• This degree offers conservatory-type performance training and complements this with academic offerings directly related to careers in performance.
• An audition is required for this degree. Please see audition requirements listed below.

• This degree offers conservatory-type performance training and complements this with academic offerings directly related to careers in performance.
• Submission of pre-audition materials is required. All materials must be received no later than December 1, 2019 and should be uploaded into the online application.
• The following materials are required:
  • Curriculum vitae including a listing of all formal conducting training including academic courses and workshops or institutes attended.
  • Repertory list of significant compositions conducted in the past five years, including the names of the ensembles and dates of performances.
  • Video recordings of the applicant conducting an instrumental / choral ensemble in a rehearsal and in a performance. Video files should be submitted within the online application.
    • The rehearsal recording must be taken from the ensemble member’s perspective, camera facing the conductor.
    • The performance may be recorded from either the ensemble’s perspective or the audience’s perspective.
• The pre-audition recording will be evaluated by a faculty committee. If the performance is of sufficient quality, that student will be invited to campus for a live audition and interview. See the next step (“Apply for an audition”) for more details on this process.

• This degree provides advancement of music teaching skills and knowledge. Students can enroll as full-time on campusstudents during the academic year, or as completely online/distance students with a combination of summer and academic year coursework.
• In addition to the standard application requirements, you should also include the following supplemental materials with your online application:
• Evidence of Teaching Licensure in Music. To receive Advanced Licensure in Music upon successful completion of the MM degree program, the candidate must have taught for three or more years.

• In addition to private composition study, students take courses in orchestration, electronic music, counterpoint, advanced theory, history, and electives.
• Submit a portfolio of three to five scores of music that best represent your original compositions. Include recordings (MIDI realizations are acceptable). Portfolios should be submitted 3-5 weeks prior to your desired interview date. All portfolio materials (score PDFs and recordings) should be submitted within your online application.

• With seminars in pedagogy, Schenkerian analysis, post-tonal theory, rhythm & meter, and a survey of the discipline, this degree prepares students for entry to competitive doctoral programs in music theory.
• In addition to the standard application requirements, you should also include the following supplemental materials with your online application:
  • Submit a scholarly written paper on a musical topic, preferably one related to music theory and/or analysis. The paper should include proper citation and a bibliography, and should be of considerable length (at least 5-10 pages, exclusive of the bibliography). This paper must be received at least three weeks in advance of the desired interview date.
  • Applicants should have taken a counterpoint course equivalent to MUS 508: Tonal Counterpoint with a grade of “C” or better as evidenced on their transcript. Students who have not taken such a course may fulfill this requirement at UNCG.
• After the online application is submitted and reviewed by the theory faculty, successful applicants will be invited to a live on campus interview. During the interview, the applicant will be asked to demonstrate proficiency in harmonic analysis, sight-singing, dictation, and keyboard performance. The applicant will also take a written exam in the fundamentals of music theory, tonal harmony, and form.

1. At least two compositions of contrasting styles which demonstrate technical and musical proficiency necessary for advanced study
2. Standard orchestral excerpts

Sight reading is required.

1. One movement of a major concerto
2. Two contrasting movements of a Bach solo work for your instrument
3. One work by a composer from the 20th or 21st century
4. One Piatti Caprice or etude of similar difficulty

Master’s/Post-Baccalaureate Certificate audition requirements:

Solo Work
Any unaccompanied work written after 1950.
(Examples: Berio “Sequenza IXa,” Mandat “Folk Songs,” Ran “For An Actor”)

Concerto
Choose one of the following concertos and prepare any two movements of the concerto:

• • Adams, Gnarly Buttons • Copland, Concerto (entire piece)
  • Corigliano, Concerto
  • Francaix, Concerto
  • Mozart, Concerto K. 622
  • Nielsen, Concerto
  • Weber, Concerto #2 in E-flat

Sonata
One work (or one movement of a larger work) for clarinet and piano.
(Examples: Debussy “Premiere Rhapsody,” Schumann “Fantasy Pieces,” Tower “Fantasy”)

Orchestral Excerpts
A selection of standard orchestral excerpts.

Optional: One Work on Bass Clarinet or E-Flat Clarinet
An example of your performance ability on bass clarinet or e-flat clarinet.

Sightreading

1. A 10-15 minute program of representative vocal selections including both French and German art song literature as well as an Italian aria. Applicants should be prepared to give poetic and word-for-word translations of the offered repertoire.
2. A 15-minute program of instrumental works plus a complete orchestral introduction to the first movement of a Mozart or Beethoven concerto.
   One solo work of approximately 5 minutes in length.

Applicants will be asked to sight-read.

Applicants should contact Dr. James Douglass (j_douglass@uncg.edu), approximately one month prior to the requested audition date. Ideally, the applicant should bring their partners to the audition. Should this not be possible, please contact Dr. Douglass to arrange vocalists and instrumentalists to perform the selected repertoire.

• Submission of pre-audition materials is required. See Step 1 above for details and deadlines.
• The pre-audition recording will be evaluated by a faculty committee. If the performance is of sufficient quality, that student will be invited to campus for a live audition and interview.
• During the audition, the applicant will conduct a rehearsal with at least one UNCG choral ensemble in January or February. The audition will be on a minimum of two compositions. During the audition, the Audition Committee will determine the order and length of work on a specific piece and will evaluate the ensemble part of the audition.
• In the audition, the applicant will demonstrate:

• • Ability to communicate musical ideas with conviction through conducting and rehearsal techniques.
  • Ability to evaluate and respond to the sound of a choral ensemble.

• Arrangements for this audition should be made directly with  Welborn E. Young at 336-334-5493 (or e-mail). The audition will take place during normal rehearsal times, not during one of the scheduled Saturday audition days.

• Submission of pre-audition materials is required. See Step 1 above for details and deadlines.
• The pre-audition recording will be evaluated by a faculty committee. If the performance is of sufficient quality, that student will be invited to campus for a live audition and interview.
• During the audition, the applicant will conduct a rehearsal with at least one UNCG instrumental ensemble in January or February. The audition will be on a minimum of two compositions. During the audition, the Audition Committee will determine the order and length of work on a specific piece and will evaluate the ensemble part of the audition.
• In the audition, the applicant will demonstrate:
• Ability to communicate musical ideas with conviction through conducting and rehearsal techniques.
• Ability to evaluate and respond to the sound of an instrumental ensemble.
• Arrangements for this audition should be made directly Dr. Kevin Geraldi at (336) 334-5435 (or e-mail). The audition will take place during normal rehearsal times, not during one of the scheduled Saturday audition days.

1. A composition by J.S. Bach, such as a prelude and fugue from the Well Tempered Clavier, a suite, or a toccata.
2. A composition by François Couperin.
3. A composition by Byrd, Sweelinck, Frescobaldi, or Froberger.
4. A short 20th-Century harpsichord composition.

For a major in fortepiano (to be played on the fortepiano):

1. A composition by J.S. Bach, W.F. Bach, or C.P.E. Bach.
2. A composition of advanced difficulty by Haydn, Mozart, or Clementi.
3. A complete sonata by Beethoven, selected from works up to and including Op. 31.

1. At least one composition should demonstrate technique and articulation.
2. At least one composition should demonstrate phrasing and tone quality.

1. At least two compositions of contrasting styles which demonstrate technical and musical proficiency necessary for advanced study
2. Standard orchestral excerpts

Sight reading is required.

• First movement of the Mozart Flute and Harp Concerto (cadenza of candidate’s choosing). Memorization is not required.
• Two complete works comparable in difficulty and scope to the Sonata of Hindemith or the Impromptu of Fauré. Memorization of these two works is required.

Choose 3 of the following excerpts:

• Bartok: Concerto for Orchestra – movements 4 AND 5
• Berlioz: Symphonie Fantastique – movement 2
• Britten: Young Person’s Guide to the Orchestra – Variation I AND Fugue I-J
• Ravel: Tzigane – cadenza
• Rimsky-Korsakov: Capriccio Espagnol – movement 4 cadenza AND complete movement 5
• Tchaikovsky: Swan Lake – Act II Cadenza
• Verdi: Overture to La Forza del Destino

1. At least one composition should demonstrate technique and articulation.
2. At least one composition should demonstrate phrasing and tone quality.

Auditions on both instruments should adhere to the following audition requirements:

1. At least two compositions of contrasting styles which demonstrate technical and musical proficiency necessary for advanced study
2. Standard orchestral excerpts

Sight reading is required.

1. At least two compositions of contrasting styles which demonstrate technical and musical proficiency necessary for advanced study
2. Standard orchestral excerpts

Sight reading is required.

1. A moderately difficult composition by a predecessor of Bach (any nationality) or a non-German contemporary of Bach.
2. J.S. Bach: a Prelude and Fugue, Toccata and Fugue or Fantasie and Fugue, or a movement form a Trio Sonata.
3. One moderately difficult composition written between 1820 and 1920.
4. A composition written between 1920 and the present day.

NOTE: One of the above compositions should be performed from memory.

1. Sight reading on snare drum, mallet percussion (two and four mallet selections), and timpani;
2. Performance of selected PAS Standard 40 PAS Rudiments; and
3. Performance of selected drum set styles.

Snare Drum

• Concert Snare Drum Solo or Etude (e.g. Snare System by Frédéric Macarez, Douze Études by Jacques Delécluse, Prím by Áskell Másson, Palm Sunday by Jason Baker)
• Rudimental Snare Drum Solo or Etude (e.g. 14 Modern Contest Solos for Snare Drum by John S. Pratt, Modern Rudimental Swing Solos by Charles Wilcoxon, March by Joseph Tompkins)

Mallet Percussion

• A recital-length solo for marimba and/or vibes (e.g. Steven Mackey See Ya Thursday, Christopher Deane Three Shells, Franco Donatoni Omar, Christopher Norton November Evening, Jacob Druckman Reflections on the Nature of Water)

Timpani

• One solo or etude (e.g. A selection Elliot Carter Eight Pieces for Four Timpani, Christopher Deane Prelude No. 1, a selection from Jan Williams Variations for Solo Kettledrums)

Additional Areas
These areas should be recorded via high quality video and uploaded to YouTube. The link(s) should be sent to Dr. Eric Willie (ejwillie@uncg.edu) prior to/on the audition date.

• One Multiple-Percussion Solo
• Two Orchestral Snare Drum Excerpts: one “soft” and one “loud”
  • Examples for soft: Nikolai Rimsky-Korsakov Scheherazade, III.; William Schuman Symphony No. 3, II. Toccata; Prokofiev Lt. Kijé, I.
  • Examples for loud: Nikolai Rimsky-Korsakov Scheherazade, IV. P-R; Dmitri Shostakovich Symphony No. 10; Nikolai Rimsky-Korsakov Capriccio Espagnol.
• One xylophone excerpt (e.g. Aaron Copland Appalachian Spring, Dmitri Kabalevsky Colas Breugnon Overture)
• One glockenspiel excerpt (e.g. Paul Dukas Sorcerer’s Apprentice; W.A. Mozart Magic Flute, Finale Act I)
• One timpani excerpt (e.g. Beethoven Symphonies 1, 3, 5, 7, 8, or 9; Bartok Concerto for Orchestra; Tchaikovsky Symphony No. 4)
• Optional: World Percussion: A video demonstrating a working knowledge of techniques and traditions within a specific non-Western music genre (e.g. Afro-Cuban, Middle Eastern, Chinese, Japanese, Indian [North or South], Trinidad, etc.)

1. The applicant should prepare about 20 minutes of music representing at least three historical periods.
2. The difficulty level should be comparable to undergraduate piano study at the senior level.
3. At least two selections should be memorized.
4. The applicant will also be asked to sight-read intermediate level repertoire and demonstrate a basic knowledge of keyboard harmony.

1. A composition by J.S. Bach, such as a Prelude and Fugue from The Well Tempered Clavier, a Suite, or Toccata.
2. One of the more demanding Sonatas or sets of Variations by a classical composer (e.g., Haydn, Mozart, Beethoven, Schubert).
3. Two advanced compositions by Romantic and/or 20th-century composers.

1. At least two compositions of contrasting styles which demonstrate technical and musical proficiency necessary for advanced study
2. Standard orchestral excerpts

Sight reading is required.

1. At least one composition should demonstrate technique and articulation.
2. At least one composition should demonstrate phrasing and tone quality.

1. At least one composition should demonstrate technique and articulation.
2. At least one composition should demonstrate phrasing and tone quality.

1. At least one composition should demonstrate technique and articulation.
2. At least one composition should demonstrate phrasing and tone quality.

• One movement of a major concerto
• Two contrasting movements of a Bach solo work for your instrument
• One work by a composer from the 20th or 21st century
• One Fuchs Caprice or etude of similar difficulty

• One movement of a major concerto
• Two contrasting movements of a Bach solo work for your instrument
• One work by a composer from the 20th or 21st century

— or —

• A virtuosic showpiece

1. Four pieces representing a variety of styles and languages, performed from memory.
2. At least one of the pieces should be an operatic or oratorio aria.

An accompanist will be provided for a fee if requested on the Online Graduate Audition Request. If you request an accompanist, please bring $10 in cash or check to be paid directly to your accompanist on the audition day.

1. Four pieces representing a variety of styles and languages, performed from memory.
2. At least one of the pieces should be an operatic or oratorio aria.

An accompanist will be provided for a fee if requested on the Online Graduate Audition Request. If you request an accompanist, please bring $10 in cash or check to be paid directly to your accompanist on the audition day.