Music

BM, BA, Minor Application Information

Steps TO APPLY

Step 1: Review Deadlines

Application deadlines vary across departments, programs, and applicant type.

Step 2: Submit University Application

Mason Gross School of the Arts applicants must first submit a Rutgers University application.

Step 3: Submit Mason Gross Supplemental Application

All Mason Gross School of the Arts applicants are required to submit a talent assessment. Talent assessment requirements vary across departments and programs. Applications are considered incomplete without the required talent assessment.

Deadlines

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 15 (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 admissions@mgsa.rutgers.edu: 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 admissions@mgsa.rutgers.edu. 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 admissions@mgsa.rutgers.edu, 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 2022 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.

  • $50 music audition fee
  • Music questionnaire
  • Music audition date selection OR Recorded Audition
  • Composition portfolio—for composition applicants only

Audition Dates

The Music Department is accepting both live in-person auditions as well as video recorded auditions for Fall 2022 admission. Live on campus audition dates are listed below.

  • Saturday, February 5: All instruments and voice except jazz drums and guitar
  • Thursday, February 17: Only jazz drums and guitar
  • Saturday, February 19: All instruments and voice except jazz drums and guitar

Aural Skills Assessment

All applicants are required to complete an aural skills assessment. Applicants who audition live on campus will complete the aural skills assessment on the same day as the voice/instrumental audition. Applicants who submit a recorded audition will be scheduled to complete the aural skills assessment virtually via zoom. During the aural skills assessment, applicants will be evaluated through a simple pitch-matching ear training and rhythm assignment.

Music Education Interview

Applicants to the music education program are required to complete an interview with music education faculty. Applicants who audition live on campus will complete the music education interview on the same day as the voice/instrument audition. Applicants who submit a recorded audition will be scheduled to complete the music education interview virtually via zoom.

Composition Interview

Applicants to the composition program are required to complete an interview with composition faculty. Applicants who audition live on campus will complete the composition interview on the same day as the voice/instrument audition. Applicants who submit a recorded audition will be scheduled to complete the composition interview virtually via zoom.

Audition Requirements

The Music Department is accepting both live, in-person auditions as well as video recorded auditions for fall 2022 admission. These formats have the same repertoire requirements, unless specifically listed in the audition requirements section below. If you select to submit a recorded audition 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.

Brass

For any questions regarding brass auditions, please contact Head of Brass, Professor Kenneth DeCarlo, at kdecarlo@mgsa.rutgers.edu.

Euphonium

  • 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

Horn

  • 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)
    • 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 callsBM Performance Only: 3 standard orchestral excerpts (listed below are several suggestions for appropriate repertoire):

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

Trumpet

  • 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]

Tuba

  • 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.”

Composition

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.

Harp
  • 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
Jazz

The jazz audition requirements for live audition differ than those of a recorded audition, outlined below. For any questions regarding jazz auditions, please contact Professor Marc Stasio, Coordinator of Jazz Studies, at marc.stasio@rutgers.edu.

Live On Campus Auditions

  • Piano/Guitar, Bass, and Drum accompanists are provided in audition rooms. Pre-recorded backing tracks are not needed or permissible. Please bring copies of music for the trio.
  • A piano and drum set with cymbals are available in audition rooms. Drummers are asked to bring sticks/brushes.
  • Guitar and bass amplifiers are supplied in audition rooms. Please bring your own patch cable. We cannot supply instruments or replacement strings.

Jazz Applicants (except Drums): Please Complete Parts A, B, and C

Part A
  • Prepare two (2) contrasting selections from standard jazz repertoire
    • Performances should include the tune head and one or two choruses of improvisation.
    • Tune forms 16 bars or less should include three (3) chorus of improvisation.
  • For Bass (in addition to the above)
    • Upright or Electric bassists are welcome to apply
    • Also prepare to demonstrate walking jazz bass lines
  • For Piano and Guitar (in addition to the above)
    • Also prepare to demonstrate chordal comping behind another soloist
  • For Lead Trumpet specialists (in addition to the above)
    • Test lead playing skills; read a lead chart
Part B
  • Choose and prepare three (3) options from the following list:
    • Theory: Major and minor scales, 2 octaves preferred
    • Theory: Major modal scales, 2 octaves preferred
    • Aural skills: Identify chord qualities as played by faculty
    • Perform a prepared work: etude, study, jazz transcription
    • Perform a selection from any non-jazz style/genre that best represents your background, experience, and interests, to date
Part C
  • Sight read a presented lead sheet, exercise, or band arrangement part

Jazz Drum Set Applicants (supersedes above requirements)

  • Prepare two (2) contrasting selections from standard jazz repertoire to perform with the supplied bassist and pianist/guitarist.
  • Perform the following solo time feels: Swing in 4/4, and 3/4 (slow, medium, and up-tempo, with sticks and brushes), Bossa Nova, Samba, and Shuffle.
  • Sight read charts and/or lead sheets, outline melodic content and hits while keeping time
  • 26 Standard N.A.R.D. rudiments OR perform a single option on piano from Part B, above
  •  

Recorded Auditions

  • Recorded auditions are to emphasize ensemble and solo playing technique
  • Please do not include theory components such as scales or modes
  • 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 (3) chorus of improvisation.
  • For Bass (in addition to the above)
    • Upright or Electric bassists are welcome to apply
    • Add a chorus of walking jazz bass lines within the above performances
  • For Piano and Guitar (in addition to the above)
    • Add a chorus of chordal comping (as if under a soloist) within the above performances
  • For Lead Trumpet specialists (in addition to the above)
    • 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 Drum Set Applicants (supersedes above requirements)

  • Record two (2) 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:
    1. Medium Swing in 4/4
    2. Fast Swing in 4/4
    3. Ballad Jazz 3/4 (with Brushes)
    4. Medium Jazz 3/4
    5. 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.

Percussion

For all questions concerning the percussion auditions and/or repertoire, please contact Head of Percussion, Professor Joseph Tompkins, at jtompkins@mgsa.rutgers.edu.

Snare Drum

  • One solo piece or etude in orchestral style
  • One solo piece or etude in rudimental style

Keyboard percussion – Marimba and Xylophone

  • One solo piece with two mallets (xylophone or marimba)
  • One solo piece with four mallets (marimba)

Timpani

  • One solo piece or etude
Piano

For all questions concerning the piano auditions and/or repertoire, please contact Professor Robert Grohman, Coordinator of Keyboards, at rgrohman@mgsa.rutgers.edu.

For applicants auditioning by recording, 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

  • A work by J.S. Bach
  • A sonata-allegro movement of a piano sonata by Mozart, Haydn, Beethoven, or Schubert
  • One of the following:
    • 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
  • An additional solo piano piece of the applicant’s choosing.
  • Memorization of one of the above is required.
  • Sight-reading skills may be tested

Composition

  • Two contrasting solo piano pieces from different style periods (individual movements are acceptable). These may be drawn from the standard classical or jazz repertoire or from another tradition of notated keyboard music.  Memorization is not required.

 

Strings

For all questions concerning the strings auditions and/or repertoire, please contact Head of Strings, Professor Jonathan Spitz, at jspitz@mgsa.rutgers.edu.

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.

Violin

  • 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

Viola

  • 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

Cello

  • 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
Voice

For all questions concerning the voice auditions and/or repertoire, please contact Head of Voice, Professor Eduardo Chama, at echama@mgsa.rutgers.edu.

The Music Department will be offering two audition choices for all applicants: a live audition on campus or a video pre-recorded audition.

Please consult with your teacher for guidance on choosing musical selections that meet the requirements for the audition. All selections must be from the standard classical repertoire (Art song, Opera and/or Oratorio arias, sacred songs). Operatic arias are not required or expected at the undergraduate level. The songs should be of contrasting style and show potential, interpretative ability and musicianship. Repertoire is the applicant’s choice, and should showcase classical style repertoire you love to sing.

Voice at Mason Gross does not offer training in vocal jazz, non-classical voice, or musical theater. Therefore musical theater songs, Broadway songs, popular music, choral arrangements, or jazz are not acceptable repertoire for the audition.

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.

For Live Auditions On Campus

No “a cappella” or pre-recorded music accompaniment allowed; an accompanist will be provided. 

On the day of your live audition, a brief ear test and interview will be conducted by one of the voice professors. You will be requested to match notes and note patterns as well as repeat rhythm examples. Music Education applicants will have a separate interview with the Music Education faculty on the day of the audition as well.

For Pre-recorded Auditions

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. Lighting and balance fixing is permitted.

After submitting the supplemental application, you will be scheduled to complete a brief ear test and interview with a of the voice faculty members. You will be requested to match notes and note patterns as well as repeat rhythm examples. Music Education applicants will also be scheduled to interview with Music Education faculty separately.

Voice Performance (Live OR Recorded)

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 (Live OR Recorded)

Three memorized contrasting classical selections

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

For all questions concerning the woodwinds auditions and/or repertoire, please contact Head of Woodwinds, Professor Maureen Hurd, at mlhurd@mgsa.rutgers.edu.

Bassoon

  • 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.
  •  

Clarinet

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

Flute

  • 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

Oboe

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

Saxophone

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