short sight-reading exercise for manuals only.
• Candidates will also have a brief interview.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an interview.

• Prepare three contrasting pieces from the standard organ literature that demonstrate the applicant’s technical and musical skills. One selection should be from the 17th or 18th century, and the other two from the 19th, 20th or 21st century. 
• Memorization is not required.

• Prepare three contrasting pieces from the standard organ literature that demonstrate the applicant’s technical and musical skills. One selection should be from the 17th or 18th century, and the other two from the 19th, 20th or 21st century. 
• Memorization is not required.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Snare drum: a prepared solo or etude from Peters, Cirone, Firth, or Delecluse methods. Rudimental additional but optional
• Snare drum orchestral style roll, soft to loud to soft, about 30 seconds in length
• Mallet instruments (marimba, xylophone, or vibraphone): two prepared solos (2- AND 4-mallets demonstrations, of any length) from the standard mallet literature, or transcriptions); show two scales and arpeggios. 
• Timpani: a prepared etude (e.g., Goodman, Firth, Hochrainer, Delecluse methods) or solo 
• Orchestral excerpts in any area optional

• Snare drum: a prepared solo or etude, preferably non-rudimental
• Mallet instruments (marimba, xylophone, vibraphone): a prepared solo, scales and arpeggios, and demonstration of 2 and 4-mallet technique
• Timpani: a prepared etude 
• Sight reading in each division

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Candidates should present appropriate etudes or solos from modern literature for snare drum
• Snare drum orchestral roll, softest to loudest to softest volume, approximately 30 seconds in length
  
• Baroque and contemporary marimba solos demonstrating 2- AND 4-mallet technique 
• One timpani solo (or appropriate etude)
• 2-3 Orchestral excerpts in all areas expected
• DMA candidates should perform more difficult musical materials, with more thorough musical understanding, than MM applicants
• AD candidates must demonstrate a higher level of performance accomplishment than MM/DMA applicants
• Video links or added demonstration of multiple percussion solo material, recital materials encouraged for MM; required for AD/MM
• Chamber music video or demonstration encouraged for MM applicants if available; expected for AD/MM applicants

• Candidates should present appropriate etudes or solos from modern literature for snare drum
• A Baroque and contemporary marimba solo demonstrating 2- and 4-mallet technique
• One timpani solo
• Orchestral excerpts
• Artist diploma candidates must demonstrate a higher level of performance accomplishment than MM/DMA applicants

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions.

• At least three solo pieces from contrasting style periods and must include a complete sonata of Haydn, Mozart, Beethoven (excluding Opus 49) or Schubert
• All Sonatas, Variations, Suites, and other individual works written with multiple movements must be prepared in their entirety. Sets of pieces that are intended to be performed together must be prepared in their entirety (For example: Schumann Carnaval, Davidsbündlertanze, or Kreisleriana; Mussorgsky Pictures at an Exhibition; Franck Prelude, Chorale and Fugue)
• Compositions should be performed by memory with the exception of extraordinarily prohibitive 20th and 21st century compositions
• Etudes encouraged

The repertoire requirements are the same as the pre-screening requirements.

• At least three solo pieces from contrasting style periods and must include an allegro movement from a sonata of Haydn, Mozart, Beethoven or Schubert
• Compositions should be performed by memory with the exception of extraordinarily prohibitive 20th and 21st century compositions

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions.

• At least three solo pieces from contrasting style periods and must include a complete sonata of Haydn, Mozart, Beethoven (excluding Opus 49) or Schubert
• All Sonatas, Variations, Suites and other individual works written with multiple movements must be prepared in their entirety
• Sets of pieces that are intended to be performed together must be prepared in their entirety (For example: Schumann Carnaval, Davidsbündlertanze, or Kreisleriana; Mussorgsky Pictures at an Exhibition; Franck Prelude, Chorale and Fugue).
• Etudes are encouraged
• Compositions should be performed by memory with the exception of extraordinarily prohibitive 20th and 21st century compositions.
• The choice of repertoire should be indicative of the capacity to thrive artistically in graduate level piano study.

• Repertoire is the same as the pre-screening requirements
• For DMA Applicants: Approx. 500 words on the following subject:
  • Please describe what you feel is the most challenging piece of piano repertoire you have studied in the past four years, your process in learning the piece and how this experience has contributed to your development as an artist.

Upload the following three-page PDF document to your graduate application:

• Your name, address, phone, email
• Previous degrees
• The degree program you are applying for in CCM 
• Name and email of three references

• Pedagogy courses
• Teaching background
• Experience in any sort of working environment

• Why you want a teaching assistantship?
• What qualifications do you have that would make you a good fit for the position?
• Anything that would be of benefit when we are looking at potential graduate assistants

*An interview is required if you are invited by faculty.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions.

• At least 60 minutes of solo repertoire, preferably from diverse style periods, giving ample evidence of the capacity to perform, record and compete at an international level.
•  Etude encouraged for all degree programs
• All Sonatas, Variations, Suites, and other individual works written with multiple movements must be prepared in their entirety
• Sets of pieces that are intended to be performed together must be prepared in their entirety (For example: Schumann Carnaval, Davidsbündlertanze, or Kreisleriana; Mussorgsky Pictures at an Exhibition; Franck Prelude, Chorale and Fugue)

• Same requirements as prescreening.

Upload the following three-page PDF document to your graduate application:

• Your name, address, phone, email
• Previous degrees
• The degree program you are applying for in CCM 
• Name and email of three references

• Pedagogy courses
• Teaching background
• Experience in any sort of working environment

• Why you want a teaching assistantship?
• What qualifications do you have that would make you a good fit for the position?
• Anything that would be of benefit when we are looking at potential graduate assistants

*An interview is required if you are invited by faculty.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Two Ferling etudes, one slow and one that displays technical skills 
• Two contrasting movements of alto saxophone solo literature. Suggested solo literature includes:
  • Sonata by Paul Creston
    
  • Concertino da Camera by Jacques Ibert
    
  • Concerto by Alexander Glazunov
    
  • Prelude, Cadence et Finale by Alfred Desenclos 
• You may also include an example of jazz improvisation skills on the tune of your choice

• Two contrasting solos - one selection should be a major piece from the standard repertoire (e.g. Maurice, Glazounov, Creston, Ibert) 
• Scales and arpeggios
• Sight reading

• The BM saxophone curriculum is flexible and may consist of classical study exclusively or a combination of classical and jazz study. A jazz selection is optional for the audition. See jazz studies for more information on the BM in jazz saxophone. 
• Candidates may contact Professor James Bunte if they would like to include a piece not listed above.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Each candidate must prepare the first movement from the following work: Concertino da Camera by Jacques Ibert
  
• Prepare two contrasting works from the standard solo literature. Suggested solo literature includes:
  • Concerto by Ingalf Dahl
  • Concertino da Camera by Jacques Ibert
  • Prelude, Cadence et Finale by Alfred Desenclos
  • Caprice en Forme de Valse by Paul Bonneau
  • Sonata by William Albright
  • Lilith by William Bolcom 
  • Sequenza IXb by Luciano Berio
  • Fuzzy Bird Sonata by Takashi Yoshimatsu
• Candidates are strongly encouraged to include one composition written after 2000 on their audition
• You may also include an example of jazz improvisation skills on the tune of your choice

• Two or three contrasting solos. One selection should be a major piece from the “classic” repertoire (e.g. Ibert, Dubois, Desenclos) and one selection should be a piece written after 1980 (e.g. Lennon, Bolcom, Albright). 
• Scales and arpeggios 
• Sight reading
• Ensemble excerpts are optional

• The MM and DMA saxophone curricula are flexible and may consist of classical study exclusively or a combination of classical and jazz study. A jazz selection is therefore optional for the audition. 
• The MM in jazz saxophone is a separate degree focusing on jazz. For these audition requirements see jazz studies.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admission and invited for an audition.

• Current resume
• 500-word applicant statement
  • Use the 500-word statement to express: how you came to your area of theater design and production, what you expect to gain out of the CCM experience, and what direction you intend to go upon graduation. What are your personal and professional goals and how does CCM get you closer to those goals?
• Upload contact information for three references
  
• Portfolio (include theatre, artistic, and/or craft work)
• Theatre Design and Production questionnaire

• Application materials, along with experiences, achievements and long-range goals will be discussed at the applicant’s interview. All applicants will interview with faculty from the Theatre Design and Production department.

• Candidates should only apply to one major within Theatre Design and Production unless you are seriously considering two areas.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm in order to be considered for admissions. The applications for all MFA degree programs will remain open until July 1.

• Current resume
• 500-word applicant statement
  • Use the 500-word statement to express: how you came to your area of theater design and production, what you expect to gain out of the CCM experience, and what direction you intend to go upon graduation. What are your personal and professional goals and how does CCM get you closer to those goals?
• Portfolio (include theatre, artistic, and/or craft work)

• Application materials, along with experiences, achievements and long-range goals will be discussed at the applicant’s interview. All applicants will interview with faculty from the Theatre Design and Production department.
• MFA Interviews should be scheduled directly through the appropriate faculty. Visit the Theatre Design and Production website for the faculty directory.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Submit two papers on analytical or theoretical topics (e.g. analysis, theoretical concepts, music theory and science, math, aesthetics, psychology, culture, and so forth)
  
• CV
• Statement about motivation for undertaking a graduate degree program in music theory.

• Prospective students who hold master’s degrees in other areas of music should apply for the MM in theory
• The prerequisite for the PhD in music (music theory emphasis) is a master’s degree in music theory
• Applicants should demonstrate keyboard facility, good musicianship skills and commitment to the discipline
• For more information about the Music Theory program, contact Professor Chris Segall

After the application review process, applicants will be notified if they’re invited for an interview.

New Graduate Assistants teach theory and musicianship courses in the core undergraduate program.

• Written diagnostic test: the 40-minute written diagnostic test covers undergraduate level concepts and skills in tonal harmony and voice leading. If deemed qualified by this test, applicants will be scheduled for the skills assessment and teaching demonstration. This will most likely be available online for applicants to take during a specified time frame prior to the audition.
• If deemed qualified by this test, during one of the CCM Audition Weekends you will be scheduled for a musicianship interview as a well as a practice teaching demonstration with the theory faculty.
• Musicianship skills assessment: the 15-minute musicianship skills assessment will test sight-singing, rhythm and keyboard skills
• A teaching demonstration: the 10-minute teaching demonstration, applicants will deliver a mock lesson introducing the Neapolitan sixth as if to a sophomore “student” audience (a faculty interviewer). Applicants are responsible for preparing all aspects of their teaching demonstration (lecture, illustrations, musical examples) in advance.
• Applicants are urged to consult Miguel A. Roig-Francoli’s Harmony in Context, 3rd ed., in preparation for the teaching demonstration.
• Applicants who apply for a Theory Teaching Assistantship will be considered for admission and other types of financial assistance even if they do not yet meet the requirements for a TA.

For additional information, contact Professor Steven Cahn.

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Major Scales-Two octaves with arpeggio
  • A-Flat, C (including upper octave), G-flat
• Minor Scales-One octave with arpeggio
  • D-flat, G
• A standard solo form the tenor trombone repertoire of substantive musical and technical value. Record three minutes of music. Do not include rests.
• A standard technical study from Kopprasch, Blazevich, Arban, or equivalent. Record 90 seconds of music.
• A lyrical study from Bordogni (Rochut or Mulcahy) or equivalent.  Record 90 seconds of music.
• Record standard passages from the following orchestral works:
  • Berlioz: Hungarian March (first or second trombone)
  • Mozart: Tuba Mirum from Requiem (second trombone solo)
  • Wagner: Ride of the Valkyries, major only (first or second trombone)
  • Ravel: Bolero (first trombone solo) optional

• Major Scales-Two octaves with arpeggio
  • C, G-flat, B-flat (include upper octave)
• Minor Scales-One octave with arpeggio
  • D-flat, B
• A standard solo from the bass trombone repertoire of substantive musical and technical value. Record three minutes of music. Do not include rests.
• A technical study form Arban, Tyrell, Kopprasch, or equivalent.  Record 90 seconds of music.
• A lyrical study from Bordogni (Rochut or Mulcahy) as printed and 8vb.  Record one minute of each.
• Record standard passages from the following orchestral works:
  • Berlioz: Hungarian March
  • Wagner: Ride of the Valkyries (major)
  • Haydn: Creation No. 26
  • Bach: Sarabande from Cello Suite No. 5

• All major scales two octaves with arpeggios
  
• Any form of minor scales one octave with arpeggios
  
• A standard solo from the tenor trombone repertoire of substantive musical and technical value
  
• A technical study from Kopprasch, Blazevich, Arban or equivalent
  
• A lyrical study from Rochut or equivalent 
• The following orchestral excerpts: 
  • Berlioz: Hungarian March (First or second trombone) 
  • Mozart: Tuba Mirum from Requiem (Second trombone solo) 
  • Wagner: Ride of the Valkyries, major only (First or second trombone)
    
  • Ravel: Bolero (First trombone solo) optional

• All major scales two octaves with arpeggios
  
• Any form of minor scales one octave with arpeggios
  
• A standard solo from the bass trombone repertoire of substantive musical and technical value
  
• A technical study from Arban, Tyrell, Kopprasch or equivalent
  
• A lyrical study from Rochut as printed and down an octave
  
• The following orchestral excerpts: 
  • Berlioz: Hungarian March
    
  • Wagner: Ride of the Valkyries (major) 
  • Haydn: Creation No. 26
    
  • Bach: Sarabande from Cello Suite No. 5

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Major Scales: D-Two Octaves including the top octave with arpeggio 
• B-flat Three octaves with arpeggio 
• One additional scale of choice with arpeggio. 
• Minor Scales: Record three scales in different keys and each with a different form of minor. (three scales total) 
• Choose three solos from the standard repertoire and record two minutes each of three contrasting movements. 
• Record the standard excerpts from the following orchestral works. 
  • Rossini-William Tell (storm) 
  • Strauss-Ein Heldenleben (battle) 
  • Ravel-Bolero (1st trombone solo) 

• Major Scales: B-flat Three octaves with arpeggio. 
• D Two octaves with arpeggio. 
• G-flat Two octaves with arpeggio 
• Minor Scales: Record three scales in different keys and each with a different form of minor. (three scales total) 
• Record the standard excerpts from the following orchestral works. 
• Rossini: William Tell 
• Haydn: Creation No. 26 
• Strauss: Ein Heldenleben 

• All major scales two octaves with arpeggios
  
• Any form of minor scales one octave with arpeggios 
• Three contrasting solos from the standard repertoire demonstrating advanced technique and musicality 
• The following orchestral excerpts: 
  • Berlioz: Hungarian March (First or second trombone) 
  • Mozart: Tuba Mirum from Requiem (Second trombone solo)
    
  • Ravel: Bolero (First trombone solo) 
  • Wagner: Ride of the Valkyries, major only (First or second trombone) 
  • Saint-Saëns: Symphony No. 3 (First trombone) 
  • Strauss: Ein Heldenleben (Second trombone) 
  • Rossini: William Tell overture (storm)
    
  • Mahler: Symphony No. 3 (First trombone solos)

• All major scales two octaves with arpeggios
  
• Any form of minor scales one octave with arpeggios 
• Lebedev Concerto and Spillman Concerto (a solo of equal musical and technical advancement may be made for one of the required solos)
  
• The following orchestral excerpts:
  
  • Berlioz: Hungarian March
    
  • Wagner: Ride of the Valkyries 
  • Das Rheingold, scene 2 (Valhalla motive) 
  • Strauss: Ein Heldenleben
    
  • Rossini: William Tell Overture
    
  • Kodaly: Hary Janos Suite
    
  • Haydn: Creation No. 26
  • Bach: Sarabande from Cello Suite No. 5

• Provide an updated CV. 
• Provide a recording of your most recent recital. If a recent recital is not available, choose three solos from the standard repertoire and record entirely. Works can be recorded separately but each work should be continuous. If no piano available, do not observe the rests. 
• Record the standard excerpts from the following orchestral works:
  • Tenor Trombone:
    • Rossini-William Tell (storm) 
    • Strauss-Ein Heldenleben (battle) 
    • Ravel-Bolero (1st trombone solo) 
  • Bass Trombone:
    • Rossini: William Tell
    • Haydn: Creation No. 26 
    • Strauss: Ein Heldenleben 

Please note that all DMA applicants must complete a 30 minute interview as a part of their audition.

• All major scales two octaves with arpeggios
  
• Any form of minor scales one octave with arpeggios 
• Three contrasting solos from the standard repertoire demonstrating advanced technique and musicality 
• The following orchestral excerpts: 
  • Berlioz: Hungarian March (First or second trombone) 
  • Mozart: Tuba Mirum from Requiem (Second trombone solo)
    
  • Ravel: Bolero (First trombone solo) 
  • Wagner: Ride of the Valkyries, major only (First or second trombone) 
  • Saint-Saëns: Symphony No. 3 (First trombone) 
  • Strauss: Ein Heldenleben (Second trombone) 
  • Rossini: William Tell overture (storm)
    
  • Mahler: Symphony No. 3 (First trombone solos)

• All major scales two octaves with arpeggios
  
• Any form of minor scales one octave with arpeggios 
• Lebedev Concerto and Spillman Concerto (a solo of equal musical and technical advancement may be made for one of the required solos)
  
• The following orchestral excerpts:
  
  • Berlioz: Hungarian March
    
  • Wagner: Ride of the Valkyries 
  • Das Rheingold, scene 2 (Valhalla motive) 
  • Strauss: Ein Heldenleben
    
  • Rossini: William Tell Overture
    
  • Kodaly: Hary Janos Suite
    
  • Haydn: Creation No. 26
  • Bach: Sarabande from Cello Suite No. 5

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• One movement of a standard solo work (concerto or sonata), or five to eight minutes from a single-movement work
• One etude of the applicant’s choice
• Three standard orchestral excerpts

• Applicants should perform only on B-flat and/or C trumpets
• Two etudes showing the applicant’s level of technical and musical advancement
• At least one major solo of the applicant’s choice
• Three to five standard orchestral excerpts
• Applicants may be asked to sight-read

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• One movement of a standard solo work (concerto or sonata) or five to eight minutes from a single-movement work.
• One etude of the applicant's choice.
• Three standard orchestral excerpts.

• Two etudes showing the applicant’s level of technical and musical advancement
• At least one major solo of the applicant’s choice
• A complete concerto from the standard repertoire
  
• Three to five standard orchestral excerpts
• Applicants may be asked to sight-read

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Etude: H. W. Tyrell Advanced Studies for B-flat Bass, Etude No. 13
• Etude: Reginald Fink Studies in Legato for Bass Trombone and Tuba, Etude No. 20
• Solo: Walter Hartley Suite for Unaccompanied Tuba, movements 1 and 4 only
• Upload current one-page resume

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Etude: Phil Snedecor Low Etudes for Tuba, Etude No. XVIII
• Etude: H. W. Tyrell Advanced Studies for B-flat Bass, Etude No. 25
• Solo: Anthony Plog 3 Miniatures for Tuba and Piano (no piano required)
• Upload current one-page resume

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Two contrasting movements from a cello suite of J. S. Bach
• First movement from a standard viola concerto
• One movement from a work of your choice

• Two contrasting movements from a cello suite of J. S. Bach
• First movement from a standard viola concerto
• One movement from a work of your choice

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admission.

• Two contrasting movements from either a cello suite, violin partita or violin solo sonata of J.S. Bach
• First movement from a major viola concerto by a composer such Walton, Bartok, Hindemith, etc.
• One movement from a 20th/21st century composer written after 1960

• Two contrasting movements from either a cello suite, violin partita or violin solo sonata of J.S. Bach
• First movement from a major viola concerto by a composer such Walton, Bartok, Hindemith, etc.
• One movement from a 20th/21st century composer written after 1960

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions.

• Two contrasting movements from either a cello suite, violin partita or violin solo sonata of J.S. Bach
• First movement of a major viola concerto such as Walton, Bartok, Hindemith, etc.
• One movement from a 20th/21st century composer written after 1960
• Choice of one of the below:
  • One movement from a sonata or concerto written during the Classical Era
  • One movement from a sonata or suite written during the Romantic Era

• Two contrasting movements from either a cello suite, violin partita or violin solo sonata of J.S. Bach
• First movement of a major viola concerto such as Walton, Bartok, Hindemith, etc.
• One movement from a 20th/21st century composer written after 1960
• Choice of one of the below:
  • One movement from a sonata or concerto written during the Classical Era
  • One movement from a sonata or suite written during the Romantic Era

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• One movement from Bach Solo Sonatas or Partitas 
• One movement from a standard concerto
  
•  One Paganini or Wieniawski caprice

• One movement from a J. S. Bach solo sonata or partita 
• One movement from a standard violin concerto
  
• One Paganini caprice or Wieniawski etude
  
• One work of the applicant’s choice

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• One movement from Bach Solo Sonatas or Partitas 
• One movement from a standard concerto
  
• One Paganini or Wieniawski caprice

• Two contrasting movements from J. S. Bach Solo Sonatas or Partitas 
• One fast movement of a standard concerto from either romantic period or the 20th century
  
• One Paganini caprice or Wieniawski etude
• One work of the applicant's choice

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• One movement of a concerto
  
• One movement of solo J. S. Bach
  
• One etude by Piatti, Popper, Duport or Franchomme

• One movement of a concerto
• One movement of solo J. S. Bach
• One etude by Piatti, Popper, Duport or Franchomme

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• One movement of a concerto
  
• One movement of solo J. S. Bach
  
• One etude by Piatti, Popper, Duport or Franchomme (required for MM applicants ONLY)

In addition to an audition with the required repertoire, applicants for the DMA program in Cello should be prepared for a short interview with the cello faculty.

• Two contrasting movements from a J. S. Bach cello suite 
• One movement of a major concerto
  
• One piece composed after 1940 (required for DMA applicants only)

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• One movement of a concerto
  
• One movement of solo J. S. Bach

• Two movements of a concerto
  
• Two movements of solo J. S. Bach
  
• Two movements of a classical or romantic sonata
  
• One etude by Piatti, Popper, Duport or Franchomme 
• One piece composed after 1940

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Two Art Songs (one in English, one in another language).
  • While not technically art song, arias from the 24/26 Italian Songs and Arias books are examples of permissible repertoire.
  • Oratorio arias written before 1750 are permissible. 

• The same repertoire selections may be used for pre-screening and live auditions 
• A sight-singing assessment will be required for vocal music education applicants

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• 2 operatic arias of differing styles
• 4 art songs
• Language requirements: English and at least 2 languages chosen from Italian/Spanish, German, and French must be presented
• Only DMA applicants must submit two writing samples:
  • One academic paper – papers written during MM academic tenure are acceptable. Topics should be historical and/or theoretical treatments of a musical subject. Papers shall be no less than 10 pages in length. Standard formatting and footnotes are required.
    
  • One essay – composed on current and future trends in classical vocal music. Submitted essays must be 1-2 pages in length in PDF format. Essays must address: the role of classical singing in contemporary American culture; changes that have occurred and/or should occur; and future possibilities for this art form. Considerations may include: resources of talent, finance, venue and medium; both new and standard repertoire; audience. DMA applicants need not address all of these elements. One or two topics of interest may be chosen and discussed.

• Four art songs of contrasting styles and periods in English, French, German and Italian
  
• Two arias (one may be from an oratorio)
  
• DMA applicants will interview with voice faculty at the time of the live audition

• Experience in teaching voice required
• Email professional resume including teaching and work experience to Professor Karen Lykes. 
• Interviews will take place in conjunction with applicant’s live audition
• Preference will be given to DMA applicants

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• CV or resume in demonstration of their experience working with singers, playing for opera, experience with languages, etc. 
• Recordings are NOT required during the prescreening stage
  

Applicants must prepare one selection from each of the following categories (at least one selection must be played and sung simultaneously)

1. One Mozart aria, with recitative, from the following list: 
   • “In quali eccessi, o numi... Mi tradi” from Don Giovanni 
   • “Crudele, ah no, mio bene... Non mir dir” from Don Giovanni 
   • “Hai già vinta la causa” from Le nozze di Figaro
     
   • “Temerari, sortite fuori di questo loco... Come scoglio” from Cosi fan tutte
     
   • “E Susanna non vien... Dove sono” from Le nozze di Figaro
2. One Puccini aria from the following list: 
   • “Si, mi chiamano Mimì” from La bohème 
   • “Che gelida manina” from La bohème 
   • “Donde lieta” from La bohème
3. One 20th Century aria from the following list:*
   • “No word from Tom” from Stravinsky’s The Rake’s Progress (complete)
   • “Here I stand” from Stravinsky’s The Rake’s Progress 
   • “Sein wir wieder gut” from Strauss’ Ariadne auf Naxos 
   • “Grossmächtige Prinzessin” from Strauss’ Ariadne auf Naxos
   • *In exceptional situations, with approval of the Opera Coaching faculty, this selection could be substituted for a solo work demonstrating technical abilities.
4. One ensemble from the following list: 
   • Sextet from Don Giovanni “Sola, sola in buio loco” 
   • Quartet from Rigoletto
5. Prepare an aria that you will coach in your audition. We ask that you send us a list of possibilities to Professor Marie-France Lefebvre (short arias are welcome – “Ach ich fuhl’s, Di Provenza”...). A singer will be provided at the audition.
6. Sight-reading

• Applicants should already have earned a bachelor’s degree with college-level proficiency in two languages from French, German or Italian 
• The program is extremely competitive with no more than four students enrolled in any given year

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• Four operatic arias (video with high quality sound fidelity). Examples should not be sound enhanced. Videos may be from live performances (not split) of opera in which the student has recently appeared (please only send a five-minute clip cued to your specific excerpt), as well as the solo presentation of four operatic arias.

• Four arias in total
  • One in English
  • One in Italian
  • One in EITHER French or German
  • One as the singer prefers

To be considered for the Opera Scholarship Competition, you must submit a separate Opera Scholarship Competition Application form.

Applicants must also prepare the following for the preliminary round audition (the preliminary round audition occurs on the same date as your assigned degree audition date):

• Five arias (if applying for MM or DMA, the two required for the degree program plus three others; if applying for the AD, the four required for the degree program plus one other).
  
• Four art songs (MM and DMA applicants only), including contrasting styles and periods in English, French, German and Italian. 

Applicants must submit the required pre-screening materials via getacceptd.com/ccm on or before December 3 in order to be considered for admissions and invited for an audition.

• A 3 to 5-page artistic statement 
• A portfolio containing visual representation (video, photographs) of your directing work
• Biography 
• CV

Once the application and pre-screening materials are submitted, selected applicants will be scheduled by the Opera Department for a phone interview.

• The Stage-Directing program is extremely competitive with no more than two students enrolled per year
• Applicants should already have earned a bachelor’s degree and master’s degree or have equivalent professional experience as a stage director in the field
• Proficiency in French, German and Italian and Music literacy is preferred
• Applicants are expected to have already directed fully-staged theatre, music theatre and/or opera productions either with piano or orchestra

• Send your resume (please include your experience working with vocalists) as well as a list of your vocal repertoire to Professor Marie-France Lefebvre
• You are NOT required to submit a recording for pre-screening this assistantship
  

• One solo piece of your choice to demonstrate technical proficiency 
• One Mozart aria, with the accompanied recitative, such as: Count’s Aria (from Le nozze di Figaro), Dove sono (from Le nozze di Figaro), Come scoglio (from Cosi fan tutte), Mi trade (from Don Giovanni)
  
• One Puccini aria such as: Donde lieta, Si, mi chiamano Mimi, Che gelida manina, Un bel di
  
• One Strauss aria selected from: Zerbinetta’s aria (Ariadne auf Naxos), Composer’s aria (Ariadne auf Naxos) or Stravinsky: Here I stand (Rake’s Progress), Anne Trulove’s Aria 
• Sight reading

• This assistantship is only available to collaborative pianists, pianists and/or conductors interested in accompanying