UNDERGRADUATE AUDITION REQUIREMENTS
Students auditioning for admission into the percussion studio are expected to perform works in at least three of the areas listed below. Please note that snare drum and keyboard percussion are required - the third area is to be chosen by the student. The materials listed are representative of appropriate repertoire, but other selections may also be performed. For further clarification please contact Dr. Dan Piccolo at email@example.com.
Students auditioning for admission into the jazz studies program are required to perform the drum set portion of the audition listed below. In addition, jazz studies applicants will be asked to play major scales and to perform sight reading on keyboard percussion. A prepared piece (marimba/vibe solo, jazz standard, transcription, etc.) is encouraged, but not required. For further clarification please contact Dr. Dan Piccolo at firstname.lastname@example.org.
(Choose one selection from the following)
- Anthony Cirone—Portraits in Rhythm, any etude
- Jaques Delecluse—Douze Etudes, any etude
- Warren Benson—Three Dances, one movement
- Michael Colgrass—Six Unaccompanied Solos, one movement
- Jay Wannamaker—The Bridgemen, championship corps style solos
- John Pratt—14 Modern Contest Solos, any solo
- standard rudiments
(Choose one selection from the following)
- Any four-mallet solo
- Morris Goldenberg—Modern School for Xylophone, any of the roman numeral etudes
- Alice Gomez—Rain Dance
- George Hamilton Green—The Xylophone Rags of George Hamilton Green, any rag
- Earl Hatch—Furioso and Valse
- David Maslanka—Variations on Lost Love, My Lady White
- Mitchell Peters—Yellow After the Rain
- Eric Sammut—any composition
- Paul Smadbeck—Rhythm Song, Virinia Tate
- Gordon Stout—Two Mexican Dances, Astral Dance, Wood That Sings
- All Major Scales—two octaves (minor scales are encouraged)
- John Beck—Sonata for Timpani, second or third movement
- Elliot Carter-Eight Pieces for Four Timpani, "March"
- George Frock—Seven Solo Dances, opening Toccata
- Saul Goodman—Goodman Timpani Method, any etude beginning with No. 29
- Eric Sammut-any composition
- Jan williams-Variations for Solo Kettledrums, any movement
- Gordon Stout-Two Mexican Dances, Astral Dance, Wood That Sings
- William Kraft—French Suite, one movement
- William Kraft—English Suite, one movement
- Rickey Tagawa—Inspirations Diabolique, one movement
(Required for students auditioning for jazz studies)
- Students will be asked to perform the following styles:
Swing (both small band and big band in a variety of tempi), Latin styles (at discretion of faculty), Funk and Rock.
- Students will be asked to sight-read a Big-Band chart of an appropriate difficulty level.
- Students are encouraged to prepare a written solo of their choosing.
MASTERS OF MUSIC AUDITION REQUIREMENTS
Students auditioning for the Masters program in percussion are expected to perform works in at least five of the areas listed below. Please note that snare drum, keyboard percussion, and timpani are required - the fourth and fifth areas are to be chosen by the student. The materials listed are representative of appropriate repertoire, but other selections may also be performed. For further clarification please contact Dr. Dan Piccolo at email@example.com.
Suggested Percussion Repertoire for Graduate Assistant Audition
- Advanced works for Marimba
- 4-mallet works
- Concerto for Marimba – Rosauro
- Concerto for Marimba and Vibraphone – Milhaud
- Dream of the Cherry Blossoms – Abe
- Merlin – Thomas
- Michi – Abe
- My Lady White – Maslanka
- Time for Marimba – Miki
- Two Mexican Dances – Stout
- Variations of Lost Love – Maslanka
- Water and Fire – Skoog
- Wind in the Bamboo Grove – Abe
- 2-mallet works
- Concertino for Marimba – Creston
- Tambourin Chinois – Kreisler
- Selected Rags – G.H. Green
- 4-mallet works
- Works for Vibraphone (4-mallet works)
- Ben Vindo – Rosauro
- Mourning Dove Sonnet – Deane
- Selections from Mirror from Another – Friedman
- Selections from Music of the Day – Molenhoff
- Trilogy – Huesgen
- Wallflower, Snowbird and Carillon – Gibson
- Timpani (minimum of 4 drums)
- Eight Pieces for 4 Timpani – Carter
- Four Verses for Timpani – Houllif
- Parita in C for 6 Timpani – Druschetzsky
- 3 Movements for 5 Timpani – Beck
- Snare Drum
- American Suite – Gauthreaux
- 6 Pieces for Unaccompanied Snare Drum – Colgrass
- Three Dances – Benson
- Any work by Mitch Markovitch
- Multiple Percussion or Drumset
- Any work by David Holliden
- Concerto for Solo Percussionist – Suderburg
- Concerto pour Batterie – Milhaud
- Inspirations Diabolique – Tagawa
- French Suite – Kraft
- Orchestral Excepts
- Porgy and Bess – Gershwin (xylophone)
- Colas Bruegnon – Kabalevsky (xylophone)
- The Sorcerer’s Apprentice – Dukas (bell)
- Carnival Overture – Dvorak (tambourine)
- Capriccio Espagnol – Rimsky-Korsokov (snare)
- Lieutenant Kije Suite – Prokofiev (snare)
- Scheherzade – Rimsky-Korsokov (snare)
- Symphony No. 3 – Schumann (snare)
DOCTOR OF MUSICAL ARTS AUDITION REQUIREMENTS
Auditions for the DMA in Contemporary Music will take place on the campus of Bowling Green State University on February 26 - 28, 2018.
Upon the review of application materials (due January 5, 2018), qualified applicants will be invited to campus at which time the following will take place:
- Entrance Audition
Composition: Present a 15-minute analysis of one of the works in submitted portfolio for members of the doctoral audition committee.
Performance (conducting): Conduct a college ensemble in repertoire appropriate to the degree program emphasis (choral, orchestral, band/wind ensemble). The repertoire may include works from a variety of historical periods including contemporary. Notification of specific works will be sent with the invitation to audition.
Performance (instrumental or vocal): Prepare 60 minutes of music from which the audition committee will choose a 30-minute audition program. Selections should showcase music of the 20th/21st century, but include at least two works from other historical periods if appropriate to the instrument’s repertoire.
- Entrance Examinations
All Applicants: Written entrance examinations (essay style) that will assess readiness in music history and theory (all periods).
Composition and Conducting Applicants Only: Additional examinations in aural skills, sightsinging and sightreading that will assess readiness for advanced work in composition or conducting.
- Entrance Interview
Interview with the doctoral audition committee to discuss specific qualifications, interests and long-term goals.
Assistantship offers will be made by phone and in writing by the Director of Graduate Studies as soon as possible after the audition. Acceptance into the DMA degree program is selective and competitive. See DMA Assistantship Information for more details.
Widely known as one of the country's outstanding collegiate music programs in music education and contemporary music, the College of Musical Arts prepares students to be educators, performers, and scholars on an international level. Celebrated faculty members position students to live and achieve their passion, and our unique contemporary music program has inspired alumni to Pulitzer and Grammy level achievements.
- Students receive individualized instruction in the Moore Musical Arts Center—one of the nation's finest music facilities—which has a state-of-the-art computer lab and music technology and recording studios.
- Nearly 60 full-time faculty are active teachers, scholars and performers with national and international reputations.
- Music ensembles—orchestra, bands, choirs, small groups and world music ensembles—are open to all University students (some by audition).
- The Batchelder Residential Music Community and the Arts Village Residential Community are conveniently located across the street from the Moore Musical Arts Center.
- Approximately 90 scholarships are offered annually to incoming students to recognize musical and academic achievement.