Thank you for your interest in graduate music study at the UNCG School of Music! If you have questions about our admissions processes not addressed in the materials below, please contact the School of Music Admissions Team by phone at 336.334.5794, by email at [email protected], or complete the Contact Music Admissions Form below.
Masters
| Application Deadlines | (Fall Enrollment) |
|---|---|
| December 1 | MM in Performance – Choral and Instrumental conducting only (prescreening required) |
| January 15 | MM in Performance – All other performance areas (no prescreening required) |
| February 15 | MM in Composition (priority deadline) |
| May 15 | MM in Music Education |
| July 1 | MM in Music Theory |
| July 1 | MM in Composition (final deadline) |
Application Deadlines (for Summer enrollment – Music Education only)
- MM in Music Education: May 15
Step 1: Apply for Admission to the Graduate School at the University of North Carolina at Greensboro
You should be ready to submit the following materials with your Graduate School application:
- $65 application fee
- Transcripts from all institutions where coursework was completed : an undergraduate degree in music is required for all MM degree programs.
- All credentials must be in English.
- Where a degree was earned, the official transcript must indicate the name of the degree and the date awarded.
- If you are actively pursuing a degree at the time of application to UNCG, an unofficial transcript will be accepted until you are able to present an official transcript proving degree completion and confirming reported GPA.
- Two (2) letters of recommendation former professors, employers, or persons well-acquainted with the prospective student’s academic and/or performance potential
- Personal statement briefly outlining your academic and career goals
NOTE: The School of Music encourages students to submit materials at least 3 weeks prior to deadlines. From November – March, processing at The Graduate School can take 3 – 4 weeks. Submitting materials on or just prior to deadlines could result in a processing delay.
Additional application requirements/supplemental materials are required for specific degrees.
Please select your degree below:
- 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 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.
- A faculty committee will evaluate your application and prescreening materials, and a limited number of people will be invited for an on-campus audition. 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.
Step 2: Request an Audition/Interview Date
All students applying to the Master of Music in Performance must request an audition/interview with the performance faculty on one of five possible dates, all Saturdays, by submitting their application for The Graduate School (see Step 1).
2023–24 Audition Dates
- Saturday, December 2, 2023
- Saturday, January 27, 2024
- Saturday, February 10, 2024
- Saturday, February 24, 2024*
* priority deadline for music scholarship consideration
Important Note for International Students (not living in the United States): Complete your application and indicate “Other” as your selected audition date. The area faculty will review your items and determine if a virtual interview will be scheduled.
Step 3: Prepare Audition Materials
Click on your instrument below to view the repertoire requirements.
Students should be prepared to present:
- At least two compositions of contrasting styles which demonstrate technical and musical proficiency necessary for advanced study
- Standard orchestral excerpts
Sight reading is required.
Students should be prepared to present:
- 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 Piatti Caprice or etude of similar difficulty
Master’s/Post-Baccalaureate Certificate audition requirements:
Solo Work
Any unaccompanied work written after 1950 in a contemporary style.* (Examples: Berio “Sequenza IXa,” Mandat “Folk Songs,” Ran “For An Actor,” Tower “Wings.”)
*Please do not perform one of the “Hommages” by Béla Kovács or a similar work.
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
All collaborative piano auditions will be conducted via video recorded performances. Should you have a reason to request a live, in person audition, please contact Dr. James Douglass ([email protected]). Live interviews will be conducted in one of the following ways:
- The live interview will be via Zoom and will be scheduled on the posted audition dates for 2022-23.
- The live interview may be in person and will be scheduled on the posted audition dates for 2022-23.
You are welcome to visit our campus at any time regardless of the mode of interview you choose. If you do so, you are welcome to schedule a meeting while on campus with Dr. Douglass for additional information and conversation.
Please perform the following in your video materials:
- Choose 4-5 vocal art songs which will represent a variety of styles, composers, and historical periods*. Applicants should include in their scores a poetic translation as well as a word-for-word translation of the offered repertoire.
- A 15-minute program of instrumental works. Please choose a representative variety of styles, composers, and historical periods*.
- One of the following options:
- One solo work of approximately 5 minutes in length, preferably from memory.
- An additional 5 minutes of instrumental works (20 minutes total).
- Applicants are encouraged to include a work written by a composer who reflects different racial, gender, gender identity, sexual identity, [or] cultural tradition than those found in the standard repertoire (this work could be from any period).
- Applicants will be asked to sight-read during the interview.
*The representation of styles, composers, and historical periods can be achieved across both the vocal and instrumental works (i.e., German song, French chamber work, etc.).
Applicants should contact Dr. James Douglass ([email protected]) as soon as they’ve completed the application materials to discuss and/or confirm audition repertoire as well as any other matters of the audition process.
- 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 with either Dr. Jonathan Caldwell (wind conducting) or Dr. Jungho Kim (orchestral conducting). The audition will take place during normal rehearsal times, not during one of the scheduled Saturday audition days.
Prepare the first movement from a major Classical, Romantic, or 20th-Century concerto and a sonata of significant scope and contrasting in style to your first selection.
For a major in harpsichord (to be played on the harpsichord):
- A composition by J.S. Bach, such as a prelude and fugue from the Well Tempered Clavier, a suite, or a toccata.
- A composition by François Couperin.
- A composition by Byrd, Sweelinck, Frescobaldi, or Froberger.
- A short 20th-Century harpsichord composition.
For a major in fortepiano (to be played on the fortepiano):
- A composition by J.S. Bach, W.F. Bach, or C.P.E. Bach.
- A composition of advanced difficulty by Haydn, Mozart, or Clementi.
- A complete sonata by Beethoven, selected from works up to and including Op. 31.
Students should be prepared to present three or four compositions which demonstrate technical and musical proficiency, as well as a well-rounded approach to musicianship necessary for advanced study.
- At least one composition should demonstrate technique and articulation.
- At least one composition should demonstrate phrasing and tone quality.
Students should be prepared to present:
- At least two compositions of contrasting styles which demonstrate technical and musical proficiency necessary for advanced study
- 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
Students should be prepared to present three or four compositions which demonstrate technical and musical proficiency, as well as a well-rounded approach to musicianship necessary for advanced study.
- At least one composition should demonstrate technique and articulation.
- At least one composition should demonstrate phrasing and tone quality.
Students will audition on both their primary instrument and their secondary instrument. Principal and secondary instruments must be non-alike (i.e. you may not use piccolo as your secondary instrument if flute is your primary instrument). Students should contact both the primary and secondary teachers to make sure there is space available in both studios.
Auditions on both instruments should adhere to the following audition requirements:
- At least two compositions of contrasting styles which demonstrate technical and musical proficiency necessary for advanced study
- Standard orchestral excerpts
Sight reading is required.
Students should be prepared to present:
- At least two compositions of contrasting styles which demonstrate technical and musical proficiency necessary for advanced study
- Standard orchestral excerpts
Sight reading is required.
Applicants should be prepared to perform the following:
- Applicants should prepare approximately 25 minutes of repertoire representing three contrasting style periods. Memorization is encouraged but not required.
- Applicants should include a major work by J. S. Bach (a Prelude and Fugue; Concerto; Trio Sonata; Major Chorale Preludes from the Leipzig Chorales or the Clavierübung III).
- Applicants are encouraged to include a work written after 1950.
- Applicants are encouraged to include a work written by a composer who reflects different racial, gender, gender identity, sexual identity, and cultural tradition than those found in the standard repertoire (this work could be from any style period).
- Applicants will be asked to sight-read a hymn.
If you are unable to access keyboard instruments, timpani, or drum set to record your audition materials, this is understandable. Please contact Dr. Eric Willie ([email protected]) with any questions or concerns as you prepare.
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 ([email protected]) 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.)
- Applicants should prepare approximately 25 minutes of repertoire representing three contrasting style periods, preferably from memory.
- Applicants are encouraged to include a work written after 1950.
- Applicants are encouraged to include a work written by a composer who reflects different racial, gender, gender identity, sexual identity, and cultural tradition than those found in the standard repertoire (this work could be from any style period). If you need guidance, you can visit aseatatthepiano.com
Students should be prepared to present the following minimum repertoire, preferably from memory:
- Applicants should prepare approximately 25 minutes or repertoire representing three contrasting style periods, preferably from memory.
- Applicants are encouraged to include a work composed after 1950.
- Applicants are encouraged to include a work written by a composer who reflects different racial, gender, gender identity, sexual identity, [or] cultural tradition than those found in the standard repertoire (this work could be from any period). If you need guidance, you can visit aseatatthepiano.com.
Students should be prepared to present:
- At least two compositions of contrasting styles which demonstrate technical and musical proficiency necessary for advanced study
- Standard orchestral excerpts
Sight reading is required.
Students should be prepared to present three or four compositions which demonstrate technical and musical proficiency, as well as a well-rounded approach to musicianship necessary for advanced study.
- At least one composition should demonstrate technique and articulation.
- At least one composition should demonstrate phrasing and tone quality.
Students should be prepared to present three or four compositions which demonstrate technical and musical proficiency, as well as a well-rounded approach to musicianship necessary for advanced study.
- At least one composition should demonstrate technique and articulation.
- At least one composition should demonstrate phrasing and tone quality.
Students should be prepared to present three or four compositions which demonstrate technical and musical proficiency, as well as a well-rounded approach to musicianship necessary for advanced study.
- At least one composition should demonstrate technique and articulation.
- 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
Students should be prepared to present the following:
- Four pieces representing a variety of styles and languages, performed from memory.
- At least one of the pieces should be an operatic or oratorio aria.
Students should be prepared to present the following:
- Four pieces representing a variety of styles and languages, performed from memory.
- At least one of the pieces should be an operatic or oratorio aria.
Step 4: Complete the Audition
CONDUCTING APPLICANTS
Following a successful review of your pre-screening materials, conducting applicants to both choral and instrumental conducting areas will be invited to campus for a live audition/interview. The admissions officer and conducting faculty will work with individuals who live outside the US or cannot travel to campus to schedule a virtual audition. Please contact the Admissions Officer at [email protected] to request a virtual audition.
VIRTUAL APPLICANTS (Applicants Living Outside the US ONLY)
Once you have scheduled a virtual audition with the Admissions Office, submit your audition videos no later than the Sunday prior to your scheduled live audition/interview date.
- Video recordings should be uploaded to the Portfolio section of your Graduate Application. You may either upload the original video or provide a link to videos already shared on YouTube.
Note: YouTube videos should be listed as Public or Unlisted, but not Private. - CD/DVD submissions will not be accepted.
- Voice auditions must be accompanied—no a cappella singing, please. Accompaniment may be live or pre-recorded.
- Instrumentalists may choose to perform unaccompanied.
- Contact your studio professor ahead of time if there are any questions regarding the audition requirements for your instrument.
Recording Best Practices
- Present a professional image.
- Your video recordings should clearly show your face and most of your body. Ideally, the camera should be far enough away (6 ft or more) to avoid sound distortion, but still close enough to see your instrument and technique.
- Please keep the camera fixed and do not pan or zoom during your recording.
- Professional recordings are not required. Recordings taken from handheld devices are permitted, so long as the quality is sufficient to meet our requests.
- Ensure that the recording you’ve made is good quality and that you have followed all audition requirements (see above).
Your audition video will be uploaded to the Portfolio section of your Graduate Application.
Remember, video recordings uploaded to YouTube may be Public or Unlisted, but not Private.
ASSISTANTSHIPS AND OTHER OPPORTUNITIES
The University of North Carolina at Greensboro provides a number of funding and support opportunities for graduate students. More information on opportunities available to graduate students in the School of Music is available here.
Doctoral – DMA in Music
| Application Deadlines | (Fall Enrollment) |
|---|---|
| December 1 | Choral and Instrumental Conducting |
| January 5 | All other performance areas |
Step 1: Apply for Admission to the Graduate School at the University of North Carolina at Greensboro
You should be ready to submit the following materials with your Graduate School application:
- $65 application fee
- Transcripts from all institutions where coursework was completed
- All credentials must be in English.
- Where a degree was earned, the official transcript must indicate the name of the degree and the date awarded.
- If you are actively pursuing a degree at the time of application to UNCG, an unofficial transcript will be accepted until you are able to present an official transcript proving degree completion and confirming reported GPA.
- Two (2) letters of recommendation former professors, employers, or persons well-acquainted with the prospective student’s academic and/or performance potential
- Personal statement briefly outlining your academic and career goals
NOTE: The School of Music encourages students to submit materials at least 3 weeks prior to deadlines. From November – March, processing at The Graduate School can take 3 – 4 weeks. Submitting materials on or just prior to deadlines could result in a processing delay.
Degrees
Doctor of Musical Arts in Music (includes Conducting degrees)
The DMA in Music requires a minimum of 90 semester hours of post-baccalaureate course work. Students who begin study at the master’s level at UNCG must successfully fulfill all requirements for the master’s degree and successfully present a doctoral audition/interview to be admitted into the doctoral program.
The DMA in Music is offered in the following concentrations: Collaborative Piano, Piano, Organ, Choral Conducting, Instrumental Conducting, String Instruments, Woodwind Instruments, Brass Instruments, Percussion, Voice, and Composition.
Doctor of Philosophy in Music Education
The PhD in Music Education requires 54 semester hours. At least 75% of all course work, exclusive of the dissertation, must be at the 600 or 700 level. A diagnostic examination is administered prior to the first semester of enrollment. A cognate, or cognates, in any area approved by the student’s advisory/dissertation committee and The Graduate School may be elected as specified in the University Catalog.
Step 2: Submit Pre-Audition Materials
Submission of supplemental/pre-audition materials is required. DMA in Instrumental and Choral Conducting applicants must submit all materials by December 1. All other DMA in Music concentrations must submit all materials by January 5. Pre-audition materials will not be reviewed by faculty until submission of an application to the Graduate School.
The following supplemental/pre-audition materials are required of all instrumental areas:
- Recordings (either video or audio only recordings are acceptable) of performances that constitute a representative sampling of the applicant’s musical ability. At least one of the recordings must have been made within twelve months prior to the application date. Recordings must be uploaded into the online application and include a brief description of each recording, including the repertoire performed, date recorded, and location.
- A repertory list
- Programs and other pertinent documentation of work in the performance area
- If you have questions regarding repertoire selection for your pre-audition recordings, please contact the faculty in your performance area.
- Recordings (either video or audio only recordings are acceptable) of performances that constitute a representative sampling of the applicant’s musical ability. At least one of the recordings must have been made within twelve months prior to the application date. Recordings must be uploaded into the online application and include a brief description of each recording, including the repertoire performed, date recorded, and location.
- A repertory list
- Programs and other pertinent documentation of work in the performance area
An ideal pre-audition recording should contain the following examples:
- Opera aria in the original language
- German Lieder
- French chanson/mélodie
- English art song (American or British)
- Oratorio aria
Include all of the traditional singing languages: Italian, German, French and English. If your opera aria is not in Italian, then an Italian song should also be included. More than one aria is acceptable, but art song repertoire must be included. The recording should contain at least 5-8 examples.
NOTE: Applicants wishing to be considered for a teaching assistantship must submit a 20-30 minute video recording of the applicant’s teaching. The video should address–in relatively equal proportions of time–vocal exercises/technical work and preparation of vocal repertoire. Repertoire may be selected from art song, aria, or musical theatre.
The following supplemental/pre-audition materials are required of all conducting (instrumental or choral) areas:
- Audio recordings containing a representative sampling of the applicant conducting a choral or instrumental ensemble. The quality of the performance and the repertoire conducted are important considerations. Audio recordings must be uploaded into the online application.
- Video recordings of the applicant conducting an ensemble in a rehearsal and in a performance. The rehearsal recording must be taken from the ensemble perspective, camera facing the conductor. The performance may be recorded from either the ensemble perspective or the audience’s perspective. Video recordings must be uploaded into the online application.
- A repertory list of significant compositions conducted in the past five years, including the names of the ensembles and dates of performances.
- A list of all formal conducting training including each academic course (institution, teacher, academic credit, text-books, etc.) as well as workshops or institutes attended.
Please perform the following in your video materials for the prescreen phase:
- A 20–25 minute recital program with representative literature taken from both instrumental and vocal repertoire.
- Choose a representative variety of styles, composers, and historical periods.
- Applicants are encouraged to include a work written by a composer who reflects different racial, gender, gender identity, sexual identity, or cultural tradition than those found in the standard repertoire (this work could be from any period).
The pre-audition recording(s) 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 for more details on this process.
Step 3: Schedule an Audition with Music Faculty
Following the review of your completed online application and supplemental materials/pre-audition recordings, the Music Performance faculty in your area will notify you with the results of your application review and, if successful, will invite you to campus for a live audition/interview.
Step 4: Complete the audition
Click on your instrument below to view the repertoire requirements for your live audition.
- The invited applicant will prepare a full recital, with appropriate literature in each style period, from which a 30-minute audition will be performed. The applicant should supply a printed recital program for the audition committee. Accompanists are required for all wind auditions. Although it is recommended that the applicant provide his/her own accompanist, the School of Music can supply a list of available local accompanists for hire.
- A 30-minute interview will be held immediately after the audition.
Accompanists are required for all string auditions. Although it is recommended that the applicant provides his/her own accompanist, the Music Performance Department can supply a list of available local accompanists for hire. At the time of the on-campus audition, a list of prepared pieces should be presented from which the audition committee will select representative pieces to be performed.
- One entire 19th or 20th century concerto
- A Bach Suite, Preferably IV, V, or VI
- One Piatti Caprice or etude of similar difficulty
- Piece of choice
(The concerto or the piece of choice must be from the 20th or 21st century.)
- The invited applicant will prepare a full recital, with appropriate literature in each style period, from which a 30-minute audition will be performed. The applicant should supply a printed recital program for the audition committee. Accompanists are required for all wind auditions. Although it is recommended that the applicant provide his/her own accompanist, the School of Music can supply a list of available local accompanists for hire.
- A 30-minute interview will be held immediately after the audition.
All collaborative piano auditions will be conducted via video recorded performances. If the applicant is approved following the pre-screen requirement, the applicant will be scheduled for an interview, which can be either in-person or via Zoom. Should the applicant have a reason to request a live, in-person audition, please contact Dr. James Douglass ([email protected]). You are welcome to visit our campus at any time regardless of the mode of interview you choose. If you do so, you are welcome to schedule a meeting while on campus with Dr. Douglass for additional information and conversation.
Please perform the following in your video materials for the official audition phase:
- A 25-30 minute recital program with representative literature taken from both instrumental and vocal repertoire. This material must not include works performed for the pre-screen phase.
- Choose a representative variety of styles, composers, and historical periods.
- Applicants are encouraged to include a work written by a composer who reflects different racial, gender, gender identity, sexual identity, [or] cultural tradition than those found in the standard repertoire (this work could be from any period).
- Applicants will be asked to sight-read during the live interview.
Applicants should contact Dr. James Douglass ([email protected]) as soon as they’ve
completed the application materials to discuss and/or confirm pre-screen and audition repertoire as well as any other matters of the audition process.
Applicants who successfully pass the pre-audition will receive an invitation for the on-campus audition. At that time, the applicant should contact contact Dr. Welborn E. Young, Director of Choral Activities, to schedule the time and repertoire for the audition and submit the Graduate Audition Request with the audition date indicated. 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 Dr. 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.
- Applicants who successfully pass the pre-audition will receive an invitation for an on-campus audition.
- 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 with 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.
Accompanists are required for all string auditions. Although it is recommended that the applicant provides his/her own accompanist, the Music Performance Department can supply a list of available local accompanists for hire. At the time of the on-campus audition, a list of prepared pieces should be presented from which the audition committee will select representative pieces to be performed.
The applicant will prepare a full recital, with appropriate literature in each style period, from which a 20- to 30-minute audition will be performed.
- The invited applicant will prepare a full recital, with appropriate literature in each style period, from which a 30-minute audition will be performed. The applicant should supply a printed recital program for the audition committee. Accompanists are required for all wind auditions. Although it is recommended that the applicant provide his/her own accompanist, the School of Music can supply a list of available local accompanists for hire.
- A 30-minute interview will be held immediately after the audition.
- The invited applicant will prepare a full recital, with appropriate literature in each style period, from which a 30-minute audition will be performed. The applicant should supply a printed recital program for the audition committee. Accompanists are required for all wind auditions. Although it is recommended that the applicant provide his/her own accompanist, the School of Music can supply a list of available local accompanists for hire.
- A 30-minute interview will be held immediately after the audition.
- The invited applicant will prepare a full recital, with appropriate literature in each style period, from which a 30-minute audition will be performed. The applicant should supply a printed recital program for the audition committee. Accompanists are required for all wind auditions. Although it is recommended that the applicant provide his/her own accompanist, the School of Music can supply a list of available local accompanists for hire.
- A 30-minute interview will be held immediately after the audition.
- The invited applicant will prepare a full recital, with appropriate literature in each style period, from which a 30-minute audition will be performed. The applicant should supply a printed recital program for the audition committee. Accompanists are required for all wind auditions. Although it is recommended that the applicant provide his/her own accompanist, the School of Music can supply a list of available local accompanists for hire.
- A 30-minute interview will be held immediately after the audition.
The applicant will prepare a 50- to 60-minute recital program, with appropriate literature in various style periods and one major work by J. S. Bach, from which a 20- to 30-minute audition will be performed. Memorization is encouraged but not required. A list of prepared pieces should be presented at the time of the live audition from which the committee will select representative pieces to be performed. The live audition will also include a sight-reading excerpt and interview. Applicants are encouraged to include a work written by a composer who reflects different racial, gender, gender identity, sexual identity, and cultural tradition than those found in the standard repertoire (this work could be from any style period).
Performance
- Select a program of approximately thirty (30) minutes of solo recital performances that demonstrate/highlight your musical interests. It is recommended that you include contrasting styles and various instruments.
- A synchronous interview with the DMA Audition Committee
- A sampling of drum set styles (20-25 seconds for each style): Rock, Funk, Swing, Afro-Cuban, Brasilian, Swing. These recordings should be included with the submission of your solo-recital program.
Clinic / Presentation
- Prepare a thirty-minute clinic/presentation on a topic of your choice. The audience for this presentation will be Dr. Eric Willie and current members of the UNCG Percussion Studio.
Note: Please contact Dr. Eric Willie ([email protected]) for the approval of audition repertoire and clinic/presentation topic.
The applicant will prepare a 50- to 60-minute recital program, with appropriate literature in various style periods from which approximately 20-30 minute audition will be performed. A list of prepared pieces should be presented at the time of the live audition from which the audition committee will select representative pieces to be performed. The live audition will also include a sight-reading excerpt and interview.
- The invited applicant will prepare a full recital, with appropriate literature in each style period, from which a 30-minute audition will be performed. The applicant should supply a printed recital program for the audition committee. Accompanists are required for all wind auditions. Although it is recommended that the applicant provide his/her own accompanist, the School of Music can supply a list of available local accompanists for hire.
- A 30-minute interview will be held immediately after the audition.
- The invited applicant will prepare a full recital, with appropriate literature in each style period, from which a 30-minute audition will be performed. The applicant should supply a printed recital program for the audition committee. Accompanists are required for all wind auditions. Although it is recommended that the applicant provide his/her own accompanist, the School of Music can supply a list of available local accompanists for hire.
- A 30-minute interview will be held immediately after the audition.
All final round DMA auditions must be in person. Applicants may select their own repertoire from each of the following categories that best reflect their abilities:
- Baroque: Choose one or two movements (or about 5 mins of music) of a work from the Baroque era, to be performed on either piccolo trumpet or baroque trumpet
- One movement from a major concerto or sonata, an entire unaccompanied trumpet solo, or a substantial piece for trumpet and electronics
- An etude of similar difficulty to Charlier or Bitsch
- Orchestral Excerpts: Choose 3 standard orchestral excerpts to perform
- Jazz Solo (Optional, but encouraged): Perform a transcription of a jazz solo and/or an improvised solo over a standard tune. Feel free to play along with a recording/backing track.
The performance order is entirely up to each applicant, but each selection must be announced or program information should be provided in some form. Performing with piano is encouraged, but not required.
- The invited applicant will prepare a full recital, with appropriate literature in each style period, from which a 30-minute audition will be performed. The applicant should supply a printed recital program for the audition committee. Accompanists are required for all wind auditions. Although it is recommended that the applicant provide his/her own accompanist, the School of Music can supply a list of available local accompanists for hire.
- A 30-minute interview will be held immediately after the audition.
Accompanists are required for all string auditions. Although it is recommended that the applicant provides his/her own accompanist, the Music Performance Department can supply a list of available local accompanists for hire.
At the time of the on-campus audition, a list of prepared pieces should be presented, from which the audition committee will select representative pieces to be performed.
- One entire 19th or 20th century concerto
- A Bach Suite (preferably IV, V, or VI), Solo Sonata or Partita
- One Fuchs Caprice or etude of similar difficulty
- Piece of choice
(The concerto or the piece of choice must be from the 20th or 21st century.)
Accompanists are required for all string auditions. Although it is recommended that the applicant provides his/her own accompanist, the Music Performance Department can supply a list of available local accompanists for hire.
At the time of the on-campus audition, a list of prepared pieces should be presented from which the audition committee will select representative pieces to be performed.
- One entire 19th or 20th century concerto
- First two movements of a Bach Solo Sonata, or the Ciacona
- First movement (with cadenza) of either the 4th or 5th Mozart Violin Concerto
- Piece of choice
(The concerto or the piece of choice must be from the 20th or 21st century.)
If an audition is granted, you will be invited to campus for a live audition/interview or we will make arrangements for a virtual live audition. The applicant will prepare eight selections with appropriate literature in each style period. A list of prepared pieces should be presented by the applicant to the audition committee. Applicants are responsible for securing their own accompanist. If you would like a list of local accompanists please contact the Music Admissions Team at 336.334.5794 or [email protected].
The audition must include the following:
- At least one art song in each of the following languages: English, French, and German.
- An aria from an opera.
- An aria from an oratorio.
- A 20th century work for voice with piano or chamber ensemble.
- At least one selection in Italian.
NOTE: Applicants wishing to be considered for a teaching assistantship will be asked to do some form of teaching on the day of the live audition. This may include a brief voice lesson and/or classroom instruction in English or Italian diction.
Assistantships and other opportunities
The University of North Carolina at Greensboro provides a number of funding and support opportunities for graduate students. More information on opportunities available to graduate students in the School of Music is available here.
The majority of financial aid available to degree-seeking graduate students is in the form of a Graduate Assistantship. Graduate Assistants receive competitive stipends, and many receive tuition waivers. To be considered for a Graduate Assistantship you must:
- have submitted a complete Application to the Graduate School
- complete an on-campus audition or interview by February 25
Graduate Assistantships within the Music Theory area are available for applicants outside the theory degree program. These assistantships require a separate interview with the Music Theory faculty. For more information please review the following important document (Interview/Audition Guidelines for Teaching Assistantships in Music Theory), and contact Dr. Adam Ricci ([email protected]) to schedule your interview.
Doctoral – PhD in Music Education
Application Deadlines (for Fall enrollment)
- PhD in Music Education: April 1 (Application materials must be completed by January 15 for consideration for a teaching assistantship.)
Step 1: Apply for Admission to the Graduate School at the University of North Carolina at Greensboro
You should be ready to submit the following materials with your Graduate School application:
- $65 application fee
- Transcripts from all institutions where coursework was completed
- All credentials must be in English.
- Where a degree was earned, the official transcript must indicate the name of the degree and the date awarded.
- If you are actively pursuing a degree at the time of application to UNCG, an unofficial transcript will be accepted until you are able to present an official transcript proving degree completion and confirming reported GPA.
- Two (2) letters of recommendation former professors, employers, or persons well-acquainted with the prospective student’s academic and/or performance potential
- Personal statement briefly outlining your academic and career goals
NOTE: The School of Music encourages students to submit materials at least 3 weeks prior to deadlines. From November – March, processing at The Graduate School can take 3–4 weeks. Submitting materials on or just prior to deadlines could result in a processing delay.
Degrees
Doctor of Musical Arts in Music (includes Conducting degrees)
The DMA in Music requires a minimum of 90 semester hours of post-baccalaureate course work. Students who begin study at the master’s level at UNCG must successfully fulfill all requirements for the master’s degree and successfully present a doctoral audition/interview to be admitted into the doctoral program.
The DMA in Music is offered in the following concentrations: Collaborative Piano, Piano, Choral Conducting, Instrumental Conducting, String Instruments, Woodwind Instruments, Brass Instruments, Percussion, Voice, and Composition.
Doctor of Philosophy in Music Education
The PhD in Music Education requires 54 semester hours. At least 75% of all course work, exclusive of the dissertation, must be at the 600 or 700 level. A diagnostic examination is administered prior to the first semester of enrollment. A cognate, or cognates, in any area approved by the student’s advisory/dissertation committee and The Graduate School may be elected as specified in the University Catalog.
Step 2: Submit Supplemental Materials
Letter of Intent
An applicant to the Ph.D. in Music Education program must submit a Letter of Intent. The letter will be evaluated by a committee of the Music Education faculty to determine the presence of and potential for excellence in scholarship, textual content and congruity, and basic scholarly writing skills. Other elements addressed in the evaluation are the applicant’s goals, objectives, and career aspirations as related to the objectives and structures of the Ph.D. degree program. The Letter of Intent is expected to address the following areas as minimal content requirements:
- A brief biographical sketch, particularly relating to foundations in music education. Included should be a description of an applicant’s qualifications for meeting the admissions requirement of three years of successful teaching experience in a formal educational setting as a full-time teacher or the equivalent.
- Commitment to music and music education as a profession.
- Career aspirations, goals, and objectives.
- Dedication to the pursuit of learning in the areas of research, scholarship, musicianship, and educational leadership in professional practice, particularly in colleges and universities.
- Special experiences, interests, skills, and expertise in any of the following areas: (a) the historical, pedagogical, philosophical, psychological, and sociological foundations of music in education; (b) the theoretical, historical, and applied foundations of the musical arts; and (c) research and scholarship in music and education.
Video Recording of Teaching
An applicant to the Ph.D. in Music Education program must demonstrate teaching abilities through the electronic submission of a video recording of his or her teaching in a music classroom or rehearsal setting. A video recording of a formally presented music performance is not acceptable. The recording must be taken from the students’ perspectives with the camera facing the teacher, and must include at least 30 minutes of teaching. The recording will be evaluated by the Music Education faculty to determine the presence of excellence and effectiveness in music teaching.
You should upload your teaching video(s) into your online application, including a Word document or PowerPoint presentation detailing the contents of your video.
Critical Review of Published Research Study
An applicant to the Ph.D. in Music Education program must submit a Critical Review of a published research study as part of admissions requirements. Analyzing and applying music education research are fundamental to completing the Ph.D. Degree in Music Education. The Critical Review of a published research study will be evaluated by Music Education faculty to determine the applicant’s writing skills and their abilities to critically analyze, review, and apply music education research to teaching and learning environments. Please select one of the research studies listed below for this review.
Draves, T. J. (2021). Exploring music student teachers’ professional identities. Music
Education Research, 28(1) 28-40.
MacLeod, R. B., Geringer, J. M., & Miller, D. S. (2021) The effect of wearing foam and Etymotic earplugs on classical musicians’ pitch perception. Journal of Research in Music Education, Online First, February 11, 2021, 1-13.
McKoy, C. L., MacLeod, R. B., Walter, J. S., & Nolker, D. B. (2017). The impact of an in-service workshop on cooperating teachers’ perceptions of culturally responsive teaching. Journal of Music Teacher Education, 26(2), 50-63.
Sims, W. L., & Cassidy, J. W. (2020). Impostor feelings of music education graduate students. Journal of Research in Music Education, 68(3), 249-263.
Staumbaugh, L. A., & Nichols, B. E. (2020). The relationships among interval identification, pitch error detection, and stimulus timbre by preservice teachers. Journal of Research in Music Education, 67(4), 465-480.
According to Gonzo, a Critical Review is a restatement of the salient features of a research study in summary form and an evaluation of the merits of the study in light of accepted research practices. An applicant’s Critical Review should include the following information:
- Title
- Purpose of and introduction to the research study
- Subjects and procedures
- Results and conclusions
- Critique and application of the research study
1 Gonzo, C.L. (1971). On writing a critical review. Bulletin of the Council for Research in Music Education, 28, 14-22.
Step 3: Interview with Music Education Faculty
Following the review of your completed online application and supplemental materials, the Music Education faculty will notify you with the results of your application review and, if successful, will invite you to campus for an interview or will invite you to a virtual interview. At that time, you and the music education faculty member will arrange your interview date and discuss further details regarding the interview process.
Assistantships and Other Opportunities
The University of North Carolina at Greensboro provides a number of funding and support opportunities for graduate students. More information on opportunities available to graduate students in the School of Music is available here.
The majority of financial aid available to degree-seeking graduate students is in the form of a Graduate Assistantship. Graduate Assistants receive competitive stipends, and many receive tuition waivers. To be considered for a Graduate Assistantship you must:
- have submitted a complete Application to the Graduate School
- complete an on-campus or virtual audition or interview by February 25
Graduate Assistantships within the Music Theory area are available for applicants outside the theory degree program. These assistantships require a separate interview with the Music Theory faculty. For more information please review the following important document (Interview / Audition Guidelines for Teaching Assistantships in Music Theory), and contact Dr. Adam Ricci ([email protected]) to schedule your interview.
Certificate
The UNCG School of Music offers graduate level certificates in the following areas:
Post-Baccalaureate Certificate
- Ethnomusicology
- Historical Keyboard Performance
- Jazz Studies
- Music Composition
- Music Education
- Music Technology
- Music Theory
- Musicology
- Performance Studies
Post-Master’s Certificate
- Music Theory Pedagogy
Application Deadlines for Fall enrollment
- All Post-Baccalaureate Certificates (PBCs): July 1
- Post-Master’s Certificate (PMC): July 1
Application Deadlines for Spring enrollment
- All Post-Baccalaureate Certificates (PBCs): December 1
- Post-Master’s Certificate (PMC): December 1
Step 1: Apply for Admission to the Graduate School at the University of North Carolina at Greensboro
You should be ready to submit the following materials with your Graduate School application:
- $65 application fee (the application fee is waived for current UNCG students)
- Transcripts from all institutions where coursework was completed
- All credentials must be in English.
- Where a degree was earned, the official transcript must indicate the name of the degree and the date awarded.
- If you are actively pursuing a degree at the time of application to UNCG, an unofficial transcript will be accepted until you are able to present an official transcript proving degree completion and confirming reported GPA.
- Two (2) letters of recommendation from former professors, employers, or persons well-acquainted with the prospective student’s academic and/or performance potential
- For current degree-seeking students applying for a Post-Baccalaureate Certificate in Composition, at least one letter of recommendation must be from a Composition faculty member at UNCG.
- For current degree-seeking students applying for a Post-Baccalaureate Certificate in Jazz Studies, at least one letter of recommendation must be from a Jazz faculty member at UNCG.
- Additional Requirements unique to each Certificate:
- PBC in Composition
- Submit a portfolio of scores and recordings of original compositions (normally consisting of 3-5 works).
- For current degree-seeking students, at least one letter of recommendation must be from a Composition faculty member at UNCG
- PBC in Ethnomusicology
- A writing sample showing significant engagement with music and culture
- A statement of intent outlining your background in ethnomusicology and your particular goals and interests
- An interview with participating faculty
- PBC in Historical Keyboard Performance
- An audition is required
- PBC in Jazz Studies
- An audition is required
- For current degree-seeking students, at least one letter of recommendation must be from a Jazz faculty member at UNCG
- PBC in Music Education
- Although no supplemental documents are required for admission, applicants are encouraged to submit a personal statement briefly outlining their academic and career goals.
- PBC in Music Technology
- Upload a personal statement outlining your background, interests, and goals in music technology.
- Interview with participating faculty
- PBC in Music Theory
- Consult University Catalog
- Earn a passing score on the Graduate Theory Diagnostic Exam
- Provide a statement of intent that outlines their background and interest in music theory and their goals
- Interview with participating faculty
- PBC in Musicology
- Pass the music history diagnostic exam
- A writing sample that demonstrates intellectual engagement with music
- A statement of intent outlining your background, interests, and goals in musicology
- Interview with participating faculty
- PBC in Music Performance
- An audition is required (see the Audition Materials descriptions under Masters degree requirements; auditions for either the Masters degree or Music Performance Certificate require preparation of the same audition materials).
- PMC in Music Theory Pedagogy
- Consult University Catalog
- Must be enrolled in a doctoral degree program in music
- Earn a passing score on the Graduate Theory Diagnostic Exam
- Provide a statement of intent that outlines their background and interest in music theory and their goals
- Interview with participating faculty. The interview involves an assessment of skills required for the teaching of music theory and ear training.
- PBC in Composition
NOTE: The School of Music encourages students to submit materials at least 3 weeks prior to deadlines. From November – March, processing at The Graduate School can take 3 – 4 weeks. Submitting materials on or just prior to deadlines could result in a processing delay.
Step 2: Complete the Interview/Audition (if required)
Applicants to a Certificate program that requires an interview will be contacted by a faculty member from the certificate area to set up a date for this interview.
Applicants to a Certificate program that requires an audition must submit an application to The Graduate School and select an audition date at that time.
Submitted virtual audition recordings should be uploaded in the Portfolio section of your Graduate School application no later than the Sunday prior to your scheduled live audition/interview date.