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Music Admissions

BM, BA, Minor Application Information


Bachelor of Music: First Year Applicants

Fall Admission Only

Rutgers University Application: December 1
Mason Gross Supplemental Application: January 15

Bachelor of Music: Transfer Applicants

Fall Admission Only

Rutgers University Application: February 1 (we recommend applying by January 1 to secure your first-choice interview date)
Mason Gross Supplemental Application: February 10 (we recommend submitting by January 15 to secure your first-choice interview date)

Bachelor of Music: School-to-School Transfer and Re-Enrollment

Fall Admissions Only

Email January 1
Mason Gross Supplemental Application: January 15
Decision posted by: June 30

Current or former Rutgers students interested in the bachelor of music should start the process by emailing In your email include your full name, RUID, current or former school enrolled, year, and program you are interested in. 

To be considered for admissions applicants are reviewed both artistically and academically. After contacting, applicants will be emailed the Mason Gross supplemental application outlined below.

If recommended artistically by the Music Department faculty, applicants will be granted access via RUID to the Rutgers School to School Transfer Application or the Rutgers Re-Enrollment Application. The appropriate university application will be reviewed by the Mason Gross Dean of Students academically. 

Admission Requirements

From another Rutgers–New Brunswick school:

  • 12 graded degree credits, excluding remedial courses
  • A Rutgers cumulative grade-point average of at least 2.000
  • Expository Writing (01:355:101) or an acceptable equivalent course with a grade of C or better

From another Rutgers–Camden or Rutgers–Newark school:

  • At least two semesters, including the current semester, as a student in your present school or college at Rutgers University, also including at least 12 graded degree credits, excluding remedial courses
  • A Rutgers cumulative grade-point average of at least 2.000
  • English Composition I and II (Camden 50:350:101 and 50:350:102) (Newark 21:355:101 and 21:355:102) with grades of C or better
Bachelor of Arts and Minor in Music

Currently enrolled Rutgers School of Arts and Science students are welcome to declare the bachelor of arts in music or the minor in music, with no audition no supplementary application required. All Rutgers music ensembles are open, by audition, to all Rutgers–New Brunswick students. Visit the ensembles page for more information.

Rutgers University Application

All applicants must complete and submit the Rutgers University Application. The university application requires the following:

  • $70 Rutgers application fee
  • Self-Reported Academic Record (SRAR) – for current high school students
  • Official high school transcript or GED results – recommended for all transfer applicants, required for transfer applicants who, after high school graduation, have completed fewer than 24 college credits.
  • English proficiency test scores international applicants
  • SAT or ACT scores are optional for applicants to the 2021 admissions cycle - use code 2765 for the SAT and 2592 for the ACT

Mason Gross Supplemental Application

Five business days after submitting the Rutgers University application, applicants will be emailed a link to submit a Mason Gross supplemental application.

  • $75 music audition fee
  • Music questionnaire
  • Music interview date selection
  • Composition portfolio—for composition applicants only
  • Recorded audition

Mason Gross School of the Arts will not be hosting in-person auditions for the 2021 admissions cycle. Instead, applicants will be required to upload audition materials through the Mason Gross supplemental application as outlined below.

Recorded Audition Requirements

Interview Dates

All applicants will be scheduled for a live virtual interview on Saturday February 6 or February 20 from 9 a.m.2 p.m. During the interview, all applicants will complete an aural skills assessment. During the aural skills assessment, applicants will be evaluated through a simple pitch-matching ear training and rhythm assignment.

Music education applicants will also interview with music education faculty.

Composition applicants will also interview with composition faculty.

Within two weeks of submitting the supplemental application, applicants will receive an interview confirmation email with the link to a Zoom session.

Applicant Information Session

A music applicant information session is scheduled for 2 p.m. on the date of your scheduled interview. The information session will be hosted by the Undergraduate Advisor and current music students. Following the information session, applicants will be split into breakout rooms to speak with instrumental and voice faculty.

Audition Requirements

All recorded auditions must be videos without any artificial enhancement, such as echo or reverb. Recordings should be well-lit, recorded in horizontal or landscape mode, and should clearly show the applicant’s posture, instrument, and hands. Please record in a quiet indoor space with windows closed, and background noises silenced. If you are recording with your phone, we recommend downloading the free app Dolby On and record in lossless format. Instrumentalists are not required to have accompaniment. Vocalists are required to use accompaniment; more information can be found within the voice section below.



  • Any slow melody that will demonstrate the quality of your tone and sound (i.e., lyrical air, operatic aria, etc.)
  • Any fast technical solo that will show off your technical development


  • Two contrasting concerto/sonata movements or solo pieces (Examples: concerti by Mozart, R. Strauss, F. Strauss; sonatas by Beethoven, Hindemith; solo works by Bozza, Dukas, Schumann, etc.)
  • Two etudes (Examples: Kopprasch, Kling, Mueller, Gallay, Maxime-Alphonse)
  • BM Performance Only: 3 standard orchestral excerpts (listed below are several suggestions for appropriate repertoire):
    • Beethoven, Symphony No. 3 – 2nd movement Trio (Horn 2)
    • Beethoven, Symphony No. 7 – 1st movement (25 measures before C – Reh. C)
    • Brahms, Symphony No. 1 – 2nd or 4th movement solos
    • Brahms Symphony No. 3 – 3rd movement solo
    • Shostakovich, Symphony No. 5 – 1st movement low tutti
    • Strauss, Till Eulenspiegel’s Merry Pranks – opening calls

    If you have questions about selecting repertoire, please contact any of the horn faculty:

    Leelanee Sterrett

    Richard Deane 

    David Peel

Tenor Trombone

  • Two etudes in contrasting styles by Kopprasch, Blazhevich, Bordogni/Rochut, or similar methods
  • A prepared solo of your choice
    Examples: Hindemith “Sonata for Trombone,” Guilmant, “Morceau Symphonique” or one of equal difficulty

Bass Trombone

  • A technical etude (such as Blazhevich, Grigoriev or Kopprasch) and a lyrical etude (such as Bordogni/Rochut or Concone)
  • A prepared bass trombone solo or transcription of a tuba solo


  • Two contrasting movements from the standard concerto/solo literature
    • Examples: Balay, Haydn, Hindemith, Hummel, Kennan, Stevens
  • Mandatory Etude
    • Bousquet: 36 Celebrated Studies, No. 3
  • Three of the following mandatory orchestral excerpts:
    • Beethoven: Leonore Overture #3 offstage solo
    • Mahler: Symphony No. 5, Movement 1 from beginning to 4 bars after [1]
    • Mussorgsky: Pictures at an Exhibition, Promenade
    • Respighi: Pines of Rome, Movement 2 offstage solo
    • Stravinsky: Petrushka, 1 bar before [13] – [14]


  • Two etudes from the studies of Kopprasch, Blazhevich, Rochut or equivalent
  • A prepared solo of your choice

Note: Solos should include slow and fast movements equal to Vaughan Williams “Concerto for Bass Tuba,” Hindemith “Sonata for Bass Tuba,” Hartley “Suite for Unaccompanied Tuba,” Wilder “Suite #1 (Effie) for Tuba,” or Persichetti “Serenade for Solo Tuba.” No transcripts, please. Contact Alan Baer directly with any questions.


All composition applicants should submit a composition portfolio with their supplemental application. The composition portfolio should include three written scores of original compositions (no arrangements) along with either live or high quality MIDI recordings. The compositions should reflect an array of genres (i.e. voice, instrumental, varying instrumentation). Composition faculty will interview each composition applicant and discuss the submitted portfolio of work.

In addition to the composition portfolio and interview, all composition applicants must complete a voice or instrumental audition as well. Refer to the appropriate area section for audition requirements.

  • One etude by Bochsa, Pozzoli or Naderman
  • Two contrasting solos (i.e., “Feerie” by Tournier, “Sonatina” by Natra)
  • Two major orchestral excerpts that reflect the applicant’s proficiency

Note: Recorded auditions are to emphasize ensemble and solo playing technique. Please do not include theory components such as scales or modes. Ensure that the video recording has a clear view of the head, upper body, and parts of body that interface with the instrument should be seen on video recordings (i.e., fingers, hands, mouth).

Jazz Applicants (except drums): Please Complete Parts A and B

Part A

Record two (2) contrasting selections from standard jazz repertoire

  • Performances may be solo or with professional backing tracks
  • Performances should include the tune head and one or two choruses of improvisation
  • Tune forms 16 bars or less should include three chorus of improvisation.
Jazz Bass
  • Upright or Electric bassists are welcome to apply
  • Add a chorus of walking jazz bass lines within the above performances
Jazz Piano and Guitar
  • Add a chorus of chordal comping (as if under a soloist) within the above performances
Jazz Lead Trumpet Specialists
  • Add a separate recording that demonstrates lead playing ability, such as an excerpt from a suitable jazz lead chart

Part B

Choose a single option from the following:

  • Record a prepared work: etude (classical or jazz), study, or jazz transcription
  • Record an alternate selection from any non-jazz style/genre that best represents your background, experience, and interests, to date

Jazz Drums Set Applicants (supersedes above requirements)

  • Record two contrasting selections from standard jazz repertoire
    • Performances are to be solo, or with professional backing tracks not containing drums
    • Outline the tune-melody when playing the head
    • Performances should include the tune head and one or two choruses of improvisation.
  • Record 16 bars of the following solo time feels alternating 4 bars of time and 4 bars of fill, each:
    • Medium Swing in 4/4
    • Fast Swing in 4/4
    • Ballad Jazz 3/4 (with Brushes)
    • Medium Jazz 3/4
    • Medium Bossa Nova or similar Latin feel
Music Education

Undergraduate classical applicants applying as a music education major

Classical applicants applying as music education concentration must submit a recorded instrumental or voice audition and complete interviews with both instrumental or voice faculty as well as music education faculty.

Undergraduate jazz applicants applying as a music education major

Applicants who wish to apply to the music education concentration (for K-12 public school teaching) and study a jazz instrument, should select the music education option and the jazz option on your supplemental application. If you choose the choral track, you will be preparing to teach choir in K-12 public schools. If you choose the instrumental track, you will be preparing to teach band or orchestra (or both) in K-12 public schools. The opportunity to teach jazz in public schools may also be an option, but we do not train students to teach jazz exclusively.

Applicants to jazz bass, jazz guitar, and jazz piano, are required to submit a modified classical ensemble audition for the classical area faculty. Applicants can upload a recording of any classical piece played on any orchestral instrument.

Admissions will be based on the jazz audition and studio space. If admitted, you will study your jazz instrument with a member of the jazz faculty, perform in one of the jazz ensembles, and also perform in one of the classical ensembles as assigned by the department each semester. You will not receive a lesson in the classical instrument/voice.

This program takes five years to complete, and upon graduation you will able to teach both jazz and classical music. All the music education requirements and all of the jazz requirements must be completed.


Snare Drum

  • Standard rudiments, slow to fast
  • One solo piece or etude in orchestral style
  • One solo piece or etude in rudimental style

Keyboard percussion – Marimba and Xylophone

  • All major and minor scales and arpeggios (three octaves)
  • One solo piece with two mallets (xylophone or marimba)
  • One solo piece with four mallets (marimba)


  • Rolls
  • One solo piece or etude

All videos must show a clear view of the applicant’s hands. The video does not need to be “professional quality” but should clearly and accurately represent the applicant. While pieces or movements may be included from different settings/performances, each individual piece or movement should be unedited and should not contain any professional effects. 

Piano Performance 

  • A prelude and fugue by J.S. Bach from the Well-Tempered Clavier

  • A piano sonata by Mozart, Haydn, Beethoven, or Schubert

  • A substantial work from a major Romantic Era composer (Chopin, Schumann, Brahms, Liszt, Mendelssohn, etc.)

  • A work by a 20th or 21st century composer that illustrates post-romantic compositional techniques

  • All repertoire must be performed from memory, except music composed after 1945.

Music Education and Composition

  • A work by J.S. Bach

  • A sonata-allegro movement of a piano sonata by Mozart, Haydn, Beethoven, or Schubert

  • A work from a major Romantic Era composer (Chopin, Schumann, Brahms, Liszt, Mendelssohn, etc.) that is not shorter than five minutes in duration

  • A work by a 20th or 21st century composer that illustrates post-romantic compositional techniques


Note: It is suggested, but not required, that auditions be performed by memory. String applicants are not required to perform with accompaniment, but are requested not to perform with pre-recorded accompaniment.


  • One movement of an unaccompanied partita or sonata by J.S. Bach
  • Approximately five minutes of a concerto from the standard repertory with cadenza, if applicable.
    • Examples: Mozart, Kabalevsky, Burch, Lalo, Saint-Saens, Mendelssohn, or Barber
  • One etude or caprice, such as those by Dont, Rode, or Paganini


  • One etude, such as those by Kreutzer or Rode
  • One movement from the suites of J.S. Bach, originally for cello
  • One movement of a contrasting work, such as a movement from a concerto, a movement from a sonata, or a short piece


  • One movement from an unaccompanied suite by J.S. Bach
  • Approximately five minutes of a concerto from the standard repertory, or equivalent work
    • Examples: Haydn, Lalo, Saint-Saens, Elgar, or Kabalevsky
  • One etude or caprice, such as those by Dotzauer, Duport, Popper, or Piatti

Double Bass

  • Two contrastng movements of a baroque sonata, or the opening five minutes of a standard concerto
  • One etude from Bille, Simandl, Storch-Hrabe, or Sturm
  • One stand excerpt from the orchestral repertoire, such as Wagner’s Overture to Die Meistersinger, reh. J through reh. N

Please consult with your teacher for guidance on choosing musical selections that meet the requirements for the audition. Operatic arias are not required or expected at the undergraduate level. Repertoire is the applicant’s choice, and should showcase classical style repertoire you love to sing. If you have any doubts about your repertoire selections you can contact any of the voice faculty via email and we will gladly confirm if the selected pieces are appropriate. Please note, musical theater selections should not be included.

An accompanist is strongly preferred for all submissions. However, if you are unable to arrange for an accompanist, you may use Appcompanist or another recorded track application.

Video recordings should be filmed using a smartphone, tablet, laptop, or video equipment. An external microphone is recommended but not required. The video should be filmed in landscape mode (horizontal aspect ratio) and should show at least your upper body. The use of headphones is permitted. At the start of your recording please state your name, the title of the piece you are going to record, and the composer. The use of all sound enhancement effects is prohibited, this includes reverberation effect, pitch correction, or any kind of post editing cut and paste fixing. Lighting and balance fixing is permitted.

Due to our efforts to promote inclusivity in the vocal area, we encourage you to consider selecting a piece written by an underrepresented composer (composer of color, female composer, or other underrepresented group). This piece should also be in a classical style, inclusive of spirituals. You will not be penalized if this is not possible for your audition.

Voice Performance

Four memorized contrasting classical selections.

  • at least one selection should be in English
  • at least one selection should be in a foreign language

Music Education and Composition

Three memorized contrasting classical selections.

  • At least one selection should be in English
  • At least one selection should be in a foreign language


  • Scales: 1 major scale of the student’s choice and 1 minor scale (harmonic form) of the student’s choice. Three-octave scales are encouraged but not required.
  • Chromatic scale, student’s full range
  • One orchestral excerpt selected from the following list:
    • Stravinsky, The Rite of Spring: Opening solo through figure 4
    • Tchaikovsky, Symphony No. 4, Movement 2: Solo at the end through last bar
    • Rimsky-Korsakov, Scheherazade, Movement 2: Solo at beginning movement through Figure A and cadenzas Figure L–M
    • Mozart, The Marriage of Figaro, Overture: Measures 139–152
    • Berlioz, Symphonie fantastique, Movement 4: Figure 52–53
    • Berlioz, Symphonie fantastique, Movement 5: Figure 63 to 5 measures after 64
  • An etude from Weissenborn’s Fifty Advanced Studies
  • Two contrasting movements from a concerto or sonata; one must be from the Baroque or Classical era, and the other can be from any period.


  • Any etude at the level of Rose’s 32 Etudes for Clarinet
  • Two contrasting selections from the concerto, sonata, and/or solo literature


  • One two-octave major scale of the applicant’s choice
  • An etude at the level of Andersen Op. 33
  • One movement of a baroque sonata or classical concerto
  • One work or movement of a work from the 19th, 20th, or 21st century


  • Two contrasting etudes from Barret or Ferling
  • Two contrasting movements of a sonata or concerto (one must be from the Baroque or Classical era)


In all instances, applicants can contact Paul Cohen directly to discuss repertoire if different from the choices below.

Alto Saxophone (Classical)

  • One prepared etude from Voxman’s Selected Studies
  • Two complete works (all movements) from the following:
    • Creston Sonata
    • Lunde Sonata
    • Jacobi Sonata
    • Eccles Sonata (arr. Rascher)
    • Handel Sonata No. 3 (arr. Rascher)

Tenor Saxophone (Classical)

  • One selection from Voxman’s Selected Studies
  • Two complete works (all movements) from the following:
    • Galliard Sonata No. 4
    • Telemann Sonata in C Minor
    • Tuthill Sonata
    • Schmidt Sonatina
    • Hartley Poem

Baritone Saxophone (Classical

  • One selection from Voxman’s Selected Studies
  • Two complete works (all movements) from among the following:
    • Caravan Sonata
    • Presser Prelude
    • Spears Ritual and Celebration
    • Handel Sonata No. 3 (arr. Rascher)
    • Fasch Sonata (arr. Rascher)

Learn about the BM program

Learn about the BA and Minor programs