Undergraduate Music Admissions

Undergraduate Music Admissions

Undergraduate Music Audition Information

All students applying for admission to the Music Department in all Bachelor of Arts and Bachelor of Music degrees must demonstrate, by audition, an outstanding level of performance on their instrument or voice. Audition guidelines are provided below, listed by instrument/voice area. Additionally, those applying for Music Therapy must also complete additional requirements.

2022-2023 Music Audition Days*
All on-campus auditions have passed. However, we are still accepting virtual audition submissions and scheduling 1:1 in-person auditions with faculty members. 
 
*All new applicants will sign up for a virtual audition during the Rowan University application process. Please reach out with any audition-related questions to the professor of your instrument or voice area (contact information included below by each instrument/voice/program).
 
If you wish to audition for the Music Minor, or if you are a current Rowan University student hoping to change your major to Music, then please sign up for an audition date by completing THIS FORM.

Undergraduate Audition Requirements

All Applicants - Music Theory Placement Exams (Written and Aural)

All Applicants - Music Theory Placement Exams (Written and Aural)

The written theory placement exam asks questions involving rhythm and meter, key signatures, scales, intervals, and chords.

The aural placement tests asks students to identify rhythms, scales, chords, and melodic excerpts. 

Music Therapy - Additional Requirements

Music Therapy - Additional Requirements

Contact: Dr. Andrea Hunt

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

  1. Prepare and record yourself singing a song while accompanying yourself on either piano or guitar. This may be a pop tune, children’s song, original composition, or selection from a musical. Save your video to a filesharing site (Dropbox, GoogleDrive) or to YouTube. Please ensure you have set your permissions so that your files are accessible.
  2. Submit a 1-2 page essay in response to the following prompt: "What is one example of how music has helped you with a challenge or problem? How does this relate to your desire to be a music therapist?"
  3. Complete a short interview with the director of the program via Zoom or telephone.

Applicants should submit their essay, video link, and contact information using the button below. 

Submit essayDr. Hunt will respond to schedule your interview time within one week.

Brass

Brass

The following repertory lists are of suggested audition material. The Brass Faculty does not necessarily expect to hear all of these works in an audition. You may pick two or three contrasting pieces or substitute works of similar musical standard and difficulty. If you have further questions, please do not hesitate to contact us.

Trumpet

Dr. Bryan Appleby-Wineberg

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

Horn

Prof. Lyndsie Wilson

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

Trombone

Dr. Matt Walley: walley@rowan.edu

  • Studies: Rochut-Melodious Etudes (one of your choice)
  • Solos: Any of the NJ, NY, PA, DE All-State Solos (or one of your choice)

Euphonium

Prof. Michael Farhner

  • Please prepare one study and one contrasting solo.
    • Studies: Rochut - Melodious Etudes - Book I, Tyrrell - 40 Progressive Studies for Trombone, or Arban - Characteristic Studies.
    • Solos: Barat - Introduction and Dance, De Luca - Beautiful Colorado, Capuzzo -Andante et Rondo (arr. Catelinet), Curnow - Rhapsody for Euphonium, Guilmant - Morceau Symphonique, Clark - Carnival of Venice, Horowitz - Euphonium Concerto, or similar-level solo.

Tuba

Prof. Brian Brown

  • Studies: Rochert - Melodious Etudes - Book I, or Tyrrell - 40 Advanced Studies (arr. Jacobs).
  • Solos: Capuzzi - Andante and Rondo (arr. Catelinet), Marcello-Sonata No. 1 or Sonata No.
Composition

Composition

Prof. Denis DiBlasio
  1. Submit three works (score and audio) that best represent your composition skills. 
  2. Works may be any style.
  3. Scores must accompany all pieces. Scores should be presented as accurately as possible. If submitting via email, please send scores in PDF format only.
  4. When sending by email, format audio file links to be accessed simply and opened easily. Audio links that need permission to open or need extra steps to get to the sound files will not be accepted.

If accepted, all composition majors will receive eight semesters of Major Applied composition lessons and four semesters of Secondary Applied lessons on a select instrument or voice.

Below you will find information about secondary instrument/voice placement auditions. The four semesters of Secondary Applied lessons must be completed in a single chosen discipline. (Ex: 4 semesters of Secondary Applied piano or 4 semesters of Secondary Applied Voice)

Woodwinds

  • Two Etudes of your choice

Voice

  • Applicants must sing two contrasting pieces from the classical music repertoire
    • One Italian art song from the 17th or 18th century
    • One English art song from the Baroque through Contemporary period
    • Musical theater selections, jazz, pop, or original compositions are not acceptable.
    • All songs are expected to be performed from memory demonstrating accuracy in pitch and rhythm with clear diction and expression of text.
    • During the academic year 2020-2021 all auditions will be by video submission. The pieces must be accompanied by either a pianist or a background piano accompaniment track, which may be found on YouTube, an APP called APPcompanist, or a private arrangement with a pianist.
    • Please follow guidelines for submitting your video audition articulated on the Music Department website. More details will be sent via email once you have registered for an audition.

Strings

  • One solo piece

Percussion

  • Set up a meeting directly with percussion professor Fabio Oliveira

Brass

  • Two etudes of your choice

Classical Guitar

  • One classical piece

Piano

  • Composition majors are required to take Piano Classes  1, 2, 3 and 4. Students with secondary instrument of piano sign up for Piano Class to be placed in proper level.  Student then can test out of Piano Class 4 to qualify for Secondary Applied piano lessons.
Classical Guitar

Classical Guitar

Demonstrations of scales and arpeggios. If the prepared audition piece does not sufficiently demonstrate these areas, then material from Andres Segovia's Major & Minor Diatonic Scales, published by Columbia and Mauro Giuliani's 120 Daily Studies may be used.

Demonstration of music reading ability. (Material will be supplied at the audition)

A memorized piece from the repertoire of the classical guitar, played using the appropriate technique, of approximately five minutes duration.

Keyboard

Keyboard

Organ

  • Studies: One exercise from Johnson-Instruction for Beginning Organists or Gleason Method of Organ Playing, or Bach- Orgelbuchlein (one Chorale prelude)
  • 3 Solos: One selection from Bach-Little Fugues and Preludes, or Bach-Prelude and Fugue in E Minor(Cathedral), or Mendelssohn-Sonata Movement, or Vierne-Berceuse of Arabesque (24 pieces in free style) Plus Sight-read a homophonic 4-part passage (8-16 measures).

Piano

Prof. Veda Zuponcic

  • Performance track:
    • Choose one major and one minor scale and arpeggios (4 octaves, hands together)
    • One fast movement of a Beethoven (excluding Op.49), Haydn or Mozart Sonata (excluding K.545).
    • A work of advanced difficulty by one of ​ the following composers: Chopin, Schumann, Brahms, or Liszt.
      • for example, Brahms Rhapsodies, Op. 79; Chopin Grand Valse Brilliant, Op. 18; Schumann Papillons
    • A  Prelude and Fugue from Well Tempered Clavier, Books I or II of J. S. Bach
  • All other tracks:
    • Choose one major and one minor scales and arpeggios (4 octaves, hands together)
    • One fast movement of a Beethoven (excluding Op.49), Haydn or Mozart Sonata (excluding K.545).
    • A work of al least early advanced difficulty by one of the following composers: Chopin, Schumann, Brahms, or Liszt.
      • Chopin Waltzes, Schumann Arabesque, 
    • A Prelude and Fugue from The Well Tempered Clavier, Bks I or II; or a 3-part Invention (Sinfonia) of J. S. Bach
  • Also required of all applicants:
    • Letter of recommendation from private piano teacher.
    • Intended audition program, submitted to Veda Zuponcic two months before the scheduled audition date.
Percussion

Percussion

Dr. Fabio Oliveira

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

Snare Drum

  • (1) A solo etude/piece from one of the following books/authors below (or of similar level):
    • Vic Firth: The Solo Snare Drummer
    • Anthony Cirone: Portraits in Rhythm
    • Jacques Delecluse: Twelve Studies for the Snare Drum
    • Mitchell Peters

Mallet Instruments

  • (2) Choose and demonstrate scales and arpeggios on TWO major scales, playing up and down 2-octaves of the instrument.
  • (3) A solo piece/etude for a mallet instrument (marimba, vibraphone or xylophone), from the list below (or from the same composers, or of similar level):
    • Xylophone solos: Various Ragtimes by G. H. Green or J. H. Green
    • Vibraphone etudes/solos by: David Friedman, Arthur Lipner, Ney Rosauro, Nebosja Zivkovic, Mark Glentworth, Bill Molenhof, Larry Spivack etc…
    • Marimba solos:
      • Bart Quartier: Image
      • Daniel Berg: December
      • Ney Rosauro: Preludes
      • Mitchell Peters: Yellow after the Rain
      • Eric Sammut: Rotations
      • Paul Smadbeck: Etudes / Rhythm Song
      • Emanuel Sejournee: Nancy
      • J.S. Bach: any single movement from Cello Suites or Sonatas/Partitas for Violin

All Applicants

You are encouraged to schedule a complimentary lesson with Dr. Oliveira, in person or via Zoom, before their audition date or video submission. To set-up the lesson, please email him at oliveira@rowan.edu.

All music listed, as well as sticks and mallets can be purchased from Steve Weiss Music (steveweissmusic.com).

Strings

Strings

Violin

Dr. Timothy Schwarz

Bachelor of Arts degree:

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

Music Education degree:

  • SCALES in 3 octaves, Major and Melodic Minor, up to 3 sharps and flats
  • ETUDES - One from the following: Kreutzer 42 Studies, or an etude of equivalent difficulty
  • SOLO - One solo of your choice, preferably a concerto or sonata movement from the Classical Period or later

Bachelor of Music degree (Performance):

  • SCALES in 3 octaves, Major and Melodic Minor, up to 4 sharps and flats
  • ETUDES - One from the following: Kreutzer 42 Studies, Rode, Gavinies, or an etude of equivalent difficulty
  • SOLOS - First movement of a violin concerto from the Classical Period or later, with cadenza if applicable]
  • One movement of a baroque sonata or partita

Music Therapy degree:

  • SCALES - One three octave scale of your choice
  • SOLOS - Any prepared solo piece

Viola

Dr. Timothy Schwarz

Bachelor of Arts degree:

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

Music Education degree:

  • SCALES in 3 octaves, Major and Melodic Minor, up to 3 sharps and flats
  • ETUDES - One from the following: Kreutzer 42 Studies, or an etude of equivalent difficulty
  • SOLO - One solo of your choice, preferably a concerto or sonata movement from the Classical Period or later

Bachelor of Music degree (Performance):

  • SCALES in 3 octaves, Major and Melodic Minor, up to 4 sharps and flats
  • ETUDES - One from the following: Kreutzer 42 Studies, Rode, Gavinies, or an etude of equivalent difficulty
  • SOLOS - Two contrasting works from different periods

Music Therapy degree:

  • SCALES - One three octave scale of your choice
  • SOLOS - Any prepared solo piece

Cello

Dr. Joanne Erwin

Bachelor of Arts:

  • Scale - one 3 octave major scale of up to 3 sharps or 3 flats
  • Etude - one from Schroeder 170 Foundation Studies or an equivalent
  • Solo - first movement of a concerto, sonata, suite or equivalent work

Music Education Major:

  • Scale - one 3 octave major scale of up to 3 sharps or 3 flats
  • Etude - one from Schroeder 170 Foundation Studies or an equivalent
  • Solo - first movement of a concerto, sonata, suite or equivalent work

Applied Music Major (Performance):

  • Scale - two 3 octave scales from 4 sharps or flats - one major and one minor
  • Etude - one from Schroder 170 Foundations #40 up or a Popper study or an equivalent
  • Solo - two contrasting pieces from different periods

Music Therapy Major:

  • Scale - two 3 octave scales up to 3 sharps or flats - one major and one minor
  • Solo - two contrasting pieces 

String Bass

Prof. Douglas Mapp
  • Scales: All major and natural minor scales two octaves. Scales should be played with eighth notes at quarter note equals 100 beats per minute playing one, two and four notes per bow.
  • Studies: 1 etude chosen from the following: Simandl; 30 Etudes, Storch-Hrabe 57 Studies. (Applicant may choose a different etude of similar difficulty such as Bille, Kreutzer, Kayser).
  • Solos: 2 contrasting movements of a baroque sonata or other solo of similar difficulty such as Vivaldi Sonata #3 in A Minor, Marcello Sonata #5 in C Major, Gardoni Suite in Classical Style.

Harp

Dr. Chelsea Lane

  • Etude: Choose one etude from Pozzoli, "Studies of Medium Difficulty" (#5, #7, #10, #11, or #14), or Bach-Grandjany, "Etudes for Harp"
  • Solos: Choose one of the following: Sonata in C Minor (first movement), by Dussek, Theme and Variations, by Hadyn (arr. Salzedo), Theme and Variations, by Handel, Passacaille, by Handel (arr. Beon), Song in the Night, by Salzedo, First Arabesque, by Debussy, Vers La Source, by Tournier (or substitute a solo from the standard repertoire of equal or greater difficulty)
Voice

Voice

Prof. Marian Stieber

Voice Performance

Applicants for the Bachelor of Music in Vocal Performance must sing three contrasting pieces from the classical music repertoire.
  1. One Italian Song from the 17th or 18th century
  2. One English art song from the Baroque through Contemporary period
  3. One other song from the classical repertoire of the applicant’s choice
  4. Musical theater selections, jazz. pop, or original compositions are not acceptable.
  5. All songs are expected to be performed from memory demonstrating accuracy in pitch and rhythm with clear diction and expression of text.

Music Education, Bachelor of Arts, Music Therapy, Composition with Voice Concentration, Music Minor

Applicants for the Bachelor of Music in Music Education-Voice, Bachelor of Arts-Voice, Bachelor of Music in Music Therapy-Voice, Bachelor of Music in Composition -Voice and the Music Minor-Voice must sing two contrasting pieces from the classical music repertoire.
  1. One Italian art song from the 17th or 18th century
  2. One English art song from the Baroque through Contemporary period
  3. Musical theater selections, jazz, pop, or original compositions are not acceptable.
  4. All songs are expected to be performed from memory demonstrating accuracy in pitch and rhythm with clear diction and expression of text.
Winds

Winds

Bassoon

Prof. Zachary Feingold

  • All major scales
  • Full-range chromatic scale
  • Two contrasting etudes from either Milde Concert Studies and/or Weissenborn 50 Advanced Studies
  • One of the following solo pieces (or equivalent to the following):
    1. Telemann Sonata in F minor.
    2. Mozart Concerto in Bb major, K 191 (movements 1 and 2)
    3. Bourdeau Premier Solo

Clarinet

Dr. Rie Suzuki

  • Major scales up to four sharps/flats in 2 to 3 octaves
  • Chromatic scale in 2 to 3 octaves (slurred)
  • Two contrasting movements/works/etudes
  • Optional: one orchestral excerpt (performance major only)

Flute

Dr. Susanna Loewy

  • All Major and Minor Scales (all forms of minor scales), 2-octaves -- slurred up/tongued down
  • Chromatic Scale up to High C -- slurred up/tongued down
  • Bach Sonata or Partita, 2 contrasting movements
  • Mozart Concerto in G or D, first movement
  • Piece from "Flute Music By French Composers"
  • Piece/movement written in the 20th or 21st century
  • On your video, please briefly respond to the following two questions (by speaking directly to the camera):
    • What is the role of music (classical or other genres) in today’s world?
    • How do you hope to influence change in your community through music?

Oboe

Dr. Marie Trudeau

  • Two musical selections or movements of larger pieces, or etudes that contrast from each other in style. Please be sure to demonstrate lyrical playing and technical/fast passages.
  • Two Major and Two Minor scales of your choosing
  • Two octave chromatic scale, slurred
  • Sight reading 
  • Be prepared to answer questions about the role of music in your life, your career goals, and/or how music has helped shape your world. 

Saxophone

Dr. Noa Even

  • Two musical selections or pieces, movements of larger pieces, or etudes that contrast from each other in style. Please be sure to demonstrate lyrical playing and technical/fast/articulated passages.
  • Major scales with up to four flats and four sharps in the key signature AND any type of relative or parallel minors of those scales. Full range scales are preferred, but one- or two-octave is acceptable.
  • Matching pitch vocally with a played pitch on the keyboard.
  • Sight-reading.
  • Briefly discuss:
    • Why you are interested in pursuing music.
    • Your career goals.
    • The contributions you’d like to make to your community through music.
Jazz and Commercial Music Performance (Instrumental and Vocal)

Jazz and Commercial Music Performance 

Jazz Winds, Bass, Guitar, and Piano

Prof. Denis DiBlasio

  1. Play the melody to Charlie Parker's 'Donna Lee'. The person auditioning selects tempo. The song is to be played from beginning to end without stopping. Donna Lee does not have to be memorized.
  2. Play melody and improvise to at least two choruses of Duke Ellington's 'Take the A Train' in concert C. Accompaniment will be provided. 'Take the A Train' does not have to be memorized. The person auditioning selects tempo.
  3. Play selected sight readings.
For Jazz Education majors, audition requirements are the same as the instrumental education requirements.
 
If you have questions about the jazz portion of the audition, please call Denis DiBlasio, Coordinator of Jazz Studies & Composition, (856) 256-4500, ext. 3528.

Jazz Drums

Prof. Dan Monaghan

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

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

Vocal Jazz

Dr. Annie Sciolla

Applicants for the Bachelor of Music in Vocal Jazz and Commercial Music Performance must sing three pieces from memory in contrasting styles.

  1. Prepare two choruses of All of Me by Marks and Simons. Vocalist must perform the melody of the song and one chorus of improvisation in medium swing feel or up-tempo swing feel.
  2. Prepare one selection from the following list:
    • Wave or One Note Samba by Antônio Carlos Jobim (Bossa or Samba tempo)
    • Prelude to a Kiss by Ellington, Gordon & Mills (Ballad tempo)
  3. Prepare one Musical Theater selection written prior to 1970 or one selection from the Classical time period (1750-1820) in any language. This material should be appropriate to the applicant’s voice and current musical development.
  4. Brief test of sight-reading short rhythmic and melodic examples, pitch memory and chord tone recognition.
  5. Vocalists should prepare two major scales, two natural minor scales and two blues scales of their choice.  All scales may be sung on solfeggio syllables, note names or on the syllable La.
  6. Applicants will be asked to vocalize through their full range to demonstrate ability to navigate through vocal registers.

Applicants are encouraged to bring a Repertoire List of works, songs or exercises studied to their live audition.

Accompaniment or backing tracks must be supplied by the applicant. The pieces must be accompanied by either a pianist or a background piano accompaniment track, or combo (bass, drums, piano) track which may be found on YouTube, an APP called APPcompanist, or a private arrangement with a pianist. Suggested backing tracks for jazz selections can be found in the “iReal” app.  Applicants are welcome to bring their own accompanist to their audition.


If you have questions about the audition, please contact Dr. Annie Sciolla, Head of Vocal Jazz Studies: sciolla@rowan.edu​ 

Bachelor of Science in Music Industry

Contact: Prof. Mathieu Gendreau

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

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

Submit essay

Transfer Applicants

Transfer students will begin music degree programs at the level of applied study based on their demonstrated proficiency. The student’s degree completion plan will be developed in consultation with the Department of Music Program Advisor and the Applied lesson Instructor. Transfer credits will be reviewed and applied to degree requirements according to the New Jersey Statewide Transfer Agreement.