Your sight-reading ability will be assessed during the audition process.<\/li>\n<\/ol>\n\u00a0Suggested repertoire (or equivalent):<\/strong><\/p>\n\nConcerti: Haydn, Hummel, Arutunian, Tomasi<\/li>\n Sonati: Hindemith, Stevens, Ewazen<\/li>\n Single movement works: Enescu, Bozza, Charlier<\/li>\n Unaccompanied works: Persichetti, Arnold, Larsen<\/li>\n Etudes: Bitsch, Charlier, Vannetelbosch<\/li>\n Excerpts: Bach, Mahler, Mussorsky, Ravel, Respighi, Stravinsky<\/li>\n Jazz: standards, ballads, etc.<\/li>\n<\/ul>\nHorn<\/h3>\n\nAll Major Scales two octaves.\u00a0 Harmonic and Melodic Minor scales two octaves.<\/li>\n One Study\/Etude by Gallay, Kopprasch, or Kling (From The Big Blue Book<\/em>, edited by Pottag\/Andraud).<\/li>\nTwo advanced solos\/individual movements of differing styles.<\/li>\n Orchestra Excerpts:\u00a0 Tchaikovsky:\u00a0 Symphony No. 5 – Second movement solo, and any two orchestral excerpts that demonstrate ability to transpose.<\/li>\n<\/ol>\nSuggested repertoire (or equivalent):<\/strong><\/p>\n\nMozart:\u00a0 Concerto No.2, movement 1<\/li>\n Vinter:\u00a0 Hunter’s Moon<\/em><\/li>\nMozart: Concerto No. 4, movement 1<\/li>\n Dukas: Villanelle<\/em><\/li>\n<\/ul>\nTrombone<\/h3>\n\nAll major and minor scales and arpeggios two octaves minimum<\/li>\n 15-20 minutes of prepared literature demonstrating stylistic contrast (single movements of multi-movement works are encouraged)<\/li>\n Your sight-reading ability will be assessed during the audition process.<\/li>\n<\/ol>\nSuggested repertoire (or equivalent):<\/strong><\/p>\n\nSolos: Arnold Fantasy Bourgeois Concerto or Sonata Ewazen Sonata, Grondahl Concerto, Hindemith Sonata, Jorgensen Suite, Larsson Concertino, Martin Ballade<\/em>, Milhaud Concertino d\u2019Hiver<\/em><\/li>\nEtudes: Bitsch Quinze Etudes de Rhythm, Blazhevich School for Trombone in Clefs, Bordogni-Mulcahy No. 58 or higher<\/li>\n Excerpts: Berlioz Hungarian Marc<\/em>h, Mahler Symphony No. 3, Mozart Requiem<\/em> (\u201cTuba Mirum\u201d), Ravel Bolero<\/em>, Rossini La Gazza Ladra<\/em>, Wagner Ride of the Valkyries<\/em><\/li>\n<\/ul>\nBass Trombone<\/h3>\n\nAll major and minor scales and arpeggios two octaves minimum.<\/li>\n 15-20 minutes of prepared literature demonstrating stylistic contrast (single movements of multi-movement works are encouraged).<\/li>\n Your sight-reading ability will be assessed during the audition process.<\/li>\n<\/ol>\nSuggested repertoire (or equivalent):<\/strong><\/p>\n\nSolos: Bourgeois Concerto, Casterede Fantasie Concertante<\/em>, Ewazen Concerto, Hidas Rhapsody, Koetsier Allegro Maestoso, Lebedev Concerto, Vaughan Williams Tuba Concerto<\/li>\nEtudes; Bitsch Quatorze Etudes de Rhythm, Blazhevich Tuba Etudes, Bordogni-Jacobs<\/li>\n Excerpts: Beethoven Symphony No. 9, Berlioz Hungarian March<\/em>, Franck Symphony in D Minor, Haydn The Creation<\/em>, Kodaly Hary Janos<\/em>, Wagner Ride of the Valkyries<\/em><\/li>\n<\/ul>\nEuphonium<\/h3>\n\nAll major and minor scales and arpeggios two octaves minimum<\/li>\n 15-20 minutes of prepared literature demonstrating stylistic contrast (single movements of multi-movement works are encouraged)<\/li>\n Your sight-reading ability will be assessed during the audition process.<\/li>\n<\/ol>\nSuggested repertoire (or equivalent):<\/strong><\/p>\n\nSolos: De Luca Beautiful Colorado<\/em>, Ewazen Concerto, Horovitz Concerto, Jacob Fantasia<\/em>, Mantia Believe Me If All Those Endearing Young Charms<\/em>, Sparke Concerto, Wilder Sonata, Wilhelm Concertino<\/li>\nEtudes: Bitsch Quinze Etudes de Rhythm, Blazhevich School for Trombone in Clefs, Bordogni- Mulcahy No. 58 or higher<\/li>\n Excerpts: Grainger Lincolnshire Posy<\/em>, Holst The Planets<\/em> (\u201cMars\u201d and \u201cJupiter\u201d), Holst Second Suite, King Barnum and Bailey\u2019s Favorite<\/em>, Mussorgsky \u201cBydlo\u201d from Pictures at an Exhibition<\/em><\/li>\n<\/ul>\nTuba<\/h3>\n\nAll major and minor scales and arpeggios two octaves minimum<\/li>\n 15-20 minutes of prepared literature demonstrating stylistic contrast (single movements of multi-movement works are encouraged)<\/li>\n Sight-reading ability will be assessed during the audition process.<\/li>\n<\/ol>\nSuggested repertoire (or equivalent):<\/strong><\/p>\n\nSolos: Arnold Fantasy<\/em>, Broughton Sonata, Ewazen Concerto, Frackenpohl Sonata, Gregson Concerto, Koetsier Sonatina, Lebedev Concerto, Persichetti Serenade No. 12, Vaughan Williams Concerto, Wilder Effie Suite<\/li>\nEtudes: Bitsch-Greiner Rhythmical Sudies, Blazhevich, Bordogni-Jacobs, Snedecor Low Etudes<\/li>\n Excerpts: Berlioz Hungarian March<\/em>, Brahms Symphony No. 2, Gershwin An American in Paris<\/em>, Wagner Overture to the Meistersinger<\/em>, Wagner Ride of the Valkyries<\/em><\/li>\n<\/ul>\n\n\n <\/div>\n <\/div>\n <\/div>\n \n \n \n \n Guitar\n <\/div>\n\n
\n \n <\/path>\n <\/svg>\n <\/span>\n <\/button>\n\n \n \n \n
\u00a0<\/strong>A 20 to 30-minute program including selections from each of the following groups:<\/p>\n\nGROUP 1: J. S. Bach: 2 contrasting movements from the same work, selected from the following: Lute Suites (BWV 995-997, 1006a), Prelude, Fugue, and Allegro (BWV 998), Cello Suites (BWV 1007-1012), Violin Sonatas and Partitas (BWV 1001-1006)<\/li>\n GROUP 2: A work\/movement in sonata form originally written for guitar in the 19th century.<\/li>\n GROUP 3: 2 contrasting works\/movements by different composers, originally written for guitar in the 20th or 21st centuries.<\/li>\n<\/ul>\n(Unedited videos from a live performance within 3 months of the scheduled audition date displaying the requested selections can be accepted as audition material)<\/p>\n\n\n <\/div>\n <\/div>\n <\/div>\n \n \n \n \n Keyboard\n <\/div>\n\n
\n \n <\/path>\n <\/svg>\n <\/span>\n <\/button>\n\n \n \n \n
Piano<\/h3>\n Three works or movements representing different style periods and of contrasting character. Selections to be memorized except for non-tonal 20th– and 21st-century works.<\/p>\n
Organ<\/h3>\n\nThree prepared pieces to include:\n\na work by Bach (or an earlier contemporary, such as Buxtehude)<\/li>\n a French romantic piece<\/li>\n a work of the candidate\u2019s own choosing in a contrasting style to the first two works<\/li>\n<\/ul>\n<\/li>\n All scales, 2 octaves<\/li>\n One of the following pedal exercises:\n\nJ. S. Bach, Solo Pedal (bars 13-32), from\u00a0Toccata, Adagio and Fugue<\/em>, BWV 564 (B\u00e4renreiter)<\/li>\nG. Ritchie, Neues Pedal Exercitium<\/em>,\u00a0Organ Technique, ed. Ritchie and Stauffer (OUP)<\/li>\n<\/ul>\n<\/li>\n<\/ol>\nPiano Audition Requirements for Students in Other Emphasis Areas or Degree Programs<\/h3>\n Two works or movements representing different style periods and of contrasting character. Selections to be memorized except for non-tonal 20th– and 21st-century works.<\/p>\n\n\n <\/div>\n <\/div>\n <\/div>\n \n \n \n \n Orchestral Strings\n <\/div>\n\n
\n \n <\/path>\n <\/svg>\n <\/span>\n <\/button>\n\n \n \n \n
Accompaniment<\/h3>\n Accompaniment is not necessary, but you are welcome to bring\/have an accompanist of your choice or an individual from our list of approved accompanists. *<\/p>\n
Violin<\/h3>\n\nOne major and one melodic minor scale, three octaves<\/li>\n One Kreutzer, Dont Op. 35, or Gavinies etude<\/li>\n A movement of one of the unaccompanied Bach Sonatas or Partitas<\/li>\n A movement of a concerto or a solo piece of the student\u2019s choice<\/li>\n<\/ul>\nViola<\/h3>\n\nOne major and one melodic minor scale, three octaves A movement of one of the Bach Cello Suites<\/li>\n A movement of a concerto or a solo piece of the student\u2019s choice<\/li>\n<\/ul>\nCello & Bass<\/h3>\n\nA major scale (up to three sharps or flats), four octaves<\/li>\n A minor scale, three octaves<\/li>\n One etude from either Popper op.73 or Duport 21 Etudes<\/li>\n A movement from Bach Solo Cello Suite No.2 or No.3<\/li>\n A solo piece of a student\u2019s choice<\/li>\n<\/ul>\n*Please note: any associated costs with bringing an external accompanist will be the responsibility of the applicant and will not be covered by the SOM.<\/p>\n\n\n <\/div>\n <\/div>\n <\/div>\n \n \n \n \n Percussion\n <\/div>\n\n
\n \n <\/path>\n <\/svg>\n <\/span>\n <\/button>\n\n \n \n \n
All graduate percussion applicants should include the following on their audition video or live audition:<\/p>\n
Keyboard<\/h3>\n One or two major keyboard mallet works of sufficient length and difficulty that demonstrates 2 and 4 mallet ability, suitable for applied music recitals (Senior, Masters).<\/p>\n
Snare Drum<\/h3>\n A snare drum solo or advanced etude demonstrating musical and technical proficiency by composers such as Delecluse, Peters, and Macarez.<\/p>\n
Timpani<\/h3>\n A timpani solo or advanced etude (including tuning) demonstrating musical and technical proficiency.<\/p>\n
Multi-Percussion<\/h3>\n Multi-percussion solos are not required but may be submitted as part of the audition video.<\/p>\n\n\n <\/div>\n <\/div>\n <\/div>\n \n \n \n \n Voice\n <\/div>\n\n
\n \n <\/path>\n <\/svg>\n <\/span>\n <\/button>\n\n \n \n \n
Accompaniment<\/h3>\n The School of Music (SOM) provides an accompanist for you during your audition. If you prefer to audition with your pianist of choice, you are welcome do so.* Please do not bring or use a recorded accompaniment.<\/p>\n
Repertoire<\/p>\n
\nSong or aria in Italian<\/li>\n Song or aria in German<\/li>\n Song or aria in French<\/li>\n Song or aria in English<\/li>\n<\/ol>\nAt least one selection must be from an aria from an opera, oratorio, or operetta.<\/em><\/p>\nYour chosen repertoire should encompass various musical time periods and contrasting tempos and moods.<\/p>\n
*Please note: any associated costs with bringing an external accompanist will be the responsibility of the applicant and will not be covered by the SOM.<\/p>\n\n\n <\/div>\n <\/div>\n <\/div>\n \n \n \n \n Woodwinds\n <\/div>\n\n
\n \n <\/path>\n <\/svg>\n <\/span>\n <\/button>\n\n \n \n \n
Accompaniment<\/h3>\n Accompaniment is not necessary, but you are welcome to bring\/have an accompanist of your choice or an individual from our list of approved accompanists.<\/p>\n
Flute<\/h3>\n\nA sonata by Johann Sebastian Bach or concerto by Wolfgang Amadeus Mozart<\/li>\n Second work of applicant\u2019s choosing.<\/li>\n<\/ol>\nOboe<\/h3>\n\nA fast movement of a Baroque-era concerto or sonata (i.e., J. S. Bach, Sonata in G minor, BWV 1020; Marcello, Concerto in C minor; Vivaldi, any concerto)<\/li>\n Slow lyrical etude or slow movement of a solo work of applicant\u2019s choosing.<\/li>\n<\/ol>\nClarinet<\/h3>\n\nExposition of movement 1 of Wolfgang Amadeus Mozart Concert, K. 622<\/li>\n Slow lyrical etude or slow movement of a solo work of applicant\u2019s choosing.<\/li>\n<\/ol>\nBassoon<\/h3>\n\nWolfgang Amadeus Mozart, Concerto for Bassoon, K. 191\/186e<\/li>\n Second work of applicant\u2019s choosing.<\/li>\n<\/ol>\nSaxophone<\/h3>\n\nOne selection from the following list:\n\nPaul Creston, Sonata, first movement<\/li>\n Jacques Ibert, Concertino da Camera, second and third movements (segue)<\/li>\n Alfred Desenclos, Prelude, Cadence et Finale<\/li>\n<\/ol>\n<\/li>\n Second work of applicant\u2019s choosing.<\/li>\n<\/ol>\n*Please note: any associated costs with bringing an external accompanist will be the responsibility of the applicant and will not be covered by the SOM.<\/p>\n\n\n <\/div>\n <\/div>\n <\/div>\n\n
Curriculum<\/h2>\n\n \n\n \n\n<\/div>\n
Program Requirements<\/h2>\nDiagnostic Exam<\/h3>\n All entering graduate music students must take diagnostic exams in music theory and music history prior to the start of their first semester of enrollment. These exams are administered in the week prior to the beginning of classes in the Fall and Spring.<\/p>\n
Graduate Recital<\/h3>\n The M.A. in Music with an emphasis in Music Performance requires the performance of a Graduate Recital, typically scheduled in the final semester of study.<\/p>\n
Comprehensive Exam<\/h3>\n The graduate comprehensive examinations in music (written and oral) are required of all candidates for the Master of Arts in Music degrees.<\/p>\n
Additional Vocal Track Requirements<\/h3>\n\nEntering vocal performance majors with fewer than two (2) semesters of study of French, German, or Italian must complete two (2) semesters of undergraduate study in one of those languages.<\/li>\n Entering vocal performance majors must take a diagnostic exam in diction, covering Italian, English, French, and German languages.<\/li>\n<\/ul>\n <\/p>\n","protected":false},"excerpt":{"rendered":"
The Master\u2019s program in Music Performance at Marshall University offers advanced training on your instrument for honing your technical and artistic skills. Graduates of the program are prepared to enter the profession as performers and educators, to teach at the collegiate level, or to enter a doctoral-level performance program. Admission Requirements & Deadlines Please visit<\/p>\n","protected":false},"author":255,"featured_media":0,"parent":5135,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-7159","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.marshall.edu\/music\/wp-json\/wp\/v2\/pages\/7159","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.marshall.edu\/music\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.marshall.edu\/music\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.marshall.edu\/music\/wp-json\/wp\/v2\/users\/255"}],"replies":[{"embeddable":true,"href":"https:\/\/www.marshall.edu\/music\/wp-json\/wp\/v2\/comments?post=7159"}],"version-history":[{"count":5,"href":"https:\/\/www.marshall.edu\/music\/wp-json\/wp\/v2\/pages\/7159\/revisions"}],"predecessor-version":[{"id":7262,"href":"https:\/\/www.marshall.edu\/music\/wp-json\/wp\/v2\/pages\/7159\/revisions\/7262"}],"up":[{"embeddable":true,"href":"https:\/\/www.marshall.edu\/music\/wp-json\/wp\/v2\/pages\/5135"}],"wp:attachment":[{"href":"https:\/\/www.marshall.edu\/music\/wp-json\/wp\/v2\/media?parent=7159"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}