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Please start with the "Graduate Students > Application Process" page before proceeding with instructions on this page. Requirements, supplementary materials, and deadlines vary by program.

Graduate Audition Information

Updated March 3, 2022

Sections on this page:
About Your Audition
Performance Audition Repertoire
Conducting Requirements
Academic Area Requirements
Audition Location
Graduate Audition Day and Open House
Audition Video Guidelines

In-person auditions for Fall 2022 are closed. Please check back August 1, 2022 to sign up for a Spring 2022 audition.


For spring admission, Jazz and Vocal Jazz do not accept students.

Please read this entire page carefully. Audition processes, requirements, and repertoire differ depending on your instrument and area of study. If something is unclear, additional questions pertaining to auditions can be found in the Graduate FAQ.

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About Your Audition

Prospective students in the M.M. programs (excluding Composition) must submit an audition recording before you receive notification of your acceptance into the university.

M.A. applicants (and M.M. Composition applicants) are not required to audition. All entering students who have been admitted to the university are required to take placement examinations in both music history and music theory.

Audition Requirements

For specific Audition Repertoire and requirements pertaining to your instrument/voice, select your instrument below.

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Performance Audition Requirements

Please select your instrument area below for specific repertoire and requirements.

If you have additional questions about your audition, please contact the Area Director of your instrument directly using the email address provided.

Brass Audition Requirements

*Brass Studies requires you to submit a prescreen audition in video format.

Brass Studies Prescreen auditions are now closed. If you have further questions, please contact the Area Director.

All instrumentalists (both undergraduate and graduate) who are interested in becoming Brass Studies majors must submit a Prescreen Audition Video as the first step in the audition process. Please refer to the Audition Video Guidelines section when preparing your Audition Video.

Based on the video, you will be notified if you have been selected to advance to the next step of the audition—an in-person audition where you will be expected to perform one or more selections from the standard repertoire that reflect both lyrical and technical proficiency.

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Audition Repertoire

Applicants for admission should perform:

  • Music from the standard solo repertoire, lyrical and technical études, and orchestral excerpts. Music from your senior recital and excerpts from any orchestral audition list are appropriate. Études need to be from a graduate level étude book (i.e Charlier, Bordogni, Bitsch, and Blazevich).

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Instrumental Jazz Audition Requirements

*Instrumental Jazz requires you to submit a prescreen audition in video format.

Instrumental Jazz Prescreen auditions are now closed. If you have further questions, please contact the Area Director.

All instrumentalists (both undergraduate and graduate) who are interested in becoming Jazz Studies majors must submit a Prescreen Audition Video as the first step in the audition process. Please refer to the Audition Video Guidelines section when preparing your Audition Video.

Based on the video, you will be notified if you have been selected to advance to the next step of the audition—an in-person audition where you will be expected to sightread a jazz étude or excerpt. During this portion of the audition, we evaluate rhythmic and note accuracy in a consistent time feel.

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Audition Repertoire by Instrument

Wind Players

Prepare two medium-tempo or up-tempo jazz standards/études in contrasting styles. Be prepared to perform the melody of the tune and improvise to the chord changes accompanied by live musicians or accompaniment tracks provided by you.

Saxophonists should be prepared to demonstrate woodwind-doubling skills on a jazz or classical étude or excerpt. Alto saxophonists should be prepared to play soprano sax and flute. Tenor saxophonists should be prepared to play clarinet and flute. Baritone saxophonists should be prepared to play bass clarinet and flute.

Guitar and Piano

Prepare two medium-tempo or up-tempo jazz standards/études in contrasting styles. Be prepared to perform the melody of the tune, perform a chord melody (guitar only), "comp" the chord changes, and improvise on the chord changes accompanied by live musicians or accompaniment tracks provided by you. Guitarists will be asked to play the written melody line; Pianists will be asked to play the written melody while comping the chord changes in the left hand.

Bass

Prepare two medium-tempo or up-tempo jazz standards/études in contrasting styles. Be prepared to perform the melody of the tune, provide a bass line (comp), and improvise to the chord changes accompanied by live musicians or accompaniment tracks provided by you.

Candidates must audition on acoustic bass, but may also demonstrate their electric bass skills. The Jazz Studies area does not admit candidates who play electric bass only.

Drums

Prepare two medium-tempo or up-tempo jazz standards/études in contrasting styles. Be prepared to perform the tunes accompanied by live musicians or accompaniment tracks provided by you. Candidates who advance to the second part of the audition will be asked to demonstrate proficiency in a variety of styles, plus the ability to play in odd meters. Additionally, you will be asked to sightread a portion of a big band chart to demonstrate your ability to play a consistent groove in the style, play set-up figures, and accurately play notated ensemble cues.

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Jazz Vibraphone Audition Repertoire

Graduate Students

  1. Play the melody of, and improvise over the chord changes to three jazz standards of contrasting styles accompanied by live musicians or pre-recorded accompaniment tracks which you are required to provide. One of the pieces must be performed at a tempo marking of at least 240 bpm.
  2. Comp the chord changes to both tunes using four mallets.
  3. Prepare a "chord melody" of an entire jazz standard and one of the final 10 pieces from Vibraphone Technique: Dampening and Pedaling by David Friedman.
  4. Perform a the melody of and improvise over a jazz standard rearranged in an odd meter such as 5/4, 7/8 or 9/8.

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Additional Resources

Is "Jazz At The Beach" right for you?

Undergraduate and Graduate jazz studies degree programs are designed to put the finishing touches on your previously acquired jazz skills. Collegiate jazz programs are not designed to accommodate those with little or no jazz background and/or those with undeveloped music notation reading skills. Here are some general guidelines and prerequisite skills that indicate whether the Jazz Studies degree programs at "Jazz At The Beach" are a good fit for you:

Master of Music in Jazz Studies Candidates

Successful candidates have a history of excellence in secondary school and collegiate academics, have 6-8years of experience as the star performers of their secondary school and undergraduate Jazz Studies programs, possess an extensive repertoire of jazz standards, and can sightread notation at a near professional level. We must limit acceptance to those candidates who qualify for and will perform with our top jazz ensembles.

The Jazz Studies Handbook

The Jazz Studies Handbook was compiled and is updated annually to publicize jazz area policies, offer helpful advice, and answer frequently asked questions from prospective and current Bob Cole Conservatory jazz majors. If you have any further questions specific to the Jazz Studies area that are not covered in this handbook, please e-mail the area director at jeff.jarvis@csulb.edu.

All of us at "Jazz At The Beach" are eager to help you realize your goals.

Vocal Jazz Audition Requirements

*Vocal Jazz requires you to submit a prescreen audition in video format.

Jazz Prescreen auditions are now closed. If you have further questions, please contact the Area Director.

For acceptance into the Bob Cole Conservatory of Music as a Jazz Voice Major, graduate students must submit a Prescreen Audition Video as the first step in the audition process. Please refer to the Audition Video Guidelines section when preparing your Audition Video.

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Audition Repertoire

Your Audition Video must include three song selections: a ballad, a medium swing, and another contrasting style (Latin, ECM, bebop, etc.). At least two of the pieces must include vocal improvisation.

Based on your prescreen video, you will be notified if you have been selected to advance to the next step of the audition process—an in-person audition (ZOOM audition is allowable only if unable to come in person).

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If Offered a Live Callback Audition

  1. You will sing:
    1. One medium swing tempo song (from standard jazz repertoire)
    2. One jazz ballad (from standard jazz repertoire)
    3. One song in an alternate jazz style (Latin, ECM, etc.)
  2. Improvise on at least two of your song selections
  3. Sight-read one jazz excerpt (sent during your Zoom audition)
  4. Repeat a random series of pitches played on the piano

Please Note

  • For live auditions, an accompanist will be provided. You may also use backing tracks or bring your own accompanist to play for your audition
  • Jazz études or solo transcriptions are also acceptable, but not required.
  • There is no classical voice requirement for Graduate Jazz Voice Majors
  • Recording your audition is strictly prohibited

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Graduate Assistantships

The Bob Cole Conservatory may have Graduate Teaching Assistantships available during some academic years. If you are interested in being a Graduate Assistant, please notify the Area Director, Christine Guter.

Interested students must complete an audition for a Graduate Teaching Assistantship. In most (but not all) cases, this would happen during your audition into the Conservatory.

Graduate Teaching Assistantships could be a one- or two-year appointment.

Graduate Assistantship Audition and Interview Requirements

  1. Play random (requested) ii-V-I patterns at the piano
  2. Play through (sight-read) changes on a lead sheet provided by the audition committee
  3. Sightread (play on piano) vocal parts to a vocal jazz arrangement provided by the audition committee
  4. Be prepared to do a live teaching demonstration with one of the Conservatory’s vocal jazz ensembles. (Details of this process can be discussed at a later date)
  5. Provide a résumé of all teaching and performing experience. If you have directed a vocal jazz group in the past, please include audio and/or video recordings if available
  6. Copies of three recommendation letters from people who have worked with you, or observed your work as a professional musician and/or educator. These can be the same letters as the ones you provided for your application to the university
  7. Discuss your strengths, weaknesses, goals, and philosophy of music and teaching

If you have any questions, please contact: Christine Guter christine.guter@csulb.edu

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Keyboard Audition Requirements

*Keyboard Studies requires you to submit a prescreen application and prescreen Audition Video to be considered for the program.

Keyboard Studies auditions are now closed. If you have further questions, please contact the Area Director.

All Keyboard applicants must follow the repertoire guidelines and the directions in the Audition Video Guidelines section.

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Audition Repertoire

Piano

Master of Music in Piano Performance

Your Prescreen Video must include:

  • A minimum of three (3) works in contrasting styles
  • At least one work from the Baroque or Classical era
  • At least fifteen (15) minutes of music
  • Must be unedited and recorded within the past year
  • Demonstrate both virtuosic and lyrical playing at a level sufficient for graduate studies

A program consisting of at least 30 minutes of music

  • A minimum of three (3) works in contrasting styles
  • At least one work must be from the Baroque or Classical era
  • Strongly suggested: One étude of virtuosity from the standard repertoire
  • Single movement or movements from a larger work are acceptable

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Organ

Applicants for admission on organ should be prepared to perform a work demonstrating both musical registration and technique. This may be done with one composition or with two contrasting works. Playing from memory will be considered as denoting serious preparation.

Repertoire may include:

Graduate

  • J.S. Bach: Doric Toccata
  • J.S. Bach: Wedge Prelude and Fugue
  • J.S. Bach: Preludes and Fugues in G Major, D Major, A Minor, and B Minor
  • J.S. Bach: Trio Sonatas
  • Vierne: Symphonies
  • Widor: Symphonies
  • Reubke: Sonata on 94th Psalm
  • Dupre: Variations on a Noel, and/or Preludes and Fugues

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Juries

Following each semester of required private study the student must pass a performance examination before a jury composed of the studio instructor and Conservatory of Music faculty members.

Additional Organ Jury Requirements

All or portions of a work from each of the periods in music history studied during the semester. Registration, pedal dexterity, finger legato, manual changes and use of the expression pedals are essential achievements.

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Percussion Audition Requirements

*Percussion Studies auditions are now closed. If you have further questions, please contact the Area Director.

Applicants for admission should bring sticks, mallets, music, and any instruments beyond a marimba, vibraphone, snare drum, timpani and drum set. Please refer to the Audition Video Guidelines section when preparing your Audition Video.

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Audition Repertoire


  1. 4-mallet Marimba solo
  2. Snare Drum Étude from Delécluse
  3. Orchestral excerpts: 3 excerpts on 3 separate instruments

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If Offered a Live Callback Audition

If you are offered a live callback audition, you should prepare the following:

Repertoire may include:

Mallet Keyboard

  1. Two standard orchestral excerpts of your choice

Snare Drum

  1. Two standard orchestral excerpts of your choice

Timpani

  1. Two standard orchestral excerpts of your choice

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Strings Audition Requirements

*String Studies auditions are now closed. If you have further questions, please contact the Area Director.

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Audition Repertoire

Please note: if you wish to audition with a different set of pieces, please email the Area Director.

Violin

Applicants for admission on violin should be prepared to perform the following:

Violin Repertoire

  1. An Étude or a Caprice
  2. Two movements from an Unaccompanied Bach Sonata or Partita, or the Chaconne
  3. A movement of a Concerto
  4. A work written after 1975 or a virtuoso piece

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Viola

Applicants for admission on viola should be prepared to perform the following:

Viola Repertoire

  1. An Étude or a Caprice
  2. 2. Two movements from an Unaccompanied Bach Sonata, Partita, Cello Suite, or the Chaconne
  3. A movement of a Concerto
  4. A work written after 1975 or a virtuoso piece

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Cello

Applicants for admission on cello should be prepared to perform the following:

Cello Repertoire

  1. An Étude or a Caprice
  2. Two movements from a Suite for Unaccompanied Cello
  3. A movement of a Concerto
  4. A work written after 1975 or a virtuoso piece

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Bass

Applicants for admission on bass should be prepared to perform the following:

Bass Repertoire

  1. Baroque: One movement of a Sonata (Vivaldi, Eccles, Corelli…) or one movement of a Bach Cello Suite
  2. Solo of choice from Classical, Romantic or Contemporary
  3. Two excerpts from the following list (Wagner counts as 2):
    (Download sheet music here)
    • Bach: Brandenburg #3 first mov.
    • Mozart: 40 First
    • Beethoven: 5 Trio
    • Beethoven: 3 End of first mov.
    • Beethoven: 9 6/8 fugue
    • Berlioz: Symphony Fantastique (IV)
    • Tchaikovsky: 4 first page
    • Brahms: 1 first and last mov.
    • Dvořák: 8 last mov.
    • Wagner: Meistersinger prelude
    • Strauss: Don Juan first page
    • Prokofiev: Lt. Kije solo

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Voice Audition Requirements

*Voice requires you to submit a prescreen audition in video format.

Voice Prescreen auditions are now closed. If you have further questions, please contact the Area Director.

For acceptance into the Bob Cole Conservatory of Music as a Voice Major, graduate students must submit a Prescreen Audition Video as the first step in the audition process. Please refer to the Audition Video Guidelines section when preparing your Audition Video.

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Prescreen and Live Audition Repertoire

Prescreen audition and live audition repertoire are identical. You must perform:

  • One Italian aria
  • One German Lied
  • One French mélodie
  • One other aria or art song

Repertoire must be performed from memory.

Based on your prescreen video, you will be notified if you have been selected to advance to the next step of the audition process—an in-person audition (a video audition is allowable only if unable to come in person).

If you have any additional questions, please don’t hesitate to contact the area director.

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Woodwind Audition Requirements

*Woodwind Studies requires you to submit a prescreen audition in video format.

Woodwind Studies Prescreen auditions are now closed. If you have further questions, please contact the Area Director.

All instrumentalists (both undergraduate and graduate) who are interested in becoming Woodwind Studies majors must submit a Prescreen Audition Video as the first step in the audition process. Please refer to the Audition Video Guidelines section when preparing your Audition Video.

Based on the video, you will be notified if you have been selected to advance to the next step of the audition—an in-person audition where you will be expected to perform one or more selections from the standard repertoire that reflect both lyrical and technical proficiency.

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Audition Repertoire

Bassoon

Applicants for admission on bassoon should prepare two contrasting selections (lyrical & technical) from the standard classical bassoon repertoire totaling at least 10 minutes in length. Please use the list below to help you select a work that best showcases your abilities; they are only suggestions. Feel free to choose a work not on this list. Études are not appropriate to play for this audition.

Bassoon Repertoire

  • Solo concerto of applicant’s choice
  • One Milde Concert Study Op. 26
  • Tchaikovsky Symphony No. 4—movement 2 solo
  • Overture to Mozart’s The Marriage of Figaro

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Clarinet

Applicants for admission on clarinet should prepare selections that reflect the best of your ability to play musically and technically.

Clarinet Repertoire

Prepare a minimum of 3 compositions representing different styles from the basic clarinet repertoire. It can be a movement from each work.

Also prepare 2 orchestral excerpts.

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Flute

Prescreen Audition

Prepare one piece from the standard repertoire (ex: one movement from the Mozart concerto in G Major or D Major or a piece from the French Composers Book) AND one orchestral excerpt.

Call-back Audition

Prepare two contrasting pieces from the standard repertoire (ex: one movement from the Mozart concerto in G Major or D Major and a piece from the French Composers Book) AND two orchestral excerpts.

Flute Repertoire

Prepare two contrasting selections (lyrical & technical) from the standard classical flute repertoire, either flute and piano or solo flute, totaling at least 15 minutes in length.

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Oboe

Applicants for admission on oboe should be prepared to play two contrasting selections from the standard repertoire.

Repertoire may include:

Method and Exercise Books

  • A.M.R. Barrett: Complete Oboe Method, Original Edition (Boosey and Hawkes)
  • H. Brod: Études et Sonates pour Hautbois, 2nd Volume (A. Leduc)
  • W. Ferling: 48 Famous Studies (Southern Music Co.)
  • G. Gillet: Studies for the Advanced Teaching of the Oboe (A. Leduc)
  • A. Andraud: Vade Mecum of the Oboist (Southern Music Co.)

Sonatas and Solo Works

  • F. Poulenc: Sonata for Oboe and Piano (Southern Music Co.)
  • C. Saint-Saëns: Sonata for Oboe and Piano
  • G. Handel: Sonata No. 1 in C minor, No. 2 in G minor
  • A. Vivaldi: Sonata in C minor
  • G.P. Telemann: Sonata in G minor
  • G.P. Telemann: Twelve Fantasias
  • E. Paladihle: Solo
  • E. Lutyens: Presages Op. 53
  • G. Guilhaud: Premiere Concertino
  • C. Nielsen: Romance and Humoresque
  • R. Gipps: The Piper of Dreams for solo oboe
  • M. Maxwell: Pibroch for solo oboe and drone
  • P. Hindemith: Sonate für Oboe und Klavier (Schott)
  • M. Dranishnikova: Poem for oboe and piano
  • K. Hoover: Sonata Op. 44
  • F. Onovwerosuoke: Six Sketches for Oboes and Piano
  • H. Dutilleux: Sonata pour Hautbois et Piano (Leduc)
  • B. Britten: Six Metamorphoses after Ovid
  • J. Brandon: Three Desert Fables
  • A. Morris: Four Personalities
  • A. Morris: Six Collision Études
  • E. Bozza: Fantasie Pastorale
  • W. Piston: Suite for Oboe and Piano
  • W.G. Still: Incantation and Dance
  • R. Schumann: Three Romances for oboe and piano
  • M. Dring: Italian Dance
  • M. Dring: Three Piece Suiteli

Concerti

  • A. Vivaldi Concerti: A minor RV 461, D Major RV 453, D minor RV 454
  • T. Albinoni Concerti: Op. 7, No. 3 / Op. 9, No. 2 / Op. 9, No. 8
  • D. Cimarosa-Benjamin: Concerto for Oboe
  • B. Marcello: Concerto in C Minor
  • G.P. Telemann: Concerto in F minor (Southern Music Co.)
  • G.P. Telemann: Concerto in C minor
  • F.J. Haydn: Concerto in C major (Breitkopf)
  • B. Martinu: Concerto for Oboe
  • W. Mozart: Concerto in C Major
  • E. Goossens: Concerto en un Mouvement (Leduc)
  • R. Strauss: Oboe Concerto (Boosey and Hawkes)
  • V. Bellini: Concerto in Ebli

Chamber Works

  • W. Mozart: Oboe Quartet K.370
  • B. Britten: Phantasy Quartet Op.2
  • Ludwig van Beethoven: Trio in C major Op. 87 for oboe trio
  • Viet Cuong: Suite for oboe trio
  • F. Poulenc: Trio: Oboe, Bassoon, and Piano
  • Thea Musgrave: Take Two Oboes

Orchestral Studies

  • E. Rothwell: Difficult Passages for Oboe and Cor Anglais (3 Volumes)
  • E. Rothwell: J. S. Bach Difficult Passages
  • W. Heinze: Bachstudien für Oboe (2 Volumes)
  • A. Andraud: Vade Mecum of the Oboist

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Saxophone

Applicants should prepare two contrasting selections (lyrical & technical) from the standard classical saxophone repertoire totaling at least 10 minutes in length. Please use the list below to help you select a work that best showcases your abilities, they are only suggestions. Feel free to choose a work not on this list. Études are not appropriate to play for this audition.

Repertoire may include:

Alto Saxophone

  • Alfred Desenclos: Prelude, Cadence, et Finale
  • Robert Muczynski: Concerto
  • Claude Debussy arr. Rousseau or David: Rhapsodie
  • Pierre Sancan: Lamento et Rondo
  • Ida Gotkovsky: Brillance
  • Roger Boutry: Divertemento

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Conducting Requirements

Prescreen requirements vary by area. Please review the requirements below for information and deadlines.


Choral Conducting

Dear Prospective MM Candidate:

Thank you for your interest in the Master of Music in Choral Conducting at the Bob Cole Conservatory of Music. Our choral program, with its focus on individual lessons, score study, repertoire, significant podium time for all applicants, and outstanding performing ensembles, is recognized as one of the finest in the country.

CSULB’s highly selective Conducting area accommodates no more than 2 graduate students per year, each of whom will gain experience conducting rehearsals and performances with the choirs, chamber ensembles, and opera choruses. Student conductors have opportunities to conduct various chamber ensembles and student composer premieres as well as their own ensembles. Based on your previous experience, strengths, and weaknesses, we will design an appropriate plan of training to help you become an extremely well-rounded conductor.

The Bob Cole Conservatory Chamber Choir tours yearly both nationally and internationally; we have performed on National and Regional ACDA, NCCO and NAFME conferences as well as in some of the most prestigious festivals in the world. Most graduate students sing in this ensemble.

With competitive scholarships and graduate assistantships available, we offer a Conservatory education at a very affordable price. We have a 100% success rate into DMA programs or the profession. You are welcome to visit and attend a rehearsal—or a virtual rehearsal—by emailing me at jonathan.talberg@csulb.edu.

If you are interested in applying, please don’t hesitate to email me as a first step.

Fall 2023 admission application and materials are due by January 13, 2023. In addition to the requirements set by the University, your letter of interest, recommendations and transcripts, please send me 10 minutes of rehearsal AND 10 minutes of performance video by the due date.

I look forward to hearing from you and send you best wishes,

Jonathan Talberg, DMA
Director of Choral Activities
Frank Pooler Professor of Choral Music

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Orchestral Conducting

Dear Prospective MM Candidate:

Thank you for your interest in the Master of Music in Orchestral Conducting at the Bob Cole Conservatory of Music. Our orchestral program, with its focus on performing ensembles, is recognized as one of the finest in Southern California.

Our selective program accommodates no more than 1-2 students, each of whom will gain experience conducting rehearsals and performances with the Symphony, Chamber, and possibly Opera Orchestras. Student conductors also have opportunities to conduct the mostly non-major Orchestra at The Beach, various chamber ensembles and student composer premieres. Based on your previous experience, strength, and weaknesses, we will design an appropriate plan of training to help you become a well-rounded conductor.

The Bob Cole Conservatory Symphony Orchestra is the flagship ensemble of the school and performs more concert cycle than any other of our performing groups. Six annual symphonic concerts are held in the prestigious 1100-seat Carpenter Performing Arts Center, adjacent to the Conservatory. We collaborate with opera, dance and film/animation on a regular basis.

If you are interested in applying, emailing johannes.stosch@csulb.edu is the first step.

The university application can be found at: https://www2.calstate.edu/apply

Additional Requirements

You will be required to send:

  • A résumé
  • Three (3) letters of recommendation
  • An Audition Video link (using the Audition Video Guidelines below) of you conducting 10 minutes of performance and 10 minutes of rehearsal by December 30, 2022.

You will be notified by January 20, 2023 if you will be invited to an in-person audition and interview. The audition will scheduled during the beginning of March 2023 on the campus with live orchestra. The repertoire will be decided at a later date.

Thank you for your interest,

Johannes Stosch
Director of Orchestral Activities
Bob Cole Conservatory of Music

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Wind Conducting Audition Requirements

Students interested in Graduate Wind Conducting should email Jermie Arnold for more information.

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Supplementary Materials Requirements

There is no audition requirement for graduate studies in Composition or Music History. Please see additional information below:


Composition Requirements

There is no performance audition requirement for prospective Graduate Students in Composition. Prospective Graduate Students in Composition should contact Raymond Torres-Santos regarding required portfolio materials.

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Graduate Composition Portfolio

Prospective graduate students in Composition must submit a portfolio of their creative work in lieu of an audition. The portfolio should contain three to five recent original notated works that demonstrate awareness of 20th-21st century practices in composition. These scores should be accompanied by live recordings (preferred); however, electronic versions are acceptable. Composition applicants should also include a complete list of works including title, duration, instrumentation, and performances for each piece.

For applicants to the MM in Composition with Interactive Media, acceptable portfolio materials may include audio recordings, videos, scores, or any documentation of your performances, installations or collaborative projects that illuminate your work.

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Music History Requirements

There is no performance audition requirement for prospective Graduate Students in Music History.

Please direct all questions regarding required materials to Dr. Elizabeth Lindau.

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Graduate Audition Day and Open House

The following timeline is a SAMPLE Graduate Audition day:

Registration

12:00pm Daniel Recital Hall Lobby

Welcome and Orientation

12:30pm Daniel Recital Hall
(Alicia Doyle, chair; Moni Simeonov, Graduate Advisor)

Audition times will be assigned by the graduate advisor and sent via email.

Ensembles to Visit

  • University Orchestra, Johannes Müller Stosch, 7:00pm-9:45 pm, Room UMC-A311
  • CJO (Concert Jazz Orchestra), Jeff Jarvis, 12:00pm-12:50pm, Room UMC-A307
  • Percussion Ensemble, Ted Atkatz, 1-2:50, Room UMC-A311
  • Chamber Choir, Jonathan Talberg, 1:00pm-2:50pm, Room UMC-A301

Classes to Visit

  • Flute Masterclass, John Barcellona, 3:00pm-5:00pm, Room UMC-C100
  • Piano Forum, Shun-Lin Chou, 3:00pm-4:00pm, Room UMC-A506
  • Graduate Composition Workshop, Alexander Miller, 5:00pm-6:50pm, Room UMC-C403
  • French Diction, David Anglin, 4:00pm-4:50pm, Room UMC-C403
  • Brass Orchestral Lit, Rob Frear, 3:00pm-4:50pm, Room UMC–A307
  • Opera Rehearsal, David Angin / Suzan Hanson, 7:00pm-9:00pm, Room UMC-A301 / A504

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Audition Video Guidelines

Your Audition Video will be reviewed to determine your advancement in the audition process. The audition repertoire is outlined above by the area of your instrument. In addition to preparing your repertoire, make sure you meet the following criteria:

  1. At the beginning of the recording, state clearly:
    • Your full name
    • The name of each piece and respective composer names
  2. Recordings must be unedited and without artificial enhancement such as reverb or pitch correction.
  3. Be sure that it is clear that you are playing your instrument live. This means make sure your instrument and your fingers, mouth, embochure, diaphragm (if you are a singer), drum kit, etc. are clearly visible while you are playing.
  4. Be sure that you can be heard clearly. If you are playing with accompaniment, be sure you can be heard above the accompaniment/rhythm section.
  5. Watch your video all the way through to check the quality, playability, and completeness of your recording before you upload it.
  6. Upload your audition video to YouTube, and be sure to make it UNLISTED (not private).

Additionally, it will be helpful if you use the following best practices for video:

  • Find a quiet location without background distractions
  • Adjust lighting so that you are well lit and not in shadows
  • If possible, use a microphone for better quality audio

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